Josiah the Gift – “Lavish Language” review

Brooklyn, New York emcee Josiah the Gift returning 6 & a half months after The Glorious Si’s eponymous debut to release his 6th solo LP. Starting out in the late 2010s by releasing his first 2 EPs Jack Johnson & Raw, he later broke out within the underground back in the summer of 2020 off his acclaimed debut album Iron Mic. His profile continued to elevate with the debut mixtape Remain Raw, the sophomore effort Mightier Than the Sword as well as the sequel, the True Cipher-produced TOGO & his previous album God’s Gracious. A year & a half after the lagger, the Gift of The Umbrella is returning to speak that Lavish Language.

“Rep” starts us off with an orchestral beat talking about the reputation proceeding, elevating & focusing on his goals demonstrating whereas “Hommy” works in some background vocals suggesting that you should lay low if you catch a body because the case will be closed if they find it. “Wolvez” embraces the boom bap sound instrumentally letting everyone know who y’all be fuckin’ with prior to “Mulsanne” maintaining those kicks & snares refusing to introduce himself since they should know by now.

The guitar/boom bap hybrid “Take II” finds him evening out the butters wondering where all his homies stumbled at musically & his mom being out in the streets during the 80s, but then the exuberantly dusty “Karhu Sneakers” talks about never disrespecting him since he the reason people even on the guest list showing off his kicks from the titular brand. “Florence Cathedral” featuring HooksArthur samples soul music wanting their flowers givin’ ‘em love just before “True Story” takes it back to the basement instrumentally talking about being the one you can call for peace.

“Lavish” featuring Bless Picasso takes a funkier approach to the beat comparing the chef in the kitchen that’s cookin’ up the drug supply to Guy Fieri additionally suggesting that root of evil is necessary & love being secondary while “Patra” returns to the boom bap telling the story of a homie of hos who ends up getting shot to death. “The Glory” rawly talks being satisfied with life even though he’s not a millionaire while “You’re Gonna Die” strips the drums details another homie that’s moving with no fear of death.

Pushing towards the final moments of Lavish Language, the instrumental on “The Filth” sorta gives me a capacious vibe pointing out the fact that everyone comes from nothing on top of being tired of seeing others strugglin’ or his mind still being wired to hustlin’ that is until “The Chosen” ties up the LP soulfully feelin’ his spirit leaving him fantasizing of owning Benz’ & jet skis seeing one’s future in different directions.

5 years in the making damn-near & what Josiah the Gift presents to us here stands out differently than what he’s done previously, joining Iron Mic & The Glorious Si album as one of the 3 essential standouts in his discography. Bishop cooks some of the most thorough beats of his career, the 2 guests strongly contribute to their verses hold their own weight & Josiah’s performances maintain the laser-focused hunger of both full-lengths I mentioned earlier.

Score: 4/5

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Cappo – “Vignettes” review

Another extended play & the 10th overall from Nottingham, East Midlands, England, United Kingdom emcee/producer Cappo. Known for being 1/2 of Oblique Strategies & 1/3 of VVV, he also has 9 8 of his previous EPs as well as 8 full-length studio LPs & the YNR Productions-backed Fortune Cookie mixtape under his belt over the course of his career spanning a quarter of a century. Kong the Artisan had fully produced Canon & S.T.A.R.V.E. (Striving To Achieve Real Values Everywhere) was significant better, unearthing some Vignettes from this ongoing era.

The spoken word intro “Return” recalls a reoccurring dream he had as a kid when began to develop proper memories whereas the self-produced “Journey” hooks up some bar piano chords talking about getting no sleep because he was up all night planning moves. “Scaffold” incorporates more drumless loops feeling like his chest’s on fire & a burning sensation in his throat leading into “Vinyl” talking about every shot he makes having a motive behind it.

“Summer” encounters a man leaning against his flat block whose right leg was bent in the shape of a triangle just before the longest song here “Branches” clocking at almost a couple minutes reaches the halfway point bringing back the pianos to talk about feeling like a fugitive. “Streets” gets the 2nd leg of the EP going on some nocturnally drumless vibes talking about an elderly man standing in the middle of road while “CCTV” details couples walking out of a casino oblivious to him.

Kicking off Vignettes’ 3rd & final act, the 38 second “Asking” talks about encountering a woman he knows simply by the way she walks while “Boiling” looks back at a story revolving around him & his brother riding a Merry-Go-Round when they were children. “Vitamins” details him living in the night for 6 days & coming across a plastic rose while “Exits” spends the last moments of the EP talking about 2 policemen briefly stepping out of their cars only to get back in.

