Illaman – “Sometimes Relax” review

Here is the official full-length debut from London, England, United Kingdom emcee Illaman. Known for being the frontman of the rap rock/grime trio PENGUSHi & Problem Child, he eventually branched out on his own in the spring of 2019 off his debut EP Give Us a Smile. He eventually made his debut under Potent Funk Records with his next extended play Ugly Days & has teamed up with Dublin, Ireland beatsmith Pitch 92 in an attempt to make Sometimes Relax the greatest solo effort of the 3.

The title track begins by talking about giving ourselves a little trust in order to do anything we desire over a moody boom bap beat whereas “Get It” embraces a funkier approach instrumentally suggesting that everyone listening goes out to take what’s theirs. “Clouds” has a more cloudier trap vibe assuring there’s always time for growth to come just before “Absolutely Tidy” featuring PAV4N finds the 2 getting aggressively teaming up to get on some fuckery.

“Trust Me” has a more upbeat boom bap sound to it talking about doing your best in life even if things don’t always make sense & we ask what it all means leading into “Self Destruct” admitting that he’s at the point where he doesn’t even know what he’s doing anymore. “Time” has a cloudier boom bap flare to it cautioning that there’s no rest for the wicked & everyone urgently needs to wake the fuck up while “Never Ever” dustily talks about not having much.

Dabbla & Dubbledge both appear on “Gods” mixing some pianos with kicks & snares so they can speak of their status amongst magic beings by all means without the need of a hook but after “Couple Shells” incorporates what I’m pretty sure sounds like a gospel sample to talk about his ability of ending careers by burying any competition, “Like Me” spends a few minutes advising those listening to sort their lives out & the idea of fixing ourselves from our shortcomings.

Rounding out 3rd, the song “Healing” talks about how funny it can be when one loses their own mind & refusing to believe that time heals all wounds when I can confirm from my own personal experiences that it’s factual while “Winner’s Circle” explains his desire of getting shit poppin’ because it’s all he has. “Lightwork” wraps things up with 1 last boom bap joint dedicated to the people who aren’t feeling exactly the greatest & wants them to know their souls are beautiful.

Give Us a Smile was alright personally & I felt that Ugly Days made room for improvements, but Sometimes Relax wipes the floor compared to both of those early EPs since it exceeds what expectations were set based off both the singles making a statement regarding the trials & tribulations of seeking closure. Illaman’s lyrics are much more honest than what we’ve heard from him already & it’s refreshing to hear his off-kilter delivery being paired with Pitch 92’s signature production style reminiscent of Jaylib’s only album Champion Sound.

Score: 4/5

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Danny Brown & JPEGMAFIA – “Scaring the Hoes” review

This is the brand new collaborative album between Danny Brown & JPEGMAFIA. One being an MC out of my hometown Detroit, Michigan & the other is a Baltimore-based MC, singer/songwriter & producer. Both of whom have cemented themselves as trailblazers in the experimental hip hop scene with albums like XXX & Atrocity Exhibition to All My Heroes are Cornballs & LP!. They first crossed paths when Peggy produced “3 Tearz” & delivered a remarkable impersonation of one of my idols Pharrell with his feature on “Negro Spiritual, both songs eventually wound up appearing on Danny’s previous album uknowhatimsayin¿ a few months before COVID shut the world down. But as the latter gears up to drop Quaranta on May 26 apparently, Danny & Peggy are uniting for the highly anticipated Scaring the Hoes.

“Lean Beef Patty” was a great choice for a lead single as it sets the tone of what’s to come with a glitchy hardcore hip hop opener also pulling from footwork jungle, chipmunk soul, hybrid trap & industrial music as JPEGMAFIA starts & ends his verse by dissing the Tesla CEO, Neuralink founder & SpaceX founder Elon Musk who bought Twitter almost a year ago further referencing Papa John’s founder John Schnatter’s racism, WWE Hall of Famer and former WWE Champion The Iron Sheik who recently passed away & even All Elite Wrestling (AEW) founder/current Ring of Honor (ROH) Wrestling owner Tony Khan in between until Danny Brown boasts about living in this chick’s head rent free prior to “Steppa Pig” almost having a bit of an EDM groove to it instrumentally as they discuss doing it for their legacies & calling out those who feel entitled. The title track pulls from avant-garde jazz advising that playing this will have the hoes touch they toes leading into the soulful boom bap jam “Garbage Pail Kids” belittling their opposition.

