Mozzy – “Children of the Slums” review

Sacramento, California emcee Mozzy is back with the 8th full-length studio LP in his discography & his Collective Music Group/Interscope Records sophomore effort. I became a fan of in the summer of 2017 off his debut 1 Up Top Akh & he went on to be featured on the soundtrack for the incredible Marvel blockbuster Black Panther only 6 months later & drop 6 more albums through his EMPIRE-backed Mozzy Records prior to Memphis veteran Yo Gotti landing him a CMG contract. Mozzy’s major label debut Survivor’s Guilt in 2022 was more poignant than what he’s done previously & that alone raised my stakes for Children of the Slums.

“Damn” starts us off by calling out someone who ran when they got on the homie line over a mellow beat whereas “Still Hurt” works in a soul sample with hi-hats admitting the pain he still feels over Diaonds’ death & the love he had for Sauce on top of it. The title track comes through with this piano talking about the fact that he did so much for his hood prior to “Red Nose Bully” reminding everyone that he’s still that guy from the middle over exuberant pianos & hi-hats.

Fridayy joins Mozzy on “Lost It All” for an R&B/pop rap/trap crossover asking their lovers if they would still care about them even if everything was suddenly taken away from just before the 3rd single “Miss Big Bruh” showing genuine heartbreak over his big brody who’s no longer here in the flesh. “Ebony from 12th” gives me this mafiosi trap vibe instrumentally talking about being tired of death after seeing one too many coffins, but then “Miss You Blood” brings this angelic/hyphy fusion to the table addressing one that he often thinks of.

“Jaded” goes into a cloudier direction to discuss angels callin’ them on top of their demons still creepin’ up behind them as well prior to the soulful “Living Proof” featuring E Mozzy finding the 2 talking about being breathing examples of that your dreams can come true. “Traumatized” has this melodic vocals in the background throughout to break down an individual he once knew receiving a traumatizing sentence in court with his momma crying in court while “Lost in My Thoughts” jumps over pianos & hi-hats talking about not needing any validation.

The lead single “Free JuJu” pays tribute to someone he wanted to guide & set on the right path from Oak Park that he couldn’t save while the violin, hyphy flavored “Act a Fool” featuring Celly Ru & E Mozzy finds the trio talking about actin’ reckless. “I Can’t Go Out” passionately draws near Children of the Slums’ conclusion by refusing to go out for nothing when it’s all said & done while the atmospheric “If I Die Right Now” asking if his so-called brothers would miss him as much as the fans. “Better Without You” finishes the LP with a gloomy sample drowning behind him tired of seeing one suffer & struggle.

Much like Survivor’s Guilt, this could be considered one of Mozzy’s most personal projects to date & I certainly like it more than Glorilla’s latest tape EhhThang EhhThang from earlier this morning. He shines light on life growing up in the Sacramento community, the trials of being raised in survival & the complex lifestyle that comes with it. It further exemplifies the growth of Mozzy’s rap career & personal life, serving as an inspiration to fans that even the titular type of people can also make it out like anyone else.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

$weet-T – “$weet & Silent Dan” review

Michigan rapper $weet-T locking in with Danny G for his 3rd studio LP. Introducing himself alongside $kid for the collaborative EPs Monkey Business & Fancy Off Fiends respectively, it wasn’t too long thereafter when Lando Bando signed him to The Hip Hop Lab Records & properly introduced himself with the debut Sweet Talk. The sophomore effort Sweeten the Pot quickly became the finest body of work we’ve hears from him by himself, with $weet & Silent Dan looking to rival it.

“Jay & Silent Bob” featuring Danny G begins by likening themselves to the popular View Askewniverse characters of the same name whereas “Proceed with Caution” featuring J1Hunnit talks about the way both of them be living over a Detroit trap beat. “Big League Pitchin’” featuring $kid finds the pair trading verses with one another for old time’s sake recapturing the vibes of their early EPs, but “Moby Dick” featuring 1Up Tee merely doesn’t entertain me as much.

