Conductor Williams – “Conductor, We Have a Problem 3” review

Conductor Williams is a 42 year old producer from Kansas City, Missouri notable for being 1/3 of the Griselda Records in-house production trio The Heartbreakers. His popularity in recent memory has been growing exponentially, earning himself a chance to work with those from Drake & J. Cole to more recently REi the Imperial for his Operation: Flamethrower EP last month. This ultimately resulted in the 3rd installment of the Conductor, We Have a Problem series having guests perform on every song as opposed to previously releasing beat tapes up until this point.

After the “Modus Operandi V” intro, the first song “Paint Pictures” by Evidence uncannily starts us off talking about fitting it less the more that he does whereas “Get Away!” by Rome Streetz was a great choice of a lead single attacking their opposition for being washed. After the “Board 40” interlude, “Hell in a Hellcat” by eLZhi takes the boom bap route instrumentally to talk about being an anomaly prior to the soulful “Space Heater” by Domo Genesis points out that this ain’t what they thought it’d be.

“Ecstasy” by Russ has this underwhelming, melodic delivery throughout that just kills the vibe for me personally leading into the dusty “Hold You” by Benny the Butcher & Wiz Khalifa making up for it by telling everyone who ain’t in the game to stay in the bleachers. After the “Skin” interlude, “Guilty” by Leon Thomas III shifts gears in favor of a passionate R&B ballad just before the sample-driven “Down Bad” by Bishop Nehru preludes his upcoming self-produced album Solace in Shadows later this weekend.

The penultimate track “Necessary Cherry” by Wiki pushes towards the final moments of the 3rd installment of the Conductor, We Have a Problem trilogy talking about shipping, mundane & amazing at the same time “Kent” by Elijah Hooks ends with the latter singing on top of this subdued instrumental promising his lover that he’ll be there when they call him.

Other than a couple performers who punch under their weight, this is damn near everything that I would’ve expected from Conductor Williams making a producer project. The overall sound mostly sticks with the signature hardcore boom bap aesthetics that many know him for with a hint of R&B thrown in on the side with a primarily well-curated list of artists joint him for the ride.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Lloyd Banks – “Halloween Havoc V” review

This is the 19th mixtape from Queens emcee Lloyd Banks. Gaining notoriety in the 2000s for his witty punchlines along as well as being an original member of G-Unit alongside childhood friends 50 Cent & Tony Yayo, he kept himself busy for a little while after the group’s disbandment in 2015 by releasing A.O.N. 2 (All Or Nothing 2): L.I.U. (Live It Up) & Halloween Havoc 3: 4 Days of Fury just before taking on a 5-year hiatus that really lasted until he received a song placement on the soundtrack for Griselda Records’ theatrical debut Conflicted a year & a half ago along with the whole Course of the Inevitable album trilogy gaining renewed interest in the PLK himself. A year after Halloween Havoc IV: The 72nd Hr, Lloyd’s keeping the saga alive.

“You Have My Word” produced by Ron Browz eerily starts off by telling anyone who crosses him to make sure that they stay crossing him for the rest of their lives whereas “Complications” takes the Hellish boom bap route instrumentally talking about being careful of when you speak before you get all the facts. “Season of the Psychos” with Haas Almahdi morbidly promises that he can handle his own weight, but then “Connoisseur” takes us back in the basement calling himself the top seed when he gets on.

Meanwhile on “Broken Hearts”, we have Lloyd over more kicks & snares from Cartune Beatz to talk about the city of heartbreak just before “Double Up” maintains a somber boom bap flare to the beat calling victory the love of his life. “Love is Love” dustily seeks to fuck up the arguments & hypothetics of someone he used to know that fell off musically leading into “Choose Wisely” ruggedly, talking about how there ain’t no money behind these fake pages.

“Resources” rawly observes that everything’s strange now & everyone feeling his energy the second he sets foot in the room while the cold-blooded “Taking Notes” talks about the fact that where he comes from ain’t no joke to him whatsoever. “Shooting the Messenger” aggressively check the temperature since he’s burning up again while “Seminar” publicly expresses his frustration towards everyone else out here & he’s pretty much sick of ‘em.

