Quadeca – “Life 1” review

Brand new LP & the 5th overall from Los Angeles, California singer/songwriter, producer, YouTuber & rapper Quadeca. His earlier tapes Work in Progress, Nostalgia for the Now, Bad Internet Rapper & Out of Order were all received negatively as was the full-length debut Voice Memos although his sophomore effort From Me to You proved to be decent, with both I Didn’t Mean to Haunt You & Scrapyard under deadAir Records garnering widespread praise for artistically reinventing himself. He would form his own label X8 Music distributed by Virgin Music for his previous full-length Vanisher, Horizon Scraper & following it up with Life 1 merely 14 months afterwards.

The self-produced title track subtitled “Where Did the Time Go?” blends art pop, folktronica, indietronica, glitch pop, neo-psychedelia & UK bass to sing about life flying past us all whereas the lead single “Dark Magic” fuses alternative R&B, pop rap, alt-pop, bedroom pop, indietronica, lowend & drone metal to describe the relationship he has with his audience. “The Hero Never Dies” combines art pop, indietronica, toypop, bedroom pop, chamber pop asking why this person’s too down to look straight in his eyes while “It Goes Like This” colorfully sings about this same person potentially getting the gist of things by now.

“Make You My What” featuring kmoe after the “Celery” interlude hits the midway point of Life 1 discussing romantic commitment over some drums & strings but if I had to pick a least favorite track, the 2-parter “Regular Guy” would take the cake which is disappointing considering the themes of wanting to become a new person. After the “Gambler” interlude, “Like You Always Do” prominently employs the default Logic Pro metronome singing about a cult leader feeling targeted prior to the folk pop, chamber pop, progressive folk, chamber folk, art pop, bossa nova & breakbeat single “Baby Steps” tackles adulthood.

Dance-pop, electro, indietronica, pop rap, 2-step, art pop all collide for the 3rd single “Hell of a Time” looking at a breakup from a more introspective lens expressing that he still enjoyed the moments they spent together regardless of everything not panning out they way they hoped while “Illusion of a Choice” sings about his own experiences of battling suicide ideation & encouraging all to fight those thoughts instead of letting them consume you. “Good grief” mourns the death of someone he knew who tragically took their own life & how much his life’s changed since while “In another life…” concludes the album singing about reincarnation.

Quadeca has said Life 1 was the truest thing he’s ever made & there’s no question in my mind that it deserves the same respect the last 3 projects he’s dropped all received. His indietronica, alt-pop, art pop, bedroom pop, folktronica, alternative R&B, singer/songwriter, glitch pop, neo-psychedelia, UK bass, pop rap, lowend, drone metal, toypop, folk pop, chamber pop, progressive folk, chamber folk, bossa nova, breakbeat, dance-pop, electro & 2-step production extends his evolution with the themes of life & death being stemmed from his own experiences unlike I Didn’t Mean to Haunt You.

Score: 4.5/5

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King of Horriblecore – “The Horrible Chronicles” review

The King of Horriblecore is a 42 year old rapper from San Diego, California who originally came up under the original moniker Big Sherm when his first couple extended plays The Lost Flavors & Nitrous’ Escape Room came out. He would follow it up 12 months later with his full-length studio debut Shermology as well as an eponymous EP last Christmas and finally Horrible & Adorable, finally making his Lyrikal Snuff Productionz debut with his sophomore effort after announcing he had signed to the label at the 26th annual Gathering of the Juggalos.

After the intro, “The Horrible Show” by 3 the Horrible Way opens up with a dark trap intro where the trio’s talking about stomping faces out prior to “3rd Eye” making it clear that his mind’s eye isn’t blind at all. “Night Terrors” instrumentally has more of a sinister trap vibe to it talking about feeling unwanted & praying for 1 good dream while “Every Single Halloween” featuring Mikahl Lawless finds the pair relaxing together watching movies around this time of the year.

“S.A.K. (Saw, Axe, Knife)” featuring Scum & produced by Bake Lo links up so they can talk about using all 3 of those weapons for murder just before “My Past” gets more personal with everyone, giving listeners his backstory & encouraging them not to let our past define who we are today over a boom bap beat. “Forget About Me” ends the 1st half talking about his refusal to trust anyone since they doubted him right out the gate while “Friends” takes shots at the people he once considered allies who’re no longer in his life.

