Lil Poppa – “Wee Are Who We Are” Review

Lil Poppa is a 24 year old rapper from Jacksonville, Florida emerging in 2019 off his full-length debut Almost Normal followed by the sophomore effort Blessed, I Guess to more mixed responses. Heavy is the Head & Half Man, Half Vamp went on to be received more favorably to the point where Yo Gotti signed him to his Interscope Records imprint Collective Music Group & is making Poppa’s 4th album his official major label debut.

“Reintroduction” is a melodically drumless opener to get us started reintroducing himself to the CMG fanbase whereas “Wee” take a summery trap route instrumentally showing a more carefree side to himself. “Stop Grieving” featuring Baby Drill cloudily talks about the fact that bitches will leave with you nothing in the end just before the guitar-driven “Nowhere Fast” confesses to putting up with her bullshit because he wants her.

Meanwhile on “Bust Fire”, we have Poppa turning the rock trap hybrids up to 11 thanks to Dez Wright acknowledging that things’ll never be the same again & he knows it leading into “Feel the Same When You’re Sober” featuring DeJ Loaf has this pop rap ring to it tackling the themes of romance. “Pin a Tail” hooks up these piano chords throughout flexing that he got bulletproof car doors like Pablo Escobar, but then “Untamed” featuring a reunited Boosie Badazz & Webbie breaks down the untamable personalities all 3 of them possess.

“Quiet Storm” finishes the 1st half of the album on some delicate trap shit putting his trust in these guns while “More Than Enough” talks about feeling the stab wound from being betrayed getting deeper. “No Sympathy” drearily reveals he’s the reason these pussies be laid out on the ground while “IDK What to Say” featuring Blac Youngsta & Spinabenz keeps the trap vibes going promising the streets ain’t safe.

Nearing the end of Wee Are Who We Are, the song “Scared of It” hops over keys & hi-hats talking about showing love to those who might bust his head while “Xoxo” gives hugs & kisses assuring he don’t love these bitches. “3am in Baltimore” featuring YG Teck finds the 2 telling us what goes down in the early hours of the titular Maryland city while the 2-parter “New You < I Hate Poppa Too” breaks down the new him & people who hate him. Lastly, the closer “Letter to Jook” finishes the LP with an open letter to Poppa’s homie.

Poppa as of me writing this happens to be the most recent addition to the CMG roster & his debut under Yo Gotti’s mentorship refines himself artistically compared to his earlier material. The southern trap & pop rap production that the Floridian artist became known for gets refined conceptually building itself around understanding & acceptance.

Score: 3.5/5

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Benny the Butcher – “Buffalo Butch” review

This is the 8th EP from Buffalo, New York emcee Benny the Butcher. Being in the game for 2 decades already, it wouldn’t be until 2016 where he alongside his cousins Westside Gunn & Conway the Machine would take the culture by storm off projects like Tana Talk 3 & The Plugs I Met. Harry Fraud came in for a sequel to the latter following the mature Burden of Proof & finally, Tana Talk 4 took it back to the basement a couple years back. Coming off having Hit-Boy produce half of it & leaving the other half to The Alchemist produce his Def Jam Recordings debut & my album of the year so far Everybody Can’t Go, we’re now being treated to Buffalo Butch only a couple weeks after the previous EP Summertime Butch.

“Penny & Shaq” featuring 38 Spesh starts off the brief 3 track offering hopping over an extravagant beat comparing themselves to Orlando Magic veterans Penny Hardaway & Shaquille O’Neal whereas the For All the Dogs outtake “Buffalo” featuring Drake finds the pair linking up over a sample-driven instrumental from Boi-1da talking about the fact that it’s more when you earn it being iller than the illnesses haters be wishing on them. Lastly, the closer “Hard Way” featuring Fabolous officially rounds out Buffalo Butch on some boom bap shit letting it be known this fly shit ain’t cheap whatsoever.

We’ve only gotten 2 EPs from Benny this month & 3 projects from him in 2024 altogether if you include Everybody Can’t Go, but I still happen to prefer Summertime Butch only because it’s a little longer than Buffalo Butch although that’s not to say I didn’t enjoy the 3 songs he dug up for us here. As opposed to the summer theme of the joint from 2 weeks ago, you only get 8 minutes worth of material shedding 16 minutes off the last one centering itself around Benny’s hometown mentality.

