Bas – “[BUMP] Pick Me Up” review

This is the 2nd EP from Paris, France born albeit Queen, New York raised emcee Bas. Breaking out onto the scene with his debut mixtape Quarter Water Raised Me a little over a decade ago, he eventually signed to J. Cole’s very own Interscope Records imprint Dreamville Records at the beginning of 2014 & his full-length debut Last Winter a couple months after. His sophomore effort Too High to Riot would go on to become one of the best albums that Dreamville has ever put out, but his last album Milky Way wound up being a bit of a mixed bag for me. That being said, I was very much looking forward to [BUMP] Pick Me Up given the singles he teased us with.

“[Eyes on You]” with Galimatias is a decently spacey R&B duet that kicks off the EP taking about being entranced by one another while the song “[Admire Her]” with Gunna of course goes into rubbery trap territory describing their admiration for bitches who be fully loaded & it’s slightly better than what we heard at the beginning. The penultimate track “[The Jackie]” with J. Cole & Lil Tjay finds the trio over a melodic yet bouncy instrumental from T-Minus telling motherfuckers to stop playing with them sharpshooting like former 7-time WWE world champion, 3-time WWE tag team champion, 5-time WWE United States Champion, 2-time WWE Intercontinental Champion & 2-time WWE Hall of Famer Bret Hart while “[The Others]” ends the EP with a peppy ballad encouraging listeners to be grateful for all they have.

Even though [BUMP] Pick Me Up happens to be significantly shorter than Milky Way, I happen to think it’s a tad bit more superior than Bas’ last album & certainly fits as a short batch of summertime jams. The production is a lot more fun & the performances from the features alongside Bas himself are a lot more catchier.

Score: 3.5/5

Jae Skeese – “Authenticity Check” review

Jae Skeese is a 31 year old MC from Buffalo, New York who first emerged in 2010 off his debut mixtape W.A.C.K. (Women, Alcohol, Cash & Kicks). However, it wasn’t until a decade later where he & 7xvethegenius got their biggest break thus far after the very first signees to Conway the Machine’s very own EMPIRE Distribution imprint Drumwork Music Group. He just dropped his 7th mixtape Revolver Ocelot over the fall & then his 2nd EP Iroquois Pliskin a couple weeks ago, but is now tapping in with Big Ghost Ltd. to produce his 3rd EP from top to bottom.

“Shuttlesworth Form” is a creepy boom bap opener reintroducing himself whereas “Premium Grails” continues to flex his lyrical abilities & the groove of the bass happens to be my favorite part of the instrumental here. “Double Nickel at MSG” takes a more chilling route as far as sound goes talking about big stepping just before “Drip or Drown” works in a guitar & some dusty drums explaining that he’s in over his head.

Meanwhile on “Triple Post Offense”, we have Con & 7xve assisting Jae for a stellar Drumwork posse cut with an interesting vocal sample while the song “Stick-Up” reveals itself to be a perfect ode to muggin’ from the raw beat to the “Gimme the Loot” sample around the 43 second mark referencing 3-time WWE world champion, 5-time WWE Intercontinental Champion, WWE United States Champion, 9-time WWE tag team champion, 3-time WWE Hardcore Champion, 3-time TNA World Champion, 2-time TNA World Tag Team Champion, ROH World Tag Team Champion, HOG Tag Team Champion, ΩCW Heavyweight Champion, ΩCW New Frontiers Champion, 2-time ΩCW Tag Team Champion & The Crash Mundial Parejas Campeon Jeff Hardy. The penultimate track “Vintage Eastbay Pages” encourages listeners to staying committed to making that bread over some vibraphones & “$1.50 wit Tax” admits how crazy his life has been when you really think about it over a shimmering instrumental.

Now for those who loved Jae’s verse on “Drumwork” & you’re looking to get into his music, then I’d recommend starting with Authenticity Check because I happen to look at it as the crown jewel of his discography thus far. In comparison to Iroquois Pliskin he’s at his best lyrically & the production that Big Ghost Ltd. brings to the table is incredibly consistent.

