King Von – “Grandson: The Album” review

This is the 2nd posthumous full-length album albeit 3rd & final overall from late Chicago, Illinois rapper King Von. Emerging as a Lil Durk protege signing to Only the Family Entertainment, I wasn’t really too big on his music at first truthfully since Grandson: The Mixtape & LeVon James were both pretty mild. However, he really blew me away once his full-length debut Welcome to O’Block came out over a year ago & a half on Devil’s Night. But as soon as he finally won me over, he was tragically murdered a week later in broad daylight. Von’s last posthumous outing What It Means to Be King was a bit of a mixed bag due to the consistent production yet overloaded with features, so I was a bit curious going into the official sequel to Grandson.

“Don’t Miss” starts off the album by wanting a guy who drew a foul stretched over a synth-drill instrumental from ATL Jacob to my surprise whereas “Real Oppy” featuring G Herbo finds the pair calling out those who be snitching accompanied by pianos & hi-hats. “Hitman” gives off a creepier trap vibe thanks to the Chopsquad DJ talking about being a marksman, but then “Phil Jackson” featuring Polo G discusses calling the shots so Scott Storch can remind us of his talents on the keys & IllaDaProducer supplying the hi-hats.

On the other hand, “Robberies” gives off a more stripped back trap feel admitting something ain’t right to him just before “From the Hood” featuring Durk layers these hi-hats on top of a cinematic loop talking about the Chi-Town slums. “Pressure” shifts gears into more orchestral turf declaring that O’Block can’t be stopped leading into “Jimmy” ominously telling the story of the titular character knowing death’s around the corner.

“Heartless” featuring Tee Grizzley has a more atmospheric trap approach so they can explain that they grew up without a heart considering the cities both MCs hail from while “Jealous” featuring BreezyLYN & Tink has a drearier instrumental from Wheezy talking about being the realest every though Breezy’s verse punched under his weight. The tensional drill beat on “Act Up” is something I enjoy cautioning not to act up around him while the moody “Think I’m a Hoe” addresses those who thought he was a bitch.

Moving on from there, “All We Do is Drill” resurrects the Chicago drill sound once more promising to score first time they slide while “Gangland” featuring 42 Dugg gives off a shimmery trap instrumental from Southside repping the street life. The track “Out of the Streets” featuring Hotboii & Moneybagg Yo has a peppier groove trying to make it out of the trenches alive even though both features mid while the final song “When I Die” until the “Family Dedication 2” outro foreshadows his own fucking death in a powerful fashion.

So we have 2 posthumous full-lengths from Von thus far & I gotta as it that I came away from Grandson: The Album liking it more than I thought I would although by a small margin. The production’s as tight, I love how OtF toned it down with the features in comparison to What It Means to Be King & he channels the same energy that he brought onto that debut tape in bigger capacity.

Score: 3.5/5

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Drumwork Music Group – “Drumwork: The Album” review

Drumwork Music Group is an independent hip hop record label based in Buffalo, New York founded by Conway the Machine in 2020 distributed by EMPIRE with Jae Skeese & 7xvethegenius as their first signings. La Maquina has since expanded the roster by bringing Goosebytheway, Lucky 7, SK da King & Shots Almigh all on board. So considering the squad is gradually growing, it only makes sense to conceive their very 1st showcase compilation.

“Hov Numbers” by Conway the Machine, Goosebytheway, Lucky 7, SK da King & 7xvethegenius is a 6 minute opener to the compilation with an airy trap instrumental from the label’s only in-house producer Unique declaring they’re still in their bag whereas “Lonely” by Jae Skeese, Lucky & SK dives right into boom bap turf sonically as the trio talk about getting it. “Lalo” by Conway featuring Benny the Butcher & 38 Spesh works in some woodwinds, kicks & snares from Graymatter as the trio discuss drug money leading into “City Grill” by Goose, Jae & 7xve has a slicker quality to the beat talking about how things get surprising because it’s mesmerizing.

