J. Michael Phillips & Yelawolf – “Whiskey & Roses” review

Toledo, Ohio singer/songwriter J. Michael Phillips joining Alabama rapper, singer/songwriter, producer, fashion designer & entrepreneur Yelawolf for a new collaborative album. One of whom is an urban country artist with only 1 LP of his own under his belt thus far & the other used to be signed to Eminem’s own Interscope Records imprint Shady Records a decade ago. Tony Martinez put out his own debut last summer Everything West introducing an outlaw country style to Slumerican Records & the producer of that is teaming with his newest signing for Whiskey & Roses.

“Helping Hand” throws it back to the 80s new wave & soft rock era instrumentally so both of them can talk about being there for one another whereas “I Swear” marks the first of 3 Yelawolf solo tracks throwing it back to the Arena Rap era suggesting to meet him at the church since he’s no longer afraid of death. “Amnesia” & “Falling” continue the themes of love speaking on a rough breakup during the first & continuously falling for their new partners on the other.

Reaching the halfway point, “Honey Hole” finds both parties sharing verses agin getting on their country shit together just before “Giddy Up” switches it up since Catfish Billy takes on the role of a feature letting J. Michael shine more talking about 2-faced people. “Searching for Heaven” speaks on finding Satan during their journey of seeking the pearly gates while “Yay Yay Yay” featuring Struggle Jennings finds the trio on some trap shit dropping hardcore lyrics.

“Big Trucks” sets Whiskey & Roses’ final minutes off revisiting the structural of “Giddy Up” except Yelawolf’s verse on here in comparison to that previous song feels garishly half-baked prior to “All I Ever Seen” saving J. Michael Phillips’ only solo cut for last embracing a traditional country vibe singing about not forgetting the nightmares & rising above the depths of where he was in life to live his dreams.

For clarification: I firmly believe that J. Michael’s upcoming sophomore effort & Slumerican debut will capitalize on his artistic potential much like Everywhere West did 11 months ago, but Whiskey & Roses would’ve made a better EP than a full-length because of everyone feeling like guests on their own project much like Drake & 21 Savage’s collab album Her Loss or the new Cactus Jack Records compilation Jackboys II.

Score: 2.5/5

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Justin Bieber – “Swag” review

Justin Bieber is a 31 year old singer/songwriter from London, Ontario, Canada signing to Island Records during my time in middle school to put out My Worlds & Under the Mistletoe only to fulfill his obligations with them on Believe & Journals. He has since been on Def Jam Recordings for the past decade & Purposemarked a divisive debut for the label, although Changes & Justice was equally as bad as a great deal of his Island output. Coinciding with Clipse’s comeback Let God Sort ‘Em Out, his 7th album has arrived after receiving an 8 hour notice.

“All I Can Say” made for a decent synthpop intro singing about the inner turmoil in his life at the moment & trying to find some sort of solace whereas “Daisies” fuses bedroom pop & sophisti-pop courtesy of Mk.gee to count down the days he has left for him & his wife Hailey to reunite. The stripped-back “Yukon” tries to figure out what his soulmate would do if he didn’t love her including corny lines like “get a move on like U-Haul” until the atmospheric “Go Baby” sings about creating an emotional space without any sort of judgment.

Haile gets brought up again during “Things You Do” throwing out more weak bars such as “Sunday to Sunday, I’m here whеn you’re weak” leading into “Butterflies” responding to paparazzi gangin’ on him at Coachella this spring. “Way It Is” featuring Gunna was an underwhelming pop rap/synthpop crossover talking about wanting to settle down with their respective partners just before “First Place” sings about wanting to see his spouse in 1st place like “it’s a birthday”.

After the first of 3 questionable Druski skits, “Walking Away” breaks down a few different chapters in the story of his decade-long relationship with Haile while “Glory Voice” sings over a bare guitar for a minute to show off a religious side of himself. “Devotion” featuring Dijon co-produced by Daniel Caesar finds the 2 teaming up for a tribute to Justin’s son Jack stripping the sound back even further while “Dad’z Love” continues to expand on the themes of fatherhood.

“Sweet Spot” featuring Sexyy Red after another Druski skit gets together to bang out a decently sexual synthpop & pop rap duet while “405” after the final Druski skit makes a weak reference to Tom Holland’s portrayal of Spider-Man in The Walt Disney Company-owned Marvel Cinematic Universe. The title track feels like a Cash Cobain song since Justin’s only handling the chorus & it does very little for me since I prefer Cash Cobain as a producer than a rapper.

