Yelawolf & Caskey – “Yelawolf Blacksheep” review

This is the brand new collaborative album from Alabama rapper, singer/songwriter, producer, fashion designer & entrepreneur Yelawolf as well as Floridian rapper Caskey. The pair have done songs together in the past such as “No Such Thing as Free” off of Trunk Muzik III & “Remember” off of Black Sheep 4 but to kick off their 2021, the duo are coming out of the woodwork with Yelawolf Blacksheep.

The album kicks off with “Just the Intro”, where Yelawolf & Caskey are going back & forth with one another for 4 minute straight over a victorious beat. The next song “Daytona” talks about how you can’t slow them down over a dim trap instrumental whereas the track “Been a Problem” talks about their stronghold on the rap game over some heavy bass & rattling hi-hats. The song “Billy & the Purple Datson” talks about doing what they have to in order to make that money over an unhinged beat while the track “Turn Up in Tijuana” talks about partying over a generic trap instrumental.

The song “Cookies” with Cub da Cookup Boss finds the trio talking about ride or die bitches over a sorrowful beat & then there’s the mediocre remix to “McQueen Fiend” off of Caskey’s previous album I Changed. The song “Open” talks about still being “open” after pulling out over a Three 6 Mafia-type beat while the track “C’est La Vie” talks about naysayers over a harp-tinged instrumental. The penultimate track “Tat Shop” talks about getting skulls inked on them for the haters over a trap beat with a cool flute incorporation & the fallen homies, but then the closer “$1M Deal” talks about being free from Shady Records & Cash Money Records respectively over a misty instrumental.

Coming away from this album, my feelings on it are mixed. I think the production plays well to both rappers’ respective sounds, but the chemistry is kinda odd considering that Yelawolf is outrapping Caskey on just about every joint.

Score: 2.5/5

Sylvan LaCue – “Young Sylvan” review

Sylvan LaCue is a 30 year old rapper from Miami, Florida who got his start in 2008 under the name QuESt. However, it wouldn’t be until a decade later when he dropped his critically sophomore album Apologies in Advance under his own label WiseUp & Co. with distribution by INgrooves Music Group. We haven’t heard much from Sylvan since then but after a 3-year hiatus, he’s marking his return by dropping his 2nd EP.

The EP kicks off with “Young Sylvan Back”, where the Floridian rips it up like he never left over a trunk-knocking trap beat. The next song “First 48” talks about trying to escape jumping from one trap house to the other over a euphoric instrumental before switching up into a more orchestral vibe. The track “Clam Chowda” talks about not feeling trauma coming over a spine-tingling beat while the song “M J” with Merlaku Ra sees the 2 talking about having hearts full of rage over an instrumental with some snares & bells. The closer “Backseat 2012” talks about being fresh out this bitch over a skeletal beat referencing 10-time WWE world champion, 2-time WWE Intercontinental Champion, 5-time WWE Tag Team Champion & $7 Productions co-founder The Rock.

Not as good as Apologies in Advance, but still a decent EP in my book. The blatantly heavy Kendrick Lamar influence from that previous album makes it’s way onto here & it’s very distracting. I really Sylvan shakes that off & comes into his own whenever he puts out his next full-length effort, because the dude’s talent is undeniably there.

Score: 3/5

Gibby Stites – “The 13th Wonder” review

Gibby Stites is a 25 year old MC/producer from Millville, New Jersey who’s been making music for about a decade now at this point. However, he didn’t come to my attention until last spring when he performed during Netfest on Your Couch. But after signing to Majik Ninja Entertainment a few months back, the kid is putting out a new EP introducing himself to all the juggalos

The EP starts off with “I Heard You Got Signed”, where Gibby & Jamie Madrox talk about 77% of listeners being fans & the other 33% being jealous over an intimidating boom bap beat from Str8jaket. The next song “Rain Rain” talks about floating on that reefer cloud over a mystical instrumental while the track “Express Lane” talks about being tired of going slow in life over a rock-flavored beat from Young Wicked. “The Mission” reunites with Jamie Madrox to talk about getting money over some keyboards & a set of militant drums while the song “Bad Company” talks about chilling on his lonely over a cloudy beat with some jazzy undertones to it.

The track “U Can Miss Me” with Blaze Ya Dead Homie & Boondox finds the trio talking about dodging bullshit over a perilous instrumental while the song “I’m Good” talks about how he doesn’t feel the way he should be over a malicious trap beat from Charlie Beans. The penultimate track “Make ‘Em Smile” with Jamie Madrox over a funky boom bap instrumental & then the closer “Feel This Way” finds the duo sticking together 1 last time to talk about mental health over a desolate beat from Stir Crazy with some heavy guitars during the hook.

