Autumn! – “Golden Child 2” review

Autumn! is a 24 year old rapper, singer/songwriter & producer from Lafayette, Louisiana who made he got his start by dropping 17 EPs & a full-length debut on SoundCloud since 2018 prior to signing to Victor Victor Worldwide & Republic Records following Not Much Left this past fall. He put out his sophomore effort albeit major label debut Antagonist! few months back to positive reception & returned to his plugg roots a month ago with ##B4GC2, but is steadily grinding by putting out his 18th EP.

The intro sets it off with a glistening instrumental talking about being up now whereas “Inside My Head!” takes a more atmospheric route thanks to Goyxrd refusing to let the industry take his soul. “Can We Talk!” goes pluggnb responding to everyone who said he fell off prior to “Golden Child!” confessing about lying that he’s fine when he’s really not over a tranquil instrumental. The song “Jay n Bey!” works in a guitar comparing his love for his partner to that of The Carters while the penultimate track “Should Know Me Better!” spaciously talks about needing to relax after moving too fast & that he’ll always be here in the scene. “Myself!” though is a fun send-off to the EP telling this hoe not to deny that she’s like the rest.

As a sequel to one of the best projects in Autumn!’s ever-growing discography, it certainly lived up to my expectations. Much like the prequel & the predecessor, the actual follow-up itself picks up where things left off with it’s well-crafted pluggnb production that helped blow him up & the subject matter all comes from a unique perspective that he continues to bring to the table. He & Weiland are definitely holding it down for Victor Victor right now.

Score: 3.5/5

@legendswill_never_die on Instagram for the best music reviews weekly!

J.I.D – “The Forever Story” review

This is the 3rd full-length album from Atlanta, Georgia emcee J.I.D. Emerging in 2010 off his debut mixtape Cakewalk & joined the Spillage Village collective lead by the EARTHGANG around that same time frame, he dropped 2 more mixtapes as well as then an EP after that & signed to J. Cole’s very own Interscope Records imprint Dreamville Records in 2017. He has since made himself home there with The Never Story & DiCaprio 2, but is returning after 4 long years in the form of The Forever Story.

After the melodic “Galaxy” intro, the first song “Raydar” kicks off the album with a heavy bass-line & some hi-hats provided by Nonstop da Hitman talking about how “when it rains, it pours” prior to the beat switching up into more dramatic saying he’ll “steal the cattle then burn the farm”. “Dance Now” however samples “Yoel’s Niggun” by Zusha talking about making ‘em dance with his 9 whereas “Crack Sandwich” takes a more rugged route acknowledging that you can tell that he never had shit.

The EARTHGANG tags along for the KAYTRANADA/JD Beck-laced “Can’t Punk Me” reminding everything that nothing will stop them leading into Baby Tate & 21 Savage coming into the picture for the chipmunk soul/trap banger “Surround Sound” produced by DJ Scheme talking about putting the rap game on their backs & snatching crowns. “Kody Blu 31” incorporates a crooning sample in the mix encouraging listeners to swang on, but then the Lil Durk-assisted “Bruddanem” shoots for a more mellow aesthetic thanks to DJ Khalil talking about loyalty.

Meanwhile on “Sistanem”, we have J.I.D over some spacious boom bap production describing the tour life leading into the romance-driven “Can’t Make U Change” that starts off with a funky instrumental from Dreamville in-house producer Elite & switches into a melodic vocal loop. “Stars” opens up with a hazy BADBADNOTGOOD beat & J.I.D talking about having his goals set with E. Jones changing it up into boom bap turf as well as a stellar Yasiin Bey verse for the outro while “Just in Time” with Lil Wayne takes a more symphonic approach talking about having the time today.

“Money” throws a guitar & some live drums courtesy of Khrysis into the mix dissing the inaugural IWGPヘビー級チャンピオン, former 12-time WWE world champion, WWE tag team champion & 2-time WWE Hall of Famer Hulk Hogan while the song “Better Days” weaves some piano chords into the chord talking about balancing the highs & lows. The closer “Lauder Too” is a futuristic sequel to a highlight off The Never Story laced by James Blake & Thundercat with the bonus cut “2007” ends the album is a 7 & a half minute epic looking back on J.I.D’s life throughout the past 15 years.

I’ve gone on record numerous times saying that J.I.D’s the future of Dreamville & if The Forever Story doesn’t further prove that, then I don’t know what to tell you because it’s a great sequel to his full-length debut & I’ll even say it’s arguably better than The Never Story. I admire that he comes through with more in-depth stories throughout, the production is incredibly dynamic & the feature list is pretty tight.

