London, England, United Kingdom emcee Kemastry breaking out solo with a whole entire EP locking in with one of the UK hip hop movement’s most decorated DJs/producers DJ Jazz T to handle the beats. Notable for being 1/3 of the trio CMPND alongside Vitamin G & Wundrop, they would make their debut under High Focus Records in the fall of 2019 with Eagle Court & most recently made a sequel with the sophomore effort Long Live the Court through the Hove, East Sussex imprint. Kemastry however has opted to crack open A Delusional Guide for the Disillusioned by having the founder of Boot Records producing it for his label.
After the compositional “Mind Control” intro, the first song “Delusional” begins with this old school boom bap instrumental talking about being stick up in this rat race from the sun whereas “Apocalyptic Flows” featuring Ramson Badbonez contains the strongest guest appearance of the 2 linking with Kemastry over pianos mixed with kicks & snares spittin’ deadly cadences of their own. “Hamster Wheel” featuring Roughneck Jihad has a cloudier, almost jazzier boom bap vibe to it having no one to trust & “Stay Grounded” smoothly ends by giving that very advice.
Countering the scathing observations & multi-syllables Wundrop & Vitamin G have respectively become known for with his surreal unpredictability, Kemastry elevates that to a whole new level providing A Delusional Guide for the Disillusioned to begin carving a path for himself individually. DJ Jazz T’s boom bap production pared with the CMPND member’s signature approach to songwriting with only a couple features joining him for roughly 15 & a half minutes isn’t a bad way for him to establish himself on his own & has me anticipating where he’ll go from here.
Detroit emcee Mvck Nyce of the Umbrella collective picking up where the predecessor left off almost 11 months ago with his sophomore LP. Emerging in 2018 off the full-length debut InMyDarkestHour, he has since continued to turn heads by continuing to release a couple EPs Supernyce & Lord Be Whit Me along with the Circa ‘16 compilation more recently as the 1-year anniversary of that approaches next month to be exact. I was also anticipating Nyce to Meet You considering some of Mvck’s recent features for Bizarre of prior D12 fame, Dango Forlaine or even his Umbrella brethren Mickey Diamond, Substance810 & Snotty.
“Master” is a morbid boom bap opener calling anyone to try to master his style whereas “Hockeytown” explains that this the type of shit that gets motherfuckers icy over a rugged instrumental. “Ghetto Gold” works in more kicks & snares with this eerie backdrop boasting that these try-hards can’t even fuck with him or his set leading into “Professionals” going for a solemn boom bap vibe grinding all night long until the sun comes up & calling out those sounding unconfident in their raps.
The aptly titled “Hound Flow” has a mellower sound admitting that he’s feeling like he’s back just before “Fully Automatic” brings the kicks & snares back in the picture talking about getting with it or getting lost at the end of the day. “Yesterday” flips a gospel sample confessing he doesn’t know where to go even though he did his thing & made his lane, but then the instrumentally dejecting “Cups & Carats” talks about how many want to calm him down.
“Dirty” begins the encore of the album by telling y’all to shut the fuck up & sit the fuck back over a dusty ass beat while the jazzy “Gotham Nights” talking about the fact that everybody tryna be a hero. The eerie boom bap closer “Me Against the World” properly sends off Nyce to Meet You with one of the best songs I’ve ever heard from him passionately rapping that he let his demons out in broad day hoping that it would work.
Considering the 7 year gap between Nyce to Meet You & InMyDarkestHour along with the feature performances that I had mentioned at the beginning, I was highly anticipating to hear how much the Nycest of the Umbrella collective has grown since then & he definitely didn’t pull any stops on that at all here. Unlike that previous compilation, we have a more well thought-out & linear reintroduction from the Detroit emcee to the public eye altogether.
Easily one of the biggest names in the Detroit trap scene today & Iced Up Records founder Icewear Vezzo finally releasing his Quality Control Music debut album although the 4th full-length overall in his discography. For over a decade now, this dude has been making waves locally by releasing the Rich Off Pints trilogy of LPs & over a dozen mixtapes. The previous Paint the City hosted by DJ Drama over a year ago being Vezzo’s first project to come out though the Motown Records imprint & it was a solid prelude, so it definitely increased anticipation for his major label debut Live from the 6.
