Tha God Fahim – “Dump Gawd: Stock Lord” review

Tha God Fahim is a 25 year old MC/producer from Atlanta, Georgia notable for his affiliations with Griselda Records as well as Mach-Hommy & Your Old Droog. He also has a incredibly vast discography, some of the standouts include Breaking Through tha Van Allen Belts & Dump Assassins. He & Droog just dropped their collab effort Tha YOD Fahim back in February & after taking a 4-month break, Fahim is making a comeback with his 18th full-length album.

The opener “Lonely Girl” details a woman acting crazy cappin’ over some jazzy keys & dusty drums whereas “Grassroots” works in a soul sample with Fahim saying he’s got something to prove. He later takes things into luxurious boom bap territory to declare himself as the “Future of the Game” as well as telling his competitors that they have no style on “Logos” & the sound Camoflauge Monk goes for feels like some Italian mobster shit.

Your Old Droog makes his first of 4 appearances on “Bubble Rap” with Fahim working a melodic vocal loop in the beat before detailing that he lives, loves & learns for the low-spirited “Long Term Goon”. Things take a more mellow turn on the boastful “Pay-per-View” leading into the piano heavy “Rhyme Equity” detailing the story of black man who rose above all evil in the world.

Meanwhile, Droog returns for the hypnotic “Check Up” saying their moves can’t be copied just before the self-explanatory string/inflicted “I Prep’d It”. He later flexes his rapping prowess on the Sadhugold-produced “Penalty” with Thrasherwulf coming in the picture to fuse a bass-line with train sounds for Fahim to say he’s “Stuck in My Dumpin’ Ways”.

“Pick a Side” is a jab at people living in disguise accompanied with a somber instrumental whereas “All These Gems Precious to Me” speaks on not wasting spare time & the drums on here just hit you in the chest. The piano/boom bap vibes continue with “Ain’t Nobody Safe” once again going at any opposition & I love the harp on “Prestige Fabric, which is a statement of Fahim’s uniqueness.

Your Old Droog pops back up for the orchestral “Closed Curtains” saying they keep a certain dialect & makes his final appearance on “Fah Knew”, which has a woodwind-infused beat & is about how “their messages are testaments for how the real represents”. Then there’s “I Been Made It”, which contains a mind-altering instrumental & speaks on being established for a minute.

The song “Ain’t No Skipping Leg Day” brings in the violins spitting that goon talk while the penultimate track “It Iz What It Iz” is a summery response to those who be wasting his time. Finally, the closer “1 Luv” serves as a hand-out to those in his life whoever need backup with a rich beat.

It’s been a little over a year since this guy has dropped a solo project & Dump Gawd: Stock Lord serves as a pretty solid comeback effort from the man & it makes me hope that we get Don’t Get Scared Now 2 sooner rather than later. I think it could’ve been trimmed down by like 6 cuts, but Fahim’s pen-game is just as sharp as production skills.

Score: 3.5/5

Sharc – “47 Meters Down” review

Sharc is a 25 year old rapper from Atlanta, Georgia emerging a few years back after signing to Pi’erre Bourne’s very own Interscope Records imprint SossHouse Records. He’s dropped a handful of singles in the past year (the most notable of the bunch being a tossup between “Ricc” or “GTA RAF CITY”) & after landing a spot on The Life of Pi’erre 5 earlier this month, I’m pretty surprised they’re pulling the trigger on dropping a debut album from him this quickly.

The opener “100 Clip” has a bit of a quirky beat & lyrics bragging about foreign shit whereas “Yes Sir” speaks on shooting ya mans over a bassy instrumental. “Grimey Story” lives up to it’s title with it’s vivid storytelling, but the production is kinda plain here. However, “Dump First” makes up for with it’s eerie sound & returning to the gangsta rap tip.

Meanwhile on “Brown Water”, we get a woozier cut looking back on running with the d-boys just before incorporating some shrilling synths & going at his competition for “Duppy”. He later declares himself as the big shark on the electro-tinged “Sharc Wave”, but then “Gang Pop” brings in an accordion as he talks spraying them hammers.

“Brinks” talks about robbing a bank if he don’t go platinum over a comatose beat while “Lean Music” details him taking a hoe to STK accompanied with a wieldy instrumental. The song “Gun Parade” is a horn-inflicted ode to firearms while the penultimate track “Purple Rafs” finds Pi’erre accompanying Sharc on the mic for some cloudy flexing. Then there’s the organ-laced closer “Only Fans”, which is about fucking an OnlyFans bitch.

