Super Famous Fun Time Guys – “I’ll Tell You When I Want to Laugh By Laughing” review

Ohio self-deprecating horrorcore duo Mr. 8 Legz & Whipstick professionally known as the Super Famous Fun Time Guys have returned with their 4th full-length LP & their 2nd under Long Live Evil. Emerging in 2018 off their debut album Our Album, they would follow it up with the Super Dudes Crooning the Tunes EP that same fall freestyling over songs like Yasiin Bey’s “Mathemathics” or even Earth, Wind & Fire’s “September”. Following their sophomore effort How Do You Fit a Cassette in a Discography? & their solo debut EPs, they became the very 1st act to sign to LLE & their 3rd album Don’t Hug Me from the Front quickly won a lot of people (including myself) over with how well it mixed horrorcore with comedy. They continued to further establish themselves in the underground by putting out a Christmas EP Holiday EP: Advent & the critically acclaimed Lost Lake Estates collaborative effort with their mentors Alla Xul Elu, they’re beginning the 2nd half of January 2024 by simply saying I’ll Tell You When I Want to Laugh By Laughing.

After the “I’m Intro Bro” intro, the first song “Laugh Now Maybe” is a spacious boom bap opener essentially serving as the title track to the album whereas “More Things Same” works in some woodwinds reminding that they’re here to piss you off 1 pussy at a time referencing former 2-time WWE Women’s Tag Team Champions Damage CTRL. “We”R”Us” sets out to ruin your day because it’s simply what they are asking if you’ve ever noticed that record-setting 3-time ROH World Champion, ROH World Tag Team Champion, ROH World Television Champion, the longest reigning NXT Champion, the inaugural NXT North American Champion, NXT Tag Team Champion, PWG World Champion & CZW World Jr. Heavyweight Champion Adam Cole and former AEW Women’s World Champion Britt Baker look alike over an plucky, eerie loop attached to these kicks & snares just before “FanDUHlism” gives off an EDM vibe instrumentally responding to those telling them to grow up & leaving blood behind as if they’re 8-time WWE tag team champions The Usos.

“Thirst Trap” gives off a bit of a synth-funk flare to the beat Uno card reversing bitches wanting to break their hearts leading into “Cumulonimbus Cerebrum” talking about how no one’s safe when they open the clouds they keep their heads with a reference to current Monday Night Raw superstar, former 6-time WWE world champion, WWE Intercontinental Champion, WWE tag team champion, inaugural ROH Hall of Famer inductee, 2-time AEW World Champion, ROH World Champion, 2-time ROH World Tag Team Champion & 5-time IWA World Champion CM Punk who later albeit unsuccessfully competed in the UFC division of the WME Group-owned TKO Group Holdings over a west coast instrumental. “We’re Waaaack” by Mighty Morphin’ Wackness shifts into dustier territory giving us a look at 4 guys who don’t know how to act right, but then “Hatemail” featuring McNastee assures the listener that everything will be ok over some piano chords.

The 2nd & final single “Charity Case” admits to getting drunk & fall asleep so they can leave the hate they’re bottling behind over some guitars while the lead single “Quirky Pop Punk Song (Existential Dread)” featuring Stray has some incredibly tight production from Billy Martin in the titular vein feeling like time is starting to wear thin. “My Friends Can Beat Up Your Friends” featuring Alla Xul Elu as well as Long Live Evil’s newest recording artist S.O.N. brings the sextet together for a boom bap-infused LLE posse cut referencing lucha libre popularized by the Lutteroth family-owned Consejo Mundial de Lucha Libre (CMLL) & it’s rival promotion in the Peña–Roldán family-owned Lucha Libre AAA Worldwide (AAA) while “1 Botched Brooks Finisher” dabbles with trap delving into their villain arcs.

After the “I’m Outro Tho” skit, “Sote2nelF” serves as the first of 2 bonus tracks to end I’ll Tell You When I Want to Laugh by Laughing by making peace with the dark over a drearier beat & the other bonus cut “Idk Might Cry Later” ties up the greatest tag team to never set foot in the ring’s sophomore effort with Long Live Evil talking about falling into darker places masking their pain on top of some solemn acoustics.

