Cymarshall Law – “I Still Love H.E.R.” review

Cymarshall Law is a 40 year old MC from Burlington, New Jersey who emerged back in ‘04 as part of the duo Power Man & Iron Fist alongside the late Pumpkinhead. However it wasn’t until 3 years later where he branched out on his own off the full-length debut Hip Hop in the Flesh, which was followed up by the Hip Hop in the Soul trilogy & Freedom Express. He’s made a handful since, but is returning in full effect for his 11th album.

“Intro to H.E.R.” begins things with a bit of a plinky instrumental saying he’s still here because of his dedication to the culture whereas “MF Law” has a bit of a Tribe feel to it reiterating the JAY-Z line “Do you fools listen to music or do you just skim through it?”. The title track with Venomous2000 & Kafeeno is basically his own rendition of the Common joint “I Used to Love H.E.R.” just before the self-explanatory “4 Jersey” pays homage to Law’s home state on top of a heavenly instrumental.

Meanwhile on “The Innocence of Love”, we have Kafeeno returning alongside Dynasty for a sensual R&B-tinged cut leading into U.G. taking Dynasty’s spot for the tense “For the Love (No Cap)” talking about the future. After the “Voice of Hip Hop” interlude, “The Normal New (Growing Up in the Pandemic)” richly details how he’s been living with the post-COVID world & “Electric B-Boy” is fresh ass anthem for the breakdancers out there.

The song “The Incredibles” with Grafh finds the 2 on top of an organ loop to start going at their opposition’s throats while the penultimate track “Creators” is easily the most motivational one on the entire album & the production really kicks the emotion up. “Spit It Dad (King’s Revenge)” ends with a 3-minute barfest with a dusty ass beat.

This dude has damn near a dozen albums under his belt already after being in it for almost 2 decades, but I Still Love H.E.R. is definitely amongst his best. You can easily tell the dude was having fun spitting again given how animated his performances are & the vintage production is also much appreciated.

Score: 4/5

Konspiracy Kamp – “Infidel” review

The Konspiracy Kamp are a quintet from Kalamazoo, Michigan consisting of Checkmait, Drama Treason, J Cutlass, Shneal & Young Ghost. The group has gone on to release 4 full-length albums & an EP throughout the 7 years they’ve been together but for the 20 year anniversary of 9/11, they’re enlisting Boston veteran C-Lance to produce a 7-track EP in it’s entirety.

“TV & Jesus” hypnotically kicks the EP off by telling us the 2 things that America really needs whereas “Neck Cutter” goes into boom bap territory getting bloodthirsty. 9th Prince tags along for the Middle Eastern-tinged “Blood on the Hand” proclaiming themselves as rebels. The titular song has a more trap vibe calling for unity just before “Regicide” heinously calls to kill all the kings. The penultimate track “Loud Ass Mouth” is a boom bap banger about how they’re always talking shit, but then the closer “Heretic” works in some snares & a guitar talking about how people wanna burn them.

I’ve been following these guys for a few years now & coming away from Infidel, I was not disappointed by it whatsoever. The raw production of their previous efforts is taken to a whole new level as is their conscious lyricism & even the way all the members bounce off one another.

Score: 4/5

Twiztid – “Unlikely Prescription” review

Twiztid is a hip hop duo from Detroit, Michigan consisting of Jamie Madrox & Monoxide, both of whom 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 5 albums & 4 EPs on their own label, my favorite of which being /ˌrevəˈlāSH⁽ᵊ⁾n/. But for their 15th full-length right here, the Astronomicon founders are making a complete stylistic departure from the horrorcore sound they became known for.

“Corkscrew” is an electronic rock opener produced by A Danger Within talking about breaking down & asking for God to forgive them whereas “Twist & Shatter” gets on some emo shit talking about pulling apart again. “Broken Heart” goes into industrial rock territory with the help of drummer Drayven Davidson addressing an ex, but then “Confused” has a bit of an airy backdrop during the verses as the guitars dominate the majority of it. Lyrically, they’re talking about going from being hated to being famous.

