Danny G – “WTF Daniel!?” review

Danny G is a producer, DJ & occasional rapper from Detroit, Michigan notable for being an in-house producer for Lando Bando’s very own EMPIRE Distribution imprint The Hip Hop Lab Records. He’s gone on to produce some of the biggest names in the Detroit/Flint trap scenes from the ShittyBoyz to Rio da Yung O.G. & RMC Mike, expanding his production rapport greatly all of 2025 from Bruiser Wolf to most recently Icewear Vezzo yesterday. However, Danny’s celebrating Halloween with a debut album of his own after announcing it 12 hours earlier.

“Dynaco” by Babytron made for a promising intro talking about tripling his net worth as opposed to what Google will say whereas “Larry Bird” by DJ Lucas co-produced by Jakesand decently references the former 3-time NBA champion of the same name. “Gotta Have It” by Kasher Quon talks about trying to put someone afraid of taking risks on just before the cold-blooded “Roomba” by Joeyy that Danny & Carlo Anthony cooked up likens his Glock to a lightsaber.

$kid & Danny share a moment together trading bars with “Newsport” talking about puffin’ Newports in a brand new 2-door whip leading into “Heat Streak” by Krispylife Kidd embracing a Flint sound flexing that Danny paid him a reasonable $54K for his appearance. “Kpop” by Certified Trapper works in a vibraphone talking about flaming people with the blick while “Kith” by Since99 & $weet-T trades the mic back-&-forth with each other.

“Starbury” by Babytron & ZelooperZ pairs the 2 so they can go hard until they’re cremated in urns while “The Yoyer in the Froyer” by Big Bye feels more like a spoken word interlude rather than carrying over that Paper Plates energy, which disappoints me. “Shottas Music” by Louie Ray, RMC Mike & YN Jay links up with each of her for a Flint trap ode to the gangsters around their parts while “Alpha Bay” by Danny G himself featuring LG Deno Skeno & $weet-T serves base that will melt faces off.

Ankith Woods’ performance on “Guitar Hero” was alright despite the nod to the popular series of rhythm games celebrating it’s 2-decade anniversary while “F&N” by $weet-T surpasses “Kith” & “Alpha Bay” in my opinion, recapturing the $weet & Silent Dan aura with Helluva’s asistance. Since99 returns by $weet-T’s side during “Marquis Chris” causing pandemonium & madness while “I Want It All” by Big Quis talks about desiring the finer things in life

Finishing up Danny’s debut, he hops back on the mic 1 last time for the song “Darius Rucker” featuring ChoppaLee turning up the Northern California influences referencing Hootie & the Blowfish’s frontman of the same name while “It’s Funny” by Stanwill talks about not giving a fuck who’s fake because he’s surrounded by real ones. “Back Talk” by Fordio & MJPaid recaptures the chemistry of their Made & $tyle collab tape while “Sometimes” by Babytron finishes things the way he started it.

One of my personal favorite producers in the Detroit/Flint sound subgenres of trap, Danny G’s full-length studio debut was an exciting surprise to me although I didn’t enjoy it as much as Jakesand’s 2nd EP Sandbox last summer. Although I have no complaints regarding Danny’s production, one of my biggest criticisms regarding WTF Daniel!? boils down to the list of performers over his beats being some what inconsistent.

Score: 3/5

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Florence + the Machine – “Everybody Scream” review

Florence + the Machine are an art/chamber pop & indie rock band from London, England, United Kingdom, consisting of drummer Loren Humphrey, violinist/rhythm guitarist Dionne Douglas, percussionist/keyboardist Aku Orraca-Tetteh, bassist Cyrus Bayandor, harpist/percussionist Tom Monger, lead guitarist Robert Ackroyd & frontwoman Florence Welch. Making their debut in the summer of 2009 under Island Records with Lungs, their sophomore effort Ceremonials during my freshman year of high school & their final Island offering How Big, How Blue, How Beautiful shortly after my graduation would both receive similar praise as did their Republic Records debut High as Hope. It’s already been over 3 years since Dance Fever & they’re celebrating the 14 year anniversary of Ceremonials with their 6th album.