Since first being announced at the 2nd annual Camp Xul, I was hoping that Billy Obey was gonna fully produce it because I feel like hearing Legz & Whip over his production start to finish would make for something really special one day. However, they haven’t let me down in the 3 years that I’ve been a fan of theirs & we still got a solid LP regardless. The overall sound is a melting pot of different & interesting ideas as the chemistry amongst both MCs remains humorously animated.

Score: 4/5

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Hus Kingpin – “The Supergoat” review

If I’m not mistaken, I believe this is the 8th proper full-length studio LP from New York underground veteran Hus Kingpin. In addition to being 1/2 of Tha Connection with SmooVth, he has also built up over both a dozen mixtapes & EP in his discography all in the span of over 15 years with my personal favorites being Cocaine Beach produced by Big Ghost Ltd. & the Portishead-inspired Portishus. However when it was announced that 9th Wonder was gonna fully produced The Supergoat, I had a feeling it was going to surpass both of those as his strongest album.

“Rewind” is a great kickstarter with a luxurious sample cooking up a sunrise song for those slidin’ on motherfuckers whereas “King is Born” featuring fuckin’ Rosco P. Coldchain takes the drumlessly jazzier route likening themselves to that of royalty. The title track shifts into soulful territory telling y’all how to address him, but then “Friends” gives off a spacier boom bap flare to the instrumental showing a more sensual side to Hus.

Meanwhile, “Behind the Scenes” hooks up these strings with kicks & snares spilling some behind the scenes sex on the set shit just before “Famous Poet” fuses chipmunk soul & boom bap talking about not being misunderstood amongst those in serendipity figuring he would know it. “What It Is” featuring The Musalini strips the drums once more saying everyone knows exactly what the fuck it is leading into “The Waviest” returning to an orchestral vibe boasting that he really is the waviest of them all.

“Chaos” continues the sampling of soul music by telling a real story on wax while “Already” by Tha Connection with a melodic hook from Sweata yet again displays a sensual side to Hus except he’s joined by his partner-in-rhyme SmooVth. To tie up The Supergoat the closer “Box Office” links up with Fredro Starr of Onyx for a synth-funk/hip hop hybrid getting on some big screen type of flexing.

Cocaine Beach has been my favorite LP of Hus’ for almost 7 years up to this point, but I gotta say here that The Supergoat has now dethroned it for that spot. Not just because 9th Wonder’s production masterfully goes from boom bap to drumless & chipmunk soul, but there’s less features here in comparison & they’re all unparalleled to the waviest as he drops some of my favorite performances of his yet.

Score: 4.5/5

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KiD CuDi – “INSANO” review

Cleveland rapper, singer/songwriter, producer, actor, fashion designer, model, director & filmmaker KiD CuDi really getting New Music Fridays for 2024 rolling by putting out his 9th full-length solo LP. Blowing up in 2008 off his debut mixtape A KiD Named CuDi as well as his songwriting credits on his mentor Kanye West’s 4th album 808s & Heartbreak, his profile from there would increasingly grow off his groundbreaking debut & sophomore albums Man on the Moon: The End of the Day& Man on the Moon II: The Legend of Mr. Rager. But following the self-produced & overlooked Indicud, CuDi would leave G.O.O.D. Music amicably to form his own Republic Records imprint Wicked Awesome Records. Satellite Flight: The Journey to Mother Moon though was mediocre at best & who could forget when CuDi attempted to go alt-rock on the critically panned Speedin’ Bullet 2 Heaven? Luckily he would redeem himself on his next effort Pain & Demon Slayin’in 2016 along with the self-titled album from him & Ye as the duo KIDS SEE GHOSTScouple summers later & even Man on the Moon III: The Chosen the day after my 24th birthday despite it’s blatantly heavy Travis Scott influence. At the beginning of 2022 though, Kanye announced that CuDi wouldn’t be on the unfinished DONDA 2 due to the latter’s friendship with Skete because he was dating Ye’s hobbit ex-wife at the time & ultimately resulted in a falling out between the mentor/protege duo that always brought the best out of one another. He stormed off stage at Rolling Loud later that same year because ignorant hecklers were throwing shit at him while performing & now Mike Dean announcing on Twitter that CuDi booted him off the inaugural Moon Man’s Landing festival that just went down earlier this month due to his longstanding ties as Kanye’s engineer. Shortly after, KiD CuDi would release his previous LP Entergalactic to mixed reviews although I appreciate how he took it back to his roots on there musically. But now only a month after making amends with Ye once more, CuDi’s finally going INSANO to sign off on his longstanding Republic deal.

