Chief Keef – “Dirty Nachos” review

This is the 32nd mixtape from Chicago, Illinois rapper, singer/songwriter & producer Chief Keef. Rising to stardom in 2012 off his 6th mixtape Back from the Dead & the full-length debut Finally Rich, he would go on to become a progenitor for drill music popularizing it in the Windy City inspiring the likes of Lil Uzi Vert & 21 Savage or even Billie Eilish. Other standouts in Keef’s discography include Bang 2, Almighty So, Back from the Dead 2, GloToven & 4NEM. But with Mike WiLL Made-It fully producing Dirty Nachos, expectations for it were very high for me personally.

After the intro, the first song “2 Times” is an energetic trap opener talking about having to steal a couple times in the past & seeing dollar signs when you look in his eyes whereas the title track encourages to get off the block & take a trip. “Doja” briefly yet bombastically flexes the kind of weed he be smoking leading into “Ridiculousness” featuring Ballout bringing a suspenseful atmosphere this time around talking about being on too much savagery.

2 Chainz’ feature on “Pull Up Ghost-Clan” is significantly stronger vibrantly boasting that they’ll be at the spot in a coupe just before dedicating “Damn Shorty” featuring Sexyy Red to all the strip clubs out there & I can definitely hear this being played at those kinda spots. “Why You Mad?” hops over strings & hi-hats asking haters the titular question prior to “Watch for the Pigs” menacingly calling out the feds.

“Charged Up” gives me a cloudy trap vibe instrumentally telling us that’s exactly how he be feelin’ while “Promenade” almost has a quirkier tone talking about the cops trying to get him on a daily basis. “Beware of Dog” might be my least favorite on the tape because it feels a little unfinished to me personally, but then “Girl Woo” although more fleshed out seems like a flat pop rap cut.

Meanwhile, “Player in Me” brings a trippier flare to the beat boasting his player status while “Love Don’t Live Here” comes through with aggressive braggadocio. “Status” chillingly sets out to fit 5 or 6 bitches in his car being on Saturn while “Harley Quinn” comparing his girl to the titular DC character over synth-horns. “Bang Bang” rounds out the tape by bringing Chicago drill undertones to the fold portraying images of the gangsta life 1 last time.

Almighty So 2 has been quickly turning into the modern day Detox by now, yet I’ll absolutely still take Dirty Nachos as a way of making up for the constant delays. Mike WiLL’s production is more refined than some of the O.G. versions Shawn Ferrari did, Keef gives some of his best performances I’ve heard from him in a while & the 3 features don’t bother me all that much.

Score: 4/5

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Chyna Streetz – “From Hell to Chanel” review

This is the full-length debut album from Brooklyn emcee Chyna Streetz. Starting in the spring of 2018 off her debut EP Weird Girl Antics, she followed this up with 2 more EPs in the form of both Hourglass & more recently Visions respectively. That said: I knew that From Hell to Chanel had to be the next artistic evolution for Chyna compared to those early EPs. Especially considering the fact that SmokerMs Club Records in-house producer 183rd did the whole entire thing top to bottom.

“Chanel Boy” starts by mixing a flute with kicks & snares exclaiming that we done let the right one in whereas “Emerald City” goes for a cloudier atmosphere talking about those moving sloppily even when they’re the ones who be rolling the dice. “Sirens Lullaby” goes straight g-funk reminding everyone that’s listening of the fact she’s been had motion leading into Rome Streetz joining his wife Chyna on “Matrimony” richly talking about it still being hard to believe they found the plug.

Continuing from there, “Bernadine’s Rage” gives off a soulful boom bap vibe declaring herself to be a goddess just before “Dark Night of Soul” passionately looks to make the moment count for a minute straight & the beat enhances the ambitious mood quite a bit. “Entitled” has this crooning sample encouraging y’all to make your next move the best one, but then “888” hops over some strings as well as kicks & snares talking about being born to shine.

