Autumn! – “Midnight Club” review

This is the 4th full-length album from Louisiana rapper, singer/songwriter & producer Autumn!. Emerging off of 19 EPs & a full-length debut on SoundCloud since 2018 prior to signing to Victor Victor Worldwide & Republic Records after the Not Much Left EP, he made his major label debut last spring with his sophomore effort Antagonist! as well as following it up with ##B4GC2 & Golden Child 2. However, he’s coming off ##B4GC3 & of course Golden Child 3 by dropping Midnight Club holding fans off until a sequel down the road.

“2 Chrome Necklaces!” is a wavy trap opener discussing his lifestyle & essentially serving as a peace offering to Yeat after they’ve been beefing for the past couple years whereas “Cocaine Diamonds!”takes a more euphoric route instrumentally talking about disappearing & reappearing like David Blaine. “She Say He Say!” however comes through with a trippy loop & hi-hats making it known who the flyest & realest couple in the game is, but then “Black Truck Greeters!” goes on to drop braggadocio over some punky drums & auto-tuned vocals.

To start the 2nd leg of the album, “Some of My!” works in some hi-hats & a shredding guitar riff getting in depth about a few of the bitches he’s had in his life that is until “Just Like Me!” details how the main woman in Wick’s life is similar to him in many ways with some cool rage undertones. “Abloh!” is the long-awaited tribute track to the iconic Off-White founder, Louis Vuitton artistic director & DONDA creative director Virgil Abloh going into more piano-driven turf leading into the atmospheric “Faith!” exploring how Twinuzis’ girl wants him to put his actual faith in her.

“Biggest Flaw!” gives off a syrupy, mellow flare finding out what’s going on in this woman’s head just before the poppy, cloudy “Chanelly & Birkin!”confessed that he’s found the perfect one for him. “4GSeller!” delving more into his lifestyle paying homage to the clothing store in New York until “Survive the Fall!” fuses elements of trap & rock to close out the album by declaring this his last call & having thoughts of suicide.

Golden Child 3 was a great conclusion to the trilogy that introduced me to Autumn! in the first place & the best full-length LP in his catalog yet. However, Midnight Club is right behind it without question. Wick’s ever-so stunning production is gradually evolving more & not only is is songwriting catchy, but so are his catchy vocal performances as he takes us through the way he lives. Twinuzis really went back-to-back in 2023 in only 5 months.

Score: 3.5/5

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NEMS – “Rise of the Silverback” review

This is the 4th full-length album from New York emcee NEMS. Coming up in the battle rap circuit, he would go on to have a brief stint with Psycho+Logical-Records in the late 2000’s before dropping the debut Prezident’s Day under Creative Juices Music back in 2010. This was followed up almost 9 years later when he & JAZZSOON teamed up for the damn near flawless Gorilla Monsoon, but the follow-up Congo received more mixed results despite it’s highlights like “Wow” & “Cousins”. But after signing a joint deal with Paul Rosenberg’s very own Goliath Records alongside distribution from Virgin Music earlier this summer, NEMS is returning to have Scram Jones fully produce Rise of the Silverback.

After the “Ascenscion” intro, the first song “Pussy” is a gully boom bap opener directed at all the bitch boys out there whereas the title track featuring Sheek Louch works in some Godzilla-esque horns as well as these kicks & snares talking about putting bullets in your mouth. “Drip” goes for a more cavernously shrilling boom bap route boasting how he got exactly that just before “Blicky” shifts gears into orchestral-trap turf paying ode to the heat.

“Demon” featuring Gunplay has a more chaotic loop with some hi-hats talking about not giving a fuck & quite possibly the most repetitive hook on the LP, but then “Don’t Ever Disrespect Me” featuring Ghostface Killah finds the 2 returning to the boom bap cautioning to never go against them. “Keep On” blends some pianos, kicks & snares looking to always move forward no matter what by telling his story leading into “Hold That” turning back into trap territory getting raunchy lyrically. Probably the weakest track on the entire album in my opinion with all respect to the Fuck Ya Lyfe General.

