Katy Perry – “143” review

Katy Perry is a 39 year old singer/songwriter & television personality from Santa Barbara, California who started in 2001 by releasing a Christian rock album under her birth name Katy Hudson. She later signed to Capitol Records for the sophomore effort One of the Boys & 3rd album Teenage Dream launched Katy into international superstardom. PRISM, Witness & Smile were all released to mixed reception & some of the singles building up the Unsub Records founder’s 7th LP here had me interested.

“Woman’s World” starts with what is easily one of the worst songs that I’ve heard all year uglily mutating dance-pop, synthpop, synthwave & hi-NRG despite the themes of female empowerment whereas the poppy trap duet “Gimme Gimme” featuring 21 Savage finds the 2 getting lustful. “Gorgeous” featuring Kim Petras gives off an electro dance-pop flare shouting out the girlies for looking stunning just before “I’m His, He’s Mine” featuring Doechii works in elements of pop rap, Atlanta bass, contemporary R&B & trap getting possessive towards their lovers.

Meanwhile on “Crush”, we have Katy singing over a house beat about falling in love leading into “Lifetimes” going dance-pop, garage house, diva house, Euro House & future house paying tribute to her daughter Daisy. “All the Love” maintains the house vibes instrumentally accepting that love wasn’t for her until Daisy came into her life prior to “Nirvana” expressing Katy’s desire to be taken to a spiritual place of perfect peace & happiness through her current partner through sexual intimacy.

“Artificial” featuring J.I.D nears the conclusion of 143 in the form of this dance-pop/pop rap hybrid wanting to know who’ll save them from losing their minds while the song “Truth” demands transparency within a relationship even if it hurts her over an atmospheric trap beat & I can definitely tell that she’s referring to Russell Brand. The closer “Wonder” ends the album the eponymous wonder in everything no matter the age & no matter the circumstances that the wonder finds itself in.

Starting the deluxe run, “I Woke Up” is this happy go-lucky dance pop tune singing about having another day not doing the relatable theme of life not being promised any justice while “Has a Heart” tries way too hard to preach it’s message to the world of sharing the prospect of love to one another. “No Tears for New Year’s” embraces a synth-pop vibe refusing to let anyone cry soon as New Year’s Day begins & the final bonus track “OK” finishes by remaining optimistic ahead of the 2024 presidential election.

It’s crazy to think that the same woman who had damn near every single song on her major label sophomore effort like “California Gurls” featuring WWE Hall of Famer Snoop Dogg or even “E.T.” featuring Ye formerly known as Kanye West has now given us what many including myself are now regarding as the worst body of work in her entire discography. I have no doubts that she wrote it from a sincere place since it’s named after what she calls her angel number, the biggest flaw here is the production playing catch-up to the dance party trends.

Score: 1/5

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Jamie xx – “In Waves” review

Jamie xx is a 35 year old musician, DJ, producer & remixer from London, England, United Kingdom notable for being 1/3 of The xx or producing the title track off Drake’s best full-length album Take Care. He even put out a critically acclaimed solo debut In Colour during the summer of 2015 shortly after I graduated high school prominently based around UK bass with elements of future garage, deep house, downtempo & alt-pop included additionally. However, he’s FINALLY returning for a sophomore effort.

“Wanna” is this calming instrumental opener that rightfully sets the tone whereas the 2nd single “Treat Each Other Right” pulls from future garage, UK bass, progressive breaks & chipmunk soul talking about how that’s all we gotta do. “Waited All Night” by Oliver Sim & Romy maintains the future garage & progressive breaks elements throwing a hint of alternative R&B in the mix prior to “Baddy in the Floor” featuring additional vocals provided by Honey Dijon dabbles with garage house, funky house, speed garage & French house telling the baddies to let loose on the dance floor.

The fusion of future garage, UK bass, alternative R&B, neo-psychedelia, Atlanta bass & deconstructed club on “Dafodil” only remembering the lovely sweetness in the air after being with a beautiful female in London for the night while “Still Summer” serves as another instrumental piece for you to play during the final moments of summer itself. “Life” by Robyn borrows from funky house, Latin house, dance-pop & ballroom singing about her man making her feel alive just before “The Feeling I Get From You” lives up to it’s name by incorporating a warmer atmosphere.