Starting the 5th installment of the Halloween Havoc series’ final leg, “Regrets” looks at all the possibilities in his future & going broke not being an option while “In the Mix” kinda has some trap undertones talking about expecting a snitch since this life’s a bitch. “Keep It Solid” pushes further to the end keeping it legit & “Graduated” viciously ends reminding that what goes around comes around.

Cartune Beatz has been getting a lot of attention as of late & only a couple weeks after fully producing Machine Gun Vocabulary for Tha God Fahim, he produces nearly half of Halloween Havoc V improving on the predecessor that we got 365 days ago exactly. The production is prominently built around the traditional boom bap sound, refined from The 72nd Hr so the former G-Unit member can go even harder with his signature punchlines.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Icewear Vezzo – “Live from the 6, Pt. 2” review

Detroit trap veteran & Iced Up Records founder Icewear Vezzo releasing a sequel to his Quality Control Music debut album although the 4th full-length overall in his discography Live from the 6. For over a decade now, this dude has been making waves locally by releasing the Rich Off Pints trilogy of LPs & over a dozen mixtapes. The previous Paint the City hosted by DJ Drama over a year ago being Vezzo’s first project to come out though the Motown Records/Virgin Music imprint & it was a solid prelude. The major label debut proved to be a well-crafted collection of songs that detailed life in 6 Mile & he’s taking us back on Devil’s Night.

“Musty” starts with an occult Detroit trap beat talking about going from $5,000,000 to $10,000,000 & being a real demon whereas “Add It Up” takes the standard trap route instrumentally boasting that he’s still with the same people that he was with back then aside from everything else. “Money Counter” once again puts the Motor City’s unique take on trap music on full display feelin’ like Blade Icewood with all the jewelry while “Family Ties” hooks up some bells & hi-hats bringing one of his children on the mic for the opening verse.

Moving on from there, “Chosey One” kinda has this cold atmosphere professing himself to be the chosen one representing IUR in the midst of it just before “6 & Daisy” featuring Los & Nutty finds the trio coming together for a Detroit trap banger clarifying that this shit ain’t only rap. “Musty 2 (Shit on ‘Em)” brings more bells & hi-hats in the fold for a sequel to the opener maintains that occult edge, but then “Nobody” featuring Lauryn Amore on the hook takes a jab at pop rap showing a romantic side to Vezzo.

“Different Day” starts the final leg of Live from the 6, Pt. 2 talking about how he’s still the same person as he’s always been except his bag’s much bigger now while “Basquiat” offers a triumphant trap flare to the beat referencing graffiti artist Jean-Michel Basquiathomaging the oldest of the 4 hip hop elements. The suspenseful tone of “Walk Down” featuring Bankroll Freddie is cool even if I wasn’t too big on the latter’s guest appearance walkin’ everyone down hence the title & finally, “Mudd Baby” serves as a bonus track since it originally saw the light of day on Rich Off Pints 2.

Live from the 6 earlier in the year has since become one of my favorite projects in Vezzo’s entire discography & almost 6 months later to the very day, he’s done it again except it’s solely through his own imprint that’s thriving since I’ve already reviewed Iced Up Records signee Krispylife Kidd’s last couple projects. The production is prominently Detroit trap based with trap & pop rap undertones, the few features were ok & the IUR founder breaks down the madness of the city the day before Halloween.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Blaze Ya Dead Homie & Bukshot – “Blockwork Morgue” review

Here we have a brand new collaborative EP between alongside Detroit, Michigan emcee Blaze Ya Dead Homie & Louisville, Kentucky emcee Bukshot. One of whom broke out within the underground by signing to the Insane Clown Posse’s very own label that runs beneath the streets Psychopathic Records for his 2000 eponymous debut EP & the full-length debut 1 Less G n da Hood, with the other notable for founding Mobstyle Music. Both of whom have collaborated with each other numerous times in the past & are taking it further with Blockwork Morgue.

After the “Night at the Morgue” intro, the first song “Blockwork” produced by MIKE SUMMERS a.k.a. 7 starts with an off-the-wall trap heater explaining the way shit works around the block whereas “Panicking” featuring Jamie Madrox delves further down the hardcore rabbit hole altogether getting everyone against them in panic mode. “Do It” fuses boom bap & rap rock talking about how they was out in the streets pushing weight while the grisly “War Story” addresses the people who want beef with them.

