MAVI – “Shadowbox” review

Charlotte, North Carolina underground sensation MAVI returning after a couple years to put out his 3rd album. Emerging off his full-length debut Let the Sun Talk a day before his 20th birthday, he would go on to land a verse on “El Toro Combo Meal” off of Earl Sweatshirt’s 2nd EP Feet of Clay a month later as well as preluding the further well received Laughing So Hard It Hurts in the form of a debut EP of his own End of the Earth. Few singles later, he’s ready to Shadowbox.

“20,000 leagues” goes drumless to start the LP rapping about saving him from himself whereas the 2-part “open waters” takes a cloudier route instrumentally keeping the drums out the picture for both halves explaining that creating art out of suffering is a haunting if not a futile endeavor. “i did” finally puts some drums in the equation keeping it cloudy talking about doing stuff that he promised not to do anymore & “i’m so tired” strips the drums once again abstractly wanting to be washed off so he can can make another song without a crater or a scar.

The beat on “tether” kinda has a glitchier, funkier tone altogether reminding that we’re all gonna die at some point in our lives while “the sky’s quiet” raps about making a bunch of hearts bleed unable to measure a correct amount of soup although he’ll get back on that when he eventually does. “latch” squares up at the score even if he wasn’t sure this is what he meant over Madlib-inspired production, but then the piano/boom bap hybrid “grindstone” addresses a bitch ass dude named Brandon telling him why he’s the greatest.

After the “drown the snake” skit, “drunk prayer” talks drinking until he’s unable to feel shit over a crooning sample wailing behind him leading into “the giver” telling his partner to make it make sense for him over lavish keys dashed with kicks & snares. “too much to zelle” goes for a psychedelic trap approach getting back to his boogie just before the jazzy “testimony” produced by Tom Levesque of Vanguard Music Group refers to himself as a living dream. “my own ways” finishes the album going his own path accompanied by an instrumental that doesn’t add the drums in until near the end.

Feeling a hopelessness towards Laughing So Hard It Hurts, MAVI felt like he had to come back learn & really how to make art all over again centered around visual art, fashion, interior design & design as an artistic framework & as an organizational force in society. The orderliness in the lives of the devoutly religious became an attractive subtext & lot of shadowbox’s backbone comes from his time with The Black Experience in Design, gaining the idea from them that design is power & the ability to determine the order of things & the way things are supposed to be are power.

Score: 4/5

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Spice – “Mirror 25” review

Spice is a 42 year old DJ, singer/songwriter & producer from Spanish Town, Jamaica whose aggressive flow, musical versatility & outspoken lyrics made her one of the most prominent dancehall artists that the world has seen in recent memory. Her debut 10 backed by VP Records was a fun introduction to her music generally & although the sophomore effort Emancipated was simply average, I was anticipating her 3rd album more after learning that was self-producing the whole thing by herself.

After a 3 & a half minute intro, the first song “You Are Worthy” sets the tone of what’s to come acoustically letting everyone who’s tuning in know that they are in fact worthy whereas the reggae/psychedelic “Lead Me” featuring Ky-Mani Marley finds the 2 thanking Jah for everything that was given to them & letting Him guide you. “Whoop” heads for a cavernous direction saying y’all can miss her with any negative energy leading into the fuzzy “G.O.A.T. (Greatest Of All-Time)” talking about being the greatest in her subgenre.

Busta Rhymes joins Spice for the rubbery 2nd single “Round Round” that I actually found myself enjoying more than I initially thought I would going out to all the clubs worldwide just before the lead single “2085 Tea” humorously & sentimentally takes us 61 years from now being happy that she’s been minding her own business stripping down roots reggae with an increased emphasis on pure rhythm. “Ex Boyfriend” maintains a tropical bashment flare talking an ex of hers & the entrancing “Cry” featuring Lola Brooke calls out bitches who want smoke with them.

“D.D.D. (Dead Dick Disguises)” has a slower R&B groove to it this time around letting it be known she’s sick & tired of wasting her time on that shit while “Chair” returns to her dancehall roots flexing that her body stays rockin’ similarly to a rocking chair itself. “Super Hero” featuring Jada Kingdom & Pamputtae brings the synthesizers in the picture calling themselves vigilantes with a super clue while electronic/bashment fusion “Ghetto Gal” shrugs off anyone who thinks they can walk in her shoes.