“One of One” goes into spacious boom bap turf breaking down her uniqueness while “Right Back” featuring Ox Omni blends kicks & snares with a climactic orchestral flip talking about sending shots right back where they came from. “Judas Kiss” concludes the LP by admitting she’ll never know if it was all worth it & that even know a few have done their names dirty, the roses are still growing.

The trilogy of EPs we’ve gotten from Chyna throughout the last 6 years have each shown artistic progression in her & From Hell to Chanel brings it full circle to the point where I could argue that it’s her most consistent body of work to date in my personal opinion. She’s grown as a songwriter & 183rd’s production is significantly more fluent than her previous material.

Score: 4/5

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Germ – “Every Dog Has It’s Day” review

Atlanta, Georgia rapper Germ finally releasing his full-length debut LP. Coming up in 2016 off his debut EP Bad Shit, this was followed up with a sequel tape Bootleg the next spring & the summer after that, he signed to G*59 Record$. He went on to release a couple more mixtapes & another EP, but has yet to release an official album up until Every Dog Has It’s Day coming off Ramirez’ latest EP From tha Guttah to tha Grave alongside $crim’s latest solo efforts Lonely Boy & Lonely Boy 2.

“Say No More” is a woodwind-infused trap opener produced by $crim referencing WWE Hall of Famer, 6-time WWE world champion, WWE Intercontinental Champion, WWE United States Champion, WWE Tag Team Champion, WWE Hardcore Champion, IWGPヘビー級チャンピオン, the inaugural 6-time TNA World Champion, TNA X Division Champion & 2-time TNA World Tag Team Champion Kurt Angle whereas “Graveyard Shift” working in these jazzy horns with hi-hats boasting the lifestyle that he’s living. “CC” hops over a rage beat from RXLVND so he can talk about needing space leading into “Lurkin’” hooking up another hypertrap instrumental calling out everyone who be afraid of him for being nervous.

The most annoying hook on the album has to be on “Sick Baby” despite the subject matter of being unable to feel his face due to inebriation, but then “Live From the Deep End” featuring Black Kray was an ok single shooting for a cloudier atmosphere taking everyone through the gutter. “Pulling Up” featuring the $uicideboy$ shows an unhinged side to the trio with an appropriately morbid atmosphere to the beat just before the stripped back “Currensy Hymn” talks about being a sight to see.

“Mud Diaries” goes into a synth-based direction flexing that his pockets be on chunky while “Off That Shit Again” featuring TiaCorine psychedelically talks about being unable to feel their faces since they’re under the influence. “ESPY” gives off a Memphis vibe instrumentally so he can ball hard while “The Green” happens to be another acoustic trap fusion stacking up his bread. “Tesla” featuring Lil Gnar wraps up the album by getting on some Big Bad Gnar Shit for the 1 time taking it’s name after the multinational automotive & clean energy company.

Bad Shit & Bootleg both capture Germ at his hungriest, but Every Dog Has It’s Day is a worthy debut LP from Beer Can Dan & the best thing he’s done on G*59 other than the trilogy of collab EPs with $B or even Kevlar Money Bags from last summer. He finally gets his most successful moment in life as the production expands beyond the trap/Memphis rap wheelhouse that the label is known for from rage to jazz & psychedelia.

Score: 3.5/5

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Rafa – “Good Girls Don’t Exist” review

Detroit rapper Rafa is back with his 3rd EP. Coming up as a member of the WRLD Tour Mafia a couple years ago, he would also begin a solo career of his own starting on Thanksgiving 2020 with his debut EP Not for Household Use & followed it up in the form his full-length debut Dog$hit & Ammunition. Last we heard from him was almost a year & a half ago when he put out an eponymous EP that I still consider to be his strongest solo effort to this day, but is applying pressure with Good Girl’s Don’t Exist since DaeMoney dropped Rockstar Lifestyle 2 earlier this month.

The title track is a cloudy opener clarifying that there are no such thing as good girls to him whereas “Waste No Time” is an acoustic trap hybrid ripping his heart out & putting it on display. “Luv a Do” dives into the Detroit trap sound throwing some synthesizers into the fold going ape shit like he was hanging around Nigo just before “Money Virus” melancholically admits he don’t know how to live & is unable to trust his homie.