Preluding the next couple installments of the CAPStone trilogy, Vignettes broadly extends the story of S.T.A.R.V.E. (Striving To Achieve Real Values Everywhere) by collecting a series of fractured narratives that provide more insight to Cappo’s previous EP only a couple weeks earlier. His production here’s almost entirely drumless in comparison & applies the cubist method that the late Pablo Picasso used painting from multiple perspective to his music.

Score: 3.5/5

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Da Flyy Hooligan – “Culture.” review

London, England, United Kingdom emcee Da Flyy Hooligan having Birmingham, West Midlands veteran Sonnyjim produce his 8th EP. Dropping the sophomore effort Ray Winstone following the 2010 debut Devil May Cry as well as his 2nd extended play F.Y.L.P.M. (Fucc Ya Life Praise Mine) succeeding Verbal Swardz & lastly S.C.U.M. (Supreme Cut Untouched Magnificence) in 2017 respectively, he would go on to follow it up with 7 more EPs including a sequel to F.Y.L.P.M. (Fucc Ya Life Praise Mine) along with Flyyghost’s eponymous debut, the Micall Parknsun-produced Ben Kingsley & the Beat Junkies-produced There’s Hooli & There’s Everyone Else. His 7th album Blacc Kenzou arrived a few months ago, but Culture. was destined to happen eventually.

“Feedback” combines some kicks & snares with synthesizers to get the ball rollin’ encouraging the world to peep the artifacts whereas “Warned” flips “Suite in C” by McDonald & Giles so he can quote prophecies describing various apocalyptic stages. “Receptive” blends soul & jazz to talk about being open-minded towards humanity just before “Ozwald Boateng” seeks to persevere without help over a delicate yet opulent instrumental even if his health gets sacrificed.

After the “Hooli Smoovie” interlude, “Kief” begins the 2nd half of Culture with a seductive ode to lust while “Fast” goes for a drumless direction talking about him fiendin’ for this romantic interest whom Iron Braydz can’t seem to get off his mind. “Opposites” featuring Sonnyjim himself finds the pair over a summery beat to spit some luxurious rhymes together & the outro “Retribution” spends the EP’s final minutes triumphantly talks about the miracle of him still standing tall.

Blacc Kenzou was similarly to F.O.M.A. (Flat of Modern Arts) in that both of them have songs that I like, but wouldn’t consider them amongst my favorites amongst Da Flyy Hooligan’s discography. That said: Culture. joins There’s Hooli & There’s Everyone Else to become my 2nd favorite project Lamarrie Esquire’s dropped in 2024 revealing a different side to him by exploring profound themes with refined lyrical precision over Sonnyjim’s smoothly innovative production.

Score: 4/5

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Glokk40Spaz – “Da Real Oso” review

Atlanta, Georgia recording artist Glokk40Spaz coming off his acclaimed collab EP with OsamaSon earlier this summer 3vil Reflection to release his 4th album. Emerging off the Don’t Get Took Off mixtape trilogy & the debut EP Spaz&B, he would also go on to drop his very first LP 2 Glokks followed by the sophomore effort Baby Whoa with both of them receiving quite a bit of acclaim. Took the Biggest Risk distributed by Columbia Records was a great major label debut for EBG Records founder & is commemorating the 1-year anniversary of the latter by dropping Da Real Oso.

“My Last Breath” is this rage-inducing opener to Glokk40 laced with Four3va shooting the Glock like the Dallas Mavericks brushing off any interest in recruits whereas “Pothead & Stoner” produced by F1LTHY of Working on Dying & OPM BABI who did a lot of the album maintains the hypertrap sound talking about being high as fuck. “505” bombastically warns that shit’ll be getting scary once you enter the trap & “How Vampz Feel” goes plugg thanks to Internet Money Records in-house producer Synthetic to talk about rolling the dice since the streets be a gamble.

Given by the title, “Let’s Get Active” has an aggressive tone altogether fucking all y’all shit up by himself while “Mystikal Draco’s (Psychotic)” hops over another rage beat talking about his psycho tendencies although the Aaron Rodgers bar felt awkward since his 1st season as a New York Jet lasted as long as former WWE Tag Team Champion & WWE Hardcore Champion Shane McMahon’s return at WrestleMania XXXIX this spring. Very much happy to hear Shane’s son Declan being a RB for the Indiana Hoosiers with NFL potential though.

“Copperhead” keeps the dense, buzzing synth work with repetitive chord progressions & melodic synth leads sliding on the block with the demons later referencing 16-time WWE world champion, 4-time WWE tag team champion & 5-time WWE United States Champion John Cena just before “You Not Da Only 1” hunts the opps like animals over synthesizers from Trgc.