I was curious to hear how this would turn out & it’s not a bad EP. The production is refined compared to Gibby’s previous output & his pen-game has definitely stepped up as well. Looking forward to see what MNE has in store for him in the near future.

Score: 3.5/5

Jim Jones – “The Fraud Department” review

Jim Jones is a 44 year old rapper from The Bronx, New York who came up in as a member of The Diplomats in the 2000s. His first 5 full-lengths from 2004-2011 had some highlights in them, but they were all average at best as whole albums. However it wouldn’t be until 2018 after dropping Wasted Talent where he would really start putting out his best material ever & then came out with his magnum opus the following year El Capo. But just 3 months after putting out the sequel El Capo 2, we’re already being treated to Jimmy’s 9th full-length album produced entirely by Harry Fraud.

The opener “Laps Around the Sun” talks about being grateful over a bare flute instrumental whereas the next song “Fucked Up” is about a lil bitch who got her perception of Jimmy wrong over some harmonizing & a saxophone. The track “Aunt Viola” with Dave East finds the duo talking waiting your turn & then turning tables over an airy trap beat while the song “Lose Lose” talks about his success over a soul sample & some snares.

The track “Bada Bing” with French Montana sees the 2 on their gangsta shit over a rubbery beat while the song “Barry White” talks about turning the hood into a paradise over a ghostly instrumental. The track “Say a Prayer” with Curren$y & Jay Worthy finds the trio talking about hustling on the block over a triumphant beat while “The People” with Conway the Machine sees the 2 talking about George Floyd’s murder over a boom bap instrumental with a haunting vocal sample.

The track “Luxury Lies” shows his doubters what he can do over a jubilant beat while song “3 Cuts” with Maino finds the duo on their fly shit over some exuberant horns. The album finishes off with “Make It Home”, where Jimmy talks about his fallen homies over a boom bap beat with some dour keys.

It’s very rare for artists to be putting out their best material later in their careers, but this puts Jimmy on a 3-peat because I like The Fraud Department almost as much as El Capo & El Capo 2. Harry Fraud comes correct on the production as he usually does & when it comes to Jimmy’s lyrics, it seems like this isn’t even his final form.

Score: 4/5

Insane Clown Posse – “Yum Yum’s Lure” review

The Insane Clown Posse are a horrorcore duo, the founders of Juggalo Championship Wrestling & the longest reigning JCW World Juggalo Tag Team Champions consisting of Violent J & Shaggy 2 Dope. There have been a total of 6 members in the group since its inception in 1989, but has been boiled down to J & Shaggy since the release of their 1992 debut album Carnival of Carnage. Together, they would create an empire whether it be subsequent albums like Riddle Box & The Great Milenko or expanding the self-owned Psychopathic Records as a force to be reckoned with in the underground by signing artists from Twiztid to more recently Ouija Macc. Now I wasn’t the biggest fan of ICP’s previous full-length album Fearless Fred Fury back in 2019 because I felt like it was rushed, however I do respect how angry it was. But as they gear up for the next joker’s card Yum Yum Bedlam, the wicked clowns are preluding it by dropping Yum Yum’s Lure on Juggalo Day.

After the “Bewitching” intro produced by 1 Man Kru of the Keepaz of the Krypt, the next song “Loyalty” finds J & Shaggy detailing what it means to be faithful over an ominous piano instrumental whereas the track “Afraid of Life” might be one of the worst ICP songs I’ve ever heard, as they talk about preferring to be a zombie phantom over a rock-flavored beat from Alien Ant Farm of all people.

The song “Smell of Rain” talks about women consuming them including a reference to 新日本プロレス founder, 3-time IWGPヘビー級チャンピオン, 10–time G1クライマックス winner, WWE Hall of Famer & unrecognized WWE Champion アントニオ猪木 over a happy go lucky instrumental from Shaggytheairhead while the track “Ding Ding Doll” tells the story of a boy who buys a cursed Ecuadorian pull string doll from the dark web & the doll comes to life to wreak terror over a pillowy beat over a pillowy beat.

The song “I’ve Had It Worse” talks about how life sucks for everyone over a skeletal trap instrumental from the homie Devereaux while the penultimate track “Candyman” is a solo Shaggy cut with some of his most cringey lyrics on top of a more playful Mike E. Clark beat. The EP ends with “Clownheads”, which is a bloated & redundant advertisement for their Clownhead Paintings.

Coming from a Detroiter who’s been down with the clown since I was in middle school, I think the House Party Peep Show EP is much better because this is just as bad as The Calm & Eye of the Storm. I think the production is decent, but the execution on a good portion of these songs are terrible in my personal opinion. Really hope these songs aren’t on Yum Yum Bedlam & hopefully that album isn’t as disappointing as the material we got on here.