The title track gives us a taste of what’s to come from the artsy, gothic & glam rock instrumentation asking how can she retire when people are shouting for her name whereas the 2nd single “1 of the Greats” blends art rock, alternative rock, gothic rock, singer/songwriter & post-punk sings about a 2023 near-death experience she had. “Witch Dance” works in some haunting choir vocals in the background using sex as a metaphor for her almost losing her life while the final single “Sympathy Magic” sings about the costs of fame pulling from art pop, indie rock & art rock.

“Perfume & Milk” leans heavier towards a singer/songwriter direction stylistically referring to the natural process of growing & returning to Earth just before the folkier “Buckle” finishes the first half of Everybody Scream with Florence singing about carrying the weight of memory & the beauty of moving on. “Kraken” begins the 2nd act with an indie/rock crossover searching for meaning while “The Old Religion” sings about the feeling of animal instinct starting up from within herself wounded so tightly to the point that she can hardly breath.

Starting the final leg, “Drink Deep” finds herself seeking the hidden folk through bramble & briar under ash & oak nightly realizing she drank of herself while “Music by Men” sings about her knowing how to fall in love because she does it constantly with everyone she meet for 10 seconds. “You Can Have It All” embraces an art pop vibe again admitting that she was wrong about her perception of sadness her whole entire life until these past couple years while “& Love” finishes by optimistically singing that peace is coming.

Returning to the spellbinding world-building that has defined Florence Welch’s entire creative universe, Everybody Scream channels her fascination with mysticism & folk horror in the wake of a life-changing surgery she had to undergo during the Dance Fever tour when she suffered a miscarriage. It’s more singer/songwriter & art rock oriented than what’s she’s done previously, getting more than that previous LP with secondary influences of art pop, alternative rock, gothic rock, post-punk & glam rock seeping through.

Score: 4.5/5

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Lil Bushwick – Self-Titled review

Lil Bushwick is a 29 year old rapper from Houston, Texas notable for being the son of the late Bushwick Bill of the seminal horrorcore group the Geto Boys. Interestingly, Sid Wilson from one of the greatest nu metal bands of all-time Slipknot recently signed the artist formerly known as Yung Knxw to his Soulspazm Records imprint Vomit Face Records founded with J57 earlier this month & has decided to produce Lil Bushwick’s full-length debut studio album to appropriately celebrate Halloween being on a Friday.

After the “Fell on a Weekend” skit & the “Apple Tree” skit back-to-back, “Born to Die” open a with a rap rock intro produced by Sid Wilson talking about reaping what he’s sowed whereas “Pussy Ass N***a” works in some guitars to shit all over those exact type of people. After the “Moments” skit, “Prepare” talks about knowing his life’s goal from when he was a kid while “Got 2 Go Thru” admits to the feeling of love flowing over some pianos.

“Money N Da Foes” after the “Geto Boy 4 Life” skit asks if the cost if your soul is worth the game & gold while “Still Have Faith” talks about going through Hell & back. “We Gone” featuring Sid Wilson finds the 2 talking about having every floor on lock & after the “Better Version” skit, “Take It Back” featuring Bushwick Bill sends off the album with a father-son collab that feels like a bittersweet passing of the torch moment.

The eponymous debut of Lil Bushwick honors the spirit of a hip hop pioneer while forging a bold, new path forward, an emotional and daring journey through grief, heritage & growth. Blending Houston’s hip-hop roots with experimentally hardcore production & narrations from Yung Knxw’s father, he’s pushing the envelope musically & tries new sounds he would’ve never thought he’d be rapping over although there are too many skits.

Score: 4/5

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Lil Gotit & Lil Keed – “Fraternal” review

Atlanta, Georgia rappers & siblings Lil Gotit & the late Lil Keed celebrating Halloween with a brand new collaborative project. The latter eventually became the most popular of the 2 in the late 2010s when Young Thug announced he has signed him to YSL Records & his younger brother would go on to put out a total of 5 full-lengths as well as a couple mixtapes under Alamo Records until his departure almost 3 years ago already. Keed unfortunately passed away in 2022 of eosinophilia & Gotit’s finally putting Fraternaltogether after teasing it with a couple singles throughout the entire month, making it Keed’s 2nd posthumous offering succeeding Keed Talk to ‘Em 2.