After the intro skit, the first song “Class of 2024” starts off with some synthesizers & hi-hats so Vezzo can remind us all that he inventing sippin’ mud despite the fact that he’s clean these days whereas the atmospheric “Projects” flexes that he’s a multi-millionaire in the trenches. “Perfect” featuring DaBaby is anything but since the latter’s appearance might be the weakest on the album although I do appreciate the luxurious instrumental & Vez’ braggadocio, but then “Rap Game takes the soulful Detroit trap route celebrating like a parade goin’ down.
“Momma Mil” goes for a darker approach to the vibes of the previous cut minus the soul sample making it clear that his mother didn’t raise no hoes & the “Motion” remix featuring Babyface Ray is superior to the original boasting that that’s exactly what they got over a synth-based Detroit trap beat. “Ain’t Enough” gives off an eerier atmosphere explaining that he needs $2M since $1M isn’t enough just before “Come Outside” featuring YTB Fatt is another underwhelming collab although the message of people dying out here in the D is accurate.
Picking things back up, “I Ain’t Mad at Ya” fuses cloud rap & Detroit trap addressing all the “fuck n****s” out there leading into “Chose Me” featuring Chuckie CEO talking about choosing himself over a ghoulish instrumental & Chuckie punching under his weight. Beginning the encore of the album however, “Different Day” almost has this pluckier tone to the beat talking about the concept of “same shit, different day” & “I’m the One” closes Live from the 6 with this futuristic trap banger talking about being him.
Vezzo’s verse on the “Detroit vs. Everybody” remix made me a fan of his when it came out on my 18th birthday & this major label debut similar to Paint the City continues to show improvement in Vezzo. Yeah the features are kinda underwhelming for the majority of it, but it’s more well-produced than some of his previous material & I admire that he pays homage to 6 Mile as a fellow Motor City native myself.
London, England, United Kingdom wordsmith Confucius MC teaming up with Dublin, Ireland producer Pitch 92 for his 3rd studio LP. Known for being 1/2 of the Old Paradice and CoN & KwAkE, he introduced himself in 2014 off his full-length debut The Highest Form followed by The Artform a few years later & the sophomore effort Somewhere another few years after that. Familiarizing myself with him through his features throughout several High Focus Records projects over the years, it only makes sense to have one of the label’s in-house producers coming in the picture for Stop Signs.
After the “Leisure Time” intro, “Maintenance” begins with a funky beat advising to slow down whereas “Paper Champs” takes the boom bap route instrumentally seeking truth in an ocean of lies. “Missing Persons” brings the funk back with a slicker twist to it talking about someone disappearing every 2 minutes leading into “Raised by Wolves” featuring Renelle 893 links up so both of them can discuss their own upbringings.
“Loneliness in the City” has a somberness to the beat describing this epidemic around his parts & after an intermission, “Cognitive Behavior” featuring King Kashmere finds the 2 talking about being tired of the games. “Days Hours Minutes” featuring the latter’s Kingdom of Fear partner-in-rhyme Jehst speaks of time forever flying past us while “Burden” soulfully talks about not letting anything take a load on you.
Nearing the conclusion of Stop Signs, the song “Blue Skies” hops over a lo-fi boom bap l instrumental that sounds like it could’ve appeared during a bumper on the Discovery Global owned Cartoon Network late-night block [adult swim] asking for his spirits for them to tell him to read the signs & “Respite” concludes the EP with a 77 second outro structured similarly to “Leisure Time” the moment anyone giving this a spin would hear right when they press play.
The Highest Form still has it’s moments a decade later, but I truly think Stop Signs might’ve surpassed it although I’m not sure why Confucius MC didn’t have High Focus Records distribute it because it very much sounds like something that would’ve come out of the renown Hove, East Sussex imprint. Pitch 92’s jazzy production is a huge step above Somewhere carrying the torch of Jaylib’s spirit further & Confucius’ poetic lyricism is at it’s most conscious, joined by a couple of artists on the current High Focus roster & none other than the YNR Productions founder himself.