“Cash Rules” fuses rock with trap saying he’s never met another woman like the one he wrote this song for while the “Interlude” takes the atmospheric route hoping to be a billionaire like one of my top 10 producers Ye since making money is a hobby for him. “200 Days (Malala)” talks about coming a long way & previously doing stuff ass-backwards over a dreamy trap instrumental prior to “On Me” featuring Rally & Samuel Shabazz dabbles with plugg being able to tell the love ain’t there.

The untitled penultimate song continues to draw near the end of the EP by bringing rage beats into the picture acknowledging that there are so many things for him to figure out, but then “A$AP & Riri” finishes Good Girls Don’t Exist by talking about being too busy getting rich & refusing to let a hoe have his kid going for an entrancing vibe instrumentally. “Matchin’ Tracks” cloudily starts the deluxe advising to stay down until you up while “Understanding” hops over a sample-woven trap beat addressing someone he can’t live life without.

“I Luv WRLD Tour” psychedelically bridges the halfway point of the bonus track run representing the crew that he stay running with while “Rafa Bieber” pulls inspiration from the trillwave scene once more talking about handling the trials & tribulations by his lonely. The final bonus cut “Surf Gang” featuring Rally wraps up the deluxe on some plugg shit bragging over being more lit than propane itself.

It’s only a couple weeks after Slae put out Rockstar Lifestyle 2 & here we have Rafa continuing to elevate the WRLD Tour Mafia by putting out an an EP that I actually believe tops Not for Household Use almost 3 & a half years ago by now. His sound is growing & lyrically, he has to be right behind DaeMoney as my favorite member of what has to be one of the most exciting up-&-coming groups in the Detroit trap scene.

Score: 3.5/5

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Bktherula – “LVL5 2” review

Atlanta, Georgia up-&-comer Bktherula returning with a sophomore LP & a sequel to her previous EP LVL5. Coming up 7 years back as a pop/R&B singer, she eventually broke out in the plugg scene after dropping the single “Tweakin’ Together” produced by my lil homie Premiere Maxx off her debut mixtape Love Santana. This resulted in her signing to Warner Records, following it up with her sophomore tape Nirvana along with the full-length debut Love Black & the previously mentioned LVL5. So over a year later, it makes total sense to put out the next installment.

“Code” is this rage-inducing opener admitting she hasn’t been in the studio in almost a week & it’s been taking a toll on her personally whereas “Nun” works in a cloudy trap instrumental asking why this person’s hitting her phone up when they ain’t even doing shit. “Tatti” brings some hypertrap undertones into the fold discussing self-confidence, empowerment & sexual liberation prior to “Boi” taking the spacious trap boasting that she kissed your favorite bitch.

Cash Cobain hooks Bk up with his signature sample drill on sound “Shakin’ It” bragging that she’s having it, making it & breaking it while the otherworldly “Just Make Sure” saves the drums for the last 30 seconds so she can demonstrate her range showing her singing chops for a couple minutes. “Wishuwasdacrew” gives me a quasi-industrial vibe airing out who was supposed to her down bitch, but then “Insane” produced by Ayelavish! vibrantly talks about going crazy with it.

“Crayon” expresses her desire for the lace front with the brown at the top & the teal at the bottom over a synth-trap beat just before “Woman” featuring J.I.D talks about exes backed by a high-pitched sample. “Feathers” keeps the industrial influences going flying to the top & losing the feathers of her wings in the process while “The Way” dabbles with alternative R&B once more telling her significant other how much she loves the way they light up the room. “Racks Up” ends the album by singing over a guitar about her pockets getting bigger.

The first installment had a relatable theme of tapping in with your spiritual side, but the follow-up portrays a significant evolution in her artistic & spiritual journey. It’s significantly more mature than what she’s released in the past by fearlessly conveying the message that there’s no such thing as being blacklisted/blackballed & you don’t have to follow the same blueprint as everyone else.