Meanwhile on “Come Out”, we have Spice delivering one of the most empowering choruses Mirror 25 has to offer displaying her bad bitch status while “Bestie” fuses dancehall & house music dedicated to anyone in the world who has a best friend in their lives. “Put It On Me” featuring Patoranking has a futuristic bashment/afrobeats tone tackling themes of intimacy & intercourse while the celebratory “Happiness” works in some afrobeats undertones coming to the realization of the titular feeling suiting her.

“Mirror” entrancingly asks who’s the prettiest of them all while “Price Tag” keeps unraveling hypnotizing rhythms talking about money following her. “Mafia” pushes forward with a 3 & a half minute bad man anthem while “Gangster” featuring Chronic Law unites both DJs so they can talk about being rollin’ with certified gs that crush the road together.

Starting the final leg of the album, “Bailando” clashes Latin music & dancehall in an impressively unique fashion while “Hell No” clarifies that there are certain things she can’t do. The song “This Him Love” delvers further into raunchier subject matter while the penultimate track “God a Bless Me” speaks of Jah blessing her & having her back around the clock. Finally, she justifiably declares herself as the “Queen of the Dancehall” to finish the 85 minute experiences.

Quarter of a century in the game & Spice has decided to celebrate by outdoing herself from Emancipated by making Mirror 25 the best album that she’s done since leaving VP. Even if it’s 26 tracks & almost 90 minutes, her production top to bottom is a step above the predecessor’s revealing itself to be more musically ambitious injecting her dancehall sonic foundation with notes of the likes of country or afrobeats & R&B heavily reflecting as a result of a near-death experience.

Score: 4/5

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Chlöe – “Trouble in Paradise” review

Chlöe is a 26 year old singer/songwriter, producer & actress from Atlanta, Georgia coming up as 1/2 of the duo Chlöe x Halle with Halle Bailey. Introducing themselves in 2018 when Beyoncé signed them to Parkwood Entertainment/Columbia Records for their decent debut album The Kids Are Alright, the Bailey sisters’ sophomore effort Ungodly Hour in the summer of 2020 during the COVID-19 lockdowns would prove to be their most acclaimed body of work yet & have since been focusing on their solo careers. In contrast to Halle having yet to release her solo debut, Chlöe’s own debut In Pieces received mixed responses & is looking to have Trouble in Paradise top it.

“All I Got (Free Falling)” has a bare gospel-influenced beat from Bongo to get the ball rollin’ wishing she & her ex could start all over whereas “Might as Well” featuring Ty$ fresh off ¥$’ sophomore album Vultures 2 last Saturday morning coming together for a soulful duet singing about texting each other at 2am. “Boy Bye” fuses pop, contemporary R&B, 2-step, alt-pop & dance-pop thanks to Rogét Chahayed for anyone who needs to get rid of someone toxic and draining from their life just before “Redemption” catchily sings that she’s not being too big on the titular act herself.

Meanwhile on “Temporary Single”, we have Chlöe over a predominantly acoustic sound assuring that she briefly doesn’t have a man at the current moment while the intoxicating trap soul cut “Rose” talks about becomin’ alone & not meeting another man like the one she has now. “Favorite” featuring & produced by Anderson .Paak stands out as infectious R&B duet not tryna buy into favoritism, but then the syrupy “Same Lingerie” sings about needing some time to herself.

Lauryn Hill’s son YG Marley joins Chlöe for the dancehall/R&B crossover “Never Let You Go” finding both partners refusing to let go of one another while “Want Me” by Chlöe x Halle hops over acoustics as well as hi-hats & snapping fingers asking why everything in their past relationships changed. The piano-driven “Moments” sings that she has true love for her ex due to all the memories they have together while “F.Y.S. (Fuck Your Status)” blends trap soul & alternative R&B discussing one’s social status.

“Nice Girls Finish Last” atmospherically starts the final leg of Trouble in Paradise singing about intercourse while “Strawberry Lemonade” experiments with a nu disco R&B sound talking about having the sugar for her partner. “Shake” featuring Jeremih goes from the nu disco undertones of the previous track to prominent house influences throwing that ass back & “Somebody” wraps up the album with an empowering pop ballad feelin’ like she needs someone.

