Beannskii – “Green Bean” review

Here is the 3rd studio LP from Michigan rapper Beannskii. Following his 2023 studio debut Geek Up!, revered Detroit trap trio the ShittyBoyz would catch wind of him & make him a member of their Dog $hit Militia collective signed to Lando Bando’s own The Hip Hop Lab Records putting out his sophomore effort Beanjamin Franklin last Black Friday weekend. Coming off MJPaid & Fordio’s respective full-length debuts Paid Ponzi & Fordi Milligrams, the Green Bean seeks to continue the D$M squad’s run they’ve been on from the start of 2025 taking the plate at 3rd.

The intro begins with a Detroit trap instrumental showing off some occasional bells talking about people runnin’ they mouth on social media & hiding their tails afterwards whereas “Ball Game” incorporates some horns wishing death on anybody who clique up with his team’s opposition. “D$M” works in some pianos & 808s to talk about his crew for a minute & a half while “Wizard of Turkey Bags” favors of hitting targets instead of innocents.

“Barking” hits the grey hound the second he re-ups aiming for the face rather than going with a chest shot just before “All Hail Bean¡” brings a lowend beat from Certified Trapper with creatively chopped sample into the fold except the vocal mixing feels a little off. “Where Would I Be??” relies heavier on the bells telling everyone who be sending death threats to pull up on him leading into “Food Fight” featuring Ftos Twan talking about walking by shooting at y’all if they can’t get a ride.

Meanwhile on “Lost My Marbles”, we have Beann sliding off pucks as if he’s in the middle of a hockey game while “Hamas” talks about being in the bushes for so long that he got mosquito bites. “Tavon Austin” discusses being known for throwing back shots without any duckin’ or dodgin’ & promising you won’t take what’s his, but then “Don Don” talks about letting the stick fire off if they try to box him in on top of trying to get his pill addiction under control.

“Jolly Bean” lets the bells ring once more & sampling “How to Save a Life” by The Fray dumpin’ all the bodies he’s catchin’ in his backyard while “Kankakee” talks about sweeping those running from them off their feet. “Swanton Bombing” finds Beann pulling off the finishing move of the inaugural 4th Rope World Tag Team Champion Jeff Hardy of The Hardy Boyz while “Alone” addresses his habits of treating pills like Tic Tacs.

The orchestral sample on “Let Me Be” speaks of having no fear in him after seeing & going through it all during his lifetime in addition to his pleas for help going ignored while “Poltergeist” talks about spinning the block all day like a fidget. The outro concludes Green Bean with a regalia/Detroit trap crossover boasting that he’s pouring wine into his pop to the point where it turns into Grape Welch.

Beanjamin Franklin found Beannskii elevating himself from his debut the previous year & on Green Bean, it extends the back-to-back run that the Dog $hit Militia members have been on widely introducing & establishing themselves as individuals. Yes I’m aware of this being his 2nd offering since joining the collective however, there wasn’t a whole lot to the guests that I found interesting or much exciting compared to the main performer.

Score: 3.5/5

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untiljapan – “Trompe-L’oeil” review

untiljapan is a 19 year old recording artist from Atlanta, Georgia putting out 5 EPs & was featured on “light ice” off Sk8star‘s 2nd mixtape whole new meaning until his own full-length studio debut album Safe Travels established him as an up-&-comer in trap, emo rap, cloud rap, alternative R&B & neo-psychedelia. Diorvsyou most recently had untiljapan on “west” off his newest EP Paussus.99 few weeks ago, with the elusive underground trailblazer signing to Interscope Records & generating buzz surrounding a sophomore effort.

“Shoot for the Moon” was a regalia intro shouting out the people in his life who’ve shown him love & the women who took him in whereas “Yayo / White Paris” shakes it up with a 2-parter flexing that he made it snow out in France with all that white powder in the street. “More Moët” hooks up a crooning sample giving a glimpse of his $1M habits prior to “Born 2 Be Great” sampling “Bonnie & Clyde” by Tink talking about working all day.

