Bear1boss – “Bubbles” review

This is the 28th EP from Atlanta, Georgia recording artist Bear1boss. Emerging in 2015 off his debut mixtape #beentrill#, he has since gone on to build up a lengthy yet impressive catalog for himself including 5 more tapes as well as all 27 of his previous EPs & even 5 full-length albums. My introduction to his music was last spring when my younger brother my little brother & UnreleasedSnip founder Jacob! played me “Fair” & “All Alone” off his 18th EP Dynamic, where I found myself being impressed by unique voice & style to the point where I’ve been following him since. I covered Blow Up! over a year ago & that was a solid rage effort, but I thought Bubbles here was worth giving a shot since it’s been a while. I should also worth noting the viral clip of him in January of him meeting Playboi Carti while they were locked up & then Anthony Fantano interestingly enough criticizing him on TikTok a month later.

“Cannonball” is this repetitively catchy & colorful synth-heavy opener produced by Popstar Benny boasting that he’s being cold fashioned & that he’s with a Latin bitch whereas “Unbearable” works in some horns, bells & hi-hats to talk about being the man & that he’s incredible. “Protect Scuffle” brings a playful rage beat into the picture assuring that he’s been good leading into another standout for me “Throwrocks!” admitting that he’s off the Hennessy in the booth & his life mattering over a pluggy instrumental from Popstar.

Continuing from there, “Hella Money” shows off his wealth going for a peppy hypertrap vibe just before “Louder” talks about rapping on shrooms since he’s on a spiritual journey & that his cup is more purple than Chowder. “I’m Not a Pimp” has this cheerful trap flare to it courtesy of Popstar Benny once again explaining that life can be easy & simple aside from explain that he doesn’t pimp leading into the cavernous “Theme Song” bragging about getting high in a mansion & that this music is his passion.

“Positive Vibes” featuring SossHouse Records signee Bermuda Yae approaches towards a cloudier atmosphere instrumentally promising that they’ll pop you before you try to pop them keeping the Glock by their sides while “Sauce Walker” featuring Key! finds the pair talking about how saucy both of them are with rage-inducing Popstar production backing them & “Important” rounding out Bubbles with 1 last hypertrap cut declaring himself flyer than everyone else.

The last 5 EPs that Bear1’s been giving us since I last reviewed him are mostly ok at best personally putting Lil Hotsauce as my favorite & Outta Here! as my least favorite, but I can’t deny that he gave us one of his best offerings in a while on the 4th EP that he’s released this year alone. You still get the rage beats that were heavily on Blow Up in a lesser extent, favoring for pop rap & trap dashed with additional doses of plugg & cloud rap.

Score: 3.5/5

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Spice 1 – “Platinum O.G. 2” review

This is the 15th full-length studio LP from Hayward, California emcee Spice 1. A pioneer in the Bay Area scene, his first 6 albums with Jive Records (most notably the sophomore effort 187 He Wrote) played a big role in cementing himself in that status & has remained independent since the turn of the current millennium. Aside from the This is Thug World mixtape showcasing the talent on he’s signed to his very own label Thug World Music Group, there’s no doubt that Spice’s previous body of work Platinum O.G. released through Elder Entertainment was his best since The Last Dance nearly 2 decades prior & I didn’t expect any less from the sequel.

“Since the Day” featuring CL Smooth starts off with a sample-heavy opener taking us through an average day in the streets knowing they’ve been hard from the jump whereas “Gangsta Shit” featuring Rick Ross, Q Bosilini & WWE Hall of Famer Snoop Dogg shifts into trap territory talking about being the Gs that they are. After the “Sway Speaks Bay Area History” skit, “Projects” featuring K-Rino & Treach brings a funkier loop into the fold with hi-hats telling stories from the PJs just before the groovy “Crumbs with Bums” featuring Conway the Machine talks about rich cats who’re fake.

