Lil Uzi Vert – “The Pink Tape” review

This is the 3rd full-length album from Philadelphia rapper & singer Lil Uzi Vert. Becoming a household name in the trap scene with their 2015 mixtape LUV is Rage & then Lil Uzi Vert vs. the World the following year, Uzi has been entangled with a nasty legal battle with Generation Now Entertainment/Atlantic Records from their debut LUV is Rage 2 until the sophomore effort Eternal Atake came out in March of 2020 to moderate reception to which they admitted themselves didn’t live up to their expectations & followed it up a week later with the far superior Lil Uzi Vert vs. the World 2 that spawned the deluxe version trend where artists would drop a “deluxe version” of their newest project that’s basically an entirely new album. Red & White last summer was a solid prelude in it’s own right, but is ending the first half of 2023 by finally unloading The Pink Tape.

“Flooded the Face” is a cloudy trap opener produced by Don Cannon calling back to the intros of both LUV is Rage projects refusing to pump the brakes along with clapping back at those questioning their sexuality whereas “Suicide Doors” is a trap metal banger that Brandon Finessin’ cooks up talking about feeling like The Crow & it’s a shame that Playboi Carti isn’t featured on it because I can definitely imagine him over this instrumental, but it’s still hard as fuck nonetheless! “Aye” featuring Travis Scott finds the 2 looking to go harder over some strings & hi-hats from BNYX of Working on Dying just before “Crush ‘Em” talks about smashing like road rage & being a player over an airy trap beat with co-production from Cubeatz & WondaGurl.

Moving on from there, “Amped” wants everyone to witness them go “amped” as Bugz Ronin fuses trap with rock once more leading into “x2” becoming an early favorite for me from Uzi’s infectiously pop rap performances about this shit being cray to the futuristically wobbly beat from both Cliffshayne & Ken Carson. “Died & Came Back” on the other hand has more glistening trap vibe feeling as if they’ve been resurrected, but then “Spin Again” talks about spinning bitches works in some synthesizers & booming sub-bass from Brandon Finessin’. Also note worth noting the Ice Spice reference during the verse that caused JT of the City Girls to flip on Uzi not too long ago.

“That Fiya” points out the .44 Magnum that they have on them accompanied by ZeeGoinXrazy’s electro synths & hi-hats while “I Gotta” gives off a more triumphant approach thanks to Outtatown talking about their ridiculous new whip. “Endless Fashion” featuring Nicki Minaj finds the 2 joining forces for an official song excluding the remix to “The Way Life Goes” (O.G.’s better). But in all seriousness, the actual music isn’t all great as they pretty much butcher Eiffel 65’s best song “Blue (Da Ba Dee)” almost as bad as Bebe Rexha & David Guetta did on “I’m Good (Blue)” last summer. However, the Republican doctor bar was funny even though both wings are on the same bird personally. “Mama, I’m Sorry” though is an improvement with it’s tropical trap beat & lyrics apologizing to their mother.

Meanwhile, “All Alone” vents about relationship struggles with a shoutout during the 2nd verse & Don Cannon bringing back that old playful Lil Uzi Vert vs. the World/The Perfect LUV Tape sound while “Nakamura” named after former 3-time IWGPヘビー級チャンピオン, 5-time IWGPインターコンチネンタルチャンピオン, IWGPタッグチャンピオン, 2-time NXT Champion, 2-time WWE Intercontinental Champion & 2-time WWE United States Champion 中邑真輔 talks about becoming too focused when it comes to the cash flow sampling the titular performer’s theme. It’s also worth noting that Uzi themself have said that this will be their entrance theme for their in-ring performance at WrestleMania XL next spring.

The only single released up to this point “Jus Wanna Rock” lets Internet Money Records in-house producer Synthetic fuse Philly & Jersey Club together in a tasteful manner that will get everyone to do exactly that as they got everyone to do the first night of WrestleMania XXXIX during former 8-time WWE tag team champions The Usos’ entrance against former 2-time PWG World Tag Team Champions & ROH World Tag Team Champions Kevin Owens & Sami Zayn although the latter team walked away as 2-time WWE tag team champions that night while “Fire Alarm” delves further fusing EDM & trap talking about taking percocets.