This is the sophomore full-length solo LP from New Orleans, Louisiana rapper, producer & deejay $crim. Coming up as 1/2 of the $uicideboy$, the duo has been impeccably consistent since their formation over a decade ago & Wetto here was actually the first one to branch out on his own by dropping the solo debut A Man Rose to the Dead during the COVID-19 pandemic to mixed to negative reception including from myself. However since Ruby da Cherry’s been grinding with a couple of skate punk EPs since last summer, it’s only right for Budd Dwyer to introduce us to the Lonely Boy.
“destination: home” is a cloudy trap opener co-produced by G*59 Record$ in-house producer Dynox encouraging to dream on whereas “a boy whistling in the graveyard” displays a more melodic delivery over an atmospheric instrumental with some hi-hats hoping that he gets right. “maserati slick” shows off the new whip that he just copped accompanied by a psychedelic trap beat leading into “who saves the savior?” asking who could love what he’s become going for a Memphis-influenced sound this time.
Meanwhile, “night gallery” continues forward by working in this vast instrumental keeping the hi-hats into the fold just before “demo demon” looks to pull up on his opposition. The synth-heavy title track goes into territory addressing the loneliness that he feels, but then the meditative “don’t know why” rides around town so fucked up to the point where he can’t even see
“blam!” experiments with rage beats talking about unloading the chopper on anyone who goes against his set prior to “4muhslime #freethug” paying tribute to Young Thug & the beat giving off a solemn vibe. “devil’s revenge using god’s subjects” sets out blow all these racks with a bitch blowing his high shooting for a moodier aesthetic while “i just hope that my death makes more cents than my life” delves into hypertrap turf flexing that his money keeps going up.
Starting the 2nd leg, “new glock 4 my opps” continues to blend buzzing synths with repetitive chord progressions & melodic synth leads looking to make the block hot while “1st things first” admits that he doesn’t go outside much although everyone should pray whenever he does returning to a relaxed, dream-like & reverb-heavy production style. “north pontchartrain blues” suggests to come spend the night & never leave him over a slick trap instrumental while the bass-heavy lead single “paradise” describes his ideal place.
“just because you’re paranoid doesn’t mean you’re wrong” atmospherically laces $crim’s feelings with drugs clarifying he can’t help but go when they call him while “a man touched the sky” talks about refusing to take any chances over another trillwave beat. “all graves go unvisited in the end” dejectedly confesses to people betraying him when he never thought they would while “nightmare on the northside 2” is a worthy sequel to a highlight off A Man Rose from the Dead.
Moving on to the final quarter of the LP, “chrome cowboy” looks to do whatever it takes to keep catching those Ws trying to give off a vibrant approach generally while the rage-inducing “die4me” asks if anyone’s loyal to him. “1-800-PAIN” is cloudy a reminder that shit ain’t sweet when you look in his eyes while the trippy “marlboro country” talks about a whole new vibe he’s been on. The angelic/trap crossover “a nice place to visit” heads back west & lastly, “levitate” ends Lonely Boy on an upbeat note riding & dying by his shawty.
Granted it kinda seems like $crim heard Destroy Lonely’s last album If Looks Could Kill since it was also 26 tracks & nearly 90 minutes long when we first got it last spring, yet Lonely Boy still shows significant improvements over A Man Rose from the Dead. It’s refreshing to hear Budd experimenting with new sounds & his performances actually sound invigorated as opposed to being monotonously boring on the predecessor.
Maryland emcee/producer K.A.A.N. reuniting with Aftermath Entertainment in-house producer Dem Jointz for his 24th full-length studio LP. a name for himself in the underground over the course of the past decade by delivering standouts in his ever-growing discography like Black Blood, the Ski Beatz-produced Requiem for a Dream Deferred & the Big Ghost Ltd.-produced All Praise is Due, Mission Hillz or recently The Death of a Rapper & The Nightly News both produced by former Strange Music in-house producer MIKE SUMMERS a.k.a. 7. But after being teasing Peace of Minds since September, it’s only right for the Maryland lyricist & the Compton producer to link back up to start the 2nd month of the new year.