“Breather” starts the final leg of In Waves with this epic 6 & a half minute kinda giving off a progressive house vibe while “All You Children” produced with The Avalanches celebrates the joy of community, connection & the transformative power of dance through tech house, melodic house & melodic techno. After the “Every Single Weekend” interlude, “Falling Together” featuring Oona Doherty on spoken word ends with what’s actually the song “Pale Blue Dancer” teased at Coachella almost 2 & a half years ago.

The deluxe run begins with Erykah Badu getting on the house-driven “F.U.” talking about being in the club calling for all the laddies & the brothers to get wild while the repetitive “It’s So Good” was a loose from last January fusing UK funky, funk brasileiro & IDM. “Do Something” dabbles with New Orleans bounce a bit while “Let’s Do It Again” crosses over in favor of progressive house, funky house, future garage & melodic house. “Kill Dem” ends the collection of bonus tracks returning to a UK funky sound 1 more time removing the funk brasileiro & IDM undertones in favor of ragga & stutter house

Almost a decade after his debut solo masterpiece, we get a melancholy paradise of bliss alongside heartbreak & introspection that eclipsed the heights of its predecessor somehow making all supernatural adjectives & analogies seem understated. He replicates the emotional crescendos & thrilling volatility of an almost mystical night out telling the story of a journey where you merge into the divine pulse of shadows, light & dance floor rhythms or a strobe light epiphany about the illimitable possibilities & spiritual capacities of humanity.

Score: 4.5/5

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O.T. the Real – “Cost of Living” review

Philadelphia emcee O.T. the Real following up Moving Base O.T.’s eponymous debut in the form of his 8th EP. Getting his start in the underground back in 2016 after coming home from prison & dropping his debut single “Papercuts”, his profile began to grow from there after showcasing his skills on radio stations or dropping 7 albums as well as a mixtape & his last 7 EPs. My favorites being the Heatmakerz-produced 3rd EP The Irishman& the DJ Green Lantern-produced 3rd album Broken Glass that dropped on my 25th birthday & the Statik Selektah produced Maxed Out. No Matter What, Desperation of December, It’s Almost Over & Red Summer were all hit or miss for me until O.T. finally signed to Black Soprano Family Records & enlisted araabMUZIK for Zombie to critical acclaim. Prepare for War & Pale Horse were ok, but Nickel Plated producing Cost of Living happened to peak my interest.

“Kicked” begins by hopping on top of this eerie boom bap instrumental putting listeners on game teaching that there are only 3 types of people in this world whereas “Mahomes” works in more kicks & snares with eerie piano chords referencing the titular Kansas City Chiefs quarterback. “Eminem” morbidly talks about having a white girl in the trunk much like the titular Detroit icon’s now deceased alter ego Slim Shady just before “Footstep” declares putting his trust in the scales over bitches.

Finishing the Cost of Living’s first leg, “Blow” ruggedly suggests getting rid of the cocaine while “Yet” starts the other half talking about how you can’t be out here drawing if you wanna keep continuing to win in the streets. After the “241” skit, “Naked” pays homage to those who never made it or never saved it when they had it while “Bridesburg” represents the titular neighborhood in his hometown. “Amputate” closes the EP cautioning that hoodie season’s coming over pianos.

Zombie was the most I’ve enjoyed a project from O.T. in nearly 2 years, the Moving Base O.T. album from a few months ago showed us the duo’s tightly raw chemistry & now this 10 track EP running at almost 19 minutes joins the latter 2 in further redeeming O.T. some of the more lackluster offerings he’s has given us in the last year & a half. Nickel Plated gets a chance to shine by cooking up a consistent batch of beats for the Philly lyricist to body.

Score: 4/5

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Alemeda – “FUCK IT” review

Alemeda is a 24 year old Sudanese-Ethiopian singer/songwriter from Phoenix, Arizona who became inspired to make music after watching the High School Musical trilogy as a heavy Disney pop-punk kid growing up. However, it wasn’t until her feature on the Hit-Boy produced highlight “Fallacy” off Ab-Soul’s 5th album Herbert at the end of 2022 were many including myself first caught onto her. Almost 22 months later, she’s celebrating her new joint deal with Top Dawg Entertainment & Warner Records by releasing her debut EP.