Score: 1/5

Fat Ray – “Santa Barbara” review

Fat Ray is a 39 year old MC from Detroit, Michigan who came up as 1/3 of the production trio B.R. Gunna alongside local veterans Black Milk & Young RJ. He would eventually go solo in 2008 by releasing the criminally slept-on The Set Up entirely produced by Black Milk, following it up until a full decade later with both The Lunch Room mixtape & the subsequent sophomore effort Perseus. However out of nowhere, the Bruiser Brigade member has seen fit to return by dropping his 3rd full-length album.

The title track that kicks the album off talks about being happy to be back on his shit over a jazzy boom bap beat from Raphy, who produced all 3 joints on the entire thing. The next song “Flight Risk / Plead the 5th” gets on the gangsta rap tip over an instrumental, that starts off jazzy, but later switches up into a bare soul sample. The track “Menacing” talks about going to war if you want it over a beat that sounds like something RZA would’ve made for Enter the Wu-Tang (36 Chambers) while the cleverly-titled “Ethan Hunt” makes references to the Mission: Impossible franchise over a more chilled out instrumental.

The track “Jordan vs. Bird” gets on his mob shit over a boom bap beat with a dark atmosphere to it while the song “Dopeman Heaven” with Danny Brown finds the 2 talking about slanging drugs over a Black Milk instrumental with some downcast keyboard melodies. The track “Old Faithful” featuring Bruiser Wolf sees the duo talking about being fresh to death over a sleek beat while the song “Top Ramen” talks about not having much coming up over a psychedelic instrumental.

The track “Bar Smithing / Off-Safety” shows off his lyricism & the beat once again has that vintage Wu-Tang feel at the start, but it switches up into something more apprehensive. “The One” talks about how everyone wants to be that guy over a Crisfantom instrumental that’s clearly inspired by the late J Dilla while the penultimate track “The Sword” talks about being the 2nd level of crazy over an otherworldly beat. The album ends with “Mental Case”, where Ray talks about his homie Kutty over some harmonious vocal melodies.

Perseus might be the weakest of the 3 studio LPs we’ve gotten from Fat Ray so far even if there are a few songs I still go back to, but I’d put Santa Barbara right behind his debut & have no doubts that he can top it if he decides to put out more music a few years from now. The production’s more boom bap oriented than its predecessor & he brings a couple of his Bruiser Brigade brethren to spit hardcore gangsta lyricism for almost a half hour.

Score: 4/5

slowthai – “TYRON” review

slowthai is a 26 year old rapper from Northampton, England who came onto my radar in 2019 off his debut album Nothing Great About Britain. His profile continued to grow shortly after due to his feature on BROCKHAMPTON’s latest album at the time GINGER but with the 2 year anniversary of his first album coming up in the spring, slowthai has finally delivered his long-awaited sophomore effort.

The album starts with “45 SMOKE”, where slowthai talks about the world being his over an abrasive instrumental. The next song “CANCELLED” with Skepta serves as a well written response to cancel culture over a ghostly beat with some whistling while the track “MAZZA” with A$AP Rocky finds the 2 talking about the meaning of insanity over an off-the-wall trap instrumental. The song “VEX” talks about people irritating him over an energetic instrumental, but the following track “WOT” is so short that there’s no point to it being on here.

The song “DEAD” introspectively dives into the subject of the afterlife over a shadowy beat while the track “PLAY WITH FIRE” talks about feeling like he’s got his head in a blender over a playful instrumental. The song “i tried” opens up about a suicide attempt slowthai once had over an oxymoronic beat while the track “focus” talks about his brothers being in prison over a weary instrumental from Kenny Beats.

The song “terms” talks about how things in life could be worse over some cloud rap production while the track “push” talks about how no one wants to see you grow over a bare piano instrumental. The song “n.h.s. (national health service)” provides reassurance in a post-COVID world over a sparse beat while the penultimate track “feel away” pays tribute to his late brother Michael over a soft instrumental. The album ends with “adhd”, where slowthai talks about how “the passenger always been a witness” over a low trap beat.

Dude might be the best up-&-comer out of the UK right now because I enjoy this album more than I did Nothing Great About Britain. I mean as much as I enjoy slowthai’s previous full-length effort for how gritty & political it sounded, the production on TYRON is cleaner & the lyrics are more personal this time around.

Score: 4/5

JPEGMAFIA – “EP2!” review

JPEGMAFIA is a 31 year old rapper, singer & producer from Baltimore, Maryland who broke out in 2016 with the release of his full-length debut Black Ben Carson. However, wouldn’t be until the man’s next 2 albums Veteran at the beginning of 2018 & then All My Heroes are Cornballs the following year where he would earn respect across the board & reveal himself as one of the most creative minds in hip hop today. He dropped a bunch of singles last year & compiled them onto an 8-track EP. But after signing to Republic Records last month, Peggy has cooked up another EP albeit with almost all newly recorded material.