“Rory Joint” by Jae Skeese & 7xvethegenius finds the label’s first 2 signings returning to the boom bap promising to leave y’all painted on some art shit just before Shots Almigh joins Jae & Goosebytheway for “Blue Glass” layering these kicks & snares on top of a vocal loop talking about having to get the bands to survive. “Take It Back” by Goose, Lucky 7, SK da King & 7xve has these crooning vocals in the background that I like with the 4 talking about throwing it back to the old days prior to “Elephant Man” by Conway the Machine, Goose, Heem, Rome Streetz & SK brings the quintet together over a cinematic boom bap beat admitting their minds are made up.

Goosebytheway, Jae Skeese, Lucky 7 & SK da King the final leg of the comp by linking up for “This is War” returns to a more soulful quality to the instrumental making it clear that none of them can be another casualty while the song “Crown for Queens” is an empowering 7xvethegenius solo cut about no one being able to stop her. The song “Andre 3000” by Conway the Machine & D Smoke goes into jazzier boom bap territory thanks to Bangladesh telling y’all to look how far they’ve been brought while the penultimate track “Sudan” by Con, Goose, Lo Profile & Shots Almigh intimidatingly talks about not playing around where they’re from. “Far Away” by Con & Elcamino is a minimally produced closer with Beat Butcha behind the boards discussing the game they play.

I’m sure we’re gonna get more showcase comps from the Drumwork camp in the near future, but their first over here definitely makes it seem like that it’s only the beginning of their dominance. The production’s tight, the features from their affiliates/outside collaborators are all well picked out & each artist on the label’s current roster all have their own distinctive characteristics that they each display with the hunger that continues to grow from within everyone.

Score: 4/5

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Chino XL – “God’s Carpenter” review

Chino XL is a 49 year old MC from East Orange, New Jersey who broke out in the mid-90s after signing to American Recordings & releasing the classic full-length debut Here to Save You All. He eventually went on to beef with 2Pac & I genuinely feel sorry for anyone who writes him off to this day because of that. Especially since that I Told You So, Poison Pen & the Viper Records-backed RICANstruction: The Black Rosary all contain some of the best songs in his whole discography. However when Boston producer Stu Bangas was brought in to produce Chino’s 5th & subsequently final full-length album of his lifetime & putting it out through Brutal Music, my anticipation for God’s Carpenter was VERY high.

The title track is a grimy boom bap opener about being in the dark with only his pen & pad asking God to not let him die tonight whereas the next cut “AMBImonsterous” gives off a more tensioning approach instrumentally continuing to rock the mic. “Who Told You” blends some morbid synth melodies with kicks & snares vividly describing those filled with hatred until “Mir8cles Opposite” aggressively goes into detail talking about the apocalypse.

“Murder Rhyme Kill” featuring Vinnie Paz couldn’t have been a perfect choice for the lead single from the frightening boom bap beat the murderous lyricism just before “Remind You” has a more serious attitude fusing pianos with more kicks & snares talking about how unfair it is that he has to hide his face & the scars that was left by this individual won’t go away. “Don’t Care” is an organ-boom bap hybrid declaring the only way to stop him is death, but then “D.X.P.S. (Double X Posse Shit)” pays homage to one of his favorite crews around his neck of the woods.

Meanwhile, “Art Apothecary” starts the last leg of the album with a horror-inspired boom bap instrumental pleading to be saved while the song “Sinister” immaculately lives up to it’s name by hopping on top of a dusty yet amping instrumental talking about being monstrous. The penultimate track “Scribbled Sorcery” has a more atmospheric vibe with kicks & snares of course dropping battle bars prior to “Night Drive” sending off God’s Carpenter by wickedly describes another typical evening for him.

It’s been over a decade since we’ve heard from Chino in a full-length capacity & I gotta say: God’s Carpenter is a near-perfect comeback & already one of the strongest offerings in his catalog. He’s focused, hasn’t lost a step with the pen whatsoever & Stu Bangas’ production is consistently raw top to bottom which is noteworthy considering that a few beats on both Poison Pen & RICANstruction were lacking.

