The Bronx, New York emcee, songwriter & actor Fat Joe back for his 12th studio LP. A member of D.I.T.C. & the Terror Squad, his first 3 albums Represent, J.O.E. (Jealous Ones Envy) & Don Cartagena are considered by many to be the best in his discography. However, much of his output since then has been either hit or miss from the underrated The Elephant in the Room to the horrendous J.O.S.E. 2 (Jealous Ones Still Envy 2). Cool & Dre produced the What Would Big Do? EP few years back & that was the most I’ve enjoyed Joey Crack’s music in a while, so them producing Organized Rhyme had me knowing I’d like it more than The World Changed on Me.
After the “Narcos” intro, “2 Plots” opens up on some soulful shit talking about never losing whereas “The Aroma” featuring Jadakiss & Stove God Cook$ finds the trio on some mobster shit having the ability to smell the product off the coast & referencing the late WWE Hall of Famer Muhammad Ali. After the “Coach Mike Brown” interlude, “Victory Lap (Him)” featuring Jadakiss & Yung Miami samples “Victory” by Puff Daddy & the late Notorious B.I.G. to get celebratory while “Back It Up” comes through with a mediocre strip club ode.
“Heavy Price to Pay (Chef’s Kiss)” co-produced by Mike Dean incorporates more sampling chops talking about the money coming with a tax while “Dead or Alive” featuring Remy Ma boasts top 5 status although the auto-tuned hook wasn’t good. “Not Goin’” produced by STREETRUNNER talks about not fallin’ for bullshit & after “Set of Keys” featuring Pusha T gets on some coke shit, “Feelin’ a Way” discusses having the world in his palms. “They Wanna Know” lastly ends Organized Rhyme answering some questions people have had.
Seems like Cool & Dre heard what many including myself had to say regarding them producing over half of The World Changed on Me because them handling Organized Rhyme’s beats gives us some of the most enjoyable music Fat Joe has made in years & that shouldn’t be a surprise considering their previous output in recent memory. The list of guests has been minimized to a respectably brief number, the production hits harder & Joey Crack takes it back to his roots for a little over a half hour.
Prince was a 57 year old singer/songwriter, musician, producer, dancer, actor & filmmaker from Minneapolis, Minnesota known for pioneering the Minneapolis sound. Dirty Mind, 1999, the soundtrack to his theatrical debut Purple Rain, Around the World in a Day & Sign “☮︎” the Times under Warner Records would all become some of the 80’s most celebrated material although The Gold Experience through his own label NPG Records can certainly hang with them. This spring marked a whole decade already since his passing & his estate has dug up his 2nd posthumous solo LP albeit the 42nd in his deeply massive discography succeeding Welcome 2 America.
“I Am You” opens up with this soulfully funky intro interestingly dating back to the For You sessions pleading for his lover to stay whereas “Heaven” comes through with an Around the World in a Day outtake singing about the pearly gates coming to Earth itself. “I Wonder” was recorded around the same time as the soundtrack to Batman & the soundtrack to Graffiti Bridge respectively pondering if this woman really knows how much he loves her while “With This Tear” covers the Céline Dion track of the same name.
Kicking off the 2nd half, “Stone” keeps it funky asking who can say why he & this woman are cold with nothing left just before “Calabama” predates the n•e•w•s sessions for a disco/pop rap crossover having all the ladies clapping their hands. “The Guilty Ones” embraces a funk rock direction singing about winning people over without having to say a single word while “Bestest Friend” sends off Timeless addressing someone he once considered an extremely close ally, proclaiming every painter needs a muse.
Timeless retains the same lasting power Welcome 2 America had showcasing the extraordinary consistency, curiosity & creative ambition that defined Prince’s work throughout his life tracing his remarkable artistic evolution across nearly 4 decades from his teenage prodigy days to one of his last recorded performances. Neither Piano & a Microphone 1983 or Originals count as posthumous albums since both of those were comprised of demos, but this 2nd rare opportunity of hearing previously unheard chapters of his creative journey makes you miss him more varying between pop rock, contemporary R&B, funk rock, synth funk, dance-pop & none other than the Minneapolis sound.
