King Kong Bundyy – “Tales from Castle” review

This is the 3rd EP from Spring Valley, New York emcee King Kong Bundyy. Originally starting off under the moniker G-Field, he would put out 2 mixtapes Street Credibility & Bail Money before Benny the Butcher signed him to his ever-growing indie label Black Soprano Family Records for his 2019 debut EP Living Life Bundyy. A follow-up EP The Lost Files happened to be unearthed by B$F last Black Friday & now that the 1-year anniversary of the predecessor coming next month, Bundyy’s returning a week after the 4th quarter of 2024 began so he can tell some Tales from Castle.

After the “Heavyweight” intro, the “Where Was You At?“ remix featuring Funch the Camden Kid truly starts the EP with both artists over a piano-trap beat talking about almost giving up wanting to know where the homies were at their lowest whereas “Do or Die” featuring SuperChilly takes a cloudier approach instrumentally asking nothing more than trust. “Gotta Get Mine” works in a soulful boom bap beat to put his life on the line taking risks while “Mozart’s Keys” grittily talks staying in the trap since it doesn’t get boring. “Kan’t Sleep” ends the Tales from Castle soulfully discussing being unable to sleep these days.

Living Life Bundyy & The Lost Files are both good places to start for any B$F fan who has yet to familiarize themselves with King Kong Bundyy, but I’d recommend Tales from Castle since you get a better idea as to who he is & where he comes from in to addition to him artistically himself to a new level. Even if both of the features are ok, the Spring Valley artist gives the listeners a glimpse of the personal experiences that’s he’s had on Castle Avenue with the production healthily balancing the boom bap & trap sounds.

Score: 3.5/5

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

Tha God Fahim – “Machine Gun Vocabulary” review

I’m pretty sure this is the 23rd full-length studio LP from Tha God Fahim. 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 4, the Oh No-produced Berserko, Fahim’s last EP Dump Gawd: Rhyme Pays produced by Mike Shabb, Tha Supreme Hoarder of All Pristine Wealth & more recently Supreme Dump Legend: Soul Cook Saga produced by Cookin’ Soul from a few weeks ago. Dump Goat II mixed 9 new songs with 10 previously released joints & some of the guests on Machine Gun Vocabulary produced by Cartune Beatz caught my attention.

The title track starts with a reversed sample mixed with kicks & snares so he can gut & filet all these MCs who wanna battle him whereas “Volatile Vernacular” featuring RJ Payne works in another boom bap instrumental talking about haters meeting all types of death. “Detonate” hooks up some ghostly sampling flexing that his name rings bells like Biggie kickin’ in the door until the piano-driven “Prolific Pen” featuring Cormega finds the 2 talking about their superiority in the long-awaited collab.

“Brilliance” grittily promises this as the start of something big & major leading into the hardcore “Audible Ammunition” featuring Skyzoo talking about nothing controlling them. “What You Wanna Say” featuring Lørd Skø jazzily finds the new poor Lørd Jeff Hardy & the Dump Gawd giving Stone Cold Stunners, but then ”Prove & Show” returns to the boom bap talking not slowing down because he has a family to feed. “Cleanse” nears the end of the album comparing himself to Errol Spence Jr. & “Damages” finishes up with 1 last dusty track maintaining a winning streak.

For this being the 3rd LP of Fahim’s to come out this year, I’d put Machine Gun Vocabulary above Dump Goat II & behind Supreme Dump Legend: Soul Cook Saga. Cartune Beatz’ boom bap production is incredibly consistent over the course of the 27 minute listening experience & even if it’s not a surprise that all the guests killed it with their contributions, the Dump God makes it all live up to the name comparing his lexicon to that of an SMG.