“Game Time” finds the Renders over a cloudy trap instrumental for 85 seconds talking about nobody being in their range artistically whereas “Cash Brothers” takes a few minutes to back out with each other & stack their bread. “Relapse Game” works in some strings & hi-hats so they can talk about loading up the sticks while “Red Eyes” conceived during for the Trapped in Cleveland 3 sessions has a new life of it’s breathed into it.

Tee Grizzley joins Gotit & Keed on the cloudy trap fusion “From the Heart” talking about how everything they do comes from a place of sincerity just before “Stupid Shit” produced by CashMoneyAP demands answers for all the stupidity around them recently. “How Bout You?” continues the 2nd half suggesting that people should be taking risks & trying to become rich while “Woah” lusciously getting higher than the rest thanks to Outtatown behind the boards.

“Young N***a” gets to the encore of Fraternal by digging up another outtake from the Trapped in Cleveland 3 sessions while “5 Star Residence” sticks out in being another favorite of mine personally from the Supah Mario instrumental to the Render siblings talking about the bankroll coming in all different types of colors. “Wild Life (I’m Higher)” closes Gotit & Keed’s joint effort with them reflecting on their crazy lifestyles while “What’s Up?” starts the deluxe run talking about wanting to get high.

As for “Give ‘Em Hell”, we have the Render brothers taking a few minutes to speak of sliding with their money in their pockets while “I’m So Sorry” apologizes in advances for the possibility of sending hits at the detractors who want nothing more than to see them both lose. “Boss Man” airs out the clones stealing their drip & getting pissed because they didn’t get co-signs from either one of them while “Cat Got His Tongue” speaks of cornballs pillow talkin’ to hoes on the phone over a Taurus beat.

“Minaj” featuring Ty$ with G*59 Record$ in-house producer Dynox behind the boards brings the trio together talking about the baddies they’re dating playing their parts while “Rappin’ Shit” guides listeners through the rap game itself. “Fierce” marks the last time both performers appear on the same song with each other since the last 3 bonus tracks “Disgust Me” & “5AM” are Lil Gotit solo joints & “Baby Boy” being a Lil Keed solo song, shrugging off all competition they might have for being weirdos.

Personally, I’ve always found myself listening to Lil Keed more than Lil Gotit although I’ve enjoyed a great deal with their collaboration so I had no problem going into Fraternal. Solid way of Gotit remembering his older brother & I’m pretty sure he would be happy with it if he were still here. The production’s ok but from beyond the grave, it’s bittersweet hearing Keed with his younger sibling carrying his legacy & doing so the right way.

Score: 3.5/5

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The Doppelgangaz – “Bet on Black Cloak” review

Orange County, New York duo The Doppelgangaz back with their 13th EP on Halloween. Consisting of MCs/producers Matter ov Fact & EP, they’ve gone on to make waves in the underground by dropping a total of 8 full-length albums as well as a dozen EPs & 6 beat tapes. Standouts include their breakout sophomore effort Lone Sharks, the follow-up Hark, their 5th album Dopp Hopp, Aaaaggghh, Black Cloak Lifestyle & Went Left. The latter of which got a sequel this summer, assuring that you can Bet on Black Coat a few months later.

“Dopp Gang Thang” starts off with a piano-boom bap instrumental talking about being the game never being the same again whereas “6 Ways 2 Sunday” dustily flexes that they do things the dumb way. “Wacky Wild Crazy” works in some pianos to talk about acting that way sometimes while “Don’t Mess with Them Sharks” advises that you don’t wanna fuck with them. “Whatchu Wanna Do?” soulfully asks their partners that very question for the evening & “Live 2 Regret It” ends with a message to the hardheaded.

The ghastly duo continue to warm up for their forthcoming 9th LP by taking it back to the traditional boom bap sound that made The Doppelgangaz so popular in the underground after taking a quick g-funk detour with a rawer, more rugged, dustier & dirtier extended play than the slept-on Groggy Pack Entertainment founders have ever sounded almost 2 decades in the game.