Score: 4.5/5

@legendswill_never_die on Instagram for the best music reviews weekly!

Substance810 – “The Monolithic Era” review

Substance810 is an MC/producer from Port Huron, Michigan who came up in ‘06 off his debut The Definition under his original moniker Tekneek. He’s since gone on to build up an impressive catalog for himself whether it be the sequel The Definition Of… or the Hobgoblin-produced The Hanging Gardens & more recently the Chuck Chan-produced Desolate Lands this past spring. But with fall approaching, Substance has decided to recruit JQuest Beatz for his 11th album.

After the “Exordium” intro, the first song “Don’t Bite the Hand” is an eerie opener basically advising to never act ungrateful towards him prior to ethemadassassin & K. Burns tagging along for the dusty “Monolithic” talking about being indivisible. “Triumphant” works in some horns describing his rise to prominence whereas “Ancient Sand” laces an entrancing vocal loop asking if you know the traces that make a man.

Meanwhile on “Cross the Line”, we have P.U.R.E. tagging along to help Substance deliver a seething jab at those who step over their boundaries leading into “Time Zones” returning to the boom bap talking about being in another world. “Flaming Chariots” weaves a flute into the fold explaining that the loudest be the scariest in this battle, but then “Solidarity” with John Creasy, Big Trip & Josiah the Gift comes through with an impassioned Umbrella posse cut.

“Sexxx Pistol” shoots for a more foreboding aesthetic delivering some flawless wordplay using sexual & weapon metaphors while the guitar-laced “Concierge’s in Negril” getting in his storytelling bag about a shorty named Natalie. The song “Foundational” with Allah Supreme & Sunez Allah sees the trio over a rich beat talking about never starving while the penultimate track “Raw Materials” with Body Bag Ben brings back the horns displaying some cutthroat lyricism. “Precious Medals” though is a jazzy yet emotional closer talking about the old days.

Of the 2 albums that Substance has dropped this year, I think The Monolithic Era is a more personal experience than Desolate Lands was back in the spring. He lets the listeners in a journey through his mind as to how he got his name & JQuest Beatz’ sound compliments his lyrical style well in my personal opinion.

Score: 4/5

@legendswill_never_die on Instagram for the best music reviews weekly!

Verbz – “Where It Started” review

Here we have the 2nd EP from Croydon, South London, England, United Kingdom emcee Verbz. Introducing himself in 2017 off the full-length debut Lessons of Adolescence produced by Brighton beatsmith Mr. Slipz, he would later put out the debut mixtape Pathways & the sophomore effort Radio Waves under High Focus Records followed near the end of 2020 during the COVID-19 pandemic. Following up The Low almost 14 months earlier, he & Slipz are reuniting so they can take things back Where It Started.

The title track is a lo-fi boom bap intro talking about home being where the heart is & wearing it on his sleeve whereas “Music Banging Like” rawly speaks of reaping what he sowed now he’s getting older. “For My Peeps” instrumentally reminds me of A Tribe Called Quest shouting out all the important people in his life & after “Felt Like a Dream” takes a moment to talk about his successes in making music, “Walk Like a King” dedicates itself to those who left too soon.

Catching a 52 minute train between Croydon & Brighton to reconnect throughout Where It Started, this extended play does everything & more fan have come to expect from Verbz & Mr. Slipz diving deep into their hearts & minds. Slipz’ boom bap production was made with an MPC without the need of using any samples & Verbz nostalgically conceives themes revolving around the trials & tribulations of both artists doing what they done & still do presently in order of surviving the streets of the Cronx.

Score: 4/5

@legendswill_never_die on Instagram for the best music reviews weekly!

Donnie Menace – “Chainsaws & Boomsticks“ review

Donnie Menace is a 34 year old MC/producer from Stratford, Connecticut who emerged in 2008 off his debut mixtape The Threat & as the leader of the Nitebreed collective. Then came his full-length debut Wrath of a Menace a couple years later, which was followed up with his 2nd tape The Threat 2: Audio Sickness & his sophomore effort Bonded by Chaos. But considering that Russian-American horrorcore veteran Scum signed Donnie to Lyrikal Snuff Productionz & his mentor dropped S.O.S.’ debut Blame Us last weekend, it was only right for him to deliver his highly anticipated LSP debut.

