Madchild – “Shane 2” review

This is the 9th full-length album from Vancouver, British Columbia, Canada titan Madchild. Coming up as part of the trio Swollen Members & the founder of Battle Axe Records, it wouldn’t be until 2012 when he officially broke off solo with his Suburban Noize Records-backed debut album Dope Sick. He would later go on a hot streak of follow-ups including Lawnmower Man, Silver Tongue Devil, the Evidence-produced The Darkest Hour & Demons. But ever since dropping The Little Monster LP from last winter, dude has been grinding his ass off following it up in the spring with The Little Monster LP 2 & then Shane in the summer. Now that we’re in the midst of fall, it’s fitting for Madchild is dropping Shane 2 before his upcoming collab EP with Obnoxious.

“Boom” sets it off with some horns & hi-hats talking about how life’s a scary movie with a psycho plot whereas “Abattoir” incorporates some dusty drums & a keyboard loop with the help of C-Lance welcoming listeners to his slaughterhouse. “Damage Control” sonically weaves in a faint vocal loop proclaiming himself as a broken soul leading into the guitar, boom bap fused “Kampai” talks about letting the beast out it’s cage.

Meanwhile on “Dog Tags”, we have Joey Oz joining Madchild over an airy trap instrumental from Jimmy Donn to say they were born with such on their chests just before the acoustic-tinged “Trapped” opening up on the demons in his head dancing. “A Confession” vividly tells the story of a good homie of his over a soulful boom bap instrumental, but then “Running” serves as a dark look into his depression.

“Rock Bottom” has a bit of a more playful sound to it with Madchild talking about coming from nothing whereas “Victims” is a jazzy battle rap anthem. The dejected guitar ballad “I Don’t Care” opens up about being cheated on leading into the symphonic “Hangman” getting on his confrontational shit. The penultimate track “Haunted” somberly confesses that he feels like he’s drowning while the closer “Overdose” is a bombastic look at his drug addiction.

It’s also worthy pointing out that “Salty” has a cool saxophone loop dissing those who’re envious of him, but then “OnlyFanz” is the epitome of fake woke basically saying he’s against sex work & even throws some transphobic jabs in the hook. Now as for Madchild putting freedom of speech in question after the song got the backlash it deserved: That’s not the case whatsoever. I & anyone with common sense is all for freedom of speech. It’s just that the talking points through the track are extremely shitty.

Much like how The Little Monster LP 2 is better than the predecessor, I can say the same thing about this. Yeah “OnlyFanz” is one of the worst songs of the year & I’ll even go as far to say it’s the worst song dude has ever made, but I like how it’s more serious than the first Shane was.

Score: 3.5/5

Kut 1 – “Live Wires 2” review

Kut 1 is a producer/DJ from Melbourne, Australia who came to my attention a couple years back when he dropped the split EP The Icons with Neek the Exotic & 9. He eventually dropped a full-length debut of his own called Live Wires last spring & now 20 months later, we’re being treated to a sophomore effort picking up right where the last album picked up.

“Guerrilla Season” by Recognize Ali sets it off with a faint soul sample flexing his rapping prowess whereas “Get Mine Regardless” by Jamal Gasol, Rome Streetz & Saipher Söze somberly details shining through the struggle. “Minute Details” has some cool piano embellishments even Kadeem sounds like he barely has a pulse, but then “It’s a Lifestyle” by Supreme Cerebral has an icy instrumental talking about making money & drinking Rosé.

Meanwhile on “Who Do I Trust?”, we have Agallah over a much eerier beat tackling the concept of trusting nobody but yourself just before “Raised Around Wolves” by O.C. dejectedly talks about how seasons change & some things simply don’t. “Best Served Cold” by Thamson.P weaves in some synthesizers to go at the studio gangstas’ throats leading into “All Love” by Ruste Juxx heinously talking about eating his competition up. “Take a Picture” by KXNG CROOKED sumptuously speaks on being real with the shit whereas “That’s a Muthafuckin’ Fact by Flashius Clay incorporates a harp talking about being invincible on the mic.

The song “Make a Dolla” by Sadat X gets back on the boom bap tip calling out those who claim their hustle is great while the penultimate track “Sodom & Gorrah” by Sleep Sinatra brings in some nefarious horns talking about burning every joint down. “Chopping Block” by Ciecmate & Big Foot finishes the album by showing a back & forth chemistry on top of a beat that sounds like something taken out of a horror flick.

