Pasto Flocco – “Walking Glitch” review

Pasto Flocco is a 18 year old rapper from Queens, New York notable for being formerly being associated with Lil Tecca. However since their falling out, he’s seen quite the success off his own dropping his first 2 albums March Madness & Dreams 2 Reality along with a debut mixtape Surf to Kill (SGBSTK) as a member of the now defunct Surf Gang collective. This was all followed up back in the spring with his sophomore tape R.O.A.M. (Rich Off A Mic) but considering how much I liked March Madness 2 in the spring, I was still optimistic going into Pasto’s 5th EP over here nonetheless.

“3Hunna” is an rage-inducing opener talking about stacking them Benjamins whereas the “Murder She Wrote” remix takes the sample drill route calling out those who tried to play him like a pussy. “FA$TER THAN YOU!” works in some synths bragging that he’s getting richer faster than everyone, but then “All Blacc” shoots for a more futuristic aesthetic talking about how he prefers his outfit.

Meanwhile on “GLiTCH”, we have Pasto over a plugg/drill fusion describing going from nothing to rich while “GLiTCH 2” turns into intergalactic territory airing out those moving like hoes & bragging that GLE gets it poppin’. The song “Send Him 2 God” addresses his desire to run up $100M over a hypertrap beat while the penultimate track “HunnitBandzUp” keeps the rage going talking about stacking his bread. “Heartstop!” though ends the EP with some synths & bells saying this bitch is so hot, that she’ll give him a heart attack.

Since Walking Glitch’s here in it’s entirety, I’m gonna conclude this review by letting everyone know that it’s much of a consistent listen as March Madness 2 was a few months ago. Pasto’s hunger & knack for catchy songwriting only continues to grow stronger with the production continuing the tradition of evolving with each project that he puts out more.

Score: 3.5/5

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Zitro – “Nain Rouge” review

Zitro is a 33 year old MC from Detroit, Michigan who started making music when he was in the 7th grade. But it wasn’t until February 2020 where he would put out his full-length debut A New Beginning under Shrunken Head Entertainment & followed it up last summer with the debut EP Black Diamondz + Long Islandz following a set at the Gathering of the Juggalos, which eventually led the Insane Clown Posse signing him to Psychopathic Records a couple months later as announced the booklet of the 5th Joker’s Card in the 2nd deck Yum Yum Bedlam. So considering that the Gathering of Dreams is going down this week, it’s only fitting for Zitro to put out a sophomore album.

After the “Who or What is Nain Rogue?” intro, “The Arrival” is a bombastic trap opener threatening his opposition whereas the Bake Lo-assisted “God StatuZ” grimly finds the 2 declaring themselves as Gods. “Monster” shoots for a more demonic aesthetic talking about being a killer, but then “Thuggalo” is a sprightly ode to every single juggalo that grew up in the hood.

Meanwhile on “Becoming a Problem”, we have Zitro over a bell-infused trap beat calling out the haters who wanna be just like him just before “Here to Kill (I Ain’t Trick-R-Treatin’)” is a pop rap cut getting on his serial killer shit. “Look in My EyeZ” is a spacey trap banger talking about seeing the pain inside him just before “Long Dark Road” comes through as a favorite of mine on the album from Godsynth’s production to Zitro’s lyrics deciding whether or not to head into the light.

“Loco (Because of You)” takes a rubberier route talking about how deranged he is prior to Histio coming into the picture for “I’m Good” to chillingly describe the only way for them to cope with their depression is. “With the Tint” has a more cloudier vibe to it talking about everything being black while the keyboard-laced “Wicked Whippin’” with Tierre Diaz to get whatever’s on their minds.

The song “Nightmare Walkin’” with Geno Live & R.U.C.K.I.S.S. sees the trio over a sinister trap instrumental talking about their violent urges while the penultimate track “Move It” follows that up with an off-the-wall club banger. “Who You Want?” however ends the album with a Middle Eastern-influenced jam bringing the Demon out.

Compared to Black Diamondz + Long Islandz & A New Beginning, the amount of creative growth provided throughout Nain Rouge is pretty impressive. I really like how the production happens to be more versatile in terms of overall sound & the whole concept of Zitro being the Demon of the Strait in the living flesh is well-detailed.