To begin the last leg of the album, “Gorilla on Your Back” weaves a boom bap instrumental with a gospel choir sample into the fold calling out your dreams being gone because you kept chasing dragons while “No Face” featuring Fat Joe keeps the organs, kicks & snares in tact talking about keeping it litty. The penultimate track “Dirt” featuring Peedi Crakk sees the pair hop on top of a flute-tinged trap beat declaring to be dirty dickheads & NEMS ties everything up aptly by firing “Missiles” over an eerie boom bap instrumental.

Considering NEMS’ popularity on TikTok almost reaching 1M followers on top of Eminem’s manager giving him a record deal & having Scram Jones produce his major label debut, my expectations into it were EXTREMELY high. Lo & behold: Rise of the Silverback is up there with Gorilla Monsoon for his finest body of work to day. Scram’s production balances boom bap & trap in a way I felt Congo lacked, the feature performances are more consistent & the Coney Island emcee doesn’t miss a step with the pen.

Score: 4.5/5

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Terror Reid – “Hot Vodka 2” review

This is the debut mixtape from San Jose deejay, producer, rapper & actor Terror Reid. Originally started turning heads a decade back after dubstep pioneer Skrillex signed him to his OWSLA Music for short period of time, he went on to drop 2 full-lengths & 13 EPs in the EDM genre under the name Getter before embarking into hip hop during the pandemic with Hot Vodka, which my homie Rone Bone of The Beneath the Dirt Podcast put me onto when it came out & was impressed by the boom bap/g-funk production as well as the raps from Terror himself. This was followed up with the sophomore EP DYNAMO & now after teaming up with Pouya to on the collab EP Chrome Casketz few weeks ago, Terror Reid is back in effect to deliver a sequel to his debut EP.

After the intro, the first song “Run It Back” starts the tape getting in his shit-talking bag over some kicks & snares whereas “Babe Ruthless” featuring Lu is a sick boom bap/g-funk crossover talking about exactly how they do it. “Tha Jackpot” fuses a crooning loop with more kicks & snares admitting that he feels like a God, but then “Daz My Bitch” shifts into a feel-good ballad dedicated to the woman of his life.

“Stay Dipped” featuring Domsta has a somber g-funk vibe reminding us all these hoes ain’t shit leading into “Hasselhoff” going for a more symphonic trap turn references WWE Hall of Famer, former 6-time WWE Champion, 2-time WWE Intercontinental Champion, 2-time WWE United States Champion, 5-time WWE Tag Team Champion & NWA World Tag Team Champion Stone Cold Steve Austin. “Dis Substance” takes the psychedelically cloudy route of course discussing drug use just before the guitar-driven “Medicine (Tha Cycle)” singing about a cycle that had ended.

The song “Comatoze” has a woozier vibe instrumentally promising to rob any poser of their green for doing simply that while the penultimate track “1st Blood” shoots for a dreamier boom bap groove profoundly spitting words of wisdom. Pouya saves the tape’s best feature for last on the grueling closer “No Gimmix” much like on the original Hot Vodka itself matching the energy they captured on Chrome Casketz only 3 weeks earlier referencing WWE Hall of Famer Mike Tyson.

If you loved the boom bap/g-funk fusions that Terror Reid has become known for, you should come away from Hot Vodka 2 liking it as much if not more than the original EP that introduced us all to him during a retrospectively weird time. The production expands on the sounds of the predecessor & I love how he focused more on himself as a performer by having the same amount of features albeit focusing more on himself as an MC instead of leaving it half solo cuts, half features.

Score: 4/5

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Hardrock – “1of1” review

This is the 3rd full-length album from up-&-coming Atlanta, Georgia recording artist Hardrock. Getting his start over 2 years ago off his debut EP Y.N.S. (Young N***a Shit), he would continue to build up anticipation by delivering 6 more EPs ahead of the commercial debut LP Next! & the breakout sophomore effort 808 Speaker Knockerz. The latter of which contains some of his best tracks to date like “H.Y.L.M.N.? (How You Like Me Now)”, “Madonna”, “New WRLD” & “Luigi Mansion”. So when 1of1 was announced out of the blue merely days ago, one could only go into it expecting him to take his potential to new heights.