Newark, New Jersey by way of Croix-des-Bouquets, Haiti rapper, singer/songwriter & producer Wyclef Jean continuing the Quantum Leap series with his 4th extended play. Beginning his career as 1/3 of the Fugees, he has since spent the last 3 decades following their initial disbandment carving a path for himself as a solo artist dropping a couple of extended plays along with 8 full-length studio albums & 3 mixtapes. Kicking off the 7-part Quantum Leap saga with Clef Notes taking it back to Clef’s hip hop roots in addition to announcing a Fugees reunion this summer, Quantum Leap 2: Q Theory looks to tread jazzier waters instrumentally.
“Rocinha” featuring saxophonist Godwin Louis, pianist Robert Glasper & organist Patrick Pelissier opens up with a 6 minute intro that feels infectiously rhythmic whereas “Lady Havana” featuring pianist Axel Tosca, trumpeter Theo Croker, drummer Yussef Dayes & percussionist Yiyi Sanchez finds the quintet that has a more calmer vibe than the previous track. “Silk & Sand” featuring trumpeter Jean Caze & djembefola Weedie Braimah takes a more tropical approach in terms of style just before “French Quarter” featuring Niia with drums supplied Harvey Mason comes through with a passable vocal duet.
Bradford Hayes plays the saxophone during “Pegasus” once again shifting focus towards the compositional side of things for a laidback tune while “Farafina” featuring pianist Arden Altino & flautist Elena Pinderhughes brings Robert Glasper back on the keys for a more tender jam. “Sugarcane & Watermelon” might be my least favorite track here since the percussion takes up a bulk of the spotlight but after “Harlem Nights” turns up the grooviness with some melodic background vocals, “Touissant Louverture” finishes Quantum Leap 2: Q Theory with a 4 minute outro inspired by the most prominent leader of the Haitian Revolution.
This whole saga was said to explore a different genre with each installment & I completely understand why Wyclef Jean took it back to the first language he knew before anyone knew who he was for the Clef Notes sequel since the inaugural entry was hip hop-oriented: Jazz music. Introducing the world to his jazz fusion band Rara Jazz comprised of veterans & newer voices, Quantum Leap 2: Q Theory versatilely continues to slowly but surely remind everyone of his artistic range setting up for wherever the next chapter goes.
Abi & Alan are a superduo consisting of Dallas, Texas singer/songwriter, producer, DJ & actress Erykah Badualongside Beverly Hills, California producer, DJ & emcee The Alchemist. One of whom because the Queen of Neo-Soul off Baduizm & Mama’s Gun while the other is one of my top 10 producers of all-time. They haven’t worked directly with one another until now, but Badu’s independent debut following Control Freaq Records’ new distribution deal with Young Recordings coming in the form of their full-length studio debut was a more than welcoming celebration of her freedom from Motown Records.
“Echos” begins with a powerful ode to black resilience over this hypnotic instrumental backing her whereas “I Just Play a Part” featuring Creole Princess continues the atmospheric soundscapes so both of them can discuss being who others wish they were. “Crossfade” gives off a smoky neo-soul vibe singing for this guy to no longer seek love from her just before the 2nd single “Witch Doctor” blends neo-soul with psychedelic soul, progressive soul, tribal ambient & bend-skin to portray herself as a natural healer.
D.R.A.M. appears on “Valentine” describing a woman who’s attracted to a fuckboy in disguise until the lead single “Next 2 U” samples “The Realest” by Mobb Deep featuring Kool G Rap which a lot of people hated even though I didn’t seem to care because Uncle Al produced that too. “Love Me Not” lusciously comes through asking her partner if their relationship was a game to him while “Breezy” reaches the halfway point describing a lady who enjoys parting by herself.
“To the Moon / Plan C” featuring Steve Lacy after the “Abracadabra” interlude kicks off the 2nd leg with an astonishing 2-parter finding 2 lovers settling down since life will always come by quickly while “They Ain’t You” pretty much sings about sticking out amongst the other fish in the sea. “What the People Say (Apostle 1)” hops over a colorful boom bap beat dismissing whatever opinions others hold regarding her while “Hot BiBi (Apostle 2)” picks up where the previous track left off raising the pitch of her voice for a couple minutes.
Westside Gunn pops out during “No I.D.” shouting out the Chicago veteran himself, his mentee Ye formerly known as Kanye West, Pharrell, the late J Dilla, DJ Premier & Dr. Dre in case neither of them can get a hold of Uncle Al while “I Know That Man” by Earl Sweatshirt talks about desiring to be seen as good in the eyes of that which created us. “Black Box” sends off up Before the World Blows with this jazzy closer taking a spoken word approach in terms of delivery.