Not as great as The Icons was, but that’s not to say I didn’t enjoy this at all because Live Wires 2 is in fact a solid album from front to back. Much so like the predecessor in my opinion. Despite a small handful of guests missing the mark in terms of performances, I think he’s stepping up his production game quite a bit.

Score: 3.5/5

Big Left – “Slaughter of the Innocents” review

Big Left is a 47 year old MC from Queens, New York who broke out in 2002 off his debut EP Who’s Left?. This was followed up in 2007 with the debut mixtape World War III & then after his short tenure in La Coka Nostra, he finally unleashed his 1st full-length Walking Dead on Devil’s Night almost a decade ago at this point. But after coming out of a hiatus & signing to Force 5 Records, Left is making a comeback in the form of his sophomore album.

“The Reaper” starts it all off with some killer guitar riffs getting in his murderous bag whereas “Fuck ‘Em” with Aztek the Barfly weaves in some keyboards & dusty drums talking about not playing with the paper. “Flavor” is a violin-infused boom bap cut flexing his lyrical abilities just before the Tekk-assisted “Move Back” brings in some haunting organ harmonies talking about knocking motherfuckers out.

Meanwhile on “Pardon Me”, we have King Relik tagging along with Big Left for a thunderous party anthem just before “The Compendium” hauntingly expresses to be acknowledged as one of the greats when he’s gone. “1 Take” has a more vibrant trap sound to it rapping his ass off nonstop for 2 minutes, but then “50 Caliber Bangs” finds Napalm Drop linking up over a synth-heavy boom bap beat talking about staying underground.

The song “Force 5 Syndicate” is an anarchic Force 5 posse cut while the penultimate track “I Tried” melancholically opens up about him attempting to look inside himself. “Get It” with Masamoon then closes out the album on some beautifully ignorant, disrespectful shit.

Left’s been putting it down for the culture for a long time now & Slaughter of the Innocents really proves that he hasn’t lost a step. Hell, I think it’s the best thing he’s ever done! It’s well-produced, the guests are well-picked, he sounds completely rejuvenated & destroys mics like he never took time off.

Score: 4/5

Mr. Cliffnote – “Note to Self” review

Mr. Cliffnote is a 42 year old MC from Detroit, Michigan who came up in ‘06 off his eponymous debut mixtape. He would then form the duo Sidenotes with the homie B-Side a little bit after that & went on to drop the sophomore tape Path to Notification only a few summers back. But with his born day coming & going almost a month ago, Cliff is dropping a debut EP to warn listeners up for Path to Notification 2.

“Godspeed” is a soulful opener going at the throats of wack rappers whereas “The Dirty Bomb” goes into boom bap territory about letting you hear some crazy shit. “Hello Nurse” incorporates some vocals harmonies awkwardly trying to get sensual just before “The Melody” weaves in an organ talking about being given the strength he needs.

Meanwhile on “When We’re Together”, we have Cliff taking another jab at a love joint except this one’s much better down to the DJ Dez instrumental while the song “Visit the D” smoothly talks about a bitch coming to Detroit just to kick it with him even though I’m not too crazy about the hook. The penultimate track “Live On” goes back into boom bap territory to get optimistic & “Gunz” rounds it out with a trap banger about gun control.

Coming away from Note to Self, it’s a solid prelude to Path to Notification 2. The more romantic cuts are either hit or miss but when he’s on his battle rap shit or speaking on real life, it’s actually really compelling. I also think range of sounds throughout the production is a pretty nice touch as well.

Score: 3.5/5

Insane Clown Posse – “Yum Yum Bedlam” review

This is the highly anticipated 16th full-length album from Detroit horrorcore duo, Juggalo Championship Wrestling founders & the longest reigning JCW World Juggalo Tag Team Champions the Insane Clown Posse. Consisting of Violent J & Shaggy 2 Dope, but very few know that 3 other members came & went during the first 5 years of the group’s inception. Not only would The Duke of the Wicked & the Southside Strangla go on to create seminal wicked shit albums like The First 6, but they gained an extremely loyal fanbase in the process & their self-owned Psychopathic Records became an independent hip hop powerhouse as the label’s roster continued to grow. They dropped a prelude EP earlier this year called Yum Yum’s Lure to widespread backlash amongst the juggalos, so J & Shaggs decided to redo the whole album from scratch & drop it in time for the 28th annual Hallowicked show.