“poet” starts the album with a drumless string instrumental declaring himself as exactly that whereas “bleh” was not only the perfect choice for a single, but it’s another one of Hardrock’s best songs to date from the synth-heavy instrumental to the lyrics about being as rich as Dallas Mavericks owner Mark Cuban & how everyone he knows loves to smoke weed. The title track works in a whistling trap beat discussing his uniqueness, but then “marathon” goes for a more futuristic direction with Cxdy of Internet Money Records’ help talking about not going down & running this money.

The luxurious piano chords & hi-hats throughout the DJ Phat hosted “kickdoors” are an ear-worm as he looks to slide through & wet your shit up just before “darkness” has this retro video game-inspired loop with hi-hats & sub-bass talking about chasing his shadows. SahBabii delivers the album’s only feature on “jansport” despite it being ok compared to the mellow ass instrumental & Hardrock’s own performances leading into “WA\VE” becoming another show-stealing moment much like “bleh” except he makes it clear he don’t have smoke with nobody over an off the wall rage beat from both BNYX & F1LTHY of the Working on Dying collective.

“eye to eye” goes for a hazier vibe produced by Nosaint from Vanguard Music Group admitting that he thought he was on the same page as someone else until he was sadly mistaken while “promises” is yet another highlight by making a 180 as ReidMD brings in a joyful synth lead & Hardrock pulling off the same remarkable vocal utilizations that made 808 Speaker Knockerz so special to me. “not afraid” confesses he has no fear of death whatsoever over some solemn chords while the trillwave-inflicted “range/era” admits he doesn’t think this is love.

To start the final leg of the album, “outofplace” has a bassy albeit cloudy beat owning up to his wrongdoings while the song “barry” pulls from dance music a little bit sonically talking about being up in this bitch even though he’s still slimy. The penultimate track “complicated” with 1 more airy pop rap cut revisiting the theme of what doesn’t feel like genuine love & “penny” serves as a nocturnally cloudy closer talking about a codeine dream he had that must be rooted in some meaning.

808 Speaker Knockerz was a fantastic introduction to Hardrock for a lot of people including myself & 1of1 continues to expand on the potential that he showed everyone last summer on the same pedestal. The production incorporates elements of pop rap into the cloudy trap sound of the last album with the rage/plugg undertones still in place, his songwriting is continuing to improve & the way he regularly switches up is incredibly distinct.

Score: 4/5

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Scum – “Bad Uncle” review

This is the 3rd EP from Denver based Russian-American emcee Scum. Emerging as the founder of the seminal horrorcore label Lyrikal Snuff Productionz, he’s gone on to release 14 albums & a couple EPs on his own, the last 3 full-lengths being in a trilogy called the Dyin’ World Chroniclez. But coming off S.O.S.’ debut album Blame Us last summer, the Gorefather’s teaming up with Chapter 17/Psychopathic Records in-house producer Devereaux for his 3rd EP.

The title track is an orchestral trap opener to the EP talking about hearing about a party that he wasn’t even invited to whereas “Way 2 Foul” by S.O.S. recaptures the chemistry of Blame Us by jumping on top of an instrumental with a terrifying atmosphere to it detailing how disgusting or dirty both of them really are. “Lozt” works in some bells & hi-hats confronting those running they mouths that is until “Sick Puppy” featuring LSP alumni/C17’s latest signing Darby O’Trill wickedly promising that those who cross them will get fucked up over a booming trap beat.

“Beyond Salvation” works in some heavy horns & hi-hats warning not to fuck with him or even try to pull up on him prior to “The Selectaz” featuring Chapter 17 founder/Psychopathic recording artist Ouija Macc declare themselves as exactly that over a synth-laced trap beat. “Whatcha Gon’ Do?” nears the end of Scum’s best EP to date with suspenseful wicked shit banger & “Awld Goat” by M.M.M.F.D. comes through with an aggressive closer advising to stay away from old goats with new tricks.

It’s been over a decade since the Gorefather’s first EP Mr. Zipperface & the follow-up Grim Zipper is approaching the 10-year mark next spring, so it only makes sense to make Bad Uncle a charm because it’s easily the best of the 3 he’s dropped to date. Devereaux continues to elevate himself as one of the underground wicked shit scene’s most in-demand producers in recent memory, Scum lyrically is at some of his most grotesque in the best way possible & the features all perform on his caliber.

