Downtown Boys – “Public Luxury” review

The Downtown Boys are a hardcore punk rock band from Providence, Rhode Island consisting of alto saxophonist Will Cioffi, guitarist Joey DeFrancesco, tenor saxophonist Emmett Fitzgerald, drummer Norlan Olivo, bassist Dan Schleifer & lead singer Victoria Ruiz. Making their eponymous full-length debut back in 2012, they went on to follow it up with the sophomore effort Full Communism as well as the Sub Pop Records debut Cost of Living. Almost a decade later, they’re returning for their 4th studio LP.

“No More Jodas” begins with an urgent lead single singing in Spanish about this person being the disaster Victoria wants prior to her stating that “The City Begins” where many assumed it would end over some punk rock riffs. The 3rd single “Sirena” uses a handful of metaphors to symbolize empowerment singing in Spanish once again dabbling with new wave just before the 4th & final “Yellow Sun” addresses Israel occupying Lebanon for the past couple years giving a shot at goth pop.

Meanwhile on “Viva La Rosa”, we have Victoria & Joey breathing new life into a song that was initially conceived during their Malportado Kids days take inspiration from skate punk leading into “Enemy Without” throwing the it back to the Downtown Boys’ earlier material stylistically. The 2nd single “You’re a Ghost” combines dance-punk & industrial rock so they can critique the rise of fascism in the United States while “Albuterol” treads the synth-punk waters singing about smoking in bed.

“Mi Concha” wraps up the final moments of Public Luxury with another Malportado Kids rendition singing about Victoria’s shell not being white enough for others amplifying the new wave elements while “Public Works” starts with some galloping punk riffs & commanding vocal performances preceding the synthesizers & even an occasional saxophone. The title track spends the album’s last couple minutes blending more synths with a piano for a delicately electronic outro.

Amplifying the primary post-punk influences of their 2017 debut for Sub Pop, the Downtown Boys make their return after 9 long years with the most expansive entry in the band’s entire catalog & definitely the strongest since getting signed. They also incorporate influences of hardcore punk, garage punk, art punk, dance-punk, industrial rock, new wave, synth-punk & skate punk to make some bilingual political commentary regarding the people having it all in the end.

Score: 4/5

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Wrekonize – “Edited for Reality” review

Here we have the long-awaited 5th studio LP from Miami, Florida emcee/producer Wrekonize. Starting out in the battle circuit, he eventually put out a total of 3 mixtapes throughout the 2000s until coming out with his full-length debut A Soiree for Skeptics in 2010. However, the following year when he signed to Strange Music as a solo artist & as a member of the group ¡MAYDAY! the following year. His 2013 sophomore effort The War Withinwould go onto receive critical acclaim & was followed up in 2017 with Into the Further. This fall will be 6 years since Pressure Point & he’s enlisted MIKE SUMMERS a.k.a. 7 to produce Edited for Reality.

After the “Ángel de la Guarda” intro, “Alpha (The Beginning)” made for a tense opener talking about him having to change his state of mind whereas “Ain’t Backing Down” encouraging people to find him if they’re looking for a fight. “Free Way” had a more laidback sound to it talking about living life freely prior to “Can’t Stay, I’m Gone” featuring Lex Bratcher joining forces so they can cavernously talk about their refusal of standing still.

“Snowfall” instrumentally shifts towards a predominant trap vibe confessing that his heart’s been getting colder by the second leading into “No Words” talking about being speechless at all the evil things this person he’s addressing has done. “You Should Get Slapped” by ¡MAYDAY! featuring Stunnaman02 & 1 Ton finds everybody enjoying the sun & staying out the way of bullshit just before “Cinder Blocks” featuring Stevie Stone talks about bracing for the fall when they land.

Continuing the 2nd half of Edited for Reality, we have Wrek taking a more melodic approach on “If Anything” singing that he’ll be there for this person whenever they need him while “For Peace” talks about not finding tranquility if one doesn’t actively seek for it. “Line in the Sand” lividly airs out his frustrations of potentially dying at the hands of a coward while “Twisted” hops over a boom bap beat talking about the state of the world.