Brezden joins $weet-T for “Malcolm in the Middle” referencing the Fox Corporation’s flagship property’s early 2000s sitcom ahead of the upcoming Life’s Still Unfair miniseries premiering on The Walt Disney Company-owned Disney+ next Christmas while “Shakesphere” talks about his words rattling the globe as he keeps getting his stack on. “Ludacris Pape” takes 2 & a half minutes to flex his wealth leading into “Fishbones” talking about making it rain.

“Salt Water Taffy” featuring DJ Lucas links up over a piano instrumental co-produced by Jakesand to advise that it wouldn’t be wise to be hatin’ on their respective movements while “Big $weet” talks about doing shit that nobody else in his field could possibly do. “How Many Times” cautions of crews winding up chalked fucking with THHL & once “Tilapia” featuring Babytron references Canelo Álvarez, the closer “Chris Hansen” finishes with $weet talking about being in the deep end.

Nearly 8 months since he had to Sweeten the Pot a little, $weet & Silent Dan once again makes another example as to why $weet-T’s one of the most overlooked artists on The Hip Hop Lab’s roster. Danny G’s production here a lot like what we’ve heard from in the past cohesively sticks to the Detroit sound, bringing a stronger guest list to the table than last time to compliment Big $weet.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Duckman – “Black Soprano Eskimo” review

Anchorage, Alaska rapper Duckman releasing his debut mixtape through Black Soprano Family Records after making a name for himself in the Alaskan hip hop scene by putting out the full-length debut A Bag Boy Story: Welcome to the East in the summer of 2016 followed by the sophomore effort A Bag Boy Story II: Back to da East only 11 months later & his 3rd album The Slim Show the Christmas after that. He would subsequently put out 3 more LPs in The Adventures of Quack Poppa, Off the Grid & Off the Grid 2 until signing to B$F at the beginning of 2024 & is coming off of B.A.R.S. Murre’s comeback effort Jewelry Store Shootouts by introducing himself as the Black Soprano Eskimo.

The intro gets us started with a symphonic trap instrumental tellin’ those who’ve never been to Alaska not experiencing 20 hours of darkness & that he isn’t your average $1M person whereas “Ghetto Gospel” featuring Elcamino works in a ghostly sample mixed with hi-hats to talk about being on the brinks of being heirs to the throne. “Karma” takes the soulful trap route instrumentally talking about trying to get some paper out it leading into “Cost to Be the Boss” vibrantly getting boastful.

“I Did” has a bit of a Detroit trap flare to it admitting that he isn’t proud of a lot of the shit he’s done although he was standing on business just before the tape’s sole single “M.C.M. (Money Counter Music)” featuring Skilla Baby is a decent ode to counting your bread. “Cullinan” featuring Sauce Walka continues the soul sampling talks about losing it all only to get it right back while the cloudy trap fusion “Vlad TV” featuring Bonni Drip continues to run it up advising to stay out of the mix.

Fuego Base & Heem both join the Duckman for the penultimate track “High Noon” goes head-on boom bap telling a true story of violence & brutality revolving around the true Sopranos, but then “Locked” featuring Benny the Butcher & Rowdy Rebel properly concludes Black Soprano Eskimo with the trio over this exuberant Brooklyn drill beat talking about knowing people who eventually landed behind bars for making that dope money with the Butcher’s verse during the middle being my favorite amongst the 2 guests.

Quite probably the most exciting artist that I’ve ever heard out of the Alaskan hip hop scene has to be Duckman by far & his official B$F debut here takes himself to a higher level as an artist. Black Soprano Eskimo has a bit of a prominent trap sound to it with additional elements of Detroit trap, Brooklyn drill & a hint of boom bap discussing where he is now as well as his life involved in the biggest cocaine bust in Alaska history.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Autumn! – “Solitary 2” review

Lafayette, Louisiana rapper, singer/songwriter & producer Autumn! starting his 2024 by releasing his 20th EP. Gaining traction off all his previous EPs & a full-length debut on SoundCloud since 2018 prior to signing to Victor Victor Worldwide & Republic Records succeeding the Not Much Left EP, he made his major label debut nearly 2 years ago with his sophomore effort Antagonist! as well as following it up with the last 2 installments of the Golden Child trilogy & Midnight Club. Ahead of Pretty Girls & Fast Cars however, we’re being treated to a Solitary sequel first.