She & Halle already earned my respect when Ungodly Hour came over 4 years ago, so I figured that Trouble in Paradise had to improve on the moderately received debut & it’s certainly a more consistent showcasing of what Chlöe’s capable of doing by herself. It’s a summer fling & coming-of-age celebration of being a woman having fun & not taking life too seriously pulling from pop, contemporary & alternative R&B, pop soul, pop rap, afropiano, trap soul, dancehall, nu disco, 2-step, alt-pop & dance-pop.

Score: 3.5/5

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Zukenee – “Guillotine” review

Atlanta, Georgia up-&-comer Zukenee following up his debut Player Slayer with a 4th EP. Starting in the spring of 2021 off his debut EP Undiscovered, he would continue to make a name for himself in the underground by putting out a couple more EPs in Castle & Playful alongside the debut mixtape Stop Playing last summer. Subsequent exclusive singles like “OJAYS” & “Chest” would later become amongst his best singles since both of them were released in the span of a year & a half until Player Slayer came this spring. Interestingly enough, Cade’s being brought in to produce Guillotine.

“Dungeon Detour” has a quirky trap feeling to get us started warning that the roundabout route to the dungeon has begun & to prepare for imminent battle whereas the vibrant “Dragons” talks about catching plays & running shit now. “Village” comes through with a rubbery dedication for all the slayers out there while “Trap Candle” flexes that he got money bustin’ out both of his pockets.

Meanwhile on “Checkmate”, Zukenee aggressively explains to u that you have to choose between the 2 sides of life being a boy or a slayer just before the synth-trap crossover “Warplay” declaring that he’s ready for war. “Bend” has an acoustic trap quality to it reworking a brick & a bitch, but then the rage-inducing “Trimlewinsky” balls hard. The trippy “Por Favor” warns he might fuck around & rinse you leading into “Blow Up” ending the EP by keeping the Glock hot.

If you weren’t feeling Player Slayer when it was first given to us over 4 months ago like a couple people were, you might find yourself enjoying Guillotine more & that for me personally has quickly established itself as the crown jewel of Zukenee’s discography. Cade’s takes him to a brand new level in a consistent fashion & the medieval theme during the 19 minute run stays pretty consistent.

Score: 4/5

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Ramirez – “The Warlock & The Gorilla” review

San Francisco, California emcee Ramirez following up From tha Guttah to tha Grave by surprise releasing as his 12th EP. Coming up in 2014 as a longtime affiliate of the $uicideboy$, he would go on to co-found to the New Orleans-based indie label G*59 Record$ with them & build himself as an artist by dropping 8 mixtapes, his last 10 EPs & 4 full-lengths in the span of nearly a decade. Tha Playa$ Manual was his best LP yet with it’s g-funk production from Rocci & The Tragedy of a Clown was a good comeback from a year & a half ago, From tha Guttah to tha Grave back in March was good & this new one had me especially intrigued since he said it was to hold us off until his upcoming 5th album Tha Playa$ Manual II.

After the titular intro, the first song “Stackin’ Ends” featuring Soulzay has a slick Memphis vibe instrumentally to officially begin letting us know that’s exactly what both of them be doing whereas the cloudy trap banger “Carti Frames” continues forward talking about cold blooded pimpin’ going through his veins. “Window” featuring Shakewell has an eerier atmosphere to Flexatelli’s beat almost like it’s something out of a horror flick flexing their gangsta ties & “The Depths” hellishly talks about looking to blast someone in the deepest pits with the shotty.

“Crocodile Skin” builds the concept around the infamous “interior crocodile alligator” line from King Chip of The Almighty GloryUS blending a soul sample with hi-hats while the jazz/trap hybrid on “Medusa Packs” blew me away getting returning to his pimpin’ shit. “Casket Dreamz” featuring Pouya talks only having their brothers over a solemn trap instrumental leading into the west coast-flavored “International Waters” featuring Jay Worthy find the 2 gettin’ fly. “It Ain’t My Fault” featuring Shakewell lastly ends with a homage to Silkk the Shocker’s biggest hit.

In what would turn out to be Ramirez’ final release on G*59, The Warlock & The Gorilla surpasses From tha Guttah to tha Grave as the best of the 2 EPs that he’s put out this year alone. Stronger feature list, the production expanding beyond from trap as well as g-funk, the Memphis scene, cloud rap & jazz rap & the Lil Homewrecker delivering performances that go considerably harder.

