Navy Blue – “The Sword & The Soaring” review

Brooklyn, New York skateboarder, MC, producer, songwriter, visual artist & model Navy Blue starting the week off with his 8th studio LP. Breaking out a decade ago off his debut EP According to the Waterbearer, he would go on to drop 9 more EPs & 6 full-lengths before signing to Def Jam Recordings for his previous album Ways of Knowing produced by Budgie to critical acclaim. Coming off last summer’s Memoirs in Armour EP however, The Sword & The Sword has arrived as we reach the halfway point of the month.

“The Bloodletter” begins by hooking up a drumless piano from Chris Keys advising that you don’t have to die in order to live again whereas the only single “Orchards” takes the boom bap route instrumentally with some strings to talk about being on an other journey of self-discovery. “God’s Kingdom” produced by Graymatter gets back on the drumless vibes finding himself unable to cry lately since his uncle Carl passed while “Sunlight of the Spirit” soulfully talks about life being to beautiful to hide the way he’s living.

Moving on from there, “Guardadas” keeps it drumless calmly desiring for peace & recognition just before “My Heartbeat” heads for a jazzier boom bap direction talking about not being defined by who he’s living for soaring through an existential war. “Tale of the Truth” strips the drums once again trying to tone down the voices depriving him of his patience leading into the self-produced “Fight On” talking about love being the very thing he’s fighting for.

“Kindred Spirit” starts the 2nd half remembering the late Ka in light of his tragic passing 13 months earlier over a saxophone while “If Only…” brings a bluesy guitar in the fold apologizing for not returning calls due to falling back. “Illusions” maintains a drumless sound talking about looking high & low when he was high & low while “24 Gospel” featuring Earl Sweatshirt finds the 2 abstractly bodying a gospel sample that Animoss flipped.

To kick off The Sword & The Soaring’s final quarter, “Here & Now” jumps over a sampled piano for a couple minutes explaining his pain is where his day resides while Sebb Bash gives “Soul Investments” an appropriately soulful edge to it asks why he’s on with keeping lesser if he has more to gain. “Sharing Life blends these luscious keys & a flute talking about fatherhood while “The Phoenix” comes to the realization that the trials & tribulations have taught him he’s worthy of affection.

Navy Blue’s entire discography has been defined by his introspectively abstract lyricism & drumless production, but his newest album takes his use of music as a therapeutic outlet to newer territories having The Sword thematically representing an earthly tool used for the battle he’s cohesively describing or in this case grief & The Soaring symbolizing the heavenly council. The production on this one is soothingly peaceful handling only 25% of it himself & Ka would certainly be proud of the way he’s being honored if he was still here.

Score: 4.5/5

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Hatch Wiseguy – “Dirt & Diamonds” review

Hatch Wiseguy is a 37 year old MC from Detroit, Michigan making his full-length debut 2 decades ago with Wise Guy & following it up with an EP called Likewise. He would later go on to receive co-signs from local veterans like Royce da 5’9″ & Trick-Trick to established icons like The LOX & the late DMX, even forming a duo with Pony Evans called Role Idols. I also thought that he had the best performance of the 3 on the track he contributed to off Blizzard’s debut album Duel with Death, so hearing that he was returning for a sophomore effort felt long overdue in my personal opinion.

“To Whom It May Concern” produced by Foul Mouth starts off by hooking up a piano-based boom bap instrumental playing with fiery Hell like 2 magnums whereas “Pop Off” featuring Astray & Paradime finds the trio over a more jazzily soulful instrumental from Blizzard talking about needing head doctors since they’re so crazy. “Prolific” flexes his status with the pen continuing to demonstrate Foul’s ear for sampling just before “Foreigner” lavishly talks about popping overseas with his Gs.

38 Spesh joins the Wiseguy on the grimy boom bap collaboration “Yikes” giving no fucks as to what these pussies are like out here these days leading into “Snakes” featuring Astray reuniting the 2 to call out those exact kind of people scheming behind their backs over a dusty beat. “We Outside” featuring Bizarre gets together to give the audience that raw shit prior to “Leap Frog” featuring Marv Won talking about both of them hurdling over all these bitches, with Hatch referencing WWE Hall of Famer Mike Tyson alongside the greatest basketball player of all-time Michael Jordan & the late king of pop Michael Jackson.