Score: 4.5/5

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Grip – “Still 5 & a Fuck You” review

Grip is a 34 year old MC from Atlanta, Georgia emerging in 2017 off his debut mixtape Porch. His full-length debut Snubnose received significant attention as 2 subsequent EPs Halo & Proboscidea lead to Detroit veteran Eminem signing Grip to his very own Interscope Records imprint Shady Recordsa couple summers ago. His sophomore effort I Died For This?! the following month was an impressive major label debut showing his potential, but his sophomore tape 5 & a Fuck You last fall took a more rawer approach that I liked. So when it was announced that Grip was dropping a sequel ahead of his upcoming tour, I had to check it out for myself.

The intro is a piano trap opener talking about shit still being the same with him whereas “Fetch” almost gives off a dirty south edge instrumentally getting on the more intimate side of things lyrically. “Numbers” works in some hi-hats & fabulous soul sample talking about putting exactly that on the board & rubbing in his success to the faces of those who doubted him just before “SS” takes a more organ-trap route keeping the heat tucked on him everywhere he goes.

“Bare” has more preachier sound this time as Grip himself airing out a person he knew since middle school knowing something was gonna change between them leading into “Keys” is a synthesizer/hi-hat fusion talking about making a scene. “Time” has a moodier aesthetic to the beat continuing to display a more romantic side of him, but then “Hyperbole” shakes it up with a grim trap banger talking about it being him vs. himself.

The song “Angels” goes into boom bap turf giving his flowers to the special people in his life who’re no longer here to see how far he’s made it while the penultimate track “Still” mixed these auto-tuned vocals with kicks & snares talking about remaining to yet reach his prime even though his skills aren’t up for debate. “You” wraps up the tape in the form of an emotional boom bap closer produced by both Tae Beast & Chris Keys telling his younger self to go as far as he can.

Although Snubnose was a promising introduction to Grip’s discography for me personally, I feel like some people are still sleeping on him which sucks for them because because Still 5 & a Fuck Youfurther proves that he’s continuing to outdo himself musically ever since the Shady/Interscope deal. He expands on the mindset that was brought onto that previous 5 & a Fuck You tape without any features this time around balancing the boom bap/trap sounds yet again.

Score: 3.5/5

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Chetta – “Playboy” review

Chetta is a 32 year old rapper/producer from New Orleans, Louisiana who came up in the spring of 2014 off his debut mixtape Nino White. This was followed up with 18 EPs as well as 11 more tapes & a full-length debut, but gained significant attention off his G*59 Record$ debut Been Here Forever last summer & his 19th EP Falling Off only 5 months ago. However, it seems that Chetta’s returning with his 3rd album & is fully producing it again except for 1 joint this time.

“Holy:Fuck” is an unsettlingly dark trap opener making it known that he gon’ move exactly how the fuck he wants whereas “fake.com (Subscribe Now)” has a cloudier approach instrumentally talking about the fact that half of these hoes are getting fucked for free. “4am in Nola” details swerving both lanes keeps it in atmospheric trap territory asking if it’s worth snorting painkillers, but then “I’ll Get High If I Want To” gives off a bass-heavier yet cavernous vibe talking about of course being high & I as a stoner can already imagine those who get under the influence recreationally getting turnt to it.

With “2 Wrongs & a Right”, we have Chetta returning to a trillwave-inspired groove reminding that we know how it goes just before “Hot*59” gives me a dejecting atmosphere talking about being unable to fuck around. “Spoiled Rotten” comes through with more of a distorted trap edge being out on the street instead of on the clock leading into “Penthouse for My Feelings” going full-blown trap metal talking about having to watch hoes being curved like stop signs. $crim saves the wickedest beat on the whole album for the penultimate track “Blown Veins” telling a lame to get their act right until the hazy closer “Come with Me If It’s Pain You Seek” says it all topically.

At 33 projects under his belt throughout almost the span of a decade, Playboy further proves that Chetta’s progressively been stepping it up ever since the $uicideboy$ signed him their Virgin Music imprint & I’d recommend those who fuck with the boy$ as much as I do give his music a shot of they haven’t done so already. His production game as strong as it was earlier on in the year & it’s really cool to see him throw it back to his old ways a bit so new fans can familiarize themselves with his pre-G*59 material.