“J.A.F.U.D. (Just Another Fucked Up Day)” featuring Monoxide on the remix puts some rap rocks influences up on display as the official closer of the EP talking about going through another stale day & the remix of “Take an L” featuring Drive-By off Helter Skelter: The Accomplices II includes a new verse from Boondox that can hang with the original highlight from that previously mentioned album in Buk’s discography.

Buk’s been teasing this EP for almost a couple months now & I’m happy that he decided to finally put it out after a phat opening set at the St. Andrew’s Hall basement The Shelter for the release party of the House of Krazees’ reunion LP 31 last night. 7’s production doesn’t miss & both MCs elevate their chemistry by colliding 2 unique worlds in the underground wicked shit scene to start Devil’s Night 2024.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

EARTHGANG – “EARTHGANG vs. the Algorithm 3: Perfect Fantasy” review

Olu & WowGr8 also known as the Atlanta, Georgia duo the EARTHGANG closing out the EARTHGANG vs. the Algorithm trilogy with their 7th EP. Starting out a little over a decade ago dropping 3 mixtapes along with 2 albums & an EP independently, this resulted in J. Cole signing them to his Interscope Records imprint Dreamville Records in 2017. This resulted in a trilogy of EPs leading up to their major label debut Mirrorland, which revealed themselves to be one of the best artists that the label has to offer. They went on to give their Spillage Village collective some shine by dropping their 4th album Spilligion on Dreamville the next year & Ghetto Gods further cemented them as the 2nd best signing on the roster behind J.I.D of course. EARTHGANG vs. the Algorithm: R.I.P. Human Art last fall severed ties with Interscope to solely stay with Dreamville & gave insight on EARTHGANG vs. the Algorithm 2: Robophobia about the technological advancements we’ve seen in recent years, but Perfect Fantasy is all trying it in together.

“Godly” starts off on some relaxing boom bap shit courtesy of Blur frontman & Gorillaz mastermind Damon Albarn alongside Olu himself encouraging to never see yourself through someone else’s lenses & dancing with the devil feeling all up in their element whereas the psychedelically cavernous duet “Deep Blue” featuring Little Dragon shows a melodic side to the EARTHGANG singing about not wanting to implode on the ocean floor. “U Gotta” produced by The Neptunes is easily my favorite song on here even if it was made in 2021 telling their partners to get theirs & after the pop rap single “Love You More” featuring T-Pain, the sample-driven “Zone” talks being here 1 day & gone the next.

Cochise joins Dr. Dot & Johnny Venus on “Electric” dabbling with rage beats likening themselves to Pikachu or Zeus zapping muhfuckas leading into the inebriating club banger “In My Mind” talking about liquid sunshine trickling through their blinds & having magic in their fingertips putting a couple galaxies in a clip. After the “Robophobia” skit, the final song “Red Flag” finishes the EARTHGANG vs. the Algorithm saga reflecting on bad relationships over this psychedelic guitar for nearly 5 minutes.

Informed by their passion for Japanese culture, EARTHGANG vs. the Algorithm 3: Perfect Fantasy combines these 9 new songs with the last couple EPs paying homage to a lot of different eras. All 3 installments as a whole cohesively explores the effects of AI on society by questioning the ways advanced technologies are consuming our lives & dreaming of an alternate universe where humans could live more freely.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

House of Krazees – “31” review

The House of Krazees are a seminal Detroit, Michigan horrorcore trio consisting of The R.O.C. alongside Mr. Bones & Hektik. Introducing themselves 31 years ago off the strength of their first 2 EPs Home Sweet Home & Home Bound, the next one Outbreed & their full-length debut Season of the Pumpkin back-to-back would later become classics in the early wicked shit scene followed by the sophomore effort Head Trauma until their 1997 disbandment. The R.O.C. would form HaLFBrEEd with Skrapz releasing their debut The Night They Came Home under the H.o.K. moniker in contrast to Mr. Bones & Hektik signing with Psychopathic Records as protégés of the Insane Clown Posse, renaming themselves as Jamie Madrox & Monoxide of the demented duo & Astronomicon founders Twiztid. HaLFBrEEd disbanded in 2000 after kontamiNATION despite that becoming another horrorcore essential & Twiztid released their first 9 albums through hatchet, departing at the end of 2012 & forming their own label Majik Ninja Entertainment a decade ago already. Kicking off the Halloween festivities, the original lineup of The R.O.C. & Twiztid are returning for their 3rd proper LP.