“Planet Worth” winds down the last several minutes of the album speaking of living for the moment as a nobody on a rock full of superstars while the penultimate song “No One Else (Be Myself)” talks about wanting to be himself instead of another because he could give a fuck less what they have. The closing track “Perfection 2026” wraps up Edited for Reality explaining the realization that he’s come to regarding nobody completing the path of gaining perfection.

Containing every single he’s dropped since forming ¡MAYDAY! Music distributed by It Goes Up Entertainment & Strange Music with his ¡MAYDAY! bandmates a few years earlier, Edited for Reality egins this new chapter of Wrekonize’s career with a full-length that I’d have to put on the same pedestal as The War Within & Pressure Point. I could’ve done without a couple guests, but the chemistry between 7’s production & Wrek’s penmanship hasn’t changed.

Score: 4/5

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Naomi Sharon – “No Sleep in Paradise” review

This is the sophomore effort from Rotterdam, Zuid-Holland, Netherlands singer/songwriter Naomi Sharon. Starting in 2018 with her debut single “Breeze”, she would go on to release 4 more singles until Toronto, Ontario, Canada superstar Drake signed her to OVO Sound for an impressive debut Obsidian giving a refreshing take on the way the label delivers alternative R&B going beyond that in favor of neo-soul, afrobeats, afro house, downtempo, sophisti-pop, deep house, ambient pop & smooth soul. Coming off The Only Love We Know however, she’s been getting No Sleep in Paradise.

“I Know” blends deep house & alternative R&B to kick things off singing about being built from broken time & stitched with 2nd chances whereas “Miss That” experiments with Afropiano admitting that she’ll miss the way her ex used to pull her in & kiss her back. “Weak” fuses alternative R&B with Afrobeats asking if this person even realizes that she’s hurting her while “Try” produced by KAYTRANADA & Jordan Ullman sings about having the whole night to reach the sun.

Moving on from there, “If You Wanted to You Would” brings the deep house elements back in the picture demanding to know why this person said they need her in their life just before the spacious “Starting Fires” encourages her partner not to hesitate with her heart. “Was It Ever Love?” finds herself questioning if her ex truly loved her since all he never showed that he sincerely cared while “Better Days” sings about her praying & waiting for things in her life to improve.

“Celebration” gets the 2nd half of No Sleep in Paradise going pleading to be drowned in the truth without any hesitation while “Pink City” sings about rivers & skies collide when stars surround you over a moody beat from Noel Cadastre. “Untitled” addresses an individual who waits & lets her bleed rather than chasing & pleading while “Half a Lie” sings about her always having to fake her peace along with desiring truth instead of perfection.

The song “Leaving” winds down the album’s final moments explaining to her partner that she can’t carry the weight of their paradise & getting out of their presiding town while “Light My Soul” sings for her lover to elevate her & kiss the fire in the middle of him lighting her soul over an Afropiano instrumental. The title track appropriately concludes No Sleep in Paradise confessing to her carrying love similarly to baggage she forgot to claim.

In only less than 3 years, Naomi Sharon has quickly risen above the ranks to become the most talented signee on the OVO roster & her 2nd album No Sleep in Paradise continues to validate that even if I’d put Obsidian above it. She might be the best songwriter on the label even if the neo-soul influences are being decreased compared to her last couple projects in favor of the production taking it’s inspiration from alternative R&B, alt-pop, sophisti-pop, Afropiano & deep house.

Score: 3.5/5

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Diorvsyou – “Pre Gamé 2” review

Atlanta, Georgia recording artist Diorvsyou continuing to prelude his debut album Soirée with his 7th EP. Coming up in 2021 off his inaugural extended play Scoreboard, it wasn’t until I saw him open up for southsidesilhouette in Brooklyn the following November where I was personally introduced to his music & I was actually impressed with his set. w.t.f.i.dvy? (who the fuck is diorvsyou?) marked a bigger breakthrough for him artistically & returned up from the Ashes almost a year since Diorvsrxlvnd’s eponymous debut. The last several EPs Untitled EP.9 as well as So Cunt. & Paussus.99 have all been received positively, coming off Pre Gamé to drop a sequel under Geffen Records.