“It’s Not Ok” featuring KXNG CROOKED begins the 2nd half with both artists looking to keep angels by their side whenever they’re out because of devils following them while the drumless “Make You Proud” talks about having to learn some lessons the hard way & seeing his father pass away in front of him. “Seeing is Believing” brings the kicks & snares back in the fold humbly living his dreams until “Chill” scoffs at these group of people acting like bitches. “Bare My Soul” featuring Astray explains that he made this album because there’s not enough love being spread these days & “Nincompoop” wraps things up with some shit-talking.

Intentionally making this a niche boom bap project for those who truly appreciate the craft & artistry of lyricism & hip hop at it’s most traditional instead of the casual rap listener or a sing-a-long crowd, Dirt & Diamonds checks all the boxes in regards of making it a triumphant comeback from very personal moments to bangers, stories, lyrical exercises & some good ol’ bops. Pulling a lot of strings to include some of the top talents in the genre from features to production & even live instrumentation, it’s like he’s catching up with all of us as to what’s been going on with him & his growth since the last time he dropped forever ago.

Score: 4/5

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Tayo – “Goodbye” review

This is the 8th EP from Seattle, Washington up-&-coming rapper & producer Tayo. Originally starting under the moniker ByeTayo, he started on SoundCloud close around Halloween 2021 off his first few EPs Crash on Purpose as well as Inside Voices & PM the following year. He would later go on applying pressure with couple more EPs in wintr & a sequel to PM, coming off Thank You Tayo taking himself to newer levels both artistically & personally on Bye this past spring. Merely 6 months later, he’s setting out to do it again with Goodbye.

lade takes up a bulk of the intro “strawberry” aside from the hook melodically talking about getting fly & wanting to know who has a better closet just before the 70 second “wells fargo” produced by Pi’erre Bourne asks his this woman trusts him or not. “fitch” brings a pluggnb vibe to the table courtesy of Goyxrd for a woman to continuously question his feelings towards her while “Pull Out More” featuring Ppgcasper talks about oxycontin taking over

“icarly” references the Paramount Skydance Corporation owned Nickelodeon franchise of the same name & after a 90 second Tooly? solo joint disguised as an interlude, “fake bby” locks back in with Goyxrd for another foray into pluggnb talking about relationships. The self-produced “that part” brings a standard plugg flare to the table while “lil peep” featuring Tooly? finishes Goodbye on more of a rage-inducing note remember the emo rap pioneer.

Looking to take the evolution Bye began embracing to the next level, Tayo’s 2nd extended play of 2025 improves from the previous one we got in May & could easily become the greatest body of work in the 4 years he’s been making music. Goodbye’s plugg & pluggnb production feels stronger than its predecessors obviously since he’s generated enough buzz to lock in with some of the greatest trap producers & the Seattle artist’s hunger hasn’t waned.

Score: 4/5

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Bun B – “Way Mo Trill” review

Port Arthur, Texas emcee & entrepreneur Bun B returning for his 7th studio LP. Coming up as 1/2 of the iconic duo UGK over 3 decade ago, he eventually released his solo debut Trill in the fall of 2005 & & began focusing towards his solo career a few months after UGK’s self-titled double album when his cohort Pimp C passed away. Bun went on to release 5 more albums, with the last one being the Cory Mo-produced Mo Trill & to which Way Mo Trill serves as an official sequel to ahead of it’s predecessor turning 4 in a few months.

“There He Go” featuring 8Ball & MJG starts with them forever staying on the grind every minute & every hour whereas the final single “Everywhere We Go” by UGK featuring Juicy J & Project Pat talks about representing the south regardless of where they’re at. “Better Believe It” featuring LaRussell co-produced by DJ Toomp pulls from gospel a bit flexing that they’re back bigger & better while “I Can’t Lie” featuring Monaleo & Scotty ATL after the “Queenie Keeping It Trill 2” skit finds the trio talking about not letting hoes ride with Ray Murray of Organized Noize handling co-production.

