Kota the Friend – “Once in a Blue Moon” review

Brooklyn, New York emcee/producer Kota the Friend back for his 12th studio LP. Breaking out in 2016 off his debut EP Palm Tree Liquor, he would go on to follow it up with 2 more EPs before dropping his debut album FOTO in 2019. Kota has since dropped 10 more under his belt, with my personal favorites being To Kill a Sunrise & To See a Sunset both fully produced by Statik Selektah. 2 & a half years later, they’re linking back up on Once in a Blue Moon.

“Bacon Egg & Cheese” is this soulful boom bap intro advising not to fix what isn’t broke whereas “Blah” featuring Logic goes full-blown jazz rap talking about their shooters having the greens comin’ at your head if you be spewin’ bullshit out your mouth. “How It Is” maintains the jazzy boom bap vibes pullin’ up on their opps’ new crib like “fuck yo couch” as if he’s the late Rick James, but then the tranquil “Let It Go” talks about a place where you’re free head to toe.

Meanwhile on “Free My Dogs”, we have Kota over a mellow boom bap instrumental calling for all his homies to be let out from the pen just before “Northside” joyously talks about buying land up north. “What You Need” featuring PhearNone goes lo-fi asking their romantic interests that very question prior to the jazzy “Mr. Mellow” talking about having it cold. “Get It Done” soulfully wears his heart on his sleeve like it’s jewelry & “Count Your Days” ends by showing his fearlessness.

If you’re like me & you consider both albums that Kota the Friend has previously done with Statik Selektah to be the finest material of his entire career, Once in a Blue Moon drops outta nowhere recapturing the magic of it’s predecessors for an individual both of work satisfactory to fan of both. Statik’s production is jazzy yet lo-fi throughout a good bulk of it & the performances from Kota himself are the most focused he’s sounded in a while.

Score: 4.5/5

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9 Vicious – “Studio Addict” review

This is the official full-length debut studio album from Atlanta, Georgia up-&-comer 9 Vicious. Breaking out this past summer off his debut single “U Fancy”, he would go on to further introduce himself only a month ago by releasing his debut EP B4SA preluding what was to come from him in a much bigger capacity musically. Exactly 4 weeks later, he’s looking to take the next step & elevate himself as an artist by giving the listeners what it’s like in being a Studio Addict like him.

The title track is a stripped back trap intro rapping about wanting more guap as each day passes by refusing to bang out hits in the lab while “Tokyo” takes the synth-based route instrumentally flexing that he’s chillin’ over at the most populous city out in Japan with a baddie by his side. “F&N” produced by Nosaint of Vanguard Music Group hooks up a rubbery bass-line talking about praying to God & not Buddha whereas “The Truth” speaks from the heart over a calm trap beat from 406ahmad.

“Los Angeles” maintains the trap vibes droppin’ braggadocio showin’ off the lifestyle that he lives for a little over 3 minutes leading into “Ye” heading for more of a plugg direction to the beat as he talks about fuckin’ a dime bitch & having 10 hoes. The interlude is more of a 105 second atmospheric joint flexing that he got more sticks than Halo while “1 Beer” samples one of my all-time favorite Kanye West songs “No More Parties in L.A.” asking why they be fuckin’ with him.

Meanwhile on “Boom Bap”, we have 9 showing off the real deal swag that he’s got while “Slide Aht” flat outs tells a chick that she needs to slide right out the door at this point over a Jwade instrumental. “Black Truck Talking” feels somewhat unfinished since he left an open verse during the final minute or so while “Love Hurts” samples Cash Cobain asking his partner if she means it & “Just Landed” ends with Patrick Garza giving off a triumphant flare to keep the racks on him.

Can’t say it’s the most groundbreaking trap project that I’ve heard all year, but I very much think there is artistic potential in 9 Vicious & am optimistic that we’ll get to see & hear him grow as time goes on. Even if there’s a predominantly heavy Young Thug influence, there’s some interesting ideas within the production & the hunger burning inside him reveals itself passionately during the half hour experience.

