Jelly Roll – “Beautifully Broken” review

Jelly Roll is a 39 year old rapper & singer/songwriter from Antioch, Tennesse who’s been hustling within the underground for over 2 decades already building up a discography of 21 mixtapes as well as 8 full-lengths & 3 EPs. His rise to international stardom began in 2020 when he signed a 2-album deal with the Strange Music subsidiary It Goes Up Entertainment, releasing A Beautiful Disaster & Self Medicated to critical acclaim. Whitsitt Chapel marked his country debut & “Need a Favor” proved to be his biggest hit, eventually signing with Republic Records for his 9th LP after making appearances for both WME Group-owned TKO Group Holdings divisions UFC & WWE.

“Winning Streak” begins his Republic debut in the form of this powerful piano ballad singing about standin’ in the rain just trying to stay dry whereas “Burning” gives off more of a traditional country sound instrumentally asking God to show him another way. “Heart of Stone” in need of a different kind of drug carrying over the sounds of the previous cut onto here, but then the lead single “I’m Not Ok” fuses pop rock & country pop tackling the theme of mental health.

Meanwhile on “When the Drugs Don’t Work”, we have Jelly Roll asking who’s gonna drive you home once the drugs start to wear off putting a bigger emphasis on country pop just before “Higher Than Heaven” featuring Wiz Khalifa finds the 2 talking about smoking weed being their way out of the darkness. The official WWE SummerSlam XXXVII theme song “Liar” heads towards a pop rock direction calling out someone tryna be his friend for cappin’ leading into “Everyone Bleeds” explains that you can only fly so close to Heaven.

“Get By” pulls inspiration from the stomp & holler scene showin’ up Sunday morning lookin’ the same way he did the previous evening while “Unpretty” sings about resenting the man that he used to be radiating a calmer vibe to the beat. “Grace” brings back the country pop influences finding love in the heart of the darkness & hope when the times are the hardest while “What It Takes” sings about a 40 Oz. only numbing the pain.

To get Beautifully Broken’s other half going, “Hey Mama” serve as his passionate country tribute to Jelly Roll’s mother Donna DeFord & the guitar-driven “Time of Day” feels more like an MGK song since he handles pretty much all the verses & not as well as the primary artist himself. “Born Again” clarifies that you can’t kill a man that was born to be born again while “Guilty” maintains the country feeling expressing the love he has for his wife Alyssa.

“Little Light” is this country rock/country pop hybrid encouraging to leave some light since this person is on the close to the edge of letting go while “Hear Me Out” wanting y’all to tell him how he’s always feeling like something’s missin’ & we don’t know all the pain he’s felt. “Woman” gives his flowers to Alyssa once again detailing he won’t understand why she still calls him her’s while “Smile So Much” singing about one understanding why he’s been smiling a lot if you’ve seen him cry.

The penultimate track “My Cross” pushes towards the conclusion of the LP referring to hurt & trauma as a sickness, explaining that he’d rather die than to pass it to either of his 2 children since it’s his pain to bear rather than theirs hoping the apple falls far from the tree & the sins of the father stop with him while “What’s Wrong with Me” ends by singing about being fine with all his flaws. “Take a Bow” featuring Halsey starts the deluxe run promising one another the highest of highs over pianos while “Don’t Want To” featuring Keith Urban is a country duet clarifying just because they aren’t tempting that temptation or lighting up that fuse doesn’t mean they don’t want to.

“Devil Down” featuring Ernest finds the 2 sticking with a traditional country flare asking for God to help them overcome their addictions since it isn’t a strongpoint for them while the acoustic “Really Gone” featuring Russ talks about hearing the special people in their lives who’ve passed through the night sky. The stripped-back “Past Yesterday” with Skylar Grey on the hook asks not to judge him if he gets too high & the final bonus track “Lonely Road” featuring MGK fresh off being in Logan Paul’s corner when L.A. Knight finally dethroned him as WWE United States Champion at SummerSlam XXXVII couple months ago has to be one of the worst singles of the year mutating country pop & emo pop whining about feeling alone.