After the “Sway Speaks Impact” skit, “How Long” featuring Nawfside works in some organs to ask exactly how long will they mourn each other leading into the 2nd single “Deuces in the Sky” featuring MC Eiht & Worldwide serving as an anthem for all the west coast heads to throw their 2s up. “Not Easy” featuring Devin the Dude, Lee Royal & Nawfside brings back the funk a little getting twisted every day but after the “Sway Speaks Importance” skit, “Thriller” featuring Nawfside alongside Q Bosilini & Tela menacingly talks about being straight up killers.

“Come Out with Me” featuring the late Bushwick Bill & once again Q Bosilini samples “My Flame” by Bobby Caldwell to show a sensual side to all 3 of them while “Houston to the Bay” featuring Lil’ Flip & Paul Wall comes through with this trunk-knocking ode to both cities. After the “Sway Speaks Industry Influence” skit, “Real G’s 2” featuring B-Legit as well as Domino & KXNG CROOKED is a sequel to a track on O.G. Platinum that’s better than the original ahead of the party-starting “Henny Out the Bottle” featuring C-Bo, the late Hussein Fatal & Nawfside. After the “Sway Speaks Spice 1 the Legend” skit, the final song “Yesterday” featuring Fiend, Mac, Mr. Serv-On & Q Bosilini slickly closes Platinum O.G. 2 reminiscing.

Was sorta hoping that we were going to get a new body of work from him with lesser features due to the fact that I can truthfully be a little skeptical about projects overloaded with one feature after another & regardless of me still hoping for that sooner rather than later, I very much have to give Spice 1 credit for delivering a monumental collaboration joined by a constellation of amongst some of hip hop’s most elite MCs. I’d even say that I happened to enjoy the sequel more than the original LP he made his comeback with the summer before the COVID-19 pandemic. N.O. Joe & Ryan Elder’s production is a cut above the predecessor’s so the Bay Area veteran & company tell the listener stories that pulsate with the lifeblood of the streets.

Score: 3.5/5

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Rome Streetz – “Buck 50” review

New York lyricist Rome Streetz is joined by Floridian producer Wavy da Ghawd for his 5th EP. Emerging in 2016 off his debut mixtape I Been Thru Mad Shit, this was followed up by a plethora of projects with the most notable being the Noise Kandy tetralogy & Headcrack. These past couple years however we’re probably his biggest ones yet, as he dropped some of the best work of his career from the DJ Muggs-produced Death & the Magician or the Futurewave-produced Razor’s Edge to the Ransom-assisted collab effort Coup de Grâce& the Griselda Records deal that followed. His debut with the Buffalo powerhouse Kiss the Ring came in at the #9 spot on my Best Albums of 2022 list & the Big Ghost Ltd.-produced Wasn’t Built in a Day ended up being a tad bit higher but coming off the 5th & final installment of the Noise Kandy series, Wavy is joining Rome for Buck 50.

The raw, 2-minute opener “Ball of Soft” boasts that he’s ballin’ like the league leader & that these rappers’ albums don’t amount to shit whereas “Runnin’ It Up” goes drumless talking about the fact that he’s been had the world in his fist. “Why is Water Wet?” goes for a smoother approach to the instrumental discussing a woman who says she never leaves him alone just before the dusty “Ya Understand” talks about no one being able to fuck with him. “‘92 Mike” is this luxurious boom bap cut going on a killin’ spree & the flute-infused “Saliva” ends the EP by doing what he had to do so cracks on the cash pursued.

The first 2 installments of the Noise Kandy series were my favorite EPs in Rome Streetz’ catalog for the longest time, but I truly consider Buck 50 to be head & shoulders above those including Narco Lingo & The Residue. I think that Wavy da Ghawd’s production here is amongst the best of career being a bit more consistent than Noise Kandy 5’s was as much as I still enjoy that previous project & Rome’s style of lyricism fits Wavy’s whole sound generally.

