The Bug Club – “Very Human Features” review

The Bug Club is an indie rock duo from Caldicot, Monmouthshire, Wales, United Kingdom consisting of guitarist/vocaliat Sam Willmett & bassist/vocalist Tilly Harris. Emerging earlier in the decade off 3 EPs & a couple full-lengths, they would go on to sign with Sub Pop Records last summer for their previous LP On the Intricate Inner Workings of the System becoming widely received for it’s additional influences of garage rock along with post-punk revival & slacker rock. It’s been over 9 months since they made their debut for the label & are back in time for summer on their 4th album.

“Full Grown Man” picks up on the garage rock vibes singing about not knowing how to live alone whereas “Twirling in the Middle” incorporates more raw, energetic, simply employed, sloppy & fuzzbox-distorted guitars to do the rocksteady. “Jealous Boy” was a great lead single choice addressing expectations & comparisons with a loud-quiet-loud garage rock structure to it leading into while the vividly post-punk “Young Reader” suggests you don’t have to live like this since it’s a matter of principle.

Sam & Tilly experiment with glam rock during “Beep Boop Computers” singing about interpersonal relationships & experiences just before the title track subtitled “Muck” combining some of the folkier spoken word elements of Rare Birds: Hour of Song so they can concentrate deeply on one’s place in the world today. “When the Little Choo Choo Train Toots His Little Horn” pleads to be dunked in the water again due to them still feeling like monsters while the 2nd single “How to Be a Confidante” teaches everyone what they gotta do to become a close friend.

“Living in the Future” heads back to the garage taking pride in themselves for being overly focused on what might happen down the line instead of the current moment, but then “Tales of a Visionary Teller” refuses to show the taste of bitter practice offending their inner senses under any condition. “The Sound of Communism” aesthetically has an admirable Paul McCartney flare to it having fun with no regrets until “Blame Me” admits to them not believing in social consciousness with some catchy guitar melodies.

The 3rd & final single “Appropriate Emotions” manages to pull the suitable moods for a homosapien to feel in situations like the one they’re in as we speak sounding completely removed from the human experience as they possibly could’ve & despite “Have U Ever Been 2 Wales?” not being included, I still wanted to give it some props for being a joyous new ode to The Bug Club’s beloved home country chock full of regionally referential songwriting.

Presenting themselves as a collective mind even with only 2 members remaining, the band’s Sub Pop sophomore effort expands on the experimental tones of their 1st offering for the label getting more layered & complex than they did almost a year ago. Steve & Tilly create more of a pastoral atmosphere with the raw indie rock, post-punk, garage rock, slacker rock & occasional glam rock production, amplifying the storytelling through the songwriting looking closer at the smaller things in life & delving deeper into the creativity they’ve connected themselves to almost a decade after forming.

Score: 4/5

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Juicy J – “Live & in Color” review

This is the 9th studio LP from Memphis, Tennessee rapper, songwriter, producer & record executive Juicy J. Rising to stardom in the 90s as the co-founder of the seminal Three 6 Mafia alongside his Tear Da Club Up Thugs cohorts DJ Paul & the late Lord Infamous, he’s also had the most successful solo career out of everyone in the Mafia whether it be the Taylor Gang Entertainment/Columbia Records-backed Stay Trippy & Rubba Band Business: The Album or more recently Crypto Business & Mental Trillness. The latter & it’s sequel noticeably taking on a more serious tone than some of Juicy’s latest material, taking a good chunk of it’s time coping with Gangsta Boo’s untimely passing. Coming off the mature Ravenite Social Club, he’s having Logic fully produce Live & in Color.

The title track sets it off with a boom bap instrumental asking if you understand getting money with the rest of the hood whereas “Get Right” featuring Project Pat works in a psychedelic sample keeping his back against the wall. After the first of many “Discussion” interludes, “Big Bag Talk” finds himself back in the basement to show off his riches just before “The Problem” featuring Logic himself after the “Discussion 2” interlude soulfully brings the pair together to discuss coming from nothing.