Score: 3.5/5

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Polo G – “H.O.O.D. P.O.E.T. (He Overcame Obstacles During Pain Or Emotional Trauma)” review

Chicago, Illinois rapper, singer/songwriter & record executive Polo G returning for his 5th LP. Rising to prominence in 2019 off his debut album Die a Legend which I personally found it to be decent, it wasn’t until the sophomore effort The GOAT the subsequent spring where I noticed some significant improvements. Hall of Fame & it’s sequel on the contrary were both released to mixed reception in 201 & is looking to redeem himself as the H.O.O.D. P.O.E.T. or He Overcame Obstacles During Pain Or Emotional Trauma.

“God’s Favorite” was a decently thunderous trap opener produced by Nick Papz & Allen Ritter starting us off letting us know that’s exactly what he’s feeling like right now whereas “No Recruits” featuring G Herbo has a stronger instrumental that Southside & Smatt Sertified cook up together going Chicago drill telling us how wicked it gets in Chiraq. “Barely Holdin’ On” with co-production from former G.O.O.D. Music in-house producer Noah Goldstein & unfortunately Dr. Luke was a emo pop rap fusion that goes over decently, but then the cloudy/trap crossover “Only Gang” featuring 42 Dugg talks about not fucking with these newer guys.

Fridayy gives “Same Me” a moodier feeling reassuring everyone that he’s still the same guy as he was when he first blew up leading into the twangy trap vibes of “Detox” talking about falling in love with the Glock & needing to do exactly that after taking in too much fake love in recent years. “Thorns” has a catchier trap flare generally needing a light for his dark soul just before “G63” featuring Offset heading for a psychedelic direction pullin’ up jumpin’ out the titular whip.

“We Uh Shoot” featuring Lil Durk fusing gangsta rap & trap together reaffirming that both of them stay carrying sticks while “Rain Fallin’” featuring The Kid Laroi stands as one of the weaker moments on the album further embracing the emo influences from earlier although Kid Laroi’s take on it still rubs off as tacky. “Distraction” picks things back up with what I thought was an incredible lead single from the acoustic trap production to Polo calling out those discrediting his talent & “No Turning Back” featuring Hunxho cavernously explains making it this far.

Easily the weakest single of the rollout has to be “Angels in the Sky” due to it’s horrendous mixing, which is a shame because the overall theme of it comes from a good place & “Darkside” once again makes up for it this time by telling us his mental state in 2020 when both installments of the Hall of Fame series came over pianos & hi-hats. “Bad Kids” featuring Glorilla keeps the keys together swapping the hi-hats out in favor of 808s telling us who they hung around growing up while “Survival of the Fittest” featuring Future goes drill saying that’s what it’s like in the trenches.

“Father’s Day” nears the final moments of H.O.O.D. P.O.E.T. (He Overcame Obstacles During Pain Or Emotional Trauma) with Cubeatz helping Allen Ritter & Southside provide a delicate trap atmosphere serving as an open letter to Polo’s own father knowing that he’s forever here for him that is until “From the Heart” ends Polo’s return-to-form hopping over a roomy beat telling the world that from this point forward, he’s only writing songs if it comes from the heart rather than ego. I even like the reference to the greatest WWE superstar ever; Hall of Famer, 7-time world champion & 7-time tag team champion & WWE Hardcore Champion The Undertaker.

Right when people had already started assuming he had fallen off, Polo G returns to the fore with more life experience & rededicated to spitting about what he knows best: unflinching narratives of pain & pleasure, hood parables & romantic woes. The production has gradually improved from the 2 offerings from 4 years ago, most of the features nailed their contributions & Polo’s own versatility game has gradually stepped up.

Score: 3.5/5

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BP Infinite – “Kill or Be Killed” review

This is a brand new producer album from Amityville, New York beatsmith BP Infinite. In the last 19 years or so, he’s found himself working with underground veterans from K-Rino to Diabolic, Ill Bill, the Black Market Militia & Uncle Murda. His first producer album Timeless Music was released in the fall of 2017 followed by an EP called The Supreme 7, so I was interested in hearing Kill or Be Killed since the list of performers compared to the last couple solo efforts looked grander & jam packed on paper.