“Where Yo Cash At!” begins the EP on an airy plugg note calling cap over those lying about how much money they really have whereas Not One!” takes the playful trap route instrumentally clarifying that he only fucks hoes as opposed to being in love with them. “Can’t Keep Up!” futuristically gives insight into Twinuzis’ relations & his issues with women only caring about his wealth rather than him, but then “Up to Speed!” kinda has this rage-inducing vibe to the beat talking about needing P’s instead of hoes.

The cloudy, self-produced 2-parter “Richer Man! / Get In Yo Bag!” expressing self-awareness of them being mad ’cause he hates rappin’ & it still made him $1M alongside getting out of your feelings to by stacking your chips while the dynamically atmospheric “Balmain! / Self Healing!” begins with an ode to the French luxury fashion house of the same name & that playing with money is self care for him. “Solitude!” hooks up some synths & hi-hats to overcome his past struggles just before the moody “Don’t Come Around!” explains that she’s just not the one for him.

“What’s the Point!” spaciously begins the final leg of the EP by trying to figure out what the point is of everyone trying to come & test him leading into “Average Night!” going for a subdued plugg sound describing what a regular night is for him at this point. “Uptown Coolin’” finishes Solitary 2 with this cloudy trap teaser to Pretty Girls & Fast Cars talking about the dreams of a young kid who has to use cracked programs to make a vision coming into reality.

Nevertheless of Solitary coming out only 6 months before I started listening & reviewing Wick’s music if I’m being honest with myself, the sequel over here takes everything that made it’s predecessor exciting & taking it to a new level. You still get the cloudy, poppy trap rap from previously with the pluggnb undertones along with him occasionally dabbling in rage for the first time in a couple years considering the last time we heard him in that particular style was Antagonist!.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Leaf Dog – “When Sleeping Giants Wake” review

Brighton, East Sussex, England, United Kingdom producer/emcee Leaf Dog of amongst the best UK hip hop groups in recent memory The 4 Owls as well as the 3 Amigos & Brothers of the Stone continuing his crazy 2024 run by releasing his 8th full-length solo LP. Branching out on his own in 2011 with From a Scarecrow’s Perspective, the sophomore effort 6 years later Dyslexic Disciple quickly became his most well-regarded body of work yet & I enjoyed Live from the Balrog Chamber at the beginning of 2020 under his own label Real Life Drama Records just as much. However in 2024 alone he’s released a total of 4 albums so far: Photosynthesis, Don’t Scare the Crows Now, Outstanding in My Field & more recently Anything is Possible from a couple weeks ago. Much like January though, Leaf’s giving us 2 albums in 1 month by quickly following it up with When Sleeping Giants Wake.

After the intro, the first song “Victory” begins in the form of a crooning sample mixed with kicks & snares explaining that this is everything that his crew dreamed about whereas “The Storm” featuring Busta Rhymes & BVA finds the trio coming together over some Phantom of the Opera/boom bap shit bringing it hardcore. “It’s Never Easy” talks about trying to find a quick fix on top of a soulful instrumental with kicks & snares leading into “Daily News” continuing the sampling of soul music coming from a more personal place lyrically.

“Long Road Traveling” has a bit of an orchestral boom bap flare to the beat flexing that it ain’t no comparison when it comes to shit like this, but then “Check Mate” continues to clash strings with kicks & snares talking about calculating his next move similarly to chess. “Days of the Future Past” has a bluesier boom bap instrumental likening it to another scary movie tryna make you laugh that is until BVA returns alongside the late Sean Price for “Fade to Black” mixing that traditional hardcore shit with elements of classical.