“Shame” featuring Logic once again brings a trap vibe to the beat from Bobby Boy Records in-house producer 6 suggesting you watch them kick their feet up after rolling their weed up & after the “Discussion 3” interlude, “We Live” returns to the boom bap talking about striving for something better. After the “Discussion 4” interlude, “Kill For” heads for a dustily exuberant approach flexing that he’s lived a life many wish they had leading into the 2-parter “& Did” immediately following the Discussion 5” interlude focusing on motion instead of pussy.

Chipmunk soul & boom bap collide with each other during “Flowers” talking about the samples getting his daughters through college but after the “Discussion 6” interlude, “20 Years Later” featuring Logic & Project Pat swaps out the boom bap elements in favor of trap sticking to the codes to this very day like they did 2 decades prior while “Fame” suggests to not let the internet mislead you & allow him to do all the guiding since Juicy’s a product of his people.

After the “Discussion 7” interlude, “Black Rothstein” featuring Wiz Khalifa likens themselves to Arnold Rothstein of the Jewish Mob over an instrumental meshing soul & trap with each other 1 last time until the final song “I Need a Hug” ahead of the “Discussion 8” outro properly ending Live & in Color by telling his late mother to take a good look at him because he’s genuinely trying figuring out if she can even hear him from the pearly gates.

Saving only 3 verses, Logic takes a backseat on the mic for a good portion of Live & in Color in favor of opting to focus more on the production side of things & that to me is actually a great call because this is almost on the same enjoyability level as Juicy’s jazz rap album 10 months ago. Bobby’s production in spite of the ridiculous amount of “Discussion” interludes tightly balances boom bap, trap & chipmunk soul during the course of 13 tracks displaying both sides of the Three 6 co-founder whether it’s the maturity of his recent output for fun trap joints to play when you’re out having fun.

Score: 4/5

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Apathy – “Mom & Dad” review

In front of us is the 10th studio LP from Connecticut underground MC/producer Apathy. Emerging only 2 decades back as a member of the Demigodz & the Army of the Pharaohs collectives founded by Open Mic & Vinnie Paz respectively, he was also signed to Atlantic Records at one point even though he eventually left due to creative differences. Since then The Alien Tongue has built up quite the solo discography on his own, with my favorites being Honkey Kong! as well as The Widow’s Son or more recently Where the River Meets the Sea & King of Gods. No Second fully produced by Stu Bangas. Connecticut Casual 2 mostly produced by Playa Haze was a highly worthy successor to Connecticut Casual last spring, getting ready for the summer by remembering his Mom & Dad.

“The Great Flood” featuring Little Vic & Suave-Ski recalls a series of severe floods that affected various regions of the U.S. roughly 4 decades ago whereas “Shore Life” keeps the trio together for a self-produced boom bap joint reminiscing on what it was like for them growing up in the east coast. “Put the Money in a Bag” featuring Little Vic produced by Playa Haze finds the pair sticking together so they can talk about hustling to the point of exhaustion just before “All Good” soulfully suggests you holla at him if you need anything.

Slaine of La Coka Nostra appears on “Blue Collar Scholar” to talk about the kind of art they make in a world built on lies over a sample-driven boom bap instrumental while the title track goes drumless referring to the President & First Lady of the U.S. during a bulk of the 80s as his parents. “Vintage Canvas” slickly cracks the code without having to go into practice mode, but then “Old Lyme Like Old Times” featuring Ryu gives off a laidback approach to the beat talking about letting the champagne blast off.

“Summer at the Shore” chops up a soul sample so he can confess that he’s getting sick of getting his fingers dirty from counting money & sleeping with his wife in high fashion declaring themselves as slaves of consumerism while “1 Crown” returns to the boom bap wanting to know the possibility of people who’ve never been great relating to what he’s saying. “Lee Harv” featuring a verse & production from Little Vic sees the 2 warning you’ll get shot in front of the world as if it’s JFK’s assassination & “Whalers” wraps it all up with some woodwinds using the same scale they use to weigh the whales with.