Score: 4.5/5

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

Bizarre – “He Got a Gun 4” review

Detroit emcee Bizarre returning for his 8th solo LP & the 4th installment of the He Got a Gun series in time for the Halloween season. Emerging as an original member of the now defunct D12 led by the late Proof, he was also among the first in the crew to put out solo efforts with his 1998 debut EP Attack of the Weirdosbeing a hometown classic in my eyes. Fast forward 7 years later, Biz followed it up with a worthy full-length debut Hannicap Circus & has continued to put out music on his own since, with the last time we heard him being his 11th mixtape 18159 Stout during the first quarter or the year. The Foul Mouth-produced He Got a Gun as well as it’s it’s sequel & the predecessor Art Peace revitalized himself for all the doubters, so them coming off “Antichrist” on Eminem’s latest album THE DƎATH OF SLIM SHADY (COUP DE GRÂCE) with He Got a Gun 4 was definitely the best move.

“Jump Out There” starts by aggressively boasting the fact he’s more hood than everyone else going on a Rampage similarly to Busta Rhymes’ cousin whereas “Grew Up a Savage” works in some kicks, snares & a spacious backdrop talking about growing up in the wilder side of the city. “Rufus” gives off a morbid atmosphere instrumentally detailing his lifestyle while “B.M.T.” hooks up a drumless soul sample to smoke weed & chill out after a stressful day.

Moving on with “1 Way”, we have Foul taking it back towards a boom bap direction advising to watch how you speak to him since he’s a boss leading into “Dear Diary” heads for a personal approach lyrically getting all the shit that he’s been going through since we last heard from him earlier this summer off his chest. “Mother’s House” featuring Lokye has this delicately raw vibe to the beat allowing both of them to daydream, but then “King of Detroit” featuring J-Nutty finds the pair reppin’ their city.

“Rat Bitch” featuring Big Jiggs gets the other half of the LP rollin’ breaking down Bizarre’s preference in women & Jiggs solidly portraying the titular role for her verse while “Let’s Go” marks a return of the Peter S. Bizarre alter ego over these infernal piano chords. “Jeeter” is a whole stoner’s anthem with some playful sampling throughout 130 seconds while “Grim Reaper” featuring Speak of the Devil dustily tells us who the drug dealer & crypt-keeper are in debt to.

Bub Rock & Kain Cole both join Bizarre on “God Speed” luxuriously giving y’all what you need instead of what y’all want reassuring slow motion better than no motion while “Flexin’ on Your Hoes” featuring Bruiser Wolf nears the end of the LP slickly getting in their pimp bags. The outro featuring Marv Won & Max Hilli concludes the latest entry of the He Got a Gun saga in the form of this lethal rap rock song looking to body those who wanna battle them.

This & all 3 of it’s predecessors stylistically are very much reminiscent to the final minute of “Antichrist” so if you loved it when shit got scary during Bizarre’s verse on that track, you’re probably gonna enjoy the entire tetralogy that revitalized the Idiotic Kidd’s passion for the game since all 4 installments maintain the classic level Attack of the Weirdos & Hannicap Circus already achieved. 2 & a half years later, Foul Mouth’s boom bap production & Bizzy’s hardcore lyricism excellently compliment each other as they continue to elevate their chemistry.

Score: 4.5/5

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

Pro Dillinger – “Dirtwave” review

Haverstraw, New York emcee Pro Dillinger surprise-releasing his 7th studio LP. A member of the Umbrella collective as well as 1/2 of The Steiner Brothers, he has released a total of 5 mixtapes along with his last 5 albums & even 7 EPs. Favorites include the Finn-produced debut Pray for My Prey, the Machacha-produced Dirt Don’t Hurt, his 3rd EP MOSFoul, the Sting vs. Flair collab EP with Mickey Diamond & the Steiner Brothers’ eponymous debut. Dirty Work celebrated it’s 1-year anniversary earlier this summer & the dirtiest of the Umbrella brought Sean Kelly back to handle production for Reasonable Dirt much like Forever Foul, but is coming off the Don’t Feed the Animal EP by enlisting Futurewave for the highly anticipated Dirtwave.

“Still Here” is this soulful opener with Pro talking about everyone tryna rap out here actin’ weird in addition to there being a difference between men & mice whereas “Summer Smoke” takes the boom bap route instrumentally wantin’ it all & mobbin’ out. “Gun Play” maintains a dusty vibe altogether to talk about being strapped prior to “Magic” hopping over more perfectly crafted boom bap production flexing that he had to throw away his old bitch & not to fuck with him.