“Walk the Plank” produced by n9ck begins with Dior talking about taking both of his double cups on a date & every day being a party for him whereas “Praise the Lorde” gives off a more rage-inducing vibe speaking of buying a bitch & slutting her out. “Marilyn Monroe” hops over a thr6x instrumental talking about coming for the cash but after “Magnolia” detailing him mixing lean with percocets & dismissing copycats for imposters, “Fashion Week” brings some more rage beats in the picture talking about trying to make something rain

As for “Sick”, we’re being treated to a pluggier sound so Dior can discuss the possibility of shooting up a party off beans while “With da Munyun” talks about him acting a fool with all this money he’s earned & using it to break some rules. “Twin” finds himself getting psyched out for a couple minutes & “HoustonCaliLantaVegas” shows his gratitude towards all those cities over a LulRose beat, the closing track “Woke Up Like Dis” ends Pre Gamé 2 referencing the inaugural 4th Rope World Tag Team Champion & 2-time HoG Tag Team Champion Jeff Hardy.

Excluding a few songs that were previously released making their way onto here, Diorvsyou continues to prepare for Soirée by dropping what I’d consider to be Pre Gamé 2 containing some newly recorded material & some older stuff. I can only assume that’s because Pre Gamé 1.5 back in January was a SoundCloud exclusive & Geffen wanted to get paid for the streams, but it doesn’t wane any anticipation I have for the LP whether it comes out this year or not.

Score: 3.5/5

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2slimey – “TotalBass” review

2slimey is a 20 year old rapper from Midwest City, Oklahoma who came up under the original moniker GGS making more traditional hip hop music until switching up his style. His debut extended play SsoMe wouldn’t come out until 19 months earlier & follow this up with his full-length studio debut High Anxiety. He has since been getting co-signs from North West to PlaqueBoyMax & Lil Uzi Vert, preluding a forthcoming sophomore effort with a 2nd EP & just in time for summer to officially commence.

“Left Right” made for an underwhelming intro referencing the late WWE Hall of Famer Muhammad Ali whereas “Wine” discusses rolling at the top. “lobby” tediously talks about unloading an entire clip just before one of the few tracks I enjoyed “Bentleys & Lambs” disses ily2erk over a Noah Mejia instrumental. “Ballout” vapidly talks about doubling his revenue & after “Money Dumb” co-produced by Internet Money Records in-house producer Synthetic makes up for it with my favorite single, “Why You Wanna Hate on Meh?” ends with a response to his detractors.

For the past 4 months ever since I heard his UG Cypher verse, I’ve been saying that 2slimey in my personal opinion could likely be the most overhyped rapper today & TotalBass pretty much confirms that for me anyway since it’s less more enjoyable than his debut. The experimental trap production including secondary influences of rage & terror plugg are actually pretty decent, but I can’t say the same regarding his hardcore performances.

Score: 2/5

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Jungle Brothers – “Concrete Jungle” review

The Jungle Brothers are a golden age hip hop duo from Brooklyn, New York consisting of Afrika Baby Bam & Mike G. Originally a trio alongside DJ Sammy B, their 1988 debut Straight Out the Jungle & the sophomore effort Done by the Forces of Nature under Warner Records are considered to be some of the most important hip house albums ever created, although their music since then has generally been hit or miss. However, I still had interest for the Native Tongues subgroup’s 2nd extended play.

“Make the Party Rock” featuring TdiMuzik begins with a fun intro talking about 2-steppin’ on muhfuckas even if the TdiMuzik verse was alright whereas “Check This Out” takes it back to the group’s signature hip house sound calling for everyone on the dance floor to put their backs into it. “Special Request (Dancin’)” kicks off the 2nd half with a carefree party anthem while “Rocket” concludes the EP talking about them continuing to rock stages.

A great deal of the Jungle Brothers’ output for the past 3 decades has mostly been average at worst & I might not have Concrete Jungle on the very same pedestal as their first couple of LPs that were so groundbreaking, but I think it’s a decent return for them overall. The production shifts between the hip house sound that made them so unique & boom bap, although I wouldn’t go as far to say that they don’t really push either those styles forward.

Score: 3/5

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Shakewell – “Slugeater” review

Los Angeles, California emcee Shakewell has returned for his 4th extended play. Coming up almost a decade ago off his debut EP Keystone Prince, he followed it up a year later with his 2nd EP Big Juice tha Sip resulting in the $uicideboy$ signing him to G*59 Record$ right when the pandemic started & releasing the full-length studio debut Pray 4 Shakewell. It’s already been a couple years since Dangerously Close & the Slugeater’s continuing to tease a sophomore effort.