Score: 4.5/5

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Valee – “Partridge” review

Chicago, Illinois rapper Valee now joining forces with Detroit, Michigan producer Black Noi$e for his 5th EP. Making his name known by releasing 3 mixtapes & a couple EPs from the span of 2015-2018, it wasn’t until one of my top 10 producers of all-time Ye formerly known as Kanye West signed him to a joint deal with G.O.O.D. Music & Def Jam Recordings. The next 2 EPs G.O.O.D. Job, You Found Me & Runnin’ Rich helped spread plugg music to a mainstream audience despite both receiving mixed reception to the point where he would go his own way from Thersday onward. I should also mention that Valee additionally has 2 EPs with AYOCHILLMAN as the duo The TrAppiEst as well as 2 more with ChaseTheMoney as the duo VTM & 2 with Stan Lane as the duo Vlane. Anyway, his full-length debut Virtuoso produced by Harry Fraud from last summer won me over on him & I was certain of Partridge being as enjoyable.

“Partridge” is a sample-heavy trap opener with Valee boasting about putting a bitch in Chanel & skating harder than Molly Bloom whereas “Clutch” works in this crazy beat switch near the 2 minute mark so the dude can lay out his lifestyle on wax. “DiGiMon” takes the eerie boom bap route instrumentally talking about fucking on the money while “Ruff” pushes near the end of the EP taking a bit of a mellow trap turn flying out to Berlin & playing with the idea of pulling up in something new. “Sonnet” finishes up Partridge cloudily showing off his baby rockin’ A Bathing Ape with no monkey in the middle.

Originally, I had Runnin’ Rich as my favorite Valee EP since it took everything from G.O.O.D. Job, You Found Me & improved on it. 5 years later, he outdoes himself here much like he did with Harry Fraud on Virtuoso last summer. Black Noi$e’s production is more experimental than Harry’s was on that debut LP & the performances from Valee himself are an improvement over some of the other material he’s given us in the last 10 months since.

Score: 4/5

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Slum Village – “F.U.N.” review

Slum Village is a duo from Detroit, Michigan now consisting of T3 & Young RJ. Originally a trio with the late J Dilla & Baatin, their debut Fan-Tas-Tic Vol. 1 was bootlegged in the summer of 1997 only to be revamped & re-conceived on Fan-Tas-Tic Vol. 2 only 3 years later. Dilla left the group a year later to pursue a solo career & eLZhi filled in for him in the midst of them signing to Capitol Records for their next 2 albums Trinity (Past, Present & Future) & Detroit Deli (A Taste of Detroit). Following their eponymous full-length, Dilla & Baatin both passed away prompting RJ & even Dilla’s younger brother Illa J to join for what was set to be their final offering Villa Manifesto. What really ended up happening though was eLZhi leaving the group due to what he said was a falling out with Young RJ & interestingly, Illa J followed suit after Evolution & Yes!. After almost a decade though, T3 & RJ are getting back together for their 9th studio LP.

“Welcome” by Brittney Carter is this atmospheric opener with hi-hats provided by none other than Young RJ welcoming y’all to a name that you heard about & never had the guts to touch whereas “All Live” picks up from there with a funky ass instrumental so SV can get the party started. “All Live 2” by Phat Kat works in some pianos talking about calling him Ronnie S. Truman since he be buyin’ ‘em all first that is until “To the Disco” takes a groovier route to the beat continuing to settin’ it off & describing themselves as warlords.

Moving forward, “Yeah Yeah” co-produced with Karriem Riggins brings back the funk a bit so the duo can talk about being the foundation & for everyone else to get in line leading into “Just Like You” featuring Larry June works in more disco influences instrumentally so all 3 MCs tell their significant others that they wanna be with them. The rhythmic title track boasting that the Detroit cats are at it again, but then “Request” groovily talks about giving what they need.