Daniel Son appears on “No Loyalty” to angrily call out everyone in the streets who’re disloyal just before “Target Him” featuring Blakkito spaciously makes it clear you ain’t dirt if you ain’t down with the gang. “Flower” gives off a magical boom bap edge showing his love for the Bonnie to his Clyde while “Back Home” by The Steiner Brothers talks about elevating over kicks, snares & a soul sample. “Say So” rightfully asserting Dirtwave’s masterpiece status & “Power Trippin’” ends it by discussing counting differently.

I’ve given Futurewave his props for being one of the greatest underground producers in recent memory plenty of times before & as I had expected, Dirtwave here has now surpassed Pray for My Prey in becoming my favorite body of work in Pro Dillinger’s discography. The production is as perfectly consistent as the previously mentioned debut if not taken to newer heights, I like that they’re only 3 guests & the Haverstraw lyricist himself goes harder than he did on his last 2 offerings.

Score: 4.5/5

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

Daniel Son – “Hare Brained Schemes” review

Here we have the 8th proper full-length solo LP from Toronto, Ontario, Canada emcee Daniel Son. A member of the Brown Bag Money collective, his profile began to rapidly increase in the underground off projects like the Giallo Point-produced debut mixtape The Gunners or the Futurewave-produced sophomore album Yenaldooshi. He just teamed up with Raz Fresco this spring for the spectacular collab album Northside paying homage to the roots of the Toronto hip hop scene & a few months after reuniting with Futurewave for the first time since Son Tzu & the Wav.God on Bushman Bodega over the summer, he & Finn are linking up for Hare Brained Schemes.

“Femoral” is this grungy boom bap opener talking about turning flesh into ice since he’s so cold & people wasting time like they have extra lives whereas “Missing Teeth” gives off a jazzier approach instrumentally applying pressure on everyone’s necks with their feet for deep pockets. “Capital Gains” featuring Pro Dillinger maintains a jazzy boom bap flare cautioning to recognize before they reck their lives, but then “Dance of the Drunken Mantis” briefly expresses his desire to be a Bush Doctor Millionaire.

As for “Clicqout Fountains”, we have Daniel hopping over a soulful beat boasting at the main pot to piss in was shitting on the competition leading into “Courtleigh Chemist” regularly talking about not changing shit if he were to do it all over again. “Chalk Brothers” featuring Lord Juco mixes the exuberant with the raw bodying shit together while “Iron Leash” featuring Family Gang Black finds the 2 grittily translating their pain into passion now that their music rocking overseas.

“Talon Claw” starts the final leg of the LP talking about cooking as if he was a French chef in the ‘60s while “Call Me” drumlessly reaffirms that he’ll go down as a legend when it’s all said & done saying it’s the dope everyone needs. “Sharing Needles” featuring Mooch returns to the boom bap catching the big sharks since neither one of them want to meet their demise struggling & “Fall Breeze” closes Hare Brained Schemes in the form of a dedication of those who have to stay home on the weekends because they can’t afford a sitter.

Dirty Dishes has always stood out to me as one of my favorite Daniel Son projects much like everything he & Futurewave have done with one another in the past, so that was more than enough to have me anticipating the follow up here & they sure as Hell delivered. Finn’s production here is some of the best that I’ve heard from him in a while, the features all match Daniel’s energy & the BBM standout himself lyrically keeps the same energy from the other 2 acclaimed projects I’ve covered from him this year.

Score: 4.5/5

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

DJ Hoppa & Johnny Slash – “Shadows in Sound” review

This is a brand new collaborative LP between Panorama City deejay & producer DJ Hoppa as well as Long Beach, California producer Johnny Slash. One of whom I became a fan of during my high school years after becoming an in-house DJ/producer for Funk Volume during their heyday & the other I first heard of when G-Mo Skee freestyles over a few of his instrumentals at the end of his gaming streams. K.A.A.N. just dropped 2 back-to-back albums produced by Hoppa over the summer Delusions of Grandeur & In Due Time maintaining the acclaim of some of his more recent output, but hearing Hoppa & Slash coming together for Shadows in Sound was interesting as someone who respects both producers’ artistries.