Score: 3.5/5

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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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Smallz 1 – “Defiled in the Lavender Fields” review

Smallz 1 is a 36 year old MC from Albuquerque, New Mexico who made her Lyrikal Snuff Productionz debut in 2009 off her full-length debut The Diary of a Black Widow shortly following her debut mixtape Sadistik Stylez. She has since become one of LSP’s most well-established artists putting out her sophomore effort The Crimson Kingdom, her 3rd album Mannequin, her debut EP Hourglass, her previous LP The Process of Elimination & more recently S.O.S.’ debut Blame Us. A week after the 24th annual Gathering of the Juggalos though, she’s putting her 2nd EP out on all streaming platforms.

“Gutted Eyes” starts us off with pianos & hi-hats promising to burn her competition & eventually herself asking why they judge here whereas “Way Below Average” by S.O.S. takes a bouncier trap route instrumentally talking about those who got them fucked up. “Lately” goes full-blown boom bap refusing to trust anyone always fuckin’ shit up, but then “Nevermind” brings the hi-hats back teaming up with her legion of demons to kill y’all.

Beginning the 2nd leg of the EP, the song “Lower Them Down” keeps it trap showing no mercy towards her opposition while “Garbage” ruggedly talks about doing shit better than the rest of these bitches. “Dismembered Wishes” featuring Bloody Ruckus cloudily discusses their lives going on & their haters’ being done leading into the cavernous “Trash Day” callin’ out those who really ain’t gonna do shit. “Pandora’s Box” wraps things up wishing long & enduring suffering on her enemies.

Claas so happened to give us the 3-track EP couple weeks ago In My Head centered around mental health & of the 2 new projects that LSP had to offer the gore hop heads & juggalos, I’m finding myself catering towards Defiled in the Lavender Fields more than The Summoning. Generally, it’s sound balances boom bap & trap allowing Smallz to put her own Lyrikal Snuff spin on those styles.

Score: 3.5/5

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Wic Kids – Self-Titled review

The Wic Kids are a horrorcore supergroup consisting of emcees Donnie Menace, Grewsum, ILLtemper & King Gordy as well as producer Stir Crazy. All of whom have crossed paths with one another at some point since everyone’s pretty much established themselves in their own rights whether it be Donnie quickly becoming a Lyrikal Snuff Productionz mainstay, Grewsum being one of the most popular members of the Mission: Infect collective, Gordy & Illtemper forming the duo Even Heathens few years ago or Stir Crazy’s role as part of Majik Ninja Entertainment’s in-house production team. Now that they’ve officially joined forces, the Wic Kids are introducing themselves through an eponymous debut EP.

“Letum Know” starts the EP on some boom bap shit talking about living under the cold streets of your town rolling deep without any limitations whereas “Lightless” takes the symphonic trap route instrumentally discussing evil being everywhere around them. “Toxic” has this acoustic boom bap flare to the beat delving into toxic relationships while “Fried Wires” keeps the kicks & snares in tact explaining they’re wired differently. “DGAF” mixes boom bap with rock talking about giving 0 fucks & “Inhumane” ends the EP aggressively warning to stay clear of them.

Illtemper has been teasing this EP since March & if this is only the beginning for the Wic Kids, then it’s a more than welcoming debut for the supergroup. Stir Crazy’s production is mostly boom bap centered throwing a hint of trap in the mix & all 4 MCs each have their own different takes on the wicked shit like Donnie’s cutthroat wordplay or King of Van Dyke & Harper a.k.a. Blaxl Rose reaffirming his Last American Rock Star status, but hearing them together makes the lyricism much more devastating.

Score: 4/5

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Cash Cobain – “Play Cash Cobain” review

Cash Cobain is a 26 year old rapper & producer from The Bronx, New York who taught himself how to make beats by using FL Studio & his mother having to buy him some equipment to help him in his work becoming a pioneer in the sample drill scene producing for everyone from Lucki to Drake & Don Toliver. He later made it onto this year’s XXL Freshman Class publicly admitting that the freestyle he did for them was wack & that he doesn’t even give a fuck, so I went into his 6th mixtape wondering if he can hold a project down like Pi’erre Bourne or Southside as far as producers getting on the mic. Especially since his last tape Pretty Girls Love Slizzy is considered to be the best sexy drill project.