Killa Kyleon & Young Dro appear for the soulful lead single “Can’t Stop My Hustle” refusing to pump the brakes in terms of hustling while “Down in the South” featuring Akeem Ali & 24hrs talks about bumping country rap tunes in the ride driving around the city. Woodie Woo joins Bun in clarifying that they’re “Still Outside” & after “N****s Ain’t Right” featuring Z-Ro calls out the frauds, Jay Worthy alongside Legendary Baller & Scar get together with Bun to “Put You on Game”.

Starting the deluxe run, “Be About Some Bread” featuring Talib Kweli joins forces over sample-based trap instrumental advising to get the fuck out the game if you don’t even know how to play it when they’re absolutely correct about it while the final bonus track “Fight Music” featuring Grafh & Termanology finishes up with all 3 of them over some horns & hi-hats for a song either the WWE or the UFC divisions of the Endeavor-owned TKO Group Holdings would include in a future video game soundtrack.

Unfortunately as much as I enjoyed Mo Trill for it’s demonstration of Bun B & Cory Mo’s artistic chemistry approximately 3 & a half years earlier, I wouldn’t consider the sequel to be on par with the predecessor even though I’m very much torn coming away from it. Not because of Cory’s dirty south/trap production or the killer lyricism from the founder of II Trill Enterprises & Trill Burgers, but mainly due to the opinion that the list of guests subtly tones down in consistency.

Score: 3/5

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Lefty Gunplay – “I Told You So” review

Lefty Gunplay is a 29 year old rapper from Baldwin Park, California who began his music career in 2023 after a prison stint. He has since dropped 6 full-lengths & an EP, including an outro on “tv off” from Kendrick Lamar’s 6th album GNX around this time 12 months ago. Can’t Get Right produced by Jason Martin formerly known as Problem would become his most celebrated work this spring, coming off Ghetto Heisman‘s mixed reception to have Jason produce his 2nd EP alongside Mike & Keys.

“C-Murder Flow” opens with a homage to the wrongfully incarcerated member of TRU himself almost 2 weeks after No Limit Records smoked Cash Money Records at the Verzuz occurring at ComplexCon whereas Jiggy works in a vocal sample so he can talk about nobody being in his division. “Califa” featuring MC Davo & pfacebabyy finds the trio decently flexing that they’re catching fades throughout the city leading into “M.W.A. (Mexican With an Attitude)” eerily talking about being Hispanic & having an N.W.A mindset.

The song “She Fell in Love with an Ese” beginning the final leg of I Told You So asking if there’s a single person out in the streets who can outrun his gun while “Story of My Life” featuring Coyote, Cricket, Jason Martin & pfacebabyyy gets together over some horns so they can talk about being in the position of making their own rules. The title track ends the EP in the most appropriate way imaginable from the summery guitar instrumental to the lyrics promising that he wouldn’t break his lovers’ heart.

Ghetto Heisman earlier this fall was a little disappointing compared to Can’t Get Right mainly because the production & guests simultaneously felt all over the place in terms of consistency, not quite reaching the bar of WC’s sophomore effort of the same name under Def Jam Recordings over 2 decades earlier. Now regarding I Told You So, it comes off to me as an amalgamation of Ghetto Heisman‘s inconsistencies & Can’t Get Right‘s refinement of Lefty Gunplay’s whole entire Chicano/west coast style.

Score: 3/5

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Domo Genesis – “Scram!” review

This is the 4th studio LP from Inglewood, California emcee & songwriter Domo Genesis. Starting in mid-2009 as a member of the now defunct Odd Future collective, he’s gone on to give us 3 full-lengths accompanied by 4 mixtapes & an EP excluding the Facade Records trilogy within the last dozen years, my personal favorites of which being his debut mixtape Rolling Papers, The Alchemist-produced 3rd mixtape No Idols, the Evidence-produced debut EP Aren’t U Glad You’re U? and sophomore effort Intros, Outros & Interludes. Doms’ last album What You Don’t Get!? produced by Graymatter had a more drumless sound & coming off World Gone Mad this summer, they’re advising any & all competition to Scram!.

