Stu Bangas – “Death Wish” review

This is the full-length solo debut from Boston producer Stu Bangas. For the last 15 years, the dude has become a household name in the underground realm by giving beats to an ever-growing list of veterans ranging from members of the Army of the Pharaohs collective to the late Sean Price. But since 2019, he’s been steadily grinding his ass off producing projects for the likes of Ill Bill & Recognize Ali. He just dropped the conceptual Empires with Cypress Hill percussionist Eric Bobo back on 4/20 & is now branching out on his own once more in the form of Death Wish.

After the titular intro, the first song “So What You Wanna Do?” by the Heavy Metal Kings is a dramatic boom bap opener thirsting for blood whereas “Candy From a Baby” by Vangarde takes a happier note looking back when Mr. Lif’s mom gave him his 1st boombox. “Levitate” by Apathy lividly talks about defending the throne referencing WWE Hall of Famer William Shatner & after the titular interlude, “Skull Fucker” by Starvin’ B weaves in some grim pianos telling listeners to be glad he ain’t tapping their chins.

Meanwhile on “Come Correct”, we have Tha Connection forlornly spitting that dope slanger shit just before “Dead Body” by Lord Goat & Recognize Ali wickedly quenches for blood. “Brotherhood” is a serious Watson & Holmes reunion talking about getting right, but then “Same Spot” by Juga-Naut weaves in some keys speaking on not really advancing when you know the path.

The track “Outta My Way” by Snak the Ripper & Young Sin finds the 2 aggressively advising their opposition to walk away before it’s too late & before the titular outro, the final song “Fill the Cemetery” by Celph Titled & G-Mo Skee rounds out the album with endless wig-flipping punch you in the face bars & an apprehensive instrumental.

As much as I liked Beats & Blood, I’d have to say that he really stepped it up on Death Wish. Easily one of the best producer albums that I’ve heard in a while in my opinion. His production is top notch as it usually is, but the list of MCs that he brings along for the ride is much more consistent in terms of their performances.

Score: 4/5

Remedy – “Remedy Meets Wu-Tang” review

Remedy is a 51 year old MC/producer from Staten Island, New York who first made his mark with the song “Never Again” off the Wu-Tang Killa Beez’ debut album The Swarm in the summer of ‘98. He eventually made his full-length debut The Genuine Article in the spring of ‘01 & followed it up with Code Red about 2½ years later. The last we heard from him on his own was when It All Comes Down to This but as the 11-year anniversary of that approaches in a few weeks, he’s enlisting a star studded cast of veterans to be featured on his 4th album.

Ghostface Killah tags along for the opener “Modern Day Miracle” working in an occultist loop to verbally abuse anyone who wants to challenge them whereas “Death Defying” with Inspectah Deck finds the 2 over an operatic instrumental talking about choosing whether to kill or be killed. “Sparrow” takes a more soulful route feeling comparing himself to the titular bird leading into Ghostface returning alongside Conway the Machine for “The Pulpit” incorporating some orchestral samples talking about the street life.

Meanwhile on “Crazy 8’s”, we have 5 of the 9 current Wu-Tang Clan members joining Remedy alongside Solomon Childs & Streetlife for a cool 3-minute cypher just before RZA hops on the dusty “Supreme Intellect” getting on their Killa Bee shit. “To Say the Least” has a more suspenseful tone addressing George Floyd’s murder, but then Solomon returns with Trife Diesel for the piano-laced “Greatness: The Kila Bee Legacy” talking about witnessing such.

“The Recipe” weaves in a more funkier sound as Remedy & Method Man get flirtatious whereas “The Art Basel” with Ghostface Killah & Shyheim climactically talks about belonging in such. “Calculated Risk” lusciously sums of Rem’s life in 2 & a half minutes while the song “Killa Bee Invasion” with Cappadonna & Solomon Childs serves as a gritty homage to the collective of affiliates.

The penultimate track “Noir Story” is a full-on Killah Priest solo cut with a drumless instrumental & his lyricism on here is a reminder as to why he’s this reviewer’s 2nd favorite affiliate right behind Killa Sin in terms of lyrical skill, but sticks out like a sore thumb compared the previous cuts. “Never Again” then ends the album by mournfully paying tribute to those we’ve lost along the way.

If you’re a diehard Wu fan like I am, then you’re gonna come away from this highly impressed. It’s great to hear Remedy completely rejuvenated & he does an awesome job of paying homage to my all-time favorite hip hop group from the guests to the production.