Meanwhile on “Neon Vamp”, we have Cradle of Filth frontman Dani Filth joining Twiztid for a blatantly pure industrial hip hop banger encouraging the listener to go crazy leading into the hard rock banger “Comes with an Apology” talking about dealing with life until they’re gone. “Rose Petal” fuses together industrial music & rap metal going at the throats of judgmental people, but then “Dead Instead” has some killer guitar work despite the verses being mixed low & I appreciate the message of metaphorical walls closing in their minds.

“Parasite” has these infectiously catchy riffs as Jamie & Mono say they’ll never conform whereas the ScatteredBrains-produced “Perfect Problem” has to be my favorite on the album, being a straight up rap rock riot starter declaring themselves as such. “If I Get Things Right” asks to stop with the pretending on top of some killer drums & the hook one of the catchiest on the album, but “More Than a Memory” somberly tells the listener to remember their names in the end.

The song “Envy” is basically a mediocre attempt at a radio rock hit even though I can commend the message about how jealously can be the end of someone while the MIKE SUMMERS a.k.a. 7-produced penultimate track “No Change” with Matt Brandyberry sounds like a cheesy entrance theme you’d hear on WWE nowadays. “World of Pretend” ends the album on a victorious note, with Twiztid talking about what it feels like when you’re reeled into such.

These guys have ALWAYS had elements of rock in their music but now that they took on that sound for the length of an entire album, I’m on the fence with it. Half of these joints actually sound really good & the other doesn’t do all that much for me personally. That being said: I am looking forward to the successor Welcome to Your Funeral produced by Zeuss because he did a great job on the mastering, so I have a feeling he’s gonna help refine the style of rock Jamie & Mono wanna go into. Hopefully they give us more shit like “Empty”, “Wrong with Me”, “Alone”, “Darkness” & “Familiar”.

Score: 2.5/5

Baby Keem – “The Melodic Blue” review

Baby Keem is a 20 year old rapper, singer/songwriter & producer from Carson, California who actually happens to be Kendrick Lamar’s younger cousin. He’s gone on to drop 4 EPs & 2 mixtapes in the last few years, with his sophomore tape Die for My Bitch being the one that helped boost him to the point where he rightfully earned a spot on the 2020 XXL Freshman Class. However now that he’s signed to K. Dot’s newly formed pgLang with distribution from Columbia Records, we’re finally being treated to a full-length debut from the promising West Coast up-&-comer.

“trademark usa” starts off the album with a 2-parter produced with Ging & Rogét Chahayed shouting out the dead & being the same dude in 48 states whereas the self-produced “pink panties” embraces a funkier vibe singing about lust. “scapegoats” takes a more soulful turn thanks to DJ Dahi & FNZ telling us he thought there was redemption in the 4 ethers while “range brothers” by The Hillbillies boisterously divides itself in 3 portions thanks to both 30 Roc & Dez Wright, although the “top of the mornin’” hook during the final part has since become a meme.

As for “issues”, we have Keem taking a more minimalistic sound opening up about the memories of certain people in his life leading into “gorgeous” telling his bitch that she’s a dime on top of a synth-heavy instrumental. “south africa” hooks up some pianos talking about him & his girl both having the money while “lost souls” featuring Brent Faiyaz on the remix moodily declares all these hoes as such with an equally catchy outro telling his woman that he’s on her side.

“cocoa” featuring Don Toliver finds the 2 teaming up for a playful club banger & I love how “family ties” by The Hillbillies begins with Cardo & Outtatown bringing in these horns for Keem’s verse & later taking a grimier turn for Kendrick to smoke your top 5. “scars” climatically asks God why life is so hard & once “durag activity” obviously takes a psychedelic route as Travis Scott comes into the picture flexing their wealth, “booman” has a jazzier vibe talking about being a barbarian.