Score: 3.5/5

Beyoncé – “RENAISSANCE” review

Beyoncé is a 40 year old singer/songwriter, producer, dancer, actress, businesswoman & director from Houston, Texas who rose to fame in the late-90’s as the lead singer of Destiny’s Child. She eventually began her career as a solo artist in the summer of 2003 with the slept-on Dangerously in Love, but found both B’Day & I Am…Sasha Fierce to be average at best. 4 though was her best since her full-length debut, paving the way for a self-titled effort & Lemonade to become her most critically acclaimed bodies of work yet. But as a way to cope with the COVID-19 pandemic, Bey’s returning with her 7th album & the first in a new trilogy.

The opener “I’m That Girl” sets it all off talking about how no one can fuck with her over an instrumental featuring co-production from Mike Dean & S1 flipping “Still Pimpin’” by Tommy Wright III whereas “Cozy” comes through with a more housier vibe encouraging one to be comfortable with their own skin. The intergalactic aesthetics of “Alien Superstar” makes it a highlight for my personal as she talks about being too classy, but then “Cuff It” goes into disco territory confessing that she feels like fucking shit up.

Meanwhile on “Energy”, we have Beyoncé returning to house turf thanks to Skrillex getting rebellious rightfully calling out Karens turning into terrorists leading into “Break My Soul” pulling from Euro house sampling “Show Me Love” by Robin S. telling everyone that she’s unbreakable. “Church Girl” pulls from ballroom music with the help of Tricky Stewart & No I.D. with a Clark Sisters flip to further confirm that women who regularly attend church are super freaky just before “Plastic Off the Sofa” is a contemporary R&B ballad produced with Syd of course getting on the more romantic side of things.

“Virgo’s Groove” returns to a more dance-pop sound encouraging her lover to come over while “Move” pulls from hip house & afrobeats advising everyone to get the fuck out her way. “Heated” embraces afro house to talk about fanning off while “Thique” reveals itself to be another favorite of mine from Hit-Boy’s infectious production to the lyrics about body positivity & even bragging that her bread’s getting bigger.

Following that, “All Up in Your Mind” bombastically warns to be careful what you ask for because she could comply while the song “America Has a Problem” heavily samplez the Kilo Ali cut of the same name basically declaring herself to be the Tony Montana of sex appeal. The penultimate track “Pure / Honey” is a ballroom-inspired 2 parter talking about feeling her technique & getting people stuck to her love as “Summer Renaissance” finishes the album with 1-last house banger to describe a gangster growing on her.

Truth be told: I went into Renaissance expecting it to be average at best considering my initial reaction to “Break My Soul” when it came out last month was moderate & I have to inevitably mention the new Drake album Honestly, Nevermind being a decent homage to the late Virgil Abloh. Since it’s finally here however & I got to marinate with it for a while, I definitely enjoyed it more than I thought & find it to be as great as IDK’s latest EP Simple. that just came out a couple months ago. The dance-tinged production is a sweet homage to her late uncle Johnny & her performances are incredibly empowering.

Score: 4/5

Fatlip – “Torpor” review

Fatlip is a 53 year old MC from Los Angeles, California who came up in the late 80s as a member of The Pharcyde. He eventually branched out with a solo debut of his own The Loneliest Punk the day after Halloween in 2005 & now coming fresh off his recent collab album with Blu this past spring called Live From the End of the World, he’s enlisting Sccit & Siavash the Grouch to produce a majority of his long-awaited sophomore album right here.

After the titular intro, M.O 99 & & RBX tag along for the first song “Wake Up” to jump on top of a funky beat talking about how partying so much to the point where they couldn’t get out of bed whereas “February” takes a more acoustic route getting on a more conscious tip lyrically. Sccit comes into the picture for the trap-laced “Energy” talking about being built to last & after the “Message #1” skit, “Dust in the Wind” dives into more jazzier territory thanks to Chris “The Glove” Taylor with Krayzie Bone joining Lip spitting some life shit.