“Talk to the Boomstick” is an organ/boom bap infused opener mixing the wicked shit some some braggadocio whereas “Who Slashed Ya?” is a cool lil horrorcore rendition of the classic Biggie joint “Who Shot Ya?”. “Around Here” returns to the boom bap warning that you should’ve never popped up near his parts, but then the “Theatrikill” remix with J Reno & Lex the Hex Master has the same verses & a new instrumental from Donnie himself that lives up to the O.G.

Meanwhile on “Violating”, we have Donnie over some chilling production talking about people looking at him like he’s Satan himself just before the Nitebreed comes together for the dusty “Brude” to talk about how you’re gonna find out what really happens when titans clash likening themselves to The Brood consisting of Gangrel alongside WWE Hall of Famer, former 11-time WWE world champion, 14-time WWE tag team champion, 5-time WWE Intercontinental Champion & WWE United States Champion Adam Copeland and former 2-time NWA World’s Heavyweight Champion, TNA World Champion, 4-time WWE world champion, 4-time WWE Intercontinental Champion & 9-time WWE tag team champion Christian Cage. “Do You Hear Me Now?” ruggedly calls out his detractors, but then Scum tags along for the grotesque “I’m Choppin’ ‘Em Up” talking about dismembering bodies.

“Low Life” brings back the organs & dusty drums to look back on his success thus far while “Devil in Me” with Claas & Smallz 1 goes into trap territory confessing they don’t know how much longer they can hold their stress inside them. “The Executioner” gets in his storytelling bag with a hair-raising beat while the penultimate track “I’m a Creep” by the Nitebreed is a rowdier cut confessing they can no longer deny being creeps. As for the “Luv 2 Kill” remix with Mr. Grey & M.M.M.F.D., it’s a great closer & my favorite remix of the 2 throughout the album

LSP’s been making a whole lotta noise in the underground this year & the Nitebreed leader’s debut with the label proves that he fits right in with everyone else over there. The production is a step up from his last outing, Donnie himself sounds hungrier than he’s ever been & the performances from the just about every feature that he takes with him for the ride are on par too.

Score: 4/5

@legendswill_never_die on Instagram for the best music reviews weekly!

Larry June – “Spaceships on the Blade” review

This is the 8th full-length album from Vallejo emcee Larry June. Since dropping out of high school, this dude has been steadily grinding his ass off with his last 7 studio efforts along with a total 14 EPs & 7 mixtapes. My favorites of his ever-growing discography include the Lex Luger-produced Trap Larry, the Cardo-produced Cruise USA & it’s sequel Into the Late Night, the Harry Fraud-produced Keep Going & more recently the mobb music-influenced Jay Worthy collab effort 2 P’z in a Pod that came out this past spring. So considering that Jay just dropped his full-length debut a couple weeks ago, it’s only fitting for Larry to follow suit in the form of Spaceships on the Blade.

After the “Free Uncle Herm IV” intro, the first song “Private Valet” is a symphonic opener produced by Jake One to the album talking about how nobody has love for you when the sky gets cold whereas “I’m Him” takes a more spacey yet funkier route thanks to Cardo to boast. “Things You Do” has a more luscious tone to it featuring co-production from DJ Khalil telling this woman he knows she’s trying to make that move, but then the DJ Fresh-laced “Don’t Check Me” mixes some pianos & synths to advise to check a bitch before him.

The sequel to “Another Day in SF” is pretty cool from the lyrics picking up where the predecessor left off to the 80s-inspired instrumental & after the “Tools of the Game” interlude, “Corte Madera, CA” comes through with a jazzy tribute to the titular city in Marin County. 2 Chainz tags along for “Still Boomin’” to get back in their mobb shit just before “Brand New Machinery” has a more melodic flare to it over a synth-heavy beat from Chuck Inglish talking about the whip he just copped.

Meanwhile on “I’ll Make Time”, we have Larry over more sensual production acknowledging this chick wants to get to know him more while “For Tonight” refines the romance vibes of the last cut from Syd’s hook to the verses & instrumental. “In My Pockets” weaves the synthesizers back in to talk about the bread while the Curren$y-assisted “5.0 Chronicles” has a more syrupy feel to it delivering a late night cruiser’s anthem.

“Breakfast in Monoco” is a string-laced prelude to Larry’s upcoming album with The Alchemist spitting that fly shit while “Larry’s Diner” goes full-blown drumless thanks to Sean House delivering some vivid storytelling. “Organic Adjustments” dives into funkier turf talking about wanting to be with this chick even when he’s on the road while the song “Spaceships & Orange Juice” is atmospheric trap ballad rightfully flexing that he’s been doing numbers.