After the “Tournament of Champions” intro, the title track by RJ Payne & Skyzoo sets the tone with its organ/boom bap instrumental explaining that you either kill or be killed in this game called life whereas “Street Vengeance” by Nature & Tragedy Khadafi has a mafioso flare to the beat getting in their hardcore bag lyrically. “We Out of Here” by Elucid & Gudda Vell soulfully unites the pair flexing that they runnin’ on their last legs prior to “They Know Who It Is” by E-Class & Nature keeping the soul samples in tact comparing themselves to Steph & Klay or Kobe & Shaq.

“Kill Squad” by Redman gives one of the hardest performances on the album over horns although my biggest complaint is that it’s a shorter than I imagined just before the vocal sampling returns on “Love & War” by Bub Rock, Eddie Kaine & J. Arrr talking about wanting to see their brothers ballin’ & keeping it 100 being law to them. “Raise Your Glass” by Bunchy Cartier, Shabaam Sahdeeq & 9th Prince strips the drums to make a toast while “Can’t Fuck with Me” by Mooch & Tragedy Khadafi ruggedly talks life being different for them now.

Gudda Vell & the Intelligent Hoodlum express their desire of being great on “No Replay” further marking a return to the boom bap, but then “The End” by E Murda & Shots hops over a crooning sample to make money & put others in their place. “Screwface” by Dunbar has a suspenseful vibe instrumentally putting the listeners in his shoes while “Deep in My Heart” by Cory Gunz, eLZhi & Tragedy Khadafi hooks up a gospel flip flexing their lyrical prowesses.

“I Survived” by Eddie Kaine & Shots further pushes towards the end of the LP going chipmunk soul looking to stay high where they reside witnessing someone pass away in front of them at 16 & “Listen Up, Pt. II” by Bunchy Cartier & Pillz wraps up by working in pianos clarifying that the only thing on their minds is the money both of them stay stackin’ up.

Kill or Be Killed is the hip hop equivalent of a roundhouse kick to the face from both the beatsmith & his incredible cast of collaborators, almost like the movie Bloodsport with a tournament of diverse & unique talent. To make all of it possible, BP spent 18 months of fleshed out all the production that he thought specifically matched the artists he wanted to work with & it’s finally paid off.

Score: 3.5/5

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Larry June – “Doing it for Me” review

Vallejo, California emcee Larry June back with his 11th LP. Steadily grinding his ass off since dropping out of high school by dropping his last 10 studio efforts as well as 14 EPs & 7 mixtapes with the highlights of his ever-growing discography including the Lex Luger-produced Trap Larry, the Cardo-produced Cruise USA& it’s sequel Into the Late Night, the Harry Fraud-produced Keep Going & more recently the mobb music-influenced Jay Worthy collab effort 2 P’z in a Pod, The Alchemist-produced The Great Escape & The Night Shift. 9 months after the latter, Larry’s reassuring that he’s Doing it for Me.

After the “Free Uncle Herm 5” intro, the first song “Magnum P.I.” is a futuristically slick west coast opener flexing that he’s hopping out the whip looking like the titular TV show character whereas “Morning Calculations” produced by Harry Fraud was an early standout from the soulful instrumental to the lyrics advising to check that bitch instead of checking him. “A Little While” has a spacious vibe thanks to Jake One & DJ Khalil telling his romantic interest that she sure looks good to him just before “Stinson Beach” keeps it going with a funky ode to not having your day fucked up.

“Real Talk, Pt. 2” gives Detroit trap a shot detailing the gangsta lifestyle he involves himself in leading into Cardo bringing the synths in the fold for another favorite of mine “3 Piece” shrugging off any hate that comes his way since he be ridin’. “Where I’m Going” resurrects the Detroit trap vibe cautioning that nobody wants war with him, but then “Meet Me in Napa” was a decently spacious single discussing his desire of wanting to meet a woman in the titular California valley.

The orchestrally jazzy boom bap flare of “Breakfast in Gold Coast” is a nice change of pace talking to his sunshine while “Imported Couches” keeps the strings, kicks & snares together not giving a fuck about being 1 hit away rather focusing his attention on doing his thing. “Cleaning My Spot” keeps the jazz influences & strips the drums going so hard working towards his goals while “Like a Mack” makes trap music for pimps.

“Dreams” pushes towards the final moments of Doing it for Me telling everyone who’s tired of the sucka shit to come fuck with the big dogs headed for a dystopian direction to the beat & the closer “Money Bag” that Cookin’ Soul laced ends by hooking up a soul sample telling the world your own people will snake you, others might turn on you & hoes will play you out here for the paper.