Originally announced last summer, Abi & Alan finally make up for the delays their debut suffered because of their initial distribution deal with EMPIRE falling apart uniting 2 of the greatest in their friends for the first time ever making some of the most potent R&B music of 2026. Alchemist’s production fuses neo-soul, hip hop, conscious hip hop, psychedelic soul, progressive soul, tribal ambient & bend-skin contemplating which parts of ourselves & our stories are worth protecting Before the World Blows.
This is the 9th studio LP from Pleasant Hill, California singer/songwriter & actress Lex Walton. In almost a decade, she has dropped a total of 8 full-lengths & 4 extended plays including the Shame Music series as well as Girlfriends & most notably I Want You to Kill Me. I was however interested in learning that Ultimate Love Forever would reach the same pedestal the previously mentioned album did upon learning she had signed to the prominent Seattle, Washington indie label Sub Pop Records after her apartment had tragically burned down.
“For Thee I Sing” begins with this slacker rock intro interpolating “My Country, ’Tis of Thee” Samuel Francis Smith & discussing the US enacting fascist overreach whereas “Hipster Runoff” gives off a garage rock revival vibe critiquing Gavin McInnes. “Yr Op-Ed Won’t Get You Into Heaven Anymore” includes an insane guitar solo towards the end after downing some bourbon while “USA = Fag Nation” suggests the world would be a better place if different people got shot.
Continuing the 2nd half of Ultimate Love Forever, the song “I Wish I Was an M80” sings about alienation blending slacker rock with indietronica & power pop while the lo-fi singer/songwriter crossover “Adrian Borland Will Have His Revenge on London” confesses she was on the verge of death when writing this. The title track properly concludes Ultimate Love Forever singing about the only thing she wants being a kind of affection that would last eternally.
I Want You to Kill Me still remains the most groundbreaking statement in Lex Walton’s decade-long career, but her Sub Pop debut Ultimate Love Forever will certainly appeal to fans of Jonathan Richman’s early material with The Modern Lovers from the mid-70s to late 80s or either one of the 2 extended plays Dollhouse have put out this decade. The slacker rock, noise pop, power pop, garage rock revival, noise rock, singer/songwriter & dance-punk revival production basically providing commentary on society’s decay from the perspective of a transgender woman living in a transphobic America.
This is the long-delayed 12th studio LP from Brooklyn, New York emcee, songwriter, producer & actor Busta Rhymes. A member of the Leaders of the New School, he would go on to turn heads in the spring of ‘92 off the strength of his verse on “Scenario” off of A Tribe Called Quest’s flawless sophomore effort The Low End Theory. The dragon would see greater success as a solo artist with full-lengths like The Coming, When Disaster Strikes…, E.L.E. (Extinction Level Event): The Final World Front, Anarchy, Genesis & The Big Bang. However when E.L.E. 2 (Extinction Level Event 2): The Wrath of God dropped Devil’s Night 2020, it would find Busta returning to form considering the mixed to subpar reception of B.O.M.B.S. (Back On My Bullshit) & the panned Year of the Dragon backed by Cash Money Records. Blockbusta preluded by The Fuse is Lit were both treated to mixed-to-negative responses, looking to redeem himself with Dillagence II.
After the “Ma Dukes Speak Again” intro, “How the Boss Will Deliver” opens up with a ferocious 81 second freestyle preceding “Entry” featuring La Reezy joining forces over a boom bap instrumental laughing off the dummies going up against them. The lead single “Spazzz” co-produced by Black Milk & Kev Brown splits itself in 3 different sections for more hardcore penmanship while “Back Pain, Chest Pain, Head Pain” climbs another mountain in the midst of traumatizing people.
“Royalty” featuring Cie & Trillian finds the trio talking about there never being another version of either of them over a colorful boom bap beat just before the subdued “This Woman” featuring a hook from the late D’Angelo takes a more romantic approach conceptually & does it without sounding forced. “Shoo” returns to the boom bap tellin’ all these wack rappers they straight up need to get the fuck out the culture leading into the soulfully jazzy “Drugs” solely produced by Karriem Riggins likens his music to that of an addictive substance.
