Alla Xul Elu – “Necronomichron 2: Dead by Bong” review

Alla Xul Elu is an Ohio-based horrorcore trio consisting of Billy Obey, Joey Black & Lee Carver. Originally breaking out in 2015 as a duo, Billy & Joe started out by releasing their first 2 albums Head of Horns & Sci-Co that same year. This was followed up with their 4/20-themed debut EP Necronomichron in 2017 & adding Carver into the fold shortly after. But it wasn’t until Twiztid signed them to Majik Ninja Entertainment in 2018 when the Xul Boys’ music got increasingly better. Their MNE debut The Almighty is unquestionably the greatest horrorcore album of the 2010s, their 2019 sophomore EP Church of Xul took a much darker approach & the trio’s previous album Mauxuleum made it in the top 10 of my Best Releases of 2020 list despite them ditching their signature boom bap sound for a more industrial, trap metal direction. But to celebrate the 4 year anniversary of the original Necronomichron, it’s only right for A.X.E. to celebrate by dropping their 5th full-length album as a sequel.

After the “Taking a Trip” intro, the first song “An Ominous Shack” has an unhinged boom bap beat from BAD MiND (who produced all but 3 tracks on the whole album) as the trio detail a fucked up vacation & then “Down in the Dark” goes into a more industrial direction with lyrics about making plans with Mary Jane. The song “Deja Vu” is a grimy sequel to the title track of the first Necronomichron while “Fire It Up” dives into that trap metal sound provided by the Zombie Aristocrats & of course the lyrics are about lighting up the weed.

“Smoke” is a chaotic anthem about not wanting their high to be blown & then “Dead by Bong” feels more like an interlude as the lyrics are very repetitive despite the electronic-influenced production. The song “Alternate Dimension” is a dusty sequel to “Another Dimension” with a stellar Blaze Ya Dead Homie verse while “Within the Trees” is a gruesome horrorcore cut detailing forest monsters.

After the “Necronomicream” skit, the track “Munchiez” is a sinister depiction about how they handle being hungry when stoned while “Pass Away” contains some ominous organ harmonies as they talk about staying High & avoiding daylight. The album finishes off with “Kandarian Dabber”, where the A.X.E. deliver a wicked anthem to dabbin’.

Necronomichron is one of my favorite projects that Xul has ever put out, but this is a rare instance where I prefer the sequel over the predecessor. It’s great to hear the trio returning to the very sound that they become known for & the marijuana-themed lyrics have evolved tremendously, teasing a potential trilogy chapter at some point down the road.

Score: 4.5/5

King Relik – “DEMENT3D” review

King Relik is a 38 year old MC from Long Beach, California emerging on Valentine’s Day 2017 off his debut EP 12:45 produced entirely by Klepto K. However, he ended up signing to Wisconsin-based underground label Force 5 Records last February & is finally delivering his full-length debut just in time for 4/20.

The opener “Vilynz” connects with Skribbal & Radek to declare themselves as bad guys on top of an organ-laced beat whereas the next song “Sl33p” goes into a more electronic direction as Relik talks about being an insomniac. “Syko” reads as a 1-minute bipolar episode on wax as the overall sound of it keeps jumping all over the place, but then “Yogurl (Rollyaeyez)” goes into detail about this hoe over a minimal instrumental.

The song “Nayzay” dives into a more glitchy, industrial-sounding as he spits that wicked shit while “Grynd” is a chaotic punk rock anthem that I’m sure will get the pits going. The song “P.O.S. (Piece Of Shit)” talks about working on himself over an organ & some hi-hats, but then “Read the Note” is a spectrally-produced storytelling joint about Relik pulling off a robbery.

The track “Spacevan” dives into a more piano-boom bap direction with lyrics about hotboxing whereas “Pimpin’” is a more ill-lit vibe in the production as Relik & Lima Beans paint themselves as actual pimps. The penultimate song “Rabidbaboon” incorporates some synth-horns with lyrics about how wild dude is & then the album ends with “Handles”, which feels like a 1-minute homage to bands like Green Day & blink-182.

Been curious to hear how King Relik would sound on his own & I think DEMENT3D is actually a pretty solid album. It’s cool to hear the wide rage of sounds that the producers bring to the table & the guy has never sounded better lyrically.