“CS” is a cover of my all-time favorite System of a Down! song “Chop Suey” that I’ll never listen to again even though I appreciate the homage to the days of where alternative & nu metal were in their prime that is until “Werewolf” featuring Bring Me the Horizon roots itself into the band’s signature metalcore sound with Oliver Sykes assisting Uzi in talking about going deeper underground with an angelically sung hook attached to it. “Pluto to Mars” points out the fact that they could never be mistaken for a lame over a feel good trap beat while “Patience” featuring Don Toliver goes for the melodic/synth direction singing about seroquel which ironically enough I actually take to help with my insomnia.

“Days Come & Go” returns to that victorious groove declaring that their love won’t stay as time goes on while “Rehab” gives off an otherworldly vibe instrumentally talking about making sure he don’t feel no drama. “The End” featuring ベビーメタルtends to favor towards the Tokyo trio’s kawaii metal sound courtesy of コバメタル with co-production from Maaly Raw to discuss being from outer space as the secret that they’re not from this Earth was revealed on “Glock in My Purse” last summer. The song “Zoom” is a cavernous trap banger produced by Wheezy telling y’all not to call their phone while the penultimate track “Of Course” sonically has a happier mood that Oogie Mane gives off drippin’ & swaggin’. “Shardai” though sends the album off warmly staying with the bag.

We’ve waited 3 years for this day to come & I will give credit to Uzi for making Pink Tape better than Eternal Atake as a full-length album, but there are some moments that I don’t see myself going back to at all either. They take some artistic risks that come from a genuine place expanding beyond trap & pop rap in favor of rage, cloud rap, trap metal, rap rock & alt-metal with an overloaded track-listing at 86 minutes as well as 26 cuts that has more hits than misses.

Score: 3.5/5

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The Alchemist – “Flying High” review

This is the 10th EP from Beverly Hills producer, DJ & rapper The Alchemist. Beginning as 1/2 of the duo The Whooliganz in 1993 with Scott Caan, they would only disband a year later after recording a debut album that eventually got shelved & Scott went onto acting like his late father. Mudfoot on other end quickly established himself as one of the greatest producers in hip hop history with a resume including ranging names from Mobb Deep to even Eminem. But as the 2 year anniversary of his last solo EP This Thing of Ours 2 approached this fall, Uncle Al is Flying High back with another brief offering.

“RIP Tracy” by billy woods & Earl Sweatshirt is a soulful opener to the EP with both MCs wanting everyone to know exactly who the fuck they are & what they represent while the song “Trouble Man” by Boldy James & T.F. has a grimier approach instrumentally so they can talk that gang shit. The penultimate track “Bless” my MIKE & Sideshow has a more soothing sound to it talking about touching briefs & splitting it with their dogs, but then “Midnight Oil” featuring Jay Worthy & Larry June ends the EP with the trio over a sample-based beat acknowledging that everyone knows they’re top tier.

It’s always exciting when Alchemist comes through with an EP showcasing his talents behind the boards bringing along some of the finest MCs that he can assemble to tear his beats to shreds because the Flying High series is off to a solid start here. Al’s signature sound remains in tact so everyone can bring their own unique delivery styles to the table, even Mudfoot himself on the closer.

Score: 4/5

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Loveboat Luciano – “Parole” review

This is the sophomore full-length album from Buffalo emcee Loveboat Luciano. Emerging in 2018 off his debut EP Yung 4 Eva, he would go on to expand his discography by putting out the full-length debut Probation & a sequel to the Institutionalized by the Streets mixtape before signing to Black Soprano Family Records. But coming off Fuego Base’s debut Biggest Since Camby on 4/20 & then Heem’s sophomore effort From the Cradle to the Game over a month ago, Loveboat’s stepping up to the late on Parole

The intro is a gritty boom bap opener taking y’all where he came from whereas “2nd Strike” featuring Benny the Butcher fuses these synths, hi-hats, kicks & snares together courtesy of Rick Hyde letting it be known that there’s a storm coming. The title track hooks up what sounds like a whistling kettle pot dedicating this one to all the homies that be living raw to this day just before “Exonerated” goes into a more piano-driven territory talking about having nowhere to go but the block.

“Piss Test” featuring Ricky gives off a bluesier vibe thanks to Jahlil Beats calling out those who were hating while they were counting their stacks leading into “Detainer” featuring Dave East shifting gears into crooning trap turf discussing being about their business. “Warrant” featuring Heem & Dappa angrily disses those who turned witness ratting on the gang, but then “House Arrest” brings in another trap beat encouraging everyone to get used to B$F if you aren’t by now already.