Sosshouse Records been a roll pushing their artists as of late & it has me wondering who they’re gonna push next because Sharc whipped up a solid effort here. He really lets listeners know more about him as a person with Pi’erre sticking to his signature sound in the production.

Score: 3.5/5

Tyler, The Creator – “Call Me If You Get Lost” review

Tyler, The Creator is a 30 year old rapper, singer/songwriter, producer, actor, visual artist, designer & comedian from Ladera Heights, California blowing up a decade ago as the de facto leader of Odd Future. His evolution both artistically & personally since the collective’s disbandment in 2015 has truly been amongst the most fascinating ones I’ve ever witnessed in my lifetime, going from the bratty edginess of Bastard & Goblin to the undeniable maturity & versatility shown on Flower Boy & Igor. I have a lot of fond memories of Tyler’s early work back in middle school/early high school, but I do think his last 2 albums are his best ones yet musically. That being said, I’ve been waiting all year for this day to come & I’m thrilled that it has.

“Sir Baudliere” starts off by introducing us to the Tyler Baudliere character over a sample of “Michael Irvin” by Westside Gunn leaving y’all swollen like the WME Group-owned UFC whereas “Corso” serves as an off-the-wall follow-up “talkin’ that fresh shit”. “Lemonhead” with 42 Dugg of all people has a grimy ass instrumental & the 2 are just flexing, but then “Wusyaname” with YoungBoy Never Broke Again samples “Back Seat (Wit No Sheets)” by H-Town & details falling in love with a woman they just met.

Meanwhile on “Lumberjack”, Tyler takes it back to the “Yonkers” days with it’s boom bap production sampling the Gravediggaz just before he & Lil Wayne jump on a flute heavy beat for “Hot Wind Blows” to talk about landing in Geneva as well as reminiscing on leaving LA for the first time on the spacey “Massa”. Following this is the triumphant spending anthem “Runitup” & after that, Domo Genesis reunites with T on “Manifesto” saying people are fake mad on top of samples of both Jimmy Smith & Nas.

“Sweet” starts off as a neo-soul cut telling this woman how much he loves her with the 2nd half “I Thought You Wanted to Dance” is a duet with Fana Hues that I almost wanna say goes into reggae territory. After the “Momma Talk” skit, DAISY comes in to picture to clap back at their non-believers on the glossy boom bap banger “Rise!” co-produced by Jamie xx leading into the “Blessed” interlude.

The song “Juggernaut” with Lil Uzi Vert & Pharrell is a bombastic homage to the iconic Gucci Mane joint “Lemonade” boasting his last deal was more than Google said his net-worth was while the penultimate track “Wilshire” works in some dusty drums & mellow synths speaking on a failed relationship he had with his homie’s girl for damn near 9 minutes. Finally, the closer “Safari” triumphantly speaks on his influence & impact on music featuring co-production from Jay Versace.

Every album Tyler has ever put out sounds completely different than one another & Call Me If You Get Lost is a fine addition to his discography. He goes back into a more hip hop-based sound in comparison to the poppy vibes of IGOR, but it feels like a throwback to the Gangsta Grillz mixtape days with DJ Drama’s narrations & dude is at his best in terms of the bars on here.

Score: 4.5/5

Evidence – “Unlearning” review

Evidence is a 44 year old MC/producer & former graffiti artist from Venice, California coming up in the early 90’s as part of the trio Dilated Peoples alongside Rakaa & DJ Babu. He’s also established himself as a solo artist along the way, dropping his debut album The Weatherman under ABB Records in 2007 & making himself at home with the renown Minneapolis powerhouse Rhymesayers Entertainment since ‘09. Last time we heard from him was at the beginning of 2018 when he dropped Weather or Not & now after putting out 3 singles throughout this spring, Ev’s making his return by putting out his 4th full-length album.

“Better You” kicks things off as a grimy ode to self improvement with The Alchemist on the boards whereas “Start the Day with a Beat” jumps on a jazzy boom bap instrumental from the weatherman himself to say he’s a rare breed. Ev tells listeners to sink or swim on the guitar-laced “Sharks Smell Blood” courtesy of Sebb Bash just before addressing the shit he’s been dealing with on the Animoss-produced “Pardon Me”. Boldy James tags along to reminisce on where they started for the psychedelic “All of That Said” & then going on to speak about someone whose heart has gone south on the forlorn “Won’t Give Up the Danger” with Mr. Green on the boards.