“Sheddingweight” begins with a delicately drumless beat talking about being paid in pounds & not needing any extra baggage whereas “Makemealilmoney” takes an orchestral route instrumentally looking to get paid. “Goodgracious” talks about time waving the long hand wondering how fast it’ll prior to “Clocking2u” featuring Evidence bodying a bare sample together.

Moving on from there, “Money” discusses the most important thing that builds his ego with a more suspenseful sound just before the calming “Dedication” talks about always staying on his feet even when he’s sleeping. “Kurtrambis” kicks off the 2nd half reminding that he’s been running up numbers & others being too afraid to call it the way it is while “Deyknow” talks about the pedigree being stronger than the complication.

“Plainface” brings some synths into the fold speaking of those trying to use his likeness while the heavenly “Tiresmoke” talks about letting bullshit breathe instead of drawing guns. “Buenosnachos” chops up a soul sample to advise that his latest efforts aren’t a tone else’s honors while “Everythingimnot” featuring 3wayslim talks about changing in many ways. “Pray4u” wraps things up with a message to a person he loves more than himself.

Finally accepting himself at face value, Scram! sorta feels like everything that makes Domo Genesis who he is combined into 1. Graymatter’s production more soulful than What You Don’t Get?! & World Gone Mad were, both guests were refreshing to hear as much as I enjoyed both predecessors for holding the fort individually & Doms pens what could very likely be the most abstract lyrics of his entire career accepting himself at face value.

Score: 4/5

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Jason Martin – “Mafia Cafe” review

Here is the 5th EP from Compton, California emcee, songwriter & producer Jason Martin. Originally known as Problem, he would go on to release over a dozen mixtapes as well as 4 full-length studio albums & 4 EPs. Can’t forget to mention both collaborative efforts DJ Quik, the first being Rosecrans back in 2017 & the follow-up Chupacabra days before Kendrick Lamar’s now historic 1-off Pop Out concert at the Kia Forum. 52 weeks since Repack produced by Mike & Keys, they’re heading to the Mafia Cafe merely 6 weeks following A Hit Dog Gon Holla.

“I Can’t Tell” sets the tone with a drumlessly jazzy instrumental reversing his opposition’s plays whereas “When Will They Learn?” & after “Check It Out” skit embraces a chipmunk soul vibe talking about being in Jamaica backflipping off yachts. “Expensive Rentals” brings back the jazz reminding that Coffee & Kush are great for the mental just before the soulful “Choices” hones in on Jason’s storytelling abilities, portraying a conversation taking place over the phone.

We get some jazzy horns during “Black Entertainment” breaking down the industry as a whole leading into “Cafalonia” drumlessly wittily talks about sipping a latte smoother than Sade’s music. “Pity the Fools” soulfully references WWE Hall of Famer Mr. T & after the hilarious “Akademiks Finally Says Something Worth Listening To” skit, “Tricky Times” jazzily speaks of some harsh realities despite the fact that he got to “Stay Fresh Through It All”.

Not even a couple months since A Hit Dog Gonna Holla & the 3rd extended play from Jason Martin within an entire year quickly surpasses the one that recently came out earlier this fall. Mike & Keys’ production on this one is more sample heavy than it was last time, chopping up records from the jazz & soul genres to provide Jason more than enough space for him to step up his pen-game.

Score: 4.5/5

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G Herbo – “Lil Herb” review

Chicago, Illinois rapper & songwriter G Herbo making his Uptown Records debut with his 9th LP. Breaking out over a decade ago off his debut mixtape Welcome to Fazoland, the resulted in him earning a spot in the legendary 2016 XXL Freshman Class along with 8 full-length albums, the previous ones being the 2-disc Survivor’s Remorse & more recently Big Swerv. Almost 4 & a half years since making his Republic Records debut 25, the artist formerly known as Lil Herb had been moved over to the relaunched Uptown subsidiary so he can take it back to his origins.