Moving on from there, we have “Fentanyl Tester” drawing from drum & bass music sampling the classic Kelis single “Milkshake” as Danny & Peggy warn y’all to hide as nobody’s safe at all leading into the triumphant yet monstrous trap banger “Burfict!” as they talk about being cliqued up & my favorite line has to be when Peggy said “cover his face, that bitch Mach-Hommy” in the middle of his verse. “Shut Yo Bitch Ass Up” brings back the glitch hop vibes as Danny does figure 8s on motherfuckers until “Muddy Waters” switches into a more trippier groove to the beat as JPEGMAFIA asks God to forgive him for slayin’.

“Orange Juice Jones” returns to a more soulful sound as both MCs take their significant others to space on autopilot just before Maryland up-&-comer redveil drops the album’s only feature on “Kingdom Hearts Key” as they air out those who think they know him referencing UFC Hall of Famer & former UFC Middleweight Champion Michael Bisping over an angelic trap beat. The gospel sample throughout “God Loves You” is well flipped as Danny & Peggy get in a raunchier bag lyrically until “Run the Jewels” delivers a 1-minute drum & bass glitch hop hybrid saying most sorry-ass bitches won’t be like the titularly acclaimed superduo.

The song “Jack Harlow Combo Meal” kicks things off with some remarkably jazzy piano chords as Danny Brown promises to run up on you, take your spot & to take your business until JPEGMAFIA telling those who want action with him ain’t into actin’ while the penultimate track “H.O.E. (Heaven On Earth)” is a gospel rap ballad dedicated to the baddest bitches in their lives. “Where Ya Get Ya Coke From?” sends off the album with a chaotically cloudy fatality as Devon Hendryx talks about being off top on your bitch like 2-time AEW TNT Champion Darby Allin until Danny calls himself a failed chemistry experiment with a clever reference to Jimi Hendrix’s debut album Are You Experienced? shortly after.

“Guess What Bitch, We Back Hoe!” is a chipmunk soul-inspired start to the deluxe run talking about being gone off that strong pack & to simply leave them alone while the song “Hermanos” gives off more of a sample-inflicted boom bap flare flexing that Scaring the Hoes in fact ended up terrifying everyone across the spectrum both women AND men accompanied by an insane instrumental outro & a reference to Bob’s Burgers on the Fox Corporation’s flagship property.

Things take a funkier direction on “Tell Me Where to Go” asking where to head when your heart exactly isn’t in it anymore & “NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO!” wraps it all up with a preachier sound refusing to turn back. After their individual solo tracks “Manic!” by JPEGMAFIA & “Child’s Play” by Danny Brown respectively, “Roaches” saves a 2-parter for the final bonus track talking about the environments that shaped them.

As someone who’s been a fan of both these guys for a minute now, I had very high expectations going into Scaring the Hoes & it’s on par with LP! as amongst the greatest experimental hip hop albums of the current decade. Peggy’s ever-so experimental take on hardcore hip hop expands to industrial hip hop, glitch hop, drum & bass, jazz rap & trap as he & Detroit veteran both clash with one another excellently on the mic with dropping their respectively uniquely ear-grabbing lyricism. Rome Streetz’ latest album Wasn’t Built in a Day is my 2023 Album of the Year so far, but Scaring the Hoes is unquestionably up in the ranks too.

Score: 4.5/5

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Jae Skeese – “Abolished Uncertainties” review

This is the highly anticipated sophomore album from Buffalo emcee Jae Skeese. Getting his start off the strength of his his debut mixtape W.A.C.K. (Women, Alcohol, Cash & Kicks) in the fall of 2010, it wasn’t until a decade later where he & 7xvethegenius gained wide exposure as the very first signees to Conway the Machine’s very own EMPIRE Distribution imprint Drumwork Music Group. He & his mentor just dropped their collab EP Pain Provided Profit a couple weeks ago, so it’s only right for Jae to come off that & his classic Big Ghost Ltd.-produced 3rd EP Authenticity Check by finally dropping Abolished Uncertainties.