Score: 4/5

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SosMula – “Kamp Krystl Lake” review

This is the 4th studio LP from Manhattan, New York rapper SosMula. Coming up as 1/3 of the now defunct City Morgue alongside fellow emcee ZillaKami & producer Thraxx, they’ve released 2 full-length albums & an EP together up before branching out on their own for a little bit. Sos was the first to step up to the plate by dropping 13 Songs 2 Die 2, which was a bit of a disappointment in my opinion due to the features & production. ZillaKami followed it up a month later with HIS solo debut Dogboy & the duo reunited to drop Bottom of the Barrel the month after that, both of those I found much more tolerable. 2 High 2 Die was better than it’s predecessor & the Sleez Machine EP that fall was the worst solo effort of his yet. Signing to Limosa Nostra Records & Atlantic Records following the divisive reception of his final Republic Records offering Sleez Religion, it only makes to go to Kamp Krystl Lake on Halloween.

“Killa Season” begins with a bloodcurdling trap metal intro talking about shooting his opps on camera whereas “Mr. Anderson” bombastically flexes that his stick matches the kicks in his wardrobe. A favorite of mine “Kathedral” featuring Ricky Hil & produced by Thraxx blends a shredding guitar riff & some hi-hats to get on some gangsta rap shit lyrically leading into “Aaron Hernandez” referencing the disgraced New England Patriots tight end of the same name.

Moving on from there, we get more trap metal production on “Blood of My Blood” showing a bit of a Marilyn Manson inflection in SosMula’s vocals during the hook just before “God’s Country” embraces a cloudier trap direction & pens a more nauseating chorus than earlier. The lead single “Trench Brazy” was an impressive 2-parter Lex Luger cooked up likening himself to a pimp while “House in the Trees” feels like God isn’t answering his prayers.

“Project Baby” was another exciting single reusing the same beat as “Deception” by Cameron Azi from 13 months ago except I feel like Mula suits it better down to the additionally included sampling of “Pop Out” by Playboi Carti while “Spiral” angrily talking about running up to houses to put his gun in the mouths of whoever opens it. “Preacher” speaks of hooking up with the reaper & gangbangers repping his set while “Mercedez Brazy” takes a slower approach than the other singles.

The song “Blakk Bootz” winds down Kamp Krystl Lake’s final 8 minutes with an industrial trap sound talking about his preference of rockin’ an all black got while “Outlaw Squad” contains some of the goofiest vocals throughout the album comparing himself to a fugitive. “Circus Roaches” lastly ends things experimenting with a grungy rock outro talking about him trying to figure out all this shit happening recently while “Excalibur” starts the deluxe run going to war over a trap metal beat.

“Spin Class (Fitness for Opps)” cloudily promises to gauge out the eyes of those going against him while “GTA VI” references Rockstar Games’ upcoming action-adventure game of the same name. “Death from Above” talks about the sky & eyes turning red over a rap rock instrumental while “Walk ‘Em Home” boasting all his stacks are chrome. “Barbellz” featuring Ricky Hil intriguingly trades the mic back-&-forth with one another the final bonus track “M. Bison” has a bar referring to WWE Hall of Famer Mike Tyson.

None of SosMula’s solo effort have come close to Dogboy but surprisingly, Kamp Krystl Lake gives pretty good reasons as to why Ricky Hil signed him to Limosa Nostra Records & Atlantic Records ahead of 10,000 Grams. Maybe even the best Sleezy has sounded on his own ever, stylistically drawing from the trap metal sound City Morgue pioneered to cloud rap & alternative rock taking it’s themes after the iconic Friday the 13th franchise.

Score: 4/5

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Scatz – “F.T.O.S. II (Fuck the Other Side II)” review

This is the 8th EP from Flint, Michigan rapper Scatz. Introducing himself 3 years ago with his debut EP Kyriee Krazy followed by the debut mixtape Yung N***a World, his next 5 EPs SharkLoto, Gift of Gab, Yung Dirty Bastard, The Biggest & Yung Dirty Bastard all the following year caught the attention of Rio da Yung O.G. & signed the 6 Ward Lord to M.I.N.E. Entertainment behind bars. F.T.O.S. (Fuck the Other Side) celebrated its 1-year anniversary last month, so it makes sense for him to drop a sequel on Halloween.