Moving on from there, “Kiss tha Ring” works in another sample & turns up the bass to tell his girl he’s on a plane to go see her just before “Broad Day” cautions of the people around you who’ll eventually try & fuck you over in the end when you least expect it. “Wolf in Sheep’s Clothing” gets on some drumless rap rock shit unable to get the thought of homicide out of his head leading into “Watch Yo Back” talks about how sad it is the real players ain’t in the game no more.

“1 Helluva Drug” cacophonously gets in his breakup bag talking about an ex-girlfriend being a memory after she blocked his number while “Pyramidz” produced by Nosaint & ReidMD of Vanguard Music Group was a great cloudy trap single throwing a hint of alternative R&B in too talking about life moving fast with the squad. “Just Breathe” heavily builds itself around a harp & acoustics not showing away from sending shots to the soul if he has to while “Coast 2 Coast” talks about his colleagues being in the east & the west.

The song “Die Like This” begins the final minutes of untiljapan’s sophomore effort albeit major label debut sampling “Larabar” by Wet addressing individuals who didn’t like exactly how hot he broke out in the music scene & “Goodbye, Come Again” closes the LP with a Moses Ideka sample speeding on the highway since he’s in the fast lane along with blowing up the phone of a woman he told he loved on the verge of puttin’ him down.

“Mercedes. 2005” starts the deluxe run sampling “Indecision” by Sampha talking about having a close call & asking where he stands with a flight attendant while “Tightropes” flips “Ropes” by Scott James asking if she remembers the night he said he wouldn’t ever leave her. Clayco chops up “DNM” by Mk.gee & “enemy” by Charli XCX for my favorite bonus track “Old Vices. New Cities.” becoming my favorite 2-parter by a mile & “London Nights” samples “How Many Miles?” by Mk.gee looking for love during the evening riding around.

Often cited as one of the most promising artists in underground trap today, his major label debut elevates himself from his debut celebrating it’s 2 year anniversary this fall & catapulting himself in the same conversations as his Interscope labelmates Destroy Lonely & Nettspend. In terms of production, he completely comes into his own artistically & his feature-less performances are a testament to some of his recent guest appearances.

Score: 4/5

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Addison Rae – “Addison” review

Addison Rae is a social media personality, singer, actress & dancer from Lafayette, Louisiana know for temporarily being a member of the Hype House collective of TikTokers for a mere 5 months. Her debut EP AR was welcomed to moderate feedback & caught the attention of Columbia Records, who signed her following an appearance on the remix of “Von Dutch” off Charli XCX’s 6th album brat last summer. Coming off a string of well-received singles however, she’s taking it further on her major label debut.

We get a heavy dosage of dance-pop during the intro “New York” singing about her affinity for the City of Dreams itself whereas “Diet Pepsi” blends contemporary R&B, alt-pop, chillstep, alternative R&B & downtempo for a lead single calling back to Lana Del Rey’s 5th album Lust for Life. “Money’s Everything” takes a complete 360 from what “Diet Pepsi” did asking taking on a more satirical tone while “Aquamarine” combines dance-pop, deep house, garage house & melodic house to sing about her transforming & realigning.

“High Fashion” after the “Lost & Found” interlude fuses alternative R&B, alt-pop, post-dubstep, chillstep, future bass & wonky preferring the luxurious lifestyle over drugs leading into the breezy “Summer Forever” singing about loving Omer Fedi so much that she forgets what’s going on. “In the Rain” kicks the synthesizers into full gear turning her tears into gold until the dance-pop, electropop, synthpop & electro house track “Fame’s a Gun” recaptures the ethos of Sheila E.’s biggest hit “The Glamorous Life”.

The song “Times Like These” uses the sounds of contemporary R&B, downtempo, trip hop, alt-pop, UK street soul & alternative R&B to sing about her life moving faster than herself while “Headphones On” after the “Life’s No Fun Through Clear Waters” interlude finishes off with a trip hop, contemporary R&B, pop, UK street soul, alternative R&B & hip hop soul single sampling “What I Am” by Edie Brickell to touch base regarding situations that cannot be resolved.