Score: 3.5/5

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Lelo – “When It’s Over” review

This is the 6th EP from Detroit, Michigan up-&-comer Lelo. Signing to 10K Projects earlier within the year following his first 3 EPs, he would make his presence known more widely in the local trap scene by putting out his 4th EP Nightingale not too long after landing a record deal & gained even more exposure a month later by dropping the single “No Contempt” on SoundCloud. LifeAfterDogshit just so happened to come out a month ago & exactly 30 days later, he’s picking up exactly where he left off on When It’s Over.

“Broken” starts by mixing a rubbery bass-line with hi-hats talking about his top shelf status & being in it forever whereas “Get It Together” takes the cloudy trap route instrumentally talking about trying to get everything all in order. “Manga” has a cool symphonic trap vibe advising not to compare him to anyone he’s better than while “Dresser” cautions that all the extra shit is gonna result in y’all getting lined up.

To get the other half going, “Evangelion” talks about his desires of becoming rich & not trying to come off as being too brash while “Game” speaks on racing his idols out here rather than looking up them & callin’ a fuck boy his child since he raised him. “Numbers” nears the end of the EP by talking about having hoes leading into “Real Dogshit” closing up shop pointing out some of these dudes be actin’ tough & not seeing any action.

Whenever the time comes for Lelo to put out an official full-length debut, I really do think it’s gonna elevate him to the next level because I can say with confidence that When It’s Over has to be the most enjoyable EP in his discography other than Nightingale. The production maintains the consistency of the EP that he gave us only a month ago, once more holding off on any guests to make way for him rippin’ mics by himself.

Score: 3.5/5

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Mikahl Lawless – “The Snuff Gremlin” review

This is the sophomore effort from York, Pennsylvania rapper Mikahl Lawless. Signing to Lyrikal Snuff Productionz a couple years ago, he made his full-length debut a few months later with Gangri-La & shortly after teamed up with MC Welchs for a collaborative EP called Carnevil. However to celebrate with the 2 year anniversary of his record deal, it makes absolute since for Mikahl to celebrate by unleashing The Snuff Gremlin on Friday the 13th & have it coincide with labelmate Chuckklez’ own sophomore effort Horrors from the Unstable fully produced by DJ Ill Sprite.

“Maybe Another Life” is this trap intro flexing that everyone wants a piece of the demonic spirit within him & losing all reason whereas “No Angel” talks about embracing his demons & asking for strength in the flames he’s feeling. “Hit the Deck” fuses trap & gangsta rap advising to drop to the ground as he lets shots ring out from his heater that is until “Let It Go” embraces the trap metal sound hoping y’all see the other side after tonight.

Scum joins Mikahl on “When I Think About It” coming clean that it excites them when thinking of some day reading of a couple people that they wish death on getting what’s coming to them just before the dejecting “Finding Distance” admits that he doesn’t feel like people want to get to know him. The anthemic title track aggressively represents his crew for 2 & a half minutes leading into the sample-driven “After Everything” saying that if he has to take a soul, he’ll go there.

“Kreepin’” brings back the trap metal vibes assuring that you’ll be purified through the flames of Hell itself & catchin’ him lurkin’ through his hood while “Relationship A.D.” takes 125 seconds to talk about his murderous tendencies. “Dead” mixes elements of rage & horrorcore in an interesting way teaching that sometimes blood has to be spilled to find your footing while “My Haunted House” talks about The Wraith carrying him from all his pain.

The song “Smiley” pushes further towards the encore of The Snuff Gremlin by giving everyone a dose of the very psychosis that he so happens to suffer from while the cloudy penultimate track “Low” talks about being persecuted like no other when he used to represent the confederate flag & Insane Clown Posse had a highlight on their debut album Carnival of Carnage called “Fuck Your Rebel Flag”, but I digress & mean absolutely no disrespect by mentioning that. The closer however “Bleed Out” ends on a trap metal note justifying his demons.