Score: 3.5/5

Snoop Dogg – “From tha Streets 2 tha Suites” review

This is the 18th full-length album from Long Beach icon & WWE Hall of Famer Snoop Dogg. His 1993 debut Doggystyle is widely regarded as a west coast essential, but his output since has been hit or miss whether it be Tha Last Meal & Tha Blue Carpet Treatment almost reaching the same caliber of his debut or Da Game is to be Sold, Not to be Told & Bible of Love falling flat on their faces. Uncle Snoop’s previous outing I Wanna Thank Me came out a couple summers ago & that was a decent listen but after dropping a small handful of singles throughout last year, it’s only right for one of hip hop’s notorious tokers to take listeners From tha Streets 2 tha Suites on stoners’ favorite holiday.

“CEO” jumps on a hyphy beat from Rick Rock as he shows off his longevity in the rap fame while the next song “Roaches in My Ashtray” returns to his g-funk roots with lyrics about getting high of course. “Gang Signs” taps in Mozzy to reminisce on their life as Bloods & Crips respectively over a spacious, bass-heavy instrumental prior to “Talk Dat Shit to Me” responding to Eminem’s jab on “Zeus” as he goes back on the g-funk tip with the help of DJ Battlecat.

As for “Sittin’ on Blades”, we dive into boom bap territory is as Snoop is singing from beginning to end with heavy talk-box usage à la Roger Troutman while “Say It Witcha Booty” is an awkward attempt at making a strip club theme. Larry June appears on “Get Your Bread Up” for a Bay Area-influence money anthem & Tha Eastsidaz make an unexpected return on “Fetty in the Bag” to talk about being amplified over some synths & hand-claps.

“Look Around” produced by Nottz gets taken straight from Tha Blue Carpet Treatment Mixtape back in 2006 & it still sounds as gangsta as it did 15 years ago when the world had initially heard it for the very 1st time until the closer “Left My Weed” featuring Devin the Dude comes off as a more seductive cut that I find myself reluctant towards in terms of it finishing the celebratory 4/20 offering.

Regardless of some older cuts making it feel more like a mixtape due to their resurging presence, this has gotta be the best Snoop Dogg album I’ve heard since Coolaid. I like the fact that he didn’t overload it like he did on I Wanna Thank Me & how it primarily takes listeners back to the g-funk sounds that skyrocketed him from an up-&-comer signing with Tha Row to the entrepreneur he has become in light of his 50th birthday in 6 months.

Score: 3.5/5

Anybody Killa – “Smoke That Up” review

This is the 10th EP from Detroit veteran Anybody Killa. Coming up as a member of the Krazy Klan with his childhood friend Lavel, it wouldn’t be until 2000 when the Native Funk dropped his official solo debut Rain from the Sun. 2 years later, he made his big break in the underground when the Insane Clown Posse signed him to Psychopathic Records & released his sophomore album Hatchet Warrior to universal acclaim amongst the juggalos. This was followed up in 2004 with Dirty History & the debut EP Road Fools a year after, but ABK decided to form his own label Native World Inc. in 2006 & he even left Psychopathic temporarily so he could focus on building his own brand. His 2008 comeback Mudface ended up being a total mess on all fronts, but he would eventually team up with Brian Kuma in 2010 to make up for it with Medicine Bag. Then after a 9-year hiatus, ABK left Psychopathic to focus on Native World once again & put out a party-themed comeback album Tampon Juice to mixed responses. But as he’s currently prepping for A.B.K. (Always Bringing Knowledge) & supposedly Shapeshifter, Killa is celebrating 4/20 by putting out Smoke That Up produced entirely by DJ Hazey.

“Pre-Session” is a short, bass-heavy introduction warming up the listener for what’s to come where’s the next song “Smoking In Common” goes into a more g-funk direction sound-wise as ABK dedicates this to all the like-minded tokers out there. The title track is a synth-laced banger encouraging listeners to light one up & then “We Smoking” is a more groovy, melodic cut about wanting them to leave him be as he gets high.

I know this is just a 4/20-themed EP, but I actually come to enjoy it significantly more than Tampon Juice & has me looking forward to both A.B.K. (Always Bringing Knowledge) & Shapeshifter whenever either one of those actually come out. The production from Native World in-house producer DJ Hazey is sincerely amongst the best I’ve ever heard from him & the playful vibes that ABK traditionally delivers in his performances have improved.