Something amazing worth noting is that I found a lot of Doing it for Me’s singles to be average enough that it had me anticipating it less then The Great Escape & The Night Shift when I found myself enjoying a lot of the songs off this new album more than I had initially anticipated. The glitz & glamour from guest stars are being completely tossed out the window in favor of delivering lovesick bars over classic West Coast funk beats, reestablishing his status as one of the smoothest voices in hip hop today.

Score: 3.5/5

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Claas – “In My Head” review

This is the 4th EP from Arlington, Texas emcee Claas. For about 2 decades, this guy’s been steadily putting in work for the underground whether it be on it his own or as a member of groups like The Underground Avengers as well as VLNC & the Caarnivorz. He teased his previous LP albeit 3 with Lyrikal Snuff Productionz by dropping a trilogy of EPs leading up to it much like Strange Music used to do in 2019/2020 right before the COVID pandemic, culminating in This is Revenge being released in full 2 & a half years ago. He has since decided to take listeners In My Head over a month after UGA’s 3rd & final album Oblivion & 3 weeks since former AAA Mega Campeon, AAA Mundial Parejas Campeon, AEW International Champion, AEW World Tag Team Champion, AEW World Trios Champion, HoG Tag Team Champion, MLW World Tag Team Champion, PWG World Tag Team Champion, ROH World Tag Team Champion & TNA World Tag Team Champion Rey Fénix had his final AEW match in Claas’ city.

The title track has a morbid trap atmosphere to get the 3 song, 11 minute offering started demonically talks about demons following him with no end in sight while “In This Box” drearily acknowledges death at the door encouraging to let him in. “A Part of Me” ends the EP with a guitar & hi-hats talking about searching, but being unable to find.

Very much outside his norm, what we have is a culmination of the roughest stretch in Claas’ life dealing with everything that has happened over a 2 year span & finding a way to put all that into words. He tells a story of himself battling the thoughts in my head & finally coming to grips with the biggest tragedy in his life happening, slowing falling into the depths of dark thoughts in his head.

Score: 3.5/5

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Ameer Vann – “WOOF” review

Here we have the 3rd EP from Houston, Texas rapper Ameer Vann. Coming up as one of the original members of the now defunct BROCKHAMPTON collective, he played a key-role in their 2017 SATURATION trilogy in until getting kicked out of the boyband for sexual misconduct allegations the following year. Ameer’s removal from the boyband was a decision that is still polarizing by many, but Emmanuel was treated to mixed reception & Ameerlyn’s debut EP Slime in the Ice Machine was a tad bit better. Woof however peaked my interest, especially in light of BROCKHAMPTON’s dissolvement in 2022.

To get us started, “Listen” jumps over a symphonic trap instrumental to call himself a living messiah whereas “In the Building” aggressively talks about feelin’ himself at the spot & his trap being for everything must go clearance over pianos & hi-hats. “Yeah” dabbles with rage beats standing on business & setting out to change the game much like the SATURATION trilogy did while “Good Boy” goes drumless breaking everything he touches albeit staying optimistic that he’ll be fine.

“Medicine” has these impressive jazz influences throughout the beat talking about the shadows in the dark always following him just before “Gemini” starts with a drumless first half ahead of a dirty south switch-up always getting back up when he slips & falls poppin’ the trunk “Moving Slow” further embraces the chopped & screwed influences discussing cough medicine prior to the delicate trap joint “Shawty” serves as a dedication to his girl.

Nearing the encore of Woof, the song “Choosing” hooks up a slowed down soul sample with hi-hats dying by the second to live for the moment & the final track “Genesis” prior to the g-funk outro finishes up the EP officially by mixing trap & blues letting the world know that he found his peace in the darkest of places & that his connection with infinity cannot be cloned in any way shape or form.

Even if I thought Emmanuel had better production, Woof is still a good 21 minute EP & makes me hope that Ameer continues to further improve himself from here because I like Ameer’s first solo effort since BROCKHAMPTON dissolved more than Slime in the Machine. The production ranges from trap to rage, drumless, jazz rap, g-funk, blues music, soul music, a hint of orchestral music or chopped & screwed allowing the SATURATION trilogy poster boy to tell us where he’s at currently.

Score: 3/5

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