I’ve always found it ignorant when people say that Jelly Roll is a sellout or a culture vulture or inauthentic because the dude was grinding nonstop for the longest time working with those from Tech N9ne to more recently the closing track of Eminem’s highly conceptual THE DƎATH OF SLIM SHADY (COUP DE GRÂCE) & his Republic debut here stands as the best offering of his ever since he forayed deeper towards country. He’s grappling with his newfound fame during the 83 minute runtime bouncing between country, pop rock & country pop.

Score: 3.5/5

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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

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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

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Twisted Insane – “Halfway Gone” review

San Diego, California chopper as well as horrorcore veteran & Brainsick Muzik founder Twisted Insane kicking off the Halloween season by dropping his 17th studio LP. Writing his first rhyme at the age of 12, he would go on to put out 5 mixtapes & a couple full-lengths until he was featured on the Tech N9ne single “Worldwide Choppers”. The Root of All Evil & The Insane Asylum further elevated his status in the underground, maintaining a consistent schedule since dropping 13 more albums in the process. Halfway Gone though was said to be the deepest creation yet & had serious potential of becoming a discography highlight.

The title track has this interesting, guitar-driven trap instrumental throughout assuring that he’s here although half of him feels as if he isn’t whereas “External Wounds” works in a darker riff tone & hi-hats to talk about mental health pleading to get out of his life since he don’t need this shit. “So Far Ahead” maintains a gritty trap vibe boasting the fact that he’s ahead of the curve of everyone else that is until Swisher Sleep joins him on the somber “Memory” crushingly remembers his child who died after someone hit the street in the middle of a drive-by.

Continuing the series of tracks that began on his Hell’s Kitchen mixtape in the form of a 2-parter, “Blackout 4” expressing his desire to experience a sudden & temporary loss in consciousness while the acoustic “Tailspin” sings about being in a state of chaos, panic or loss of control. “Jesus” gets in his chopper bag for 3 & a half minutes speeding up his flows nonchalantly accompanied by some beat switches, but then “Motel 6” showcases more sung vocals detailing him getting drunk at the titular motel chain.

“1 Foot in the Grave” goes for an uncanny trap approach instrumentally talking about not asking him to stay since he’s close to dying anyway just before “Growin’ Up” featuring Fase 1 finds the pair vulnerably giving us a look at what it was like for both of them being raised in the southeast. “Wings” is a crucial highlight sending 1 out for everyone who’s still shrouded in darkness over a guitar/trap crossover leading into “Left Behind” featuring C. Ray talking about the type of people who want to see 2 of the biggest Brainsick artists forgotten.

One of the most personal moments on Halfway Gone would easily be “KJ” telling his son who no longer lives with him to pop him on his line anytime he wants to while “OT-IZ-UM” continues the theme of fatherhood grimly singing about having an autistic child himself. “N.T.S. 2 (Night Time Shit 2)” happens to be an amazing sick world to one of my all-time favorite Twisted Insane songs reiterating that he loves the dark & writes his best music when he’s in it while “Back When” feels like he hit rock bottom with nothing more to gain during the pager days.

“Botched” featuring Kamikazi gets the encore of Halfway Gone rollin’ wanting to know exactly why women nowadays seek validation as much as they do while “Same” featuring C. Ray reunites the 2 talking about still being the exact same muhfuckas they were when they first started out. “1 Trick Pony” sings over a guitar addressing those who say that’s all he’ll ever be when he proved them wrong & “Endgame” perfectly closes the LP searching for the final stage of his life.

In the ongoing series of albums that Twisted Insane’s been working on where they all sound completely different from one another, his 2nd offering of 2024 surpasses the west coast gangsta rap heavy predecessor from this summer Shoot for the Face 2.5 in favor of the deepest & most emotional music he’s ever made period. It’s something that would change the lives of many in their darkest moments since the west coast MC uses his own life experiences to help others cope with the hardships they face.