After the intro, the first song “Sent Here to Take You” perfectly starts us off foreshadowing what’s to come with this aggressive opener detailing their schizophrenic tendencies whereas “Lifeline” take the cold blooded boom bap route instrumental, talking about stabbing muhfuckas. “Into Hell Face 1st” brings a rap rack vibe to the table asking y’all what it’s worth once you reach Hell’s Pit prior to “Mask, Playing Games” drearily getting on the Jason Voorhees tip lyrically.

“Make It Dark” returns to the boom bap bringing the dark to your life discussing if they could stab the entire world just before “Killing Machine” brings a bit of an industrial hip hop vibe to the beat so they can talk about being comatose numb with a mask butcher knife stabbing. “The Slaughter, The Carnage” continues to show the trio’s murderous tendencies leading into “Swim in Your Blood” dusty talking about being addicted to doing exactly that.

As for “Break Skin”, we have the House of Krazees offering a bit of a dark atmosphere instrumentally discussing the possibility of living forever & never dying again biting the cartilage while “Killer Hunter” hopped over more kicks and snares to talk about killin’ ‘em all. “The Basement” pushes towards the final moments of 31 by putting an uncanny spin on the traditional boom bap sound talking about how it’s up to you if that’s where you really wanna die & “Thorn” ends by making sure there’s nothing left off everyone they’re killing. The bonus track “Down the Street” dabbles with trap yelling in the streets in black hoodies & pumpkin masks.

If you ask me, I never really considered The Night They Came Home to be the final House of Krazees album up to this point & more of the unofficial debut album from HaLFBrEEd. That said: their 1st body of work since Head Trauma goes to show the pioneering wicked shit group’s longevity. The R.O.C.’s production takes it back to their roots & it’s the most wicked that I’ve heard Twiztid sound in a while, foreshadowing their upcoming album Welcome to Your Funeral produced by Rob Zombie’s engineer Zeuss by taking it back to where it all started.

Score: 4.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Diorvsyou – “Ashes” review

Atlanta, Georgia up-&-comer Diorvsyou releasing his full-length debut album. Coming up in 2021 off his debut EP Scoreboard, it wasn’t until I saw him open up for southsidesilhouette in Brooklyn the folllwing November where I was personally introduced to his music & I was actually impressed with his set. The next EP w.t.f.i.dvy? (who the fuck is diorvsyou?) marked a bigger breakthrough for him artistically & almost a year since Diorvsrxlvnd’s eponymous debut, Dior himself’s returning up from the Ashes.

“Long Time” is this rage-inducing open or acknowledging the fact that it’s been a while since we’ve heard from him & that’s how life goes sometimes whereas “SoFarGone” produced by PROJECT4PLAY & Zaan takes the psychedelic trap route instrumentally talking about everything being new. “WakeUpThumb” has a bit of a cloudy trap approach flexing his lifestyle just before the booming “Leisure” talks about being so high at the moment.

southsidesilhouette & Sk8star both join Dior on “ToThePlan” for a 3-headed monster of a trap heater produced by Y3rip & n9ck promising to come get you right if you talkin’ down leading into “African King” talks about having so much swag to the point where he doesn’t even know what he wants when hitting the stores anymore. “Fashion Forward” works in some hypertrap undertones to the beat boasting that none of the shit he puts on wax is fiction, but then the playful “Mudwash” talks about having too many options at his dispense.

“Prblms” featuring REEZY X brings the pair together over a regalia instrumental interpolating the classic JAY-Z single “99 Problems” while the inebriating atmosphere of “No Kap” featuring Sk8star talks about the fact that both of them are fly & they be makin’ this shit look ways. “:tf” featuring southsidesilhouette leaves hoes with the sad face explaining to them that’s not how shit goes for either one of them despite the horn-laced drill beat while the moody “Smash” boasts his wealth.