“Talkin’ Dumb” featuring Rio da Yung O.G. starts with both them over a Flint trap instrumental spitting a whole bunch of gang shit whereas “Jog” works in some 808s & pianos referencing the Endeavor-owned TKO Group Holdings division WWE’s secondary flagship program Friday Night SmackDown. “1 of 1” flexes that the body he hit with the switch has become unique in it’s own way just before “Can’t Forget” featuring 2800 Twin decently trades verses with one another.

We have Scatz understandably representing his squad on “It’s M.I.N.E.” for a good 2 minutes while “Cheddar Bob” references DJ Rec, who inspired the popular 8 Mile character of the same name. “Fluffy” featuring Baby TR delves deeper into the gangsta lifestyle taking 2 blocks & keeping only 1 while “Lulu” featuring Doonie talks about both of them having more stripes than the British luxury fashion house Burberry.

“Make a Bet” featuring FTOS Swan promises to walk victims down in Rick Owens instead of wearing Prada while “King of the Hill” give a nod to the Hulu serves of the same name set to premiere season 15 in 2026 in light of seasons 16 & 17 being ordered. “Facts” wraps up F.T.O.S. II (Fuck the Other Side) II with him talking about shooting up a crib every single week with the sole purpose of testing his groove.

Gotta be honest: As much as I enjoy the original F.T.O.S. (Fuck the Other Side) last fall, its spiritual successor feels a bit mediocre in comparison. I don’t mind the production nor do I have any criticisms with Scatz’ own performances, but the guest list is more inconsistent with only 1 of the 5 sticking out & that being none other than Rio.

Score: 3/5

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Heem – “Bars & Noble 3” review

Buffalo, New York emcee Heem closing the Bars & Noble trilogy with his 4th LP. Catching my attention in 2020 after becoming of a protege of Benny the Butcher & signing to Black Soprano Family Records, he also made a few appearances on the label’s showcase EP prior to dropping his debut mixtape Long Story Short & a debut EP High Art. His debut album From the Cradle to the Game came in the spring of 2023, coming off the sequel to Bars & Noble earlier this year to complete the final chapter.

The title track opens up with a boom bap instrumental talking about leaving anyone running their mouths on stretchers whereas “Bonettis” featuring Illy Foo finds the 2 discussing times getting harder trying right some wrongs. “Buffalo to Bompton” featuring Figg Newton joins forces for a moderate east coast/west coast collaboration with a bit of a small g-funk influence just before “$20 Stones” gets on his hustler shit over a sample.

“Redrum” moves forward by showing off his murderous tendencies advising that people near him better run for their lives when he pulls up to the spot while “Menace to Society 2” conceptually picks up where the Long Story Short highlight left off. “Foot Steps” featuring Z Baby finds the 2 expressing their desire to get up & grind leading into “$1 & a Dream” featuring Jamal Gasol optimistically talking about their day coming.

Jae Skeese joins Heem on the song “Graceful” starting the final leg of Bars & Noble 3 with my what could most likely by my favorite feature of the 5 in my personal opinion anyways asking to pray for them while “Family Tree” talks about his upbringings sampling soul music. “Warring Ave 2” finishes the trilogy with another sequel to a Long Story Short standout telling us more stories of him growing up in that very street of his hometown.

The original Bars & Noble was a solid dedication to all of the people in his circle who’ve been around since Day 1 & it’s sequel this spring at him at his wisest, but Bars & Noble 3 compared to it’s predecessors feels like a mix of both at times although the list of guests & some of the production doesn’t interest me all that much. By no means am I saying it’s wack, I simply prefer the earlier installments above this most recent one & that’s that.