After the “Story of the Old Man” interlude, “Run ‘Em Down” gets the 2nd half going reminding the world who he is while “Lay Down” featuring T3 has him & Busta in their energetic hardcore bag together. “Wait 4 U” featuring Big Sean & Honey Bxby gets back on the pop rap tip although it’s one of the weaker tracks in the few exploring that style while “Kingpin (Knock Ya Head Off) featuring Anderson .Paak & Ludacris necessarily turns the aggressiveness back up.
“How You Want It” winds down the final act of Dillagence II making sure everything remains raw both lyrically & instrumentally while “Love & War” featuring Talib Kweli freestyles over “I Must Love You” by Guilty Simpson off his 2008 debut Ode to the Ghetto. The 2nd & final single “Talk Shit”featuring Lil Wayne samples “I Know You Got Soul”by Bobby Byrd featuring James Brown for a superior “Nirvana (Hello)” remix while “What We Got in Common” featuring Common preceding the “Ma Dukes & J Dilla’s Closing Word” outro wraps it all up with a 6 & a half minute closer.
Confirming the rumors of J Dilla giving Busta Rhymes over 300 beats prior to his passing, I’m happy he makes up for the excessive commercialization that made Blockbusta so disappointing & his sequel to the Dillagence mixtape would be placed above it’s predecessor for the best in the series in addition to being a step in the right direction for him like E.L.E. 2 (Extinction Level Event 2): The Wrath of God was 6 years earlier. He’s not trying too hard to appeal to a younger crowd like the previous album did, having a more consistent guest list joining him to bring their A-game over Dilla production.
Charlotte, North Carolina rapper & producer prettifun finally returning for his 5th studio LP. Known for being a member of the 4ersona collective, he would eventually go on to put out 3 full-lengths & 7 extended plays in the span of nearly 3 years prior to Victor Victor Worldwide signing him in 2024 off the positive reception of Pretti & Funhouse respectively. A sequel to the latter made for an impressive debut for the label 12 months earlier further embracing the rage sound more than it’s predecessor did, dropping Pretti Loves U 2 in preparation of both You Can Die Laughing & Hi-Fi 2.
The self-produced “Rollacoasta” turns up the bass to recall a hoe telling him she’s in love with the struggles whereas “Scene” combines rage & digicore so he can talk about feeling like his mind’s breaking. “Steps” emphasizes the digicore elements addressing Autumn, Duwap Kaine & 9 Vicious just before “Deposit” talks about spraying clips at those fucking around along with needing people to pick a side & not wanting the continuous amounts of money coming in to cease.
We have prettifun admitting to being ready for marriage at this point in his life on “Just Me” & throwing shots back at whoever sent them to begin with while “Nobody” wraps up the 1st half blending digicore, rage, pop rap, bubblegum bass, plugg & future bass so he can acknowledge his rise in popularity. The lead single “Moon & the Stars” dabbles with new jazz & kawaii future bass to kick off the 2nd leg asking if his lover would stay if he gave her those 2 specific things while “All Knowing” talks about being a top player.
“Room” kicks off the 4th quarter with some blaring 808s keeping it legitimate from the jump & doing this for his late homie Angie while “WTF Idk” confronts an individual who feels like they’re above him when he was the one who initially helped them over a digicore instrumental. “UI” talks about changing the form on all these fuckboys along with seeing if his label can pay him more while the closing track “All Love!” concludes Pretti Loves U 2shouting out his new group La Familia comprised of slayr, ezcodylee & Egobreak.
Funhouse & it’s sequel saw prettifun taking a backseat from the producing side of things so he could put some more recognition for himself as a performer, so I had higher expectations for Pretti Loves U 2 & would say it dethrones it’s predecessor last summer to become his magnum opus alongside the best thing he’s done of the 2 albums he’s made since Victor Victor signed him. His rage, pop rap, digicore, trap, bubblegum bass, plugg, future bass, new jazz & kawaii future bass production has evolved since Pretti using lesser influences of bitpop & his performances are equally catchier.
Detroit, Michigan rapper Payroll Giovanni self-producing his 15th studio LP. Notable for being a part of the Doughboyz Cashout collective, he also released over a dozen solo albums with the most notable being Big Bossin’ as well as Big Bossin’ 2 & Another Day, Another Dollar all fully produced by Cardo. Last time I covered him was when he self-produced Have Money, Have Heart a couple years ago & that was the most I’ve enjoyed his music since Giovanni’s Way, which didn’t wane any anticipation I had for M.O.B. (Mind my Own Business).