Score: 4.5/5

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Mick Jenkins – “The Patience” review

This is the 4th full-length album from Chicago, Illinois emcee Mick Jenkins. Getting his start as a member of the YCA collective, he would eventually breakout in 2014 with the release of his GoodTalk Records-backed 3rd mixtape The Water(s) followed by his debut EP Wave(s) & the commercial debut The Healing Component. His next 2 albums Pieces of a Man & Elephant in the Room were both released to more mild reception, but I still went into Mick’s official RBC Records debut The Patience hoping it would become the strongest LP in his catalog.

“Michelin Star” is a lavish opener to the album by Mick providing genuine words of wisdom whereas “Show & Tell” featuring Freddie Gibbs dives straight into boom bap territory with a string sample talking about how they had to proving the doubters wrong in front of their very eyes. “Sitting Ducks” featuring Benny the Butcher works in an uncanny loop with more kicks & snares saying they keep that flame with them sans the propane leading into the calming lead single “Smoke-Break-Dance” featuring J.I.D talking about puffing on that good shit.

Meanwhile, we have Mick returning to the boom bap on “007” making it clear that he fucked around & found a way out just before “2004” works in some heavy synths talking about being around the same people as he was 2 decades ago. “Roy G. Biv” produced by Beat Butcha psychedelically puts a unique spin on the concept of the acronym for the sequence of hues commonly described as making up a rainbow, but then “Pasta” takes a more atmospheric route talking about how all he sees is imposters.

The song “Farm to Table” featuring Vic Mensa goes for a mellow boom bap vibe finding both Chi-Town natives boasting that they keep baddies on their arms & they’re not bitches at all while the penultimate track “Guapanese” is a jazzy drumless crossover pointing out how money talks in a distinctive fashion. “Mop” ends the album by endless mopping his flows over a crooning loop & a bass guitar courtesy of FNZ.

I’ll admit that it’s been a few years since I’ve covered Mick’s music, but The Patience is quite possibly the most mature LP in his catalog thus far. The production is rooted in the stylistic jazz rap sounds that we’ve come to know him for, the features all have perform more consistently than Elephant in the Room & you can genuinely hear the frustration with the process of progression in his voice for the half hour duration.

Score: 4/5

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Russ – “Santiago” review

Russ is a 31 year old rapper, singer/songwriter, producer from Secaucus, New Jersey who dropped off a total of 11 mixtapes on SoundCloud until signing to Columbia Records a couple years later & made his full-length debut in 2017 off There’s Really a Wolf. Quickly becoming one of hip hop’s most polarizing figures in recent memory in the process by being a “fake activist” against drugs & then there’s his infamous 2016 interview with DJ Vlad the culture vulture where he literally said “we need to blame producers for all the wack music today”. His 2018 follow-up ZOO kinda caught my interest due to “The Flute Song”, but the end result of it being taken over by this annoyingly bitter demeanor. Shake the Snowglobe was slightly better & his debut EP CHOMP ended up being his best work so far although it’s because the features & producers carried. Funny enough, the same thing happened on the sequel & more recently the Chomp 2.5 EP this past spring, but is preluding the final installment of the trilogy with a 4th album.

“See You Soon” sets the tone for what’s to come with a half-baked, dreamy R&B ballad promising the woman he loves that he’s gonna see her sooner than later whereas “Smooth” works in a glistening boom bap beat talking about being connected to the truth even though bars like “We in Paris like we spoke French” is kinda cringe. “Fraud” shoots for a more stripped-back sound confessing that he’s lost just before “No More” keeps the acoustics in tact hideously singing about not wanting to cry anymore.

Moving on from there, “Empty” continues to delve further with the wimpy melodic performances over a self-produced guitar lead & hi-hats telling us that’s exactly how he feels inside leading into “I Love You Boy” swaps out the hi-hats for kicks & snares encouraging to run before they kill you referencing former UFC Women’s Flyweight Champion Valentina Shevchenko. “Enough” goes for a more sample-based sound feeling recharged & assured that he’s enough, but then “Adventure” starts off with more stripped back guitars talking about he’s not lost & the boom bap switch-up during the last minute or so was an unexpected surprise.