“slizzyhunchodon” featuring Don Toliver & Quavo gets the ball rollin’ hookin’ up a soothing sample tackling the themes of romance whereas “rump punch” goes for a significantly cloudier dancehall approach instrumentally making a bitch cum twice. The half baked “all i wanna hear” talks about this bitch’s pussy being the best & all she really wants is sex leading into J. Cole providing the worst feature of his career on the lo-fi sexy drill single “Grippy” originally titled “dunk contest” continuing the topic of intercourse & Cole channeling his inner Ned Flanders making her go strictly dickly.

The 2-parter “cantsleep / drunkinluv” produced with OG Parker starts on the soulful tip ahead of a beat switch during the other half refusing to let his new lover go getting shitfaced at 11 tryna get all in her pants while “Problem!” featuring Anycia, Big Sean, Chow Lee, Don Q, Fabolous, Flee, Flo Milli, Kaliii, Kenzo B, Laila!, Lay Bankz, Luh Tyler, Rob49, YN Jay & 6LACK is this tiring 7 & a half minute sexy drill posse cut. “slizzy poetry” goes drumless to lay more romance bars out on the table & “turks (i apologize)” sends an open letter to a woman he hurt.

“wassup (wya)” keeps the sexy drill vibes going describing a savage woman bringing the madness with her that no one wants to fuck with, but then ”message u” hops over a crooning vocal sample addressing his baby. “dunk” goes sample drill turning up the southern hip hop influences a bit maintaining the sexy subject matter while “luv it” embraces the dancehall sound further & has some of the most annoying songwriting on the tape.

The aptly titled “me n payroll” featuring Payroll has a deconstructed vocal flip throughout telling their significant others to not ask about their day before hitting it while “slizzy poetry, pt. 2” strips the drums again talking about wanting to eat his girl out like a dentist. “fisherrr” featuring Bay Swag & later Ice Spice on the remix was one of the better sexy drill singles demonstrating a back-&-forth chemistry from the 2 prior to “act like” sampling “How You Gonna Act Like That?” by Tyrese beating it up like Ike Turner.

“candle” featuring 4Batz nears the end of the mixtape fusing cloud rap, sexy drill & R&B together maintaining the romantic concepts from previously & 4Batz having the best feature on the tape while the song “some shit” has a moodier drill atmosphere telling his bitch that he doesn’t want her getting in her feelings at all. “baddest in the room” finishes Play Cash Cobain with 1 more sexy drill cut talking about the baddest hoe in the entire room.

Some of the singles building up to this tape left little to be desired for me personally & now that we have the full course in front of us, it’s less enjoyable than I imagined it being. I don’t mind the sexy drill scene or Cash Cobain’s production whatsoever, it’s just that he’s significantly more mediocre on the mic than he is behind the boards & a lot of the guests don’t pull off any better performances other than only a select few.

Score: 1.5/5

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Sabrina Carpenter – “Short n’ Sweet” review

Sabrina Carpenter is a 25 year old singer/songwriter & actress from Quakertown, Pennsylvania notable for being the niece of Nancy Cartwright also known as the voice of Bart on the Fox Corporation’s flagship property’s longest running animated series The Simpsons & starring in the Boy Meets World spinoff Girl Meets World alongside Milo Murphy’s Law on The Walt Disney Company owned Disney Channel. She later signed to Hollywood Records for her first 4 studio LPs Eyes Wide Open, EVOLution, Singular & Singular II until moving over to Island Records for Emails I Can’t Send. She has since become one of the most popular artists in the world & capitalizing off some recent hit singles with her 6th album.

“Taste” was a great pop rock single further pulling from new wave, jangle pop & power pop singing about revenge & betrayal whereas “Please Please Please” featuring Dolly Parton on the remix & produced by Jack Antonoff brings together soft rock, yachty rock, urban cowboy, boogie & synthpop addressing themes of affection, frustration & concern. “Good Graces” fuses dance-pop & trap asserting the importance of setting boundaries in a relationship just before “Coincidence” pays homage to “Big Yellow Taxi” by Joni Mitchell continuing the concept of romantic betrayal.