Score: 4.5/5

billy woods – “Aethiopes” review

This is the 10th full-length album from Washington, D.C.’s very own billy woods. Whether it be him teaming up with Elucid as the duo Armand Hammer or his own solo output like History Will Absolve Me & Dour Candy, there’s no denying that he’s been steadily holding it down for the abstract hip hop scene for a minute. But coming off Armand Hammer’s magnum opus Haram produced entirely by The Alchemist last spring, billy is now enlisting Preservation to lace Aethiopes from top to bottom.

“Asylum” is a chilling opener with it’s piano instrumental & vivid storytelling from billy whereas “No Hard Feelings” works in a blaring instrumental talking about how he’ll “show you Slum Village”. “Wharves” throws some vibraphones in the mix describing monster cannibals just before Boldy James & Gabe ‘Nandez tag along for the dusty “Sauvage” getting on their street shit.

Meanwhile on “The Doldrums”, we have Billy on top of a settle yet dark instrumental reminding that “nothing happens ‘til it does” leading into Armand Hammer & Crown Nation teaming up for the dusty “9” to talk about the one true & livin’. Mike Ladd comes into the picture for “Christine” to somberly upset the town, but then the El-P/Breeze Brewin’ assisted “Heavy Water” providing streams of consciousness on top of a grim beat.

“Haarlem” is a decent 2-parter with Fatboi Sharif coming through with one of the weaker features on the album, but Despot’s verse on “Versailles” happens to be much better as he & billy get conscious on top of a triumphant instrumental. “Protoevangelium” with Shinehead delivers some slick production talking about “Whom the cap fits, let them wear it” while the penultimate track “Remorseless” speaks for itself over a flute-heavy beat. “Smith + Cross” then ends the album with a bare, harmonious loop talking about some being slumped & gassed in what they’ve done.

For this to be billy’s first solo outing in 3 years, I think he happened to come back with one of my favorite ones that he’s crafted so far. A couple of the features lacked, but Preservation knocks it out of the park behind the boards & billy’s abstract lyricism continues to blow wigs back.

Score: 4.5/5

Vince Staples – “Ramona Park Broke My Heart” review

Vince Staples is a 28 year old rapper, singer/songwriter & actor from Compton, California who came as a close affiliate of the now defunct Odd Future collective. He would go on to release 4 mixtapes before signing a joint deal with Blacksmith Recordings & even No I.D.’s very own Def Jam Recordings imprint ARTium Recordings. My personal favorite of which being Stolen Youth, which was entirely produced by the late Mac Miller. His first major label outing Hell Can Wait was a dope little EP preluding the full-length debut Summertime ‘06, which became one of the best double disc albums of the previous decade. Vince later detailed the pitfalls that came with his success on the next EP Prima Donna, but the dude’s sophomore effort Big Fish Theory was unquestionably his most experimental work yet. But after linking up with Kenny Beats for his 3rd EP FM! & his eponymous 3rd album, Vince is looking to reach out to some outside producers for his 4th one.

“THE BEACH” kicks off the album with some organs talking about his G’s moving whereas “AYE! (FREE THE HOMIES)” follows it up with a guitar driven ballad dedicated to all his homies locked up. “DJ QUIK” takes a spacier route referencing my favorite diss track of all-time “Dollaz + Sense” in the hook just before the DJ Mustard-produced “MAGIC” works in some Bay Area influences talking about feeling like he’s floating.

After the “NAMELESS” interlude, we have Vince on top of a sample of “No Love” by Lyves for “WHEN SPARKS FLY” talking about them taking his girl away from him leading into Lil Baby tagging along for “EAST POINT PRAYER” to deliver some braggadocious trap. “SLIDE” goes into glossier territory talking about being shot at, but then “PAPERCUTS” returns to trap turf explaining that it’s all about the money.