Cordae joins Slum Village on the mellow “So Superb” making way for everyone to boast their superiority while “Keep Dreaming” featuring Fat Ray is this funky/boom bap crossover telling everyone to open their minds & realizing they’re still dreaming. The penultimate track “Factor” soulfully talks about factoring in all the good times to spend just before “Since 92” ends the album with kicks, snares & pianos from Robert Glasper reminding that they’ve been putting it down for over 3 decades.

Putting in the perspective that it’s been 8 whole long years since we last heard Slum Village together in a full-length capacity, I figured something had to be coming down the pipe sooner than later when they teased us with the singles & even performed at a halftime show during a Detroit Pistons game during this past season even though they didn’t play the best by any means. Needless to say: It’s like they never took a break. They seem very happy to be back in the lab keeping their signature sound alive occasionally joined by a couple of their homies in the D & co-signing some new blood.

Score: 3.5/5

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Saigon – “The Jordan Era” review

This is the 5th full-length LP from Brooklyn emcee Saigon. Breaking out in the early 2000s off his debut mixtape Da Yardfather, it wouldn’t be until 2011 when he would make his full-length debut by dropping The Greatest Story Never Told under Suburban Noize Records. The album would spawn a sequel to fulfill his contract with the Spade the following year & then a final installment on his own imprint Squid Ink Squad Records in 2014. He returned from a 6 year hiatus in 2020 by signing to Strange Music’s new subsidiary It Goes Up Entertainment & dropping the STREETRUNNER-produced EP 777: The Resurrection & fulfilling that deal on Pain, Peace & Prosperity the next spring. However, he’s linking up with Swedish producer Fredro for produce The Jordan Era after signing a new contract with Payday Records.

After the intro, the first song “G Miller” instrumentally kinda has this old school hip hop flavor to it talking about dressing like a tiger & biting like a killer whereas “Lyrical Genius” featuring Grandmaster Caz works in this danceable groove so both MCs can boast their prowesses together. “Think Twice” featuring Grand Puba has this prominent organ sample throughout only giving the listener advice 1 times, but then “1 Foot in the Door” featuring Big Daddy Kane points out that there’s something about the name Big whether it be the Kane himself or even Biggie Smalls & Big Pun.

“The Mobbery” picks up from there by rawly admitting that he wants to stick up the mob while the rugged “3 Digits” featuring Rock brings the 2 together explaining that this life all about the drugs, money, weed, women & standing out from the rest. After the interlude, Kool G Rap joins Saigon on “Make Money” menacingly discussing stacking up their chips just before “Home of the Wild” featuring Al Skratch finds the pair dustily talking about the wildest coming from New York.

One of my top 5 producers of all-time Pete Rock hops in the booth for “Get Loose” getting on some funky boom bap shit to show their recklessness, but then “Stop Poppin’ Shit!” featuring Craig G jumping over pianos mixed with kicks & snares calling to cease gun violence. “We Were Stars” menacingly talks about how things were back then while “Dangerous” featuring Sadat X returns to the boom bap bringing it hardcore lyrically.

“Tournament” orchestrally breaks down a tournament of torment that you can enter in for only 64¢ while the album’s proper closer “The Era” shows everyone what the real meaning of fortified is over kicks & snares. The bonus track “Sveriges Regenter (Sweden All-Stars)” featuring ADL, Ayo, Petter & Timbuktu truly wraps things up by thunderously showcasing amongst the nicest MCs that the Swedish hip hop scene has to offer.

Pain, Peace & Prosperity had it’s highlights although I didn’t enjoy it as much as I did 777: The Resurrection, but The Jordan Era has revealed itself to be Saigon’s best full-length in about a decade & almost matching the bar that 777 as amongst the 2 strongest efforts of his in this current decade. We’re taken on a journey through the culture from 84-98 seen through eyes of a young Saigon, complimented by guest appearances from the pioneers & production from Fredro paying homage to hip hop’s roots.