After the “Wake Up” intro, the first song “Corner Store” is a 2-part trap opener talking about how they wanna see him fall whereas “A.S.C. (Ain’t Shit Changed)” keeps the hi-hats in tact making it known that things are still the same with him. “Living n Fear” has a groovier vibe to it explaining that his whole house on fire prior to “Destination” shifts into boom bap territory talking about what you get when you follow false prophets.
“Dying Breed” goes into a drumless direction likening himself to a group of people that’re slowly fading away as time goes on leading into “Hurry” bringing the kicks & snares back into the picture manically getting in his hardcore bag lyrically. “Basque” is an organ boom bap hybrid produced by Black Milk asking what the fuck he’s gotta do to prove who’s who, but then “Prize” aims to keep his eyes on the finish line over more trap production.
To start the 2nd half of the album, “Designer Drug” goes into a psychedelic direction admitting that he went down the rabbit hole for all the wrong reasons just before the atmospheric “Smoking Section” slides through for an anthem dedicated to the smokers out there. “F.Y.F. (Fuck Yo Feelings) says it all conceptually over a dusty instrumental while the rock-inspired “Past That” talks about moving on from the bullshit.
“Footsteps of Greatness” begins the encore of the LP by speaking from experience on top of an unsettling & lastly, “Katch Up” closes out Peace of Mind by hooking up this delicate back drop with some hi-hats thanks to fellow Aftermath in-house producer Focus… so K.A.A.N. can get into his shit-talking bag 1 last time talking about all the ways that people be envying him ever since his career took off really.
Mission Hillz was more trap-based unlike both Black Blood & Pure Intentions, so it doesn’t really surprise me to hear that Peace of Mind continues to expand on the sounds of the previous LP that K.A.A.N. & Dem Jointz did with one another. The latter’s production continues to show progression over the last 7 years of working together dabbling with psychedelia, boom bap, drumless & a hint of rock suiting the Maryland emcee’s potent topics.
Detroit emcee Valid coming off Bill & Isiah’s self-titled debut from last spring with his debut mixtape. Introducing himself properly in 2015 with Reach High, he would follow it up in 2019 getting more personal on the sophomore effort Mihajlo which I personally would recommend to anyone as the best place to start for anyone who wants to get up on Valid’s music & eventually the Plum Brandy EP only 9 months later. However after teasing The Bronko Tape recently in the form of a couple singles, now is the time for Valid to return for the first solo project of his in nearly 4 years.
“Big Bronko” has this mobster-like sample from Pig Pen so Valid can liken himself to Bronko Lubich who competed in the Billy Corgan owned National Wrestling Alliance (NWA), the Hart family-owned Stampede Wrestling, the WWE Hall of Famers Von Erich family-owned WCCW, the Crockett family-owned JCP & WWE Hall of Famer Verne Gagne-owned AWA from the early 50s to the early 70s whereas “Frozen Over Twice” works in this accordion flip from Middle Finger Music in-house producer Peace of Mind with DJ Los on the turntables talking about being known for doing the impossible. “Fever” goes into a silkier direction explaining everything’s been the same just before “Prayer for the Players” featuring Big Herk & Fat Ray finds the trio over a soulful boom bap instrumental from Simple Cuts spitting gospel for the gangstas.
Nearing the end of the first half of the tape “Let It Bang” featuring Asaka the Renegade talking about how heartless these hoes can be & Nick Speed paying tribute to the greatest Texas hip hop duo of all-time UGK behind the boards leading into the “Cyclone” featuring & produced by Ilajide formerly of the Clear Soul Forces going for a funky trap vibe looking to stir up shit similar to a storm or system of winds rotating inward to an area of low atmospheric pressure. Bill & Isiah link back up with the help of S.A.G.E. for “Dark Road” asking how you like them know over pianos & hi-hats, but then “Always Be Me” stays true to himself referencing 2-time WWE Hall of Famer, former 5-time WWE world champion, 11-time WWE tag team champion, WWE Intercontinental Champion & TNA World Tag Team Champion Kevin Nash over a boom bap beat.
“Do You Remember” blends a soul sample with kicks & snares describing a romantic interest who he viewed as an angel while “Forever & a Day” assures to tell him all your insecurities for him to embrace” over a luxurious boom bap instrumental. “Hell of a Love” draws near the end of the tape by really digging in the crates with it’s vintage sampling helping this woman with her self-esteem & the jazzy “Random Thoughts” rounds everything out by making a whole song around the fact that he & Tony Rizzo could talk about anything in the lab with.