Starting the 2nd half of the album, “War Report” soulfully paints the image of a horror story while “Conquer Your Fear” is a piano/boom bap crossover profoundly talking about his instincts. “The Ruler’s Back” has a bit of a triumphant atmosphere to it boasting that he can still make a classic even when he’s damn trending while “But For Now” takes the jazzier route a bit touching on some real life shit.

“Over Time” has a more colorful beat talking about having to pay his dues to get where he is at this point in his career while “Card to My Chest” incorporates a boom bap instrumental with a plucky guitar sample reflecting on when they was always waiting for him to slip. The final song “Soil Getting Sold” prior to the outro concludes When Sleeping Giants Wake with 1 last jazz rap cut telling y’all exactly where one can find him.

I can only imagine that Leaf will be dropping more albums throughout 2024 much like Flee Lord’s prolific 2020 run & although that’s certainly looking to be the case, When Sleeping Giants Wake could possibly be my favorite of the 5 LPs that we’ve gotten from him this year so far. His production is heavily boom bap centered although he fuses additional elements of soul & jazz music respectively, you get to see both sides of him as an artist & as a person joined by brief guest list.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Kakarot – “The Holy Armour” review

This is the 6th extended play from Northwest London, England, United Kingdom emcee Kakarot now based in Ireland. Dropping his 3rd EP Yojimbo’s Demise a couple years earlier in the spring of 2022, he followed it up with both Hello World & Dark Matter respectively the following year. But looking at The Holy Armour’s brief list of the guest appearances including King Kashmere solely handling all of the beats, I felt like it would make a right opportunity for Kakarot to sharpen his pen.

The title track after the intro hops over a sample to talk about being protected by a legend while “Final Fall” takes the boom bap route instrumentally bringing it hardcore lyrically. “Dark Arts” featuring C.o.N-Vers finds the pair taking brains to new dimensions & after “Close Encounters” dustily talks about spotting a UFO, the final song “Wanderer” featuring Chino XL & King Kashmere preceding the outro sends it off having everyone flowing with vengeance.

His verse on The Album to End All Alien Abductions was tight, so for King Kashmere to produce The Holy Armour in it’s entirety only makes sense & it’s really a demonstration of how far Kakarot has come since Cosmic Lamp & Master of Ceremony. The Iguana Man’s production sounds more boom bap-oriented contrasting Cocoa Butter’s jazziness & all 3 guests excluding are wisely chosen, each matching Dr. Voodoo’s own intensity.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Summrs – “B4daRaven” review

Lafayette, Louisiana recording artist Summrs preluding his upcoming 10th album Tale of da Raven with his 15th EP. Starting out as a member of the Goonie-founded SlayWorld collective, his presence has been known predominantly in the plugg scene by constantly dropping projects whether it be his last EP What We Have or even the Fallen Raven LP, both of which I highly recommend listening to if you wanna get into his music. Stuck in My Ways & Ghost were cool, but Rino brought back the plugg elements that Ghost lacked on the official What We Have sequel What We Didn’t Have last September prior to B4daRaven.

To start the EP, “Curbside at The Ritz” goes pluggnb talking about people throwing apples in the trash if he was passing them out back then whereas “Made Man” works in some heavier synthesizers flexing that he’s a soldier & the man with a plan. “Situationships” has a playfully cloudy tone to it referencing a bunch of women that he was previously with all by name, but then “Sneaky Link / Love That For Us” is this incredibly sequenced 2-parter telling a hoe who think she’s Sexyy Red that they ain’t ever done. The song “Drank n Sex” is this fun ode to lean & intercourse while “In Our Favor” continues the pluggnb vibes pointing out the people that need a savior just before “Brioni Shawl Colla / Catfish” concludes the EP with another 2-parter except he’s really talkin’ on this bitch.