Score: 4.5/5

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Powers Pleasant – “Life Sucks” review

This is the official full length debut studio album from Brooklyn, New York producer & DJ Powers Pleasant. A member of the Pro Era & Beast Coast collectives, he’s had a hand in the instrumentals on some of the latter’s output from The Underachievers’ 3rd mixtape It Happened in Flatbush in 2016 to Joey Bada$$’ politically charged sophomore album ALL-AMERIKKKAN BADA$$ in 2017. Powers even came out with his own EP Life is Beautiful & has signed to Mass Appeal Records for the sequel Life Sucks.

“Entro” by Denzel Curry is this cutthroat boom bap opener flexing that he’s the King of the Hill & this Mike Judge his rap skill whereas “Rumble” by Joey Bada$$ works in some horns & hi-hats so he can get violent. “Galore” by DC the Don has some of the weaker performances on the album despite it’s cloudy trap instrumental talking about being allergic to catching feelings, but then “Shmoke” by A$AP Ferg & Armani Caesar finds the pair over a soul sample & hi-hats warning y’all don’t want beef with them.

Denzel Curry, Meechy Darko & Soulja Livin Tru get together for the atmospheric trap joint “Bandoe” flexing that all 3 of them are still boomin’ out the back door just before Joey Bada$$ & SABA team up on the laidback “Ball Alone” talking about not needing any help. “Know Me Now” by DC the Don acoustically sings that he wants to love with no control leading into “That’s Tough” by $not mixing trap & rock discussing doing shit himself tryna find his way.

“Pamper Pamper” by Mike Dimes brings a soulful trap flare to the table pulling out with his homies while “Baby Boy’s Drunk” by AG Club & Audrey Nuna comes through with this annoying attempt at a club banger. “I’m the Shit” by Guapdad 4000 & P-Lo hops over pianos & hi-hats to get boastful while “Wassup” by Jasiah & Tkay Maidza sees the 2 asking what the deal is. “SMH” by Aaron Rose, CJ Fly, Joey Bada$$ & Nyck Caution ends the album repping Pro Era.

The predecessor from 5 years ago Life’s Beautiful was a decent look at what Powers Pleasant’s solo discography could look like going forward & regardless if I didn’t enjoy Life Sucks more than the last EP, I can’t say it’s any worse either if that makes any sense. Powers’ production start to finish is absolutely fine primarily basing itself around a trap sound, the performances during the 36 minute runtime on the contrary tend to be hit or miss.

Score: 3/5

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Kofi Stone – “A Man After God’s Own Heart” review

Here we have the sophomore effort from Birmingham, West Midlands, England, United Kingdom emcee Kofi Stone. Coming up battle rapping in the schoolyards as an adolescent, he would eventually put out his debut single “Stories in Pyjamas” in the summer of 2017 looking back at the lives of individuals close to him & his challenges growing up in an inner-city community. His official full-length studio debut Nobody Cares ‘Till Everybody Does came out a couple years later months prior to the 2020 COVID-19 pandemic & has returned after 5 long years to drop A Man After God’s Own Heart.

The title track subtitled “Life Won’t Kill Me” produced by former Low Life Records in-house producer Harry Love kicks things off with a rich boom bap instrumental refusing to let the hardships of existing weigh him down whereas “May Sound Crazy” featuring the late Benjamin Zephaniah talks about raising consciousness from 1 generation to the next. “Black Joy” leans towards a chipmunk soul vibe delivering a celebration of African Americans across the entire globe leading into “Lavender” talking about his belief in love.

Joe Corfield brings in these jazzy piano chords during “These Years Are Golden” encouraging everyone listening to simply be themselves just before “Made for This” talks about holding onto the affection he has for a woman he met in Paris in 2021. “Closer” hits the midway point of the album treading the soulful boom bap waters carrying over the romantic subject matter while “Colours in My Mind” replaces the soul with more keys thanks to Talos expressing his gratitude for still being alive.