Score: 3.5/5

Gotham – Self-Titled review

Gotham is an MC/producer duo from New York consisting of Talib Kweli & Diamond D. The latter being a founding member of the seminal collective D.I.T.C. & was one of the first to co-sign Kweli back when he originally formed Black Star alongside childhood friend Yasiin Bey. The first time we really heard Gotham together was on “Where’s the Love?” off of Diamond D’s 2014 solo album The Diam Piece & then they got back for “The Zone Out” on the follow-up The Diam Piece 2 back in 2019 but ever since then, they’ve been hard at work on their full-length debut as a duo & I’m very excited to hear the results.

“Sons of Gotham” kicks the album off with a misty boom bap beat along with lyrics calling out “rappers acting like Kanye” when Kweli makes as ass out of himself on social media as much as Ye does since the apple doesn’t fall far from the tree whereas the next song “Olympic” incorporates an organ & a guitar as Kweli proclaims that they do this rap shit for sport. “The Quiet One” touches down on being the voice of the people accompanied by an eerie instrumental & an animalistic Busta Rhymes verse while “On Mamas” goes into a more synth-heavy direction with Kweli spitting about getting the speakers pumping. Meanwhile, the song “Attention Span” is a more atmospheric cut addressing those who’re out to lunch & the Skyzoo verse hits the nail on the head.

The track “In Due Time” is a fiery anthem about how you’ll be getting yours eventually on top of a classy boom bap instrumental whereas John Forté of all people comes into the fold to take a jab at the system on the minimally-produced “Pick Ya Head Up”. The song “Chillin’ While Black” is the one of the only 2 on the entire thing where Diamond D himself jumps on to spit as he & Kweli talk about racial profiling over a horn-inflicted beat & even though the penultimate track “I’ll Tell Ya Later” has a cool concept, the skeletal beat is underwhelming & the Niko Is feature is kinda weak. The album does end strong though, as Kweli & D hop on a dusty instrumental with some jazzy undertones to talk about holding it down.

Despite the fact that Talib’s recent output has been hit or miss with me admittedly, Gotham knocked it out of the park on this one. He & Diamond D do a damn-near perfect job at paying homage to their home-state as the lyrics & production both take listeners back to the traditional days.

Score: 4.5/5

Yelawolf – “Slumafia” review

This is the 6th EP from Alabama rapper, singer/songwriter, fashion designer & entrepreneur Yelawolf. Coming up in 2005 off the mediocre debut album Creekwater, it wouldn’t be until 5 years later when Catfish Billy caught the mainstream’s attention off the strength of his 4th mixtape Trunk Muzik before signing to Shady Records in 2011. After dropping a total of 4 albums under the Eminem-owned Interscope Records imprint, he fulfilled his contract just a couple years ago to focus on Slumerican Records & dropped his 6th full-length effort Ghetto Cowboy a little over 8 months later. But to continue his streak of dropping a project every week for this entire month, Yelawolf is hooking back up with longtime collaborator DJ Paul for Slumafia.

“Trans Am” is a gritty opener co-produced by TWhy spitting about going from the gutter to being rich over some hi-hats & plinky keys, but then Paul jumps on the next cut “Tote the Bag” to charismatically boast on top of a shadowy instrumental. The track “Lucchese” is a devilishly-produced killer anthem that I would’ve enjoyed more without the Badd Wolf feature referencing 2-time WWE Hall of Famer, former 16-time WWE world champion, WWE Intercontinental Champion, 6-time WWE United States Champion, 6-time WWE tag team champion & 9-time NWA World’s Heavyweight Champion Ric Flair whereas “Still the Man” bigs himself up & the beat on here is probably the darkest on the entire EP.

Meanwhile, “Don’t Need a Cup” serves as a slowed-down ode to his Creekwater whiskey brand & even though I understand that the title track is meant to be a Slumerican/Three 6 crossover, the only features that captivated me were Gangsta Boo & the Seed of 6 because Big Henri’s verse was ok & BRAY’s was hands down the weakest. “Super Geek” is a bass-heavy crowd mover about only giving a fuck once in his life & “Head Banger” is an explosive closer that sounds like it could’ve been on Yelawolf Blacksheep. I mean PRETTY SHY’s verse at the start is uneventful, but Caskey kills his in the middle.