As for “Never”, we have the King of Horriblecore continuing the 2nd leg of his LSP debut talking about always taking Ls & dying rather than living over this funereal beat while “Sweet Villian” returns to the boom bap acknowledging that he’s become a villain to someone he wanted sitting at his table sharing steak. “Murdered My Peers” featuring Bake Lo joins forces to talk about fighting back against all of those calling them talentless hacks while “Growth” topically lets go of all the chains he’s bearing from his past.

“TKO” featuring 216zay talks about punching anyone who speaks ill of them in the face while “Putting Bullshit to Rest” featuring Foty gives a middle finger to those trying to take advantage of them. “Legacy” talks about putting an end to the people who thought he’d be a walking joke while “Ghostwriter” featuring Ice Giant explains why they stroll through the cemetery at night. “Oatmeal Cream Pie” featuring RazoR preceding the “Cookies & Milk” outro ends the album on a sexual note.

Originally hearing this guy when he made a guest appearance on Bake Lo’s 5th album Spirals earlier this spring, the King of Horriblecore’s entire style has been summed up best as the musical equivalent to a campy low-budget horror films with a nerdcore twist to it & The Horrible Chronicles makes it’s case regarding why he joined the LSP roster with an LP that I’d put above everything he’s done previously. The production’s a cut above his earlier output & touches base regarding many things in terms of subject matter ahead of his next EP set to drop in 2027.

Score: 3.5/5

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9 Vicious – “Det Hot Shit” review

Already have the 6th extended play albeit 2nd this afternoon from Atlanta, Georgia rapper & producer 9 Vicious. Breaking out in 2024 off the single “U Fancy” despite releasing his debut tape Naz in 2020, he would go on to further introduce himself on B4SA & the full-length debut Studio Addict helped him gain more exposure to the point where Young Thug signed him to YSL Records after B4TM dropped & Tumblr Music wasn’t that bad of a debut for the label other than “Clout Demons”. B4FN & For Nothing have both become the best things he’s made since the YSL deal, leaving when the Uy Scuti Bøyz consisting of diamond* & Tezzus signed. B4EM & Emotions were both welcomed to mixed reception, coming off the widely panned Sedition to further prelude both Sex Money Power & Life’s Beautiful with LA NY ATL & now Det Hot Shit

“Cock” produced by Patrick Garza kicks things off with the worst track of the 3 angrily pleading for his hoe to fondle him regardless of her being unwilling to have sex with anyone unless being paid beforehand & after “Doing Me Wrong” takes a mellower approach instrumentally courtesy of 406ahmad advising this woman to hit up his line so he can tell her not to fuck him over, “Fifa” already finishes the 2nd EP of the day embracing a plugg sound to talk about drugs & sex.

Wasn’t anticipating 9 Vicious to drop twice in the same day but compared to the rest of the EPs in his discography, it should go without saying that most will consider Det Hot Shit to be less enjoyable than LA NY ATL & quite possibly the 2nd worst thing he’s made behind Sedition. The production’s not an issue much like what we got 3 hours earlier considering 406ahmad handles most of it other than Patrick doing the intro, but the performances are significantly worse.

Score: 2/5

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9 Vicious – “LA NY ATL” review

Atlanta, Georgia rapper & producer 9 Vicious uploading his 5th extended play onto SoundCloud without any warning. Breaking out in 2024 off the single “U Fancy” despite releasing his debut tape Naz in 2020, he would go on to further introduce himself on B4SA & the full-length debut Studio Addict helped him gain more exposure to the point where Young Thug signed him to YSL Records after B4TM dropped & Tumblr Music wasn’t that bad of a debut for the label other than “Clout Demons”. B4FN & For Nothing have both become the best things he’s made since the YSL deal, leaving when the Uy Scuti Bøyz consisting of diamond* & Tezzus signed. B4EM & Emotions were both welcomed to mixed reception, coming off the widely panned Sedition to further prelude both Sex Money Power & Life’s Beautiful with LA NY ATL.

“Light It Up” gets things going with this 85 second intro confirming that he’s been banned from his own city because of his countless beefs whereas “Baby Roscoe” produced by Patrick Garza disses YSL for being on what he calls “fake shit” & boasts that Playboi Carti co-signed him on the phone when his OPM BABI diss ranks amongst the worry songs I’ve heard this year. “Net Worth” digs up a microwaved leftover from the Emotions sessions & after reuniting with 406ahmad for “Studio Fein” talking about spending days in the lab, “Wyoming” ends LA NY ATL shouting out the state he visited this spring.