The song “first order of business” has a bit of a more ambient sound talking about loyalty & gratitude while “vent” brings Kendrick back 1 last time even if it’s only for a chorus, viciously ask if you’ve ever been punched dead in the face & letting his cousin channel his anger through a singular verse. “16” ends asking Keem’s girl won’t she think about them while “hooligan” starts the deluxe run by having Oogie Mane of Working on Dying combining trap & pop rap so Keem can talk about his reckless lifestyle.

“no sense” fuses pop rap, trap & cloud rap sidestepping all the bullshit that comes around him while “a life of pain instrumentally gives off a Halloween type mood spitting a whole verse flexing of doing his dance in areas & not feeing strange about it. “killstreaks” featuring Don Toliver reunites the pair so they can hypnotically talk about their partners having them running around the country while the “patience” interlude slathers his vocals in auto-tune & takes a more repetitive approach to his songwriting.

Cardo flips “Everlasting Bass” by Rodney O & Joe Cooley on “naked” admitting he’s too impatient hence why he missed the possibility of the hoes at the function getting undressed while “fine china” samples “Real Recognize Real” by Doe Boy & Roddy Ricch expressing his desire of caring for the woman he bags. Tae Beast samples “Killing Me Softly with His Song” by the Fugees during “highway 95’” detailing why they call him 2 Phone Keem & the final bonus track “bank account” featuring Lil Uzi Vert boasts their riches.

I’ve always suggested to check out Die for My Bitch for those who’ve never heard of Keem, but now I have to recommend The Melodic Blue because he really outdid himself on here & has already proven himself to be the most talented pgLang signing of the label’s only 2 artists. His lyrical skills have increased as did his production & his versatility from the energetic trap, hardcore hip hop & pop rap joints to the infectious alternative R&B cuts is really admirable.

Score: 3.5/5

Gift of Gab – “Finding Inspiration Somehow” review

Gift of Gab was a 50 year old MC from Sacramento, California who came up as 1/2 of the duo Blackalicious & a member of the Quannum Projects collective almost 3 decades ago. However, it wasn’t until the spring of 2004 when he broke out solo by dropping 4th Dimensional Rocketships Going Up. This was followed up with Escape 2 Mars as well as The Next Logical Progression & Rejoice! Rappers Are Rapping Again! but with his passing over the summer, he was able to complete 1 last album & Nature Sounds is now putting it out.

After the intro, the first song “Slaugtah Dem (Godly)” has a thunderous instrumental with Gab getting in his battle rap bag whereas “Going Farther” works in a boom bap instrumental with some plinky keys & the title basically speaks for itself in terms of content. “The Gentrification Song” has a moodier sound addressing his feelings on the process of changing the character of a neighborhood through the influx of more wealthy residents & businesses just before “You Gon’ Make It in the End” with Lateef the Truthspeaker & Vursatyl is a touching moment on the album telling the listeners to push on.

Meanwhile for “Vice Grip”, we have Gift of Gab switching in between rhyme schemes over an explosive beat from Nick Andre leading into him describing “The World Without Money” & the instrumental is funky as Hell. I like the atmospheric shift on “Alchemy” as Gab tells the listener to keep it going, but “Enter the Dragon” has a more cinematic sound ascending to another level.

“A Weekend in Venice” is more of an R&B-tinged interlude while the song “The Idea of America” has a funnier sound with Gab continuing the streams of consciousness. The penultimate track “Breathe In” is a more tropical cut saying all you need is love & then “Back to the Light” couldn’t have ended the album any better by providing a beautiful glimmer of hope despite the dark days.

Overall, I think Finding Inspiration Somehow is a bittersweet swan song from the late Sacramento emcee. It showcases why a truly one of a kind lyricist lyricist he was, the production’s on point & I love the miniminal amount of guest MCs being featured. Just exactly how he would’ve wanted it to be.