Of all of the projects Yelawolf has dropped in 2021, I’d have to say Slumafia is my favorite thus far. Paul’s signature sound is always great to hear & it definitely brings some of the best out of Catfish Billy, but my biggest problem that I had with TURQUOiSE TORNADO makes it’s way onto here: the features.

Score: 3.5/5

Recognize Ali – “Season of the 7” review

Recognize Ali is a Ghanaian emcee who’s been shaking up the underground for the past several years now off projects like Back 2 Mecca, The Shining, I.S.L.A.M. (I Self Lord And Master) & Guerilla Dynasty. Dude’s previous effort Recognition just dropped back in August & for his 9th full-length outing, Ali has enlisted Bronze Nazareth of the Wu-Elements to produce the whole thing from front to back.

After the “Motown Connection” intro, the first actual song “God Aura” incorporates some horns as Ali spits about the champ being here whereas “Hand Count the Cake” is a dope money ode & the vocal loop was well-picked out. The orchestral-tinged “Tear Drops in the Sky” connects with his Dueling Experts cohort Verbal Kent alongside former Army of the Pharaohs member King Magnetic to rap about catching bodies while “Street Gospel” is a soulful tune about “bringing Terror to your Squad like Big Pun”.

After the “Knew Legends” skit, the song “Silver Spear Promise” seems like a homage to the iconic Jay Electronica joint “Exhibit C” from some of Ali’s rhyme schemes down to the sample of “Cross My Heart” by Billy Stewart while the gospel-tinged “Olympic Gold Medalists” taps in TriState & Willie the Kid to get on the spiritual side of things lyrically.

After the “Find It in Him” skit, the title track has a plinky piano loop throughout with lyrics about greatness whereas “How Many Times” finds Bronze hopping on the mic with Ali as the 2 pondering about a number of things on top of an elegant beat.

“Rivers in the Basement of Truth” taps in Napoleon da Legend & Lord Jessiah to spit the battle bars over a piano & some vocal harmonies while the track “How We Roll” brings in a boom bap beat with some harmonization in the background as Ali spits about being on the corner until the AM. I also like the Money Miz shoutout at the end of the first verse as well.

“Camouflage Dons” is a cool homage to the Wu-Tang Clan & the Killa Beez as Ali jumps on an instrumental that has the Wu sound alongside Dom Pachino & before the “Outro to Detroit” outro that finishes off the album, “The Grind” is a symphonic coda about his hustle.

In my opinion, this is one of the best albums that Recognize Ali has ever done. Dude continues to further demonstrate as to why he’s one of the most thought-provoking MCs to emerge from the underground in recent years & Bronze Nazareth comes correct on the production per usual.

Score: 4/5

Conway the Machine – “La Maquina” review

Conway the Machine is a 39 year old MC & entrepreneur from Buffalo, New York who blew up in late 2015 as part of the 3 OGs of Griselda Records alongside his brother Westside Gunn & their cousin Benny the Butcher. Ever since the trio have rose to prominence, they’ve had hip hop on lock by their constant work ethic balancing quality & quality as well as vividly detailing their lives in the streets on top of boom bap production kin to that of RZA & Havoc in their music. Con’s full-length debut From King to a God was my Album of the Year for 2020 & his sophomore effort with Big Ghost Ltd. that just came out a couple months ago If It Bleeds It Can Be Killed is a worthy sequel to No One Mourns the Wicked. But just when even thought we were getting the Shady Records-backed God Don’t Make Mistakes next, we’re getting another prelude album out of the woodwork.

“Bruiser Brody” named after the WWE Hall of Famer is a grimy opener from the boom bap production from JR Swiftz to the lyrics calling out those who pray on his downfall whereas the Bangladesh-produced “6:30 Tip Off” is a jazz-trap fusion speaking on his profit. The song “Blood Roses” is about how “I came to prove I came improved” with a spiritual beat from Cardiak, but then “Clarity” opens up on how he spares “no feelings when my pen is movin’” on top of a soulful trap instrumental from Don Cannon.

The track “KD” has a weepy trap instrumental from Murda Beatz with lyrics talks about those speaking on Conway’s legacy while “200 Pies” with 2 Chainz of course gets on that pusher shit & the bare loop that The Alchemist comes through with is hypnotic as fuck. “Sister Abigail” is a dusty boom bap tune named where The Machine recruits his new protégés Jae Skeese & 7xvethegenius for a homage to to former 3-time WWE world champion & 2-time WWE tag team champion Bray Wyatt’s signature move of the same name, but then Jae returns on the peppily-produced “Grace” to talk about how they don’t live in disguise to get their blessings.