“King David Flow” likens his cadence to the biblical monarch of the same name cautioning that anyone going against him will automatically lose once Kofi steps inside the ring over 1 last Harry Love beat & after the soothing “You Deserve Love” runs it back with Joe Corfield talking about giving this individual everything he feels like they’re lacking, “You’ll Be Okay” assures anyone who’s going through something that everything will be fine in the end.

The song “I Owe It All” winds down A Man After God’s Own Heart’s final moments talking about owing every single good thing that’s ever happened to him to God while “A Mother’s Love” pens a heartfelt love letter to Kofi’s mom. “People” finishes up taking the orchestral boom bap route instrumentally courtesy of Pitch 92 talking about the population making the world go round, suggesting they keep things peaceful going forward rather than turning evil.

Kofi Stone’s guest appearances on Truemendous’ debut The Misdiagnosis of Chyvonne Johnson as well as Eva Lazarus & Pitch 92’s respective sophomore efforts Brandy Kisses & Intervals had me hoping for him to come back & A Man After God’s Own Heart feels like it hasn’t even been 5 years. The production puts more emphasis on the jazzier, lo-fi elements of it’s predecessor compellingly confronting topics ranging from love to religion & politics.

Score: 4/5

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Tee Grizzley – “Post Traumatic” review

This is the 5th full length studio LP from Detroit rapper & singer/songwriter Tee Grizzley. Originally a member of the quartet ASBH, it wouldn’t be until 2016 where he would blow up off his first solo single “First Day Out” & earned a contract with 300 Entertainment. His profile would continue to grow by dropping projects like his debut mixtape My Moment, the debut album Activated, his 2nd tape, Still My Moment, the Timbaland exec-produced sophomore effort Scriptures or my personal favorite: his 3rd mixtape The Smartest. Built for Whatever & Chapters of the Trenches would both later be received moderately and responses towards Half Tee, Half Beast & Tee’s Coney Island were generally mixed, but some of the singles ahead of Post Traumatic made it seem promising.

The intro fuses Mobb music with Detroit trap talking about having post traumatic stress due to his father dying recently & barely knowing his own mother whereas “We Dem” produced by Wheezy works in a symphonic trap instrumental flexing that he’s still him. “Blow for Blow” featuring J. Cole finds the 2 over a signature Pi’erre Bourne beat which is fine except for the “I’m really him, Bruce Jenner, boy just ain’t” line feeling reminiscent to the 1 bar he had on “Pi” off Might Delete Later, but then “All I Wanna Do” goes for a soulful Detroit trap vibe thanks to FNZ looking to get money.

“More Than Half” hooks up some horns & bells from Helluva to talk about half these muhfuckas out here folding eventually leading into “Ride or Die” featuring Tink heading towards more of a synth-based direction for a duet about having only each other on their minds. “Diana” switches gears in favor of a futuristic trap flare courtesy of BNYX from Working on Dying comparing her bitch to the late Princess Diana herself just before the bassy “I Ain’t Sorry” featuring Hunxho that Chopsquad DJ laced sees both of them at their most remorseless.

Meanwhile on “10pm in Detroit”, we have Tee Grizzley on top of these pianos & 808s boasting that he got money flowin’ all night like “Drunk in Love” by The Carters prior to “Swerv” featuring G Herbo putting a minimal emphasis on the drums so they can trade verses with one another without a hook for 3 minutes detailing their gang ties. “WTF I Want” mixes these synth-horns with 808s talking about doing whatever he feels like while the pop rap/trap hybrid “I Know” discusses knowing how to turn dreams into reality.

“Dream Youngin’” starts the 2nd leg of Post Traumatic on some atmospherically chill trap shit thanking everyone who’s ever supported him throughout his career while “Situationship” featuring Mariah the Scientist gives a shot at fusing trap soul & pop rap finding both of them wishing each other the best in the end. “Trench Baby” gets back on the Detroit trap tip talking about being born in the trenches of the Murder Mitten while “You Hear Me” featuring YTB Fatt comes through with this underwhelming team up looking to get their bags up.