The penultimate track “Extra of Um” with one of the 2 hottest artists in Detroit right now Babyface Ray amalgamates some pianos, synths & even a couple strings so the pair can talk about have extras of everything pretty much with the Turbo-produced “Appreciate It All” ending the album with a genuine open letter to the public expressing his gratitude.

Although I don’t think it’s as great as Into the Late Night, I’m not gonna sit here & deny that I enjoyed a good portion of what I heard throughout Spaceships on the Blade. The overall sound of the album is admirably diverse, the feature list is pretty consistent & Larry is stepping up his pen-game tremendously. At this rate, his album with Uncle Al could be a future classic.

Score: 3.5/5

@legendswill_never_die on Instagram for the best music reviews weekly!

RhymeStyleTroop – “Cypher” review

RhymeStyleTroop is a 26 year old MC from Imperial Beach, California who’s been turning heads in the underground for the past year now by dropping a total of 6 head-banging singles along with her mic session at UndergroundHipHopBlog.Com & her opening set at their 10 year anniversary show last month. However, all of that has been leading up to her conceptual debut EP over here fully produced by Manzu Beatz.

After the titular intro, the first song “Full Metal Jacket” sets it off with a soul sample & some dusty drums spitting some battle bars whereas the MC Wicks-assisted “Militant” takes a more spookier route talking about their titular mindset. “War of Art” works in some weepy strings advising that you’ll get burned playing with her just before “Ill” talks about being as dope as she is all her life over a downtrodden instrumental.

Following that, “Power” with M Doc Diego takes a more ominous turn explaining that they don’t give a fuck about any of these other cats while the song “Robin Hood” incorporates some vibraphones talking about making the time-wasters pay. The penultimate track “Strength” fuses some strings & keys together expressing that she feels like $1M & “Solomon” is a cinematic closer warning that the reaper’s coming.

For Cypher to be RhymeStyleTroop’s first official project, I think it’s a pretty solid introduction to a wider audience. The whole concept of a soldier finding her resilience is well pieced together down to the intricate lyricism & Manzu Beatz reveals himself to be one of the best producers that Italy has to offer right now.

Score: 4/5

@legendswill_never_die on Instagram for the best music reviews weekly!

Tink – “Pillow Talk” review

Tink is a 27 year old rapper & singer/songwriter from Chicago, Illinois who blew up in the spring in 2012 off her debut mixtape Winter’s Diary. She would then proceed to drop 4 more tapes prior to signing a joint deal with Mosley Music Group & Epic Records in the fall of 2014, where she only put out 2 mixtapes prior to leaving in late February of 2018 due to Industry Rule #4080 unfortunately. Since starting her own label Winter’s Diary Records with distribution from EMPIRE, she’s given us her 8th mixtape Voicemails as well as a couple EPs & full-lengths. But much like Heat of the Moment that dropped last summer, Tink’s bringing Hitmaka back into the fold to executive producer her 3rd album.

“Going Bad” is a soothing trap opener about her calling her man when she gets lonely whereas “Switch” works in some guitars & finger-snaps asking who he fuckin’ on the side. “Opposite” shoots for a moodier aesthetic talking about how it feels when he plays his games on her, but then Cardiak, Hitmaka & Wu10 flip the 702 joint “Get It Together” for “Goofy” describing how the dick got her feeling.

Meanwhile on “Cater”, we have 2 Chainztagging along for an enticing duet talking about being made for each other pretty much leading into the slow jam “Throwback” expressing that she wants to love her man like a C4. Muni Long comes into the picture for “Mine” to deliver a weakly modernized version of the Brandy/Monica hit “The Boy is Mine” just before “25 Reasons” fuses a guitar with the sounds of a bed squeaking explaining why she loves this dude so much.

“Cum See Me” is an atmospheric ballad with an underwhelming Toosii verse at the backend of it about dreaming of one another while “Oooh Triflin” has a groovier vibe to it pondering how a fuck boy got her feeling some type of way & the Fabolous verse makes up for the staleness of the feature the last cut had to offer. “Balance” goes into woozier territory explaining that’s exactly what she needs while “Drunk Text’n” with Layton Greene is a tedious duet about texting each other fucked up off D’ussé.