“Often, I Have These Dreams” begins by assuring God has your back “when there’s a punk motherfucker tryin’ to bring you down when they see you shinin’” accompanied by a psychedelic instrumental from Mike Zombie whereas “Keep Bouncin’” produced by Honorable C.N.O.T.E. goes for a electro-trap vibe encouraging everyone to bounce to this shit. “Get Off Me” by The Scotts talks about being fresher than everyone else over horns & hi-hats, but then “Most Ain’t Dennis” balances trap & rage thanks to BNYX of Working in Dying alongside his mentor Jean Baptiste & FNZ showing off a more carefree attitude giving a nod to his manager Dennis Cummings.

A$AP Rocky joins CuDi for the trippy “Wow” explaining that life is amazing for them these days as they put a blunt up in the air & that everything will only get better from hereon out just before “Electrowavebaby” sings over a synth-funk beat sampling “All That She Wants” by Ace of Base about if anyone’s here with no issues & wanting a superstar to come fly with him. “A Tale of a Knight” however brings listeners into his life with a vibrant ass trap instrumental that Tom Levesque of Vanguard Music Group co-produced backing him leading into the mind-altering “CuD Life” with Keyon Christ providing co-production referring himself as the king of Rager Town.

“Too Damn High” featuring Lil Yachty embraces the rage beats even further as both of them look to get fucked up while “Getcha Gone” goes for a cloudier trap groove working all night long. The Scotts link back up 1 last time for the album’s final single “At the Party” getting live over a synthwave instrumental from Pharrell whose hook admittedly could’ve been performed a little better while “Mr. Coola” hooks up an airy backdrop & hi-hats dropping braggadocio.

Meanwhile, “Freshie” gives off a murky atmosphere with the help of CuDi’s longtime collaborator & WZRD cohort Dot da Genius joined by Plain Pat saying you can’t tell him shit whenever he pops up in the room while “Tortured” asks God to help him over a quirky trap beat from WondaGurl & Cubeatz. “X & CuD” heavily flips “Orlando” by the late XXXTENTACION underwhemingly explaining that he was born to be a grinder & that he’s doing it ill while “7” featuring Lil Wayne talking about being in heavy over more cloudy trap production cooked up by Clams Casino & Take a Daytrip.

“Funky Wizard Smoke” shouts out everyone who got that swish & some bread over an incredibly groovy instrumental while the acoustic trap-flavored “Rager Boyz” featuring Young Thug gives a middle finger to the law. “Porsche Topless” was a fun choice of a lead single & I still maintain that it’s a summertime bop even though people ripped on it at first while the warm “Blue Sky” produced by CuDi himself alongside Yachty & Sadpony goes on a quest to grind. “Hit the Streetz in My Nikes” ends CuDi’s final Republic offering groovily talking about being too cold.

I know people turned their backs on CuDi when he & Kanye were beefing for the 2nd time, but I’ve always stood by both artists throughout their careers as they’ve always brought the best out of one another & I’m more than glad they squashed it again. As for INSANO, it lived up to my expectations of being superior to Entergalactic. The production is a mixture of old & new sounds, it has a stronger feature list & CuDi is giving a toast to the ones living their best life not giving a fuck about what anyone thinks or has to say.