B4DaRaven very much carries on the plugg/pluggnb elements that What We Didn’t Havereturned to after Stuck in My Ways & specifically Ghost lacked in that particular style. If that indicates anything to me, it’s that Tale of da Raven could very much be a spiritual successor to Fallen Raven of sorts. The production during it’s 19 minute duration is consistently chill as the last album was & the performances from Summrs himself are as strongly catchy similarly to the sequel to his best EP. However long the album takes, this prelude off in the meantime will hold off until then no problem.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Future – “We Still Don’t Trust You” review

Atlanta, Georgia rapper & singer/songwriter Future teaming up with Metro Boomin’ once again for his 11th full-length album. Coming up as a member of the Dungeon Family thanks to his cousin Rico Wade of Organized Noize, he officially made his debut in 2012 with Pluto & would later follow it up with a hot streak of modern day trap essentials like Honest, Monster, Beast Mode & my personal favorite of his: D.S. 2 (Dirty Sprite 2). However since 2017, Future has mostly been painting himself in a corner & prioritizing quantity over quality. I mean sure HNDRXX took a more sensual approach & SUPER SLIMEY showed a pretty great chemistry with fellow trap trailblazer Young Thug, but Beast Mode 2 was a step down from the predecessor & he got with Juice WRLD to put out a collab tape that literally should’ve never happened: WRLD on Drugs. Finally at the very beginning of that next year, The WIZRD was passable even though it showed NO artistic evolution whatsoever & Save Me was a decent attempt at being more vulnerable, High Off Life admirably found him staying true to himself in the midst of trying new things & I Never Liked You put the toxicity claims about him to rest. Metro reunited with Future for We Don’t Trust You only 3 weeks ago & that was his best since D.S. 2 (Dirty Sprite 2), but We Still Don’t Trust You was said to be the HNDRXX counterpart to Pluto’s previous double album FUTURE HNDRXX & I had no doubts that they were gonna outdo themselves much like they did with We Don’t Trust You being a step above self-titled almost a month back.

The title track featuring The Weeknd providing it’s sole verse is a synthpop opener singing about how much of a freak this bitch is whereas “Drink n Dance” gives me an acoustic trap soul vibe basically basically looking to fuck all night long pretty much. “Out of My Hands” brings a misty trap atmosphere instrumentally to spit about flexing that everyone knows the shit that he be on leading into the futuristic “Jealous” co-produced with Dez Wright & Wheezy singing his heart out that he’s unsure why this woman makes him feel envious.

“This Sunday” melodically promises to buy a new Ferrari by the end of the weekend even though the beat feels vaguely similar to that of “Hallucinating” just before “Luv Bad Bitches” is this alternative R&B ballad about preferring bad bitches over good girls. “Amazing” has to be the weakest moment on the album heavilly building itself around a sample of “Girl After Girl” by Juicy J featuring Gucci Mane & Nicki Minaj although I admittedly respect the concept of it revolving around Future & Metro’s friendship, but then “All to Myself” featuring The Weeknd bounces back with this pop rap/alternative R&B crossover flipping “Let’s Lay Together” by The Isley Brothers with Mike Dean & notably Abel dissing Drake.

The heavy sampling of “Dancin’ On a Pole (MKU)” by the Three 6 Mafia on “Nights Like This” to sing AND rap about needing all of this significant other was a nice touch while “Came to the Party” admits to pullin’ up to the spot only to get flicks continuing to get back in his full-blown trap shit. “Right 4 You” brings the synthpop influences back professing to the love of his life that he’s trying to get Wright for her since he belongs to her while “Mile High Memories” has this cloudy trap soul groove to it courtesy of the So Icey Boyz to talk south of France.

“Overload” is the 2nd worst song on We Still Don’t Trust You presenting itself as a mediocre synth-trap hybrid fulfilling his ego pretty much that is until “Gracious” produced with Taurus picks us up again going for more of a stripped back trap sound singing about the gratitude he feels towards this woman who is faithful of him. “Beat It” clashes hi-hats with these triumphant synth-melodies tellin’ this hoe that she can either ride & stay committed or hit the bricks while “Always Be My Fault” featuring The Weeknd reunites the 2 for the final time for this electropop/synthpop duet about hearing the ones they converse in the dark with in the storm.