Things go back into boom bap territory with the help of Daringer on “Moving on Up” as he & Conway the Machine talk about how they’ll never stop chasing their dreams leading into the stripped back, sincere “Talking to the Audience” produced by Khrysis. Meanwhile on “All Money 1983”, we get a soulful look-back on when Ev met Al Pacino almost 40 years ago before bringing in a vintage sample on “Pray with an A” for him & Navy Blue to look back on their past.

Lost in Time (Park Jams)” speaks on smoking weed at a park over a heavenly instrumental from Nottz while the Fly Anakin-assisted “Delay the Issue” is a luxurious reminder that life is too short. The penultimate track “Taylor Made Suit” is a bluesy cut produced by V Don about how his funeral suit is the same as his wedding suit & the the album ends with the churchy “Where We Going From Here…”, which is about how it’s the first day in a while where he woke up on the right side of the bed.

From front to back, this is a really dope album in my book. It’s refreshing to hear him move away from the weather-theme of his previous solo output, his writing is clever than ever & the production is on point as well.

Score: 4/5

Doja Cat – “Planet Her” review

Doja Cat is a 25 year old rapper, singer/songwriter & producer from Los Angeles, California who caught my attention in 2018 off her viral novelty single “MOOO!”. This was followed up the next year with her debut mixtape Hot Pink which was decent as a whole, but “Say So” solidified that she wasn’t going away anytime soon. However, I did get excited for this sophomore album of hers given how much I enjoyed the singles leading up to it & wanted to give it a shot.

“Woman” is a dancehall flavored opener telling this man to let her in his life whereas “Naked” is a wintry ode to sex. Young Thug comes into the picture for the acoustic trap money anthem “Payday” just before paying homage to Nicki Minaj on the bouncy “Get Into It (Yuh)”. Meanwhile with “Need to Know”, we get an 808s & Heartbreak inspired tune telling her man to throw the pipe leading into the moody [Ariana Grande duet “I Don’t Do Drugs”.

Doja Cat goes on to reminisce about an ex on the trap flavored slow jam “Love to Dream” while The Weeknd duet “You Right” is an atmospheric anthem about lust. “Been Like This” is a psychedelic look at a man who’s changed on her whereas the J.I.D-assisted “Options” works in a flute & they get kinky.

Some plinky pianos get incorporated to call out bum-ass men on “Ain’t Shit” & then for “Imagine”, we get a vibrant trap banger about her hard work paying off. The penultimate track “Alone” ponders if she’s crazy for wanting to be single over a summery instrumental & then there’s “Kiss Me More”, which is an infectiously dance-pop heavy duet with SZA & co-production from Rogét Chahayed.

Now despite me thinking Doja Cat’s last 2 projects were mid, I genuinely think she delivered on Planet Her. Undoubtedly her magnum opus so far in my personal opinion. I love how diverse the production is & the whole concept of this self-originated world is well pieced together.

Score: 3.5/5

Ski Mask the Slump God – “Sin City” review

This is the 5th EP from Orlando rapper Ski Mask the Slump God. Coming up as the co-founder of Members Only alongside the late XXXTENTACION, he then dropped a couple EPs & a great mixtape called Drown in Designer in 2016 before signing to Republic Records the following year with his 2nd tape called YouWillRegret being his first outing on a major label. This was followed up with Beware the Book of Eli & the full-length debut Stokeley in 2018 but after a 3-year hiatus, Ski is making his comeback by dropping Sin City.

The intro starts off as a spoken word piece, but busts into an industrial beat from Ronny J & a short verse about how humanity’s been dead. The next song “Dr. Seuss” goes on to brag about his unique flow despite the instrumental being kinda plain before “Admit It” works on a xylophone to say he’s fucking up the stats. Meanwhile on “The Matrix”, we have Ski jumping on some bass & hi-hats to make a bunch of pop culture references whereas “Ya!” is a half-assed & skeletal cut describing “real n***a paradise”.