“I hate your face” starts on the groovy R&B tip singing that she wants to speak to whoever raised these ignorant, uneducated haters whereas “Don’t Call Me” takes the alternative rock route telling an ex of hers that she made his problems important to her & not to contact her. “Guy’s Girl” comes to the realization that the guy she used to see won’t ever change over a pop rock instrumental, but then the rock/R&B crossover “I already dug your grave” asks if he regrets the things he’s done when he’s alone.

To kick off the other half of FUCK IT, “1st Love Song” fuses pop rock with post-punk revival & bedroom pop admitting she was pissed on the evening of her partner’s birthday while “Gonna Bleach My Eyebrows” swaps out the pop rock & post-punk revival influences in favor of 2-step & alternative R&B talking about being a new artist with a new style. Below the Belt” feels young as she’s ever been & old enough to know this individual never really gave her a chance over warm guitar shredding & “Not Asking for Much” is a down-tuned closer needing some summertime.

If any of you enjoyed the “Fallacy” feature like I did & have yet to check out Alemeda’s own discography, this EP is the truest expression of who she is artistically & personally. She makes her case as the newest welcoming addition of the TDE roster letting go of what doesn’t serve her & embracing the chaos and beauty of being unapologetically real through the styles of contemporary R&B, alternative rock, pop rock, post-punk revival, alternative R&B & 2-step.

Score: 3.5/5

Blu & Exile – “Love (the) Ominous World” review

One of the most well regarded Los Angeles, California hip hop duo Blu & Exile are back for the 4th album in their discography. Their 2007 full-length debut Below the Heavens: In Hell Happy with Your New Imaginary Friend is rightfully considered by many to be one of the best hip hop albums to come out within the past 15 years, receiving a nod on “Radio” off Vince Staples’ final Def Jam Recordings album Dark Times a few months ago. They went on to release a follow-up in 2011 with Give Me My Flowers While I Can Smell Them as well as the 2017 rarities compilation In the Beginning: Before the Heavens & the previous LP in the B&E canon Miles: From an Interlude Called Lifeserved as their last to be distributed by Fat Beats Records. 4 years later, Dirty Science Records is now joining forces with Soulspazm Records to help put out Love (the) Ominous World.

“Hello L.A.” perfectly begins sampling soul music talking about life in south central whereas “Undisputed” takes the boom bap route instrumentally going for a hardcore approach from a lyrical angle on top of it. “Smack” featuring Fashawn is this dusty jazz rap collab leaving muhfuckas on the curb mumbling their last words, but then “Homies” featuring Cashus King & Pistol McFly serves as a soulful dedication to their dogs & their squad.

Moving on from there with “Sugaz & Buttaz”, we have Blu & Exile joined by Rae Khalil for a summery ballad about missing the lovin’ from their respective partners in life just before “Gold” returns to the boom bap refusin’ to take a break since he got all his chains on looking to stay fly. “Chucks” featuring Kurupt & KXNG CROOKED ruggedly serves as an ode to their Converse Chuck Taylor All Star sneakers leading into “Suge” aggressively expressing his frustration with some of these dudes acting like bitches.

“Ominous World” featuring RBX finds them keeping it in the basement sonically taking us on a journey through the shadows of the trenches while the song “Precipitation” brings another soul flip to the table talking about rain being good for the health every now & then. The penultimate track “Valley of Kings” strips the drums completely talking about the possibility of having to do it all over again & lastly, Emanon joins Blu & Exile for “Love is Blu” to end the 4th classic B&E album talking about love being here over a jazzy boom bap beat.

Every single project these 2 have done with one another remains special in their own different ways & Love (the) Ominous World achieved this by brilliantly building on their soulful, reflective foundation with stunning musicality & sharp songwriting venturing into new territory while embracing & refining what made them special. It’s easily their most unique work to date since they took a different approach with the direction while still staying true to the culture their music has built with their fanbase.