“RVLVR” sets things off with Jae showing you why they call him exactly just that over a soulful boom bap instrumental whereas “Million Dollar Dreamz” takes a more shrilling route thanks to Ill Tone working in some more kicks & snares talking about chasing a bag. “Bonneville” keeps it in the basement courtesy of Cartune Beatz not wanting to no excuses whatsoever, but then Freeway tags along for the rugged “Out Here” letting their presence be known.

Meanwhile on “Burner Phone”, we have Jae with a story to tell over a soul sample & snares just before La Maquina himself slides through for the classy trap hit “Symmetry” as they talk about trying to find a balance in their lives. “Lunch Table” returns to the boom bap with the help of EYEKETYSON letting y’all in on the newest page of his odyssey leading into “1 of 1” blends jazz & soul touching on his uniqueness.

The final leg of the album starts with the 3rd installment of his “EKIN” trilogy that began on Revolver Ocelot & continued on Iroquois Pliskin by jumping on top of a victorious loop with some kicks & snares talking that talk while the song “Mind Right” produced by Graymatter has a more harmonious vibe to it as he discusses on mental health. The penultimate track “Red KoolAid” comes through with some flawless saxophones as Jae talks about being made different & “Auntie Crystal” has a cloudier approach that Tony Seltzer cooked up concluding the album with a dedication to his titular aunt.

He’s come a long way since his full-length debut in Search of Symmetry & if anything, the sophomore effort Abolished Uncertainties further proves that as I would call it his best album to date between both of them as the Drumwork takeover continues. The introspective story throughout is cohesive & well-told as his artistic growth in the past decade is being put up in full center.

Score: 4/5

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Hit-Boy – “Surf or Drown” review

Hit-Boy is a 35 year old producer, MC & singer/songwriter from Fontana, California who’s been at for 2 decades after Polow da Don took him under his wing by signing him to his Interscope Records imprint Zone 4 Records. His early production credits range from “Stronger” by Mary J. Blige to “Drop the World” by Lil Wayne & Eminem, but wasn’t until the winter following the last 2 jams where he would catch the attention of Ye or formerly known as Kanye West by producing his Christmas posse cut “Christmas in Harlem” & becoming an in-house producer for G.O.O.D. Music for 2 years approximately 5 months after that. It was there that he would cookup some notable bops such as “Niggas in Paris” by The Throne as well as “Cold” by Ye & even “Backseat Freestyle” off Kendrick Lamar’s sophomore album albeit major label debut good kid, m.A.A.d. City. He then launched his now defunct Interscope imprint HS87 Music as his tenure under Kanye’s wing was coming to a close, continuing to build a reputation for himself by working with the likes of Beyoncé or Drake & Travis Scott for the remainder of the decade. But it’s no secret that these past few years have easily been amongst Hit-Boy’s most prolific yet considering his recent work with Big Sean, Benny the Butcher & more specifically Nas. So considering that & recently founding his own EMPIRE Distribution imprint Surf Club Inc., it’s only right for him to follow-up his 6 solo mixtapes in the form of his very own full-length debut.

After the “Big Hit” intro, “The Tide” fittingly enough sets off the album with Nas & Hit-Boy over a soulful beat with a trap switch-up later on displaying their tight chemistry whereas “State Champ” by Half-a-Mil & Jay305 find the trio accompanied by a cloudy yet vibrant instrumental representing Cali to the fullest. Dom Kennedy sticks around for “Corsa” admitting their hearts are still cold on top of some hi-hats & an airy backdrop leading into Curren$y being subbed into the game on the chill trap banger “Tony Fontana III” talking about how this shit is a marathon but they ain’t running a track.

Spank Nitti James takes up a bulk of “Just Ask” his verse is just ok personally although I love the hypnotically crooning trap production & the themes of asking before assuming leading into “NU.WAV” follows it up with a moody trap ballad about the way he formulates until “Slipping into Darkness”starts off with The Alchemist spitting a verse over a sample-based boom bap beat until Hit-Boy calls out those who tried to deflect him over some jazzy piano chords Uncle Al chopped up.

The song “2 Certified” goes full-blown UK drill as Avelino sets it off by helping the man behind the boards boast about their respective legitimacies in the rap game while the penultimate track “M.T.R. (Make the Rules)” is a vibrant yet chiller cut about how he simply knows the rules as opposed to making them. The album ends with a sequel to “Composure” off King’s Disease II with an aquatic yet jazzy boom bap instrumental getting more vulnerable lyrically.