Meanwhile, “Sentencing” starts the last leg of the album by returning to the boom bap promising to not let any of the hard times change him that is until the song “Loretto” featuring Conway the Machine has a more delicate instrumental venting over these demons that they be battling. The penultimate track “PSI” featuring Che Noir takes an atmospheric approach talking about situations that done turned them into bosses & the outro is a sample/trap crossover refusing to be on some extra shit.

Probation gave B$F fans a glimpse at the hardships that Loveboat was going through when the label started blowing up & expanding it’s roster, but Parole really offers a new perspective of where he’s been at in his life since then. The production choices have improved, the feature performances are more consistent & brings his undeniably rejuvenated passion that he’s received ever since coming back home to the mic.

Score: 3.5/5

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Shaggytheairhead – “Blood Sweat Tears” review

Shaggytheairhead is a 29 year old producer, rapper & fashion designer from Las Vegas, Nevada that caught my attention 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 would drop his debut album 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, he’s returning with a 3rd album.

“almost there” kicks it all off with an entrancing trap instrumental co-produced with his Mythic Mindz right hand man Devereaux talking about focusing on the dream whereas “grin to the grave” has a wavier approach sonically encouraging to let the haters hate & that he’ll die smiling. “life” pulls from the Memphis rap sound a bit pouring one out for all of those who couldn’t be with us today leading into “War Never Ends” working in some kicks & snares talking about intimidation catching up to him.

SPLXFFY’s feature on “so alive” is just ok although I absolutely love the warmer tone that Shaggytheairhead brings to the table both sonically & conceptually, but then “show love (give someone a hug)” picks things back up with a fun trap ballad all about spreading kindness. “out the park” almost gives me a hyphy feel except it has these icy synthesizers getting on the more boastful side lyrically just before “fam” featuring Chapter 17 Records’ newest signee Darby O’Trill gives off a rowdier edge wanting to throw hands.

“puzzle” begins the final leg of the album on a pluggier vibe realizing that he’s a dying breed while the song “i’m ok” reunites with SPLXFFY for the last time & performing better on “so alive” as this time they talk about all up in heavy thoughts over a somber trap beat. The penultimate track “she got” goes into sample-based territory confessing his love for a woman that’s like a weapon to him & “drink the pain away” is a dreary trap closer dedicated to those who like to be under the influence of alcohol until you can’t feel the pain anymore.

Wakin’ Up showed the juggalos what he was capable of on the mic & Coffee expanded on that, but he really did give it all Blood Sweat Tears on this one because I genuinely feel like it’s an album that those familiar with him must hear if you want to know more about who he is. The subject matter is more personal than his last couple albums were expanding on the versatile production ranging from Memphis rap & trap to boom bap & the art of sampling.

Score: 4/5

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Renelle 893 – “Off the Grid” review

Here we have the 3rd EP from Croydon, South London, England, United Kingdom emcee Renelle 893. Introducing himself a year & a half earlier off the previous extended play Black Currents, he would eventually catch the attention of High Focus Records not too long afterwards & signed to the label. The historic Hove, East Sussex imprint however has decided for Renelle to end their 2022 having King Kashmere fully produce Cocoa Butter & has gone Off the Grid alongside Bay29 to warm everyone up for Renelle’s full-length debut Art Thief.

“Spaghetti” featuring Vitamin G begins with a electro-tinged boom bap instrumental talking about fleeting youth whereas “Swamp Monster” jazzily speaks of climbing out the mud. “Recognize” talks about wanting to inspire brains over a psychedelic boom bap beat hoping people acknowledge his talents while “8Ball” addresses his upbringings. The title track featuring Cutta Chase references WWE Hall of Famer Mike Tyson near the backend of it & the piano-driven “Deadline” going worldwide thoroughly.

Offering an escape route from the monotony of every day life, Renelle 893’s 2nd extended play under High Focus Records albeit 3rd overall marks the first in a brand new series of collaborations to come with Bay29 & I’d still put it above Black Currents although it’s certainly behind Cocoa Butter. Bay29’s prediction comes across more ethereal than Chuck Enzo’s during Renelle’s predecessor almost a year earlier, cohesively telling a story divided in 6 tracks themed around figuring out what kind of adult he’s looking to be & navigating a world filled with distractions that’ll do everything to numb the pain as life carries forward.