Of the 2 full-length albums we have from the Hype House so far, Addison puts Huddy’s debut Teenage Heartbreak to shame by revealing Addison Rae as the most musically talented of the bunch by cooking up a more passionately conceived LP than Alex Warren’s recent singles ahead of his own debut You’ll Be Alright, Kid next month. We get a better understanding of herself with her background as a competitive dancer bleeds all over the production pulling from alt-pop, contemporary R&B, downtempo, dance-pop, alternative R&B, electropop, pop, trip hop, UK street soul, hip hop soul, electro house, synthpop, post-dubstep, chillstep, future bass, wonky, deep house, garage house & melodic house.

Score: 4/5

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9 Vicious – “B4FN” review

The newest YSL Records signee 9 Vicious coming straight outta Atlanta, Georgia preluding his upcoming 3rd album For Nothing with a new EP. 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 after B4TM dropped & Tumblr Music wasn’t that bad of a debut for the label other than “Clout Demons”. Over a couple months later, B4FN gives a taste of what the LP’s gonna be.

“So For Nothing” was a delicate trap intro produced by 406ahmad looking back on when he was suicidal during his college days & having to read the Bible after putting his trust in God whereas “I Miss You” cloudily talks about missing his ex. “Movin’ On” works in a plugg instrumental finding himself not looking back on his previous flings while “Fuck Yo Gang” with Patrick Garza talks about these opposing “gangs” ain’t being shit. “Me N Slime” flexes that he & the whole squad stay stealing hoes until “A Song” finishes with a 2-parter asking why his partner’s love is this crazy.

Putting the “Clout Demons” controversy aside, 9 Vicious’ popularity in the trap underground has grown enough to the point where he & Opium’s newest signing ApolloRed1 are putting out a collab tape soon called YVLFN. But if For Nothing is gonna sound anything remotely like B4FN, it could really reach or surpass Studio Addict in his discography. What he delivers here is a mix of that debut & The Life of Pablo.

Score: 4/5

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WTM Solid – “Killa $eason” review

This is the surprise 5th EP from Detroit rapper WTM Solid. A member of the WRLD Tour Mafia. he also embarked on a solo career of his own beginning a few years back with the debut EP Originatour followed by both Matter of Time & What’s the Difference?. His previous EP Bigg a little over 13 months ago as well as the subsequent full-length studio debut album Imagine That at the start of this year elevated himself as an individual amongst the rest of WRLD Tour, making a return 4 months later in time for Killa $eason.

“Honda or Ferrari?” gets the ball rollin’ with a Detroit trap intro produced by Carlo Anthony unnaturally talking about seeing goats whenever he looks at himself in the mirror & after the title track homages the former Dipset leader & current It Is What It Is co-host Cam’ron, the song “Different Town” humorously asks for the pronouns of these bitch ass dudes hating.

Starting the 2nd half, “Hate When Girls Die” dabbles with plugg a little interestingly promising you want see any snakes around him since he cut the grass with a chopped & screwed effect on his vocals until “$.A.$.R. ($uper Awesome $uper Rich)” creates a new acronym using the Slam A Slut Records initials. Finally, the close “Ws in the Chat” finishes the EP comparing bystanders to cops due to the way they be on his dick.

In an effort to make a point that he can make a whole 6 track EP better than most Detroit trap rappers’ whole entire careers, Killa $eason takes Solid’s penmanship even farther than he did on Imagine This when that initially dropped 4 months ago. I didn’t really expect a whole lot in terms of production since he & the rest of Slam A Slut are pretty well known in Detroit trap, but he really sharpens himself lyrically & keeps making his case of what makes him stand out out individually compared to the rest of the group.

Score: 3.5/5

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Hexxx – “Suerte” review

Los Angeles, California emcee Hexxx making a comeback after 2 years with his 3rd EP. First emerging in the underground back in the fall of 2016 off his debut EP Samhain, he would go on to follow it up 3 years later with his 2nd EP West Coast Wicked Shit prior to his full-length debut studio album Demon Season & the sophomore effort Tales of a Cursed G becoming west coast wicked shit classics in their own rights. 22 months have passed & he’s putting out Suerte without any warning preluding his upcoming 3rd LP. Also in time for the WME Group-owned TKO Group Holdings division WWE’s upcoming Worlds Collide V event with their new subsidiary Lucha Libre AAA Worldwide (AAA) purchased from the Peña–Roldán family last month featuring performers from their Anthem Sports & Entertainment-owned partner promotion Total Nonstop Action (TNA) Wrestling. Hoping that the 2nd reign of the longest reigning AAA Mega Campeon El Hijo del Vikingo doesn’t get ended so quickly by the current WWE Speed Champion Chad Gable over a week after former 2-time NXT Champion & NXT North American Champion Trick Williams became the new TNA World Champion shockingly ending Joe Hendry’s reign.