Score: 4.5/5

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Lil Tecca – “Plan A” review

New York rapper, singer/songwriter, producer & Galactic Records founder Lil Tecca back with his 3rd LP. Blowing up in 2018 after signing a distribution deal with Republic Records & the viral single “Ran$om”, it would later be included on his debut mixtape We Love You Tecca that same year & would receive lukewarm reception although it’s truthfully grown on me a tad bit over the course of time. His debut LP Virgo World was released during the pandemic & is widely considered to be the weakest entry in his discography. The last time we heard from Tecca was a couple summers ago when Internet Money Records founder Taz Taylor executive produced a worthy sequel to We Love You Tecca & Tec from last fall showed maturity to the point where I recanted calling him a 1-hit wonder when Virgo World came out. Nearly a year to the day, Tecca’s commemorating by dropping Plan A.

“Taste” produced by Taz Taylor, Rio Leyva & Vendr showcases Tecca’s extensive selection of women over a cloudy trap instrumental to get the ball rollin’ whereas “Bad Time” works in some hi-hats & horns noting his dissatisfaction with the way some women in particular treat him. “120” goes for a futuristic atmosphere to beat reminding us that he’s not new & he’s been here, but then the rage-inducing “I Can’t Let Go” featuring Don Toliver locks in with Bugz Ronin to talk about still trappin’ out private projects.

The rattling trap vibes of “Vogue” are pretty fun admittedly boasting that life’s a bitch & he thought it was extortion further advising to send him your location while “24HRS” instrumentally feels skeletal despite him tryna keep his significant other on his mind. “2” cloudily brushes off Tecca’s side bitch tryna run the show & reposition herself as his main just before the atmospheric “Never Last” co-produced by venny discloses to his previous partners that they were easy to replace.

“Homebody” ends the first half of the LP on the cavernous trap tip courtesy of Noah Mejia gettin’ straight to business keeping the confidence instead of talking while the moody “Self2Self” explains everything dying soon as money gets involved & being rich longer than getting that Lawrence graduates degree. The cloudy “Separate Ways” asks if one took a different path if he’s M.I.A. switching with the technology leading into the synth-driven “Time & a Place” talking about having no time to waste whatsoever.

As for “4U”, we have Tecca dreamily telling this woman she’s lucky he even made the time for her & droppin’ dimes on her while the acoustic trap hybrid “Flowers” that BryceUnknwn cooked up confesses he didn’t know the hoe was gonna set his ass up. “Cold Girls” hooks up more at synths & hi-hats cutting off a lying bitch while the spacious “Mama” explains how risky shit got when he almost moved out west. “D1” playfully balls out telling the fakes running from life to face it & “All the Time” cloudily ends things talking about not overstepping.

Rather than making Plan A into this culmination of his career thus far, Lil Tecca instead takes the chance to reflect on the journey up to this point. Internet Money Records’ production evolves the sound that he’s spent the last few years cultivating & the general theme of his music career being all that he wants to do in life without a backup is truly motivating since you always got people talking about having a plan B.

Score: 3.5/5

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Dr. Syntax – “P Reg Hondas” review

Manchester, England, United Kingdom emcee Dr. Syntax returning after 3 years for his 10th studio LP. Known for co-fronting The Mouse Outfit, he would go on to drop his solo debut Self Taught in 2003 followed by 8 more full-lengths along with a mixtape & 4 extended plays. Personal favorites include the Pitch 92-produced Evidence, Killer Combo!, Elaborate Anoraks, Let’s Talk & Wallop. Coming off Crumbs back in 2021 however, I was completely supportive of Pete Cannon returning behind the boards for P Reg Hondas.

After the intro, “Control” begins with an intro reminiscent of the g-funk era talking about losing all jurisdiction once this sound hits the speakers whereas “Buffet” takes the trap route instrumentally confessing his destructive instincts. “Robot Problem” might be my favorite song here addressing the concerns of automatons possibly replacing humanity due to developments in AI technology over a boom bap beat just before “Maintain” discusses not buckling under pressure.

“Live in Stereo Sound” wraps up the 1st act of P Reg Hondas talking about turning venues into burial grounds whenever they pop out rockin’ shows while “That’s Your Lot” featuring Enlxsh kicking off the 2nd half linking up so they can talk about giving it your all when opportunity knocks at the door. “Heaven Above” gives off some soulfully funky vibes explaining how no one’s promised the pearly gates up in the sky while “Same Page” featuring Binbag Wisdom advises to move the way one already is.