Much like how The College Dropout cemented Ye’s abilities as a performer & The Life of Pi’erre 4 with Pi’erre Bourne, I think anyone who’s been fucking with Hit-Boy as long as me could tell you that’s exactly what Surf or Drown does for him. You get a good look into who one of the most consistent producers in the game today really is on the mic as he enlists a mainly consistent guest list that helps him rip his own beats to shreds ranting from boom bap to trap & even UK drill.

Score: 4/5

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Kota the Friend – “To See a Sunset” review

This is the 9th full-length album from Brooklyn emcee Kota the Friend. Breaking out in 2016 off his debut EP Palm Tree Liquor, he would go on to follow it up with 2 more EPs before dropping his debut album FOTO in 2019. Kota has since dropped 7 more under his belt, with my favorite To Kill a Sunrise fully produced by Statik Selektah celebrating it’s 2 year anniversary just last weekend. So with that in mind, he & the established Boston producer are reuniting To See a Sunset.

“High Noon” is a warm, soulful boom bap opener to the album looking back on the people praying on his decimation & Kota’s current view being tropical whereas “Real Ones” works in some bluesy guitars, strings, kicks & snares talking about life being good. “Elevator” takes a jazzier approach as he makes it clear that he ain’t got time for no dumb motherfucker prior to “Go Brooklyn” is an atmospheric boom bap cut representing his hometown.

Moving on to “Maybe So”, we have Statik bringing back the jazz as Kota talks about staying ahead of things just before “1 Life” laces some pianos so he can encourage everyone to do it right with the short time we have here. “Valleys” has a more lavish approach telling listeners everything’s gonna be ok & you’re gonna make it leading into the wavy pop rap ballad “Eye See U” addressing fakes. The penultimate track “Free Not Woke” brings back the blues guitars as Kota speaks on doing as you please & “Thank You” is an appropriate victory lap from the peppy beat to the gracious lyrics.

Truthfully, the last 3 albums that Kota’s dropped since I’ve last covered his music were all average at best respectively & To See a Sunset reveals itself to be a more than worthy sequel to what I consider to be the crown jewel of his discography. Statik’s production is as rich as it was on the predecessor except it’s jazzier as the theme turning your dream into a reality & being present with the realization that you’re living your best life is inspiring.

Score: 4.5/5

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Sparkz – “Overload” review

Manchester, England, United Kingdom emcee/producer Sparkz dropping his 4th extended play under High Focus Records. A member of the LEVELZ collective & co-fronting The Mouse Outfit, he would later make appearances on projects like Verb T’s 8th album Good Evening & Pitch 92’s debut EP Lost in Space until Fliptrix signed Sparkz to his historic Hove, East Sussex underground imprint dropping Overload following the Angle trilogy of EPs in preparation of his own debut album.

“Buzzin’” kicks it all off with self-produced boom bap intro reminiscent of Yasiin Bey or A Tribe Called Quest talking about doing his thing whereas the 2nd & final single “Mean It” doesn’t shy away of keeping it sincere with his words. The title track & lead single blends boom bap with grime putting his lyrical proficiency in the limelight & after “Kidda” goes a little hardcore pulling shit out the basement to show audiences what the deal is, “Quit” blends wonky & boom bap to end the EP suggesting people to give up whatever they’re trying for.

Testifying to the years Sparkz has spent honing his wide range of talents from the mic to behind the boards, his inaugural solo release brings the heat with this 5-pack of unforgettable bangers that’re guaranteed to brighten up even the dreariest of places. High Focus brings him on board the label’s roster giving him a new sense of creative freedom, exemplified by his production sounding a bit wonkier unlike everything he’s done previously matched with the buoyant flows & sharp penmanship.

Score: 4/5

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Navy Blue – “Ways of Knowing” review

Navy Blue is a 26 year old skateboarder, MC, producer, songwriter, visual artist & model from Brooklyn, New York who came up in 2015 off his debut EP According to the Waterbearer. He has since continued to turn heads in the underground scene by dropping 9 more EPs & 6 full-lengths before signing to Def Jam Recordings about a month ago. With that in mind, it was only a matter of time until he dropped his 7th album albeit major label debut fully produced by Budgie.