Score: 4/5

AZ – “Doe or Die II” review

AZ is a 49 year old MC from Brooklyn, New York most notable for his longtime association with Nas, being the only feature on the latter’s iconic debut album illmatic with the song “Life’s a Bitch”. He would later go to signing with EMI Records & drop a full-length of his own Doe or Die little over a year later, which is one of the greatest mafioso hip hop albums of all time. Other standouts in his discography include Pieces of a Man, Aziatic, A.W.O.L. & The Format. Last time we heard from AZ was in 2009 when he released Legendary to mixed reception but after a 12 year hiatus, he’s returning with a promising sequel to the album that started it all.

After the “Conversations with God” intro, the first song “Just 4 U” has a rich instrumental from B!nk by paying tribute to the listener whereas “The Wheel” is a boom bap duet with Jahiem produced by DJ KG telling Heaven to help them because they’re still caught in a metaphorical wheel. Baby Paul helps take things to a dustier route on “Keep It Real” paying tribute to those who keep it 100 leading into the jazzy “Never Enough”, where AZ & Rick Ross get on their mafioso shit.

Meanwhile for “Different”, we have a classy celebration of life just before Conway the Machine & Lil Wayne assist the barfest that is “Ritual” with a grimy instrumental from none other than The Alchemist. Things than take a churchy turn with the help of Buckwild for AZ & Dave East to flex their wealth on “Blow That Shit”, but then declares himself as “Bulletproof” with a glistening boom bap beat accompanying him.

Pete Rock brings in an eargasmic vocal sample for “Check Me Out” flexing AZ’s rapping prowess while the song “Time to Answer” responds to those asking him what’s the hold up with his new music & of course The Heatmakerz stick to their signature chipmunk soul sound. The penultimate track “Found My Niche” lyrically needs no further explanation with a spacious boom bap instrumental from The Czar-Keys & the Rockwilder-produced “What’s Good” is a rich closer asking if you’re living or dying.

In the grand scheme of sequel albums, Doe or Die II absolutely lived up to the hype of the original & was well worth the 12 year wait. Hell, I’ll even go as far to say it’s a tad bit better than King’s Disease II. AZ spitting that grown man shit like he never left, the features all come correct & the production is a lot more detailed than it was on Legendary.

Score: 4.5/5

Common – “A Beautiful Revolution 2” review

Common is a 49 year old MC, actor & writer from Chicago, Illinois who first emerged 3 decades back by being featured in the Unsigned Hype column of The Source back in the publication’s heyday & resulted in a 3-album deal with Relativity Records shortly after. Can I Borrow a Dollar? was a solid debut even though you can tell that he still hadn’t come into his own yet, but embraced the conscious hip hop that became universally known for with his next 2 albums Resurrection & One Day It’ll All Make Sense. However once we entered the new millennium, Common ended up signing to MCA Records for 2 albums: his magnum opus Like Water for Chocolate & the experimental Electric Circus. The label then dissolved at the beginning of 2003 & he jumped ship to G.O.O.D. Music/Geffen Records. His debut under Kanye West’s then-newly formed label Be received universal acclaim, but Finding Forever was a respectable follow-up & I can’t really say the same for the hip house-centered Universal Mind Control. After his contract with G.O.O.D./Geffen was fulfilled, he decided to reunite with No I.D. & drop The Dreamer/The Believer under Warner Records before Immenslope was granted his own Def Jam Recordings imprint ARTium Recordings. Nobody’s Smiling was a great response to the ever-increasing crime rate in his hometown & the Karriem Riggins-produced Black America Again was even greater given that it was revolves around the 2016 presidential election. But it’s safe to say that Common has been making himself home at Loma Vista Recordings & sticking with Karriem on the production end of things these last couple years, as proven on his previous album Let Love & his debut EP A Beautiful Revolution. However with the 1-year anniversary of the latter approaching at the end of next month, the Chicago/Detroit emcee/producer duo are dropping a sequel in the form of Com’s 13th full-length outing.