Kenny Beats comes in to sample Missy Elliott’s “Work It” for the braggadocious “Merlin’s Staff” before taking the acoustic route on the emotional “Lost in Time”. The penultimate track “Fire Hazard” is a bass-heavy riot starter referencing the Seth MacFarlane show American Dad! on the Discovery Global-owned tbs network & formerly the Fox Corporation’s flagship property. Finally, the closer “Mental Magneto” is a grungy look at being conflicted.

I’m pretty indifferent towards Sin City at the end of the day. Half of these cuts are straight heat, but then the other half is just uneventful & boring. I really wish he would flesh his joints out more fully then making a 9-track, 20 minute EP & calling it a “mixtape”.

Score: 2.5/5

Hiatus Kaiyote – “Mood Valiant” review

Melbourne, Australia neo-soul band Hiatus Kaiyote consisting of lead singer/guitarist Nai Palm, bassist Paul Bender, keyboardist Simon Mavin & drummer Clever Austin are back with their 3rd studio LP. Their debut album Tawk Tomahawk was impressive although my sophomore effort Choose Your Weapon the month I graduated high school in 2015 was my introduction to them & I loved how they fused it with soul jazz, acid jazz, funk music, nu jazz, progressive pop & neo-psychedelia. Flying Lotus’ has since signed them to Brainfeeder Records distributed by Ninja Tune & are prepping their comeback with Mood Valiant.

After the “Flight of the Tiger Lily” intro, the opener “Sip Into Something Soft” gets things going by channeling some heavy D’Angelo vibes for an 104 seconds warmup whereas “Chivalry Isn’t Dead”fuses alternative R&B, glitch pop, nu jazz, breakbeats & neo-soul sings about gallantry being alive & well. DJ Khalil’s remix of “And We Go Gentle” is a lot stronger than the original even if the first couple verses are incredibly repetitive & I also loved Georgia Annie Muldrow’s remix of “Get Sun” equally.

“All the Words We Don’t Say” reaches the halfway point with what could be the most complex song they’ve ever conceived due to it’s countless rhythm & time changes but after “Rose Water” succeeding the “Hush Rattle” interlude comes through with a love letter to the Middle Eastern culture Nai was exposed to through the people she loves, “Red Room” continues with a psychedelic neo-soul vibe with a trip hop twist to it celebrating the gratitude of having a roof over your head .

The song “Sparkle Tape Breakup” chains a MiniMoog Model D, a Mellotron Micro, a Roland JX-3P & another polysynth to suggest maybe she’d still be with this guy if she was more harder than emotional while “Stone or Lavender” hooks up some strings & pianos to passionately sing about her breast cancer diagnosis which resulted in the mastectomy that saved her life. “Blood & Marrow” sends it all off remembering her late ring-neck parrot Charlie who passed away in 2019 & although I’ve always considered it to be a suiting outro, Stro Elliot’s remix of it is better personally.

I consider Choose Your Weapon to be one of the greatest neo-soul albums of the 2010s, so Mood Valiant’s been a long time coming & it’s more exciting to see the Brainfeeder deal propelling Hiatus Kaiyote further considering that it’s right behind the predecessor in becoming the 2nd best of their discography & further proves they were meant to be on the label. Their production complexly incorporates elements of psychedelic soul, progressive soul, nu jazz, jazz fusion, samba soul, jazz-funk, trip hop, glitch pop & breakbeats with their neo-soul style & Nai returns by giving us a glimpse of the new perspective she’s had overcoming all of her health complications.

Score: 4.5/5

Bolt Seminar – Self-Titled review

Bolt Seminar is a newly formed duo consisting of Switzerland producer John Sarastro & Brooklyn emcee Dell Wells, the latter of whom dropped his full-length debut Clandestine Picnic last summer. Now I’m not exactly sure how these guys’ paths crossed with one another, but was morbidly curious to hear what they would bring to the table on this self-titled album of theirs.

“The Gnawing” starts out the album with a warping boom bap instrumental & lyrics proclaiming himself as “the nightmare with no end” before encouraging listeners to be appalled on “Tone Def”, which goes for a more psychedelic sound. “Cuckold Manifest” is a spacious cut addressing how the world’s in love with hip hop whereas the CRF-assisted “Kurplunk 2” finds the pair going on saying that MCing is the only life they’ve ever known with a cavernous beat.

