Mr. Grey – “Operation: Delirium” review

Mr. Grey is a 42 year old MC from Gilroy, California who came up as 1/2 of the duo Gorilla Voltage alongside ClockworC. However, he would drop his first 2 solo efforts Lost Soul in the fall of 2012 & then Remain Raw a couple summers later prior followed by The Damn Dirty Apes the year after Remain Raw. Gorilla Voltage then signed to Majik Ninja Entertainment on Christmas Day 2016 & manage to dropped 2 more full-lengths together, but quietly disbanded following their final album Gods & Claws which is a bit of a shame considering that I consider it to be their best work musically. That being said, Grey dropped his 3rd album Vicious Vendetta a little bit after the pandemic started & celebrated last year’s Valentine’s Day to go fully acoustic rock on the Righteous Devil mixtape. Few months later, he formed the trio Cabal with Philly horrorcore pioneer Lo Key alongside Louisville veteran Bukshot released their debut The Watchers to widespread acclaim within the underground. Considering that, it was only right for Buk to sign Grey to Mobstyle Music for his debut EP fully produced by MIKE SUMMERS a.k.a. 7.

After the titular intro, the opener “Into the Wasteland” sets off the album with an occult instrumental talking about being born for this just before Gorilla Voltage reunite for the somewhat industrial “Outrage da Jour” asking why people are mad at them. “Justice?” works in a creepy ass beat to call out the system leading into “American Meat Grinder” embracing a trap metal sound talking about fiending for blood.

“The Day the Angels Day” frantically confesses all he sees now is the darkness that came from the fog while the penultimate song “Zerk!” finds Boondox joining The Berzerkers for an uncanny prelude to their upcoming debut EP. And prior to the “Codicil” outro, “Winter Soldier” truly ends the EP with some strings & hi-hats declaring himself as such.

Compared to his earlier work, Operation: Delirium is easily the best solo effort that Grey has put out yet in my opinion. The apocalyptic concept is well conceived & 7’s production is dark, yet comes through with a range of interesting ideas from trap metal to industrial hip hop. He’s a great addition to Mobstyle in my opinion & have high expectations for the Berzerkers EP.

Score: 4.5/5

Terror Reid – “DYNAMO” review

Terror Reid is a 29 year old DJ, producer, rapper & actor from San Jose, California who originally started turning heads a decade back after dubstep pioneer Skrillex signed him to his OWSLA Music for short period of time. He went on to drop 2 full-lengths & 13 EPs in the EDM genre under the name Getter before embarking into hip hop during the pandemic with Hot Vodka, which my homie Rone Bone of The Beneath the Dirt Podcast put me onto when it came out & was impressed by the boom bap/g-funk production as well as the raps from Terror himself. Considering that, I was excited to hear that we were getting a 2nd EP from him in this style.

“STAY BACK! (VOODOO SHIT)” is a fuzzy boom bap opener talking about how he can’t be fucked with whereas “SAV IT UP (LIZARD PEOPLE) works in a drumless sample to advise not letting the door getcha. The song “ACTIN’ OUT” goes full-blown g-funk even tough YVNCC’s verse isn’t all that great going into detail about hoes trippin’ while the penultimate track “AIN’T NOTHIN’” returns to the boom bap providing motivation for the listeners encouraging to find their way calling himself rap’s answer to WWE Hall of Famer, 7-time world champion, 7-time tag team champion & WWE Hardcore Champion The Undertaker. “OUT DA CUT (4EVA)” closes the EP by fusing synths & dusty drums talking about never giving a fuck.

In my opinion, DYNAMO is most definitely the most I’ve enjoyed a Terror Reid to date I’m happy Getter toned down the number of features compared to his last EP, his MCing skills are improving & I respect the mix of styles in his production that range from East Coast boom bap to West Coast g-funk & even drumless.