Coalmine Records has teamed with Anchors Up Records formerly Dirty Version Records to uncover Ap’s biggest memory growing up in the 80s, which was during Ronald Reagan’s presidency because he feels as if he was raised by the actor turned politician & his widow even though neither one of them were related to him. Meshing the nostalgia of the very decade that raised The Alien Tongue & socio-political commentary, the underground veteran takes it up a notch with the personal topics going from expanding on the state that made him last spring to reflecting on the Reagan administration’s impact on his life felt to this day.

Score: 4/5

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Slick Rick – “Victory” review

Slick Rick is a 60 year old MC from New York City by way of London, England, United Kingdom becoming the 3rd artist to sign with Def Jam Recordings over 4 decades ago. His debut The Great Adventures of Slick Rick became a golden age landmark cementing Rick the Ruler one of the greatest storyteller hip hop has ever heard. The Ruler’s Back would be received more moderately & Behind Bars was a dope venting session of his time incarcerated. It’s been over 26 years since his 2nd best work The Art of Storytelling fulfilled his Def Jam contact & has opted to sign with Mass Appeal Records for his long-awaited 5th LP overseen by actor Idris Elba set to appear in A24 Films’ upcoming TV adaption of Things Fall Apart. Couple more noteworthy things to get off my chest here & first is the announcement of Mark Kerr now to be inducted into the UFC Hall of Fame in light of his upcoming biopic that I’m anticipating in the fall The Smashing Machine with Mark being played by 10-time WWE world champion, 2-time WWE Intercontinental Champion, 5-time WWE Tag Team Champion, United Football League (UFL) co-owner, TKO Group Holdings board of directors member, co-founder of $7 Productions & the final boss of professional wrestling himself The Rock of The Rock ‘n’ Soul Connection with the current record breaking 17-time WWE world champion John Cena accompanied by the honorary WWE Hardcore Champion Travis Scott. Speaking of the UFL since I’m at it for the fuck of it, the last thing I wanna say before finally diving into the music is I hope my hometown team the Michigan Panthers defeat the XFL conference champion DC Defenders in the Championship game this upcoming Sunday.

After the intro, the first song “Stress” featuring Giggs has a vintage old school vibe to the beat talking about feeling lonely & needing to be consoled whereas the self-produced “Angelic” flexes the higher-ups still studying “La-Di-Da-Di” to this very day justified by how much it’s been sampled or covered. “Foreign” suggests you peep the home increasing on him & the amount of individuals sleeping on him since he’s been gone leading into the “I Did That” interlude.

“Come On Let’s Go” goes for a hip house direction instrumentally grabbing his coat in spite of him having to go to work in a few hours right when things were getting hot while “Landlord” explains the occupation of owning property in New York these days isn’t easy whatsoever. After the “Mother Teresa” interlude, “Spirit to Cry” briefly discusses those wanting his soul to meet it’s demise just before “Documents” featuring Nas talks about being watched as if they’re top agent shoguns.

The piano-driven boom bap flare of “So You’re Having My Baby” suits it’s concept of getting a woman pregnant with her saying it’s his child while “Cuz I’m Here” gets back on the hip house tip observing all the honeys who came out to have fun. After the “Matrix” interlude, “We’re Not Losing” advises to keep it moving like him when taking Ls with the beat reminiscent to RZA’s production work 3 decades ago & “Another Great Adventure” produced by Q-Tip ends with a funky homage to his 1988 debut.

Reflecting where the Ruler’s been this past quarter of a century & where he’s going hereon out, Victory kicks off the Legend Has It series by reintroducing a pioneer to this next generation of hip hop fans who can still rock the mic like he did on his Who Made the Sunshine? appearances at the beginning of the decade. The production palatably blends hip house, funk, boom bap & hip hop’s golden age to backdrop Slick Rick’s themes of perseverance, storytelling, imagination & evolution.