Some in the underground wicked shit scene are reasonably quick to dismiss Mikahl as a juff for the whole rebel flag thing & even putting that aside, I was still open-minded enough to go into The Snuff Gremlin expecting to get a better understanding of who he is artistically & I can say that there are improvements over his debut. The production’s more versatile whether it be trap, trap metal, cloud rap & a hint of rage to suit the horrorcore & gangsta rap lyricism that the east coast artist delivers.

Score: 3.5/5

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Z-Ro – “Call Me Rother” review

Here we have the 27th full-length studio LP from Houston, Texas emcee & singer/songwriter Z-Ro. A member of the Screwed Up Click collective, he’s been holding it down for 3 decades already whether it be the Rap-A-Lot Records debut & my personal favorite in his discography The Life of Joseph W. McVey or his output as part of the Guerilla Maab & later the duo ABN. He dropped The Ghetto Gospel earlier this spring & fast forward 9 months later, he’s coming back telling everyone to Call Me Rother.

After the “Geto Boys Reloaded” intro, the first song “Charging” is this trap opener talking about it living life on the grind & getting his every single time whereas “Kingz” maintains a vainglorious trap vibe instrumentally rather keeping it peaceful when it’s anything but. “Live My Dreams” featuring Slim Thug keeps it rollin’ by talking about wanting to build shit with their cliques prior to “Side Dicc” gets back in the trap tip showing a sensual side to him.

“No Ice” mixes elements of dirty south & trap refusing to let anyone else sip with him admitting that he’s drunk as fuck already leading into the hypnotic trap joint “Paybacc” talks about getting his lick back & owing someone an ass-whoopin’ out of pure vengeance. “Vandross” produced by N.O. Joe boasts that he’s the young Luther Vandross & asking for everyone to keep their hands off while the guitar-driven trap joint “My People” makes a plea for everyone in his life believing it’s time for us all to come together.

As for “Log On”, we have Z-Ro over a moody trap beat finding all the haters runnin’ their lips whenever he turns around assuming that the circus is in his city with all these clowns just before “Love in These Streets” talks about his legacy out in the city that made him. “Rother” has a cool interpolation of “In the Air Tonight” by Phil Collins on the hook not shrugging off his detractors while “Him” featuring Cee-Lo Green is another favorite from the Cory Mo instrumental to the boastful lyricism.

“Neva 4get” reaches the encore of Call Me Rother by hooking up an acoustic guitar & hi-hats with an occasional saxophone bringing all his guns for a specific individual promising that he’ll be a muhfucka that one won’t ever forget of going forward while “Motion” talks about having the very thing that a lot of these other people out here are severely lacking in. The closer “Die” wraps up his 2nd offering of 2024 by pondering where he’ll actually end up going in the afterlife.

Z-Ro’s recent output has ranged from the potent introspection of No Love Boulevard to the mediocrity of SäDISM & for his 2nd album this year, I happen to like it more than the predecessor. The production has improved, there are lesser guest appearances in comparison & he seems to be more comfortable playing the villain in your story this time around.

Score: 3.5/5

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Chuckklez – “Horrors from the Unstable” review

Here we have the sophomore effort from San Jose, California emcee Chuckklez. Emerging on Halloween of 2018 with the full-length debut A Mind of Evilness, he would later sign to Lyrikal Snuff Productionz & I even got to meet him in person at Fright Fest a couple years back. For his official LSP debut however, he’s tapping in with DJ Ill Sprite to produce Horrors from the Unstable in it’s entirety & putting it out on Friday the 13th to coincide with labelmate Mikahl Lawless’ own sophomore effort The Snuff Gremlin.

After the intro, the first song “Welcome to the Carnevil” is a grim trap opener giving y’all a glimpse of the horror show whereas “The Eater of Worlds” further emphasizes a heinous atmosphere instrumentally making people’s blood curl with the sickness. “Bloody Chainsaw” gives me a bombastic trap vibe to the beat likening himself to The Texas Chainsaw Massacre antagonist Leatherface just before “I See Dead People” featuring Razakel finds the 2 unable to get the images of corpses out their heads.