After the “Push Out the Noise” intro, the first song “A Beautiful Chicago Kid” is a funky kickstart to the album saying he manifests everything that you see whereas “When We Move” with Black Thought has a groovy instrumental talking about the world following their path. “Set It Free” has a more summery vibe talking about being you just before “Majesty (Where We Gonna Take It?)” serves as a seductive love tune.

Meanwhile on “Poetry”, we have these twangy guitar licks with Com advising to never question the motive leading into the boom bap-tinged “Saving Grace” with the lyrics of course getting spiritual. “Star of the Gang” keeps the dusty drums in motion saying he’s fortunate even though he’s been through a lot while the penultimate song “Imagine” speaks on a paradise over a sample of “Imaginary Playmates” by René & Angela. And before the “!” outro, “Get It Right” ends the album on an uptempo note saying be patient because good things happen in time.

As much as I enjoyed the predecessor, I think the sequel is better. In comparison to the EP tackling all the bullshit that transpired in 2020, the full-length sequel picks up right where things left off & provides the listeners optimism for a brighter day which is perfect given that states are opening back up completely.

Score: 4/5

Yeat – “Up 2 Më” review

This is the full-length debut from Portland, Oregon rapper Yeat. Breaking out in 2018 off his debut EP Deep Blue Strips, he would go on to follow it up the next year with his debut mixtape I’m So Me. Then after dropping We Us & Hold On, it’s safe to say that 2021 is his biggest year yet. Especially given the success of Alivë & 4L. But now with a month since putting out Trëndi & earning a co-sign from Drake, he’s continuing the hustle with Up 2 Më.

“C’mon” is a cloudy opener about killing pussy whereas “Morning mudd” works in some synthesizers from Bugz Ronin to say he had to get up & chase a bag. “Got rich” goes for a more rage-inducing vibe thanks to none other than F1LTHY of Working on Dying with Yeat bragging about his newfound wealth just before “Lët ya know” has a more futuristic sound telling us this might be his last song.

Meanwhile on “Stayëd tha same”, we have Yeat jumping on top of some snares & bells from BNYX to talk about never switching up despite his recent success leading into “Gët Busy” having a bit of a retro video game feel in the beat with boastful lyrics. “Rokstar” boisterously details his new lifestyle, but then SeptembersRich tags along for the rubbery “Trëndy way” talking about how they do shit.

“Swërved It” has some incredible organ harmonies talking about calling out those fronting on him while “Ya Ya” produced by Internet Money Records in-house producers Rio Leyva & Synthetic mixes a bass-line higher than the synths answering “yes” to all these questions people been asking him. “U could “tëll” grimly proclaims his top dog status whereas “Factz” brings in a flute saying he didn’t get this shit for free. “ Bak on ‘ëm” takes a murkier direction speaking on being in a rich climate, but then the instrumental “Hëy” brings to table sounds more robotic & Yeat taking about punching these bitches off the Earth.

“Turban” has a more chaotic sound continuing to detail where he is now leading into the unhinged “Twizzy Rich” proclaiming it’s all on him. The wobbly instrumental on “Told ya” is dope with Yeat saying he just caught the vibe, but then the rubbery synth banger “Monëy so big” that Trgc cooks up talking about his wealth increasing within the last few months due to his newfound popularity.

“Dëserve it” brings back the bells to speak on needing it all while the song “K’ant changë” is a rowdier cut continuing the theme of not letting fame get to him. The penultimate track “Callin’ më” serves as a response to the labels & old friends/bitches contacting him again now that he’s famous & then “Lying 4 fun” is a skeletal closer telling us he’s livin’ life just how he dreamed of it.