Score: 3.5/5

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Tha God Fahim – “Dump Gawd: Hyperbolic Time Chamber Rap 13” review

Another EP from Atlanta, Georgia emcee/producer Tha God Fahim & the 2nd in less than a week, marking the 61st in his discography. Starting as an affiliate of Griselda Records as well as being 1/3 of the Dump Gawds alongside Mach-Hommy & Your Old Droog, we also can’t ignore the massive output that he’s managed to build for himself, some of the standouts include Breaking Through tha Van Allen Belts & Dump Assassins. He’s been releasing amongst his best material in the past few years like the Camoflauge Monk-produced Dark Shogunn Assassin, the Nature Sounds-backed Iron Bull, the Nicholas Craven-produced Dump Gawd: Shot Clock King series, the Oh No-produced Berserko, the Mike Shabb-produced Dump Gawd: Rhyme Pays, Tha Supreme Hoarder of All Pristine Wealth, Supreme Dump Legend: Soul Cook Saga produced by Cookin’ Soul & Machine Gun Vocabulary produced by Cartune Beatz. He just had Drega33 produce Lethal Weapon 3 this past Friday & returning with the 13th entry in the Dump Gawd: Hyperbolic Time Chamber Rap saga.

“Render Punishment” is this piano-boom bap intro talking about gaining a piece of mind surviving in these current times of protest in Los Angeles whereas the soulful “Twisted Metal” featuring Ru$h homages the video game franchise TV adaption with it’s upcoming 2nd season on the Comcast Corporation subsidiary NBCUniversal-owned peacock & the franchise’s mascot being played by former AEW World Champion & 2-time AEW TNT Champion Samoa Joe of the current AEW World Trios Champions The Opps.

The drums get stripped on “Hold the Throne” catching bodies in the studios & feeling ungodly maintaining a chipmunk soul vibe just before “Smoke in Mirrors” continues the drumless sampling to talk about profit being essential to his mental being. “Brand New” hooks ups a crooning sample chop looking to boomerang interest in his opps leading into the jazzy “It’s Automatic” boasting about his raps being cinematic.

“I’m Leavin with Sum” lastly wraps up the EP leveling up his rhyme schemes a couple notches notable when starts by referencing being wittier than Michael Scofield from Prison Break on the Fox Corporation’s flagship property & leavin’ enemies with their throats slit during the final seconds giving the wisdom of preferring a 9-5 instead of going broke. Couldn’t forget to mention the spoken word outro where he touches on always getting to himself something.

Dump Gawd: Hyperbolic Time Chamber Rap 13 is a lot like the predecessor in terms of the jazzy, boom bap & drumless production except it’s not another Jay NiCE collaborative effort & maybe the most I’ve enjoyed an EP in the series since Dump Gawd: Hyperbolic Time Chamber Rap 10 because of the performances Fahim handles by himself for most of it. Wouldn’t surprise me if he does a collab EP with Ru$h because I’d actually welcome it if that is in fact planned at any point.

Score: 4.5/5

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Tha God Fahim – “Lethal Weapon 3” review

This is the 60th EP from Atlanta, Georgia emcee/producer Tha God Fahim. Starting as an affiliate of Griselda Records as well as being 1/3 of the Dump Gawds alongside Mach-Hommy & Your Old Droog, we also can’t ignore the massive discography that he’s managed to build for himself, some of the standouts include Breaking Through tha Van Allen Belts & Dump Assassins. He’s been putting out amongst his best material in the past few years like the Camoflauge Monk-produced Dark Shogunn Assassin, the Nature Sounds-backed Iron Bull, the Nicholas Craven-produced Dump Gawd: Shot Clock King series, the Oh No-produced Berserko, the Mike Shabb-produced Dump Gawd: Rhyme Pays, Tha Supreme Hoarder of All Pristine Wealth, Supreme Dump Legend: Soul Cook Saga produced by Cookin’ Soul & Machine Gun Vocabularyproduced by Cartune Beatz. He & Jay NiCE linked for their 2nd collab EP Dump Gawd: Hyperbolic Time Chamber Rap 12 last weekend & Drega33’s back to produce Lethal Weapon 3.