“High Noon” was a Memphis/trap intro with some lyrical content built upon the gangsta lifestyle Hexxx has made a name of himself off of whereas “Payback” works in a trap instrumental with a vocal sample to talk about the concept of revenge. “Drama Under Palm Trees” eerily keeps the trap vibes going always keeping a hammer by his side while “Street Lights” talks about what it was like for him growing up in the dark.

After an interlude from Zach Holmes of the Paramount Skydance Corporation subsidiary MTV-owned Jackass franchise, “Switchblade” pulls from the early 90s g-funk scene tryna get high & paid simultaneously while “Shoot2kill” talks about his state of mind being to hustle forever leavin’ opps flatlined. “Jin” officially concludes Suerte with 1 more trap joint assuring that he’ll crush your skull.

It’s been so long since Tales of a Cursed G came out & whatever the west coast wicked shit trailblazer has in store on his next full-length body of work, Suerte reaffirms he hasn’t lost a step after taking a year off to tour. It’s more trap-based in terms of production other than minor influences of g-funk & Memphis rap, but Hexxx is still very much embracing the gangsta rap themes only a tad bit heavier than he did on the last couple albums he put out in the earlier parts of the current decade.

Score: 4/5

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T.F. – “The Green Bottle” review

Los Angeles, California emcee T.F. enlisting Khrysis to produce his 6th LP. Initially hearing him on “Tookie Knows, Pt. II” off ScHoolboy Q’s magnum opus Blank Face LP, he subsequently dropped his debut EP No Hooks only 7 months later, which was followed up by his full-length album ErThangSkanless & then a 2nd EP called OktoberFest. After appearing on Flee Lord’s 8th EP Hand Me My Flowers produced entirely by Buckwild & put out 2 more EPs on his own, T.F. eventually signed to Lord Mobb Music & put out Blame Kansas produced by both Mephux & Roc Marciano. Over 3 years since the latter, The Green Bottle had already built up more than enough excitement from my perspective due to the singles.

Following the intro, the first song “Ordells Kangol” was a funky soul hybrid to officially start us off talking about taking the whole entire world down not too long after giving it to him whereas “Handle Bars” featuring Flee Lord & Smoke DZAfinds the trio bringing it hardcore over a dusty woodwind instrumental. “Get the Money” works in some pianos finding himself trying to do whatever it takes to make some bread while “Lawry’s” soulfully thanks everyone for fuckin’ with him.

Bun B joins T.F. for a homage to former No Limit Records signee “Mr. Serv-On” talking about what it was like for him growing up listening to Da Life Insurance instead of Lil Uzi Vert prior Baccarat Tumblers” featuring Westside Webb very well possibly being the only track during The Green Bottle that I could care less for. “Air Heads” hooks up a chipmunk soul sample explaining that he got the best of both worlds until “What It Is (TGB)” talks about the best kind of love to him.

“Nostalgia” featuring Curren$y sees the pair linking up over a soulfully drumless beat so they can discuss needing a stylist & wistfulness at the exact same time while “Street Lights” heads for a smoother direction to the beat talking about where the street dudes be hangin’ at even in broad daylight. “Line It Up” chops up more soul samples boasts that there ain’t no blemishes on his name how he came up in hip hop while “Runnin’ in Place” returns to the boom bap talking about the machine being in motion. The final song “God Speed” prior to the outro finds himself feelin’ like his success happened overnight.

Bonding over their love of chess helping each other with sobriety, The Green Bottle overcomes the moderate reception 80z Babies & Feelin’ the Power both went on to receive with an album I can say with the utmost confidence is the most consistent I’ve heard T.F. since Blame Kansas. Khrysis’ production on this one makes a variation of his soulful funk sound tailored for the west coast lyricist to musically back the stories he has to tell.