Score: 3.5/5

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Boldy James – “Penalty of Leadership” review

This is the 8th proper full-length LP from Detroit veteran Boldy James. Breaking out in the fall of 2013 off his Alchemist produced debut M.1.C.S. (My 1st Chemistry Set). He would later go on to land a contract with Nas’ independent label Mass Appeal Records for a little while before getting locked up but once Boldy came home, Uncle Al would help get his name back out there once getting out by dropping the Boldface EP around Christmas 2019 & then the sophomore album The Price of Tea in China. This was followed up with the Sterling Toles-produced Manger on McNichols which was as equally fantastic, but the Griselda Records-backed Versace Tape EP was a tad bit disappointing given how rushed it was. Bo Jackson though would become his most critically acclaimed work to date & Super Tecmo Bo was almost as great for an EP. The last I covered Boldy’s music was in 2022 for the well regarded Fair Exchange No Robbery produced by Nicholas Craven & Mr. 10-08 produced by Futurewave respectively. However in light of teasing Penalty of Leadership with Craven over the last couple months, we’re getting it at long last to ring in the new year.

“Formal Invite” is a soulful opener to the album assuring that every wish will be granted whereas “Jack Frost” works in another high-pitched vocal sample talking about being quick to rip the tag off after money being put on your head. “Evil Genius” goes into more synth-heavy direction wishing all the bros were here with him in this moment just before “Murderous Tendencies” says it all conceptually with yet another soul flip.

Continuing from there, “No Pun Intended” shifts into chipmunk soul territory so Bo Jack can talk about feeling like Thanos prior to the lead single “Brand New Chanel Kicks” going drumless making it clear that “this drug zone shit is so for real”. “Straight As” brings back the soulful vibes boasting that he been on his game time shit, but then “Soccer Mom” shooting for a calmer approach instrumentally talking about the 227 Concreatures being the ones.

“Early Worms Get Birds” featuring Double D might be the weakest on the album despite the boom bap production & Boldy’s lyrics declaring to be a new sheriff in town in addition to the references of former IWGPヘビー級チャンピオン as well as 10-time WWE world champion & former UFC Heavyweight Champion of both TKO Group Holdings divisions Brock Lesnar & WWE Hall of Famer Junkyard Dog while the chipmunk soul-inflicted penultimate track “Speedy Recovery” advises to sit back & take notes. “All My Tokens” closes Penalty of Leadership by jumping over guitars looking to stack his tokens up.

Fair Exchange No Robbery is one of Boldy’s strongest LPs ever, so I was more excited for this considering that it was literally the very first album that he ever recorded after being released from the hospital due to the car crash he was in & did it ever. He’s pretty much saying what’s on his mind after going through a life-threatening experience & Craven’s sample-heavy production is a step above the last one he did with the Detroit icon.

Score: 4.5/5

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21 Savage – “american dream” review

London, England, United Kingdom born albeit Atlanta, Georgia raised rapper, songwriter & occasional producer 21 Savage back with his 4th full-length solo LP over 3 years since the previous one Savage Mode II. Appearing on the iconic 2016 XXL Freshman Class list, he continued to make a household name for himself in the current trap landscape by dropping his 2nd EP Savage Mode with Metro Boomin’ producing it in it’s entirety shortly after. Then came his full-length debut Issa Album & an incredible collab album he did with Offset called Without Warning the following year, but it wouldn’t be until the end of 2018 where 21 dropped his most mature work to date with i am > i was. Fast forward a little over a month later, he was arrested by ICE after it was revealed that he was born in the UK & stayed in the US on an expired visa to freed 10 days later. But as he gears up to release his own biopic this summer coming off Savage Mode II, he’s giving us the soundtrack 6 months early.

After the titular intro, the first song “all of me” is a spaciously trap opener sampling Rose Royce talking about becoming the person that he is today whereas “redrum” works in more hi-hats & an operatic vocal flip thanks to London on da Track getting on his murder shit. “n.h.i.e.” featuring Doja Cat comes through with a moody pop rap duet discussing playing by the rules prior to the cloudy “Sneaky” laced by Coupe talking about how it be every time he gets with his bitch.

“pop ur shit” featuring Metro Thuggin’ finds both 21 & Young Thug getting braggadocious on top of a dark Metro Boomin’ instrumental except the “It smell like gas, I think somebody pooped” line is cringe just before the sample-heavy “letter 2 my brudda” is a sequel to “letter 2 my momma”. Metro returns behind the boards with BoogzDaBeast for “dangerous” featuring Lil Durk telling all the fuck boys to stay out their way over some crooning vocals & hi-hats, but then “née-nah” featuring Travis Scott goes into orchestral turf talking about people getting them fucked up.