Even though I’d have to say 4L & Trëndi are his finest bodies of work to date, I think Up 2 Më continues to build up to Yeat’s hype. I could’ve done without like 5-6 joints & some of them could’ve been more fleshed out, but his unique personality is still shining as bright as it ever did.

Score: 3.5/5

SK da King – “Horus” review

SK da King is a 31 year old MC from Baltimore, Maryland who came up as part of the Checkered Flag Boyz under the original moniker Paul Skola. However, it wasn’t until this past spring where he signed to Conway the Machine’s recently formed Drumwork Music Group as a solo act. And since the whole crew is starting to hit the road for the Love Will Get You Killed Tour tomorrow, it’s only right for SK to drop a debut EP to get new listeners familiar with him.

The opener “I’m God” starts off with a slowed down vocal sample that later transitions into a rich trap instrumental talking about rising to the throne whereas “Blood in My Eye” works in some strings to say he was made for this rap shit. “Dancing Wit the Devil” takes a much more darker approach detailing his lifestyle just before “Actions” calls out those putting on a front.

Meanwhile on “Different”, we have SK delivering an uplifting ode to turning a new page leading into the celebratory “Winners”. The song “P.M.D.” is another upbeat cut talking about doing it on his own while the penultimate track “Ventin’” gets confessional with an instrumental soothing to the ear. “Horus Flow” ends the album with a more minimal sound flexing his lyrical abilities.

Cloud 9: The Update was cool tape, but I think Horus is SK at his best so far & I can’t wait to hear how he’ll carry that over for a full-length capacity because this would be an ideal place for new listeners to start. He sounds a lot more hungrier lyrically & the production sounds crisper too.

Score: 3.5/5

Substance810 – “A Righteous Offering” review

Substance810 is a 37 year old MC/producer from Port Huron, Michigan emerging in 2006 with his debut The Definition under his original moniker Tekneek. Since then, he’s gone on to build up an impressive catalog for himself whether it be the sequel The Definition Of… or the conceptual EP Chess Pieces from last year. He just dropped Makin’ Waves at the end of January & the Hobgoblin-produced The Hanging Gardens over the spring, but is continuing to stay busy by tapping in Onaje Jordan to produce his 9th full-length album from top to bottom.

The opener “Watercolores” with Lupus Dei is a pillowy boom bap opener comparing themselves to Jean-Michael Basquiat whereas the Killy Shoot-assisted title track works in some piano chords to bring a blank canvas for all to see. ethemadassassin tags along for the orchestral “Euro” saying they’re from a hip hop galaxy landing in a foreign planet just before “Savage Lands” starts out with an organ-infused beat & lyrics about making a fire from a calm flame, with “May It Be Swift” switches into a guitar & talking to a human sacrifice.

Meanwhile on “Fool Proof”, we get a hypnotic vocal sample as Substance810 says he don’t trust nobody leading into him & philmatic365 going into a smokier direction for “The Pulpit” talking about wanting to reach the highest of highs. Josiah the Gift comes into the fold on the hypnotically-produced “Power Barz” comparing themselves to the final boss of a video game, but then Chuck Chan slides through for the unsettling “Lake of Fire” telling their opposition that they ain’t saying shit unless their bars are heavy.

ethemadassassin returns on the piano-laced “Grim Predictions” going at those testing their pride whereas “Hometown Hero” lavishly declares himself as such. The song “That’s My Heart” with M.A.V. finds the pair going into chipmunk soul turf talking with a sinner’s peace while the penultimate track “Road 2 Glory” with Deuce Hennessy has some great background harmonies for them to search for the true them. “Memorabilia” then finishes things off with Substance810 & J. Arrr jumping on top of a jazz loop taking a thousand words to make a picture.

For this being the follow-up to The Hanging Gardens, it’s not bad. I dig what Onaje Jordan’s doing behind the boards & I appreciate the fact that Substance810 picks up where the previous album left off lyrically, but they kinda overloaded themselves on the feature end of things.

Score: 3.5/5