“A Scary Story” keeps it going by admitting that the sins of his life feel like they were ripped right out of a horror flick surrounded by hatred & vengeance while “Don’t Sleep” heinously talks about everyone looking at a bastard of 100 maniacs promising to reveal who the real face of horror is. “Furious & Dangerous” has some cool Memphis undertones simultaneously experiencing feelings of both fury & peril, but then “Gore Hounds” featuring Doc Gruesome & Donnie Menace goes trap metal comparing themselves to vicious dogs.

Sinizter joins Chuckklez on “Let the Bodies Burn” screaming over trap production that they want to see all y’all go up in flames after throwing a molotov while “Murder All the Time” pulls from trap metal once again talking about going on killing sprees. “The Last Laugh” is this organ-trap hybrid flexing the very thing that he gets in the end while “Darker Side” featuring Kung Fu Vampire finds the 2 talking about how they’ll never see it coming when the darker sides of themselves get reintroduced.

“Going Mental” angrily boasts that he’ll murder any instrumental that comes his way while the bass-heavy “Possessed Mode” featuring Bloody Ruckus talks about being possessed by demons. “Crime Scene” featuring VLNC is another trap metal cut with them catching bodies while “Hell’z Bells” takes us a trip to the fiery depths of eternal Hell itself. “Nameless Grave” ends the LP with a 5 minute closer pleading his headstone to be left nameless to hide his shame.

The LSP roster has been experiencing an exponential growth in recent years & Chuckklez’ follow-up to A Mind of Evilness surpasses it’s predecessor by amplifying everything that makes him right at home with the Denver gore hop powerhouse. DJ Ill Sprite’s production is a refinement of the San Jose emcee’s debut 6 years ago, the features are mostly on point & Chuckklez himself puts his Horrors from the Unstable on full display.

Score: 4/5

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Paul Wall – “Once Upon a Grind” review

Houston, Texas emcee, DJ & businessman Paul Wall returning with his 15th full-length studio LP. An affiliate of Swishahouse Entertaimment & a co-founder of The Color Changin’ Click, his 2005 sophomore effort albeit major label debut The People’s Champpropelled him as an H-Town veteran & has since been steadily dropping music whether it be Bounce Backs Over Setbacks becoming the best album of his from the previous decade to the mixed reception of The Great Wall last winter. Ahead of the latter’s 1-year anniversary this weekend, he’s got a story to tell Once Upon a Grind.

“Woke Up a Millionaire” produced by DJ Fresh perfectly starts with a spacious beat talking about how amazing it is the way he be stackin’ up his paper whereas “Platinum Playa” fuses Mobb & trap flexing his aptly titled status. “I Get Down” takes the ominous trap route instrumentally dedicating this one to all the go-getters listening worldwide just before “Can’t Talk, Chasing a Check” featuring Lil’ Keke & Slim Thug finds the trio tryna collect paychecks refusing to chit chat.

As for “All Money Good”, we have Paul heading for a soulful trap direction letting it be known that all kinds of money around his parts is good money as far as he’s concerned leading into “Way 2 Wet” reconnects with DJ Fresh once more for an anthem built his candy-painted whip. “Swang Down” featuring Z-Ro shoots for a laidback approach advising the soldiers to slowly do exactly that, but then “All Night” is another DJ Fresh banger getting what’s his throughout the whole evening.

“Underground Ambassador” featuring Berner, Big K.R.I.T., Freeway, Rich the Factor & Termanology starts the encore of Once Upon a Grind with a nearly 5 minute posse cut while “Pocket Fulla Money” brings the Mobb flare from earlier back in the equation talking about his pockets being swole. “Run to the Money” featuring Yung Al sees the pair getting in that mode soon as they hop out of bed & “Love 4 Rent” sends it all off spreading the word of money being unable to buy love.

Once Upon a Grind redeems Paul Wall from the mixed reception of it’s predecessor almost 365 days ago & I’ll even make the argument that it’s the most I’ve enjoyed a solo effort from him in quite a while. It’s more well-produced, the guests’ performances stick the landing for the most part & Paul himself coming off more focused all culminates in this 41 minute LP that he conceived out of love for the very city that made him.