I have no idea why the EP starts off with “LAST DANCE!” as it originally appeared on EP! a couple months back, but it’s still a great song. After the “INTRO!”, the first actual song “FIX URSELF!” talks about being too real for this shit over a cold instrumental while the next track “KELTEC!” talks about not needing industry friends over a futuristic beat.

The song “THIS ONE’S FOR US!” gets combative over an atmospheric instrumental while the penultimate track “PANIC ROOM!” talks about suckas over a lush beat from James Blake. The EP finishes off with “FEED HER!”, where Peggy flexes over a cloudy instrumental.

I was curious to hear how this would sound given that Peggy’s on a major label now, but I enjoy it almost as much as EP!. Yeah he’s going into a more pop rap territory on here, but he makes it work by putting his own unique spin on that more melodic sound.

Score: 4/5

Bonnie & Hyde – Self-Titled review

Bonnie & Hyde are an East Coast duo consisting of death rap veteran Mr. Hyde & his wife Cherie Rain. The couple have been making joints with one another dating back to Hyde’s 3rd album If It Bleeds We Can Kill It back in 2012 but almost a decade later, they’re coming together for a full-length debut.

After the “Killer Couple” intro, the first song “Epic Pursuit (Bonnie & Hyde Theme)” details being chased by the cops over a boom bap beat with some strings buried in the background while the track “Death is Coming” gets on his death rap shit over a Satanic instrumental from Cherie Rain herself. The song “Darkness” talks about the owners of the night arriving over a boom bap beat with some eerie piano embellishments while the track “Poison Fate” spits some battle bars over a perilous instrumental.

The song “Funky Fresh Face Melt” with Celph Titled finds the trio getting homicidal over a grim beat from Little Vic & after the “Kid Joe Forever” interlude, the following track is a NASTY conclusion to the “Street Veteran” saga that started on Psycho+Logical-Records’ 2003 showcase compilation Brutality. The song “Superhuman” talks about being a monster over a rock boom bap fusion & then the closer “Repent the Devil’s Thirsty” comes through with some street poetry over a minimal beat.

The duo really play off one another very well & as a result of that, I personally think this is some of the best material either one of they’ve have ever done. Hyde’s lyrical skills are just as brutal as they were on his iconic 2004 debut album Barn of the Naked Dead, Cherie is a beautiful singer & her sample free compositions are astonishing.

Score: 4.5/5

Slaine – “The Things We Can’t Forgive” review

Brand full-length album & the 5th overall from Boston, Massachusetts veteran Slaine. Most notable for being a member of the underground supergroup La Coka Nostra, he released an EP & a total of 4 mixtapes before coming through with his debut album A World with No Skies in 2011 under Suburban Noize Records. This was followed up with The Boston Project in 2013 as well as The King of Everything the year after that, but the man went took a 3-year hiatus following the release of the Slaine is Dead EP in 2016 & returned by dropping the mature 1 Day in 2019. Fast forward 15 months later, Slaine is kicking off the 3rd act of his career by dropping The Things We Can’t Forgive.

The opener “When the War Ends” talks about how we’re not prepared for what happens tomorrow over a despondent beat from The Arcitype, who produced almost every song on the album much like 1 Day. The next song “Everything Once” talks about having a lot in life to lose over a tense piano instrumental while the track “Blurry Eyed” talks about his soul being torn over a portentous beat. The song “Revolver” talks about continuously ending up in the same place that he’s already been in over a cacophonous instrumental while the track “Wrath & Pride” with Snak the Ripper finds the 2 talking about going crazy over an ornery beat.

The song “Chasing Ghosts” opens up about a failed relationship over an instrumental with some melancholic acoustic passages while the track “Beautiful” acknowledges those who call him strange over a fiery beat. The song “Not Enough” calls for strength to get through the day over a pessimistic instrumental while the title track talks about this relationship of his being like a mirror over an optimistic-sounding beat from Statik Selektah. The album ends with “Legend of the Fall”, where Slaine talks about ghosts talking to him in his head over a glum piano instrumental.

An equally fantastic follow-up to 1 Day, what we get out of The Things We Can’t Forgive is a dark trip into Slaine’s spiraling whirlwind of mental obsession & the most emotional LP in his entire discography. The Arcitype’s production feels a bit darker than it was 15 months ago finding duality through a 38 minute self-examination addressing topics like love, sex, heartbreak, narcissism, trauma, betrayal, addiction, forgiveness & recovery.

Score: 3.5/5