Elements of contemporary R&B, pop, sophisti-pop, synthpop, boogie & yacht rock seep their way over to “Bed Chem” addressing Barry Keoghan while the smash-hit “Espresso” likens herself to the coffee as her partner can’t sleep when he’s with her fusing nu-disco, dance-pop, boogie & funktronica music. “Dumb & Poetic” reminisces on what her ex lover used to be until ultimately realising he’ll ruin her heart & her life through lies, but then “Slim Pickins” sings about trying to find the right man although unsuccessfully.

“Juno” named after the 2007 film goes over her desire to be pregnant by someone who truly cares about her & her future concept of having a family while “Lie to Girls” sings that men don’t have to deceive women due to the fact that if they like a man, they’ll simply lie to themselves & asking if she knows it better than anyone else. “Don’t Smile” ends Sabrina’s finest work yet mixing bitterness while longing calling back to the intro during the hook while “Needless to Say” starts the deluxe run attacking the lowlifes criticizing her urging them to do something better with their time & lives.

There’s a bit of an AꓭBA influence on “Busy Woman” detailing her willingness to make a change in her everyday-life in order for her new romantic partner to be with her while “15 Minutes” sings about doing a lot on that short amount of time reflecting on how she finds herself at this point in her career with her increasing popularity. “Couldn’t Make It Any Harder” tells an ex that his actions have been making her more detached from him & the final bonus track “Bad Reviews” rounds it out with a commentary on those who don’t like her music & a couple bad gut feelings regarding previous lovers.

Continuing the creative freedom of Emails I Can’t Send, Sabrina’s artistic potential from her debut single “Can’t Blame a Girl for Trying” to Short n’ Sweet is truly a night & day comparison. She explores her love life & her perspectives on dating in the 2020s nearly at the halfway point of the current decade through the sounds of pop, dance-pop, contemporary R&B, pop rock, folk, nu-disco, bubblegum pop, sophisti-pop, synthpop, boogie, yacht rock, funktronica, urban cowboy & trap.

Score: 3.5/5

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Heems – “Veena” review | हीम्स – “वीणा” समीक्षा

This is the 3rd full-length solo LP from Queens, New York emcee Heems. Emerging in 2008 as 1/3 of the alternative hip hop group Das Racist, he put out a couple mixtapes Nehru Jackets & Wild Water Kingdom as well as the full-length debut album Eat Pray Thug following their disbandment in 2012. Hima started up his own Mass Appeal Records imprint Veena Sounds & joining forces with the new label’s in-house producer Lapgan on the critically acclaimed sophomore effort Lafandar, now looking to go back-to-back with Veena.

यह क्वींस, न्यूयॉर्क एम्सी हेम्स का तीसरा पूर्ण-लंबाई वाला एकल एलपी है। 2008 में वैकल्पिक हिप हॉप समूह दास रेसिस्ट के 1/3 सदस्य के रूप में उभरते हुए, उन्होंने 2012 में अपने विघटन के बाद कुछ मिक्सटेप नेहरू जैकेट्स और वाइल्ड वॉटर किंगडम के साथ-साथ फुल-लेंथ डेब्यू एल्बम ईट प्रेयर ठग भी निकाला। हिमा ने अपनी खुद की शुरुआत की मास अपील रिकॉर्ड्स ने वीना साउंड्स को छाप दिया है और समीक्षकों द्वारा प्रशंसित द्वितीय प्रयास लफंदर पर नए लेबल के इन-हाउस निर्माता लैपगन के साथ जुड़ रहे हैं, अब वीणा के साथ बैक-टू-बैक जाने की सोच रहे हैं।

After the titular intro, the first song “Ratatouille” is a colorful boom bap opener talking about feeling more confident than ever whereas “Manto” featuring Vijay Iyer works in more kicks & snares turning the jazz influences all the way up treating this shit like as if it’s his mission. “Bourdain” featuring Mr. Cheeks keeps things in the basement instrumentally talking about staying alert & after the “Underbelly” skit, “Rakhi” featuring Ajji & Pavvan dabbles with drill a bit getting boastful.