Score: 4/5

A.M. Early Morning – “Nicholson” review

This is the full-length debut from Chicago, Illinois emcee A.M. Early Morning. Coming up off his debut EP The Maxi Single Project back in 2017, he would later go on to release a couple more installments making a trilogy out of it as well as 7AM 747 & Oakley. He just dropped the Nightwalker-produced Late Night Early Morning III a couple months back & now to see Johnny Slash fully producing Nicholson from front to back definitely peaked my interest given how much I enjoyed the beats of his that G-Mo Skee freestyled over when he would finish his YouTube video game streams.

“Wendy” is a brief yet gruesome intro proclaiming he’ll turn his competition to slaw whereas “Full Amount” goes into boom bap territory talking about how it’s going out once it comes in. Daniel Son & Poison Pen tag along for the sinister “This Tape” saying that the rap game is a legal hustle just before “Vibes” dolefully talks about fucking with the best.

Meanwhile on “When I Shoot”, we have Johnny Gunnz coming into the picture to earnestly help remind listeners they don’t miss leading into “Can’t Let ‘Em Breathe” fuses together some dusty drums & keyboards talking about having his foot on the rap game’s neck. “The Hammer” with Jaber & Lo Gun then finds the trio bloodthirsty on top of a unhinged instrumental, but then “Criminal Collective” ominously talks about making your own moves.

The song “No Cap” grimily calls out all the studio gangsters out there while the title track with Gavlyn almost has a bit of a dejected yet jazzy tone to the production & the 2 are comparing themselves to that of the retired actor of the same name. “Joe Pesci” then finishes it off by aggressively airs out everyone under the sun.

Coming away from Nicholson, I can say without question that it’s even better than the EP he just put out a couple months ago. He & Johnny Slash couldn’t have payed tribute to one of the greatest horror movies of all-time any better while bringing the best out of each other.

Score: 4.5/5

R.A.P. Ferreira – “The Light Emitting Diamond Cutter Scriptures” review

This is the 7th full-length album from Kenosha, Wisconsin emcee/producer R.A.P. Ferreira. Coming up as 1/3 of Nom de Rap, he eventually broke out solo in 2011 off his debut mixtape I Wish My Brother Rob Was Here & followed it up with 2 more tapes before dropping his full-length debut A Toothpaste Suburb in the fall of 2014. However, it wasn’t until the Kenny Segal-produced sophomore effort So the Flies Don’t Come where Ferreira would come onto my radar. He’s dropped 3 more albums since then with the latest one being Bob’s Son: R.A.P. Ferreira in the Garden Level Cafe of the Scallops Hotel this past New Year’s Day, but is ending the year by dropping The Light Emitting Diamond Cutter Scriptures.

“contrapuntal” is a moody opener talking about another long day for lone wolf & cub whereas “brother mouzone library card” speaks on his metamorphoses accompanied by a lo-fi instrumental. “hyperion” takes a spacey boom bap route talking about fucking the antennas, but then “wedding cake 8ths” dissonantly details splitting weed on a first date with a nemesis.

Meanwhile on “humboldt park jibaritos” we have Ferreira on top of a jazzy beat talking about how it’s all about the feeling than the wording leading into the mellow “gemilut hassadim” proclaiming that art is part of being alive. ELDON tags along for “Blackmissionfigs” which once again goes a into a more lo-fi direction talking about rapping forever just before “east nashville” goes into a more cavernous direction saying he’ll never quit.

The song “Praise & Worship” has a bleak, boom bap tone to it comparing himself to Black Orpheus while the penultimate track “uptown 37” brings in a dramatic tone to the instrumental vowing to be gorgeous & homeless. As for “hot bref”, it closes out the album on a smokier note by talking about having God in him.

Even though Bob’s Son was a great tribute to the late Bob Kaufmann, I’d have to say The Light Emitting Diamond Cutter Scriptures is a little bit more consistent in comparison. It’s really cool to see him showcasing the talents of all these unknown, up-&-coming producers while attaching his poetically unique style to their beats.