Meanwhile on “RacksIn”, we have Dior starting the final leg of Ashes on some cloudy trap shit talking about the racks coming in & cash going out while the otherworldly “Rated R” promises to let the 9 off if anyone ever tries to play with him. “X2” featuring Galactic Records signee tana turns the bass up high running an entire mile with Rick Owens boots on both of their feet & lastly, the closer “Toast” that Nosaint of Vanguard Music Group laced vibrantly ends Dior’s debut asking where his Day 1s are.

w.t.f.i.dvy? (who the fuck is diorvsyou?) showed quite a bit of potential in the 4evrrthumbin’ member & Ashes a year & a half later takes that same potential to newer heights. The guest-list is mostly consisting, there’s a lot more outside collaborators than there was on that previous EP as opposed to a single producer’s particular sound & Dior himself feels rejuvenated.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Tyler, The Creator – “Chromakopia” review

Ladera Heights emcee, singer/songwriter, producer, actor, visual artist, designer & comedian Tyler, The Creator releasing his 7th full-length studio LP on a Monday to start off the Halloween 2024 week. Blowing up about 15 years ago as the de facto leader of Odd Future, his evolution both artistically & personally since the collective’s disbandment in 2015 has truly been amongst the most fascinating ones I’ve ever witnessed in my lifetime going from the bratty edginess of Bastard & Goblin to the undeniable maturity & versatility shown on Flower Boy & Igor. T’s last album Call Me If You Get Lost happened to be his best lyrically and a year & a half after The Estate Sale EP, we’re now entering Chromakopia.

“St. Chroma” produced with Inflo introduces us to the titular character representing where Tyler’s at personally & artistically pulling from experimental hip hop, west coast hip hop, industrial hip hop, neo-soul & neo-psychedelia whereas “Rah Tah Tah” throws it back to the Cherry Bomb era instrumentally talking about how she ain’t ever meet anyone like him. “Noid” mixes experimental hip hop, psychedelic rock, west coast hip hop, zamrock, rap rock, neo-soul, hardcore hip hop, psychedelic soul & neo-psychedelia tackling themes of paranoia prior to “Darling, I” sampling “Vivrant Thing” by Q-Tip to talk about him continuing to fall in love.

As for “Hey Jane”, we have T over this calming beat imagining what it would be like if his romantic partner Jane got pregnant even though neither of them were anticipating the pregnancy just before the colorful “I Killed You” breaks free from external pressures, toxic relationships, or outdated versions of himself. “Judge Judy” breaks down the story of a fleeting relationship with a woman named Judy bringing a nostalgic summer atmosphere to the table just before “Sticky” featuring Glorilla, Lil Wayne & Sexyy Red flips “Get Buck” by Young Buck explaining how shit’s getting out here.

“Take Your Mask Off” hooks up these prominent synthesizers & pianos hoping listeners find themselves while “Tomorrow” goes for a minimal sound altogether addressing his fear of aging. “Thought I Was Dead” featuring ScHoolboy Q & additional mixing from Romil Hemnani fuses hardcore hip hop, west coast hip hop, experimental hip hop, industrial hip hop, aquacrunk, fanfare & grime for a boisterous manifesto of his mentality later addressing people criticizing him for what he said about Columbia Records labelmate Ian during his SpringHill interview although the mixed reception of Goodbye Horses proved his point.

The pianos that start “Like Him” ahead of the psychedelic influences kicking in during the other half are stunning feeling like he’s chasing a ghost & wanting to know if he looks like his father while “Balloon” featuring Doechii samples “I Wanna Rock (Boo Boo)” by 2 Live Crew leader Uncle Luke so they can air this bitch out since both of them are at the top of the room. “I Hope You Find Your Way Home” finishes Tyler’s 4th consecutive classic by talking about vulnerability, self-awareness & personal growth over more synths & pianos while the deluxe run’s sole bonus track “Mother” recalls stories of his mom.

Breaking his traditional 2-year cycle of releasing music, Chromakopia to me is pretty much a mature refinement of Cherry Bomb. The experimentation within his production ventures beyond west coast hip hop in favor of neo-soul, hardcore hip hop, synth-funk, neo-psychedelia, progressive soul, rap rock, zamrock, industrial hip hop, aquacrunk, fanfare & grime so he can battle with the shades of maturity as the once colorful glee of ambition & youth withers away with his maturity. His mother Bonita Smith’s advice throughout keeps Tyler’s “light” alive, guiding him through the greatest hurdles in adulthood.

