ilykimchi – “I Love You Kimchi” review

This is the 3rd extended play of solo material from Los Angeles, California producer, singer/songwriter & model ilykimchi. A member of The Scythe collective & the pioneering tread production team Working on Dying, her moderately received debut EP agony would come out in the fall of 2023 establishing herself in the future garage & alternative R&B scenes respectively. She followed it up this past April with prenup & the reception for that was generally mild too, but I remained optimistic going into her eponymous offering.

“Hello Baby” sets the tone with an electro/dance-pop intro singing about an individual who’s constantly on her mind whereas “Party in My Head” confesses that she won’t be understood until the person addressed dances with her. The lead single “Poser” combines electropop, electro house & electroclash confronting some loser about him pretending like he doesn’t know who she is while “Fendi Prada” expresses her desire of throwing it back to 2010.

binx joins Kimchi on another electropop, electro house & electroclash single “Crashout” that I found underwhelming until “What the Fuck Were We On?” spends 74 seconds wanting an ex to know that she’ll always be with him if he’s feeling lonely. “Green Room” hits us with a decent track catered to EDM festivals while the final single “Every Day a Movie” fuses electropop, dance-pop & bubblegum bass to sing about everything being different. The closer “Thank You” lastly sends off the EP with an open letter to someone she’ll never forget.

prenup this past spring found ilykimchi bringing other producers on board to handle all of the beats in comparison to her only self-producing 2 songs on agony & although I appreciate that risk being taken once again, this self-titled EP still leaves me on the fence & I say that respectfully because I truly think she has the potential to make something better. I also applaud her for departing from the alternative R&B sounds of her earlier output for a confident collection of electropop, dance-pop, bubblegum bass & electroclash jams for all the ladies looking to party this summer even if I wouldn’t consider it superior to Slayyyter’s major label debut WOR$T GIRL IN AMERICA.

Score: 3/5

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民謡クルセイダーズ – 『日本民謡より愛をこめて』レビュー

The Minyo Crusaders are a min’yō band from Fussa City, Tokyo, Japan consisting of guitarist 田中克海, saxophonist 大沢広一郎, percussionist 小林ムツミ, timbalero イデソノオ, trumpeter 山内ステファン, conguero Irochi, keyboardist Moe & vocalist フレディ塚本. Dropping their full-length studio debut Echoes of Japan in 2017 followed by the 2023 sophomore effort Tour of Japan, they have since signed to Blue Note Records & are making their debut for the greatest jazz label of all-time with the Crusaders’ 3rd studio LP.

“北海盆唄” begins with a rendition of a vulgar coalminer’s song originating in Hokkaido that was eventually rewritten in the 1940s containing a bit of a Latin twist to it whereas “こきりこ節” by Minyo Cumbiero comes through with a cumbia colombiana/tropicanibalismo spin on the oldest Japanese folk song. “花笠音頭” also by Minyo Cumbiero blends both ensemble’s styles again for an ode to the community dance originating in the Yamagata Prefecture while “下津井節” covers track dating back to the Edo period.

Kicking off the 2nd half, we have [朝倉さや] joining the Crusaders for the single “朝倉さや” reintroducing another cut from the Edo period except it was conceived in the Shimane Prefecture leading into another work song “木山音頭” during the construction of Imabari Castle being modernized for newer generations. “ワイド節” featuring 元ちとせ unites for a cover of the Amami Islands’ famous min’yō track synonymous with bullfighting & “伊予万才” ends From Japan with Love renditioning a humorous song written back in the 17th century.

Forming back in 2011 with the goal of making min’yō more international by incorporating rhythms from Latin as well as African & Caribbean music, the Minyo Crusaders’ debut for Blue Note Records surpasses both of it’s predecessors to become the most vibrant statement of their existence by rooting From Japan with Love in the passionate respect they’ve always had for Japanese folk & it’s ability of resonating across multiple cultures.

Score: 4/5

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Ouija Macc – “Sixela” review

2nd studio LP of 2026 & the 11th overall from Las Vegas, Nevada emcee Ouija Macc. Breaking out when the Insane Clown Posse signed him to Psychopathic Records shortly after putting out his debut EP Trashfire independently almost a decade ago, Ouija has since proven himself as the hatchet’s biggest solo act dropping his last 10 full-lengths, 2 greatest hits compilations, 8 mixtapes & 5 EPs all in the span of almost 9 years. He even started his own label Chapter 17 Records, with Darby O’Trill now being the only artist signed. He has since declared himself America’s Most Wicked back in November, coming out of the Pyramid of Skulls to have Flexatelli fully produce Sixela a week after Caleb Konley & Dani Mo ended CoKane & J-Rod’s reigns as JCW World Juggalo Heavyweight Champion & JCW Women’s Champions respectively.