Meanwhile with “Bloody Shoelaces”, we get a dark tribute to his fallen homies leading into the dusty yet synth-laced “Cellular Diaries” that tells a story of him falling in love with an Android in which Bliss portrays in the song. Dell showcases his lyrical prowess with the futuristic “Gargle” prior to him expressing to be shown something greater on the saxophone-induced “Taming of the Shrewd”.

Amazing July tags along for the apocalyptic albeit atmospheric “Abandonment Issues” while opening up on talking endlessly with shadows for the dancy “Chatterbox”. The penultimate track “Succubus” on top of a grungy instrumental & finally there’s “One”, which is a endearing tribute to all the children in the world who’re suffering from cancer.

Coming away from Bolt Seminar, I’m pretty impressed. John’s production is kinda reminiscent to that of El-P’s & the dystopian imagery that Dell paints through his songwriting fits like a glove. If this truly is the first of many musical journeys to come from the duo, then I’m all here for it.

Score: 4/5

Chester P – “Love the World” review

Canonbury, London, England, United Kingdom emcee/producer Chester P celebrating his 45th birthday with his 2nd extended play. Known for being a member of the Mud Family collective & 1/2 of the Task Force alongside his older brother Farma G, he would also go on to drop the full-length solo debut From the Ashes in 2009 followed by the sophomore effort New Mic Order: Survive or Die Trying & the sequel. Coming off The Post Apocalyptic Storyteller & The Nameless Project however, I was interested in Chester’s return with Love the World after almost 2 years.

The self-produced title track talks about where Chester sees himself outside of society over an electric guitar instrumental whereas “The Apex” ruggedly dedicates itself to the breakers & breaknecks, “Standing in the Rain (People Dead)” shrugs off those pretending to know him but once “It’s Nothing New to Me” moves like the king of light, “Hunter Grymes” dustily talks about his heart being colder than ice. The flute-tinged “It’s Over Now” wraps up the EP observing the 2 sides of the coin paying the ferry.

As much as I like both installments of the New Mic Order series as well as The Post Apocalyptic Story Teller & The Nameless Project, I wouldn’t say any of them necessarily come close to reaching the same level of quality From the Ashes reaches although I do prefer Love the World more than Chester P’s previous EP The Post Apocalyptic Story Teller. He’s widely considered to be amongst the most influential artists across the entire UK hip hop scene & this if anything attests to his longevity.

Score: 4/5

The HRSMN – “The Last Ride” review

The HRSMN is a hip hop supergroup consisting of Canibus, Killah Priest, Kurupt & Ras Kass. These 4 have made a name for themselves as some of the most underrated lyricists the culture has ever seen & first formed a little over 20 years ago with a couple of collabs. A mixtape called The Horsemen Project even emerged in late 2003, which was followed up with the Historic EP just 11 years later. Fast forward to present day, they’re coming back together for their official full-length album.together for what they say is their first & only official full-length album.

After the “Sintro”, the Bronze Nazareth-produced “Centaurs” is an organ-inflicted boom bap kickstarter to the album where the 4 lyricists compare themselves to that of the Greek mythology creature whereas “This Shit Right Here” is a rugged hip hop quotable fest. As for “Champion” with Planet Asia & Chino XL, I appreciate the content about being victors but the instrumental is just so minimal. However, “Morticians” is a theatrical banger comparing themselves to that of the grim reaper.

Meanwhile on “1 Second”, we have The HRSMN & Hus Kingpin hopping aboard a trap beat saying they spit sicker than COVID-19 before “Love n War” takes a turn into awkward romance ballad territory. “Believer” is a symphonic anthem about celebrating Passover by meeting death & after the “False Profits” skit, we go into a more luxurious sound whilst speaking on their longevity on “Apocalips Now”.

“Impossible” gets on their battle rap shit over a sly instrumental leading up Phil Da Agony, El Gant, Al Tejada & Fokis accompanying the quartet on the keyboard heavy “Burger King” telling anyone to bring the beef to them. Finally there’s the title track, which has occultist vibes in the beat & the supergroup is bidding everyone farewell given the fact that they said this was gonna be their only album.

It took these guys 2 decades to finally put out an LP together & I’m not mad at it being their only one as a unit because I enjoyed quite a bit of it. All 4 emcees sound great with each other & most importantly, the mixing/mastering on here is a lot more cleaner than it was on The Horsemen Project.

Score: 4/5