“My Bad” by The Pharcyde goes into cloudier turf confessing that frustration got them going blind & after the “Message #2” skit, Sccit & Krazyie return for “The Way” to explain how it’s supposed to be over an upbeat instrumental. “DC” brings back the synthesizers talking about still being free & after the final “Message” skit, The Pharcyde returns for the wavy penultimate track “30 Minutes Late” confessing being a half hour late for rehearsal. “Fulla Flava” though is a rich closer talking about never being a fake mobster.

Now I know The Pharcyde has been celebrating the 30 year anniversary of their iconic debut Bizarre Ride II the Pharcyde throughout 2022 & hopefully the trio puts out a new album through Rhymesayers Entertainment in the near future but if you enjoyed The Loneliest Punk like I did, then you’re gonna want to check out Torpor. Lip sounds recharged on the mic after his 17-year break from the spotlight & the production throughout is impressively slick.

Score: 3.5/5

$uicideboy$ – “Sing Me a Lullaby, My Sweet Temptation” review

This is the 3rd studio album from New Orleans duo $uicideboy$. Consisting of Ruby da Cherry & $crim, the released a plethora of projects within the last 8 years whether it be the Kill Your$elf saga & Eternal Grey or even the full-length debut I WANNA DIE IN NEW ORLEANS & the Travis Barker-produced Live Fast, Die Whenever. The boy$ recently dropped their sophomore effort Long Term Effects of Suffering last summer & are ringing in another one in the form of Sing Me a Lullaby, My Sweet Temptation.

“Genesis” kicks off the album sampling the greatest Mario game of all-time Super Mario World with Ruby & $crim talking about reinventing themselves whereas “Matte Black” takes a cloudier route to rep the ever-growing G*59 Record$ that they founded from their inception. Fucking Your Culture” shoots for a darker aesthetic to flex just before “1,000 Blunts” works in a vocal sample talking about not giving in & relapsing on drugs.

Meanwhile on “In Constant Sorrow”, have the boy$ over some jazzy production tackling their depression leading into “Escape from BABYLON” returning to cloudier territory talking about finding love in the wrong places. “Ashes of Luxury” comes through with a mellow weed-smoking anthem, but then “Resistance is Useless” flips the late Koopsta Knicca talking about stacking up addictions & the only thing that’s changed is that they cut off one of their homies.

“Eulogy” has a mystical feel to it asking to play this song at their funerals while “No Matter Which Direction I’m Going In, I Never Chase These Hoes” atmospherically opens up about troubled relationships. The song “$uicideboy$ Were Better in 2015” is a piano-laced diss towards those who preferred their music when they were on drugs while the penultimate track “Unlucky Me” is an impressive sequel to “Lucky Me” down to the SWV sample. “THE_EVIL_THAT_MEN_DO” ends the album on a boom bap note addressing trust issues & being away from the public eye.

For the people who keep complaining that the $uicideboy$ sound the same every time they put a project out together, this is another reminder for them to shut the fuck up. The production that $crim cooks up is some of his most versatile that he’s ever made with him & Ruby giving the listeners a wide range of emotions from braggadocio to heartbreak, anger & even anticipation about their reinvention.

Score: 4/5

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Domo Genesis – “Intros, Outros & Interludes” review

Domo Genesis is a 31 year old MC & songwriter from Inglewood, California who got his start in mid-2009 as a member of the now defunct Odd Future collective. He’s gone on to give us a full-length debut accompanied by 4 mixtapes & 4 EPs within the last dozen years, my personal favorites of which being his debut mixtape Rolling Papers as well as his Alchemist-produced 3rd mixtape No Idols & his Evidence-produced debut EP Aren’t U Glad You’re U?. Last we heard from Domo was when he dropped the Just in Case duology with Mike & Keys last summer but now after signing to Bigger Picture Recordings not too long ago, he’s re-emerging in the form of a sophomore album with the label’s founder Ev returning behind the boards.

“Don’t Believe Half” is a drumless, jazzy opener with Domo talking about no realness being left & only him that’s exempt whereas “Skeletons” with Navy Blue finds the 2 over an upbeat instrumental talking about the skeletons in their closets piling up. “Trust the Process” takes a soulful route sampling Freda Payne with the subject matter pretty much speaking for itself, but then “Reverse Card” shoots for a more dejecting aesthetic to talk about turning tables is his favorite part.