Score: 3.5/5

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Tierra Whack – “Worldwide Whack” review

Tierra Whack is a 28 year old rapper & singer/songwriter from Philadelphia, Pennsylvania who broke in 2018 off the strength of her debut mixtape Whack World after signing to Interscope Records. She has since dropped a handful of singles along with a trilogy of EPs & even landing some very impressive feature placements, the most notable being “T.D. (Tokyo Drift)” off Lil Yachty’s 5th tape Lil Boat 3. So it only makes sense that she struck while the iron’s hot for her full-length debut studio album over a month after former 2-time AJPW三冠ヘビー級チャンピオン, 4-time AJPW世界タッグチャンピオン, MLW World Tag Team Champion, NWA World’s Heavyweight Champion, NWA World Tag Team Champion, 2-time IWGPヘビー級チャンピオン, 7-time IWGPタッグチャンピオン 2-time NEVER無差別級6人タッグチャンピオン, GHCヘビー級チャンピオン & GHCタッグチャンピオン小島聡 became a record 2-time MLW World Heavyweight Champion at SuperFight IV.

“Mood Swings” is a calming opener to the LP talking about trying new things due to Tierra mother being tired of how her mother is sick of her constant changes in mood whereas “Ms. Behave” takes the hip house route instrumentally basically refusing to act right referencing the Discovery Global-owned Discovery Channel’s annual weeklong programming block Shark Week. “Chanel Pit” fuses trap & pop rap talking about being the shit that you smell excelling more than Microsoft prior to the atmospheric “Numb” talking about being at the final stage of the numbness she’s felt since her youth.

On the other hand, “Burning Brains” gives off a subdued vibe to the beat although the biggest complaint I have with this track is that it feels underwritten that is until “Accessible” brings a sadder atmosphere to the table cutting ties with a romantic interest due to their accessibility. “Imaginary Friends” tropically talks about her friend Tony for almost 3 minutes just before the instrumental on “X” brings some industrial undertones advising to find someone better or else she will.

“Moovies” hops over synthesizers to ask her man to take her on adventures leading into the vulnerable “Difficult” talking about feeling stressed & deprived throwing a hint of optimism towards the end by saying you can’t let it get you down since we all have issues. “Shower Song” dabbles with synth-funk likening the shower to the stage, but then “Invitation” peppily talks about her style being so rare that it’s hard for her to describe.

The song “Snake Eyes” addresses everyone who views her as a threat over a piano-laced trap instrumental referencing WWE Hall of Famer, former 3-time WWE Champion, 11-time WWE tag team champion, the inaugural WWE Hardcore Champion, CWA World Tag Team Champion & TNA World Champion Mick Foley while the aptly nocturnal penultimate track “2 Night” talks about not paying the light bill this month in the midst of possibly dying that evening. “27 Club” fuses bedroom pop & alt-pop to link the concept of suicide to the titular term used for celebrities who’ve passed at 27.

Really if anything, Worldwide Whackserves as another reminder that T-Dizzle’s one of the most creative women in hip hop today & you get a glimpse of her at her most vulnerable in the process. The production teeters between pop rap & alternative R&B with additional elements of trap & alt-pop as she tackles themes of abandonment, depression, suicidal thoughts, uncertainty, lust & loneliness.

Score: 3.5/5

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Nascar Aloe – “Speed” review

Nascar Aloe is a 24 year old rapper & producer from Lexington, North Carolina who’s released a total 6 EPs as well as a mixtape & a full-length debut album since the late 2010s. He even performed at the 21st annual Gathering of the Juggalos in the summer of 2021, which to date is the only Gathering that I personally have been to. Now his set didn’t do much for me, but I could definitely see why he was booked for the festival since he’s in that trap metal subgenre. That said: I didn’t realize that he was signed to Epitaph Records since the beginning of the decade actually & hoped that his 7th EP would win me over.