The rage gets turned back up once again on “No Español” so he can catch a flip leading into “BLV Anthem” rocks out over more detailed hypertrap production hoppin’ in the whip & cranking that bitch up without a key. Who Don’t Love Money?” dabbles with plugg 1 more time detailing the gangsta lifestyle, but then “I’m Oso Shiesty” wraps things up raging again reaffirming that he really is in fact Da Real Oso.

Almost a year to the day where he Took the Biggest Risk & only 3 months since 3vil Reflection, the 2nd album that Glokk40 has released since joining a major label elevates himself further artistically where I feel like this is his best album to date. His performances are equally cutthroat than they were last September & most importantly, the production mostly handled by F1LTHY consistently sticks the latter’s signature rage sound diverting from Glokk40’s dark plugg roots.

Score: 4/5

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K.A.A.N. – “In Due Time” review

Columbia, Maryland emcee/producer K.A.A.N. back with his 26th LP. Over the past decade or so Knowledge Above All Nonsense has been delivering numerous standouts in his ever-growing discography like Black Blood, the Ski Beatz-produced Requiem for a Dream Deferred, the Big Ghost Ltd.-produced All Praise is Due, Mission Hillz, The Death of a Rapper & The Nightly News both produced by former Strange Music in-house producer MIKE SUMMERS a.k.a. 7 or even Peace of Minds from just a few months ago. Los Angeles producer/deejay DJ Hoppa was brought in to produce Delusions of Grandeur a few months ago & is sticking around for In Due Time.

The title track starts by sampling soul music & throwing hi-hats into the equation boasting that he’s in a whole different category than everyone else whereas “C.T.T.S. (Can’t Touch This Shit)” goes full-blown boom bap talking about nobody being able to touch him lyrically. “Cautionary Tale” works in a soulfully dusty beat telling us what happens when you’re consumed by greed while “Weight” demonstrates a speedier flow trying to get rid of this baggage.

“Bon Appetit” returns the boom bap feeling like he’s about to be unleashed murdering everything in his path just before “Another Play” hooks up a woodwind talking about how much of a shame it is people are lost in the maze of the same game. “Warm It Up, K.A.A.N.” continues get in his chopper bag continuing to go at the throats of other rappers leading into the symphonic trap-flavored “Succession” advising everyone to get back.

Meanwhile on “Status Symbol”, we have K.A.A.N. over more strings swapping out the hi-hats in favor of kicks & snares likening the rap game to a petty bitch while “Stay Blessed” substitutes the orchestral elements with pianos spreading the titular message. “It Ain’t Easy” has a generally old school sound detailing the struggles while “Expectations” ruggedly tells us what some people look for all around the world.

“Enough of the Filler” pushes towards the end of the Delusions of Grandeur sequel In Due Time expressing his frustration over how much filler is packed into some of these artist’ projects in the digital age while the boom bap-tinged “Rat Race” lastly closes the 3rd consecutively amazing offering of K.A.A.N.’s this year alone talking about the weak being unable to survive.

For almost a little over 12 months now, K.A.A.N. has steadily been putting out some of the best material of his entire career & as much as I loved Delusions of Grandeur, I think In Due Time stands out as a sequel that’s better than the original. DJ Hoppa’s production is still boom bap heavy except you got some more trap undertones compared to last time & the Maryland chopper sounds hungrier.

Score: 4.5/5

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Stove God Cook$ – “Stop Callin’ Me, I’m Cookin’” review

This is the 2nd EP from Syracuse, New York emcee Stove God Cook$. A protégé of Roc Marciano, the latter produced Stovey’s highly acclaimed full-length debut Reasonable Drought in March 2020 right when the COVID-19 lockdowns began. He signed to Griselda Records not too long after & released his debut EP If These Kitchen Walls Could Talk a year & a half later. However he’s surprise-releasing Stop Callin’ Me, I’m Cookin’ ahead of his Griselda debut Stove Jesus & even an album produced by Stoupe the Enemy of Mankind.

“Earl the Pearl” is a soulful boom bap opener produced by Cool & Dre talking about dead rappers getting more life when their eyes are closed whereas “E$co Chipper” continues to chop up the soul samples showing disgust towards his competition. “Marvin Ye” works the kicks & snares back in likening himself as a mix between Marvin Gaye & Ye formerly known as Kanye West while “The Glove” after the “$ocrates” skit goes drumless again to talk about being amongst the illest. “Ba$eline Hov” has this chipmunk soul flare to the beat getting on his hustler shit & “Chapo Phone” sumptuously talks about being a don.