Score: 3/5

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Tha God Fahim – “Dump Gawd: Hyperbolic Time Chamber Rap 19” review

Isn’t too surprising the 66th EP from Atlanta, Georgia emcee/producer Tha God Fahim would arrive on Halloween. Starting as an affiliate of Griselda Records & being 1/3 of the Dump Gawds alongside Mach-Hommy & Your Old Droog, we also can’t ignore the massive discography that he’s managed to build for himself, some of the standouts include Breaking Through tha Van Allen Belts & Dump Assassins. He’s been putting out amongst his best material in the past few years like the Camoflauge Monk-produced Dark Shogunn Assassin, the Nature Sounds-backed Iron Bull, the Nicholas Craven-produced Dump Gawd: Shot Clock King series, the Oh No-produced Berserko, the Mike Shabb-produced Dump Gawd: Rhyme Pays, Tha Supreme Hoarder of All Pristine Wealth, Supreme Dump Legend: Soul Cook Saga produced by Cookin’ Soul & Machine Gun Vocabulary produced by Cartune Beatz. Lethal Weapon 4 produced by Drega33 was the last time we heard Fahim on his own, making Dump Gawd: Hyperbolic Time Chamber Rap 19 the first since the season 2 premiere to be a solo effort.

“Not Ez” featuring Jay NiCE cautions that going against them will only backfire over a chipmunk soul instrumental whereas “Take the High Road” also featuring Jay NiCE works in some pianos to talk about being the new rulers of the game. “Grimsong” featuring Jay NiCE references WWE Hall of Famer Mike Tyson’s coke addiction prior to “Enchanted” setting the tone for the rest of the EP talking about immature styles not being a fraction of his power.

The song “Hexproof” nears Dump Gawd: Hyperbolic Time Chamber Rap 19’s conclusion cautioning not to ignore the factual combat found when dissecting tracks while “Mill 2” soulfully talks about this ongoing saga only being the tip of the iceberg as far as he’s concerned. “How Does It Feel?” finishes the EP by using some sampling technique a 1 last time looking to make a great impression whenever hits the stage.

Not too surprised that Jay NiCE appears during the 1st half or so of Dump Gawd: Hyperbolic Time Chamber Rap 19, but I could definitely say that this is the most that I’ve enjoyed an entry from the series ever since season 2 began over 4 weeks earlier. The production is prominently more drumless than Tha God Fahim’s last couple collaborative extended plays with the NiCEst of Immobilaire making boom bap a secondary influence & getting more abstract lyrically.

Score: 3.5/5

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Ransom – “The Reinvention” review

Here is the highly awaited 13th EP from Jersey City wordsmith Ransom. Coming up as 1/2 of the short-lived duo A-Team alongside Hitchcock, he branched out on his own in 2008 following their disbandment beginning with the full-length debut Street Cinema & the Statik Selektah-produced sophomore effort The Proposal. But it’s been safe to say these last couple years have been his biggest so far whether it be the 5 EPs that he put out produced by Nicholas Craven or 7 based around the 7 deadly sins, Heavy’s the Head produced by Big Ghost Ltd., the Rome Streetz collab album Coup de Grâce, Chaos is My Ladder, Director’s Cut 4 & Deleted Scenes 2. Lavish Misery produced by Harry Fraud was a step above Spare the Rod, Spoil the Child and MadeinTYO producing Smoke & Mirrors last summer was an exciting surprise, but The Reinvention produced by DJ Premier had me as excited The Coldest Profession almost 3 months earlier.

“Amazing Graces” begins with with a gritty piano instrumental talking about his style being so outstanding whereas “A Cut Above” works in some strings hoping that may the best man win lyrically. After the “Rap Radar” interlude, “Chaos is My Ladder” dustily welcomes anyone hoping to reach his level of lyricism while “Forgiveness” talks about going from broke to sipping champagne in Venice.

The song “Survivor’s Remorse” winds down the last few minutes of The Reinvention explaining that fake love always deceives along with the opinion of one not really trying to win if they’ve never taken a loss in their entire lives & the title track sends off the EP by advising those in attendance to prepare for his growth to he seen since they’re already stuck around to see the vengeance.

Representing a meeting of 2 master craftsmen whose fingerprints are woven into the DNA of hip-hop production & another who is recognized by peers & fans alike as one of the best pound-for-pound lyricists alive, The Reinvention showcases Ransom & DJ Premier joining forces to create a transformational musical experience that epitomizes the streetwise mentality realizing the journey’s just as important as the destination.

Score: 4.5/5

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