Score: 3.5/5

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Veeze – “Ganger” review

This is the full-length debut album from up-&-coming Detroit rapper Veeze. Getting his start in 2019 off the strength of his debut EP Navy Wavy, he would go on to be featured on subsequent projects ranging from the likes of Babyface Ray to even Lil Yachty or more recently Chavo. So going into Ganger, my morbid curiosity got the best of me considering the strength of his feature run & the 4-year time gap since that last EP.

The synthesizers & hi-hats on the opener “Not Drill” are all well incorporated making way for Veeze letting y’all know this the real thing whereas “OverseasBaller” gives off more of a Detroit trap vibe talking about feeling like Dirk Nowitzki. “No Sir Ski” takes the atmospheric route instrumentally encouraging to cherish life before you lose that bitch, but then “You Know I” fuses g-funk with trap talking about being fresh as Hell.

“G.O.M.D. (Get Off My Dick)” has a more sample-based groove to it with the subject matter needing no further explanation just before “Sexy Liar” returns to the Detroit trap sound talking about liking the way it sounds when his girl caps to him. “Broke Phone” featuring LUCKI has a wavier feel to it as both of them saying fuck everybody pretty much leading into “7sixers” featuring Babyface Ray & Icewear Vezzo lacing these synths & hi-hats once again talking about their pockets getting fatter as their hearts grow colder referencing Tesla CEO, SpaceX founder, Neuralink founder & Twitter owner Elon Musk.

Moving on from there, “Robert De Niro” gives off a moodier trap feel calling out someone that ain’t a made man while the “Boat” interlude featuring Lil Yachty is more of an actual song & a good one at that finding the pair hopping over a Detroit trap beat in order to flex. “Tramp Stamp” goes into spacious territory talking about a hoe fuckin’ on a famous g while “Weekend” has a calmer trap tone to it declaring that this shit ain’t for the weak.

“Kinda $” brings back a moodier backdrop & layering these hi-hats over it acknowledging that this shawty knows he’s getting all kinds of paper while “Gaig” is a fun piano trap ballad going into detail about his expensive habits. “Who Da 1” fuses this jangly guitar lead & more hi-hats making it clear that you know who the fuck it is while “Unreleased Leak” blends trap with symphonic music talking about how the gang move & what crime does.

Meanwhile, “Lick” gets heavier with the synthesizers so dude can discuss having everything on him tonight hitting exactly that while “Safe 2” goes into a more stripped back direction talking about coming a long way. The penultimate song “Gangermatic” has a hazier instrumental this time thanks to Pooh Beatz venting that the streets be getting ugly & “Tony Hawk” officially ends the album on an acoustic trap note talking about continuing to grind. The “G.O.M.D. (Get Off My Dick)” remix featuring Lil Uzi Vert however serves as a bonus track & I happen to like it more than the original as dope as it is.

“Get LUCKI” starts the deluxe run by telling a bitch to give him head over synths & hi-hats while “Rich No Duh” returns to the Detroit trap sound referring to himself as the plug. “Luv the Tour” has to be my favorite bonus track of the 5 from the synthesizer-heavy beat that Evilgiane & Harrison of the Surf Gang deliver to the boisterous lyricism while the dreamy “Rich Rockstar” responds to the question of what his money looking like. “Amusing” finishes the Ganger deluxe by laying it out that y’all better be knowing what the fuck goin’ on over upbeat 808 percussion & synthesizers.

If you’re looking for a fresh new face in the Detroit trap scene, then you’re gonna want to give Ganger a listen because Veeze is most certainly in the same ranks as Face or DaeMoney & even the ShittyBoyz as one of the best artists that the 313 has seen in recent memory. He sounds recharged after taking 4 years off & more focused making way to properly introduce himself to a wider audience. On top of that, the feature list is consistent & the production is different for someone in his style.

Score: 4/5

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Young Thug – “Business is Business” review

Young Thug is a 31 year old rapper & singer/songwriter from Atlanta, Georgia who’s proven himself to have impacted the modern sound of trap music whether some heads like him or not whether it be dropping classic mixtapes like Barter 6 & JEFFERY or starting up his 300 Entertainment imprint YSL Records & even the clothing line SP5DER. He finally dropped his full-length debut So Much Fun a few summers back executive produced by J. Cole & was one of the best trap projects of that year, but the 2021 sophomore effort P*nk received mixed reviews although I thought it was still solid although not as good as the debut. He was then arrested on R.I.C.O. charges last spring & hasn’t really been around much since then aside from a few features until announcing his 3rd album the previous weekend.