Score: 4.5/5

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Eto & Flee Lord – “RocAmeriKKKa III” review

Rochester, New York emcee/producer Eto teaming with Queens emcee Flee Lord for their 3rd collaborative studio LP. Both of whom have become prolific in the modern day east coast underground hip hop scene & crossed paths with each other on several occasions over the course of time, most notably on RocAmeriKKKa in the fall of 2019 & RocAmeriKKKa II on Devil’s Night the following year. They’ve both spent the next 3 & half years continuing to carve their own paths with their solo careers, finally linking back up to finish the RocAmeriKKKa trilogy.

The intro is mostly Flee Lord hopping over a slowed down instrumental with a hint of psychedelia sprinkled in talking about coming from the state where you’re either wearing it or you’re buying it whereas “Cash Conversion” bring the pair together over a mellow yet dusty beat that Eto cooked up himself blasting anyone with no questions asked. “Digi Scales” featuring Conway the Machine works in some pianos to talk about their days moving weight while “Broken Phone Deals” hooks up a funky organ flip admitting the fast life didn’t change them.

“Kitchen” featuring NEMS maintains a boom bap vibe continuing to talk that Pyrex shit just before “Power” ominously boasting that they stay gettin’ litty without a chaperone. “Zip of Badu” featuring Vel 9 unites the trio so they can dustily talk about keeping the lips sealed during convos regarding money while “Moral of Struggle” featuring Starz Coleman takes on the message of hardships. “Self Crowned” featuring Mummz has one of my favorite instrumentals from godBLESSbeatz making the backdoor the entrance & “The Ones That Stayed” produced by DJ Green Lantern shouts out the people who never switched up.

Rather than having Eto fully handle the production by himself like he did on RocAmeriKKKa II over 4 & a half years ago, RocAmeriKKKa III takes it back the essence of the original RocAmeriKKKa by enlisting other producers to handle the musical soundscapes for a vast majority of it setting the bar of their chemistry as high as they’ve set it for their own solo careers presently when you think of them individually leveling up their craft since turning heads in the late 2010s. Be sure to catch them live at The Paramount in Los Angeles on July 18 for an exciting night for RocAmeriKKKa fans.

Score: 4/5

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Sada Baby – “The Black Tape: nWo” review

Sada Baby is a 32 year old rapper & singer from Detroit, Michigan becoming amongst Detroit trap’s biggest names in 2017 off his first couple mixtapes Skuba Sada & D.O.N. (Day One N***a). Fast forward to the beginning of 2019, he signs to Asylum Records for his 4th tape & major label debut Bartier Bounty to widespread praise. He has since put out 11 more mixtapes, with my favorites of the being being Skuba Sada 2 along with his final Asylum offering Bartier Bounty 2 & Bartier Bounty 3. A good potion of Sada’s output in recent memory since the evolution of the subgenre he helped popularize has left most divided & his 16th tape albeit Hitmaker Music Group debut had me hopeful that it would make up for some of the lackluster additions to his discography.

“nWo” named after the WWE Hall of Famers hops over a Detroit trap instrumental to talk about not having the opps in mind because he doesn’t have any whereas “Bloxkside” turns up the bass a bit flexing that he’s too real in the field to be faking shit. “Klip Hamilton” works in some bells so he can compare himself to Rip Hamilton with the stick until “Chuck Money” featuring Kamaiyah talks about knowing those who’ll die by the bankroll.

As for Konjunction Junction”, we have Sada over some pianos & hi-hats suggesting you better hit the road if you don’t pull up the show or studio if he invites you just before “Blood Kristie” refuses to fuck with the lame shit everyone else around him be celebrating. “Bitch” might have to be my least favorite track on the tape with the way he continuously repeats the word throughout leading into “Bloodmerikan Idol” keeping a gun on him since he won’t even budge to do shit the same way he did it.

“Kevin Nash” gives his flowers to the 2-time WWE Hall of Famer, former 5-time WWE world champion, 11-time WWE tag team champion, WWE Intercontinental Champion & TNA World Tag Team Champion bringing a funereal Detroit trap vibe to the table instrumentally while “Speed Run” talks about your death winding up on Google. “Spint” produced by Helluva sticks out as a highlight heavily basing itself around the concept of “slimes” being fake pieces of shit while “Eastside Orkhestra” talks about smoking a pussy with his dog.