Score: 3.5/5

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Esham – “Purgatory” review

This is the 23rd full-length album from Detroit emcee/producer & Reel Life Productions founder Esham. Widely acknowledged as the godfather of horrorcore alongside his former Natas cohorts Mastamind & the late TNT, his run from 1989-2005 (particularly the albums KKKill the Fetus, Closed Casket & Doubelievengod?) would go on to lay out the groundwork for subsequent horrorcore acts such as the Insane Clown Posse & even Eminem. His output from Sacrificial Lambz onwards (essentially after his 2-album deal with Psychopathic Records from 02-05) has been a little hit or miss even though I love the single “S.S.M.D. (Stop Selling Me Drugs)” & Dichotomy respectively. Psyops however was creative detour for Esham as he self-produced the whole thing for the first time in a while conceptually revolving around what it was like for him living in Minneapolis, Minnesota during the George Floyd protests & a more rap rock inspired sound. But after having the honor of meeting him personally last fall & coming fresh off the 3-Headed Monster’s full-length debut Obliteration last month, East Side Hoes And Money is looking to escape Purgatory.

“Active Shooter” is a rap metal opener with the acid rap pioneer can discuss the issue of kids killing kids whereas the self-produced “Circle of Proud” goes into a more groovy trap direction talking about “white noise”. More specifically: the far-right. “Circle of Wraith” shifts gears into rap metal territory again talking about sacrificing a goat, but then the first of 2 tracks featuring Jack Frost called “Circle of Avarice” has a rawer, drearier approach instrumentally to speak on greed.

Jack makes his 2nd consecutive & final appearance on the album with “Circle of Gluttony” over a bloodcurdling beat to habitual greed just before “St. Detroit” gives off a more angelic flare musically produced by the Drunken Master to pay homage to the 313, the city where they’ll eat motherfuckers for dinner. The title track embraces a more boom bap sound detailing the place we all fear leading into the acoustic heavy “Circle of Sloth” talking about all your pieces going back in the box when you’re done with the game of life.

“Bro” makes it clear that he don’t fuck with no rats over some twinkling keys & hi-hats while “Watch Me Do My Dace” kinda has a quirky trap appeal instrumentally telling everyone to witness him do exactly that. “Big Motion” is a synthesizer/boom bap crossover provided by the homie Dead Heat talking about rappers out here being way too dry while the glamorous trap cut “Me” featuring Mastamind getting on the more wicket side of things.

The dejecting piano chords & hi-hats on “El Sicarios” featuring Mastamind for the 2nd consecutive & final time comparing themselves to hitmen while “I Can’t Believe” is a sample-based boom bap joint talking about how wack is wack is regardless of what the streaming stats are which I agree. The song “Woke Up Quick” gives more of a synth-trap feeling doing exactly that simply because he’s from Motown while the atmospheric penultimate track “O.T.B. (Old Thing Back)” takes a trip down memory lane. “It’s a Vibe” is a fun closer celebrating that he’s still alive out here & that they gon’ ride.

Psyops being a step in the right direction for Esham as it was had me anticipating Purgatory a bit more than I’ve done so with some of his material within the last 15 years truthfully & he continues to move towards that trajectory a year & a half later. The political rap metal influences from that previous album makes it’s way here dashed with boom bap & trap detours too so the Unholy can take us through uncovering the secrets lying beyond the intermediate state after physical death for expiatory purification.

Score: 3.5/5

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Lucki – “sx mney dr*gs” review

Lucki is a 27 year old rapper & occasional producer from Chicago, Illinois who began to turn heads in the summer of 2013 when he released his debut mixtape Alternative Trap to critical acclaim. He would later go on to give his fans 6 more tapes & a dozen EPs with the last one being the F1LTHY-produced Wake Up Lucki a week before my 25th birthday in December 2021 & eventually the full-length debut Flawless Like Me last fall. So when it was announced that the sophomore album was gonna start off the 2nd half of 2023 only 48 hours ago, to say I was anticipating it would be an understatement.