Score: 3.5/5

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DMX – “Let Us Pray: Chapter X” review

Yonkers, New York icon DMX posthumously releasing a brand new EP of unreleased material. Originally started off as a beatboxer for Ready Ron as a teenager in the mid-80s, it wasn’t until 1998 when X saved Def Jam Recordings from bankruptcy by dropping 2 of the most critically acclaimed hip hop albums of that decade back to back: It’s Dark & Hell’s Hot and Flesh of My Flesh, Blood of My Blood. The follow-up …And Then There Was X at the tail-end of the next year was just as great in my opinion but from there, the next 4 albums from Ruff Ryders Entertainment’s flagship artist would range from average at best or hideous at worst. Exodus 1:7 was posthumously released a couple months after his death to mixed reception although I can definitely tell it was completed before his passing & wanted to give Let Us Pray: Chapter X a chance since I have nothing but respect from the greatest to ever come from the hometown of the inaugural AEW Continental Classic winner, former CZW World Heavyweight Champion, 2-time CZW World Tag Team Champion, アイアンマンヘビーメタル級チャンピオン, EVOLVE Tag Team Champion, 新日本プロレス強無差別級チャンピオン, IWA World Champion & ROH World Champion Eddie Kingston.

“Favor” produced by Warryn Campbell is this orchestrally drumless intro talking about being God’s favorite child & thanking Him for making X as righteous of a person as he was while “Bear with Me” featuring Lecrae works in some pianos hi-hats to get on the spoken word tip for 3 & a half minutes. “1 Life to Do It” featuring MC Lyte continues the spoken word delivery over drumless strings & “Until I’m Gone” featuring WWE Hall of Famer Snoop Dogg ends with a bare jazz instrumental speaking on a unique kind of love.

What a lot of people including myself initially thought was gonna be 4 gospel rap tracks that DMX had left in the vaults for an unspecified amount of time turned out to be a disappointing cash-grab from Def Jam that I like even less than Exodus 1:7. There’s absolutely nothing wrong with Warryn Campbell’s production whatsoever, but the spoken word performances from the guests & even DMX himself seems like a significant letdown reminiscent to The Rose That Grew from Concrete that 2Pac’s estate put out 24 years back.

Score: 2/5

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Fashawn – “Carte Blanche” review

Fresno, California emcee Fashawn tapping in with New York producer Little Vic for his 5th studio LP. Breaking out 15 years ago off his 7th mixtape The Antidote, his profile would begin to increase from there whether it be the Exile-produced debut album Boy Meets World. or The Alchemist-produced debut EP FASH-ionably Late & the Mass Appeal Records-backed sophomore effort The Ecology during my senior year of high school. Although his music since for me personally has been hit or miss with this fall’s You Owe Us with Interest being a more recent example, I have enjoyed Little Vic’s production work in the past & that made me anticipate Carte Blanche.

“Crown Vic” is this piano-driven boom bap intro turning muhfuckas into sacrifices similar to that of Jesus Christ himself whereas “1 Eyed King” works in a soul sample with some kicks & snares giving handcuffs for Christmas in addition to a middle finger for the already corrupt system. “Pearly Gates” featuring Rasheed Chappell finds the 2 promising that they’ll still rising like murder rate even when they’re gone leading into “Autumn in New York” providing a boom bap anthem dedicated to fall in the City of Dreams.

As for “168”, we have Little Vic keeping it in the basement instrumentally as Fashawn looks for a 187 while “Victim” talks about everyone being soft & this being as hard as it gets. After the “Waygu” interlude, “Mac n Cheese” returns to the boom bap unloading a short but deadly 37 second verse on top of it just before “Capo” brings back the soul sampling getting in his battle rap bag. “Spaghetti Western” though ends Carte Blanche talking about pumpin’ weight instead of pumpin’ fake.