“Smoke (I Want It All)” after “Tha Prologue” intro experiments with metal music to open up the EP talking about looking for trouble whereas “It Happened Again” featuring the Regional Justice Center heavily confronts someone who betrayed all of his dogs. “Year of tha Worm” featuring Raygunn Ethan has a cloudier Memphis sound to it talking about being the chosen one & after “Shameless Money Drain” featuring Drain brings the guitars back in so he can rip shit up, Slugeater finishes up with a 3 minute punk rock outro where he’s “Talkin’ My Shit” with Alpha & Omega.

It might come as a surprise to people that Shakewell was in a metalcore band called Betrayal before switched his style in for the Memphis-inspired trap sound G*59 has collectively become synonymous with, but that doesn’t necessarily excuse Slugeater for being as such of a mixed bag it is. Don’t get me wrong: I appreciate him taking it back to where it all began drawing inspiration from punk to metal & beatdown hardcore. Even if the features leave little to be desired.

Score: 2.5/5

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Red Bag – “Could This Be?” review

Red Bag is an independent hip hop artist from Long Beach, California whose music puts a he world in the shoes of his lived experiences built for the ones still in it from the lens of a cinematically raw point-of-view. For his full-length studio debut however, fellow Rich Mind$ collective brethren Cynematic has been enlisted behind the boards for the inaugural half of a 2-part series that he calls The Message recalling the roads he once walked that many are walking to this very day.

“Winter Stone” begins with a 90 second drumless intro talking about letting his mind drift when he smokes weed whereas “Blanc de Blancs” goes for a jazzier vibe instrumentally asking if anyone can rip microphones better than him. “Gourmet Chops” finds himself getting boastful over a soulful beat leading into “Fresh Water” talking about him doing this for the ones he’s lost.

Terry joins Red Bag on “Fools Rush” continuing to drop braggadocio over a lo-fi boom bap instrumental reminding me of Domo Genesis during the Odd Future era just before “Parallax” talks about his refusal to fake shit because of the way he came up. “Broken” moves on from there admitting to be more gentle with himself going forward while “XTC” reaches the halfway point of Could This Be? with a compositional approach not even an entire minute long.

“In Due Time” kicks off the 2nd half of the album with a 63 second freestyle talking about his capability of making an entire crowd listen whenever he takes the microphone while “Deja Vu” speaking of his purpose of being destined for this shit & overcoming any obstacles. “Came to Age” spends a minute & half honoring the legacy of my 2nd favorite producer of all-time J Dilla behind the Quincy Jones of hip hop Dr. Dre himself prior to Terry returning for the title track.

To wrap up Could This Be?’s final act, “Stripes” talks about staying a student of the game when you’re constantly holding yourself back while “Burning” treads the lo-fi boom bap waters discussing how the legacy you leave behind going forward is the one that rally counts. “Twist” talks about recruiting new members for his crew to replace the older ones & the outro “Full Circle” sends it all off reaching the point of being past all the bullshit in his life.

Catering his music to the people across the world who’re experiencing his past presently, Red Bag looks to make a wider introduction to the west coast underground by presenting the world this inaugural half of this saga split into 2 completely different sections & Could This Be? marks a personal debut for the west coast artist in general. The production Cynematic brings to the table is a mix of drumless, boom bap, jazz rap & lo-fi hip hop reminding us all he overcame his obstacles by pushing forward.

Score: 3.5/5

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Ouija Macc – “Sixela” review

2nd studio LP of 2026 & the 11th overall from Las Vegas, Nevada emcee Ouija Macc. Breaking out when the Insane Clown Posse signed him to Psychopathic Records shortly after putting out his debut EP Trashfire independently almost a decade ago, Ouija has since proven himself as the hatchet’s biggest solo act dropping his last 10 full-lengths, 2 greatest hits compilations, 8 mixtapes & 5 EPs all in the span of almost 9 years. He even started his own label Chapter 17 Records, with Darby O’Trill now being the only artist signed. He has since declared himself America’s Most Wicked back in November, coming out of the Pyramid of Skulls to have Flexatelli fully produce Sixela a week after Caleb Konley & Dani Mo ended CoKane & J-Rod’s reigns as JCW World Juggalo Heavyweight Champion & JCW Women’s Champions respectively.