Meanwhile on “1 Big Family”, we have Pluto boasting that he has 20 different bitches with them over hi-hats & synthesizers while the acoustic trap flavored “Red Leather” featuring J. Cole finds them both rappin’ about pissin’ on your grave wearing leather specifically in my personal favorite color. After the “#1” intro, “Nobody Knows My Struggle” begins a bonus track run vibrantly letting the title speak for itself while “All My Life” featuring Lil Baby talking about growing up with steppers over this quirky trap instrumental.

“Crossed Out” continues the final moments of We Still Don’t Trust You on some rowdy trap shit looking to cross out anyone who ain’t with the gang while “Crazy Clientele” mixes elements of orchestral with trap getting in his Freebandz shit. “Show of Hands” featuring A$AP Rocky produced with Honorable C.N.O.T.E. begins the encore of the LP by energetically talking about being trap dudes & Rocky dissing Drake too prior to “Streets Made Me a King” concluding the album by bragging about his status in a fun, charming manner.

I prefer We Don’t Trust You by a slight margin, but We Still Don’t Trust You still stands as a primarily solid companion to the previous album Future had put out 3 weeks ago. It pretty much lived up to the anticipation of being a superior HNDRXX/Save Me outside of only a couple songs that missed the landing primarily as Metro builds it’s sound around trap, alternative R&B & pop rap in the midst of Pluto himself pushing himself as an artist venturing off into the styles of trap soul, synthpop & electropop.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Darby O’Trill & Ouija Macc – “Anemoia” review

This is a brand new collaborative LP from Key Largo, Florida emcee & Chapter 17 Records signee Darby O’Trill alongside C17’s founder/CEO & Psychopathic Records recording artist Ouija Macc. Both of whom have already established themselves in the underground, wicked shit scene at this point whether it be Ouija becoming the label that runs beneath the streets’ biggest solo act prior to launching his own subsidiary for Psychopathic or even Darby releasing his Chapter 17 debut Creek to widespread acclaim last summer joining his Lyrikal Snuff Productionz offering Gully celebrating it’s 2-year anniversary at the end of this month as his best full-length. Coronella with Trizz last fall became my favorite collab effort that Ouija has ever done surpassing We Never Forgot with Baby E right when C17 was established, but I had a feeling Anemoia could outdo both of those a month away from the first-ever tapings of JCW Lunacy.

“Kennel Cough” is a dark trap opener calling out all the juffs who be claimin’ they been around when they’ve never seen them around once prior whereas “Wafflehouse Warlock” works in this vocal sample mixed with hi-hats talking about being dead all their lives. “Darkmoon Talisman” brings a morbid trap atmosphere to the table thanks to Devereaux the demons in their heads can play hockey with their brains just before “Nugget Bowling” shoots for a ghostly approach instrumentally going straight for the dome.

Meanwhile on “Juggalunatic”, we have Ouija & Darby going trap metal to go unhinged leading into “Kidney Stones” talks about being able to promise something that you don’t really want over a bass-heavy trap beat with some bells. The Duke of the Wicked himself Violent J of the Insane Clown Posse appears as Anemoia’s only feature on “The Trees Have Eyes” cautions to stay out the woods over a ghoulish Shaggytheairhead instrumental, but then “Sage Allergy” continues with a fun banger about smokin’ until a motherfucker can’t see.

“Anemoians” makes a turn treading slower & cloudier waters knowing that both of them weren’t alone here while “Need 2 Kill Someone” delves further into the industrial trap sound talking about straight up murder. “Corpse01dotMDL” to me sounds like a bit of a hyphy/trap fusion being about the shit they be yappin’ & having work to do slammin’ a hammer on your skull repeatedly until it breaks while the 2nd single “Graveyard Shift” confesses to diggin’ these graves for days now over a demonic trap beat.