Coming from 2 different worlds, these guys bring unique stories & sounds that excellently blend the raw with the refined. Little Vic’s production creates a soundscape that mirrors the rags-to-riches journey that he & the Fresno lyricist represent flexing between hard-hitting rhythms & delicately soulful sounds that match the conceptually gritty yet sophisticated journey through life’s harsh realities & ultimate triumphs that Fashawn vividly paints.

Score: 4/5

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Ouija Macc – “Temple of Ash” review

Las Vegas, Nevada emcee Ouija Macc finishing his 2024 with the 6th studio LP in his discography. Breaking out in the fall of 2017 after the Insane Clown Posse signed him to Psychopathic Records shortly after putting out his debut EP Trashfire independently, Ouija has since proven himself as the hatchet’s biggest solo act dropping his last 5 full-lengths, 2 greatest hits compilations, 8 mixtapes & 5 EPs all in the span of nearly 7 years. He even started his own label Chapter 17 Records & made the big homie HEXXX the first signee to putting out his first 2 classic west coast wicked shit albums Demon Season & Tales of a Cursed G before amicably fulfilling all contractual obligations with the Psychopathic subsidiary last fall. Darby O’Trill is now the only C17 artist other than Ouija, teaming up with each other back in April for the excellent collab effort Anemoia & Darcc Planet became the darccest material of his career. 3 months after Psycho Babbel though, we’re now entering the Temple of Ash following his recent JCW Lunacy appearances during the March of Madness Tour.

“The Approach” produced by Devereaux is this trap intro pointing out nobody wants consequences or suffering whereas “Bumpalation” calls it back to “Murder Go Round” by reminding that y’all can’t fuck with a wicced clown. “Dart Pimpson” takes the Memphis route instrumentally to talk about shooting darts in muhfuckas’ necks & not wanting to see scrubs as lit as him while “7 Deadly Symptoms” gives off an eerie trap direction to the beat pleading that his religion puts an end to your condition.

As for “Spligwitter”, we have Ouija talking about splitting wigs by spittin’ the wicced shit leading into “Lil Jokaro” hopping over a sample of ICP’s cover of “Assassins” by the Geto Boys off The Amazing Jeckel Brothers reassuring that he ain’t the person to be fucked with at all. The funky trap banger “Across da Window Sill” leaving corpses on the grill prior to “In da Trunk” morbidly talks about dead bodies going in the back of his ride for nearly 3 minutes.

“Purple Wraith” heads for a hypnotic direction teasing Pyramid of Skulls while “Burns on Da Skin” gives off a heavily apocalyptic trap vibe advising to walk with him carrying torches since the temple’s dark as the sun. “Flashbacc” comes clean that he was buggin’ off analepsis stabbing a muhfucca with a stethoscope while “Hatchet Samurai” is a fun joint about not being like any other samurai creeping out the casket with his hatchet by his side

Beginning the final leg, “Everything Gone” discussing that everything’s waste & we’re living in the hole while “Where I Stand” finds Ouija riding with the Psychopathic family since he never had any friends. “Praise 2 da Phonk” experiments with the phonk sound & putting his own wicced spin on it while “Acrylamide” welcomes everyone to the psycho side paying homage to the first ever Dark Lotus track “Echo Side” off The Amazing Jeckel Brothers during the hook.

“Sir Leemy of Lone” somberly finishes up by becoming content with the voices in his head & once the bonus track “Fire of Forever” assures death is nonexistent with an uncanny organ flip, I also wanted to give a mention to “Stankenstein” featuring the hatchet’s newest family member Wakko the Kidd since it basically justifies the fact the latter’s cannabis strain Airheadz will make you trip out harder than Amanda Bynes.

Capping off what’s been a huge year for the C17 CEO, he takes us through the Temple of Ash with only less than 2 weeks from Christmas & it continues to take Ouija Macc to a whole new level artistically by maintaining the caliber of his last couple LPs. The production is mostly grounded in the occult trap sound that he came up with other than some occasional phonk & Memphis rap detours laying out a well-structured concept.

Score: 4.5/5

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