“Sixela Legna” opens up with a sinister trap intro talking about him being on the verge of losing his mind whereas the 3rd single “Zombie Walkin’” gets back up on his bullshit, crushin’ something soon as he steps up in the function. “Sour Dough Toast” talks about the feeling Ouija has of him not belonging on this planet because it’s a curse just before the lead single “Phonky Phonky Sh17” embraces a phonk sound & infusing it with horrorcore lyricism.

As for “Kerosine Flex”, we have the C17 CEO getting busy on ‘em returning to a trap sound while the 5th & final single “Corpse Boy” talks about spraying a fully loaded clip at all the dorks who come around his way & being an MVP when it comes to the art of murder. “That Dust” continues from there telling us what it was like for Ouija growing up in the deserts of Sin City leading into “Murda Mission” talking about slaughtering his opposition & torturing them until he’s done.

“Out da Jungle” reaches the halfway point of Sixela speaking of him hanging out with the dead because the living are unable to stand him while “Set Trippin’” continues the 2nd leg talking about Chapter 17 being the very reason why throats are left slit & killing anyone who fucks up his mood. “Sally Mander” includes a shoutout to Death Grips during the final verse that I loved as a fan of theirs since high school while “God’s Ashtray” asks listeners for their interpretations of Hell.

After an “Internal Monologue” detailing suicide ideation, the song “Demon Juggalo” cloudily talks about pullin’ up to the spot like he owns that hoe while “Calculator” boasts of his status as a calculated killer doing numbers. “Dracula” talks about eating the pussy at the red light because he’s that much of a perv & the outro “Elote” concludes Sixela singing that looking into the eyes of his newborn child makes him feel as if he passed away.

Devereaux’s normally credited for producing a great deal of Ouija Macc’s discography other than a few notable exceptions, but I’m very much appreciative of what he was trying to do with Sixela even if I prefer the previous album 3 months earlier as my favorite thing he’s done in 2026. Flexatelli’s production is certainly refreshing for anyone who wanted Ouija to work with someone else behind the boards & it compliments the latter’s wicked lyricism.

Score: 3.5/5

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Benny the Butcher – “The Plugs I Met 2.5” review

Buffalo, New York emcee Benny the Butcher preluding The Plugs I Met III with his 10th extended play. Being in the game for 2 decades already, it wouldn’t be until the previous one where he alongside his cousins Westside Gunn & Conway the Machine would take the culture by storm off projects like Tana Talk 3 & The Plugs I Met. Harry Fraud came in for a sequel to the latter following the mature Burden of Proof & finally, Tana Talk 4 took it back to the basement a few years back. Coming off the Summertime Butch duology & Excelsior however, The Plugs I Met 2.5 has come 48 hours succeeding its announcement.

“Rise & Fall” featuring Elcamino & 38 Spesh after “The Dog & The Wolf” intro hops over a soulful instrumental from Harry Fraud explaining that there’s a certain price of the game that we haven’t accept even if we don’t want to leading into “Big Difference” featuring Bruiser Wolf & Fuego Base produced by the late DJ Shay works in a symphonic boom bap beat so the trio can respond to all of the haters criticizing them for their recent acquisitions.

Daringer & Beat Butcha get behind the boards on “Once Upon a Time” to kick off the 2nd half of The Plugs I Met 2.5, replacing the strings with a more sinister backdrop explaining that every leader was a good soldier at a certain point in their lives just before “Talk Shows” featuring Raekwon reunites with Harry Fraud to discuss having no respect for those who buy their runs since they hustled to earn theirs. The closing track “Can’t Be Much” sends off the EP with a symphonic trap outro getting in his coke rap bag lyrically.

Many will presumably say that The Plugs I Met 2.5 is the best thing Benny the Butcher has made since Tana Talk 4 or Everybody Can’t Go, but I did enjoy it a lot more than Summertime Butch 2 almost a year earlier as much of a huge improvement it was over it’s predecessor & has me anticipating a forthcoming trilogy chapter. The production feels like a mix between both installments of The Plugs I Met series letting Harry Fraud handle most of it outside of Daringer & DJ Shay’s contributions, bringing a stellar guest list on board for all but 2 tracks excluding the intro to break down the mafioso life.

Score: 4.5/5

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