The song “Zuma House” counts down towards the last 5 minutes of the LP singing over an acoustic guitar for a mere 83 seconds asking Hailey if she would catch him if he happened to fall backwards & “Too Long” ahead of the “Forgiveness” outro feels reminiscent to those luscious new wave pop songs you would’ve heard back in the 80s letting off some steam regarding the length of time he’s had away from Haile.

Didn’t even have a review for Swag in mind for the majority of the weekend but when Biebs joined Travis Scott & Jim Jones in dissing Clipse because they “make music for bitter grown men who collect KAWS dolls & still shop at KITH & Union”, it gave me some inspiration & I’ll argue that I liked Swag less than I did Jackboys II & At the Church Steps combined. Mainly because it feels like his attempt at Mr. Morale & the Big Steppers for casuals except it stylistically focuses around contemporary R&B, pop, pop soul, alternative R&B, bedroom pop, sophisti-pop, neo-psychedelia, synthpop, pop rap & gospel

Score: 2/5

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Noah Cyrus – “I Want My Loved Ones to Go With Me” review

Noah Cyrus is a 25 year old singer/songwriter from Nashville, Tennessee notable for being the younger sister of Miley Cyrus & the daughter of Billy Ray Cyrus as well as voicing the titular character in the English dub of the スタジオジブリ fantasy classic 崖の上のポニョ. She later signed to Columbia Records after becoming of age, her first couple EPs Good Cry & The End of Everything left listeners divided until her full-length debut The Hardest Part found herself beginning to come into her own. We just got her sister’s most acclaimed project of her career Something Beautiful over a month ago & she’s looking to catch up with her sophomore effort.

“I Saw the Mountains” made for a tight singer/songwriter, Americana & indie folk intro singing about holding onto hope whereas “Don’t Put It All on Me” featuring Fleet Foxes was an unexpected folk pop, singer/songwriter, indie folk, Americana & adult contemporary collaboration that impressed me as a Father John Misty fan since my senior year of high school a decade ago.

Another favorite has to be “What It’s All For?”, delivering vocal performances that feel reminiscent of Miley’s over acoustics reflecting on Noah’s current relationship with her father & the 2 divorces he’s had in 24 months just before “Way of the World” featuring Ella Langley finds the pair coming together for a contemporary country track explaining that them crying on the curb is usually the way it works with them.

“New Country” featuring Blake Shelton served as the final single learning to walk on your own 2 feet & finding your own independence drawing inspiration from Americana once more & the secondary soft rock influences during “Long Ride Home” making our way to the halfway point of were incorporated pretty well singing about her feeling as if the wheels have left the road.

We have Noah over some heavy pianos over the course of “Apple Tree” cautioning not to question or push her to lessen her love since she’s learned from her own experiences that it’s a weapon that ruins everything while “Man in the Field” returns to an Americana sound singing about her father becoming unrecognizable to her & having unfinished emotional business with him implying that he disappears when she calls out for him.

“With You” starts the final act of I Want My Loved Ones to Go With Me wanting someone in her life she’s shared good & bad times with to know that she’ll always be by their side while “Love is a Canyon” comes to a “beautifully true” realization comparing romance to a gorge vulnerably pulling off these low register vocals. “XXX” featuring Bill Callahan closes the album with a duet radiating a nostalgic campfire vibe signing about signing every letter with 3 X’s regardless if it’s to their exes or not.

I wasn’t a fan of Good Cry or The End of Everything, but I did enjoy The Hardest Part for the complete stylistic departure she went for compared to those early EPs & I Want My Loved Ones to Go With Me only reveals what she had inside her all this time. It’s more singer/songwriter & indie folk lenient than the last LP was comfortably finding who she is further pulling from country pop, soft rock, Americana, contemporary country, folk pop & adult contemporary.

Score: 4/5

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Weiland – “Fall from Grace (When is Enough, Enough?)” review

Tampa, Florida rapper, singer/songwriter, producer & audio engineer Weiland releasing his 2nd EP of the year & the 4th in his discography altogether. Coming up almost a decade ago off his debut EP Insomnia, his first couple mixtapes Packrunner & Grimey Life resulted in Victor Victor Worldwide signing him for the synthpop inspired Vices to high acclaim. You Can’t Climb the Mountain in N.Y. came out a couple months ago to warm reception & Fall from Grace looks to up the ante.