टाइटैनिक इंट्रो के बाद, पहला गाना “रैटटौइल” एक रंगीन बूम बैप ओपनर है जो पहले से कहीं अधिक आत्मविश्वास महसूस करने की बात करता है, जबकि विजय अय्यर की विशेषता वाला “मंटो” अधिक किक और स्नेयर में काम करता है, जो जैज़ प्रभावों को पूरी तरह से बदल देता है, जैसे कि इस गंदगी का इलाज करना। अगर यह उसका मिशन है. मिस्टर चीक्स की विशेषता वाला “बोरडेन” बेसमेंट में चीजों को सतर्क रहने के बारे में बात करता रहता है और “अंडरबेली” स्किट के बाद, “राखी” जिसमें अज्जी और पाववन की भूमिका है, थोड़ा घमंडी हो जाता है।

“Flowers” featuring Navz-47 goes for a hypnotically spacious Middle Eastern vibe talking about love & after the “Juhi” interlude, the song “Dame” shoots for a dancier groove flexing that he’s wiser than Master Splinter from the Teenage Mutant Ninja Turtles. And prior to the “Righteous” outro, the final song “Banshee” featuring Cool Calm Pete slickly finds the 2 bossing up.

नेव्ज़-47 की विशेषता वाला “फ्लावर्स” प्यार के बारे में बात करते हुए एक सम्मोहक रूप से विशाल मध्य पूर्वी वाइब के लिए जाता है और “जूही” इंटरल्यूड के बाद, गाना “डेम” एक डांसर ग्रूव के लिए शूट करता है जो दर्शाता है कि वह टीनएज म्यूटेंट निंजा टर्टल के मास्टर स्प्लिंटर से अधिक बुद्धिमान है। और “राइटियस” आउट्रो से पहले, कूल कैलम पीट की विशेषता वाले अंतिम गीत “बंशी” में दोनों को जोर से दिखाया गया है।

Lafandar was such an incredible comeback & Mass Appeal Records debut from the former Das Racist member, but Veena matches if not surpasses the same caliber as he did with the previous album he put out at the beginning of the year. Lapgan splits the production fairly with Sid Vashi so Hima can deliver a tribute to his mother.

लफ़ंदर पूर्व दास रेसिस्ट सदस्य की ओर से एक अविश्वसनीय वापसी और मास अपील रिकॉर्ड्स की पहली फिल्म थी, लेकिन वीना उसी क्षमता से मेल खाती है जैसा कि उसने पिछले एल्बम के साथ किया था जो उसने साल की शुरुआत में पेश किया था। लैपगन ने सिड वाशी के साथ उत्पादन को निष्पक्ष रूप से विभाजित किया ताकि हिमा अपनी मां को श्रद्धांजलि दे सके।

Score: 4.5/5

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X-Raided – “A Sin in Heaven” review

Here we have the 18th full-length studio LP albeit Strange Music sophomore effort from Sacramento, California veteran X-Raided. Exploding onto the scene in 1992 off the strength of his full-length debut Psycho Active, he was shortly after sentenced to 31 years in prison on murder charges, only to be granted parole in the fall of 2018 & continued to build his discography by dropping a little over a dozen more albums whilst incarcerated. The Nefarious Loc surprisingly signed to Strange in 2022 & his previous offering A Prayer in Hell was a true blue return to form, so A Sin in Heaven had me expecting no differently.

“2400” is a trap opener airing out everyone for getting here late & flexing that he got here early whereas the rapid-fire “Sacrilegious” discusses not understanding the dark if you ain’t ever been in the light. “Can’t Hold Us Down” has a gospel trap vibe to the beat looking to ball in the midst of them tryna keep his people broke, but then “California State” featuring Locksmith is a cloudy tribute to the state out in the west coast that raised them.

Meanwhile on “Boy Meets World”, we have X over a much more bouncier beat from Mario Casalini talking about wanting to become a banger as he was growing up just before the groovier “P.T.S.D. (Passing The Story Down)” talks about his story being passed on to his children. “A Favor for a Favor” featuring Nox finds the 2 coming together so they can tell a hustler’s story but after the “Waste Management” interlude, “A Cold Day in Hell” featuring C-Mob & Joey Cool refuses to choose hoes over his bros supposing that’s the way life goes.

“Olly Olly Oxen Free” featuring Bleezo, Tech N9ne & T-Nutty has these nervous undertones throughout stepping on these muhfuckas in a real way acknowledging that only the top MCs be fuckin’ with them while “The Sunken Place” produced by Wyshmaster solemnly lives in a drunken state. “Anymore” strips the drums completely hopping over pianos asking if it’s too late to admit he’s broken & “Pray” hooks the trap vibes back up talking praying when all else fails.