“Sixela Legna” opens up with a sinister trap intro talking about him being on the verge of losing his mind whereas the 3rd single “Zombie Walkin’” gets back up on his bullshit, crushin’ something soon as he steps up in the function. “Sour Dough Toast” talks about the feeling Ouija has of him not belonging on this planet because it’s a curse just before the lead single “Phonky Phonky Sh17” embraces a phonk sound & infusing it with horrorcore lyricism.

As for “Kerosine Flex”, we have the C17 CEO getting busy on ‘em returning to a trap sound while the 5th & final single “Corpse Boy” talks about spraying a fully loaded clip at all the dorks who come around his way & being an MVP when it comes to the art of murder. “That Dust” continues from there telling us what it was like for Ouija growing up in the deserts of Sin City leading into “Murda Mission” talking about slaughtering his opposition & torturing them until he’s done.

“Out da Jungle” reaches the halfway point of Sixela speaking of him hanging out with the dead because the living are unable to stand him while “Set Trippin’” continues the 2nd leg talking about Chapter 17 being the very reason why throats are left slit & killing anyone who fucks up his mood. “Sally Mander” includes a shoutout to Death Grips during the final verse that I loved as a fan of theirs since high school while “God’s Ashtray” asks listeners for their interpretations of Hell.

After an “Internal Monologue” detailing suicide ideation, the song “Demon Juggalo” cloudily talks about pullin’ up to the spot like he owns that hoe while “Calculator” boasts of his status as a calculated killer doing numbers. “Dracula” talks about eating the pussy at the red light because he’s that much of a perv & the outro “Elote” concludes Sixela singing that looking into the eyes of his newborn child makes him feel as if he passed away.

Devereaux’s normally credited for producing a great deal of Ouija Macc’s discography other than a few notable exceptions, but I’m very much appreciative of what he was trying to do with Sixela even if I prefer the previous album 3 months earlier as my favorite thing he’s done in 2026. Flexatelli’s production is certainly refreshing for anyone who wanted Ouija to work with someone else behind the boards & it compliments the latter’s wicked lyricism.

Score: 3.5/5

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Maxo Kream – “O.Y.N. (Old Yung N***a)” review

Houston, Texas emcee & songwriter Maxo Kream enlisting JPEGMAFIA to fully produce his 5th mixtape. Breaking out in the beginning of 2018 off his full-length studio debut Punken following his first 4 mixtapes, this resulted in him signing to RCA Records for the sophomore effort Brandon Banks & of course Weight of the World. Last we heard from him was Personification under his own label Persona Money Global in late 2024 & is joining EMPIRE Distribution to describe his O.Y.N. (Old Yung N***a) status.

6 Months Clean” kicks things off admitting that he relapsed after trying to quit poppin’ percs & sippin’ lean whereas the title track works in some sampling techniques so Maxo can talk about being that muhfucka. “30 N Dirty” has somewhat of a cloudier vibe instrumentally telling all these ashy dudes to go put themselves on & after “This Shit Going On” eerily talks about him being fed up with strippers, “Time Out” reaches the halfway point suggesting he needs to take a break for a bit.

Kicking off the 2nd leg, “Cum Over” has a more seductive flare to it encouraging his lover to pull up on him while “Fake Jeezy” featuring Denzel Curry talks about their hopes of not running into any opps & being old school gangstas. “How I’m Coming” featuring Cartel Bo & Josh Kream incorporates some horns to discuss running up bags while the outro “How TF I’m Lucky” concludes the tape looking back at the past 15 years of his career.

I completely understand why people were disappointed by Tyler, The Creator not having any beats on here considering his chemistry with Maxo Kream, but O.Y.N. (Old Yung N***a) had me thinking it could join Personification in becoming some of his best material based off the teasers & now it’s officially my favorite tape in his discography. JPEGMAFIA’s production more experimental than the H-Town artist’s usual stuff & he spends less than a half hour detailing his legacy.

Score: 4/5

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T.I. – “Kill the King” review

Atlanta, Georgia rapper, songwriter, actor & record executive T.I. calling it a career with his 12th & final studio LP. Amongst “the big 3” trap pioneers alongside Gucci Mane & Jeezy respectively, he would go on to drop a few classics back in the early 2000s including the Atlantic Records-backed sophomore effort Trap Muzik as well as King & Paper Trail. Last time I enjoyed a full-length from the Grand Hustle Records founder was Dime Trap under Epic Records back in 2018, coming off his beef with 50 Cent to Kill the King.