“Tunevert” is a top notch opener produced by YSL Records in-house producer Taurus with it’s twangy trap approach boasting that he bossed up a city girl whereas “No Bap” takes a cloudier route talking about being so geeked up. “Super Ski” works in some synthesizers & hi-hats thanks to Cxdy of Vanguard Music Group & Internet Money Records producer Rio Leyva describing his bitch as slimey that is until “Gemini Love” has more shimmery trap vibe talking about a chick who moves sloppy yet stays in shape.

The plugg beat from Cash Cobain on “2021 Vibes” was unexpected considering his sample drill roots & Lucki flows all over it well dropping lines like “Bentley’s talkin’ to myself, Ghazi said it’s sendin’ help” just before “Mubu” points out that he sealed the deal with a seal in hand over a peppily cloudy trap instrumental, but then “Almighty Tune” blends these vain horns & hi-hats boasting that he has different hoes who by different clothes.

“Str8 Syrup” has a depressing trap vibe to the beat so Luc can pour 4 to make it feel like ecstasy while “Purple Heart Ski” has these psychedelic guitar passages as well as claps & hi-hats telling the world that you can get it like him if you’re patient. “Karma a Bitch” fuses an operatic vocal sample with hi-hats & a booming bass-line admitting that he has to show the way & “Pop Star” is a standout from the futuristically spacious beat.

Veeze serves as the album’s only guest appearance on “Wholeworldslatt” joining forces with Luc to show everyone how slimey they both are & that they fit in while the song “Bby Pluto” is another favorite off the album paying homage to Future with Tay Keith & Cubeatz experimenting with rock guitars & elements of trillwave. The penultimate track “Chrome Denim” is a trap banger with synths & bells talking about still being too geeked & “New York” rounds out the album coming clean that he’s high on drugs in a S 580 as he was recording.

Between the 2 full-length albums under Lucki’s belt thus far, I feel like s*x m*ney dr*gs has to be a tad bit superior compared to the other & the best thing he’s done in a while. He returns to a form a bit as the production expands the style of his that came into it’s final form last fall alongside delivering better performances & keeping it at a reasonable length by including less filler cuts.

Score: 3.5/5

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Vega7 the Ronin – “Sleep’s the Cousin” review

This is the official full-length debut from emcee Vega7 the Ronin. Emerging out almost a year & a half ago by enlisting Danish beatsmith Machacha to produce his debut EP The Lead Lined Wall, he would then go on to land feature placement on the 5th & final installment of Ty Farris’ historic No Cosign Just Cocaine mixtape series this past February. But to kick off the 2nd half of 2023, the Ronin himself’s bringing in Germany producer Superior to remind that Sleep’s the Cousin of death which peaked my interest given that Baladas was the first Estee Nack album I ever reviewed right when the pandemic was happening despite being a fan since high school.

“N1 (Sleep’s the Cousin)” is a glistening boom bap opener making reference to WWE Hall of Famer, former 6-time WWE world champion & WWE Intercontinental Champion Randy Savage alongside WWE Hall of Famer Gene Okerlund whereas “‘72 Dolphins” works in some organs, kicks & snares comparing his squad to the Miami Dolphins over 5 decades ago & likening himself to 5-time WWE world champion, 2-time WWE Intercontinental Champion, 2-time WWE United States Champion, 6-time WWE Tag Team Champion, PWG World Tag Team Champion, ROH World Champion & 2-time ROH World Tag Team Champion Seth Rollins married to 6-time WWE women’s world champion & WWE Women’s Tag Team Champion Becky Lynch. “Saleen” kinda has a Latin flare to the bare loop hooked up reminding when they were calling money “C.R.E.A.M.” & the guitars throughout “Enterprise” are really cool expressing his desire for his own business.