Stove God to me is an extraordinarily generational talent & I’m confident that will be getting a sequel to Stop Callin’ Me, I’m Cookin’ at some point near future, considering the fact that this is only Side A but what we have here nevertheless has to be amongst the best EPs I’ve heard in this year. The soulfully drumless/boom bap production matched with Stovey’s immaculate Coke raps increase anticipation for Stove Jesus & the Stoupe-produced album, as will Side B.

Score: 4.5/5

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Juicy J – “Ravenite Social Club” review

Memphis, Tennessee rapper, songwriter, producer & record executive Juicy J coming off the Mental Trillness duology to release his 8th solo LP. Rising to stardom in the 90s as the co-founder of the seminal Three 6 Mafia alongside his Tear Da Club Up Thugs cohorts DJ Paul & the late Lord Infamous, he’s also had the most successful solo career out of everyone in the Mafia whether it be the Taylor Gang Entertainment/Columbia Records-backed Stay Trippy & Rubba Band Business: The Album or more recently Crypto Business & Mental Trillness. The latter & it’s sequel noticeably taking on a more serious tone than some of Juicy’s latest material, taking a good chunk of it’s time coping with Gangsta Boo’s untimely passing. Further diverting from the norm, he’s going jazz rap in the Ravenite Social Club.

After the “Provider” intro, the first song “The Higher Ups” further sets the tone of what’s to come hopping over a jazz boom bap instrumental from longtime Griselda affiliate JR Swiftz dissing corporate America whereas “Don’t Go Out” works in some pianos as well as kicks & snares advising not to go out the way Paul Castellano of the Gambino crime family did. “That’s Gangsta” keeps it boom bap explaining how hard it is to be splitting 50/50 with his bitch, but then “Everything All Good” has a warmer trap approach telling us he’s been doing ok.

“Fucked Up Era” hooks up some horns describing what he was living in for the past year & a half or so that resulted in both Mental Trillness albums prior to “Thought It Was” strips the drums completely boasting his luxurious ways of living. “Deserve It” has this orchestral boom bap flare to the beat dedicating it to all the independent shawties ahead of “The Past is the Past” colorfully leaving everything behind him for approximately 116 seconds.

The self-produced “Consequence” mixes these pianos with kicks & snares reminding the listeners of the most valuable lesson a person can learn in their lifetime while “Payment” swaps the keys out in favor of synthesizers admitting The Notorious B.I.G. wasn’t lying when he said “Mo Money, Mo Problems” using his own experiences. “1 in 1,000,000” hops on top of more horns advising what a dangerous lie it is that you don’t have to work just before the soulfully drumless “Suicide Doors” featuring Cordae warns to get a bag before you beef since you’ll need money for war.

“The Bottom Line” continues to chop up the soul samples smoking & drinking 1 for old time’s sake while the 4 minute “To You” pays tribute to Lord Infamous, Koopsta Knicca & Gangsta Boo over Robert Glasper playing piano. “Sometimes” further pushes the closure of the Ravenite Social Club for the night soulfully asking if you needed someone to talk to & no one was there while “Things Changed” promising he’ll be there when his baby falls automatically telling her yes if she ever calls him.

Beginning the deluxe run, the drumlessly jazzy “In Plain Sight” disses the haters for wanting to see him torn down legalizing products to sell at the same price while “Fit the Mode” featuring Project Pat puts a mature spin on trap generally talking about the best thing in the world being a woman by your side. “Could’ve Been Worse” goes boom bap reminding that you only get 1 chance to make it while “Enemy Lines” angrily warns what happens once you cross a specific path.

“Just Listen” jazzily advises everyone who’s still tuning in for them to take care of their business while “Dizzy” drumlessly reflects on spending most of his time denying what the heavens planned & refusing to fake the funk anymore by letting the prophets come true. The final bonus track “Point ‘Em Out” featuring Remy Ma goes trap for a dedication to all the real women & not trying to risk being around the bitches who’re fake.

Both installments of the Mental Trillness duology were greeted to mixed reception although I personally appreciate them for being more introspectively serious than some of Juicy’s past solo material & now that we finally got Ravenite Social Club after 8 months in the making, it could very well be my favorite of his since branching out on his own & he’ll even tell you that himself. It’s a change of pace with its production building upon the sounds of jazz rap, boom bap, drumless & chipmunk soul focusing less on trap taking the overall maturity a step further.