After the “King’s Thought” intro, “See Wh’am Sayin’” opens up with him talking about taking the crown back home over a DJ Toomp instrumental whereas “Let ‘Em Know” incorporates a trap beat from Pharrell for the new theme song of the WME Group-owned TKO Group Holdings division’s WWE Friday Night SmackDown program on USA Network. “Where I’m From” produced by Dr. Dre & Dem Jointz talks about the ATL being the home of the scandalous leading into “Rant” addressing the biggest misconception of his career: That he gives a fuck.

“Mr. Him” runs it back with Pharrell chasing the vision instead of a bag just before “How It Went” featuring The-Dream joins forces for a trap/R&B duet recalling the way their careers panned out for them. “Dope Boys Academy” featuring Jeezy & 2 Chainz finds the trio talking about their days of slanging drugs while “Pistol on the Dance Floor” takes a funkier approach to conclude the 1st half of Kill the King & getting significantly flirtatious through the lyrics.

Kicking off the 2nd leg, the final single “And Won’t” has more of an underwhelming pop rap vibe suited for radio play talking about him folding for a bitch while “Gorgeous” instrumentally slows things down courtesy of Young Fyre admiring the beauty of this woman who he can’t get enough of. “We On” talks about him doing it big over a Turbo beat while “Llogclay” featuring YoungBoy Never Broke Again finds the pair telling listeners to choose between growing old or dying young.

“Ego” winds down Kill the King’s last moments standing by nobody being able to fuck with him while “Trauma Bond” samples “Ballan’ Parlay” by the late Big Pokey so he can talk about his legacy being celebrated. “Represent a Time” featuring Young Dro warns to be cautious of what we put next to the flame over an Organized Noize beat & after “Big Dog” soulfully gets boastful for a couple minutes, “Continental” ends the album getting reflective over a Juicy J instrumental.

The L.I.B.R.A. (Legend Is Back Running Atlanta) left me disappointed when T.I. had initially made his EMPIRE Distribution debut during the 2020 COVID-19 pandemic & I can understand if some don’t care for Kill the King that much either, but it’s definitely the most enjoyable full-length in his catalog since Dime Trap since this egotistically self-gratuitous persona that kinda enters the room before he does physically gets sent off permanently because of the fulfillment he feels towards his music career.

Score: 3.5/5

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Wyclef Jean – “Quantum Leap: Clef Notes” review

Wyclef Jean is a 56 year old rapper, singer/songwriter & producer from Newark, New Jersey by way of Croix-des-Bouquets, Haiti who began his career as 1/3 of the Fugees. He has since spent the last 3 decades following their disbandment carving a path for himself as a solo artist dropping a couple of extended plays along with 8 full-length studio albums & 3 mixtapes. However, he’s ending the 1st half of 2026 dropping off his 3rd EP & the inaugural entry of the 7-part Quantum Leap series.

The self-produced intro “Memory Lane” takes it all the way back to the beginning reflecting on his career whereas “Boom Bap” featuring Rapsody finds the pair talking about forever being nostalgic. “Devil’s a Lie” featuring PRICE hits us with a 2-parter switching up the beat during the 2nd half of it so both artists can give all praises to Yahweh or God just before “Mr. October” featuring G Herbo finds the pair talking about envisioning a new acquisition, possibly making moves in real estate.

“Winter’s Coming” brings a summery guitar into the picture singing about his wishes of making all his wrongs disappear leading into the soulfully jazzy “G.B.T.C. (God Bless the Child)” featuring Lil Wayne discusses breaking the cycles of their respective family trees. The penultimate song “Gemini Man” explaining that the real eternally staying the same even if technology’s advancing & the outro “Freedom” concludes Quantum Leap: Clef Noteson a more melodic note, singing about playing his part.

Truthfully: I wasn’t so sure of how much I would enjoy Quantum Leap: Clef Notes considering the gap between that & The Carnival III: The Fall & Rise of a Refugee nearly a decade ago, but I do think it’s a solid beginning to this saga & have heard that future installments will be spanning across several genres from jazz to soul. Considering the latter, him kicking it all off with a prominently hip hop style was the right move to make & I look forward to the other 6 chapters.

Score: 3.5/5

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MexikoDro – “Stayed Down” review

This is the 5th extended play from Atlanta, Georgia producer & rapper MexikoDro. A member of the BeatPluggz, he would later embark on a solo career with Down Bad as well as De Mayo & Quatro respectively. In almost a decade he’s also produced tracks for the likes of Maxo Kream, Drake, Bktherula, Smokingskul, Tony Shhnow & Diorvsyou. His full-length debut Still Goin’ under Republic Records last November was widely praised as his finest material yet & Stayed Down looks to continue the momentum.