Score: 4/5

DJ Premier – “Hip Hop 50” review

DJ Premier is a 56 year old producer & DJ from New York City that I think anyone who’s passionate about this culture we call hip hop should be familiar with by considering his lengthy production discography whether it be Gang Starr, PRhyme, Jeru the Damaja, Group Home & many others. He’s rightfully regarded as one of the greatest hip hop producers of all-time & is definitely in the top 5 in my book, so to see that he’s dropping a debut EP of his own with all proceeds going to the Universal Hip Hop Museum that’ll be opening in 2024.

“Lettin’ Off Steam” by Joey Bada$$ is a rock/boom bap infused opener talking about getting the paper whereas “Remy Rap” by Remy Ma & Rapsody takes a funkier turn to boast their lyrical abilities. The song “Beat Breaks” by Nas works in some synthesizers paying tribute to Queensbridge while the penultimate track “Terrible 2’s” by Run the Jewels talks about how they can’t be fucked with over a petrifying boom bap instrumental. “The Root of All Evil” by Lil Wayne & Slick Rick ends the EP on a positive note looking ahead to a promising future.

Didn’t think we’d get a solo effort from the Boom Bap God himself, but I’m happy we did because it’s the best EP of the year right now. The list of guest MCs was incredibly curated & Preem just knocked it out of the park behind the boards. Very excited to hear if he’ll be involved with the 2nd installment to commemorate the 50 year anniversary of our culture next summer.

Score: 4.5/5

Joey Cool – “The Chairman of the Board” review

This is the 6th full-length album from Kansas City, Missouri emcee Joey Cool. Catching attention as a long-time affiliate of local independent hip hop powerhouse Strange Music dropping a total of 4 mixtapes & a studio album on his own, Tech N9ne decided to officially sign him to the Snake & Bat in 2017 & dropping his eponymous sophomore album the next year. This was followed up with Old Habits Die Hard as well as Coolie High & I Tried to Be Normal Once, but is ringing in another summer by delivering The Chairman of the Board.

After the “Moonlight” intro, the first song “Bumpy Johnson Back” is a boom bap opener with Joey returning to his roots whereas “The Chairman” takes a hazier route talking about being on deck. “Kingsman” shoots for a symphonic aesthetic detailing coming from a long line of hustlers just before Tech N9ne comes into the picture for the trap-tinged “Mega Grit” to talk about how they’ve been immortalized in this rap game.

Meanwhile on “Havana Conference”, we have Joey over a dusty instrumental advising not to call him lucky leading into King Iso tagging along for “Idle Hands” to return to trap territory thanks to Wyshmaster talking about eyeing a demon dancing. “Iceberg” with the legendary X-Raided who just happened to sign to Strange Music a couple months ago is a cloudy boom bap banger with both of them describing how cold blooded they are, but then “Hoodoo” incorporates a sped-up blues sample talking about staying at the bottom of the sea.

“Casper Holstein” mixes some pianos & snares comparing him to that of the Harlem monster of the same name & even though Tay Diggs’ verse on “Lansky” is probably the weakest feature on the album, I do like the plucky boom bap beat as well as the Meyer Lansky-influenced subject matter. X-Raided returns 1 last time for “We Got ‘Em Now” keeping it boom bap talking about doing it bigger than ever while “Troubled Waters” weaves some pianos & handclaps addressing the ones that made it through the hardships.

The song “My Boy” elaborates about his homie Frankie saying the best revenge is massive success over a flute-heavy instrumental while the penultimate track “Teremana” comes through with an aggressive ode to the titular brand of tequila. “The Best is Yet to Come” closes out the album with a chill boom bap anthem produced by Dominique Sanders talking about being far from done.

I’ve enjoyed just about every album that Joey has dropped since signing to Strange, but The Chairman of the Board stands as one of my favorites in his whole discography. I think the production’s a little bitter than the one he dropped last summer & he sounds a lot more confident on here as he leaves no room for questions regarding his current status.