After the intro, the first song “Here Comes the Carnival” kicks off the album celebrating the titular mythology that ICP is known for over a feel good rap rock instrumental from Brian Kuma whereas “Wretched” follows it up with a morbid trap banger produced by Devereaux about Violent J being fucked up in the head. The wicked clowns later go back & forth with each other for the highlight “Clown Drippin’” basically putting their own spin on swag referencing former IWGPヘビー級チャンピオン as well as 10-time WWE world champion & former UFC Heavyweight Champion Brock Lesnar, but then “Gangsta Code” reuses the beat Mike P. made for “Movin’ On” off of Boondox’ 4th album Abaddon talking about living & dying by the streets.

Meanwhile on “Queens”, we have the clowns delivering an ode to all the juggalettes out there over a mystical trap beat from Mythic Mindz just before “Panic Attack!!!” works in a guitar for J to talk about going off the walls mentally for 7 minutes. “Fuck Regret” creepily declares remorse as the Devil’s work, but then “Insomnia” takes a more cloudier route detailing J’s struggles with such as announced at the Gathering a couple months back.

“Heart & Soul” is a wack cover of the T’Pau joint of the same name while “The Drunk & The Addict” goes back to the trap direction with the help of Shaggytheairhead telling the story of ICP themselves being dependent on booze & drugs. “Don’t Touch that Flower” sees Str8jaket bringing in an acoustic guitar advising to be cautioned by the Yum Yum Flower while “Slap Nuts” is a more heavier cut talking about cats falling for their jokes.

I love how J uses “Bitch I’m Fine” as a chilling way of responding to those worried about his heart failure diagnosis while the song “Carnival of Lights” is a warm look at the camaraderie of the juggalo family. The penultimate track “Ain’t No Time” vulnerably addresses an ex of his over a guitar while “Something to See” ends the album on a sweeter note looking back on their careers up to this point from their music to their wrestling career since they’ve previously appeared in ECW, WWE, WCW, ROH & TNA on top of their JCW accolades.

Despite all the ups & downs we’ve experienced to get here, Yum Yum Bedlam has to be my 3rd favorite Joker’s Card in the 2nd Deck right behind Bang! Pow! Boom! & The Mighty Death Pop!. Sonically, it’s really cool to hear them fuse the rock elements from The Great Milenko & mixed them together with some of the more trap-flavored cuts from Fearless Fred Fury. Conceptually, the themes of loyalty are displayed with an incredibly unique & profound perception.

Score: 3.5/5

Limp Bizkit – “Still Sucks” review

Limp Bizkit is an infamous rap metal band consisting of frontman Fred Durst, drummer John Otto, bassist Sam Rivers, guitarist Wes Borland & DJ Lethal on the turntables. $3 Bill, Y’all$ & Significant Other are both certified classics in their own rights, but Chocolate St★rfish & the Hot Dog Flavored Water kinda signaled the beginning of the end as I was 50/50 on it personally. Results May Vary would go on to rightfully become one of the worst albums ever made & even though The Undeniable Truth was a step in the right direction, Gold Cobra wasn’t it at all other than the Raekwon-featured bonus cut. But after a 10-year hiatus, Durst & the gang are returning for their 6th album.

“Out of Style” is an empowering opener produced by Purps responding to those who called the band washed up whereas “Dirty Rotten Bizkit” follows it up with an absolute headbanger about ripping shit up. “Dad Vibes” comes off a little cheesy to me even though I fucking love the hook leading into “Turn It Up, Bitch” working in a bass-line & drums to talk about how everyone needs some hardcore shit.

Meanwhile on “Don’t Change”, we have an acoustic ballad encouraging listeners to stay true to yourself just before the ghostly “You Bring Out the Worst in Me” addresses a lover of his. “Love the Hate” hilariously pokes fun at the backlash their post-Chocolate St★rfish output got, but then “Barnacle” is a bit more melodic telling the leeches to stay away from him despite being repetitively structured.

“Empty Hole” is another acoustic cut addressing an ex of his while the song “Pill Popper” serves as a badass shot at the corruption in the pharmaceutical industry. The penultimate track “Snacky Poo” almost has a boom bap quality to it spitting some battle raps & for a closer, “Goodbye” couldn’t have finished it off any better taking a poppier route talking about elevating his quality of life on down the road.