“Loser” begins with a cloudy trap beat talking about spending his free time these days trying to heal from past trauma whereas “Rest” gives off a dirty south vibe instrumentally explaining that he’s nothing like the rest. “Knuckle” works in some synthesizers talking about how he had to quit so much since he used to struggle just before “To Go” featuring Key Glock finds the pair speaking of picking up the phone whenever money calls them.

Meanwhile on “Down”, we have Dro looking back at the days when no one wanted to help him when he was at his lowest over a plugg beat leading into the triumphant “My Girl” featuring ManMan Savage talking about the women they’re dating being independent since they have their own shit. “Free Flight” admits that he’s been going through some mental health shit lately while “Letter” recalls when his mother used to write him back when he was incarcerated.

“Mail” wraps up the final moments of Stayed Down talking about going from being chased by the cops to going outside to check his mailbox while “Bacardi” describes not thinking the same ever since he made all the money he’s earned over a horn-inflicted trap instrumental. The closing track “Flat Shoals” spends the concluding 2 minutes of the EP talking about picking himself up from the dirt & this girl he’s seeing distancing herself from the Hart County area.

Ever since signing to a major label, MexikoDro has spent nearly 8 months further establishing himself as an artist than merely a producer & Stayed Down dethrones Down Bad to become my new favorite solo EP of his. I’d still love to hear him fully produce an entire body of work by himself, but I respect that he’s continuing to take a backseat in that field & specifically him bringing in a couple features to break up the predecessor’s monotony.

Score: 4/5

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Nduduzo Makhathini – “The Myth We Choose” review

Nduduzo Makhathini is a 42 year old pianist & philosopher from Umgungundlovu, Pietermaritzburg, KwaZulu-Natal, South Africa who dropped his first 7 studio LPs through his own imprint Gundu Entertainment prior to the greatest jazz label of all-time Blue Note Records signing him for Modes of Communication: Letters From the Underworlds as well as In the Spirit of Ntu & uNomkhubulwane. All of which have elevated his spiritual afro-jazz sound & went into his 11th album expecting him to do the same.

“Kuzodlula” by Robin Fassie kicks things off with a vocal jazz intro encouraging everyone to relax for the reason of everything eventually passing whereas “Imvunge KaNtu” recruits bassist Dalisu Ndlazi & drummer Lukmil Pérez for a hard bop tribute to the Bantu philosophy. “Kwamabili” lets Lukmil take a backseat so Nduduzo & Dalisu can instrumentally shine together for a few minutes just before the 4th & final single “Unembeza” combines elements of gospel & South African music.

The 3rd single “Liyoze Line Nangakith” has flautist Shabaka Hutchings joining the pianist & bassist for a hymn to the blessings that accompany rain while “What People Say” by Nduduzo’s wife Omagugu takes the vocal jazz route once more mediating on the creation of myths. “Primordial Egg” enlists Ayanda Sikade on the cymbals for a rubato jam complimenting the keys & bass leading into “Ekuqaleni” reaching the halfway point with a composition themed around the Zulu creation using synths & a vocoder.

Muneyi takes the microphone for “Ḽiṅwalo ḽa Mubebi” embracing a vocal jazz vibe again describing fatherly love while “Umbono” brings guitarist Keenan Ahrends on board so Nduduzo himself can sing about our 6th senses. “Tethered” by Thando Zide succeeding the “Ḽiṅwalo ḽa Mubebi” reprise experiments with neo-soul pitting the inevitability of love against the inability to gauge our emotional entanglement when somebody’s deeply in love.

“Ongaphesheya” gets the 4th quarter of The Myth We Choose going by having these calming piano chords predominantly taking the spotlight with some bass licks from Dalisu backing them but after Black Coffee’s stunning remix of “What People Say” that I’d consider equal to the original & the “Kuzodlula” reprise, “Zimthilili” sends off the album by bringing Ayanda Sikade back on drums so Nduduzo can vocally perform 1 last time singing about love over hypnotically rich instrumentation.

All 3 of Nduduzo Makhathini’s previous full-lengths that he’s dropped under Blue Note Records over the course of this decade have individually elevated his spiritual jazz sound & although I’d consider In the Spirit of Ntu to be his magnum opus, The Myth We Choose wouldn’t be too far behind for a close 2nd. He’s challenging the world to examine our individual background taking further inspiration from afro-jazz, spiritual jazz, cape jazz, vocal jazz, hard bop & neo-soul with the help of his son Thingo even if I could’ve done without a couple of the reprises.