The title track opens up with some otherworldly synthesizers talking about leaving any conversation that doesn’t involve money whereas the only single “Puppies” recalls a situation occurring a long time ago where he tried to help someone only for said person to foolishly try robbing him. “No” talks about being up more these days after staying down for so long declining those who want something outta him while the west coast-tinged “Locked In” maintains his focus.
“Cash Tall” moves on from there embracing the Detroit sound to discuss keeping his circle small & his money in large amounts while the Mobb-influenced “Enough” ends the 1st leg of M.O.B. (Mind my Own Business) about having his share of days where he wasn’t making as much money as he would’ve hoped to. “Rollie wit Baguettes” gets the 2nd half going incorporating more synths talking about what happens when listening to Payroll’s music just before “On the Flo” breaks down going from the streets to riches.
The song “Point of View” talks about his perspective always being on a woman he’s romantically involved with, encouraging her to hop in his whip asking whether she wants to know anything or do something while “Bosses in the Clouds” discusses staying prayed up handling his own business. “New Levels” though spends M.O.B. (Mind my Own Business)’s final minutes talking about being in the season of his life where he can’t settle.
Getting sick of producer/artist agreements & paying lawyer fees, Payroll Giovanni had all the right reasons to solely create M.O.B. (Mind my Own Business) & I can certainly see myself coming back to it more than Hustle Muzik or If Not Me Then Who?. His production’s gotten better since 2024 & hearing it will prelude another full-length the Detroit trap veteran’s preparing within the next coming months has me hoping he’ll continue capitalizing on his artistic deftness.
New surprise LP & the 11th overall from Compton, California emcee, songwriter, actor & professional attention whore The Game. Originally taken under the wing of JT the Bigga Figga, his 2002 debut mixtape You Know What It Is would catch the attention of Dr. Dre & 50 Cent. Both of whom signed Game to a joint venture to their individually respective labels Aftermath Entertainment & G-Unit Records, distributed by Interscope Records. With their help, his debut album The Documentary the following year would go on to become a West Coast essential. However, a falling out between Game & 50 just months after the album’s release would result in Game moving over to Geffen Records to complete his 5-album contract. His next 4 albums Dr.’s Advocate, LAX, The RE.D. (RE-Dedication) Album & Je5us PiecE all showed that Game didn’t need Dre or 50 to make quality music. Once fulfilling his major label obligations, he went the independent route by founding his own label Numinati Records & showcasing the artists with a compilation entitled Blood Moon: Year of the Wolf in 2014. Game then put out an overloaded yet decent sequel to his debut with The Documentary 2+2.5 the next year as well as 1992 the year after & Born 2 Rap on his 40th birthday. Hit-Boy helped him come out of “retirement” again with the more consistent Drillmatic: Heart vs. Mind, although it was DONDA levels of bloated. Every Movie Needs a Trailer produced by Mike & Keys was honestly pretty great considering the lesser amount of filler Drillmatic had & the time for The Documentary III has arrived.
“Geezus” produced by London on da Track opens up saying “when you from the westside, you ain’t gotta pick sides” when a majority of the west coast would disagree whereas “Love It or Hate It” featuring WWE Hall of Famer Snoop Dogg comes through with a “Hate It or Love It” sequel where Cool & Dre are sampling “What You Won’t Do for Love” by Bobby Caldwell. “Steppers” featuring Lil Wayne includes the witty line “Got ice on my neck, but I’m still yellin’ out “Fuck ICE” 1 time for my vatos” over a jazzy trap beat from Bangladesh just before “The Life” warning these rats they’re all food.
Lit Papi & RJfrmLA both appear on the disappointing gangsta celebration “Scary Times” prior to Mike & Keys bouncing back with “20 Deep” from the sampling to the improved consistency regarding the performances. I can appreciate “No Brakes” instrumentally experimenting with hyphy even if he’s ass-kissing Drake looking for all the smoke with no intentions of slowing down while “Sticks” talks about the gangsta life over a drumless piano.
“Geekin’” featuring the late Drakeo the Ruler discusses both of them doing hoodrat shit with their friends leading into “40 Deep” featuring Ye formerly known as Kanye West linking up for a sequel to “Crack Music” off the latter’s sophomore effort Late Registration containing an awkward bar referring to Ye’s antisemitism controversy. “Do You Love Me?” soulfully responds to people claiming they appreciate him when he doesn’t think that’s the case while “Run It Up” featuring Leon Thomas III ends the 1st half on a decent pop rap note.