Score: 4/5

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GUTTR – “Everything is…GUTTR” review

GUTTR is a newly formed supergroup consisting of Ras Kass, RJ Payne & Havoc. All 3 of whom have been established within hip hop whether it be the waterproof MC’s debut Soul on Ice, RJ decimating anyone in the battle circuit that dared to step up against him under the original moniker Reignman or last but not least Havoc being 1/2 of the greatest duos of all-time Mobb Deep alongside the late Prodigy. Ras & RJ have worked with each other a few times previously, but got one of the East Coast’s most underrated producers as their 3rd member in time to put out a full-length debut.

“Roll Call” featuring Lil’ Fame & Method Manis a grimy way to kick off the album asking where all the real ones at in this bitch whereas “Nostalgia” incorporates a soul sample for the trio to pour one out for all the fallen soldiers we’ve lost along the way. The title track featuring Kurupt & KXNG CROOKED takes the cavernous route talking about how it’s only right for them to get the cheese but after the “RNR Ep. 1” skit, “Once Again It’s On” featuring Twista ruggedly finds everyone in their battle rap shit.

On the other hand, “Different” kinda has a jazzier flare asking not to be compared to any other artists out here while “Lo-Fi” right after the “RNR Ep. 2” skit soulfully talks about liking the atmosphere gritty. “Stop Playin’” featuring Freeway & Raekwon brings back the pianos to tell everyone to not fuck around with them but after the “RNR Ep. 3” skit, the final song “Old Soul” ends GUTTR’s debut warning that gossiping to them will leave you with your head blown clear.

The hardcore hip hop fans are really gonna find themselves gravitating towards GUTTR’s introductory album & hopefully this is only the beginning of more to come from what is recognized as hip hop’s very first unionization. Primarily due to Ras Kass & RJ Payne paying homage to Prodigy by channeling that old Mobb Deep energy, Havoc setting the musical canvas on an entire album for both lyricists to paint their bars, the guests all matching their intensity

Score: 4/5

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Ibibio Sound Machine – “Pull the Rope” review

Ibibio Sound Machine is an electronic afro-funk band from London, England, United Kingdom consisting of frontwoman Eno Williams, guitarist Alfred Bannerman, percussionist Afla Sackey, drummer Joseph Amoako, bassist Philip Ambrose, trombonist/keyboardist Tony Hayden, trumpeter/keyboardist Scott Baylis & saxophonist/keyboardist Max Grunhard. Introducing themselves a decade ago on the eponymous debut, they would show some growth on the sophomore effort Uyai & Doko Mien would go on to be just ok. Electricity couple years ago on the contrary surpassed Uyai as the band’s crowning achievement in their discography & went into the band’s 5th full-length debut maintaining that level of quality.

The title track starts by fusing mutant punk & electro with dance-punk & indietronica repetitively encouraging to pull the rope regardless of how eager we are to go for it whereas “Got to Be Who U Are” treads the synth-funk waters with additional elements of electro-boogie & disco not-disco singing about always being the same no matter where we are. “Fire” moves on from there cautioning not to get burned by experimenting with alternative dance a bit, but then “Them Say” futuristically lets y’all know who they are.

“Political Incorrect” continues the socially charged themes from the track before mixing dance-punk & even a hint of synth-funk in comparison leading into “Mama Say” blending electro, mutant disco & even a hint of electropop seeking to empower & uplift the women in our lives. “Let My Yes Be Yes” puts her own triumphant spin on Matthew 5:37 while the synth-driven “Touch the Ceiling” passionately talks about making it to the top when it’s all said & done. “Far Away” has this soulful, funk rock flare to it addressing those who see from a distance & “Dance in the Rain” ends on some electro-highlife shit for you to vibe out to during rainy weather.

Eno & company maintain the hope, joy & sexiness that they became known except they further honing the edge Electricity. This is done by expanding the sounds of electro, afro-funk, synth-funk, afrobeats, electro-disco, dance-punk & mutant disco carried over from the predecessor by throwing in influences of highlife, synthpop & alternative dance. The connection that the bands aim to foster has shifted venues from the sunny buoyancy of a sunlit festival to a sweat-soaked, all-night dance club & you’re still having a good time even with the atmosphere changing.