The song “Rush” comes through with a psychedelic atmosphere talking about everyone nowadays always being in such a hurry & people consequently not seeing things clearly because of it while “Cool Off” aptly tries to calm down anyone his way who seems livid. “Benny Benny Benny” hooks up a boom bap instrumental talking about being the guy who’ll go distances others won’t & the closer “Subcultures Again” concludes the album in the form of a delightful successor to a track off Self Taught.

As much as I’d love for Dr. Syntax to hunker down with Pitch 92 throughout the duration of an entire LP considering it’ll be almost a decade since Evidence, I’d still consider P Reg Hondas an exciting comeback for him nevertheless & one I’d put above Crumbs. Both guests had moderate performances, but it’s still exciting to hear the chemistry between Syntax’ lyricism & Pete Cannon’s production grow this much in the span of 10 years.

Score: 4/5

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Mumm Ra – “Autogod” review

This is the 2nd EP albeit Dirtcore Music debut from Chicago, Illinois emcee Mumm Ra. A member of the Mission: Infect collective, he eventually made his solo debut in 2008 with Remember the Name & the sophomore effort The AboM:Ination. His debut EP Clash of the Titans: The Return of 3rd Earth & his 3rd album The God Complex both came out back-to-back a decade ago, which later resulted in him following those up with Wrath of the Titans & House of M respectively. Madd Maxx just put out his new EP Dirtcore 24 at the beginning of the month celebrate his birthday, so it makes perfect sense to have The God kick off the Autogod trilogy.

After the “Chapter 1” intro, the first song “You Can’t Get Rid Me” produced by Crossworm is this incredibly dark opener addressing everyone who thought he was done making music whereas “Come On” talks about loyalty not being what it once was anymore over an electronic trap instrumental. “Had Enough” takes the apocalyptic trap route expressing his frustrations with rappers frontin’ while “King Omega” embraces the boom bap discussing his range being a beautiful thing. “1 Time” ends the EP dustily promising he’ll annihilate your squad.

Dirtcore has been steadily proving itself to be a dominant force within the underground ever since Crossworm started signing other artists to the label & Autogod not only proves my point further, but it has me feeling confident that the rest of the EP trilogy will go on to become some of the most important material in his discography. It’s more well-produced than some of his past material & you can really hear the reignited passion through Mumm’s verses.

Score: 4/5

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RazoR – “The NeveRending GoRy: The Nothing” review

RazoR is a horrorcore duo from Chicago, Illinois consisting of Tha Roka & Sin Rip. They introduced themselves to the underground wicked shit scene in the spring of 2016 by releasing their debut All Hail tha RazoR, which resulted in Scum signing them to his Denver gore hop powerhouse Lyrikal Snuff Productionz & making their official LSP debut on Halloween 2019 with heaRtless. 5 years later, Roka & Sin are linking back up to reintroduce themselves in the form of their 3rd full-length studio LP on the same day as Bloody Ruckus’ debut album Resurrection of the Broken Reflection.

After the titular intro, the first song “Raining Blood” begins by hopping over thunderous trap production declaring themselves as the kings of the hill whereas “D.T.O. (Death To Opps)” serves as a middle finger to all their opps. “Grosseries” works in synths & hi-hats warning they keep bodies in their fridge like groceries while “Beautiful” featuring Smallz 1 goes full-blown boom bap hauntingly getting hardcore.

“God Complex” goes for a grim trap vibe instrumentally to talk about having no shame at all instead possessing the feeling of pure vengeance just before “The Nothing” hooks up more kicks & snares personifying hate & the violence that the demonstrate. “Part of Me” switches into grisly trap turf again saying y’all a part of them now, but then “We’re the Ones” featuring Insane Poetry angrily warns to be aware if you take it far.