Meanwhile on “Stay 1 More Day”, we have Doms over another soul sample hoping to stay optimistic just before Remy Banks tags along for the settle “Campfire” to flex their respective styles. “Running, Running” weaves a crooning vocal loop into the mix to talk about lanes switching as life goes on, but then “Victories & Losses” with Evidence is a piano/boom bap banger talking about all the highs & lows they’ve encountered.

The song “Going Rate” brings back the jazz admitting that he doesn’t cry tears & he’s on a God tier while the penultimate track “December Coming” with Boldy James sees the 2 over a mystic beat to provide introspection for the listeners out there. “Tallulah” on the other end closes out the album with Domo talking about doing it for the love even though the love ain’t there over a dismal instrumental.

It should go without saying that this is Domo’s best solo effort in a while & a much more consistent full-length than GENESiS & that album was just ok in my opinion. Evidence’s production is much more interesting, Domo gets a lot off his chest lyrically & I really enjoy the natural progression of their chemistry although I still love Aren’t U Glad You’re U? as much as I did 3 & a half years back.

Score: 4/5

Wiked Wood – Self-Titled review

Wiked Wood is a horrorcore duo from Atlantic City, New Jersey consisting of Cray-Z & Grave-Bait. The pair first emerged in the spring of 2013 off their full-length debut Red Carpet, which was followed on Halloween 2016 with their sophomore effort Dubs Up & then their debut EP Simulated Reality a week before Christmas couple years back. However with them making their 2nd consecutive appearance at the Gathering of the Juggalos next week, they’re dropping off an eponymous 3rd album for all of those who’re new to their music.

After the intro, the opener “Gotta Keep It Wiked” is a spooky boom bap opener produced by Devereaux to my surprise taking about remaining true to their horrorcore roots whereas “Spaceship” comes through with a Tech N9ne-inspired party anthem. “Petrified” shoots for a more futuristic approach to boast leading into the guitar-driven “Icarus” to talk about the minor character in Greek mythology not flying close to the sun with a cool “legends never die” line during the hook.

Meanwhile on “New Shit”, we have Lyte & Project Born joining Wiked Wood over a piano-laced instrumental to show their haters how they’re doing leading into Bernz & Ouija Macc tagging along for the nocturnal “Neck of the Woodz” to talk about being good with them as long as you pat your respects to them. “Spell It Wrong” works in some bells thanks to Shaggytheairhead saying they don’t need no fuckin’ C, but then “You Better Run” puts an EDM spin on the fucking Halloween theme to spit the wiked shit.

Blahzay Roze comes into the picture for the acoustic-flavored “Tomorrow” talking about scars healing & carrying on while the Androponix remix of “Paper” just seems a little pointless in my personal opinion. After the “Free Wawa Gift Card” skit, “What You Think’s Real” is a rap rock banger with both MCs gruesomely talking about certain interactions. being capable of shattering your mind while the “O.W.T.H. (Off With The Head)” remix being superior to the original. The penultimate song “See Me Shine” calls out those who wanted them to fail over a sunny beat & after the “Tom Wood Please” skit, “This is a Tribute” happens to be an odd choice for a closer as it’s an EDM-influenced juggalo ode.

I was pretty impressed with Wiked Wood’s set at last year’s Gathering, so it definitely made me curious to hear a full-length of theirs & I happen to think that it’s their most consistent body of work to date. Their lyricism has gotten better & do a solid job at refining their style for all of those who’re new to them.

Score: 3.5/5

Guilty Simpson – “Guilt” review

This is the 6th EP from one of Detroit’s greatest MCs: Guilty Simpson. Coming up as a member of the Almighty Dreadnaughtz collective & a frequent collaborator of the late J Dilla, it wasn’t until late March of 2008 where he officially branched out on a solo career by having Stones Throw Records back his incredible full-length debut Ode to the Ghetto. He has since followed it up with a handful of equally great projects including his Madlib-produced sophomore album O.J. Simpson, the Apollo Brown-produced Dice Game, the Oh No-produced Simpson Tape & more recently the Gensu Dean-produced EGO just to name a few. However, the hometown veteran’s seeking to deliver a portal between the listener & his Detroit reality in the form of Guilt.