406ahmad has since confirmed he’ll be solely producing Life’s Beautiful when it comes out at the beginning of the New Year & that already tells me we’ll get more gratifying production on there compared to Sedition earlier this month, which I can fortunately say the exact same thing regarding LA NY ATL although I can’t really say the same for his performances considering he goes from confessing the truth of the latter city banning him to adding fuel to that fire literally the next song regardless of Slime Language III being overloaded.

Score: 2.5/5

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Tee Grizzley – “They Forgot” review

Detroit, Michigan rapper & singer/songwriter Tee Grizzley ending the month with his 7th studio LP. Originally a member of the quartet ASBH, it wouldn’t be until 2016 where he would blow up off his first solo single “First Day Out” & earned a contract with 300 Entertainment. His profile would continue to grow by dropping projects like his debut mixtape My Moment, the debut album Activated, his 2nd tape Still My Moment, the Timbaland exec-produced sophomore effort Scriptures or my personal favorite: his 3rd mixtape The Smartest. Built for Whatever, Chapters of the Trenches, Half Tee, Half Beast & Tee’s Coney Island were generally mixed, coming off the sonically diverse Post Traumatic as well as Forever My Moment & the divisively received Street Psalms to admit he feels like They Forgot.

“99 Ovrall” sets the tone of what’s to come with this underwhelming intro getting on his gangsta shit whereas “Back ina Yams” made for a more uninteresting single confessing he doesn’t like being around these dudes who force his hand. “How” doesn’t make things any better trying to figure out the reason people don’t have any sort of appreciation towards him leading into “Locked Up in Mexico” talking about those he showed the road to paying no homage to him.

Meanwhile on “Orphan”, we have Grizzley comparing all these new Detroit rappers to his children even if I feel like it’s still lacking instrumentally just before “Snow Grass Leaves” talking about coming from a place where it he your own loved ones hurting you. “Detroit Public Schools” describes being overseas for an entire month & still turning out fine in the end until “Hard Times” featuring Hurricane Wisdom ends the 1st half talking about the struggles of poverty.

“Survival Skills” commences the 2nd leg of They Forgot speaking of having the expertise of surviving out in these Motor City streets while “Grizz They Need You” responds to those saying that the city needs him to talk to them regardless of the beat not being all that exciting. “No Effort 2” for a sequel to the My Moment track of the same name feels more half-assed than it’s predecessor while “Holding On” talks about problems only getting worse whenever money’s involved.

Winding down the last few moments of They Forgot, the song “It’s a Privilege” while “Robbery 10” contains one of the weaker entries in the titular series of tracks he’s been making since the 2020 COVID-19 pandemic when he should most likely hang it up here. “Rain” featuring Skilla Baby produced by Coupe & Hitmaka was easily the most gratifying instrumental here sampling “Rain on Me”by Ashanti for a pop rap single while “Finally Made It” ends the full-length talking about feeling like he’s become successful.

Street Psalms felt like a significant letdown compared to a great bulk of Tee Grizzley’s output throughout the course of the decade & I wouldn’t say They Forgot about him because he still has an impressive following, but rather than the quality of his music has been beginning to decline for the past year & this newest album makes another example of that containing the most uninteresting batch of production he’s ever rapped over.

Score: 2/5

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Your Old Droog – “Bread & Butter” review

In front of us the latest studio LP & the 10th overall from Ukrainian-American lyricist Your Old Droog. Breaking out through his self-titled debut, many actually first thought he was an alter ego of Nas given that their voices are somewhat similar. He eventually became a legend in his own right off later projects such as Packs as well as It Wasn’t Even Close, TIME & the Nicholas Craven-produced YOD Wave. The 4 extended plays he gave us afterwards YOD Stewart, Yodney Dangerfield, The Yodfather & The Shining weren’t as great in my opinion yet most certainly had their highlights at the same time. Coming off Movie along with the anything’s possible & YOD Serling EPs however, he’s sticking to his Bread & Butter.

“You Know How That Girl” kicks things off reminding the world of Droog’s flawless style whereas “Brighton Beach” featuring Evidence takes a more soulful approach instrumentally suggesting all these rappers who’re nowhere near their level are better off working jobs when there’s no lies told. The title track produced by Cartune Beatz gives off a nostalgic vibe talking about artists he grew up listening to becoming fans of his until the lead single “Pavlovian Effect” featuring A-Reece & Masta Ace goes for a conscious boom bap direction.