“LEMONADE” is a cloudy declaration of life being bittersweet while “PLAYER WAYS” has a moodier tone talking about keeping it funky with the bitches. “MAMA’S BOY” compares his love for the game to the love he has for his own mother really well over a pillowy beat while “BANG THAT” returns with a gangbanger’s ode.

After the “SPIRIT OF MONSTER KODY” interlude, the penultimate track “ROSE STREET” mixes pop rap with trap to explain him putting his gang ties over hoes & “THE BLUES” closes out the album on a darker note encouraging the listeners to pray for him.

Every time Vince drops a project, I know I’m getting myself into some crazy concept & Ramona Park Broke My Heart lives up to if not surpasses the expectations set by self-titled this past summer. I love how he details his experiences of exploring the utility of home & how the overall sound of the album varies in comparison to his last couple efforts being heavy on Kenny Beats’ signature sound.

Score: 4/5

Paul Wall & Termanology – “Start 2 Finish” review

This is the brand new collaborative album between Paul Wall & Termanology. One hails from Houston, Texas & the other coming straight out of Boston, Massachusetts. However, both of them have been holding it down for the culture for the past 2 decades with their insane work ethics & albums like The People’s Champ or Politics as Usual. They’ve worked with one another a few times within the last couple years & are now taking their chemistry to new heights by dropping Start 2 Finish.

“No Asterisk” opens up the album with a soulful Statik Selektah instrumental talking about wanting the rings & the title whereas “Ask Permission” takes a jazzier route advising to ask them in advance prior to pulling up to either H-Town or Beantown. “Recognize My Car” dives into boom bap territory with the help of Pete Rock talking about whips just before Bun B tags along for the classy money making anthem “Thailand”.

Meanwhile on “No Favors Pt. 2”, we have Paul & Term delivering a fresh sequel to a joint off The Po-Up Poet leading into Statik KXNG & Wais P coming into the picture for the triumphant “Clubber Lang” spitting braggadocio. “How You Been?” goes into a sensual direction thanks to Dame Grease getting romantic while the song “No Tolerance” with Fly Anakin & NEMS is just a dusty, 4 minute barfest. The penultimate track “Money on My Phone” has a slower beat talking about that’s all see & “Step Outside” with Millyz ends the album with a powerful boom bap ballad encouraging to forget what it’s like living in the dark.

Coming from someone who’s been a fan of these guys for a minute, Start 2 Finish is definitely one of the best collab efforts that either one of them have ever made. I think Paul sounds great on top of traditional East Coast production & his chemistry with Termanology is improving steadily also.

Score: 4/5

Coi Leray – “Trendsetter” review

Coi Leray is a 24 year old rapper & singer/songwriter from Hackensack, New Jersey who started making musical a decade back inspired by father Benzino. Even though I found her debut mixtape Everythingcoz along with her first 2 EPs EC2 & Now or Never to be mediocre, I was curious about her full-length debut over here given that I genuinely liked a couple of the singles she dropped within the last year.

“Hollywood Dreams” is a drumless yet euphoric opener talking about doing this music shit for her whereas “Blick Blick” comes through with a pop rap cut with God awful performances from Coi & Nicki Minaj stealing the show. I would much rather listen to that than “Aye Yai Yai” with Yung Bleu though because it’s a cringey, buttery sex ballad. “Mountains” with Fivio Foreign & Young M.A.comes through with some triumphant lyricism over a somewhat psychedelic instrumental just before G Herbo tags along for the futuristic “Thief in the Night” to play Coi’s “sneaky link”.