Score: 4.5/5

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Pradabagshawty – “10 Freak Ho’s” review

This is the 3rd extended play, the 2nd of 2024 & Cegular Records debut from Columbia, South Carolina born albeit Atlanta, Georgia rapper Pradabagshawty. Introducing himself last summer off his debut EP Bloxk Addiktion, he would go on to follow it up with 1 Love a few months earlier until Whyceg signed him to his very own Sony Music imprint not too long afterwards alongside Babystaydown. Appropriately, the time has come for him make a wider introduction with 10 Freak Ho’s preluding Forever & After later this fall.

“Go Best Friend” featuring NDO D joins forces over a plugg instrumental talking about their hoes calling them their besties after fuckin’ & once “She Goin’” carries over the plugg vibes in a bubblier fashion getting higher than KiD CuDi, my favorite track here “Ball Me Back” produced by both Whyceg & SOULJASPIRITS reaches the halfway point talking about being fine with this woman getting passed around by the whole crew.

Starting the 2nd half, the song “At All” clarifies that he ain’t fuckin’ with any of these guys or bitches who stay smellin’ over an aquatic trap beat while “Fasting” locks back on with SOULJASPIRITS for another plugg banger talking about taking a break from going down on women. “B My Hoe” featuring ImSoMarcus finishes the EP in the form of this decent plugg outro desiring more money & asking the females around them if they could vibe with them whilst desiring to make more bags.

1 Love sticks out as the best EP we’ve gotten from Pradabagshawty in 2024 despite Bloxk Addiktion, but 10 Freak Ho’s gives the underground a gander at what this Cegular/Sony deal could do for him in the long run & it’s still very much an average listening experience justifying him getting a label deal. The trap & plugg production isn’t as interesting as it was 4 months earlier, with the lyricism focusing more on themes of love than his earlier stuff.

Score: 3/5

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Mighty Morphin’ Wackness – “Tour EP” review

Mighty Morphin’ Wackness is an Ohio underground supergroup consisting of Billy D & Kyle Kombs a.k.a. Klokwerk E as well as Mr. 8 Legz & Whipstick or better known as the Super Famous Fun Time Guys. One of whom formed last year & the other became the first act that the almighty Alla Xul Elu signed to their independent Long Live Evil label. The quartet initially teamed up on “We’re Waaaack” off I’ll Tell You When I Want to Laugh By Laughing several months ago. Coinciding their first tour together, they’re cooking up a brand new EP of material as an official unit.

After the intro, the first song “Pull Over” shows off a back-&-forth delivery between all 4 members comedically hoping they hit a rest stop sooner instead of later whereas “Let Me Go” talks about turning everything into a horror flick & only amplifying it. After the “Waaaackest Commercial Ever” skit, the song “Super Spooky” by Kyle Kombs & the Super Famous Fun Time Guys builds itself around the supernatural & “Pussy Farts” ends with a humorous cut about queefs.

Whenever both halves of Mighty Morphin’ Wackness feel the time is right for them to put out a full-length debut studio album together, this quick Tour EP still remains to be an exciting listen for anyone who loves the self-deprecating horrorcore style the Super Famous Fun Time Guys are known for & the distinct originality of the 5th dimensional silver boof brothers Klokwerk E by emphasizing the humorous approach each of them have had to offer in the underground wicked shit scene all decade.

Score: 4/5

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OG Parker – “Moments” review

OG Parker is a 27 year old producer & songwriter from Fayetteville, Georgia who became an in-house producer for Quality Control Music in 2015. He even went on to form his own label Neutral Records in 2021 & produced DDG’s debut mixtape Die 4 Respect around that same time, except I was highly looking forward to that tape only to be disappointed by the time it officially saw the light of day. However, seeing that Parker was putting out a solo EP most certainly caught my interest.

“No Fuss” by PARTYNEXTDOOR starts with what could easily be the best song on the entire EP telling this girl to stay in her lane over a chilled out guitar passage whereas the trap-flavored “Rain Down” by Chris Brown, Latto, Layton Greene & the late PnB Rock finds the quartet continue to delve further into the themes of romance. “Still Work” by Muni Long & Ty$ is a trap soul duet singing about their numbers are both operationally functioning while the dance-inspired trap joint “All I Need” by Yung Bleu furthermore gets lustful. “In Person” by Lakeyah & Tyga ends the EP with a woodwind trap flare flexing they look better in the flesh.

Producer curated projects are generally looked at as being either hit-or-miss & there’s no question in my mind that OG Parker has the capability of pulling of an entire body of work producing songs for other artists & compiling them together. However, Moments stands out as an average beginning of treading those waters. There’s nothing with his signature take on the stylings of trap & R&B music, but some of the performances from the guests themselves are generally a mixed bag.

Score: 2.5/5

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