Score: 4/5

Twiztid – “Untitled” review

This is the 13th EP from Detroit duo & Astronomicon founders Twiztid. Consisting of Jamie Madrox & Monoxide, the pair originally started out as part of the House of Krazees alongside childhood friend The R.O.C. in 1992 before their initial disbandment 5 years later. Almost immediately after, the Insane Clown Posse took Jamie & Mono under their wings by signing them to Psychopathic Records as the demented duo they’re known as today. They would become the label’s 2nd biggest act being their mentors off projects like Mostasteless, Freek Show, Mirror Mirror, The Green Book, W.I.C.K.E.D. (Wish I Could Kill Every Day) & Abominationz. Shortly after the latter was released, Twiztid left Psychopathic to form Majik Ninja Entertainment in 2014. Since then they’ve released 6 albums, with my favorites being The Darkness at the top of 2015 & then /ˌrevəˈlāSH⁽ᵊ⁾n/ which just celebrated it’s 1-year anniversary recently. But after going into rock territory on Unlikely Prescription at the beginning of the fall, Twiztid gave fans a little treat to those who placed an order of $75 or more this Black Friday.

“The Hell That We Been Through” is an impressive opener from Triple Threat produced by Stir Crazy energetically encouraging their Day 1’s to stick together with them while the song “Sugar” goes into a bleaker direction talking about how they’re not fine mentally which they always do well with at subjects like that. The penultimate track “Real Clique” is a ghoulish trap banger taking shots at their opposition which is dope if you’re into battle raps & “On the Grind” finishes the EP off with Triple Threat reuniting on top of a misty Fritz the Cat instrumental flexing their hustle.

Although the mixed reception of Unlikely Prescription was a given & even I myself was 50/50 on it (that’s coming from a place of love too), I came away from this untitled EP enjoying it as much as I did Electric Lettuce back in the spring. They pick up where /ˌrevəˈlāSH⁽ᵊ⁾n/ left off in the sense that they demonstrate how talented they are as MCs & returning to a more hardcore hip hop sound, proving that they haven’t forgotten about their core fanbase.

Score: 3.5/5

Super Famous Fun Time Guys – “Mom’s Not Offended, She’s Concerned” review

This is the 2nd EP from Ohio duo the Super Famous Fun Time Guys. Consisting of Mr. 8 Legz & Whipstick, they originally broke out in 2018 off their full-length debut Our Album & then the Super Dudes Crooning the Tunes EP where they freestyled over songs like Yasiin Bey’s Mathemathics” or even Earth, Wind & Fire’s “September”. Following their sophomore effort How Do You Fit a Cassette in a Discography? & their solo debut EPs, they became the very 1st act to sign to the almighty Alla Xul Elu’s independently owned Long Live Evil label & their 3rd album Don’t Hug Me from the Front quickly won a lot of people (including myself) over with how well it mixed horrorcore with comedy. But they’re coming fresh off a small handful of singles to celebrate Black Friday with Mom’s Not Offended, She’s Concerned.

After the “Not Another Intro” intro, the first song “Stuck” featuring Dent 1 is a boom bap/g-funk fusion paying tribute to their fans whereas “Crash & Burn” works in a piano talking about going down in flames with smiles on their faces referencing former 5-time ECW World Heavyweight Champion, ECW World Tag Team Champion, XPW King of the Deatmatch Champion & アイアンマンヘビーメタル級チャンピオン The Sandman alongside WWE Hall of Famer, former 2-time WWE world champion, ECW World Television Champion, 6-time WWE Intercontinental Champion, 5-time WWE Tag Team Champion, 4-time & the final WWE Hardcore Champion, TNA World Champion & TNA X Division Champion Rob Van Dam. “Finder’s Keepers” takes a more mellow route telling the story of discovering a body on the side of the road, but then “Play Your Role” has some trap undertones getting on their wicked shit.

The song “Another Round” featuring Billy Obey returns into boom bap territory talking about going through the motions again & not knowing how to snap out of it while the penultimate track “Wittalittlebitta” is a bit oxymoronic with it’s summery production & speaking about painting the town red with dark clouds hanging above them. “Like Damn” then finishes the EP by melodically talking about locking their victims in the basement.

“Heart Shaped Bed” featuring Alla Xul Elu produced by Billy Obey putting a horrorcore spin on Valentine’s Day while “Strangers on the Track” featuring Madd Maxxx finds the trio talking about having hatred in their lungs. “Got Worms?” featuring M.M.M.F.D. displays the back-&-forth chemistries of both duos addressing those who thought they were safe while “As I Say” showcases their storytelling abilities portraying themselves as night stalkers.