Meanwhile on “Overthinking”, we have H.E.R. coming into the picture over an acoustic trap beat from BNYX of Working on Dying to help Coi talk about men not listening while “Clingy” almost has a West Coast groove to it with NAV awkwardly playing Coi’s counterpart much like “Thief in the Night”. That being said, “Heartbreak Kid” works in some fresh guitar riffs getting flirtatious & “TWINNEM” almost made my worst singles of 2021 list because it’s pretty much a ripoff of “Best Friend” by Saweetie & Doja Cat. “No More Parties” with Lil Durk on the other hand impressed me with it’s piano instrumental and the topic of going on to do better things.

After the “Be Me” interlude, “Lonely Fans” has a warm feeling with the production as Coi spits off the dome for a minute & a half while “Heart in a Coffin” is a dreary breakup anthem. “Paranoid” with Polo G finds the 2 delivering a twangy trap banger addressing themes of loyalty, mistrust & fame while “Box & Papers” aggressively talks about how “what’s forgiven is never forgotten”.

“Mission Impossible” with Lil Tecca sees the pair talking about their success with Chief Keef cooking up what’s easily the best beat on the album while the song “Too Far” is a touching dedication to her homie Atkins who’s locked up. The song “Mustard’s Interlude” with A Boogie wit da Hoodie has yet another acoustic trap flare to it with them trading the mic with one another very impressively while the penultimate track “Anxiety” is a rubbery display of how 2021 was for her. “BIG PURR (PRRDD)” with Pooh Shiesty ends the album with an ass kicking drill cut.

Yeah, it’s safe to say that Trendsetter is yet another run of the mill pop rap album with slightly more misses than hits. Coi is most certainly talented & most of the features came correct, but the album just feels all over the place as a whole & a lot of the production choices are very questionable in my opinion.

Score: 2/5

Fivio Foreign – “B.I.B.L.E. (Basic Instructions Before Leaving Earth)” review

Fivio Foreign is a 32 year old rapper from Brooklyn, New York who happens to be a protege of former Bad Boy signee Ma$e. He would go on to sign to the pastor’s Columbia Records imprint RichFish Records & has since dropped only 2 EPs: Pain & Love and 800 B.C.. Now truthfully, I didn’t get introduced to Fivio until I heard his verse on “Demons” off of Drake’s 6th mixtape Dark Lane Demo Tapes a couple years back & just wasn’t impressed at all. But when I heard his verse on “Off the Grid” off Kanye West’s final Def Jam album DONDA last summer, I was highly impressed & I can say the same for his recent singles. Needless to say: My anticipation for Fivio’s full-length debut was very much there. Even more so after learning he got Ye to executive produce it & Mike Dean to do all the engineering.

“On God” is a drumless duet with KayCyy talking about having each other if all else fails whereas “Through the Fire” samples the Chaka Kahn joint of the same name as he & Quavo fight their demons. “Magic City” goes into drill territory as he & Quavo talk about partying, but then “City of Gods” with Kanye follows it up with an incredibly fun dedication to the Big Apple.

Meanwhile on “What’s My Name?”, we have Fivio as well as Coi Leray & Queen Naija over a sample of “Say My Name” by Destiny’s Child for a romance ballad just before “For Nothin’” has a folkier vibe talking about having a shooter. “Hello” takes a syrupy route talking about looking for a lady like her leading into the A$AP Rocky-assisted “Confidence”, which is basically a 2 minute braggadocious banger.

Lil Yachty tags along for the apocalyptic “Slime Them” displaying an impressive back & forth chemistry with Fivio while “Feel My Struggle” works in a high pitched vocal sample detailing the hardships that he had to face. Yung Bleu’s verse on “World Watching” is one of the weakest features on the album even though Lil Tjay’s verse was decent & Fivio obviously stole the show. The Ellie Goulding sample is but after the “B.I.B.L.E. Talk” interlude, “Changed on Me” with Polo Gis a glorious shot at those who switched up on them.

Following that, “Left Side” follows it up with a boring gangsta love jam down to the redundant Blueface verse while “Love Songs” heavily samples “So Sick” by Ne-Yo & the latter actually appears on here for a sequel to the ‘06 hit. The penultimate track “Whoever” incorporates some choir vocals to deliver an open letter to anyone & finally, “Can’t Be Us” is an emotional closer talking about what makes him a man.