“After the “N2” interlude, “Stone Fish Venom” featuring Connecticut born/New York based emcee Cambatta finds the 2 over some bare piano chords & ghostly background vocals calling this truth serum with some intriguing back-&-forth chemistry just before “A Voice in the Wind” brings in a woodwind telling his brothers it’s us against those who show fake love leading into “Buckwheat” featuring Daniel Son joining forces over some blaring horns to throw in a line referring to former 3-time WCW World Heavyweight Champion, 2-time WWE United States Champion, 5-time WWE tag team champion & WCW World Television Champion Diamond Dallas Page.

“Body Count” concludes 2nd leg of the album with some strings & occasionally empowering guitar riffs talking about that being the only stays they check while but then after the “N3” interlude, “NightShade” featuring Lord Owen gives off a spacier feeling as both detail being lost on the road to stardom. The song “M-65 Jackets” fuses boom bap with rap rock declaring to be God’s competent son while the drumless yet climactic penultimate track “The Mutiny” dissing the cowards dishonoring their decrees. “R.E.M.” however is a crooning closer making it safe to call him a carnivore.

Considering the standout feature on “Dope Speak 4 Itself” almost 5 months ago at this point, it makes sense to see all the hype that Sleep is the Cousin has been getting lately because it’s undeniably a promising debut album. Superior’s drumless production is on par with Baladas, Vega7’s lyricism is a cut above the previous EP’s & the amount of features in comparison are similar yet more stronger here.

Score: 4/5

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Shaggytheairhead – “Lazy & Crazy” review

This is the 4th full-length album from Las Vegas, Nevada producer, rapper & fashion designer Shaggytheairhead. Peaking my interesting after producing one of my all-time favorite Ouija Macc songs “Nardwuar Glocc” back in 2018, he would back that up with 4 EPs before becoming an in-house producer for Chapter 17 Records & Psychopathic Records alongside his Mythic Mindz cohort Devereaux. Shaggy dropped his debut Wakin’ Up during the 21st annual Gathering of the Juggalos, which was the only Gathering I’ve ever been to & a weekend that I’ll never forget. As far as the actual music on Wakin’ Up, it’s my favorite of his thus far because of how much he improved his lyricism & that he dabbled with a wide range of sounds to show his influences. Following the Gathering of Dreams last summer however, he dropped a producer album called Grin to the Grave featuring a wide range of artists rapping over his production from Ouija to King Iso, Project Pat, Sir Michael Rocks & even Matt Ox. But coming off the sophomore effort Coffee this past February & even the personal Blood Sweat Tears last weekend, Shaggy’s continuing to apply pressure with Lazy & Crazy.

“6 Foot Killa” starts things off with a minimal trap instrumental letting it be known exactly what people should be calling him whereas “Bang” takes a more grimy boom bap route talking about how he’s feeling good in this type of scenario & that we’re gonna get a heater as soon as you hear his producer tag. “Nice List” shifts gears into rugged territory thanks to Devereaux saying he’ll fuck you up if you’re talking shit leading into “Same” pulling from cloud rap & trap talking about skating.

On the other hand, “Beef 2” blends a delicately mellow loop & hi-hats together cautioning that those fuckin’ with the Mythic will get their wigs split just before “Old News” featuring Jake G gives off a more uncanny trap vibe talking about getting faded & that they ain’t ever gon’ stop. “Clock In” tries giving off a wavier approach to the beat encouraging listeners to dream big every single day, but then Devereaux hooks up these synths & hi-hats on “Alone Sometimes” so the Airhead can talk about the loneliness that he feels every now & then.

Chapter 17 Records’ newest signee Darby O’Trill & the Duke of the Wicked himself Violent J both come into the picture for “Greaper Shorts” flexing that they have 5 pairs of the titular shorts over an organ-laced trap instrumental while “Fe Fi Fo Fum” has a more occult feeling sonically talking about how he thinks people should be running from him since he’s out here killing shit. “Pause” has an icier sound to it asking if anyone feels alone or if they’re constantly getting the bone while “Sucker Stick” jumps top of some skittering hi-hats shoving exactly that in the earholes of his haters.