“Damn!” by Kail Problems is this dusty boom bap opener talking about being raised rugged in a city full of broad day muggers whereas “Microdose” by Wrekonize stands as one of my favorite tracks here working in more kicks & snares realizing that he’s definitely high taking more than what was supposed to be a minimal amount. “Lost!” by K.A.A.N. proves to be another highlight keeping it boom bap & the Maryland chopper setting a heinous tone lyrically just before “Funeral Pyre” by Body Bag Ben takes it further down the basement warning that the dysfunctionalists will leave y’all in permanent tourniquets.

The instrumental on “Bullsh!t” by Marley B. kinda radiates this funky boom bap vibe to it airing out all the cap that comes his way leading into “Smoke 1st” by Coast LaContro having a bit of a jazz rap influence so Coast can provide a banger for all the smoker’s out there. “Aim” by Cole Z hooks the kicks & snares up once again cautioning that he’s got the guns blazing when he’s out here working, but then the gorgeous sampling throughout “Can’t Save Me” by Rollen Poole finds him talking about them saying he’s out his mind.

“Protect the Innocent” by Seuss Mace nears the conclusion of Shadows in Sound by layering this synth/boom bap hybrid with conscious lyricism pleading for a safer tomorrow for our children to start today & the grisly “Code Red” by Big Renz properly closes out what is set to be a promising series of collaboration efforts from DJ Hoppa & Johnny Slash coming back to work after going rogue for a month as if he never had to leave in the first place.

If you highly enjoy what both of these guys have to offer behind the boards killing it for quite some time individually as west coast bred boom bap producers & they come together for a pretty solid collaborative effort. Their production over the course of 27 minutes is absolutely flawless with the guests ranging from established veterans like Wrekonize & K.A.A.N. to up-&-comers like Seuss Mace or Broken Complex Records signees Kail Problems & Marley B., both of whom dropped a collab EP earlier this summer.

Score: 3.5/5

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

CunninLynguists – “The Heartstring Theory” review

Lexington, Kentucky underground veterans the CunninLynguists returning 7 years after their 6th studio album Rose Azura Njano to drop a brand new EP of material through Old Soul Music. Consisting of Deacon the Villain as well as Natti & Kno, the trio have had several classics under their belt for over 2 decades including their full-length debut Will Rap for Food or more specifically their 3rd LP A Piece of Strange & the follow-up Dirty Acres. And with L’Orange’s newly formed indie label gradually growing in the past year or so, The Heartstring Theory was certain to be a welcoming debut for the trio.

“Forever” is synth-driven boom bap opener to the EP with the trio Finding Forever similarly to how Common did 17 years back whereas “When Your World Falls Apart” hooks up some jazz rap influences talking about doing what you can do it seems like everything’s starting to crash down on you acknowledging that it isn’t an easy thing got some. “Fading (Clock Struck 5)” starts the 2nd leg of the EP with a groovy instrumental finding them addressing their romantic interests & “Wasted (Cloud 92)” featuring Kelly Moonstone ends on the soulful boom bap tip talking about being really fucked up with their boos.

These guys have maintained a tightly stellar discography in the span of 24 years & even when they take 6-7 years off like they did when you look at the time gap between their last couple projects, they still keep giving great results. Kno’s production other than throwing some synthesizers in the equation to get the gears turning brings together elements of boom bap, jazz rap & soul music tackling themes of romance adding a hint of conscious in too.