B.I.B.L.E. (Basic Instructions Before Leaving Earth) isn’t the most mind-blowing debut I’ve heard all year, but it did finally win me over on Fivio because I do enjoy a good portion of what I’ve heard. The features are alright, but the Brooklyn drill sound he came up on is more refined & I admire how he’s basically putting his life experiences on wax.

Score: 3.5/5

Ouija Macc – “Fallen Angelic” review

This is the 7th mixtape from from Las Vegas, Nevada rapper Ouija Macc. Originally breaking out in the fall of 2017 off his debut EP Trashfire, this would result in the Insane Clown Posse signed him to Psychopathic Records almost immediately & he has since proven himself as one of the most consistent & hard working dudes in the underground by dropping 2 full-length albums, 2 greatest hits compilations, 6 mixtapes & 4 EPs all in the span of 5 years. Last we heard from Ouija was back in November when he dropped PRETTY/UGLY 2 which is much superior to the predecessor but to kick off the 2nd quarter of the year, he’s preluding his upcoming 3rd album Stalewind with Fallen Angelic.

After the “Prophecy” intro, the first song “Rory Mercury” is an eerie trap opener comparing himself to the Gate character of the same name whereas “Playalo” will go down as one of the best Ouija songs ever made taking a symphonic trap route thanks to Devereaux coming through with an ode to the juggalos. “Hellcat” goes into cloudier territory talking about how we should be proud of him just before Whitney Peyton tags along for the bassy “Big Step” talking about not wanting shit.

Meanwhile on “17 Blunts”, we have Ouija on top of a hazy beat delivering theme music for the smokers leading into the pillowy trap cut “Get It Like” talking about being all in his zone. “Did It on Purpose” goes into darker territory calling out those who don’t wanna see him winning, but then “Ain’t No Fun” has a more entrancing vibe talking about how everyone wants to hate someone.

“Hatchet Up” of course comes through with yet another Psychopathic ode except this one’s more rowdier while “La Flama Blanca” returns to the cloud rap sound talking about how this is more than just two. Kid Bookie’s verse on “Moonlight” doesn’t do much for me even though I like Devereaux’s production & the whole idea of too much shit going on to be on their dicks while “Crawl” gets raunchy as fuck & will definitely get all the Lettes going wild at future shows.

Following that, “Replay” incorporates some synthesizers telling the DJ to run it back while “Brandishin’ That” with a fun ass-shaker’s dedication. The song “Swang 2” with Ricky Hil finds the 2 on some acoustic trap shit delivering a decent sequel to a joint on Waterdamage while the penultimate track “Hate Myself” keeps things in acoustic territory talking about his self-hatred being for nothing. “Roadmap” ends the tape on a grungier encouraging to follow him at your own risk.

Chapter 17 Records is definitely gonna have a big 2022 & I think Fallen Angelic is a stellar way to kick it all off. The features are a tad bit better than PRETTY/UGLY 2, Ouija’s songwriting continuously gets better at getting stuck in your head & I really hope he continues to dabble with new sounds going forward because he’s been doing it excellently as of late.

Score: 4/5

Stevie Stone – “Raising the Bar” review

This is the 7th full-length album from Missouri emcee Stevie Stone. Garnering attention attention as one of the very last 2 artists to ever sign with Ruthless Records alongside Hopsin, both of their full-length debuts New Kid Comin’ & Gazing at the Moonlight received little to no promotion leading both artists to leave the crumbling label. Hopsin went on to form Funk Volume shortly after before closing shop in 2016 whereas Stevie signed to Strange Music in 2012. He eventually became one of the label’s flagship artists up until he left last spring to form his own label Ahdasee Records following his previous album Black Lion. But to celebrate the 1-year anniversary of being fully independent, Stevie is back in full-effect for Raising the Bar.