Score: 3.5/5

Lloyd Banks – “The Course of the Inevitable 2” review

This is the 5th full-length album from Queens emcee Lloyd Banks. Gaining notoriety in the 2000s for his witty punchlines along as well as being an original member of G-Unit alongside childhood friends 50 Cent & Tony Yayo, he kept himself busy for a little while after the group’s disbandment in 2015 by releasing A.O.N. 2 (All Or Nothing 2): L.I.U. (Live It Up) & Halloween Havoc 3: 4 Days of Fury just before taking on a 5-year hiatus that really lasted until he received a song placement on the soundtrack for Griselda Records’ theatrical debut Conflicted a year & a half ago & his comeback effort The Course of the Inevitable last summer. However, we’re now being treated to The Course of the Inevitable 2 after getting a couple singles recently.

“Impact” opens up the album with Lloyd calling this his get-back on top of a cold instrumental from Cartune Beatz whereas “No Reward” takes the eerie boom bap route talking about rewards only come with the struggle. Conway the Machine tags along for the appropriately titled “Menace” to lyrically obliterate their competition leading into Benny the Butcher coming into the picture for the piano-tinged “Living Proof” talking about how real ones always regroup.

Meanwhile on “Value of a Check”, we have Lloyd addressing those wylin’ for a rep over a dusty instrumental just before “Power Steering” with Jadakiss finds the 2 talking about makin’ a killin’ this time around & the beat here’s just ok.“Fell in Love” shoots for a more sensual vibe whilst excellently tackling the idea of being lovestruck even though he didn’t want to, but then “Socialize” returns to the boom bap acknowledging the fact that some people will literally do anything for survival.

“Murda 1” has a more sumptuous beat talking about how vacations will come when the rain’s gone while “Don’t Switch” reunites with Tony Yayo to call out those who be changing up on their kinfolk without holding anything back over a cloud boom bap instrumental. “Dead Roses” brings in the pianos talking about wanting his flowers while he can still smell ‘em while the song “Trapped” talks about how some doors are open for a reason of a deadpan beat. The penultimate track “Traffic” with Dave East & Vado finds the trio maliciously declaring anyone who turns their back needs to suffer while “On My Way” is an organ-laced opener talking about it’s how you get up, not how you fall.

Anyone who’s been following G-Unit for the past 2 decades should know by now that Lloyd rarely misses when he drops & The Course of the Inevitable 2 to me is a worthy sequel to the comeback album that he just dropped a little over a year ago. His punchlines are always highly entertaining to hear & not only do the features remain as consistent as the predecessor was, but the production does also.

Score: 3.5/5

DaeMoney – “Slayer’s Coming” review

DaeMoney is a 22 year old rapper from Detroit, Michigan who also happens to be the nephew of one of the 2 biggest artists in the city right now Babyface Ray as well as member of the WRLD Tour Mafia collective. He dropped his debut mixtape Young Sexual Misconduct & his debut EP Slae Season, which was followed up last summer by his 2nd EP Rockstar Lifestyle & then his Slae Season 2 in the fall. Now in light of DaeMoney signing to EMPIRE Distribution recently, it’s only right for him to celebrate by delivering a 3rd EP.

“Level Up” is a futuristic opener co-produced by LulRose talking about Dae’s success whereas “Wayne Perry” takes a wavier approach bragging that no one can touch him. “Andrew Wiggins” continues to work in some more synths & hi-hats talking about being tired of detailing his lifestyle leading into “Losses & Lessons” taking a more introspective approach from the subject matter to the glossy production. The song “Lemon Cherry” shoots for a mellower vibe talking his shit with the penultimate track “Do More” fusing trap & rock to tackle the concept of more problems coming as you get richer, but then “Congratulations” ends the EP with a meditative ode to the self made.

For those of you who’re familiar with Babyface Ray & are looking to get into DaeMoney, then give Slayer’s Coming a listen because it has to be my favorite effort from Dae thus far. Much like Ray, his sound is completely different in comparison to some Detroit trap rappers sounding the same & speaks from the heart about his life profoundly.

Score: 3.5/5

ssgkobe – “RELAPSED” review

This is the 15th EP from Louisiana rapper ssgkobe. Emerging out of the SoundCloud scene just a few years back, it wasn’t until earlier last spring when he was featured on a bonus track off of BROCKHAMPTON’s final album to date ROADRUNNER: NEW LIGHT, NEW MACHINE where I was introduced to him. His major label debut albeit 12th EP overall KO. that came out a couple months later wasn’t the best place to start diving into his discography at all, but I was genuinely intrigued by Night Before once I started listening to his earlier work. That being said: I went into RELAPSED hoping that ssgkobe would redeem himself.