“Crash” was a 55 second synthpop, hypnagogic pop & coldwave intro suggesting not to blame self justice when we live in this world whereas “The Man Who Last the War” could be my favorite on the EP singing about heartbreak. “Let’s Go to Bed” feels reminiscent to some 80s new wave synthpop with a more lo-fi approach to it while “She’s Got a Gun” ahead of “The Lovefix Purpose” outro finds himself having nowhere to run from a woman who didn’t mean to claim her love.

Fall from Grace carries over almost every sound that we heard throughout You Can’t Climb the Mountain in N.Y. except for the neo-psychedelic undertones taking a darker turn regarding the songwriting portraying himself as an individual trying to make sure everything in his life is in order & searching for purpose in the disorderly conduct. People have all felt lost, tired or broken at a point or 2 in their lives & those themes can heavily relate to many of us continuing to find a reason to move forward.

Score: 4/5

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Brothers of Chaos – Self-Titled review

The Brothers of Chaos are a west coast horrorcore duo from California consisting of San Jose emcee Chuckklez as well as Simi Valley singer/songwriter, rapper, producer, bassist, guitarist, audio engineer & music manager Freakshow. We recently got Chuckklez’ sophomore effort debut Horrors from the Unstable produced by DJ Ill Sprite this past winter, although it marked his debut for Lyrikal Snuff Productionz. However, he’s secured a separate label deal for him & Freakshow to properly introduce themselves to the Gore Hop universe with a debut EP in preparation of an upcoming tour run.

“Chaos” produced by Freakshow begins with a wicked rap rock intro talking about playing with an evil seance whereas “Sick Minds Think Alike” takes the boom bap route thanks to Zombie Aristocrats looking to leave corpses rotting in the sun. “Sonz of Darkness” samples “Fear No Evil” by Gimisum Family & Hollow Poynt displaying a back-&-forth chemistry while “STFU” featuring Bloody Ruckus sends a message to those who don’t know when to shut up. “Wanna Play a Game” references the Saw franchise & “Wicked Days” featuring Madopelli finishes with a west coast horrorcore heater that M.A.D. laced himself.

Chuckklez has already told The Gorefather himself Scum that he’d rather be a solo artist, but he wouldn’t mind being a part of a group depending on the person or people & how connected he is to them. The inaugural extended play from the Brothers of Chaos gives the underground wicked shit scene a glimpse of his magical chemistry with Freakshow, which has me hoping they’ll do an entire album down the line honing in on the standout beats now that the San Jose artist has been having more fun with his partner-in-rhyme than being by himself.

Score: 4/5

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Openness Trio – Self-Titled review

The Openness Trio are a jazz trio consisting of Oakland, California guitarist Nate Mercereau alongside Takoma Park, Maryland saxophonist Josh Johnson & Los Angeles, California percussionist Carlos Niño. Known for collaborating with the likes of Kamasi Washington & André 3000, all 3 members have decided to form a new supergroup under none other than the greatest jazz label of all-time Blue Note Records & make a broader introduction with an eponymous full-length debut studio album.

“Hawk Dreams” was a solid, freely improvised new age lead single & a better intro to the LP with secondary influences of spiritual jazz whereas “…Anything’s Possible” works in a saxophone & some percussion for a little over 5 minutes. The final single “Openness” blends new age & ambient for the shortest composition of the 5 but once “Chimes in the Garden” embraces the spiritual jazz vibes a bit heavier for a moment, “Elsewhere” finishes with a mesmerizing free improvisational outro that Nate originally teased on YouTube in 2021.

For fans of the prominently ambient new age direction that André 3000 embraced on New Blue Sun or Kamasi Washington making amongst the greatest spiritual jazz of this current millennium even a decade after The Epic, the freely improvised self-titled debut from the Openness Trio brings a sound to the modern Blue Note roster than their own moniker implies & hopefully it’s only the beginning for them collectively.

Score: 4/5

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Tha God Fahim – “Dump Gawd: Hyperbolic Time Chamber Rap 15 (Final Explosion)” review

This is the 25th studio LP from Atlanta, Georgia emcee/producer Tha God Fahim. Starting as an affiliate of Griselda Records & 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 Vocabulary produced by Cartune Beatz. I don’t even have to mention the Dump Gawd: Hyperbolic Time Chamber Rap saga since we’re already 14 entries deep & the 15th one looks to serve as the “season finale”.