Score: 3.5/5

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4Batz – “U Made Me a St4r” review

4Batz is a 22 year old singer/songwriter from Dallas, Texas gaining popularity this past winter off the single “date @ 8” earning co-signs from one of my top 10 producers of all-time Ye or formerly known as Kanye West to even Drake, who ultimately appeared on the “date @ 8” remix & signed 4Batz to OVO Sound for a 1-EP deal. Only a month later, the most interesting new name in R&B of 2024 is putting out an EP through gamma. only a week after PARTYNEXTDOOR’s latest album PARTYNEXTDOOR 4.

After the titular intro, the first song “stickerz “99””starts off with an alternative R&B cut with additional elements of trap soul and chopped & screwed leaving bitches screaming anything whereas “date @ 8” featuring Drake on the remix puts a bigger emphasis on the trap soul undertones from earlier giving their significant others $700 for them to get new nails & hair. “on god?” featuring Ye on the remix takes the PBR&B route once again throwing additional neo-soul undertones calling out those hard to please & after the “get out yo feelings ho” skit, “fckin u (18+)” featuring Usher on the remix crosses over contemporary & alternative R&B with trap soul being unable to stop fucking all night long.

“there goes another vase” starts the 2nd half of the EP smoothly delving into a tumultuous relationship where the artist recognizes partner’s toxicity & at the same time feels a deep attachment to her while the stripped-back “mad man” turns sex with this woman into a passion. “all we do is argue, argue” spaciously asks her why she be breaking his heart out here just before the final song & my personal favorite “i hate to be alone” is this beautiful closer talking about not wanting to be by his lonely.

You know you’re into something when you get the Ye co-sign & it really makes me excited to hear 4Batz go from here when his EP deal with OVO is fulfilled on a later date, regardless U Made Me a St4r further pushes him as one of the most exciting new faces in the alternative/contemporary R&B scene. You also get neo-soul, pop rap, trap soul & hip hop soul undertones with a hint of chopped & screwed so the Dallas singer/songwriter can pull off his passionate singing chops whilst displaying his abilities with the pen.

Score: 4/5

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Ed O.G. – “AudiO EDibles” review

Roxbury, Boston, Massachusetts veteran Ed O.G. joining forces with Los Angeles beatsmith Tone Spliff for his 5th EP. Signing to Mercury Records as the leader of Ed O.G. & Da Bulldogs, they would go on to put out 2 albums together before disbanding & Ed himself eventually established himself as a solo artist put out 4 EPs & 10 full-length LPs of his own. My favorites include his 3rd album My Own Worst Enemy produced by Pete Rock & his 6th album After All These Years. However, learning that Tone was hopping behind the boards for AudiO EDibles raised expectations in being Ed’s best EP.

After the titular intro, the first song “Catch Up” gets us started on some ominous boom bap shit talking about building this empire whereas “Act of God” works in these orchestral elements on top of kicks & snares asking who else do you know can pull off a feat like this. “Another Broken Heart” flips a soul sample advising listeners not to be fools & let them break your heart while the piano-driven “Hard 2 Get” talks about a woman that’s difficult to bag. “Achieve” keeps it boom bap explaining that a closed mind can’t be opened leading into the luxurious “Someday” calling to cease gun violence, but then “Move Mountains” serves as a dusty closer looking to do exactly that soon as he enters the zone.

That self-titled collaborative effort Ed O.G. did with Insight from a few years ago affirmed to me that both of them still very much haven’t lost a step & since then had been hoping for a solo effort from him that I would enjoy as much. AudiO EDibles, I can say gets the job done. Tone Spliff’s gives Ed some of the best production that he’s had in a while grounded in the traditional boom bap sound & the lyrics from the Roxbury emcee provides thought-provoking themes throughout.

Score: 4/5

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