“Against the Grain” was a piano-driven boom bap intro talking about contrasting the natural inclination to slay wack rappers by the boatload whereas the soulful “Caught My Eye” became an unexpected yet welcoming turn of things getting in his sensual bag lyrically. “Free Speech” embraces a heavily jazzier sound showing gratitude he’s still alive by the ocean side while “Carnage” gets back on the chipmunk soul tip telling us how he lives.

The song “DNA” gets the ball rollin’ on the final 10 minutes of Lethal Weapon 3 fusing chipmunk soul & jazz rap into 1 talking about being supernatural while “Foot the Bill” talks about watching these chumps squeal in their own blood. “Each Passing Day” heads for a chipmunk soul direction once again suggesting opposites detaching as much as they attract & the crooning outro “Championship Status” talks about the proper steps it takes to become a champion.

Compared to both its predecessor, the trilogy chapter in the Lethal Weapon saga preludes Dump Gawd: Hyperbolic Time Chamber Rap 13with the most detailed entry of the series. Drega33’s production is more jazzier than Lethal Weapon 2, harking back to the original Lethal Weapon except he’s meshing it with chipmunk soul to backdrop a deadlier Fahim.

Score: 4/5

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McKinley Dixon – “Magic, Alive!” review

McKinley Dixon is a 29 year old MC & singer from Richmond, Virginia introducing himself in the early mid-2010s off his first couple EPs Nappy Headed & Peter Truman followed by the full-length debut album Who Taught You to Hate Yourself? & The Importance of Self Belief. The spring of 2021 marked his breakthrough in the underground largely due to For My Mama & Anyone Who Look Like Her, which Beloved! Paradise! Jazz!? elevated a couple summers later & his 5th LP hopes to tie up some loose ends of it’s predecessors.

“Watch My Hands” was a brief 106 second drumless intro splittin’ through seasons hopin’ all parts eventually collide whereas “Sugar Water”featuring Quelle Chris heads for a jazz rap/neo soul approach instrumentally offering their souls so they can finally have peace. “Crooked Stick” featuring Ghais Guevara takes a bit of a boom bap direction with the beat flexing their legacies are eternal despite the envious wanting to sabotage until the experimental 2-parter “Recitatif” featuring Teller Bank$ dismisses the notion of being civilians.

The sequel to “Run, Run, Run” works in some pianos & live drumming confident he’ll be celebrated when his squad step back on the street & after “We’re Outside, Rejoice!” turns the jazz rap influences back up again hoisting up the child born under the sun advising they hide all cracks in their voice when yellin’ at the sky, “All the Loved Ones (What Would We Do???)” featuring ICECOLDBISHOP & Pink Siifu is this funky, cloudy hybrid talking about their mamas beating each other’s asses if they don’t stop playin’ with ‘em.

“F.F.O.L. (Fist Full of Light)” featuring Teller Bank$ blends these woodwinds & brass usin’ the generational words of their grandfathers just before “Listen Gentle” takes pennies from his thoughts & turns it into $100K. The title track suggests you get in the whip with him because of his plan to make it so his homies stay immortal & “Could’ve Been Different” featuring Blu finishes with them staring out the window, pray their wings can hold their frame.

Magic, Alive! feels the breathtakingly concluding trilogy chapter that For My Mama & Anyone Who Look Like Her began & Beloved! Paradise! Jazz!?bridged telling the story of 3 kids who lose their best friend & facing the subsequent turmoil. McKinley & his guests’ consciously abstract performances contemplate what constitutes magic in all forms meshing the sounds of jazz rap occasionally influenced by the lo-fi hip hop pioneer & one of my top 10 producers ヌジャベス, neo-soul, urban contemporary gospel, orchestral music, experimental hip hop, industrial hip hop, hardcore hip hop, rap rock, cool jazz, drumless & cloud rap.