Future makes up for some of the mediocrity joining Tee on “Swear to God” boasting that your album doesn’t even slap like Mixtape Pluto does which is valid since he took it back to his roots on there while “Pop Shit” featuring Baby Grizzley finds both Grizzlies shooting for a piano-driven direction instrumentally going from playing GameCubes to VS Cubes. “Deposits Crazy” gives thanks to God for somehow helping him through the pain in his life & “Detroit” featuring 42 Dugg serves as this bangin’ tribute to their hometown.

“Blueprint” pushes towards the final moments of the LP challenging everybody to step up & give back to the city in some type of way while “Suffer in Silence” talks about going off by loyalty & the way you treat him without anyone telling him that shit’s gonna change. As for an official closer, we get treated to the 7th AND the 8th installments of Tee Grizzley’s famous “Robbery” series with Helluva hopping behind the boards for both tracks that Segway into one another perfectly.

The Smartest still stands as my favorite tape in the Detroit trap star’s discography but when it comes to his full-lengths, I came away impressed with Post Traumatic as much as I was with the mixtape that I previously mentioned coming out during the COVID lockdowns. It’s more sonically diverse than what someone might expect being used to the Detroit trap style, showing comfortably yet resolute with these homegrown Michigan beats backing him while thriving across styles from rugged trap to even poppier territory.

Score: 4/5

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Dirty White – “Melodies of Redemption” review

Mount Clemens, Michigan emcee/DJ Dirty White teaming up with Majik Ninja Entertainment in-house producer Stir Crazy for his 3rd full-length studio LP. Returning after an 11-year absence in the summer of 2020 off the strength of his debut album Authenticated, he would later prelude the sophomore effort The Rebuilding of a Broken Soul a year & ago by putting out a debut EP Dirty White’s the Name! ahead of The Rebuilding of a Broken Soul itself seeing the light of day this past spring. Over 6 months later, Dirty White’s continuing to put in work starting the final quarter of 2024 by at least unleashing the Melodies of Redemption.

The “Evolution” intro tells his story from writing his first rhymes & performing a local talent show in 1992 to him walking away from it all for over a decade & his eventual return inspired by a conversation with the King of Rock himself forming his backing band the High Life Social Club consisting of drummer Jamie Brady alongside turntablists DJ Nano2hype & DJ Bet whereas the rock/boom bap hybrid “I Feel Alive (MFKA)” talking about doing whatever it takes to survive. “Ay Yo” stays on the rap rock tip clarifying he does this to make life better just before the bluesy “True Colors” seeing those for who they really are.

After the spoken word “Memories of the Mitten” interlude, “Summertime in Michigan” profoundly reminisce is on spending hottest & brightest of the 4 temperate seasons in his home state leading into “Night Terrors” giving off somewhat of a metal vibe instrumentally to talk about every memory of his coming alive whenever he closes his eyes trying to sleep. “Elevated” comes through with a passionate ballad calling to take him higher easing his pain with every day that passes by & after the “Albuquerque Clean” skit, “All Day” goes rap rock again feeling like he’s been resurrected.

“Dirty Laundry” starts the last leg of the LP throwing it back with an old school beat venting that he’s sick of people throwing stones if they live in glasses houses, having their music criticized when they’re listening to artists who’re less more talented than he is & the constant complaining while the final song “Weathered” has this country rap flare talking about living free & never tethered. The “Dear Anita” properly sends things off with an outro remembering his sister, who’s passing in 2020 made him a better artist.

Dirty White’s been referring to Melodies of Redemption as the Mona Lisa of his discography & if you really digest it, it’s abundantly clear he spent the last 10 months giving it everything he has. His real, authentically emotional, soulful, uplifting, educational, inspiring, sobering & relatable performances matched with Stir Crazy’s electric production fusing hip hop & boom bap with other genres such as blues, rock, reggae, country & metal music makes for the wildest ride with the moral of the story being to not give up & keep pushing towards their dreams.

Score: 4/5

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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

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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

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