“Paradise on Cleveland” by Metro Thuggin’ featuring Drake is legitimately one of the best openers to an album in this subgenre that I’ve heard all year with it’s cloudy trap instrumental from Metro Boomin’ combined with Big Slime & the 6 God’s lyrics about business being exactly that appropriately nodding to the album title along with the Paramount Skydance Corporation-owned Nickelodeon reference whereas “Money on the Dresser” works in some organs & hi-hats detailing his luxuries. “Gucci Grocery Bag” is a playful trap ode to his own personal grocery bag made from the Italian high-end luxury fashion house Gucci just before “Cars Bring Me Out” featuring Future blends these acoustics & hi-hats thanks to Wheezy once again exploring the lifestyle of the rich & famous.

Cactus Slatt links up with Yak Gotti & 21 Savage for the spacey trap banger “Wit da Racks” obviously flexing their wealth in their own distinctive fashion leading into “Uncle M” reuniting Metro Thuggin’ once more with the bell-infused trap beat talkin’ comparing himself to Uncle Murda for nearly 2 & a half minutes. “Abracadabra” gives off a more drearier vibe featuring co-production from Young Thug’s longtime collaborator London on da Track so Cactus Slatt can join forces 1 last time to drop some braggadocio, but then Dr. Luke’s angelic trap instrumental on “Went Thru It” surprisingly caught my interest as did the line during the hook about saving the world in a dress referencing the artwork of his classic Jeffery mixtape.

Drake returns 1 last time on “Oh U Went” by Metro Thuggin’ co-produced by G.O.O.D. Music in-house producer BoogzDaBeast & the Australian production duo FNZ going for a more sample-based vibe with some hi-hats of course discussing playing how it is along with the fact that they’ve been players for years now while “Want Me Dead” featuring 21 Savage starts off sampling a couplet of lines from the outro from 2Pac’s 4th posthumous album albeit 8th overall Better Dayz which I think might surprise some heads prior to Metro, Dre Moon & Allen Ritter all cooking up a gorgeously shimmery trap beat going in to detail of being up yet coming from the struggle.

“Hellcat Kenny” dives into more upbeat territory courtesy of F1LTHY from Working on Dying so Thug & Lil Uzi Vert can both boast together while “Mad Dog” by Metro Thuggin’ shifts gears with it’s atmospheric trap instrumental talking about his top dog status once again. Also, the way he started the song by saying the Metro Thuggin’ album is long overdue is 110% facts & that gives me hope we’ll get it down the line. The crooning sample throughout “Jonesboro” is something I absolutely can’t get enough of & the idiots theorizing that the “N***a told & he was my homie. I can’t miss him, ain’t nobody feel him” line being about Gunna is hilarious especially since he himself shared the tracklist & QR code of this very album on his Instagram. I’d say it’s more towards YSL Woody & anybody else in the YSL/R.I.C.O. case that also took plea deals since Gunna wasn’t the only one at all.

The penultimate track “Hoodie” featuring BSlime & Lil Gotit also happens to be a So Icey Boyz reunion with Metro & the 808 Mafia co-founder Southside whipping up a piano trap ballad that talks durag business except BSlime’s verse in the middle of it is underwhelming compared to Young Thug’s at the start & even Lil Gotit’s verse at the end although his music overall generally tends to be more hit or miss compared to his older brother Lil Keed who unfortunately passed away of eosinophilia last spring. “Global Access” wraps things up with Metro Thuggin’ going in a mellow trap direction nodding the “Bought a crib for my mama off that mumblin’ shit” bar on “R.I.P.” off Playboi Carti’s groundbreaking debut Die Lit.

However, there are 2 bonus cuts that’ve been added onto the album as part of the official deluxe version that I felt like were most certainly with mentioning. The first of them being “Money” featuring the late Juice WRLD & Nicki Minaj over a sample of the “Momey Song” by Monty Python flipped by another G.O.O.D. Music in-house producer Charlie Heat redeeming himself after wasting 3 of his beats on DaBaby’s latest EP Call da Fireman almost a couple months back so Thugger, Juice & Nicki can showboat exactly how fresh all 3 of them are. The 2nd & final bonus track “Sake of My Kids” has a more tropical trap vibe from Wheezy calling himself a king like Bad Boy Entertainment, Sean John & REVOLT TV founder Puff Daddy a.k.a. P. Diddy & Diddy or to Roc like JAY-Z.