Meanwhile, “see the real” takes the atmospheric route with the help of OG Parker explaining his dog don’t want nothin’ out of life but to kill motherfuckers while “prove it” featuring Summer Walker finds Coupe flipping Faith Evans so both of them can deliver a pop rap/R&B duet. “should’ve wore a bonnet” featuring Brent Faiyaz keeps the trap/R&B fusions rolling as Cardo samples “I Don’t Want to Do Anything” by Mary J. Blige featuring K-Ci while “just like me” addresses “the judge for my crimes” over a soulful trap beat Metro & FNZ made.

The penultimate track “red sky” sees Honorable C.N.O.T.E. blending these strings as well as hi-hats to begin the encore of the american dream soundtrack matched with 21’s lyrics about tides risin’ up to new highs & finally, “dark days” featuring Mariah the Scientist on the hook is a profound note to end the album on being unable to stand the thought of losing all his dawgs. I also felt that Kid Hazel played his part in enhancing the overall emotion to the track too.

Although I wouldn’t put it on the same pedestal as Savage Mode II as far as 21’s full-lengths go, we still got a solid follow-up from him nevertheless in my opinion. The production expands his trap sound by additionally pulling from gangsta rap, pop rap & chipmunk soul so he can formally address the long-standing queries about the UK-born rapper’s origin story & the immigration troubles that ensued in the intervening years.

Score: 3.5/5

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Donnie Menace – “Chainsaws & Boomsticks II” review

This is the 4th full-length studio LP from Stratford, Connecticut emcee/producer Donnie Menace. Emerging in 2008 off his debut mixtape The Threat & the leader of the Nitebreed collective, he would later continue to establish himself with the full-length debut Wrath of a Menace followed by his 2nd tape The Threat 2: Audio Sickness & his sophomore effort Bonded by Chaos. However over a year & a half ago by now, Donnie’s last album & his Lyrikal Snuff Productionz debut Chainsaws & Boomsticks was met with significant acclaim compared to his previous material joining the likes of Gully & E=MC Skelter. But for his LSP sophomore effort, Donnie’s returning with a sequel to his debut for the Denver gore hop label.

“The Boomsticks Reloaded” is a grimy, 2-minute self-produced boom bap opener unloading lethal battle bars on y’all whereas “Talk to the Chainsaw” keeps the kicks & snares in tact for a follow-up to the joint “Talk to the Boomstick” off Donnie’s last album with a reference to the late WWE Hall of Famer, former 2-time ECW World Heavyweight Champion, ECW Television Champion, 2-time WWE United States Champion, WWE Tag Team Champion, NWA World’s Heavyweight Champion, the oldest JCW World Juggalo Heavyweight Champion & 3-time WCW Hardcore Champion Terry Funk. “Take ‘Em Out” featuring White Cheddar looks to take out all competition over an organ-laced boom bap instrumental just before “Omen” samples “Trouble, Heartaches & Sadness” by Ann Peebles spitting the wicked shit.

M.M.M.F.D. joins Donnie for the bloodthirsty “Let Them All Rot” setting out to bring pain & destruction leading into “Run It Back” going completely drumless bringing it hardcore lyrically. “Another Scumbag Anthem” by Nitebreed pretty much lives up to the name conceptually returning to the boom bap, but then “Watch You Suffer” shifts gears into trap territory tackling more horrorcore themes.

“Where You At?” featuring Lex the Hex Master finds the 2 east coast lyricists joining forces for a hardcore anthem assuring everyone that they ain’t going nowhere while “Catchin’ the Bullets” gives me mafioso vibes from the instrumental to the subject matter from a gangster’s perspective. “S.M.B.T.M.D. (Suck My Balls Through My Drawers)” featuring the Super Famous Fun Time Guys says it all going for an old school vibe while “Body Shop” properly ends the album if you don’t count the “Lair of the Cenobites” remix with a ghoulish boom bap joint about dead corpses.