The titular intro screams his brains out over a self-produced industrial beat to stop playing with him whereas “Blitz” mixes trap metal with synth-punk talking about wanting full-blown destruction as opposed to a bust down. “S.M.B.U. (Smack My Bitch Up)” dabbles with drum & bass feeling like wanting to assault his girl just before “Fuck! Ah!” featuring N8NOFACE returns to an industrial sound about your head looking better when it’s decapitated.

“Chum Reap Suor” brings a bouncier instrumental into the fold while “Skidrow” asks if you want to stroll down the streets of the slums mixing rage with pop rap & trap metal. “Tall Cans” featuring St!nk gives drum & bass another shot reminding life isn’t nice & you’re all fucked to them that is until “In My Head” finishes the EP by tackling themes of paranoia.

There are artists in trap metal like City Morgue or the Dropout Kings & Ghostemane who all do that style of music incredibly well, but others simply don’t scratch that same itch for me like Kid Bookie & you can throw Nascar Aloe in there too. He’s actually not a bad producer at all & there are some interesting ideas in his production, I just can’t say the same about his songwriting & performances.

Score: 2/5

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Kembe X – “Sleep Paralysis” review

Chicago, Illinois emcee & Top Dawg Entertainment affiliate Kembe X returning for his 3rd full-length album produced by Sacramento duo Hippie Sabotage & his first in nearly 5 years. Getting his start over a decade ago with the debut EP Soundtrack II Armageddon & the debut mixtape Self Rule, his profile would continue to grow off the strength of the debut LP Talk Back as well as an eponymously titled 2nd EP & the sophomore effort I Was Depressed Until I Made This. He’s worked with the Saurer brothers a few times in the past, but they’re finally releasing Sleep Paralysis after working on it for a whole year.

“Fade the Sun” starts us off with a lively danceable opener telling anyone who wants a piece of him to get in line whereas “Pole Vaulting” hops over a trap instrumental to talk about being over the bullshit. “King” works in a more rubbery beat to remind y’all that he’s royalty around these parts prior to the synth-driven “Love Songs” taking a melodic approach talking about never seeing a king of romance that went wrong.

To end the first half, “Shallow” brings a cloudier vibe to the table wanting to be called a visionary who did it first when it’s all said & done while the atmospheric “Where Demons Come to Die” admitting he damn-near lost his soul & sacrificed his peace. “Kill Everything in the Way” declares himself as the new leader of the resistance over a slow boom bap beat just before the wavy “Rolling Stoned” featuring Isaiah Rashad talks about keeping it cold, fresh & clean.

One of my favorites on the album no question has to be “Start a Business” from the groovy instrumental to the motivational lyricism encouraging people to start up their own businesses since they can’t be employees for the middle man forever & finally, “Baby I’m Up” concludes Sleep Paralysis with a 7 & a half minute ode to his success after people tried to leave him for dead & drag his name through the mud.

TDE’s been slowly but surely allowing the biggest artists on their roster to release new music in recent years after making their fans wait forever, so it makes perfect sense for Kembe to make a comeback & one that new listeners will find themselves invested in. He’s exploring new sounds with the help of Hidden Sabotage & the subject matter is significantly more personal than his early stuff was.

Score: 4/5

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ST Spittin’ – “Risk & Reward” review

This is the 8th full-length studio LP from Oakland, California emcee ST Spittin. Emerging off his first few mixtapes Lighters & Ink Pens alongside 2nd Impression & Open Season, he would continue to expand his discography by putting out 3 albums The Morning Show, Action! & All in a Day’s Work followed by a trilogy of EPs Lucky 6, When the Ball Drops & Retrofitted ahead of the 4th LP, EP & mixtape Boom!, Don’t Judge Me & Footwrk respectively. We would later get a sequel to Boom! & Footwrk as his next 2 albums, Cool Water for the last one & Summer Madness being his 5th EP. However, I was interested in hearing Risk & Reward since Golden State Warriors deejay DJ D Sharp was behind the boards for the whole thing.