“Oasis” tackles the idea of being in his own refuge over a cloudy instrumental while “Fatima” whips up another trite pop rap ballad with decently bluesy beat. The song “Distracted” incorporates more synthesizers melodically refusing to let anything distract him while the penultimate track “Tunnel Vision” talking about priding oneself over a summers instrumental. “The Wind” though happens to be a 5-minute, hazily-produced closer consisting of him discussing needing his ultimate focus.

I stand by what I said in my CHOMP 2.5 review that that he’s trying to improve himself both artistically & personally, continuing to hope for that down the road. However, I came away from Santiago liking it less than the EP he dropped few months ago. I appreciate how he represents his mental, spiritual, physical & emotional journey to his treasure on here by getting more in depth as to exactly what his treasure is on top of his production showing some improvement. That being said: His songwriting is still mediocre at best & the vocal performances at times (particular his singing) fall flat in my opinion.

Score: 1.5/5

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Hexxx – “Tales of a Cursed G” review

This is the sophomore full-length album from Los Angeles emcee Hexxx. First emerging in the underground back in the fall of 2016 off his debut EP Samhain, he would go on to follow it up 3 years later with his 2nd EP West Coast Wicked Shit prior to becoming the first act to sign to Ouija Macc’s very own Psychopathic Records imprint Chapter 17 Records other than Ouija himself last spring by dropping the classic debut Demon Season. However, he’s returning to tell the Tales of a Cursed G.

The title track is an eerie trap opener talking about being back up in the haughhh whereas “Blade to the Neck” has a more shimmery backdrop & the hi-hats remaining as he looks to cut a motherfucker’s throat up. The instrumental on “Another Day” featuring Shaggy 2 Dope of the Insane Clown Posse fresh off the first leg of his solo tour promoting his new EP Professor Shaggs & the Quest for the Ultimate Groove goes into g-funk territory with a Maezi666 instrumental reminiscent to “You Gots to Chill” by EPMD aptly detailing another day in the lives they life, but then “Darko” goes into psychedelic trap turf getting high in the street lights looking back on the dirt nights.

Meanwhile, the uncanny beat on “Shimmy Shimmy Yah” is pretty phat so HEXXX can talk about smoking that good kush & hitting pussies with the semi prior to “Black Crown” goes for a rowdier groove thanks to Devereaux referring to himself as a killer on the frontline. “Brick” works in a chopped & screwed sample of “Murder Go Round” off the wicked clowns’ sophomore effort Ringmaster over a mind-altering trap beat talking about continuing to hit ‘em with the titular object because it is what it is just before “Blueberry R3dbull” shoots for a more straight-forward west coast hip hop sound keeping the trouble poppin’.

“The Coast” featuring Trizz flips my favorite Necro joint “Your Fuckin’ Head Split” promising to make ghosts out of anyone who fucks around with them while the woozy “Season of the Sick” reminding that he’s a man with mob ties. The penultimate track “No Rest” draws near the end of HEXXX’s sophomore effort with an energizing ballad refusing to rest no matter what the circumstances & “Paradise” ends the album with a rubbery bass-line on top of some some strings talking about being a man of mistakes.

Demon Season quickly became a modern day classic for how it embodies the west coast wicked shit & over a year later, he’s done it again on Tales of a Cursed G only a month after Darby O’Trill dropped his Chapter 17 debut Creek because we’re witnessing the label going harder than they did last year. The subject matter comes from a more personal place in comparison to the debut & the production expands on the sounds of that previous album except they ditch the boom bap undertones.

Score: 4.5/5

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The Doppelgangaz – “Went Left” review

The Doppelgangaz are an East Coast hip hop duo from Orange County, New York consisting of MCs/producers Matter ov Fact & EP. Within the last 15 years, they’ve gone on to make waves in the underground by dropping a total of 8 full-length albums as well as 7 EPs & 6 beat tapes. Standouts include their breakout sophomore effort Lone Sharks, the follow-up Hark, their 5th album Dopp Hopp the follow-up to that Aaaaggghh. But coming fresh off their 8th LP Black Cloak Lifestyle last winter, they’re going left on their 8th EP.

“Easy Street” is a g-funk opener to the EP looking to get everyone’s hands up in the air & recite a prayer from the 2 cloak players that stay representing Groggy Pack Entertainment whereas the title track delves further into the g-funk realm justifiably flexing that they really did turn left here considering their East Coast roots. “Cloakland” takes the spacious route with some heavy synthesizers & more g-funk influences during the hook welcoming you to the titular city, but then “Cloak Life” ends the EP with 1-last g-funk banger as both Matter ov Fact & EP themselves talk more about the Black Cloak Lifestyle they live.