To start the last leg of the album, “Jokaroholio” murkily rubs in your face that the joke’s on you in the end while the lead single “Cobratoxin” is this grisly trap jurnt refusing to trust anyone who isn’t 17in’ in this bitch & Ouija dissing Lyrikal Snuff Productionz artist Cody Manson in his verse, which is a shame because I highly praised Cody’s sophomore effort E=MC Skelter couple years ago. “Worry Warts” hops on top of a sample-laced trap instrumental to not worry about the next man while “Death of a Summer” admits to feeling burnt out & hopeless taking the cloudier route once more. “Crossing Over” on the other hand finishes Anemoia with 1 last trap metal cut being unable to go home since they don’t have one.

Coronella only came out 7 months ago being completely unlike any other collab project that Ouija has done & Anemoia here already reached if not surpassed the bar Coronella had set. And when you think about them being the only 2 current artists on C17 as of me writing this, it’s an exemplification of the Psychopathic subsidiary’s strength. The chemistry between the both of them is incredibly natural as they jump over mostly trap-oriented production with additional elements of trap metal & cloud rap thrown in.

Score: 4.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Apathy – “Connecticut Casual 2” review

Connecticut underground MC/producer Apathy releasing a sequel to Connecticut Casual as his 9th full-length solo LP. Emerging only 2 decades back as a member of the Demigodz & the Army of the Pharaohs collectives founded by Open Mic & Vinnie Paz respectively, he was also signed to Atlantic Records at one point even though he eventually left due to creative differences. Since then The Alien Tongue has built up quite the solo discography on his own, with my favorites being Honkey Kong! as well as The Widow’s Son or more recently Where the River Meets the Sea. & King of Gods. No Second fully produced by Stu Bangas. Almost a year & a half later, it only makes sense to commemorate the upcoming 10 year anniversary of Connecticut Casual by enlisting Playa Haze to fully produce Connecticut Casual 2.

“Connecticut Formal” is a jazzy opener to the album representing his homestate whereas “Hammond Court Kids” shifts gears into a twangy boom bap direction talking about how they can only be 1 king & never forgetting who wears the crown. “No One Can Hear You Scream in Space” works in more kicks & snares over a soul sample to discuss a love that was for sure kin to the moon landing, but then “Vacation” keeps it boom bap with a calming vocal flip talking about being in his own head staring off to space.

Meanwhile, “Jackie O” mixes these kicks & snares with a mellow loop admitting that he’s been having dreams of JFK’s widow as of late just before “Fenwick” featuring Kappa Gamma brings back the jazz influences to the beat paying tribute to the titular city. “Never Change” featuring Little Vic hops over a woodwind-laced boom bap beat encouraging everyone out there not to switch up just before the warm yet dusty “Around the Planet” letting his mic take a cruise across the globe.

“Eazy $” goes drumless beginning the last leg of the LP by making some cash while “Todd McFarlane” featuring Celph Titled likening them themselves to the Canadian comic book creator over a dusty instrumental. The penultimate track “Kingdom of the Coroner” goes rap rock to justifiably declare himself as the king of Connecticut at this point & lastly, “Tick Tock Tick” sends off Connecticut Casual 2 dustily chasing time to make another classic referencing Neuralink founded by Tesla CEO, SpaceX founder & Twitter owner Elon Musk.

Connecticut Casual was great showing of hometown pride almost a decade ago, but the sequel here essentially changed the outlook on Apathy’s whole career moving forward & while Where the River Meets the Sea was cathartically important for him to get out although he still wasn’t capturing the sound of what he wanted to do, Playa Haze’s production achieves that goal. It’s inspired by a sound that was from the Midnight Marauders, ‘93 ‘til Infinity & The Main Ingredient era albeit still on its own shit so Ap can deliver the soundtrack to where he & his crew come from: The New England shoreline.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!