“Hershey” is a rage-induced opener wanting to know what his purpose is whereas “Getcha” takes a symphonic trap route to start boasting. “Oh No!” goes into atmospheric territory reaching the epiphany that his bitch was a thot while the song “9” talking about walking around strapped over a misty trap instrumental. The penultimate track “Every Second” has a cavernous aesthetic to it brushing off those who’re bitter at his success & “Okay, What R U Saying?” ends the EP with kobe over a woozy instrumental calling out someone for capping.

Compared to KO., there’s no denying that Relapsed is like night & day in terms of quality. The production has improved sounding a bit more varied in comparison to the predecessor trying to reach an audience that doesn’t exist & I respect that ssgkobe’s wearing his heart on his sleeve a lot more this time around, but I’d love for U4EYA to be a melting pot of the new sounds he’s dabbling with now & his rage/plugg roots.

Score: 3.5/5

Nyce da Future – “Forever Mobbin’ review”

Nyce da Future is an MC from Queens, New York who came to my attention last spring with his Havoc-produced debut EP Future of the Streets that was pretty well received. But for his full-length debut over here, he’s enlisting Rochester’s very own Eto to produce the whole thing from top to bottom.

The titular intro is a piano-laced opener letting the world know that this is brotherly whereas “Head Shots” takes a solemn turn getting into boss mode. Reek da Villain tags along for the symphonic boom bap banger “Drillin’” to give off some murderous intentions just before the deranged “Close Range” to spit that gun talk.

Flee Lord comes into the picture for ”On God” to tug the heart strings from the subject matter to the sample-based instrumental leading into the dreary title track getting back on his gangsta shit. “Good Morning” returns to a sample-heavy sound talking about feeling blessed, but then the Big Twins-assisted “Fit for the War” perfectly lives up to it’s name from the combative bars to the cinematic beat.

Meanwhile on “Me”, we have Rob Gates joining Nyce to switch it up into trap territory talking about it doing it because of themselves while “It Ain’t Fair” marks a return to the boom bap declaring himself the hottest in Queens right now. After the “Reno Speaks” interlude, the song “Hoody Season” with Reno provides a gloomy anthem for the fall down to the dejecting instrumental while the penultimate track “Motivated” is a rich ode to his dedication. Reno returns again for the closer “Criminal Minded” for a grisly boom bap ode to the thugs.

If you enjoyed Future of the Streets as much as I did, then I highly recommend givin’ Forever Mobbin’ a listen because this is a very impressive full-length debut in my personal opinion. Couple of the features were lackluster, but it’s crazy to hear how much Eto’s production game has progressed within the last couple years & Nyce sounds just as hungry as he did 14 months prior.

Score: 4/5

Westside Gunn – “Peace FLYGOD” review

Westside Gunn is a 39 year old emcee, songwriter & entrepreneur from Buffalo, New York who’s already proven his legend status at this point whether it running one of the hottest hip hop labels in recent memory to his first 2 full-lengths FLYGOD & Supreme Blientele. Last we heard from him was almost a year ago by now with the double disc conclusion to the Hitler Wears Hermes mixtape series with Side B being superior to Side A but with his 40th birthday coming up at the end of the month, he’s celebrating a little early by dropping his 10th mixtape.

After the titular intro, “Jesus Crack” with Estee Nack & Stove God Cook$ sets off the album with drumless yet soulful & jazzy instrumental talking about making cake by the thousands whereas the Estee-assisted “Ritz Barlton” takes a lo-fi boom bap route comparing the halfway house to that of the titular hotel. “Big Ass Bracelet” with Stovey works in a bare soul sample to get on their fly shit, but then “Bobby Rhude” is basically an Estee solo cut talking about glory over more beautiful vocal chops taking it’s name after WWE producer, former NXT Champion, WWE United States Champion, 3-time WWE Tag Team Champion, 2-time TNA World Champion, 6-time TNA World Tag Team Champion & 2-time NWA World Tag Team Champion Bobby Roode.