Score: 4/5

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FlyG – “MENNBLVCK III” review

Washington, D.C. emcee of Nigerian descent FlyG is back for his 10th EP. Properly introducing himself to the underground a couple years ago off his inaugural extended play Soulful Journey, SPCL_CHRCTRS would fully produce the next one Serenade Symphony at the end of last February & rising French producer Drega33 helped him turn more heads with MENNBLVCK a couple months later. MENNBLVCK II followed on Black Friday, reuniting with Drega so they can finally drop MENNBLVCK III coming off both Soundscape Cinema & FlyBlackmanExperience respectively.

“Du$ty Roads” opens with a funky homage to former 3-time NWA World’s Heavyweight Champion, NWA National Heavyweight Champion, WWE Hall of Famer, WWE United States Champion, 2-time WCW World Tag Team Champion & 3-time WCW World Television Champion Dusty Rhodes whereas “F.T.$ho” takes a more soulfully approach instrumentally stripping the drums this time showing off his wordplay.

We get more soul samples coming our way on “B@rry Bonds at Luger $teaks” recalling a dining experience he had where they fucked up his order & he had to give them his business card leading into “Luxurious Abilitie$” embracing a drumless vibe once again talking about him learning that the pathways of success are narrow. After an interlude, “Eye$ Closed” gets the 2nd half of the EP going with more soulful atmosphere discussing how much times have changed.

“MENNBLVCK on “Bro@dway” nears closer towards the conclusion of the trilogy with a soulfully drumless talking about the large amount of free agents who’ve laid out the blueprint while “Keep Tryin’” discusses that it wasn’t ever hard for him to master the pen & a lover who gives him a hard time even when he’s washing dishes. “$un Mediation Methods” concludes MENNBLVCK III with a drumless closer talking about one having to develop their own tricks.

I’ve always considered both installments of the MENNBLVCK series to be some of FlyG’s greatest material & thankfully he’s already been confirmed that the series will keep going since he’s planning to drop MENNBLVCK 4EVER at some point during the 2nd half of 2026 because MENNBLVCK III carries over every satisfactory aspect of it’s predecessors from Drega33’s soulfully drumless production to the DMV artists’ songwriting.

Score: 4/5

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Downtown Boys – “Public Luxury” review

The Downtown Boys are a hardcore punk rock band from Providence, Rhode Island consisting of alto saxophonist Will Cioffi, guitarist Joey DeFrancesco, tenor saxophonist Emmett Fitzgerald, drummer Norlan Olivo, bassist Dan Schleifer & lead singer Victoria Ruiz. Making their eponymous full-length debut back in 2012, they went on to follow it up with the sophomore effort Full Communism as well as the Sub Pop Records debut Cost of Living. Almost a decade later, they’re returning for their 4th studio LP.

“No More Jodas” begins with an urgent lead single singing in Spanish about this person being the disaster Victoria wants prior to her stating that “The City Begins” where many assumed it would end over some punk rock riffs. The 3rd single “Sirena” uses a handful of metaphors to symbolize empowerment singing in Spanish once again dabbling with new wave just before the 4th & final “Yellow Sun” addresses Israel occupying Lebanon for the past couple years giving a shot at goth pop.

Meanwhile on “Viva La Rosa”, we have Victoria & Joey breathing new life into a song that was initially conceived during their Malportado Kids days take inspiration from skate punk leading into “Enemy Without” throwing the it back to the Downtown Boys’ earlier material stylistically. The 2nd single “You’re a Ghost” combines dance-punk & industrial rock so they can critique the rise of fascism in the United States while “Albuterol” treads the synth-punk waters singing about smoking in bed.

“Mi Concha” wraps up the final moments of Public Luxury with another Malportado Kids rendition singing about Victoria’s shell not being white enough for others amplifying the new wave elements while “Public Works” starts with some galloping punk riffs & commanding vocal performances preceding the synthesizers & even an occasional saxophone. The title track spends the album’s last couple minutes blending more synths with a piano for a delicately electronic outro.

Amplifying the primary post-punk influences of their 2017 debut for Sub Pop, the Downtown Boys make their return after 9 long years with the most expansive entry in the band’s entire catalog & definitely the strongest since getting signed. They also incorporate influences of hardcore punk, garage punk, art punk, dance-punk, industrial rock, new wave, synth-punk & skate punk to make some bilingual political commentary regarding the people having it all in the end.

Score: 4/5

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