“D.Y.O.G. (Dig Your Own Grave)” featuring Jay NiCE was a soulful boom bap intro produced by Nicholas Craven breaking down what it’ll be like in a rap battle against them whereas the self-produced “Order of Pain” ruggedly talks about leaving y’all slumped with the Mossberg pump. “It’s Darkness” goes for a drumless chipmunk soul vibe running hunting bags up top rank with the heavy artillery prior to “Flame Weaver” talks about his name being solidified in stone.

As for “Another Meal”, we have Fahim over a bare organ instrumental hittin’ spears harder than 2-time WWE Intercontinental Champion as well as 2-time NXT Champion & NXT Tag Team Champion Bron Breakker did to iShowSpeed at the Rumble just before the crooning “Don’t Blink” featuring Jay NiCE references 2-time WWE Hall of Famer, former 16-time WWE world champion, WWE Intercontinental Champion, 6-time WWE United States Champion, 6-time WWE tag team champion & 9-time NWA World’s Heavyweight Champion Ric Flair.

“Dead Giveaway” continues the soulful sampling techniques boasting his whole library collection of raw raps & throwing the moon at the last person who wanted to battle him, but then “Break Records” featuring Jay NiCE strips the drums completely for a hardcore chipmunk soul talking about their extraordinary lyricism. Jay NiCE sticks around on “Plant Seed” discussing revenge feeling better than forgiveness to them “Perfect Attendance” featuring Jay NiCE speaks of keeping full clips in the mag.

To get the 3rd & final act of the “season finale” going, “Precise Planning” keeps it drumless weeding out the fake until they get sent to their graves while “Keep Dat” makes MCs catch more shells than the bottom of the sea. “Solid Granite” brings a woodwind into the fold talking about having more guns than Gaston Glock advising to take heed to his warnings & “Bone Cracker” featuring Jay NiCE ends the album blowing .45 ACP mags to make their haters’ comrades sit down.

Said Final Explosion of the inaugural Dump Gawd: Hyperbolic Time Chamber Rap season diverts from the norms of it’s predecessors by having Fahim himself producing almost half of it with the rest being left to Craven as opposed to the others being solely produced by the latter, expanding into a full-length body of work unlike the other 14 entries being EPs & finally 35% of the rhyming throwing it back to his chemistry with Jay NiCE during the 12th chapter capitalizing on the improved schemes of the more recent installments.

Score: 4/5

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Yves! – “R.O.T.Y. (Rookie of the Year)” review

Houston, Texas rapper Yves! releasing his 15th EP a month succeeding the prelude. In almost 3 years, the last dozen of EPs under his name have all caught the attention of underground trap whether it be the Om. series & the Avarice. series or 4DaKash & Welcome to the Palace. Marking his 4th EP of 2025 alone, R.O.T.Y. (Rookie of the Year) looks to expand on what he went for on B4 R.O.T.Y. (Rookie of the Year) merely 4 weeks ago by serving up the main event with some notable production credits.

“1 of 1.” starts with a cloudy pop rap trap intro clocking at 115 seconds telling his girl to get her hands on her knees whereas the tropical “3am Thoughts.” talks about what goes through his mind in the early hours of the day. “Love.” produced by Cxdy of Internet Money Records giving props to Destroy Lonely’s last album Love Lasts Forever leading into the rage inducing “Sexy.” talking about his chick loving his vibe.

Cxdy gets back behind the boards for “Giuseppe.” referencing the Italian luxury footwear & fashion designer Giuseppe Zanotti just before “Drunk in Luv.” experiments with trap, rap rock & pop rap asking what happened between him & this woman whose final words to him were “replace me” prior to getting drunk in the car. Rio Leyva & Vendr cook up the playfully cloud rap/trap outro “10s.” wanting to know why this person he needs by his side hasn’t been around.

Looking to take over the game, R.O.T.Y. (Rookie of the Year) feels unlike anything else Yves! has done previously achieving his desire of making waves artistically. The production has a little bit of something for everybody from rage to hyperpop, cloud rap, experimental hip hop, trap, pop rap & rap rock taking a more serious approach to his delivery & songwriting on top of it in the midst of his booming popularity.

Score: 4/5

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Sk8star – “Pale Fever” review

Atlanta, Georgia recording artist Sk8star with his 7th EP & the 3rd of this year. Getting his footing in the spring of 2021 off Superstar Status, he would go on to follow it up a year later with both the B4NWØ EP & his debut mixtape New World Ørder respectively. The latter being my introduction to Sk8’s music after my lil brody UnreleasedSnip put me on, with songs like “Standin’ on Business” & “YSL Flow” being the standouts for me personally. Following his 3rd EP Mogul along with rebel at the beginning of 2023 & whole new meaning that same spring, Sk8 addressed the Rebel in the Room & continues the Rebelution by putting out Pale Fever.