The song “Tokyo Drift” sets of the encore of Black Tape nWo showing some Mobb undertones meshing that with the Detroit trap style he’s become widely known for bucking anyone around him who be tryna act tough when they really ain’t & after “No Lies Told” swaps out the secondary Mobb influences in favor of cloud rap counting up $150k until his phone blows up, “Malcolm Mays” atmospherically finishes with a comparison to Lou-Lou from Power Book III: Raising Kanan.

Couldn’t tell you when or if Sada plans to make a full-length debut studio album when you look at his mixtape catalog extending with the course of time, but Black Tape nWo improves on the average feedback Bridge Kard Blessings got over 2 months ago & contains some of the better material I’ve heard from the Detroit trap sensation in quite a while. The 1 guest he got compared to the 3 on the predecessor was all he really needed & he sounds the hungriest he’s been since leaving Asylum.

Score: 3.5/5

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The High & Mighty – “Sound of Market” review

The High & Mighty is a duo from Philadelphia, Pennsylvania consisting of emcee Mr. Eon & deejay/producer DJ Mighty Mi. Signing to Rawkus Records, the Eastern Conference Records founders’ 1999 debut Home Field Advantage would become an underground classic & notably had an Eminem verse on it right when he started to become an international superstar. The Highlite Zone & The 12th Man were also well received when they came out during the first half of the 2000s, reuniting after 2 decades for their 4th album & signing a new distribution deal with Soulspazm Records in the process.

“2 Man Crew” was a gritty choice of an intro mixing hardcore hip hop & turntablism ripping it up as if the world renowned never took 20 years off whereas “Zounds” talks about his mental being unable to be fucked with as long as they’re back. “Pinky Tuskadero” featuring Kool Keith soulfully sends a message to the people all over the world just before “6ers & Squires” featuring Skillz aggressively talks about how they can’t be stopped.

Breeze Brewin’ teams with The High & Mighty on “Super Sound” heads for a boom bap direction so both parties can paint lyrical visuals together leading into “The Rose Bowl” featuring Your Old Droog hopping over a soul sample from The Alchemist talking about being pimps on a hoe stroll decked in polo. “Dubbs Up” featuring King T works in some g-funk undertones showing a boastful side to them while “Prism” featuring Large Professor & Tash cultivates from the rooftops over a cavernous boom bap beat.

After the “Mighty’s Big 5 (Live from the Palestra)” turntablism interlude, the Smut Peddlers reunite on a piano-driven instrumental during “Most In Outs” talking about never being cancelled while “I. Goldberg” featuring MC Serch & Sadat X continues to bring it hardcore over more boom bap production. “Funk ‘O’ Mart” featuring Chubb Rock dedicates itself to a record shop where DJ Tat Money once worked while “Spaceport” featuring Chill Rob G & Copywrite suggests to hide your kids when they ride the rhythm.

“Highest Degree” featuring O.C. kicks off Sound of Market’s final moments referencing former NWA World Tag Team Champions, 2-time IWGPタッグチャンピオン, the inaugural 2-time TNA World Tag Team Champions, WWE Hall of Famers & former 18-time WWE tag team champions The Dudley Boyz while “2 High Whiteys” caps off the comeback with a blues flip heavily revolving around a line in “Acknowledge” by Masta Ace stemming from a misunderstanding that Eon & Mighty Mi had dissed Ace at one of their shows a quarter of a century ago when that wasn’t even the case. Can’t exclude the Stu Bangas joint “Be Excited” featuring Esoteric either since 7L & Esoteric have been compared to these guys.

Discovering these guys after hearing the Eminem verse on their debut as a kid, it’s so awesome to see The High & Mighty joining the likes of LL Cool J or MC Lyte to name a couple releasing some of the best music in their whole careers in the mid 2020s adds to their longevities & the Eastern Conference fans can rejoice. DJ Mighty Mi’s boom bap production still sounds great today as does Mr. Eon’s passionate hardcore performances & the guests range from O.G.s to newer underground artists.

Score: 4.5/5

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