Moving on from there, “Conception (Aneraé’s Song)” produced by Matt Phoenix atmospherically looks to break all generational curses in his family tree while the trap-driven “Invigorated” featuring Ellis Prescott as well as Macntaj & Trizz talks about the feeling of being revitalized. “It’s Up” featuring KXNG CROOKED & Ras Kass sees the trio coming together for a 3 & a half minute west coast barfest while “Juggernaut” goes drill refusing to ever stop now that he’s home.

“Paranoia” featuring Tech N9ne blends a guitar & hi-hats allowing them to demonstrate speedier flows revolving around the theme of being paranoid referencing WWE Hall of Famer Drew Carey & after the “All or Nothing” interlude, the psychedelic rock/trap hybrid “No Conversations” tells everyone to hold their breaths as he balls. “Baby Mama Music” wittingly expresses his gratitude to be free while “Water” featuring Ellis Prescott, Jerome Dillard, Laza & Macntaj takes a delicately melodic approach.

Pushing further towards the end of A Sin in Heaven, the penultimate track “Elevating” featuring Don P is this gospel/trap hybrid finding both of them talking about constantly evolving from an artistic standpoint while MIKE SUMMERS a.k.a. 7 laces the closer “Gladiator” featuring C-Mob & King Iso finding all 3 of them coming together passionately referring to themselves as being trained to fight with weapons against others.

Only the 2nd release from the Strange Music camp this year following Tech’s first Collabos album in a long time C.O.S.M. (Class of Strange Music) after signing a new distribution deal with both RBC Records founder Brian Shafton’s new label Compound Interest Entertainment alongside Virgin Music even last summer & it’s a worthy successor to what has already become X’s strongest body of work in recent memory. He takes things full circle experiencing joys in life now that he has crafted a life he could only have imagined just a few years ago.

Score: 3.5/5

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Rock & Ruste Juxx – “Crownsville” review

Brooklyn, New York emcees Rock & Ruste Juxx teaming up for a brand new collaborative LP. One of whom is a member of the Boot Camp Clik as well as the now defunct subgroups Heltah Skeltah & The Fab 5 alongside the late Sean Price while the other was a protege of Ruck making his debut on Heltah Skeltah’s sophomore effort Magnum Force. They’ve crossed paths with one another countless times in the span of 26 years & to commemorate almost a decade of Sean’s passing, they’re getting together to take us through Crownsville.

The title track is a morbid boom bap opener representing Brownsville & Crown Heights respectively whereas “Black Out” has a soulful flare to the beat proudly wearing the borough that made them on their sleeves. “Vehicular Manslaughter” produced by D-Block Records in-house producer Vinny Idol works in more kicks & snares laying out some of their hardest verses on the album prior to “Crash Ya Whip” aggressively making y’all choose one of the 6,000,000 ways to die.

After the Bernadette Price Speaks skit, “Sean Lives On” serves as a sincere tribute to P with a ghostly boom bap instrumental while “B-83” sorta dabbles with trap feeling like an open hand palm slap so they can flex their status as nuclear bomb threats. “Ruck Down” brings a rap rock vibe to the table thanks to Bumpy Knuckles representing Sean’s independently owned Duck Down Music Inc. subsidiary Ruck Down Records, but then “Change Nothing” featuring Frankie Storm as well as 9th Uno behind the boards finds the trio linking up advising the listener to not switch-up.

“Dust Pan” has a fun back-&-forth chemistry from Rock & Ruste cautioning that your whole team will get swept fucking with them for roughly 135 seconds while “Kings County” pulls inspiration from rock music again instrumentally shouting out the titular Brooklyn county. “Wotcha Call Strength” by the Boot Camp Clik finishes Crownsville by having the collective reuniting for the first time since 2007 for a high-energy 6 minute closer that The Arcitype laced.

Knowing both artists’ individual history with Sean Price, it’s only right that they joined forces for the duration of an entire album & one that would make Sean proud if he was still with us today. Rock & Ruste elevate their chemistry over the course of 33 minutes other than a couple guests backed by the sounds of boom bap, a hint of trap & of course samples of rock & soul music.

Score: 4/5

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