Young Wicked joins Legz & Whipstick on “Now That’s What I Call Murder” including a reference to 2-time WWE Hall of Famer, 6-time WWE world champion, 4-time WWE United States Champion, 14-time WWE tag team champion, 2-time WWE Hardcore Champion, RoW Tag Team Champion & TNA World Tag Team Champion Booker T while “Your Wife’s a Hoe” featuring Donnie Menace sets out to fuck up your day. The final bonus track “Lord of the Flies” featuring Lee Carver rounds it out throwing their horns up high ushering a new wave.

Not only does this EP remind me that these guys are quickly becoming one of my favorite duos in the underground right now, but it also goes to show that Long Live Evil is continuing to rebuild itself as what Psychopathic Records once was in their prime almost 2 decades ago. Legz & Whip continue to make themselves stick out with their own with the production choices continuing to level up.

Score: 4/5

Lex the Hex Master – “Palace of Illusions” review

Lex the Hex Master is a 37 year old MC from Queens, New York who broke out in 2015 with his independent debut album Born in Hell. The demented Detroit hip hop duo Twiztid would sign him to their label Majik Ninja Entertainment shortly after & he has put out a plethora of releases since including The Black Season, Contact, the Mr. Ugly duology, Beyond Redemption, Shadow King, Strictly 4 My N.I.N.J.A.S., Party Castle & Haunted Mansion. But after laying low for a good portion of the year so far, Lex is returning with his 4th EP.

After the intro, the first song “Dream State of Mine” kicks off the EP with an acoustic trap banger talking about making them bow down whereas the C.G.-produced “Get Sippy” with Gibby Stites & Skullz has a bit of a more West Coast feel instrumentally talking about turning up. “Thriller” mixes together some dusty drums & synthesizers saying he can’t disappear until they know his name just before “Real One” almost has a bit of a Latin trap influence to Poetic Beats’ production letting listeners know who you’re rocking with.

The song “Closed Minds” with Jamie Madrox finds the 2 going into boom bap territory firing back at those who’re quick to dismiss their talents while the penultimate track “Main Squeeze” takes a more futuristic route in terms of sound talking to his potential ride or die bitch. “Highway to Heartbreak” then closes out the EP with a passionate piano ballad talking coming a long way & still being here today.

We’ve waited a little over a year for this 3rd installment in a 4-part series of EPs & I’d say it’s a solid comeback for Lex. The production in comparison to his past material is probably the most diverse it’s ever been, his lyricism is as cutthroat as always & there’s no denying that he took his time with this one. Very excited to hear how the series will end hopefully next year.

Score: 3.5/5

Killakwabo – “Slept on by the City 2” review

This is the latest extended play from Charlotte, North Carolina emcee Killakwabo. For the past 2 years now, the man has been solidifying himself in the underground whether it be for the more chilled out sound that he shoots for or projects like Slept on by the City or more recently Millionaire Mentality. But now, he’s seen fit to drop a sequel to Slept on by the City produced entirely by Obscure Planet.

The intro is a cloudy opener about smoking weed to get away from the pain whereas “Up Next” keeps the atmospheric vibes going declaring himself as such. Sir Loc tags along for the dreary “All Day” showing their love for Mary Jane yet again just before “Weekend” takes a more joyous route talking about a woman who wants to chill with him on the weekends.

“Stomp” with Rashaddre finds the 2 over some cavernous production getting in their fighting bags while the penultimate track “The Man” reunites with Sir Loc over a tropical trap beat bragging about being them motherfuckers. “Out of My Face” closes out the EP by advising those who ain’t about the money to leave him alone over a glossy instrumental.

Now admittedly, I wasn’t familiar with this guy until his recent interview with the homie Cthree a few weeks back. That being said though, Slept on by the City 2 is an enjoyable sequel to the predecessor. Obscure Planet whips up some incredibly hazy production to spark a joint to & Killakwabo’s flow on top of it fits like a glove.

Score: 3.5/5

Stalley – “Blacklight” review

Stalley is a 39 year old MC from Massillon, Ohio who came up in 2008 off his debut mixtape Goin’ Ape. This was followed up with MadStalley: The Autobiography & Lincoln Way Nights, which led Rick Ross signing him to Maybach Music Group. However, he would only put out 4 tapes & the full-length debut Ohio under Rozay’s wing before leaving in 2017. New Wave & Another Level both came out through Real Talk Entertainment which were kinda mediocre honestly, but the Nature Sounds-backed sophomore effort Reflection of Self: The Head Trip wound up being his best since Saving Yusuf. But now in light of his deal with Mello Music Group, it’s only right for Detroit’s very own Apollo Brown to produce Stalley’s 4th album from front to back.