Oddisee appears for “Thinking” so they can talk about the only time where they don’t have something in their mind being when they go to sleep at night while “I Appreciate You” ends the 1st leg with this smooth dedication to YOD’s soulmate. “Symphony” begins the 2nd half of the album with an organ-inflicted beat talking about how great his life is leading into “Therapy” admitting he’s going through the motions & still not knowing who he is as a grown man.

“Schadenfreude” hooks up this dreamy Conductor Williams instrumental including a witty bar out the gate referring to Stove God Cook$’ issues with Babygrande Records while the 2nd & final single “I Don’t Care” blends jazz rap & neo-soul thanks to Flying Lotus shrugging off what anyone says of him. “Hunter Biden” drumlessly points out those around you hiding when shit ain’t perfect only to come back once it’s smoothened out just before “Impression Control” finishes Bread & Butter dissing the soft.

Providing some comfort food for fans of 90s east coast hip hop & simultaneously making a point regarding what makes that sound so perennial, Your Old Droog returns to Nature Sounds for the first time in 4 & a half years drawing a huge bulk of Bread & Butter’s inspiration from his youth when his family would thinly spread caviar across plain bread. There are some points where I feel like the production could’ve been better, but the lyrical balance between braggadocio & reflection makes the album worth listening.

Score: 3.5/5

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Raz Fresco – “Boulangerie II” review

Pretty sure this is the 19th studio LP from Toronto, Ontario, Canada emcee/producer Raz Fresco. Someone I’ve been familiar with since my high school years at this point whether it be some of his features or his own extensive discography including the Magneto Was Right mixtape series, the Futurewave-produced Gorgeous Polo Sportsmen album, the Nicholas Craven-produced Boulangerie album, the Cake beat tapes, the Gia…À La Carte collab EP with Estee Nack, the Cookin’ Soul produced Bakin’ Soul, the Daniel Son collab effort Northside & the DJ Muggs-produced The Eternal Now. Coming off Stadium Lo Champions & the self-produced Y = Self however, Craven’s back behind the boards for a Boulangerie sequel over a week after Priscilla Kelly ended Gisele Shaw’s inaugural reign as MLP Canadian Women’s Champion.

“Blueberry” opens up with this 91 second intro where Craven’s chopping up a soul sample & Raz’s talking about now being his time whereas “Don’t Belong” takes a more drumless approach pulling hallmark cards for a couple minutes. “The Best of Me” further embraces a chipmunk soul vibe instrumentally talking about providing the strongest version of himself as be possibly could prior to “Yesterday” featuring Blu & Cavalier soulfully finding the trio pursuing the cause of all evil.

Meanwhile on “L’ouvre”, we have Fresco over a jazzier beat with some secondary influences of chipmunk soul going within to get the truth just before “New Flavours” comes through with a vibraphone-inflicted stoner’s anthem. “Tip of My Mind” reached the midway point soulfully talking about someone who’s become a shell of their former self while “Things We Do” featuring Estee Nack gets the 2nd half of Boulangerie II going recapturing what made Gia…À La Carte so distinct.

“Golden Brown” compares his prestige to that of WWE Hall of Famer & former SMW Heavyweight Champion Jake “The Snake” Roberts leading into “Checkmate” hooks up some strings to talk about leaving bread spread across the table on some mobster type shit. “Mr. Bean” featuring Jimmie D & The 6th Letter links up so they can bring it hardcore over a synth instrumental while “Offerings” treads the chipmunks soul waters once again letting the world see how it goes around his parts.

Jimmie D & Mike Shabb both appear for the drumless “Old Port Party”, which I’d place above over “Mr. Bean” because of the way they aggressively set out to even the score while “Frogs in the Water” jazzily talks about everyone being in a different maze looking for the exit “More Colour Money” featuring Boldy James finishes Boulangerie II with 1 last chipmunk soul track where he & Boldy can discuss going from underbosses to overlords.

The original Boulangerie ranks amongst the most drumless, jazzy & lyrically abstract material Raz Fresco has recorded & this sequel 4 & a half years later dethrones Y = Self by a hair to become my new favorite album of the 2 he’s dropped in 2026. Nicholas Craven’s drumless production feels more soulful despite him still incorporating elements of jazz rap, there’s more consistency from the guests & it’s another outstanding representation of the authentic artistic exchange between Toronto & Montreal.