The song “Scatterbrain” brings in J.I.D & Ludacris to get murderous on top of a frigid instrumental, but then Elcamino & Shots Almigh hop on Had to Hustle” to speak on what they had to do to get where they are now. The closer “S.E. Gang” serves as a response to those who said Conway was leaving Griselda earlier this year as he, Westside Gunn & Benny the Butcher spit that mafioso shit over a flute sample from Daringer.

Not what I was expecting from Conway, but still a dope album regardless. In comparison to him returning to a more grimier sound on If It Bleeds It Can Be Killed, I like how he continues to build off the the versatility that From King to a God brought. Whenever the time for God Don’t Make Mistakes comes, I’ll be more than ready to hear where he takes it.

Score: 4/5

YSL Records – “Slime Language II” review

This is the 2nd showcase compilation from Atlanta, Georgia record label YSL Records. Founded in 2010 by trap trailblazer Young Thug & having been distributed by 300 Entertainment since 2016, the label has built up quite a promising roster within the last 5 years. Their most notable acts being of course Gunna & Lil Keed. The crew’s first showcase compilation Slime Language came out in 2018 to mixed reviews & as the 3 year anniversary of that original project creeps up this summer, Thugger & the gang are taking another jab at it on Slime Language II.

“Slatty” is a great way to kick off the comp as Young Thug, Gunna, Yak Gotti & Lil Duke get together over a siren induced beat from Southside & Pvlace whereas “Ski” shows off the chemistry between Thugger & Gunna over a string-heavy instrumental from Wheezy & Outtatown. The duo’s dominance continues as they pair up with Travis Scott on “Diamonds Dancing” to show off their expensive lifestyles over a piano trap fusion from Turbo, but then Drake & Gunna get together for the spacious party anthem “Solid”.

Meanwhile on “Came & Saw”, we have Young Thug bringing Rowdy Rebel on for a short verse & a lengthy hook to speak on how “you can’t put dirt on someone that’s clean” on top of a Viking-esque instrumental. He later goes on to to trade bars charmingly back & forth with Gunna on the dystopian-sounding “Paid the Fine” that Cubeatz helped put together, but the Lil Baby verse at the beginning starts it off strong & YTB Trench’s finishes it off mediocrely.

“Proud of You” is clearly a remixed leftover from the Eternal Atake sessions Bugz Ronin handles that I actually enjoy, but then Thug & his brother Unfoonk hop on the country trap-flavored “Real” to talk about seeing their haters on the sideline. Karlae & Coi LeRay join forces for the cloudy R&B-tinged “I Like”, but then Lil Keed & T-Shyne manage to get Big Sean on the mystical-sounding “Warriors” to proclaim themselves as such.

“Pots & Pans” has a synth-heavy instrumental that I really enjoy & Lil Duke really shines on here, but ΠΔV comes in & delivers a flat robotic verse that throws the vibe off. The song “WokStar” goes into a more ominous direction as Strick & Skepta speak on their celebrity status, but then “Superstar” marks Young Thug’s return as he & Future talk about how everyone wants to be famous these days over an acoustic instrumental with some rubbery bass.

“Came Out” incorporates a xylophone in the production as Gunna & Keed vaunt but then YNW Melly, BSlime & FN DaDealer come together on “Really Be Slime”, which is easily the most generic song on the entire compilation. “Take It to Trial” was a fun choice for a lead single & I like it even more in the context of the album, but then “Trance” by Karlae & Yung Bleu is a super redundant sex tune even with Dez Wright behind the boards.

Sheck Wes, Yak Gotti & Yung Kayo deliver some underwhelming bars about drug/alcohol usage on top of a Taurus instrumental with a bit of a chopped & screwed influence to it during “G.F.U. (Get Fucked Up)”, but then the psychedelically-produced “Moon Man” finds Thugger & KiD CuDi getting together to compare life to a buffet. I prefer HiDoraah’s solo track “Como Te Llama” over the one she had on the first Slime Language as she melodically goes into detail about wanting to know more about her partner & the Dolly White solo cut “Reckless” is even better as she goes into a more grittier direction both lyrically & sonically for 92 seconds.