“Hostile Stone” kicks off the album with a thunderous trap banger about putting his foot on these other rappers’ necks whereas “Raise the Bar” with Flawless Real Talk, JL, Locksmith, Spaide R.I.P.P.E.R. & Statik G finds the 6 on top of a Hellish beat flexing their lyrical prowesses. “Sincerly Smokin’” comes through with a cloudy weed-smoker’s theme, but then Daun P tags along for the sensual “Sex Flex Yes” which is probably my least favorite cut on the album. Meanwhile on “M.O.T.F. (Money on the Floor)”, we have Krizz Kaliko & Sage the Gemini joining Stevie for a decent party starter just before “Don’t Be Late” takes a more melodic route talking about how “this our song”.

“B.S.P. (Big Shit Poppin’)” returns into cloudy trap territory explaining that he makes this look easy, but then Daun P & Lyrikal TMG come into the picture for the gritty “Minding My Business” talking about how they don’t got time for fuckery. The penultimate track “East I-70” comes through by reflecting while driving down the titular highway & “Cold Revenge” ends the album with a piano ballad by dissing all the “friends” of his that betrayed him.

Being a fan of Stevie since my adolescence, I come away from Raising the Bar a little disappointed & torn by the final product. For this to be his 1st musical statement since leaving Strange Music, it’s overloaded with features & the production is merely passable. However, there’s no denying the husky lyricism that made him so prominent with the Snake & Bat during the previous decade.

Score: 2.5/5

Sadistik – “Bring Me Back When the World’s Cured” review

Sadistik is a 35 year old MC from Seattle, Washington who broke out in the spring of 2008 off his full-length debut The Balancing Act. However, it wasn’t until Flowers for My Father & more specifically Ultraviolet where I started listening to him regularly. Altars was ok & Haunted Gardens was slightly better but once I saw that the criminally underrated Kno of the CunninLynguists was producing Sadistik’s 6th album from front to back, I had very high expectations going into it.

“Burning Suns” is a summery boom bap opener talking about bringing him back when the world’s cured whereas “You Don’t Know” goes into atmospheric territory talking about where darkness forms. “The Earth Was Empty” takes a meditative route talking about being as empty as the planet is just before “Ghostly Key” works in a gorgeous sample talking about only seeing the negative.

Meanwhile on “Apple Valley”, we have Sadistik on top of a hypnotic flip looking back on his childhood leading into the soulful “Carnelian” making references to the man who died for our sins. Natti tags along for “Mothlight” to talk about life being too pretty to be depressed with a stellar sample for the hook “Neptune Skin” is a complete 180° somberly tackling spontaneous combustion, but then “27 Club” admits that all his heroes died at 27 over a spacey boom bap beat.

“Disappear” throws in a slowed down vocal sample to talk about being in outer space while “Where You Want Me” marks a return of the boom bap if you will talking about his woman having him where she wants him. “Rainclouds, Pt. I” with Lucy Camp finds the 2 on top of a electronic instrumental saying that rain outside isn’t unusual with “Pt. II” comes through with a glossy switch-up talking about being nocturnal.

Following that, “Blue Tree Meadow” has a chilling vocal sample addressing suicide while “Mulholland Drive” has a peppier tone talking about driving down the titular Los Angeles street. The song “Quietus” confessing his deathly instincts while the penultimate track “Godmode” delivers a spacey ballad about being a God himself. “Serpens (Trial of Lucifer)” ends the album with a cinematic declaration that he’s the bringer of the light.

If you’re a fan of both these guys, then you’re doing yourself a disservice not bumping Bring Me Back When the World’s Cured because I happen to look at it as Sadistik’s best work since Ultraviolet. Kno’s production is a lot more consistent than it’s been on the last 2 albums & Sadistik continues to show his scars through his pen.

Score: 4.5/5