Given that I’m not too crazy about “Dad Vibes”, I didn’t really go into this album expecting very much. However, I’m surprised by how much I genuinely enjoyed it. I think the production is more refined compared to Results May Vary & Gold Cobra, but I really can’t get enough of how self-aware Fred Durst comes off through his songwriting & vocals.

Score: 3.5/5

Rev. Fang Gory & Sutter Kain – “Violence Solves Everything” review

Rev. Fang Gory is an MC from Detroit, Michigan who came up in 2007 off his full-length debut E’ville Dead. This was followed up with The Last Gryndhouse on the Left & A.A.S.K (Afro-American Serial Killer) throughout the previous decade but after a 5-year hiatus, he’s joined Sutter Kain’s independently owned Never So Deep Records & is enlisting him to fully produce a collaborative album between the 2.

After the “Violence” intro, the first song “Let That Bitch Die” is a rock/boom bap crossover to start off the album quenching for blood whereas “Black Nazi” provides some social commentary & the screams in the background of those dusty drums make it sound much more darker. Donnie Darko tags along for the confrontational “Tooth & Nail” weaving in a thrash metal sample in the background just before “Death Poll” comes in with an aggressive riot starter.

Meanwhile on “You’re My Vengence”, we have Black Sunday on top of some pianos calling out the cats biting leading into both of them sticking around for the trap banger “44” talking about being strapped at all times. The song “Death Comes in Many Forms” finds Naymez coming into the picture with Sutter for a pessimistic diss towards the bitch-made dudes out there while the penultimate track “The Killing” weaves in a chipmunk soul sample talking about a serial killer. The album ends with “Tales from the Kabbalah”, which is Fang Gory over a wailing guitar riff about being psycho.

For those who’re fans of both parties, I can argue that it’s some of their best work yet. I felt like the features were a little too much since it takes up about half the album, but the dude is on a whole ‘nother level lyrically as Sutter Kain. As for the production, he says true to his signature ghetto metal sound throughout which just absolutely stellar.

Score: 3.5/5

Megan Thee Stallion – “Something for thee Hotties: From thee Archives” review

Megan Thee Stallion is a 26 year old rapper from Houston, Texas who rose to prominence in the spring of 2019 with the release of her debut mixtape Fever. I myself was very impressed with how it displayed Megan’s knack for catchy songwriting, dirty south/Memphis inspired production & a unique personality. Her popularity began to rapidly increase last year off her 3rd EP Suga & the full-length debut Good News but in light of Megan on the verge of graduating from Texas Southern University with a bachelor’s degree in health administration, she’s compiling together a bunch of old freestyles & some unreleased joints to celebrate.

“Tuned In” sets the compilation off with a bouncy Juicy J & OG Parker instrumental clapping back at those speaking ill of her name whereas “Megan Monday” takes a more rubbery approach rightfully flexing her spot as the illest female rapper in the mainstream (not the illest overall, don’t get it twisted). After the “Trippy” skit, “Southside Forever” eerily details her famous lifestyle just before “Outta Town” works in a xylophone & some snares telling people to call her Dr. Miami the way she bodies cats.

Meanwhile on “Megan’s Piano”, we get a fitting keyboard loop throughout with a bass-line on top of it & Megan talking about making moves in silence leading into the “VickeeLo & DinoBtw Skit”. Following this is the kinky “Eat It” with a bombastic Murda Beatz/FNZ instrumental & then Buddah Bless works in a chipmunk soul sample for “All of It” talking about wanting a scammer.

“Warning” thunderously cautions all the broke dudes out there while “Kitty Kat” almost takes a funkier approach & even though I appreciate the message behind it calling her haters pussies, the hook is annoying. After the “Tina Snow” interlude, “God’s Favorite” admirably weaves in a down-tuned guitar instrumental despite sounding underwritten & the DJ scratches throughout the grimy “Lemme See It” are really cool talking about being a female pimp.

I think the vocal sample throughout “Opposite Day” really enhances the energy of it saying she likes making bitches mad & “Freakend” gets back on the raunchy shit with a bit more moodier sound. “Bae Goals” is a touching dedication to her boyfriend Pardison Fontaine, but then “Pipe Up” melodically talks about both of them making their own paper & being in love.