I stand by P*nk being a solid sophomore effort despite it not being on par with the debut which has quickly become a top 5 Thug project for me, but Business is Business has already revealed itself to be his best since So Much Fun. Easily better than A Gift & A Curse on top of that. The production’s stronger due to Metro overseeing & producing 60% of it as well as the outside producers mostly matching his caliber, the features are more toned down rarely missing the mark & Young Thug himself gets a lot off his chest about what he’s been going through. And 1 last thing: Lyrics should never be used against artists in court regardless of whether you like them or not. Free Sex!

Score: 4/5

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Coi Leray – “Coi” review

This is the sophomore full-length album from New Jersey rapper & singer Coi Leray. Growing up as the younger brother of Sosshouse Records signee Chavo & the daughter of Benzino, she began to carve a path of her own with her debut mixtape Everythingcoz along with her first 2 EPs Everythingcoz 2 & Now or Never even though they were mediocre to me personally. She then signed to Uptown Records last spring after being relaunched by Republic Records & put out her major label debut Trendsetter not too long after which had a few of her strongest tracks yet, but the bad mostly outweighed the good. But only a month after her brother dropped the final installment of the Chavo’s World trilogy, I went into Coi expecting a more personal effort obviously given the title & was hoping I’d like it more than the last album considering “Self Love” off the Spider-Man: Across the Spider-Verse soundtrack could be my favorite song of hers yet.

The opener “Bitch Girl” heavily samples “Rich Girl” by Hall & Oates so Coi can spit some average braggadocio on top of it whereas “Bops” has to easily by my favorite single that was released of the 5 that we got having more of a snap influence to it that I actually think is pretty interesting dedicating it to all her haters out there. David Guetta flipping “Pump Up the Jam” by Technotronic on “Make My Day” is kind of tacky even though I don’t mind the party-filled lyrics at all, but then “Players” is an ode to all the female hustlers sampling “The Message” by Grandmaster Flash & the Furious 5 that I’m a little 50/50 towards honestly.

“My Body” was easily the worst possible choice for a single from the tedious sample of “It’s My Party” by Lesley Gore to the half-baked songwriting & even the chorus having a cringey twist to the hook of “Pity Party” by Melanie Martinez, but then “Get Loud” co-produced by Tom Levesque of Vanguard Music Group reveals itself as a redundant successor to the Jennifer Lopez joint “Let’s Get Loud”. The quirky trap beat on “Phuck It” stands out to me although I can’t really say the same about the raunchy lyrics leading into “Spend It” featuring Saucy Santana giving off a dancier vibe talking about blowing money.

Meanwhile, “Don’t Chat Me Up” has the best feature on the album in the form of Giggs’ verse at the halfway point over a funky bass-line & hi-hats as he & Coi tell their lovers to give them exactly what they want & “On My Way” changes it up stylistically with a moody R&B ballad talking about pulling up on her mans. “Run It Up” gives off a more atmospheric approach calling herself an angel during the day & a demon at night while London on da Track cooks up the strongest instrumental of the bunch on “No Angels” featuring Lola Brooke catching licks.

“Man’s World” returns to the old school samples once again except this time “It’s a Man’s Man’s Man’s World” by the late James Brown is being flipped calling out someone for breaking her heart while the song “Black Rose” goes full-blown rap rock talking about taking this shit back. The penultimate track “Radioactive” featuring Skillibeng has a more stripped back sound to it with both of them describe a passionately strong love until “Come & Go” spaciously asks to give her flowers while she’s still here to smell them all.

Beyond that, I went into Coi hoping that she would bring the same energy that she brought onto Metro Boomin’s soundtrack debut earlier this month & came away from it liking it even less than I did than the offering she gave us over a year ago. Now that doesn’t mean I’m discrediting her talent or saying she can’t be a captivating performer. She’s proven she can that in the past. It’s that my biggest issue with her music lies within the production department.

Score: 1.5/5

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Premiere Maxx – “St. Michael” review

This is the debut EP from Detroit recording artist & producer Premiere Maxx. Turning heads over the last few years after producing hits like “Tweakin’ Together” by Bktherula or “Lost & Found” by Amaru Sun, he would also build a solo career for himself along way by dropping loosies like his debut single “Flyaway” or “AllDay”. He just dropped an the full-length debut ItsMarsYaDig a few months ago showcasing himself as a performer & is looking to once again apply pressure by putting St. Michael out ahead of the sophomore effort.