“Family All Around Me” has a more vibrantly aggressive tone getting rowdy as soon as he steps up in that bitch while “Sorry Not Sorry” gives off a bleaker trap sound talking about this shit being fire even though others could call it trash. The song “PBR” despite its brevity is a cool, psychedelic ode to the titular brand of beer that I personally enjoy as well while the penultimate track serves as a more synth-based sequel to the eerily raw “Street Trash” off Darby O’Trill’s 3rd album Piecemeal. Crowd” though tends to be a shimmery trap closer hoping those don’t know by now eventually will.

The C17/PSY in-house producer has been on a ROLL in 2023 by completing the trilogy that Sleepin’ In started & Wakin’ Up bridged with Coffee back in February on top of Blood Sweat Tears giving listeners a better look at who he is personally, but I went into Lazy & Crazy expecting it to be a soundtrack to his clothing brand of the same name & it’s a genuine one at that. It’s more summer oriented musically, the features a slight cut above Blood Sweat Tears’ & you can just tell the dude’s having more fun with it this time.

Score: 4/5

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Insane Clown Posse – “WOH the Weepin’ Weirdo” review

The Insane Clown Posse are a horrorcore duo, the founders of Juggalo Championship Wrestling & the longest reigning JCW World Juggalo Tag Team Champions from Detroit, Michigan consisting of Violent J & Shaggy 2 Dope. However, very few know that 3 other members came & went during the first 5 years of the group’s inception. Not only would The Duke of the Wicked & the Southside Strangla go on to create seminal wicked shit albums like The First 6, but they gained an extremely loyal fanbase in the process & their self-owned Psychopathic Records became an independent hip hop powerhouse as the label’s roster continued to grow. I was a bit worried about their latest album Yum Yum Bedlam given that the prelude EP Yum Yum’s Lure was panned by fans when it came out a couple Juggalo Days back but when Halloween came around, they proved me wrong with what I believe to be my 3rd favorite card in the 2nd deck. They then began a trilogy EPs last year called the Seeds of Yum Yum by letting Wicked Vic the Weed blossom during the first quarter of the year & Pug Ugly the Stink Bud at the Gathering of Dreams, but took a break to J can put out his sophomore full-length solo album Bloody Sunday on this year’s Juggalo Day & even 2 Dope’s 3rd EP The Quest for the Ultimate Groove on the 6th year anniversary of F.T.F.O.M.F. (Fuck The Fuck Off MuthaFucka). But ahead of the 6th Joker’s Card in the 2nd Deck, they’re closing out the trilogy on their 19th EP.

“Out the Sky” after the intro is a ruggedly futuristic opener produced by Chapter 17 Records/PSY in-house producer Shaggytheairhead with Violent J referencing lucha libre popularized by the Lutteroth family-owned Consejo Mundial de Lucha Libre (CMLL) & it’s rival promotion Lucha Libre AAA Worldwide (AAA) owned by the Peña–Roldán family whereas “Elly May” has that old school carnival sound courtesy of none other than Mike E. Clark so both of the wicked clowns can toss the mic back & forth with one another telling the story of the titular character. “Keep on Choppin’” dives into rap rock turf as the Duke dismembers bodies while the track “Banshee” gives off a more thunderous approach instrumentally so both of them can talk about piledriving motherfuckers through a table. And until the Mike P. remix of “Something to See”, the final song “Average Joey” is a Shaggy 2 Dope solo cut with a somber boom bap beat knowing he can’t be fixed that’s on par with the material on Quest for the Ultimate Groove.

It’s been almost 3 years since the Yum Yum era began & not only would I consider WOH the Weepin’ Weirdo to be a solid closer to the Seeds of Yum Yum trilogy, but it has me anticipating the 6th & final Joker’s Card of the 2nd Deck even more. Much like Pug Ugly the Stink Bud, the production is a mix of ICP’s past & present sounds as both of the Clowns play to their strengths in the midst of reminding everyone how strong their chemistry is over 3 decades deep in the game for those who thought they were disbanding. The Yum Yum era will always hold a special place in my heart because the first time I went to a Gathering was in 2021 only 2 months before the album came out on Hallowicked even though I’ve been down with Psychopathic since they were a roster full of artists in 2011 as a 14 year old outcast starting high school.

Score: 3.5/5

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