Score: 4/5

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

Godspeed You! Black Emperor – “No Title as of 13 February 2024 28,340 Dead” review

Godspeed You! Black Emperor is a highly revered post-rock band from Montréal, Québec, Canada consisting of guitarist/keyboardist Efrim Menuck, bassist Mauro Pezzente, guitarist Mike Moya, bassist Thierry Amar, guitarist David Bryant, drummer/percussionist Aidan Girt, violinist Sophie Trudeau, film projector Karl Lemieux, drummer/percussionist Timothy Herzog & film projector Philippe Léonard. Their debut album F♯A♯∞ & more specifically the sophomore effort Lift Yr. Skinny Fists Like Antennas to Heaven! would become landmarks in experimental rock subgenre, disbanding for a period of time after Yanqui U.X.O. came out. They returned a decade later with ‘Allelujah! Don’t Bend! Ascend! & ‘Asunder, Sweet & Other Distress’ during my high school years followed by Luciferian Towers & G_d’s Pee at State’s End!. 3 years after the latter, GY!BE’s returning for their 8th full-length studio LP.

“Sun Is a Hole Sun Is Vapors” starts us off by taking the post-rock sound that the band is known for & fusing it with chamber music for roughly 5 & a half minutes whereas “Baby’s in a Thundercloud” epically continues to put an emphasis on timbre, texture & atmosphere over traditional conventions while often embracing Western Classical influences further. “Raindrops Cast in Lear” is another excellent chamber/post-rock hybrid to finish the LP’s first half while “Broken Spires at Dead Kapital” could be my least favorite track here although I appreciate the drone-spin on Western Classical music. “Pale Spectator Takes Photographs” primarily builds itself around these stellar, tension-raising guitars & “Grey Rubble – Green Shoots” finishes with an outstandingly melancholic post-rock/chamber music single.

Inspired by the ongoing war between Israel & Hamas that officially began a year ago this upcoming weekend, what the post-rock titans get across during the 6 track/55 minute listening experience is the old world order hardly claimed to care & this new century will be even crueler. Needless to say, it culminates in calling for everyone everyone to hold on & not give up by choosing your side in the conflict naming itself after the amount of people who’ve lost their lives 4 months after it all started since recording began during the winter of bombs. They take everything that made G_d’s Pee at State’s End! enjoyable minus the field recordings & channel their frustrations with Israeli/Palestinian conflict.

Score: 4.5/5

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

Rome Streetz – “Hatton Garden Holdup” review

New York lyricist Rome Streetz enlisting Daringer for his 9th studio LP. Emerging in 2016 off his debut mixtape I Been Thru Mad Shit, this was followed up by a plethora of projects with the most notable being the Noise Kandy tetralogy & Headcrack. These past couple years however we’re probably his biggest ones yet, as he dropped some of the best work of his career from the DJ Muggs-produced Death & the Magician or the Futurewave-produced Razor’s Edge to the Ransom-assisted collab effort Coup de Grâce & the Griselda Records deal that followed. His debut with the Buffalo powerhouse Kiss the Ring alongside the Big Ghost Ltd.-produced Wasn’t Built in a Day both made the top 10 spots of my last couple Best Of lists & I had no doubt Hatton Garden Holdup would do the same coming off the 5th & final installment of the Noise Kandy series.

“Ace of Base” starts us off by stripping the drums completely detailing his expertise in the drug game whereas “Starbvxkz” takes the boom bap route instrumentally talking about this shit being a cakewalk to him. “Sage” featuring ScHoolboy Q finds the 2 linking up so they can coldly talk about being married to the game leading into “Drive By” going drumless again providing the theme music to firing a weapon from within a motor vehicle & then fleeing.

Meyhem Lauren joins Rome on “Cadillac Smoke” working in some kicks, snares & even a vibraphone leaving everyone in the morgue frozen every time they hop on the mic just before “100 Schemes” maintains a gritty boom bap flare cautioning to not let anyone fuck you over in this industry, but then “Spike” samples are off music once again dissing those who’ve been at the same spot for so damn long.