The first Chainsaws & Boomsticks was easily the most refined body of work compared to his previous material & the sequel here is as equally enjoyable as the predecessor from a year & a half ago. The production is primarily centered around boom bap with some trap undertones & a tight guest-list on top of the lyricism going from being boastful to straight gangsta & even murderous.

Score: 4/5

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Matt Martians – “Matt’s Missing” review

Matt Martians is a 35 year old producer, illustrator & singer/songwriter from Atlanta, Georgia notable for being a founding member of the now defunct Odd Future collective as well as 1/2 of the production duo The Jet Age of Tomorrow with Pyramid Vritra & the co-founder of The Internet alongside Syd. He also made up 1/3 of The Super D3Shay with Ace Hashimoto on the mic & The Jet Age of Tomorrow behind the boards alongside 1/2 of the MC/producer duo Sweaty Martians with Earl Sweatshirt. Also for almost 7 years, Matt’s been building a solo career for himself beginning with the full-length debut The Drum Chord Theory followed by the sophomore effort The Last Party & not 1 but 3 EPs in 2021. However ahead of The Internet’s upcoming 5th album, Matt’s returning after a few years for a 4th EP.

To start us off, “B Like That” sings over a funky beat for this chick that caught his eye in to get at him & that he’ll see her soon whereas “Rushback” takes a trippier route instrumentally talking about feeling her from across the room. “Perfect Warning” gives off a groovier vibe admitting that he & his significant other could grow old together hoping she feels the same way leading into the soley self-produced “Play” taking the mellower route asking if he can mess around.

“The Reason” despite it’s chilled out atmosphere plays with the idea of stalking a romantic interest that Matt will have love for just before “Bassline” picks things back up with a slick ballad about having to get it running coming with exactly that. “Best Girl” has a summery, funky start to the beat with a switch-up during the 2nd half telling her he wouldn’t know what to do if she left his side while the catchy “Don’t Think About It” talks about wanting her to stay.

“Adjust” starts the encore of the EP by admitting that he’s been having to adapt as of late & this woman being all up in his head until “Sick n’ Tired” rounds out Matt’s Missing by experimenting with funk rock making it clear that he’s at the point now where he’s simply fed up with the lies, the hate, everybody telling him what to do & being down altogether.

Drum Chord Theory has to be my favorite solo LP out of the 2 that Matt has given us thus far but when it comes to his EPs, Matt’s Missing might be my favorite since Going Normal & that includes the 4-track deluxe. He expands his the neo-psychedelic soul sounds of his solo material generally beyond neo-psychedelia altogether, hypnagogic pop, abstract hip hop & funk music.

Score: 3.5/5

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Truth – “Nostalgia ThEraPy” review

Queens emcee Truth formerly of the trio Gods’Illa teaming up with Da Beatminerz for his solo debut EP. The year after the group’s full-length debut Believe in Gods’Illa however, he would start to build up a solo discography for himself with From Ashes to Kingdom Come. He then followed it up 3 years later by dropping the sophomore effort The Fight for Survival as well as For All Intents & Purposes. The latter of which was also produced by Da Beatminerz fully & was not only my personal introduction to Truth’s music, but one that I found myself enjoying more than his previous work too. So with that in mind, I was sure I was gong to enjoy Nostalgia ThEraPy as much if not more than that previous LP.

“Truth Is” really sets the tone of what‘s to come by laying battle bars down over dusty boom bap production whereas “Lock & Load” works in an eerie loop with kicks & snares aiming for the kill. “Spit It” featuring Al Skratch & Kurious finds the trio over a bloodcurdling boom bap beat encouraging to speak your thoughts just before “Here & Now” brings in the horns boasting that he’ll tear down any stage anywhere.

To start the 2nd leg of the EP, “Da Beatminerz Sound” has to be my personal favorite track off the whole thing as Truth reminds that him matched with Mr. Walt & DJ Evil D is a deadly combo on top of this raw ass instrumental that they’re known for prior to “Won By One’s Will” taking the symphonic route telling y’all to kneel down to the pharaoh. “Queens Carnivores” featuring Royal Flush begins the encore with this bluesy sample repping their stomping grounds & “Calling” ties everything up with a soulful flip by getting busy.