The penultimate track “That Go” by Meek Mill, T-Shyne & Young Thug is a hedonism ode with some prominent synthesizers & the album ends with a boring remix to “My City” by YTB Trench. The deluxe run makes up for it starting with “Slam the Door” by Young Thug & Gunna talking about the millions coming with a name while “Litty” by Young Thug & DaBaby proves to be less exciting even with the reference to WWE Hall of Famer, 6-time WWE world champion, WWE Intercontinental Champion, WWE United States Champion, WWE Tag Team Champion, WWE Hardcore Champion, IWGPヘビー級チャンピオン, the inaugural 6-time TNA World Champion, TNA X Division Champion & 2-time TNA World Tag Team Champion Kurt Angle.

“No Slime” by Young Thug, Don Toliver & BSlime warns that the trio might get too comfortable although they assure everything will be ok while “Mil in Vegas” by Young Thug & ΠΔV offers a glimpse of both artists’ respectively lavish lifestyles. “Explosion” by Gunna, FN da Dealer & Yak Gotti acknowledges that everyone in their city knows that’s exactly what they be dropping while “Yessirskii” by Thug’s daughter Mego talks about fashion. The final bonus track “Mack Truck” by Young Thug & Jim Jones unites the ByrdGang & YSL for a generational trap heater spittin’ that g shit.

I was hoping for Slime Language II to be a step up above the predecessor, but it’s just as mediocre. Despite the label’s roster growing & improving, there are a handful of songs that should’ve been left on the cutting room floor. If YSL ever decides to do a Slime Language III at some point down the road, I hope it’s more well-curated.

Score: 2.5/5

Big Scarr – “Big Grim Reaper” review

Big Scarr is a 21 year old rapper from Memphis, Tennessee that broke out in 2019 off his debut single “Make a Play”. This would catch the attention of Atlanta trap pioneer Gucci Mane, who signed Scarr to his revived Atlantic Records imprint 1017 Global last year. The kid has gone on to release 6 singles since being taken under Wop’s wing & with the commercial success of Pooh Shiesty’s debut tape Shiesty Season that came out a couple months back, Scarr is next up at bat.

“Grim Reaper” is a to-the-point opener as Scarr hops on some sinister piano melodies & hi-hats to spit about being a murder, but then the next song “Get It In” is a violin-heavy follow-up about being a young legend. “Poppin’” is a doomy ode to his newfound fame whereas the braggadocio-induced “Frozone” goes into a more wintry direction sonically.

The track “Ballin’ in LA” links up with Gucci Mane & Pooh Shiesty to deliver a dark yet infectious dedication to the sunshine state while “Joe Dirt” goes into a more uptempo direction beat-wide as the lyrics detail going from the apartments to the mansion. “SoIcyBoyz3” re-enlists Shiesty & Wop alongside Foogiano to send a warning to their detractors over a glistening Tay Keith instrumental & the Baby K-featured “No Ball” literally has nothing going for it other than the Middle Eastern-inspired production.

Scarr returns to a more darker sound on the track “Don’t Stop” as he raps about beef, but then “IDL” showcases a cool lil chemistry between him & Enchanting as they paint an oxymoronic love story. The woefully produced “Pay Me” details being crossed so many times & on the contrary, “Traphouse” is a stern look-back on his days before rapping.

Meanwhile on “I Would Keep Goin’”, we have have Big Scarr detailing how heartless he is in a petrifying fashion referencing WWE Hall of Famer, 6-time WWE world champion, WWE Intercontinental Champion, WWE United States Champion, WWE Tag Team Champion, WWE Hardcore Champion, IWGPヘビー級チャンピオン, the inaugural 6-time TNA World Champion, TNA X Division Champion & 2-time TNA World Tag Team Champion Kurt Angle before he & Gucci Mane detail how they live life on the Zaytoven-produced “In Color”. The track “From the Jump” details about his greatness over a plentiful instrumental & the tape ends with the first 2 installments of the “SoIcyBoyz” series. The first one is kinda underwhelming & the 2nd one is much more improved.

Even though I came away from Big Grim Reaper with mixed feelings, I’m still very much looking forward to hearing what Big Scarr has to offer. The overall sound is middle-of-the-road, but I’m not gonna deny the ambition in his voice throughout a good bulk of the tape.

Score: 2.5/5