Score: 4.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Tha God Fahim – “Tha Myth Who Never Quit 3” review

Tha God Fahim dumpin’ his 46th EP not even 48 hours after Tha Myth Who Never Quit 2. Starting as an affiliate of Griselda Records as well as 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. But dude has been on a CRAZY ass EP run in 2023 with the standouts being 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, Dump Gawd: Rhyme Pays produced by Mike Shabb, Tha Supreme Hoarder of All Pristine Wealth. Supreme Dump Legend: Soul Cook Saga produced by Cookin’ Soul & more recently Machine Gun Vocabulary produced by Cartune Beatz. It’s been 5 years since Tha Myth Who Never Quit & to hear a trilogy chapter was coming had me hoping it’d reach the bar that the predecessor from earlier in the week had set.

“Becareful What You Wish For” samples a woodwind to kick off Tha Myth Who Never Quit 3 telling everyone to be careful what they wish for because they just might get it whereas “Hyperbolic Time Chamber Rap” adds another victory to his winning streak over a raw boom bap instrumental. “Genki Dama” soulfully lets it known that the only way to come at him his correct while “Tha Deadzone” works in more kicks & snares making the ground break with his power level.

As for “A Lot on My Mind”, we have Fahim talking about this life shit being something going for a mellow boom bap vibe to the beat just before “100 Proof” drops new school jewels sampling soul music once again. “Absolute” hooks up some crooning vocals going all out & not because he grew up struggling, but then “It Ain’t Free” rawly yet atmospherically creates memories in the form of him dumpin’.

“Tha Legend Continues” pushes towards the final moments of the latest entry in Tha Myth Who Never Quit series crossing over chipmunk soul & boom bap warning that the studio isn’t a safe place whatsoever as soon as he steps in the booth & lastly, “Whippersnapper” finishes Breadrick Douglas’ 2nd body of work this week on the hardcore tip flexing no one can catch up with him & he’s etched in history.

3 albums in a whole month & I came away from Tha Myth Who Never Quit 3 enjoying it almost as much as Tha Myth Who Never Quit 2 since it reached my expectations, maybe a tad bit more since they’re both neck-&-neck for Fahim’s best offering of 2024. Nicholas Craven’s soul-heavy boom bap production matched with the hungry lyricism from the previous chapters are carried over & elevated even further.

Score: 4.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Rejjie Snow – “Peace 2 da World” review

Here we have the 3rd full-length studio LP from Dublin, Ireland emcee & singer/songwriter Rejjie Snow. Starting out a little over a decade ago, he went on to release the debut EP Rejovich and the debut mixtape The Moon & You ahead of the acclaimed 300 Entertainment-backed debut album Dear Annie. The sophomore effort Baw Baw Black Sheep was more moderately received in comparison & had interest in where Rejjie was gonna take it on Peace 2 da World.

“Africa” happens to be this 1-minute jazz rap opener saluting Mother Earth whereas “Karen” takes the luxurious boom bap route instrumentally referring to a middle-class woman perceived to be entitled or excessively demanding. The title track calmly advises everyone to not choose violence leading into the mellowly dusty “Tokyo Drift” addressing someone he thought came to party.

In regards to “Peekaboo”, we have Rejjie stripping the drums altogether melodically professing his love to his partner just before “I’m Yours” continuing the themes of romance offering more of a dancehall flare this time around. “Rio de Janeiro” is a pen-pal letter in the form of this dedication to the the titular Brazilian city, but then “Monkey in the Room” works in some background vocals talking about the pressure weighing on him heavy.

“Flight to Brazil” heads for trap territory playfully addressing his favorite woman while “Poofy Leaves” goes drumless again getting in tune with nature now it’s fall. “Mask On, Off” tells everyone to jump out the way & this ain’t propagated while “Grandma’s Hands” returns to the boom bap remembering his grandmother. “Snow White” closes Peace 2 da World praising the reasons for his looks over a vintage sample.

Since he’s a nomadic person, this album as a whole is a representative soundtrack to those days & the places Rejjie Snow has roamed in addition to themes of self-discovery & slowing down to focus on the important things in life. Speaking to his favorite person in the world & marking the very first time he’s made something for someone specifically, it improves on Baw Baw Black Sheep by forcing honor & challenge upon himself in ways he’s never done up until this point in his career.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!