“The Medium” is a drumless opener with some pianos & choir vocals as Navy admitting that learning patience has made sense for him as of late whereas “Chosen” has a more abstract, jazzy approach to it talking about being a prodigy. “The One” seeks eternal love with a silky yet sensual beat until “To Fall in Love” takes a more tropical route instrumentally talking about fucking up a real blessing like his significant other.

Zeroh comes into the picture on “Life’s Terms” to let it be known that all it takes for them just to be in love & that simply being the way it goes just before “Phases” dives into more soulful turf talking about being unable to stay the same with gratitude & living day to day. “Kill Switch” has a more dejecting sound to it as Navy acknowledges that he ain’t self righteous leading into the Kelly Moonstone-assisted “Window to the Soul” declaring themselves as ballroom stars returning to the boom bap.

“Freehold” opens up about despising his opponents & being unable to do this shit by his lonely on top of a slow yet syrupy beat while “Embers” with Liv.e delivers some jazzy piano chords as they talk about where they wanna be in life. The song “Pillars” is wavy ode to his family while the groovy penultimate track “Look in My Eyes” talks about seeing the pain he’s lived through. “Shadow’s Shield” however comes through with a drumless closer being unable to complain & thinking that everything will be straight in the end.

Between this & Maxo’s latest Def Jam debut Even God Has a Sense of Humor that just came out last month, it seems as if one of the most iconic labels in the history of our culture is continuing to help bring the underground to the mainstream by giving these artists the push they deserve. The lyrics are more personal which is great for those who’re new to him with the batch of instrumentals that Budgie whips up being amongst his strongest to date pulling from jazz rap, drumless & chipmunk soul.

Score: 4/5

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Tha God Fahim – “Dump Gawd: Shot Clock King 4” review

This is the 41st EP from Atlanta, Georgia emcee/producer Tha God Fahim. Coming up as an affiliate of Griselda Records alongside Mach-Hommy & Your Old Droog, he’s also built up an incredibly vast discography with a couple of standouts being Breaking Through tha Van Allen Belts & Dump Assassins. Now the last time I covered Fahim’s work was when he dropped his 19th full-length album 6 Ring Champ & the final installment of the Shot Clock King trilogy of EPs produced by Nicholas Craven shortly after last spring. But coming off of 3 EPs since 2023 started with Dark Shogunn Assassin & Iron Bull being my favorites so far, Fahim & Craven are back together for a 4th installment in the Shot Clock King saga.

Jay NiCE’s appearance on the opener “Area of Effect” is the only feature on the EP as he & Fahim jump on top of a soulful boom bap instrumental referring to themselves as heavy dumpers boasting how terrific they are prior to “Nice to Know” going into drumless turf as he puts up points as much as Carmelo Anthony does. The sample on “Damage Over Time” is fascinatingly delicate with Fahim going out for revenge while the song “Defense” has a bit of a psychedelic rock route talking about being unable to give or let up. The penultimate track “Mentally Prepared” has a catchy vocal loop touching on nonstop dominance & “Work Hard Play Hard” is a crooning boom bap closer paying tribute to those who came before him & continuing the glory.

I still enjoy Dark Shogunn Assassin & Iron Bull as much as I do when both of those EPs dropped not too long ago, but the Shot Clock King series is amongst Fahim’s strongest work & the latest installment here sure enough has quickly become my favorite project that he’s given us this year as of me reviewing this. Nicholas Craven’s production is more prominently drumless much like the first installment & the way the Dump Gawd lyrically continues to float on top of these bare sample flips is as fresh as always.

Score: 4.5/5

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Artur – “T.H.O.T.H. (The Harmonizing of The Hemispheres)” review

Artur is a 42 year old Polish-American recording artist & sculptor based out of Atlanta, Georgia who started to write lyrics when he was 16 after being denied entry into a club because of his Polish passport. He wound also go on to found Living Angles & #UplineCreations after diving into sculptural art and into making frequency emitting permission-slips and art installations. But as a way of properly introducing himself in the music industry, Artur is presenting a brand new style of hip hop of his own that he refers to “ascension rap” on his full-length debut.