Meanwhile on “Derrick Boleman”, we have Gunnlib & Stove God Cook$ on top of a classy loop referencing lucha libre popularized by the Lutteroth family-owned Consejo Mundial de Lucha Libre (CMLL) & it’s rival promotion in the Peña–Roldán family-owned Lucha Libre AAA Worldwide (AAA) leading into “Horses on Sunset” incorporates a smoky boom bap beat talking about how someone should’ve shot someone 7 times instead of 6.

The song “Open Praise” details love turning to envy ’cause Westside’s success over some pianos while “Danhausen” named after the titular AEW star who I met at Astronomicon this spring is a jazzy boom bap banger produced by Conductor Williams with West rightfully bragging. “Flip v. Phil” by Eastside Flip ends the album with a sample provided by Daringer reminding that he’ll put his competition to sleep.

I know he’s been teasing Michelle Records for a while now & for him to give us this as a prelude to warm everyone up for the main course, I’ll definitely take it. Stovey & Estee continue to take their lyrically chemistry with Westside to new heights with the production giving off some abstract undertones this time around.

Score: 3.5/5

Ken Carson – “X” review

This is the sophomore album from Atlanta, Georgia rapper Ken Carson. Breaking out in the SoundCloud scene & becoming a protege of Playboi Carti as one of the first artists to sign to the latter’s newly founded Opium Records, he would go on to drop a total of 5 EPs prior to his full-length debut Project X last summer. But as he & Destroy Lonely gear up to hit the road next month, Ken’s re-emerging in the form of X.

The intro kicks off the album with some Atari-like synths & rattling hi-hats letting y’all know he ain’t stupid whereas “New” works in some rage beats to show off all the shit he has now. “Gems” stays in hypertrap territory talking about his evolution from Teen X to X Man, but then “Nobody” goes into a bassier direction confession all that he really needs is the bread & nothing else.

Meanwhile on “Go”, we have Ken coming through with an energetic ballad about running all your shit up just before Destroy Lonely tags along for the rage-induced “MDMA” produced by OPM BABI & Outtatown flexing their wealth. The title track continues to bury the Teen X persona deeper into the ground over some bombastic production just before “P.D.B.M.H. (Please Don’t Blow My High)” has a more uptempo flare to it asking not to blow his high as the title suggests.

The somewhat tropical vibe of “Money Hunt” is really cool as he expresses his joy of everything in his life going up while the blobby “South Beach” lets everyone know that he’s a real one. “Goin’ Schitz” psychedelically describes a bitch feeling of ecstasy while “Same Thing” has some incredibly dancy grooves to it talking about pulling up on you & your gang.

Following that, “Freestyle 1” dismisses any kind of discussion that doesn’t involve money keeping it in hypertrap turf prior to the F1LTHY of Working on Dying-produced “Freestyle 2” perfectly picking up whether the predecessor left off talking about how you shouldn’t have fucked with his crew. “Fuk 12” is a brief yet chaotic middle finger to the feds & Destroy Lonely returns yet again for “Murda Musik”, which goes 10x rawer than “MDMA” was.

The Homixide Gang come into the picture for the quasi-mystic “Delinquent” confessing they get high until they can’t think straight while the song “Get Rich or Die” gives off a futuristically fresh aesthetic to the instrumental talking about talking about going on vacation. The penultimate track “Turn Up” is of course a synth-laced riot starter & “The End” closes out the album with some poppy undertones calling out an ex for being unfaithful.

Project X showed a lot of room for growth in Ken & now that we got X, I think it has to be the one of the best rage albums I’ve heard all year so far right behind Fallen Raven & 2 Alivë of course. The production is a little bit better than the offering we got a few years ago & I’d actually have to say Destroy Lonely is my favorite Opium signee now that he just signed to the label a few months back, but Ken really shows some admirable maturity as well.

Score: 3.5/5