Score: 4.5/5

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Skyzoo – “Luxury Tax” review

Brooklyn, New York veteran Skyzoo reuniting with Detroit, Michigan producer Apollo Brown for his 10th solo LP. Emerging in the underground off the 9th Wonder produced Cloud 9: The 3 Day High, he continued to make a name for himself with a consistent discography. Highlights include The Salvation, the !llmind produced Live from the Tape Deck, A Dream Deferred, Music for My Friends, The Easy Truth, In Celebration of Us & my personal favorite: the Pete Rock produced Retropolitan dedicated to his home state. All the Brilliant Things built itself around gentrification & The Mind of a Saint was dedicated one of my favorite shows Snowfall, coming off the Old Soul Music-backed Keep Me Company & the superior Views of a Lifetime counterpart EP to celebrate a decade of The Easy Truth with a proper sequel.

After the “Soapbox 2” intro, the opener “Abundance” kicks things off with a boom bap instrumental talking about there being no typos regarding what one’s type is whereas “Detours” keeps the dusty vibes rollin’ so he can shout out all the alternative roads he had to take “God Given” retains the traditional boom bap sound talking about his discography being stronger than it was when he began 2 decades earlier while “Keep It Close” expresses a desire of being someone this person can spend their days with.

“Table Manners” confesses to being up in here feeling like he’s got 2 plates on him & for those who have his back to stay by him just before “Learned Behavior” ends the 1st half talking about his people looking at him like an exodus & that ringing true today. “Rose Tinted” leans towards a jazzier direction instrumentally depicting a part-time trapper & activist while the crooning “Scrape the Bowl” flexes his vinyl collection could buy him a condo.

Meanwhile on “No Discounts”, we have Skyzoo soulfully talking about the prices remaining long as he’s still here while “Hear Me Out” discusses bringing everyone around him. “The Blind Spot” featuring Blu & eLZhi finds all 3 lyricists talking about being around eternally but once “Under the Lights” assures the illumination’s bright enough, “The Rearview” sends off Luxury Tax advising one can’t be afraid of the corners if they need their own bouquet of flowers.

The Easy Truth has always been one of my favorite entries in Skyzoo’s discography, so the idea of them running it back an entire decade later for Luxury Tax had me more excited than I was for some of his recent material & am overjoyed to say it’s certainly the finest album he’s made since Retropolitan. Apollo Brown’s soulful production matches the consistency of the extended play Sky gave us 9 months earlier for a cultural celebration rooted in duality & evolution.

Score: 4.5/5

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Tom Morello – “Everyone Gets Everything They Want” review

Tom Morello is a 62 year old guitarist, singer/songwriter & musician from New York City who most people remember for being apart of Rage Against the Machine, Audioslave, the Street Sweeper Social Club & the Prophets of Rage. He also has 6 solo efforts under his belt including the Epic Records-backed debut 1 Man Revolution, the sophomore effort The Fabled City, the Union Town extended play, Worldwide Rebel Songs, his Mom + Pop Music debut The Atlas Underground, the Comandante EP, The Atlas Underground 2: Fire & The Atlas Underground 3: Flood. His 7th LP however had me hoping it would overcome the lackluster reception of The Atlas Underground trilogy.

After the “Beth from Electronics” intro, the title track combines elements of pop rock, alternative rock & spoken word singing about dust settling everywhere than merely chaos whereas the funky alternative rap metal single “Adjourn It” featuring System of a Down frontman Serj Tankian teams to so they can call for all these criminals to suffer the consequences of their actions. “I’m Not Yours to Command” incorporates some bare pianos to sing about being uncontrollable leading into the rebellious hard rock/rap metal proclamation of being a “Soldier in the Army of Love”.

“Unconquered” by Kneecap was definitely one of the weaker moments here & that’s mostly due to the EDM sound Tom embraces rather than the socially conscious lyricism while “Date Night” treads the alt-rock waters asking posing the question of whether one supports the rise of fascism or is against it completely. “The Last Rung on the Ladder” kicks off the 2nd half with this hilariously awful reggae track raising flags at half-mast in memory of the DJs who’re shot while “Everything Burns” by Beartooth combines alternative metal, video game music, rap metal, alt-pop, trap & pop rock for a Final Fantasy XIV Online soundtrack composition.