“Pale Face” produced by Richie Souf blends trap & electronic together talking about being a Designer Junkie whereas “Confused” works in some pianos, organs & hi-hats to get so high that he’s unable to think clearly. “Rugby” gives off a bit of a luxury trap vibe talking about shit on the verge of getting ugly prior to 1300SAINT joining Sk8 on “Achoo” incorporating pianos & hi-hats to trade verses with one another.

Nosaint of Vanguard Music Group produces the highlight “Tycoon” feeling like he’s a magnate & spreading no hate towards anybody stickin’ to the plan of fuckin’ up these checks coming his way leading into “Fein” cloudy talking about dealing with his face to get to the place you want to go. “ForMyRealOnes” lastly rounds out Pale Feverwith a dedication to those who’ve been by his side through it all.

Couldn’t tell you exactly how many EPs we’re gonna be getting until Sk8star decides to put out his debut album Designer Junkie, but it’s quite impressive that most of Pale Fever channels the energy of “Sex” for almost 17 minutes. The detailed production mostly handled by Richie Souf captivates on the 2 bangers he produced a few months ago carrying it out on a majority of it’s successor & Sk8 lyrically gives a taste of what’s to come on his upcoming debut.

Score: 4/5

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9 Vicious – “For Nothing” review

Atlanta, Georgia rapper 9 Vicious celebrating the 4th of July with his 3rd LP. Breaking out last summer off his debut single “U Fancy”, he would go on to further introduce himself on B4SA & the debut album Studio Addict helped him gain more exposure to the point where Young Thug signed him to YSL Records after B4TM dropped & Tumblr Music wasn’t that bad of a debut for the label other than “Clout Demons”. A little over a month has passed since B4FN became his most beloved EP & he’s familiarizing himself with new fans on For Nothing.

“Can’t Tell Me Nothing” produced by 406ahmad starts by suggesting that people only hate him because they’re broke when in really because of the “Clout Demons” controversy whereas “Takin’ Swag” talks about being the father of swag likening everyone else being his children. “New Means” responds to the people wanting to go back to that Studio Addict style by saying he’s evolving prior to “Co-sign” with R8 & Patrick Garza talking about not needing anyone else’s approval.

The bar referring to Marilyn Manson at the start of an underwritten verse on “Valley” is odd timing as a fan of his Triptych because of his horrid Falling in Reverse collaboration “God’s a Weapon”, but then “Moshpit” makes up for it with a pretty solid rage track to get the pits going. “Internet Gangsta” produced by BenjiCold has possibly my least favorite hook on the album implying he’ll cheat on his girl if she pisses him off while “Face” opens up regarding his lifestyle of wealth & sex visiting 渋谷、東京、日本.

“Chaos” gets the 2nd half of For Nothing started with a 2-parter from Jwade taking “Die Young” over “Thumb in the Ass” without hesitation while “Mobb Deep” has very little to do with the influential east coast duo & more so feeling like a clown with Rick Owens shoes on in the snake-pit. “Hurt Sum” speaks of the changes in life since Tumblr Music this spring & being on the phone with Lil Uzi Vert while “Slatt Gospel” hopes that he doesn’t die young even if he’s not afraid of it.

Nosaint of Vanguard Music Group links up with 9 on my personal favorite song here “Pretty” talking about being a money getter not giving a fuck about shit while “DBZ” references the timeless ドラゴンボールZ created by the late 鳥山明 during the hook chillin’ in New York. The song “So Many Tears” goes on to diss Uzi claiming they fell off officially after Eternal Atake 2 although I can’t really argue against it because it did suck & “The End” finishes with another cut split in 2 halves: “Cardigan” & “WhiteHo”.

Mass Appeal Records had good reason to threaten legal action against YSL due to the original artwork biting The Big Picture (1974-1999) since they got a posthumous Big L offering Harlem’s Finest: Rise of the Forgotten King as part of their ongoing Legend Has It series, which is a good thing because it makes me greatly appreciate For Nothing than that initial cover art & lemme make it clear that my opinions on 9 Vicious’ output much like Autumn!’s doesn’t have ANYTHING to do with either one of them as people & mainly the quality within their music itself. Now that that’s out the way, expanding on the cloudy rage-inducing trap sound of it’s prelude EP days following the announcement of a collab on the upcoming deluxe version of Kevin Abstract’s new album blush.

Score: 4/5

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