After the “Hidden” intro, the title track is a rich opener about everything you’re hiding behind coming to light whereas “Love Me, Love Me Not” with Skyzoo joyously follows it up by calling out those who pray on their downfall. “No Monsters” works in some piano melodies to speak on those who don’t understand where the hunger comes from leading into the psychedelic boom bap banger “We Outside” encouraging to stay on your grind.

Meanwhile on “Humble Wins”, we have Stalley taking a more orchestral turn talking about catching the Ws in silence just before the synth-heavy “Breathe” finds him not letting the pressure fuck with his focus. “Lost Angels” almost has a bit of a gospel influence to it admitting a spiritual connection with the block, but then “Catch Up” incorporates some choir vocals getting on some grown man shit.

Joell Ortiz tags along for the whimsical “Bobby Bonilla” to chase that bag while “The Realest” declares himself as such over a jazz/trap fusion. “Broad Spectrum” has a more nocturnal sound to it talking about victories coming with a price-tag while the vulnerable “Stay Low” gets on some introspective life shit. The final song “What the Hook Gon’ Be?” brings in a woodwind & live drums talking about bringing pressure to the streets, but then “Omari’s Lament” ends the album with a spoken word piece.

Even though I enjoyed Stalley’s output back in the Maybach days, I think Blacklight has surpassed all of those projects in terms of quality. He’s always shown his potential as lyricist, but it all comes full circle here & Apollo Brown’s production is top notch as to be expected.

Score: 4.5/5

Ouija Macc – “PRETTY UGLY 2” review

Ouija Macc is a 36 year old rapper from Las Vegas, Nevada who I’ve covered multiple times up to this point. In 2017, the Insane Clown Posse signed him to Psychopathic Records shortly after putting out his debut EP Trashfire independently. Ouija 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, 5 mixtapes & 4 EPs all in the span of 4 years. This year itself he formed his very own sub-label Chapter 17 Records as well as joining forces with Baby E for We Never Forgot & following it up on his own by releasing Dirtbag on his own a couple months later but with his born day passing earlier this month, he & longtime collaborator Devereaux are getting back together for his 6th mixtape.

“Get a Life” sets off the tape by demonically calling out those dismissing his talents whereas “Bag Dad” with K1LLWH1TEY bombastic encourages to chase that paper. “Origami” vibrantly talks about folding money like such just before “That’s Wet” incorporates a sitar using the title in the form of a few different metaphors.

Meanwhile on “Bad Company”, we have SmrtDeath joining Ouija to cloudily tell a shawty that wants to swerve with them that they’re unsavory leading into the cavernous “Homonym” hazily talking about bringing them commas in & the DJ scratches during the last minute or so blew my wig back. “Giddy U” atmospherically gets on some romantic shit, but then “Nothing Else” has a more peaceful tone instrumentally as Ouija talks about being put here to ride or die.

It’s really cool to hear the beat on “Ever Since” continuously layering itself as it goes on looking back on his past whereas “Let Me Rot” subduedly talks about decomposing at the top. “Feelin’ Nothing” has a bit of an ambient trap vibe speaking on being apathetic when he steps out the chamber just before the guitar driven “Quiet Game” talks about keeping the flame lit & not having to say shit.

“Juggalord” is the only song that Devereaux didn’t produce yet it almost has a Three 6 Mafia feeling down to the hook as Ouija rightfully reminds that he’s never been a bitch & “It’s a Go” steelily talks about being down for all maneuvers. The song “Say It Much” is another guitar/trap ballad expressing his love for his lady while the penultimate track “Make Me Laugh” viciously disses those who’re scared of him blowing up. The closer “Pain Away” finishes the tape with a grungy weed anthem.

As much as I enjoyed the first PRETTY/UGLY, I genuinely think this sequel is even better. I like how the features are more toned down in comparison to the predecessor but most importantly; Ouija & Devereaux are basically the wicked shit’s equivalent to Future & Metro Boomin’ at this point because both of them take their songwriting & production game to a higher level every time they get together.

Score: 4/5