“Every Night” begins with a soulful drill instrumental talking about reasonably crying nonstop when his brother passed away whereas “Reason” produced by Don Cannon made for a promising lead single flexing that he’s why people have left the block to become rich, only to return. “Longevity” finds himself feeling like no one can fuck with him although the beat doesn’t move me the same way Southside & Smatt Sertified’s on “Blitz” does, using it to show off his champion status.

We get some strings & 808s meshing with one another during “Radar” asking if anybody listening has ever lived through a nightmare leading into “Where Would I Be?” referencing No Limit Records, who whooped Cash Money Records’ asses at the Verzuz occurring at ComplexCon a couple weeks ago. “Win Again” talks about forever stickin’ to the code for a W just before “1 Chance” reaches the halfway point encouraging the world to not blow their shot.

“Emergency” featuring Wyclef Jean finds the unlikely pairing joining forces over a Turbo instrumental to talk about having bullets piercing through their hearts while “Fallen Soldiers” remembers Juice WRLD, King Von & Pop Smoke respectively. “Give It All” talks about trading the money & fame for a chance to see his brother again while “Whatever U Want” has to be one of the weaker moments of Lil Herb moderately dabbling with pop rap.

The song “Thank Me” featuring Anderson .Paak gets together over some horns sampling WWE Hall of Famer Snoop Dogg’s historic Hollywood Walk of Fame speech right when you press play feeling grateful that neither of them went broke while “Colossal” credits staying on top of business & logistics to him going hard. “Went Legit” concludes the album telling his rags-to-riches story looking back at the days when he had nothing to his successes, but the “Lil Herb Freestyle” starts the deluxe run with that “Ether” flow.

“Ran Thru” talks about making a career out of his pain while “This n That 2” boasts that he was riding around in phantoms before he even got his driver’s license & proving the world isn’t bigger than him for the last 15 years. “Hold My Hand” makes classy usage of sampling to prefer being honest of having no love towards fake shit instead of keeping it to himself & the final bonus track “No Bap” talking about being the only one paying out the bill whenever it’s due.

Needless to say: G Herbo’s last couple of projects have ranged from being average at best to uninspired at worst, so his Uptown Records debut here seemed like he would go back to what made him so popular over a decade ago & it’s exactly what he does sure enough. The production is the most Chicago drill-oriented since possibly 25, which makes up for Survivor’s Remorse & Big Swervo’s mixed-to-negative reception due to the way they both distance from that very sound & the passion of Welcome to Fazoland has been revived in a new incarnation.

Score: 3.5/5

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Reason – “Everything in My Soul_Blue” review

Carson, California rapper Reason finishing his 2025 with his 2nd EP. After releasing his first 4 tapes, Top Dawg Entertainment signed him in the middle of 2018 by reissuing the one that landed him the contract in the first place: There You Have It. However, his official full-length debut album New Beginnings received more mixed reception when it came out the fall where COVID had the whole world shut down & Anthony “Top Dawg” Tiffith’s son Moosa subsequently got into a heated exchange of words with Reason the week Porches dropped saying former employee & pgLang co-founder Dave Free regrets even signing him in the first place. I Love You Again came out 8 months ago under his own label Do More Records, which preluded Everything in My Soul_Blue.

The soulful trap instrumental on “Pity Parties_BLUE” was an immediately intriguing way to start us off talking about being known for slam dunking as if he’s Vince Carter prior to “Lie to Me_BLUE” pretty much channeling the frustration of being lied to in a relationship. “Paralyzed_BLUE” featuring Westside Boogie finds the 2 talking about love being stiff while “Idols & Rivals_BLUE” featuring Kai Ca$h continues with them feeling like they’re spiraling.