The track “Bless the Booth” brings in an airy backdrop & a rubbery bass-line calling out those who see her as a threat while the final song on the comp “Thot Shit” is a decent little strip club banger. But to end the entire thing, “To Thee Hotties” comes through with a spoken word outro thanking all of her fans for sticking by her throughout all these years.

I still maintain my claims that Megan is the illest female rapper in the mainstream right now but truth be told, I wasn’t really expecting much from this compilation to begin with. Lo & behold: I’m kinda on the fence with it. I think the freestyles are a reminder of how lyrically skilled she is, but the outtakes have slightly more hits than misses.

Score: 3/5

Big Sean – “What You Expect?” review

This is the debut EP from Detroit rapper & singer/songwriter Big Sean. Coming up as a protege of Chicago icon Kanye West & signing to his Def Jam Recordings imprint G.O.O.D. Music, he generated some buzz in the late 2000s by dropping the Finally Famous mixtape trilogy, but it wouldn’t be until 2011 when his profile significantly increased when Sean dropped a 4th installment as his full-length debut. This was followed up the next year with the highly acclaimed Detroit mixtape & then a sophomore album the year after that entitled Hall of Fame. However, his next 2 full-lengths Dark Sky Paradise & I Decided. were both mediocre in comparison to all those past efforts. Now the last time Big Sean dropped a project was in late 2017 with Double or Nothing which had INCREDIBLE production from Metro Boomin’ top to bottom, but Sean himself was SEVERELY lacking. He just fulfilled his G.O.O.D. contract last fall by dropping the surprisingly mature Detroit II & is re-enlisting Hit-Boy for What You Expect?, except he’s actually producing the whole thing rather than overseeing it.

“Chaos” is a shrilling yet triumphant opener co-produced by Rogét Chahayed about catching them Ws whereas “Into It” follows it up with an airy backdrop & some fast-paced snares boasting. “The One” appropriately samples the SWV joint “You’re the One” admitting he doesn’t know what it’s like for girls to not want him while the song “Loyal to a Fault” with Bryson Tiller & Lil Durk vibrantly speaks on betrayal. The penultimate track “Offense” with Babyface Ray & 42 Dugg finds the trio on their Detroit trap shit talking about being on top, but then “What a Life” ends the EP by picking up where the previous joint left off sonically & recapping on his life up to this point.

If you enjoy Detroit II like I did, then you’re gonna love What You Expect? just as much if not even more because dude is continuing to impress me more & more as of late. Sean’s songwriting is continuing to level up at an unbelievable rate & Hit-Boy’s production suits him like it did Nas on his last 2 albums.

Score: 3.5/5

Ransom & Rome Streetz – “Coup de Grâce” review

This is the brand new collaborative effort from Ransom & Rome Streetz. One is a TCF Music Group affiliate out of Jersey City & the other being a New Yorker who rightfully earned his spot as one of the latest signees to the hottest label in the world right now: Griselda Records. Both wordsmiths have come together in the past before like “Blackwater” & “Sage or Gunsmoke” off both their latest albums Heavy’s the Head & Razor’s Edge respectively, but have come together to take things to new heights in the form of Coup de Grâce.

“No Remorse” is a symphonic opener about them giving a fuck less whereas the boom bap-tinged “All I Know” speaks on moving a different kind of dope these days. “Rooftop Sermons” brings back the strings with the help of V Don declaring themselves as hood preachers just before “Claudine” with Che Noir vividly details the story of a drug fiend of the same name & eventually tying into the “Fairwells” interlude.

Meanwhile on the Lord Sear-produced “Pray for the Weak”, we have The Game joining Ransom & Rome to provide some rich food for the soul leading into them talking about making it out the mud for “Jet Fuel” with a keyboard instrumental from Animoss. The soul sample “Silent Murders” is entrancing with the duo rightfully boasting about how nice they are while the dusty “Dark Love” gets in their battle bag.

The penultimate track “Bandoleros” with Lou form Paradise & Tyrant weaves in a chilling sample from Nicholas Craven as the quartet compare themselves to that of bandits while l “Death Becomes Life” ends it all with some organ harmonies getting on that motivational tip.

Both of these dudes have been putting out their best work all year & you can absolutely add Coup de Grâce onto the list. They have a unique chemistry together, the production is gritty as expected & most importantly: it’s an absolute bar-fest from start to finish.

Score: 4.5/5