Score: 4.5/5

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Little Simz – “Lotus” review

Islington, London, England, United Kingdom emcee, singer & actress Little Simz releasing her 5th album a month after its initial date. Getting her start at the beginning of the 2010s, she would go on to drop 4 mixtapes & 10 EPs alongside all of her previous LPs. GREY Areashowed some serious artistic evolution & S.I.M.B.I. (Sometimes I Might Be Introvert) wound up being my 2021 Album of the Year, even giving a perfect 10. The follow-up No Thank You barely made it on my Best of 2022 list since it came out days after my 26th birthday, finally giving space for the Lotus to bloom.

“Thief” essentially starts off by dissing Inflo after giving her a £1.7M loan in 2023 that she has yet to pay back whereas “Flood” fuses post-punk, art punk, afro-rock, psychedelic rock & experimental hip hop asking to be kept away from Satan’s palm walking a wicked ground. “Young” was my least favorite single of them all despite the blend post-punk & new wave with dance-punk & chap hop in addition to the humorous lyrics, but then the crooning “Only” talks about about solely having love in her heart.

Neo-soul, jazz rap & pop rap collide on “Free” highlights the power of love to set people free in contrast to fear just before “Peace” strips the drums completely so she can talk about finding her peace of mind. “Hollow” keeps it drumless suggests the individual she has in mind is for the cult instead of the culture referring to gaslighting as the work of a deeply insecure person while “Lion” goes for a jazz rap vibe talking about caring less of what they say.

“Enough” warns to not make her pull the plug since she’s fed up bringing a dance vibe to the table instrumentally leading into “Blood” featuring Cashh & Wretch 32 talking about family being their armor in the muddiest of waters. The title track predicts a long night ahead if she’s gonna get high going from being in hiding to the mountains while “Lonely” talks about the loneliness she feels making 4 versions of Lotus as a result. “Blue” ends with 1 more drumless cut advising to carry on with the light at end.

One of my homies Oojadan out in New Orleans once said to me that Little Simz deserves the same amount of respect that Doechii’s getting & I can agree on it since she has a flawless album in this decade. Nevertheless, Lotus reflects the evolving artistry of the London trailblazer & showcasing life’s intricate phases through neo-soul, conscious hip hop, jazz rap, afro-funk, experimental hip hop, afrobeat, psychedelic soul, post-punk, art-punk, afro-punk, pop rap, dance-punk, chap hop & new wave.

Score: 4.5/5

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Beno – “Out on Bond” review

Beno is a 28 year old rapper from Detroit, Michigan known for being 1/2 of the duo Drego & Beno. His partner in rhyme already has a couple solo LPs & 3 EPs under his belt already with the latest EP Krazy Man 2 coming out over a couple months ago. On the other hand, Beno has yet to put out any projects by himself up until this point & felt his debut EP had my wondering how he would sound by himself during an entire project since we’ve heard so many from his counterpart.

“BJ” opens with a flute, some 808s & string sections sticking to the g code whereas “B.T.A. (Beat That Ass)” featuring Lil Mello works in some pianos & 808s referencing WWE Hall of Famer, former 2-time WWE world champion, ECW World Television Champion, 6-time WWE Intercontinental Champion, 5-time WWE Tag Team Champion, 4-time & the final WWE Hardcore Champion, TNA World Champion & TNA X Division Champion Rob Van Dam.

Moving on from there, “Possible” finds himself optimistically feeling like anything’s a possibility over a decent Detroit trap instrumental prior to “Hmm Hmmmm” going for a darker vibe to the beat talking about catching an opp tossing his body in the trunk. “Ouuu Ouuuu” featuring Babytron & produced by Danny G finds the 2 likening themselves to heavyweights in a group of middleweights just before “Ballin’ is a Habit, Not a Crime” explains that the way he balls doesn’t involve illegal activity.