Considering the title of Went Left, I went into it expecting to be a change of pace for the New York duo & sure enough: I was highly impressed with what they delivered on here. Quite possibly the riskiest EP in their whole entire catalog. Instrumentally, they ditch the traditional boom bal sound they became known for in favor of showing their love & appreciation for the west coast by recapturing what made g-funk so special 3 decades ago meshing that well with more vibrant lyrics.

Score: 4/5

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Quavo – “Rocket Power” review

This is the sophomore full-length solo album from Atlanta, Georgia rapper, singer/songwriter & producer Quavo. Rising to prominence in 2013 as 1/3 of the Migos with his nephew Takeoff & Offset, he would also form the duo Huncho Jack in late 2016 with Travis Scott & drop their only album thus far Huncho Jack, Jack Huncho to mixed reception. However with the 5 year anniversary of him becoming the first Migo to branch out on his own with a solo debut in the form of Quavo Huncho, he’s dedicating Rocket Power to his fallen Unc & Phew cohort Takeoff following his tragic murder few weeks after the release of their only album Only Built for Infinity Links last fall.

“Fueled Up” is an atmospheric trap opener produced by Kenny Beats & Murda Beatz declaring that it’s all love as he goes back to his old ways whereas “Patty Cake” by Unc & Phew finds the duo over some horns & hi-hats provided by DJ Dureltalking about being heavyweights as opposed to lightweights. “Mama Told Me” follows this up in the form of a synth/string trap hybrid discussing everything his late mother Edna Parker told him throughout his life just before “Who wit Me” comes through with a more vigorous atmosphere thanks to BNYX of Working on Dying & his brother BEAUTIFULMVN wanting to know exactly who’s on his side here.

After the “Narkedo Speaks” interlude, “Hold Me” hooks up a solemn loop & hi-hats so Huncho can plead to everyone in his life who’s no longer here with him to keep him strong leading into “Where Can I Start?” gives off a more mystic trap groove talking about looking up & getting to the guap. “Wall to Wall” goes into more futuristic turf instrumentally discussing a lil bitch who think she can be bought, but then “Turn Yo Clic Up” featuring Future was a mediocre choice of a single largely due to the cut-rate beat.

Unc & Phew get back together 1 last time on “Back Where It Begins” with Future only handling the hook this time so Wheezy can shoot for a more atmospheric approach behind the boards taking everything back to where it all started for them both in the ATL while “11.11” reflects on the darker nights he’s been having throughout the past 9 months even though the instrumental here is just ok. Pooh Beatz gives “Galaxy” a more piano-driven vibe that I enjoy a bit discussing the feeling you get when you pull up & kill ’em while the cloudy “Disciples” talks about refusing to play with motherfuckers this year.

“Focused” featuring Young Thug finds the 2 jumping on top in these sweet organ harmonies & hi-hats from Buddah Bless refusing to keep their eyes off their bankrolls while “Stain” featuring BabyDrill & Hunxho aims for a more vibrant approach to the beat with one of if not the most repetitive hooks on the album comparing it to Modern Warfare when they hop out the Lambo although both guest verses punch under their weight unlike Huncho.

The song “Not Done Yet” speaks on living out the vision with no regrets & the end being nowhere in sight over a synth-woven trap instrumental while the 2-part title track produced by Murda, BNYX & Dez Wright reminisces on kickin’ doors bright & early thinking about his late nephew. “Greatness” though ends Quavo’s sophomore effort by mixing pop rap & trap with pop reggae interestingly enough explaining how legends are made.

Given everything that’s happened within the Migos camp throughout the last year & a half, I went into Rocket Power expecting it to come from a more genuine place than Quavo Huncho despite it’s share of highlights to this day like “Workin’ Me” & “Rerun”. In the end, that’s exactly what my personal favorite member of the trio delivers. The production’s as tight as it was when we last heard him 5 years ago & you can truly hear how devastated he still is over Takeoff’s untimely murder 9 months later.

Score: 3.5/5

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