After the “Intergrate” intro, the first song “2023” sets off the album by opting in for an open contract over some bells & hi-hats whereas “Alien Abduction (Spiritual Induction)” works in some guitar licks talking about how some will view this as an omen & to follow the directions given. “Every Day” hooks up these synths with kicks & snares encouraging that each day in your life is a new beginning just before “Starseeds Activate” talks about the time being here & now accompanied by a glistening instrumental.

“We the Bring the Magic” has a more futuristic boom bap approach as The Swim’n Bird tags along to discuss that you are in fact the mystery, the bridge, the divinity & the magic that you seek in life leading into the title track attaches some more kicks & snares to an orchestral loop talking about healing the heart. “Architects of Consciousness” is a 2-minute atmospheric trap ballad building momentum of a potential that goes back all the way to the beginnings of Atlantis, but then “The Embodiment of 9” returns to the boom bap talking about the embodiment of the awakened human being.

Meanwhile on “Moving On Up (Level Up Now)”, we have Artur leveling up with a more cloudier instrumental backing him while “The Arcturian Gate” brings in the horns as he discusses the helping hand of Arcturus that is being stretched out towards mankind. Yung Kemmo coming into the picture for the rap rock inspired “Host of Rhythm” paying homage to the great spirit while “In the Flow” returns to trap territory to deliver an invocation of the spiritualization of Earth’s humanity.

The song “Know Thyself” brings back the rock vibes as he provides an anthem touching on being honest with yourself & self-investigation with Nathaniel Yost on the hook while the penultimate track “Perfect Resonance” dives back into the basement as far as sound goes talking about aligning oneself with the soul’s original blueprint. And to finish the album off, “Mahas Saham” addresses the one & infinite mind that’s immortal.

If anyone out there is looking for a product that represents the Golden Pages of Ascension in a playful & poetic manner, then T.H.O.T.H. (The Harmonizing of The Hemispheres) is definitely the album for you & it makes me excited to see him elevate his ascension rap style even further from hereon out. The teachings spread throughout it’s 50 minute course most certainly have the power to help one through the dimensional shift & the production fits the ascendant themes quite well.

Score: 3.5/5

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Ty Farris – “Malice at the Palace” review

Ty Farris is a Detroit underground veteran who came up up under the name T-Flame & wound up being featuring on a lot of projects throughout the mid-2000’s until the very end of the decade. It was at that point where he started to put out solo stuff at a prolific rate by dropping 11 mixtapes, 8 full-length albums & 3 EPs. Standouts include the Room 39 duology & the No Cosign Just Cocaine series, the 5th & final installment of which finally arrived last month. But continuing to balance quality & quantity as always, Ty’s enlisting Danish producer Machacha behind the boards for his 9th album.

After the “Starting Lineup” intro, the first song “Dope Sales to Vinyl Deals” is a powerful opener to the album with T-Flame detailing how the long way that he came from whereas “Sign the Contract” has a more eerier route talking about a fine print on the street agreement. “Bleacher Report” has a spacey boom bap quality to it as the lyrics touch on trying to survive with suicidal thoughts with anonymous sources reporting live & direct leading into Dango Forlaine, Guilty Simpson & Marv Won all joining forces for “4 Point Play” as they really show y’all who the bad boys really are with a suspenseful beat backing them.

Moving on to “Coke in the Locker Room”, we have Ty on top of some more bluesy production with a clever reference to the sample whilst touching on poverty on the lyrical front just before “Flagrant Fouling” returns to the boom bap as he & Mickey Diamond comparing this rap shit to the layup line when it comes to bars. The song “Karma’s the Referee” returns to a bluesier vibe providing y’all the best of him while the penultimate track “Strong Arm Aggression” with Waterr goes into rap rock turf as their chemistry is as strong as it was on their collab EP Bulls vs. Pistons a few years ago. “Bloodstains on the Jersey” ends things with a groovy instrumental & Ty pointing out people wanting to see blood since the gladiator days.

I remember watching the Malice at the Palace live on TV with my dad & my older brother as an 8 year old kid with all of us being in amazed by what was unfolding in front of our very eyes & if you love basketball the way you love hip hop, then you’re gonna want to give this a listen. The themes of the sport are incredibly cohesive as the Detroit wordsmith rips it on top of what I consider to be amongst Machacha’s strongest batch of production to date. Looking forward to seeing him open up for Rome Streetz on the first night of the Kiss the Ring tour this upcoming Wednesday.

Score: 4.5/5

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