“Dead Wrong” featuring M.I.N.E. Entertainment signee 3200 Tre brings some pianos & 808s back in the fold talking about the only 2 types of people they know being either real or fake while the title track by Drego & Beno telling us what it was like for them growing up selling dope & getting money. “I Got the Urge” ties up any loose ends during the EP refusing to snitch on his squad, remaining the same as he was prior to making it.

Because of the announcement the previous weekend regarding Drego getting ready to serve a 1-year prison stint, it’s not hard to see why Beno wouldn’t take the opportunity to focus on a solo career until his better half comes home & Out on Bond brings it full circle from when Krazy Man initially dropped several years ago. Production’s better than I had initially anticipated & Beno holds the mic finely by himself with a tight guest list.

Score: 3.5/5

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BigBabyGucci – “Internet Explorer” review

Right here is the 6th album Charlotte, North Carolina recording artist BigBabyGucci. Start in the summer of 2016 off his debut EP ART HOE Collection, he would continue to build a name for himself by putting out 19 more EPs as well as his last 5 full-lengths & a couple mixtapes along the way. When U Wake Up, When You Go to Sleep, Baby 5 & the heavily alternative ANTI have all become his strongest material of the 2020s although I can’t the same for Isolation 2.5 a month after the latter. 6 months later, he’s redeeming himself with Internet Explorer.

“Full House” experiments with this synth-trap intro talking about the crib being packed & vacant simultaneously whereas “Switch ‘Em Down” keeps the synthesizers in tact flexing that he ain’t giving fucks no more. “I Don’t Like My Conscience” industrially advises there isn’t any easy street to take when asked to go down a road he’s already traveled while “Dusse” eagerly talks about his excitement for the check hitting.

Meanwhile on “Remedy”, we have BigBabyGucci over a more glitchy instrumental to discuss being out of his mind just before “My Worst is His Best Day” talks about being in the same place as he’s been at for a while & someone he knows not getting sick of switching gangs. “Freakhoesripspeakerknockers” shouts out the freaky bitches on top of refusing to take any Ls & hoping you run from the stray bullets, but then “Bags in the Wynter” talks about a girl wanting to fuck him because her last one didn’t.

“Trap Kitchen Gucci Ramsey” produced by Nico Baran of Internet Money Records airing out a certified geeker for talking shit & wanting a feature from him while the rage-inducing “Yea Yea” suggests he might change the weather by making it rainy with the bands he has these days. “Vendetta Music” gives off a psychedelic approach providing the soundtrack for the 17 fans he claims he has seeking vengeance while “Can’t Go Back Home” talks about not letting anyone get too close to him without tripping on anything.

Moving on from there, “Hell Yea Brother” heads for an industrial direction once again prevailing through any hate that others try to send his way while “Tryna Be Me” gets even heavier with the synths talking about the envious type wanting to follow in his footsteps. The latter half of “Tales from Houston” has an acoustic pop rap flare to it following a boastful start while the pluggy “Tainted” talks about aiming his gun at your chin.

“Stain My White Tee” draws closer to the conclusion of Internet Explorer swearing that the new girl he’s been seeing hasn’t ever met anything like him in the past flexing he’s more slicker than here & “My Mama Don’t Recognize Me” sends off the LP with 1 final synthesizer heavy cut talking about being unrecognizable to his own mother, his hard to please demeanor & getting closer to his dreams of making it.

ANTI over 6 months later was a great capitalization on his versatility since he went for a more alternative direction on there & Internet Explorer has pushed himself into an experimental route considering the industrial hip hop influences on here occasionally venturing out in favor of pop rap or plugg & a hint of rage sprinkled in. Dude really pushes his artistic boundaries on this one & I respect him greatly for that.

Score: 4.5/5

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