“Kry” featuring MEGiDDO kicks it all off with both of them talking about being afraid to shed tears with the problems that they deal with on top of a cloudy trap instrumental whereas the fun, self-produced & irresistibly catchy pop rap ballad “What’s the Move?” is easily his best song to date asking a shawty exactly that. “Whatchu Want?” has a more tropical approach to it wanting to know his lover’s desires leading into “Genie” gives off an atmospheric vibe again acknowledging that motherfuckers be talking like parrots & making shit disappear like Houdini.

The synth-based sound on “Fashion Nova” is wavy as Hell so Maxx can walk around with a bitch that models for the titular fast fashion retail company leading into “LastNite” shifting gears into a more acoustic direction talking about having something to prove. The song “Get It Right” featuring EBK Doeski finds the pair admitting being unable to sleep until they straighten shit out over a cloudy trap beat while the penultimate track “You Kould” blends a euphoric backdrop with hi-hats telling the love of his love the things they can do together. “Deep End” is a more psychedelic closer asking his significant other where she is & if she’s ok.

For him to drop another body of work this quickly than expected & have it live up to the caliber of self-titled is quite impressive to me. Certainly worth listening to if you liked the last project. I’d start with the full-length debut if you want a look into who he is personally & artistically, but that’s not to discredit him showing off his versatility a bit more throughout the 22 minutes that this EP has to offer progressing his sound & style further.

Score: 3.5/5

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King Kashmere – “The Album to End All Alien Abductions” review

Here we have the 7th studio LP from Grahame Park, London, England, United Kingdom emcee King Kashmere. Notable for being a part of several groups or duos over the last few decades ranging from Kingdom of Fear & Invisible Inc. to Gawd Status as well as Old Children & Strange U, he also has 6 full-lengths & a few extended plays under his belt through a multitude of labels from Low Life Records to YNR Productions & Boot Records. The most recent being TR3B under High Focus Records, enlisting lo-fi producer Alecs DeLarge to fully produce The Album to End All Alien Abductions.

After the “Worldwide” intro, the first song “Angel Strike” opens up with a boom bap beat taking further cues from funk & jazz music talking about wanting to be left alone having nothing to stress over whereas “Damien Darhk” works in a saxophone & some Memphis-influenced 808s asking where the fun went. “Limbo / Genki Dama” featuring Kakarot teams up for a 2-parter talking about being the kind to not run from a fight leading into the soulful boom bap crossover “Old Earth” shouting out his mother.

“Intergalaktus” turns up the funk boasting his ultramagnetic aura while “Fonk Abyss” brings a more mellow vibe to the table for those who want to smoke some weed & chill out whilst keeping his eyes on the crown. “4000 AD” featuring Renelle 893 finds the 2 teaming up on the mic for a drumless hardcore hip hop track attacking the naysayers celebrating their perceived defeat & after the “Inside” skit, “Dustman” featuring Alecs DeLarge & Jerré dustily talks about levitating weight to keep their brains strong.

After the “£££ for Beats!” skit, “The Essence” preceding the compositional “Blue” interlude maintains a vintage boom bap feeling to it speaking of his desire to take hip hop back to it’s ethos while the jazzy “House of Cards” talks about struggling with mental health issues. After the “Hollywood” skit, “Soul Caliber” meshes some vibraphones with kicks & snares addressing the people tryna take control of him while “Most Blunted” featuring Alecs DeLarge finds the 2 sharing the mic together for an 115 second ode to weed.

“Solar Flare” featuring Moka Only & Verb T succeeding the “Virus World” instrumental jazzily boasting they’d blackball roughly 1/2 these other MCs while “Infinitizm” talks about this being the sounds of those who’ll live eternally making their tides rise. “Astro Children” by the Old Children featuring Alecs DeLarge & Ash the Author unites 5 unlikely competitors for a vintage hardcore hip hop/boom bap song while the final song “North Star” ahead of the “Deepspace Slime” outro soulfully talks about searching for brighter days.

Making up for Motherbox’s divisive reception, The Album to End All Alien Abductions comfortably positions itself amongst my personal favorites throughout King Kashmere’s solo discography right in the same category as In the Hour of Chaos or his High Focus Records debut Woof. Alecs DeLarge whips up the most experimental production of his career, which appropriately suits The Iguana Man’s lyrics heavily themed around science fiction other than a couple glimpses of his personal life.

Score: 4.5/5

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