Like I mentioned: This was the first solo project that Valid has put out in damn near 4 years since it’s anniversary is next Wednesday & much like the last full-length we got from him which will already be turning 5 this spring, The Bronko Tape is most certainly a step above Plum Brandy when he put it out literally before everyone’s lives changed forever. Don’t get me wrong: Plum Brandy was a fresh showcasing of his Serbian roots, but I like the production here better & the homages to Bronko Lubich as a wrestling fan myself.
Tha Dump Gawd himself Tha God Fahim from Atlanta, Georgia beginning the 2nd month of 2024 by linking up with Cookin’ Soul for the 21st full-length LP in his ever-growing discography. Starting as an affiliate of Griselda Records as well as being 1/3 of the Dump Gawds alongside Mach-Hommy & Your Old Droog, we also can’t ignore the massive discography that he’s managed to build for himself, some of the standouts include Breaking Through tha Van Allen Belts & Dump Assassins. But dude has been on a CRAZY ass EP run in 2023 with the standouts being the Camoflauge Monk-produced Dark Shogunn Assassin, the Nature Sounds-backed Iron Bull & the Nicholas Craven-produced Dump Gawd: Shot Clock King 4, the Oh No-produced Berserko, Fahim’s last EP Dump Gawd: Rhyme Pays produced by Mike Shabb & even the previous album Tha Supreme Hoarder of All Pristine Wealth. So hearing that Big Size would be behind the boards to begin the Soul Cook Saga of the Supreme Dump Legend series, I was certain it had to be the best body of worked they’ve ever produced for another MC.
After the intro, the first song “Blood Sport” starts things off with this cinematic boom bap instrumental likening himself & his squad to champions whereas “Get Ur Weight Up” takes a more lo-fi route working in thee kicks & snares so tha Dump Gawd speaking on some advice that was given to him. “Economics” featuring The Musalini who signed to Jamla Records last year talks about turning rhymes into heavy cash over a boom bap beat with this infectious sample, but then “Guillotine” hooking up more kicks & snares with this psychedelic backdrop referencing 10-time WWE world champion, 2-time WWE Intercontinental Champion, 5-time WWE Tag Team Champion, United Football League (UFL) co-owner, the newest member of the WME Group-owned TKO Group Holdings’ board of directors & $7 Productions co-founder The Rock whose daughter Ava is now the GM for WWE’s developmental NXT brand.
“Shark Biting Vampires” featuring Dano makes it clear that they don’t want anyone sounding like them on top of some woodwinds & just before “Heavy” featuring Raz Fresco makes up for Dano’s guest appearance on the previous cut which might be the weakest feature on the album. Here though, Raz & Fahim discusses the heaviness of words sometimes over this spacious boom bap instrumental. “Pedal to the Floor” kinda gives me a bluesier vibe making it clear he ain’t new to this leading into the dusty “Safe Hands” looking to make other rappers look bad. The orchestral sendoff “The Way of the Samurai” lastly portrays another day in the Shogunn saga.
Breadrick Douglas is said to be have Dump Goat II, 3 more projects with Monk, 3 with Craven, another one with Cookin’ Soul presumably titled Supreme Dump Legend: Soul Cook Saga 2 & a self-produced one all coming down the pipe in the future & Supreme Dump Legend: Soul Cook Saga. Cookin’ Soul’s boom bap production is consistent top to bottom, I enjoyed nearly every feature & Fahim indeed cementing himself as the strongest performer Size has worked with on a full project to date.
London, England, United Kingdom emcee/producer Sly Moon ending January with his 4th EP. A member of the Children of the Damned as well as its successor the Cult of the Damned & the Sohio Players, he made his full-length debut in 2020 with Why Am I So Sly? under Blah Records followed by the Lee Scott collab effort F.D.M.B. (Flippin’ Dough Makin’ Bread) & Banned From the Vic. The last extended play of his The Ghost of Ungar came out a year earlier & is taking a more conceptual approach to No Gamble, No Future.