As for “Save Me”, we have Roka & Sin maintains the morbid trap flare from earlier coming clean that everybody got them feeling crazy lately leading into “Awake” infernally showing all y’all muhfuckas how phat they be on the mic. “Dummy” featuring Claas decently boasts that they be stealing bitches while the title track welcoming everyone to the pages of their life. The final song “Why So Serious?” ahead of the outro finishes the LP reminding that they’ll turn people into Casper.

heaRtless was a solid way of RazoR introducing themselves to the Lyrikal Snuff audience nearly almost half a decade ago & they return after all that time with what is easily my favorite body of work in their entire discography, turning up anticipation for the rest of the trilogy. It’s a whole new sound for the duo as they redefine themselves artistically, occasionally enlisting a few of their labelmates at points during the ride.

Score: 4/5

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Bloody Ruckus – “Resurrection of the Broken Reflection” review

Bloody Ruckus is a 31 year old MC from Suamico, Wisconsin starting out in 2009 by releasing his debut EP Coming Out the Woods. This was followed up with the full-length debut Nightmarez from the Rez: The Rage, which was a popular piece of morbid art locally. The sophomore effort My Bloody Valentine after his 2nd EP Dark N Cold saw him gaining international attention since it came out around the same time as he infamously filmed a woman’s finger getting chopped off & her blood being drank a month after the 17th annual Gathering of the Juggalos in 2016, which was the last Gathering that Majik Ninja Entertainment performed at before they & Psychopathic Records severed ties only 6 months later. Scum signed Bloody Ruckus to Lyrikal Snuff Productionz once coming home & is following up his LSP debut Funeral Macabre with his 4th album.

“Vengeance” is this EVIL trap metal opener to the LP making it known that he’ll leave you in a body bag with the rest of your entire crew whereas “Night Terrors” featuring Rece’s Aura takes the cloudy trap route instrumentally talking about dragging the chains through the frost. “Cowbell Demon” turns the bass up to 11 daring anyone to step inside his slaughterhouse at their own risks & “I’m Gonna Nut in Your Urn” demonically calling out pussy muhfuckas.

DOWN6 joins Bloody Ruckus for “This World Hates Me” so both of them can get in their emo rap/trap metal bag for nearly 3 & a half minutes just before a personal highlight for me “Stop Glorifying Rats” angrily lashes out at people that praise snitches, which I am fully on board with. “Bright Lights” hauntingly encourages to let Lucy open up everyone’s 3rd eye whether you’re doing DMT or shrooms, but then “666 Up in da Sky” featuring C4$PA fuses g-funk & horrorcore excellently regardless of the average guest appearance.

“Misanthropic” kinda has this EDM flare to the beat detailing his dislike for humanity altogether hence the title leading into “Welcome 2 Wicked Wisco” mixing elements of both g-funk & trap together representing Suamico & the underground wicked shit scene as a whole. “Flatline” heavily warns everyone that anyone who takes him for a joke will be left with hollow tips in ‘em while “Modern Atrocities” featuring Warlord Colossus demonically talking about their brains not being the same.

As for “Say No More”, we have Bloody Ruckus eerily giving us a glimpse of his gangsta mindset living by the gun while “Lord of Grudge” unsettlingly talking about running out of medication watching shadows crawl again. “Omega” is this horrorcore/electronic dance hybrid leaving full clips in the mouths of anyone running their mouths speaking ill towards him while “Every Dog Has His Day” uncannily addresses the titular expression.

“Wendigo” nears the end of the Resurrection of the Broken Reflection getting on the rap rock tip once more referencing the evil spirit originating from Algonquian folklore while “Bring ‘Em to the Darkside” featuring Donnie Menace, DOWN6, S.O.S. & Saw da Ghozt comes through with a 6-minute posse cut with a reference to the inaugural IWGPヘビー級チャンピオン, former 12-time WWE world champion, WWE tag team champion, 2-time WWE Hall of Famer & Real American Beer founder Hulk Hogan. “Reflejo Roto” heinously talking about being a broken reflection of a man & “Eternity” ends by hellishly painting himself as a demon on the throne.

Crazy to think that this the same guy who filmed that woman’s finger getting chopped off & her blood being drank because I vividly remember when the news of that broke out & never would I have thought that he’d sign to LSP & return home with his best album yet. The production’s more darker & refined than Bloody Ruckus’ previous material, overcoming all obstacles & letting new listeners know who he is.

Score: 4/5

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