“Pro Tro” featuring Conway the Machine brings the kicks & snares back in the equation flexing that both of them were destined to score while “Weight of the World” featuring Cormega finds the 2 dustily raising Hell in the midst of being on a paper trail. “Jimi’s Headband” eerily talks being an amazing artist that started out as a Street Fighter while “SpaceX” named after the space technology company founded by Tesla CEO, Neuralink co-founder & Twitter owner Elon Musk aggressively declares himself a champ like WWE Hall of Famer, former 6-time WWE Champion, 2-time WWE Intercontinental Champion, 2-time WWE United States Champion, 5-time WWE Tag Team Champion & NWA World Tag Team Champion Stone Cold Steve Austin.

The track “Reap What You Sow” pushes towards the conclusion of Hatton Garden Holdup boasting that his money so big to the point where he can’t fold it on top of seeing shit that made his heart freeze as a result of him never selling his soul with the tons of dope during his street days & finally, “Heavy Traffic” finishes Rome’s masterpiece by hopping over 1 more boom bap beat to paint images of the gangsta lifestyle.

Most people who’ve been keeping up with me throughout of the year probably know I have Benny the Butcher’s latest Def Jam debut Everybody Can’t Go as my favorite album of 2024 & as I had expected, Hatton Garden Holdup surpasses. From the perfectly articulate lyricism that Rome Streetz is known for to Daringer’s signature production & the high-profile guests, all 3 factors combined make for a perfect 42 minute listening experience.

Score: 5/5

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

The Smile – “Cutouts” review

The Smile is an art rock trio from Oxfordshire, United Kingdom consisting of drummer Tom Skinner, guitarist/bassist Jonny Greenwood & frontman Thom Yorke. Forming in 2020 during the COVID-19 pandemic & signing to XL Recordings on the spot, they made their debut in the spring of 2022 with the well received A Light for Attracting Attention showing additional influences of post-punk, chamber pop, art pop, math rock, jazz-rock & krautrock. The sophomore effort Wall of Eyes at the beginning of the year primarily based itself around art rock, post-rock krautrock, neo-psychedelia & ambient pop continuing the acclaim & are looking to start the final quarter of 2024 the way they ended the first month of it for their 3rd album.

“Foreign Spies” is this ambient pop/progressive electronic opener with Thom singing about it’s a beautiful world paved with gold & people grabbing kitchen knives every time our backs are turned whereas “Instant Psalm” works in some acoustics & even these orchestral elements towards the backend of it discussing the many forms of emptiness. “0 Sum” draws inspiration from art punk, dance-punk, math rock, krautrock & mutant disco referring to overconfidence as a red flag prior to “Colours Fly” talking about how you can change your mind over art rock instrumentation.

We have The Smile passionately on the verge of completing a transformation beginning all this all over again on “Eyes & Mouth” finishing the first leg of Cutouts just before “Don’t Get Me Started” brings ambient pop, neo-psychedelia, indietronica, dub, progressive electronic & dub techno all together making it clear that your force ain’t shit. “Tiptoe” refers to themselves as baggage with no label over an ambient pop beat leading into “The Slip” blending indie rock, indietronica, post-punk, post-rock, art rock & krautrock referencing climate change, nuclear war, political disillusionment & the impact of world leaders on Earth itself.

“No Words” nears the final moments of the LP singing about joining the dots & coloring in aroad that’s paved with good intentions over a shredding guitar with a somewhat funky vibe to it while “Bodies Laughing” finishes the band’s 3rd consecutive classic unearthing a track dating all the way back to 1995 & almost made the final cut of In Rainbows, which happens to be my 3rd favorite Radiohead album behind OK Computer& Kid A personally fusing art rock with psychedelic folk & bossa nova music.

Created around the same time frame as Wall of Eyes, this is noticeably more challenging than it’s predecessor prioritizing atmosphere over conventional songwriting & it makes for interesting results a lot like just about everything The Smile has done in almost half a decade. They show more versatility than they did back in January staying rooted in their signature art rock sound additionally pulling from jazz-rock, art punk, dance-punk, math rock, mutant disco, ambient pop, dub, progressive electronic, dub techno, indie rock, indietronica, post-punk, post-rock, krautrock, neo-psychedelia, indietronica, dub, progressive electronic & dub techno psychedelic folk & bossa nova.

Score: 4.5/5

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