Even as a 9-song EP running at 27 & only 3 features, Da Beatminerz continue to bring the best out of Truth because this is another pretty impressive body of work from them. It’s like a warm dish of hip hop comfort food that just so happens to incorporate some new herbs & spices courtesy of the chefs involved, all by design as Truth continues to evolve lyrically over the traditional east coast boom bap sound.

Score: 4/5

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Gloom Unit – “Come Heavy” review

The Gloom Unit are a West Coast horrorcore duo consisting of Acetone Boogie & Frankie Goldie. One of whom comes straight out of Tucson, Arizona & the other representing Sin City Las Vegas, Nevada respectively as part of the Swamp Society collective. Acetone’s been putting it down for the underground for over a decade at this point putting out a total of 3 solo LPs as of me writing this review & Frankie has been establishing himself artistically by doing a couple features & even releasing 2 solo singles. But after coming together in the fall & preluding their debut EP in the form of a few singles, Acetone & Frankie are looking to Come Heavy by properly introducing themselves to kick off the new year with Chapter 17/Psychopathic Records in-house producer Devereaux behind the boards start to finish.

After the intro, the first song “Anna in da Attic” is an occult trap opener paying homage to the Insane Clown Posse’s best storytelling track ridin’ dirty with the chromes “Amy’s in the Attic” whereas “Blood on My Chucks” instrumentally gives off more of a west coast vibe to spit the wicked shit with the bells calling back to “Real G Shit” off of Blaze Ya Dead Homie’s self-titled debut EP & I just wanna say I mean that as a compliment. “Dead Ringer” shifts back into trap turf trying to figure out why they hatin’ just before “Bury da Bones” works in some pianos & hi-hats talking about how no one else like them. “LeanGutt” then closes out the EP on a triumphant trap note with elements of chopped & screwed dedicated to the thuggalos.

These guys have only been getting better with each single they’ve been giving us, so it was more than enough to convince me that Come Heavy was gonna be a promising introduction to who the Gloom Unit really is. Now that we finally got their debut EP to start 2024, it should absolutely please the juggalos & maybe even some G*59 fans too. Devereaux’s production is chiefly trap-oriented with additional elements of west coast hip hop or even chopped & screwed mixed in leaving it up to both Acetone Boogie & Frankie Goldie to further hone in their chemistry.

Score: 4/5

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Big Hit & The Game – “Paisley Dreams” review

This is a brand new collaborative mixtape between Big Hit & The Game. One of whom hails from Los Angeles, California coming fresh off his debut album The Truth’s in My Eyes a few weeks ago after being in the making for a decade & the other is an established Compton, California veteran at this point mentored by both Dr. Dre & 50 Cent who put out Drillmatic: Heart vs. Mind a year & a half ago, which was the most I’ve enjoyed a project from him in quite some time. Both projects where executive produced by Big Hit’s son Hit-Boy, who eventually produced Paisley Dreams to start 2024.

“Backfade” is an ominous boom bap opener talking about having each other’s backs using the old school west coast terminology whereas the title track takes a more soulful approach admitting to being fathers first & real ones secondly. “P Fiction” featuring Hit-Boy finds the trio shifting into trap territory declaring themselves to be menaces leading into “Bang” talking about banging for the cause over a Mobb instrumental.

Meanwhile, “Cutthroat” starts off the 2nd leg ballin’ on top of a g-funk beat & TeeFLii’s hook being inspired by the late Zapp frontman Roger Troutman just before “The Game Won’t Stop” returns to a more soulful sound talking about shaking the cops. “Crisis” featuring Half-a-Mil has a gospel flip to it discussing the struggle while “Happy Ru Year” is a hyphy-tinged New Year’s anthem. “Body for Body” rounds out the tape by smelling homicide over a trap instrumental.

Wild to think that Game pulled up on Big Hit & Hit-Boy to only do 1 track with each other only to end up with a 9-song tape to release out of nowhere on New Year’s Day. If you’re a west coast head, you gotta check out Paisley Dreams at some point. Hit-Boy’s production mixes boom bap, trap, g-funk, Mobb music & hyphy altogether as his dad teams up with the Compton vet on the mic to rep their sets.

Score: 4/5

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