“Looking for More” is a synth-laced opener to say sayonara to all the fakes whereas “Make It Count” with Jason Rose finds the 2 over a jazzy boom bap instrumental talking about burning through an ounce. Bronze Nazareth & Oh No tags along for the dusty “Off Herb” to show off their lyrical prowesses leading into the guitar-laced “Linch Pins” with Prince Po talking about being triumphant. The song “Go Where I Please” works in a funky bass-line getting in his battle rap bag while the penultimate track “Dark Night” has a more glossier aesthetic talking about having the heater ready. “For the Real Only” however closes out the EP with some strings dedicating it to all the authentic ones.

If anyone enjoyed EGO as much as I did, then I HIGHLY recommend giving Guilt a listen sooner than later because this is a very impressive EP. The desire that he has to grow artistically is truly inspiring & the cast of producers that Guilty brings with him for the ride bring more live instrumentation into the picture this time around with some highly interesting results.

Score: 4/5

Sly Moon – “Banned From the Vic” review

This is an extended play of solo material from London, England, United Kingdom emcee/producer Sly Moon. A former member of the Children of the Damned as well as currently being apart of its successor the Cult of the Damned & the Sohio Players, he made his full-length debut in 2020 with Why Am I So Sly? under Blah Records & teamed up with it’s founder Lee Scott for the collab effort F.D.M.B. (Flippin’ Dough Makin’ Bread). Fast forward 8 months later & he’s been Banned from the Vic nearly a week after Luke Jacobs ended Michael Oku’s longest reign as RPW British Cruiserweight Champion.

We get an eerie self produced instrumental on the intro talking about being dressed like a jester of sorts in the middle of “Leicester Court” whereas the title track confirms that the Grosvenor Casino Victoria did in fact ban him over a drumless chipmunk soul loop. “Take Money” featuring Sonnyjim goes for a jazzier vibe expressing their love of money leading into “Back for More” incorporating some synthesizers talking about coming at people’s doors after going from rich to poor.

“How My Thoughts Go” gets the other half of the EP blending a crooning sample & a piano for a dedication to the 24/7 grinders & nightlifers while “Stuck in the Hippodrome” featuring BeTheGun & Stinkin’ Slumrok finds the trio teaming up for a hardcore jazz rap anthem reminiscent of the Cult of the Damned’s output collectively. The jazz elements seep through the 67 second look at a “Holographic World” & the final song sends it all off on a smoother note sipping Hennessy at the local “Hippo Bar”.

Taking in consideration that the Sohio Players produced a vast majority of Why Am I So Sly?, it was interesting to hear Sly Moon solely handling the beats himself & Banned from the Vic provides a better look at his individual dexterity whilst leaning towards a gambling theme. His production’s more soulful than was a couple years earlier & spends 19 minutes telling late-night stories right around the poker table with a well selected guest list adding their perspective to the issue.

Score: 4/5

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Autumn! – “##B4GC2” review

This is the surprise 17th EP from Louisiana rapper/producer Autumn!. Making a name himself in the plugg scene, he got his start by dropping 16 EPs & a full-length debut on SoundCloud since 2018 prior to signing to Victor Victor Worldwide & Republic Records after his last EP Not Much Left last fall. He just put out his sophomore effort albeit major label debut Antagonist! few months back to positive reception & now surprise-dropping ##B4GC2 ahead of Golden Child 2.

“My Collection!” is a spacious opener talking about letting Keisha think that he’s the one that needs her while the self-produced “I’m Doin’ Fine!” takes a pluggier route assuring everyone that it’s all good on his end. The penultimate track “Know You Hear Me!” has a more psychedelic edge to it delivering a message to the higher power & “Wait Yeah!” closes out the EP with a fun trap banger produced by Maajins confessing that he doesn’t know who he’d be without the power of music.

Golden Child is still a favorite of mine throughout Autumn!’s catalog due to how personal he got on there & this prelude has me anticipating the sequel highly. The production is a lot more plugg-influenced than Antagonist! was & the introspection that made the first Golden Child so special happens to carry it’s way over here.

Score: 4/5