The title track is a jazzy trap opener to the album letting y’all it’s all about that whereas “Seat at the Table” shifts gears with it’s boom bap instrumental feeling like he’s moonwalking on the red carpet getting what everyone else wants. “Pesos” featuring Stunnaman02 goes for a cloudier vibe so both of them can talk about being unable to rest since they have cake to make, but then “God in the Room” featuring Dustin Sharpe & Mani Draper fuses some kicks & snares with strings admitting the Big G was at work when they wrote this.

“Profile Pics” brings a groovier flare to the beat talking about how it’s time to put in a new shift since he’s back on the job just before “Maximize” featuring HBK CJ & Khyenci dives into a pop rap direction advising to maximize your energy. “It’s Alright” featuring Ian Kelly incorporates twinkling piano chords trying to tell her that something’s better than nothing leading into the luxurious boom bap cut “Flashes” talking about seeing the greatness in him shining.

Champ Green & D. Bledsoe join ST on “Each One, Teach One” hopping over a symphonic sample admitting to buying a lot of time to spend more while “Wide Awoke” takes it back to the basement instrumentally flexing that he knows for a fact someone gets inspired whenever he’s on the mic. Lastly to finish the album, “What Ya Call That???” happens to be a soulful ode to the ones tellin’ ‘em how it is.

Over a decade into the game & ST. Spittin’ celebrated Steph Curry’s born day by putting out the most well-crafted body of work of his career so far. DJ D Sharp continues to reveal himself as one of the best beatsmiths in the Bay Area right now as his production here is varied in sound & we get a glimpse of the Oakland emcee at his rawest, most confident, playful & honest all in 1.

Score: 4/5

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Estee Nack – “Stone Temple Pyrex” review

Lynn, Massachusetts emcee/producer Estee Nack joining forces with Toronto producer Futurewave for his 11th proper full-length studio LP. Emerging as a member of the Tragic Allies, he also branched out on his own my senior year of high school off his Purpose-produced solo debut 14 Forms: The Book of Estee Nack & has since built a lengthy yet impressive discography for himself. Other highlights include the Sadhugold-produced Surfinongold.wav alongside it’s sequel The Order of the Golden Fleece, the Giallo Point-produced Papitas, his collab efforts with al.divino, the V Don-produced B.R.A.P. (Born Rewards & Penalties), the Griselda Records debut Nacksaw Jim Duggan & the Mike Shabb-produced Live at the Tabernackle. So considering the high quality of those last couple efforts, Stone Temple Pyrex had to be as equally great.

“Sunday Service” starts by blending jazz & boom bap talking about getting rich every Sunday whereas “Subtracktion” gets more grimier instrumentally to say right now’s a great time to have a great time. “Glaciusvsfulgore” featuring Rome Streetz brings the 2 Griselda signees together likening themselves to the titular Killer Instinct characters of the same name with the beat sounding reminiscent to Daringer, but then “Oscardelarenta” hooks up & an uncanny loop with kicks & snares talking about never doubting himself.

On the other hand, “&Bondizlyfe” goes drumless to detail the hustler lifestyle leading into “Blockwarz” featuring Daniel Son talking about the top spot forever being theirs over a crooning boom bap instrumental. “Weirdscience” flips another eerie sample so Estee can diss all the weaklings who want power just before “Datewifdef” references former 2-time UFC Middleweight Champion Israel “Izzy” Adesanya.

“Cornchowder” featuring Raz Fresco incorporates a jazzy loop referring to their minds as weapons & letting it squeeze while “Wavydominicans” featuring ??? & BoriRock finds the trio over grim piano chords talking about a sinister presence. “Eddiebernays” featuring al.divino strips the drums once more making this shit complete while the final song “¡Sorpresa!” excluding the “Ogoscardelarenta” remix aggressively suggests to check the sign language.

This upcoming weekend will mark a whole year since B.R.A.P. (Born Rewards & Penalties) came out & the Nackman has already blessed us with his 3rd classic within the span of 365 days. The guest-list is briefer than Live at the Tabernackle’s was, Futurewave’s production is mainly rooted in the traditional boom bap sound with jazzy & drumless undertones mixed in & my favorite Tragic Allies member picks up where he left off 6 months ago lyrically.

Score: 4.5/5

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