The song “Pretend You Remember Me” passionately reaches the encore of Everyone Gets Everything They Want providing words of encouragement for those afraid to use their voices to combat tyranny while “Unethered” dabbles with funk rock so he can sing & whisper about waking up right when the world’s untethering in front of our very eyes. “They Can’t Kill Us All” finishes the album with this acoustic outro gravelly making it clear the authoritarians can’t wipe out everyone who disagree with them.

Some are hesitant to give Everyone Gets Everything They Want a chance & I can’t blame them because of The Altas Underground’s poor feedback, but it’s certainly the most I’ve enjoyed anything Tom Morello has done by himself excluding The Nightwatchman stuff. His pop rock, alternative rock, alternative metal, video game music, rap metal, alt-pop, trap, hard rock & funk rock production offers something for every fan he’s made since the beginning & focusing less on guest appearances handling the performances.

Score: 3.5/5

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Ms. Rachel – “I’m So Happy” review

Ms. Rachel is a 43 year old YouTuber, social media personality, educator, activist & singer/songwriter from Biddeford, Maine who has become the modern day Mr. Rogers from her channel surpassing 20M subscribers to sticking up for children that’ve been affected by the Gaza genocide. Her husband in Broadway music director & composer Aron Accurso producing an entire LP’s worth of children’s music however seemed to gain more anticipation than the full-length debut Let It Go, the sophomore effort I’m Up to No Good or the Over the Moon for You extended play combined.

The title track opens up with these colorful piano chords & choir vocals in the background singing about being in a good mood & nothing changing that whereas “I Love a Rainbow” featuring Mr. Aron finds the couple teaming up for a cheerful ode to rainbows over an instrumental that sounds like hotel lobby music. “Icky Sticky Bubble Gum” continued from there singing about the textures of chewing gum prior to “Phonics” running down the entire alphabet.

“Hop Little Bunnies” takes a more delicate approach altogether singing about waking up sleeping rabbits with this sweet 95 second tune while “Caterpillar” featuring Mr. Aron spends a couple minutes observing the beauty of moth/butterfly larva. “Up & Down” works in some more keys so the Accursos can teach the youth their directions leading into “Bubble Pop” whimsically singing about 4 fishes swimming in the water & pretending to be a number of different aquatic animals.

As for “Walkin’ at the Zoo”,’ we have both Ms. Rachel & Mr. Aron going on a zoo date together over some more pianos hanging behind them while “Open Shut Them” gives us their rendition of the classic nursery rhyme. “I Could Be Your Friend” reaches the midway point of I’m So Happy suggesting she can make companions out of anyone who’s listening while “I Listen to My Body” soulfully sings about paying attention whenever their bodily functions send a message to either of them.

“The Wheels on the Bus” featuring Mr. Aron of course dates back almost 9 decades ago with the Accursos putting their own spin on it while “Dino Play” featuring Mr. Aron sings about prehistoric life to continue the 2nd half. “Pop Those Bubbles” featuring Mr. Aron encourages all the kids popping the bubbles being blown their away before they hit the ground while “Old MacDonald” covers the traditional 1706 nursery rhyme of the same name.

Mr. Aron returns for “If You Should Meet an Elephant” to do some vocal harmonizing for over a minute while the aptly named “Counting to 20!” spends 56 seconds testing one’s ability to count to that specific number. After covering the 1780 spelling game “Bingo” & the mid-19th century folk song “Looby Loo” respectively, Ms. Rachel makes it clear that having “Big Feelings” are completely acceptable while “Together” explains the meaning of what she & Mr. Aron consider friendship. “I Love You to the Moon” concludes I’m So Happy expressing the gratitude she has for all of her supporters.

It’s completely understandable if this review shocks anyone since I’ve never covered children’s music up until this point & I may not have any kids of my own, but I do have a nephew turning 4 this fall who’s enjoyed a handful of Ms. Rachel’s videos in the past & get the feeling most parents will put on I’m So Happy for their little ones as much as Raffi or even They Might Be Giants for the foreseeable future since the Accursos managed to create a mix of newly written material along with renditions of traditional children’s songs. I’ll even put it above John Legend’s recent album My Favorite Dream produced by Sufjan Stevens.

Score: 3/5

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