Following that, the Russ-assisted “News” has to be my least favorite duet of them all despite the decent trap production primarily because of just how awkward the chemistry is while the song “Ghetto Luv” with G Herbo picks it back up with it’s rich instrumental & the lyrics about just that. The penultimate track “Cum’n 2” brings back the acoustics explaining that her heart ain’t meant for breaking with “I Choose Me” ends the album by talking about drinking wine & that ain’t nothin’ worth more than her peace over a stripped back beat.

Tink has always been writing songs touching on romance, so it was really a matter of time before she made a whole R&B album embracing a sexier side to her & it’s really not a bad listen although it certainly has it’s flaws. Wasn’t really feeling a good majority of the features, but she sounds very confident on the mic & Hitmaka’s production yet again proves to be a solid fit for her mostly.

Score: 3/5

@legendswill_never_die on Instagram for the best music reviews weekly!

YBN Nahmir – “Faster Car Music” review

This is the debut EP from Alabama rapper YBN Nahmir. Coming up as the de facto leader of the now defunct YBN collective, he would go on to drop his full-length debut Visionland about a year & a half ago under Atlantic Records to be universally panned (more specifically for “Soul Train”). But after jumping ship to Def Jam Recordings recently, Nahmir’s looking to redeem himself in the form of Faster Car Music.

“Spend It” is a generically produced opener unenthusiastically bragging, that he has $800 on him whereas “Where I’m From” happens to be one of the better cuts with it’s vibrant production & the subject matter describing what it’s like around his parts. “Bows” has a decent instrumental to it even though there’s not that much substance to what Nahmir’s saying leading into “Pip ‘n Walk”, which is a bass-heavy cut talking about being the plug.

The song “Inna Trap” confesses that the feds raided his shit over a grim beat while the penultimate track “Only 1” comes off as a forced pop rap ballad with an ok Jeremih hook & the lyrics talking about how this bitch is the only partner that he really needs. “Lamborghini Truck” however finishes the EP with a bland ode to the whip that he be pulling up in.

As decent as From a Bird’s Eye View was compared to The Lost Boy, at least Cordae publicly acknowledged that recently & makes me feel like next album we’ll be better. That being said: I don’t get any more out of Faster Car Music than I did with Visionland whatsoever. It’s lazy songwriting, uninspired subject matter & cut-rate production makes it really hard for me to believe that this EP would appeal to any sports car enthusiast.

Score: 1/5

@legendswill_never_die on Instagram for the best music reviews weekly!

Ty Farris – “Fluorescent Mud” review

This is the 7th full-length album from Detroit emcee Ty Farris. Coming up under the name T-Flame, he was featured on a lot of projects throughout the mid-2000’s until the very end of the decade where he started to put out solo stuff at a prolific rate from Tyrant to Room 39. He just dropped his 3rd EP Moments of Mayhem back in March produced entirely by Italy’s very own Slim 1 & has decided to recruit Switzerland’s very own Sebb Bash for Fluorescent Mud.

“Bashing Heads” is a chaotic opener declaring himself as the main event & his opposition as the undercards whereas “Mental Tats” takes a morbid route talking about how this the meeting of the Gods. “Crown Us” works in some strings talking about how sometimes you lose battles before the crown comes & after “The Homie Van” interlude, “Where’s the Garbage Can?” lividly calls out anyone who wants to step up to him for being wack referencing the recently departed former アイアンマンヘビーメタルチャンピオン, TNA World Tag Team Champion, WCW World Television Champion, 2-time WWE United States Champion, 7-time WCW World Tag Team Champion, 4-time WWE Intercontinental Champion & 2-time WWE Hall of Famer Scott Hall. Meanwhile on “Deadly Dialogue”, we have Ty over a wavy instrumental talking about being prepared for such leading into Estee Nack tagging along for the tense “That Simple” telling everyone in their path to face the music.

“Con Uno” solemnly talks about being one of the greatest to ever do it & the “Destinations” interlude, “Feed the Kids” has this incredible vocal sample addressing poverty while the song “Can’t Candy Coat It” atmospherically confesses he only writes what. The penultimate track “Condominium Crack Dealers” with Planet Asia incorporates some organs getting on their hustler shit & the horn-laced “Immortalized” finishes the album by talking about his legacy.

The more that Ty drops a new project, the further that he cements himself as one of the most consistent MCs in Detroit today & Fluorescent Mud is no exception of that. Sebb Bash whips up some of his best production yet & T-Flame’s gritty yet ear-grabbing bars pretty much exemplifies the point that he made during the last joint. Can’t wait for the 5th & final installment of the No Cosign, Just Cocaine series.

Score: 4/5

@legendswill_never_die on Instagram for the best music reviews weekly!