Cloud rap, trap & alternative R&B collide during “Party at Game’s” featuring PARTYNEXTDOOR not doing the romantic themes any better than the previous joint until “Baby” featuring Armonie Jay & Kalan.FrFr butchers a sample of the Ashanti single of the same name. “In the Way” featuring RJmrLA & Tyga treads the hyphy waters once again for annoyingly sexual subject matter while “The Part” featuring Lefty Gunplay & YG gets on some jazzy west coast gangsta shit.
“Hella” featuring E-40 & RJmrLA moderately talks about taking a bunch of whips & cash despite 40 going harder than RJ even if he & Game are sharing the opening verse while “Nothing 2 Hide” eerily lets the world see him for the gangsta he’s always been. “LA Monster” samples an unreleased song Ye recorded for Jesus is King with A$AP Ferg back in 2019 to take a pathetic jab at Kendrick Lamar while “Meet the Parents” manically talks about not asking for this shit over a somber Conductor Williams beat.
Statik Selektah puts a more soulful boom bap spin onto “The Pen” talking about his lyricism being unstoppable while “The Cookout” featuring Larry June provides a west coast barbecue anthem Sndtrak & Beat Butcha cooked up together. “I Won’t Be Afraid” featuring Black Thought chops up “Cherish the Day” by Sade talking about having no fear of death while “Game Recognize Game” drumlessly finishes The Documentary III calls for the attention of all saints & sinners.
Putting what criticisms I had for The Documentary 2+2.5 aside, I wouldn’t have imagined The Documentary III dethroning it to become my new least favorite chapter of the entire trilogy although I’d say I’m largely on the fence with it than I was with either Drillmatic: Heart vs. Mind or Every Movie Needs a Trailer. His skills can never be taken away from him, yet I don’t consider that an excuse for him to make it nearly an hour & a half long or overload it with an excessive amount of guest appearances who don’t always knock it out of the park.
Devil’s Trident is a supergroup consisting of Lyrikal Snuff Productionz founder Scum from Denver, Colorado as well as Los Angeles, California horrorcore pioneer Insane Poetry & Albuquerque, New Mexico recording artist Smallz 1. All 3 of whom have a history with each other from M.M.M.F.D. to S.O.S., so it was only a matter of time they made their eponymous debut to coincide with the LSP roster performing at the 26th annual Gathering of the Juggalos this weekend coinciding Juggalo Championship Wrestling (JCW)’s 19th annual Bloodymania pay-per-view event later tonight.
“Hard Check” opens up with a synth-driven boom bap beat talking about motherfuckers not knowing shit whereas “Bend the Knee” gives off a g-funk vibe instrumentally demanding the respect they deserve. “Real Nice” finds the trio bloodcurdlingly getting on their Snuff shit promising they’ll carve ya ass up just before “Buried” continues talking about not socializing unless it’s with fans after performances & representing Team Snuff.
The rap rock-tinged “We Are” continues the 2nd half of the LP having all 3 members of Devil’s Trident hellishly proclaiming themselves to be sinners prior to “Omnicide” talking about the destruction of human life as we know it over a string-woven beat. “Bad Seed” shifts towards a trap direction thanks to Gibby Stites discussing the very origin of bad fruit leading into the title track blending horrorcore lyricism with the g-funk sound once again hoping to replace the crucifix.
“Fresh Meat” winds down the last few moments of DT’s self-titled debut talking about the corpses of those who were recently murdered incorporating some distinct bongos & handclaps while “It Could Be You” impressively displays everyone speeding up their flows treading the trap waters once again including more synths. “Killing Spree 2026” appropriately concludes the album with a sequel to when all 3 of them appeared on Butcher Brothaz & one that feels like a full circle moment.
Making a proper introduction on “Devil’s Trident” off M.M.M.F.D.’s most recent album Horrorcore the previous year, it shouldn’t come as a surprise to anyone familiar with the Gore Hop imprint that this day would come & what better than the eve of The Outbreak becoming 2-time JCW World Juggalo Tag Team Champions in addition to a both factions who’ve previously held those very same tag titles the Juggalo World Order (jWo) facing Luciano Family Enterprises in Gore Games.