“Liu Kang_BLUE” begins the 2nd half of Everything in My Soul_BLUE bringing a summery vibe instrumentally referencing the Warner Bros.-owned Mortal Kombat character of the same name & once “There’s Pain in Photos_BLUE” takes the pop rap route stylistically talking about pushing through his lowest points & praying to stay focused, “Thass My Word_BLUE” concludes the EP with a cloudy trap beat trying to see who’s really all in for action like they claim

Starting the deluxe run, “GodLines_BLUE” drumlessly feeling as if people take time with his demons rather than taking time to get to know him personally while “Red Rose White Ceiling_BLUE” featuring Jayson Cash talks about nobody being able to walk their shoes. “Crab Cakes at Joeys_BLUE” tells the story of a woman sleeping with an A&R in hopes of launching her career & the final bonus track “Brittany Renner_BLUE” finishes on some boom bap shit sending prayers to the popular social media model.

Apparently said to be the inaugural entry in a new ongoing series of extended plays & despite remaining optimistic regarding however many installments are being planned, Reason begins this new era of his career moderately. I can admire the personal topics he addresses coming off I Love You Again renewed passion for songwriting & recording, but the moodier direction in sound can be hit or miss.

Score: 3/5

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Danny Brown – “Stardust” review

Detroit, Michigan emcee Danny Brown staying with Warp Records for his 7th LP. Emerging as a member of the Rese’vor Dogs in the mid-2000s, he would go onto form the Bruiser Brigade at the start of the previous decade & put out his debut album The Hybrid shortly after. This resulted in him signing with Fool’s Gold Records & delivering a near perfect sophomore effort XXX the next year, which was followed up with Old in 2013 as well as his 2016 magnum opus & Warp debut Atrocity Exhibition. Coming off uknowhatimsayin¿ in 2019 & what was originally supposed to be his final Warp Records album Quaranta, the Motor City’s finest has decided to stick around & have them drop Stardust.

Quadeca’s ethereal instrumental on “Book of Daniel” matched with Danny’s lyrics confidently talking about making it by the end of the night couldn’t have been a perfect combination to set it all off whereas “Starburst” fuses experimental hip hop, hardcore hip hop, industrial hip hop, bubblegum bass, trap, hybrid trap, deconstructed club, poetry & wonky for a speechless 2-parter showing no pity for a clout-chasing succubi.

“Copycats” combines pop rap, electropop, electro hop, electro house, grime, hyperpop, electro hop, dance-pop & bubblegum bass into 1 thanks to underscores expressing the importance of staying authentic in a world full of imitators just before “1999” featuring JOHNNASCUS works in some skittery synthesizers from the former Spider Gang member himself to tell us that the world truly ended a quarter of a century ago referencing Y2K.

Meanwhile on “Flowers”, we have Danny over an EDM beat talking about persevering through the hardest times of his life leading into “Lift You Up” embracing a hip house vibe instrumentally suggesting to move slower as a result of things going too fast. To conclude the 1st act, “Green Light” shifts towards a bit of an industrial hip hop/pop rap direction telling the love of his live that nothing won’t stop him from giving.

“What You See” reunites with Quadeca to begin the 2nd half on a colorful note wanting to know what their lovers see in them specifically & once “Baby” featuring Rodney Chrome finds the pair coming together to talk about being the perfect type of guys, ISSBROKIE joins Danny during “Whatever the Case” so they can clarify to those in pain due to their hustle that they won’t be knocked off their axis.

Femtanyl’s drum & bass influence throughout “1L0v3myL1f3!” is pretty cool talking about enjoying how things are going in his life because he has his paper up right when some tried counting him out while “Right from Wrong” advises to continue the journey & focus more regarding what’s ahead of us. “The End” featuring Ta Ukrainka links up for a bilingual 3-parter produced by Cynthoni & Quadeca, but “All4U” featuring Jane Remover stands as the true outro doing everything for those who take the time out to listen to their music.

Not to be mistaken with the lowest point of the current 2-time WWE Champion Cody Rhodes’ entire career, Stardust isn’t necessarily superior compared to Atrocity Exhibition but what I can say that it’s an admirable foray into electronic dance music after getting sober. He’s essentially telling about his recovery from addiction & finding joy in art again through the lens of a 90s-era semi-autobiographical popstar named Dusty Star additionally exploring the styles of pop rap, hardcore hip hop, bubblegum bass, deconstructed club, hyperpop & industrial hip hop.

Score: 4.5/5

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