After the “I’m a Compulsive Gambler” intro, the self-produced “I Don’t Know” starts with this soulful boom bap opener talking about being blinded after keeping his eyes on the prize whereas “Aces Baby” produced by Lee Scott instrumentally discussing him grinding night & day playing with higher stakes. “Tears of Joy” goes for a jazzier yet funkier vibe talking about being lonely at the top loving the view while “Back Door Key” boasts of his money speaking loudly.
“The Dream’s Over” continues the 2nd half of No Gamble, No Future with everything crashing down on our protagonist running into the wall of the house after trying to take it down over this crooning beat & after the “Spinnin’ Out” skit, “Casino Chippin’” ends the EP hopping over a boom bap beat with some strings talking about another chapter in the rat race running backwards amongst the gamblers watching people become rich only to steal food from children’s mouths.
We’ve heard a significant amount of growth from Sly Moon with every EP he’s given us since Why Am I So Sly? & the progression continues throughout No Gamble, No Future. He chronicles of the ups & downs of an addicted gambler beginning in the red & grinds his way into the green, only to go all the way back to Square 1 in a never-ending cycle that anyone who has or had a gambling addiction can relate to though it’s never been my thing personally.
Brooklyn, New York emcee, songwriter, producer & record executive Masta Ace back with Toronto, Ontario, Canada beatsmith Marco Polo for his 9th full-length LP albeit their 2nd together. Breaking out in the late 80s as a member of the Juice Crew collective, his solo debut Take a Look Around became a Cold Chillin’ Records gem, the next couple SlaughtaHouse & Sittin’ on Chromewere accompanied by Masta Ace Incorporated, the Interscope Records-backed Disposable Arts is a classic concept album about enrolling in after realizing how bad the situation in Brooklyn is, his M3 Records debut A Long Hot Summer is another conceptual piece except this one’s about venturing through his hometown before going out on tour with Fats as his unofficial manager, MA_Doom: Son of Yvonne was basically him freestyling over the Special Herbs beats paying tribute to his mom & The Falling Season focused more on his high school years. However with the 5 year anniversary of A Breukelen Story produced by Marco Polo passing by this fall serving as a near-perfect love letter to the planet, Ace is taking it to Richmond Hill for the sequel.
After the “December 26” skit, the first song “Brooklyn Heights” is a boom bap opener with Ace telling y’all where he’s broadcasting from whereas “Certified” featuring Coast Contra takes a funkier approach instrumentally talking about their respective certification in the rap game. After the “Cartunes” skit, “Hero” featuring Inspectah Deck brings back the kicks & snares in full effect likening themselves to vigilantes just before “Life Music” featuring Speech & Stricklin’ finds the trio in their grown man bag over a dusty yet atmospheric beat.
“Below the Clouds” featuring Blu ruggedly advises to get your head out the clouds & after the “St. Roberts” skit, “Heat of the Moment” is an acoustic/boom bap hybrid continuing to provide wisdom such as making your decisions clear since they don’t want to understand what they fear. “Jordan Theory” mixes synths with kicks & snares explaining that you have to give up your soul to cross this bridge, but then “Money Problems” featuring Che Noir gives off an orchestral boom bap flare tackling financial issues.
After the “Scarborough” skit, “P.P.E.” takes it back to the basement talking about junkies & pushers being everywhere while “Outside In” featuring C-Red & E Smitty has to be one of the weaker tracks on here respectfully as we’re being treated to a piano-driven love ballad. “Connections” shows passionate hunger by keeping his status high until he’s satisfied over a sample-heavy boom bap beat while the jazzy “Plant Based” talks about how he’s been eating better these days. After “December 25” skit, “All I Want” featuring Wordsworth following the by wanting freedom for Christmas while the bonus track “Al Dente” asks when will we realize we’re equal.
Much like how ABreukelen Story was mainly inspired by Ace’s upbringings, this time we’re being treated to a conceptual album based on Marco Polo’s childhood growing up in the titular neighborhood in Ontario & one that reaches the bar that was set by it’s predecessor over 5 years ago. They take the issues of the day head-on with clarity so Ace can use his decades-worth of rapping experience to slice through the producer’s warm soul samples & crisp percussion.
Legends Will Never Die 