Trizz & Twisted Insane – “1950 Hallow Creek Drive” review

West coast underground veterans Trizz & Twisted Insane hailing from Inland Empire & San Diego, California respectively enlisting MIKE SUMMERS a.k.a. 7 to fully produce a new collaborative studio LP. One of whom came up when Brotha Lynch Hung signed him to Madesicc Muzicc & the other made a name for himself for pulling off the chopper style without sounding corny in addition to forming his own label Brainsick Muzik. They’ve crossed paths with each other several times over the years & 1950 Hallow Creek Drive looks to celebrate Halloween in the most appropriate manner imaginable.

After the “Whatever You Do, Don’t Knock” intro, “Treats” immediately talks about how trick or treating on Halloween got them going apeshit over a trap instrumental whereas “Hallow Fiends” featuring Bleezo finds the trio on some boom bap vibes explaining that the only thing you hear on this night of the year is the screams of their victims. “Hive Mind” blends jazz rap & trap to address their collective consciousness prior to “Horror Year” dismembering the bitch made off the top.

“Ziplock” continues from returning to the boom bap to depict the lifestyle of a gangsta while “Ebola” gives us a look at the level of sickness each of them possess. “Grindhouse” embraces a trap sound again turning up the level of wickedness together just before “MRI” talks about putting holes in the necks of anyone disrespecting them. “This Sounds Like…” heinously lets the world know what typa shit they be on & “Ransom” wraps up 1950 Hallow Creek Drive giving us 1 last gangsta rap track.

I still believe Coronella with the Psychopathic Records subsidiary Chapter 17 Records’ CEO Ouija Macc stands as my favorite collaborative effort Trizz has done, but there’s no doubt in mind that 1950 Hallow Creek Drive has earned the right of becoming a very close 2nd. Him & Twisted Insane meshing their distinctive styles of gangsta-tinged horrorcore over 7 production varying from boom bap to trap & jazz rap makes for an appropriately bloodcurdling half hour even if I felt like Bleezo’s sole guest appearance was alright.

Score: 4.5/5

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Kirk Franklin – “I Am What I Am” review

Kirk Franklin is a 56 year old gospel singer, rapper, songwriter, composer, producer, choir director & author from Fort Worth, Texas who would put out over a dozen full-lengths in the past 3 decades. My favorites of which being his 5th album The Nu Nation Project under Interscope Records & the RCA Records-backed Long Live Love, but seeing that the Fo Yo Soul Recordings founder had left RCA to join a relaunched Uptown Records now distributed by Republic Records for a brand new extended play had me intrigued.

“Free Me Tonight” featuring Jelly Roll samples “In the Air Tonight” by Phil Collins so they can ask God to set them free this evening whereas “This Time” featuring Glorilla flips “Dey Know” by the late Shawty Lo to discuss everything being ok in the end. “Hope in You” featuring Davido brings a bit of an Afrobeats vibe to the table expressing optimism of their partners seeing them for what’s in their heart while “It Gets Better” featuring Tobe Nwigwe finds the pair talking about dark times never lasting.

The 2nd single “Able” winds down the last leg of I Am What I Am passionately describing everything God’s capable of doing whether it’s making our day better or changing the way we live while the lead single “Do It Again” sings about the Lord restoring what we’ve destroyed & turning sorrow into happiness. “Stay” sends off the of the EP with a gospel outro advising that today could be the day God answers your prayers if one sticks around long enough for the sun to shine on them.

I Am What I Am would be an unquestionable recommendation if people are looking for a gospel project in 2026 to cleanse theirs ears from WWE Hall of Famer Kid Rock’s latest album Halfway 2 Jesus dropping a couple weeks earlier. Not simply because the message Kirk Franklin’s been delivering since his debut doesn’t get comprised by the inclusion of secular guests or needless to say: The sincerity behind it, but it’s also I’d honestly rank it amongst the most enjoyable music that I’ve heard from him in some time.

Score: 3.5/5

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Ministry – “Hate to Go: Takeout or Delivery” review

Ministry is an industrial metal band from Chicago, Illinois consisting of keyboardist John Bechdel, drummer Pepe Clarke, bassist Paul D’Amour, secondary guitarist Monte Pittman, lead guitarist Cesar Soto & frontman Al Jourgensen. These guys have put out a dozen full-lengths within the past 4 decades, most notably The Land of Rape & Honey as well as The Mind’s a Terrible Thing to Taste & ΚΕΦΑΛΗΞΘ under Warner Records, signing to Cleopatra Records after the mixed reception of the Nuclear Blast Records-backed Hopiumforthemasses for their 17th & final album.

“Crickets” kicks things off talking about how being the time to embrace the responsibility of our inactivity if dictatorship takes its hold whereas “Voices of Hate” further elaborates their condemnation of fascism. One of my favorite tracks here would be the fiery “Clown Car” from the vocals to the instrumentation, which actually makes the messaging land. In an ironic twist of fate, “We Hate” & “Delete” might be the worst ones here. I’m talking AmeriKKKant levels of unlistenable garbage.

Kicking off the 2nd half, “Grifter” comes through with a mediocre critique regarding the idea of profiting leading into “The White Man Lied” awkwardly sounding like the True Blood theme song within itself. The thrashy “Singularity” decently addresses the rise of AI only for the “Burned Out” video contradicting all of that despite addressing important political issues across the globe, although “We’re Still Here” would go behind “Clown Car” because it does feel bittersweet.

This is like the 3rd time Al Jourgensen said he would he retire considering that The Last Sucker & From Beer to Eternity were originally billed as Ministry’s victory lap, but I’d certainly put Hate to Go: Takeout or Delivery above the latter & behind The Last Sucker. His politics haven’t changed & as much as I really want to like it for speaking up against the rise of authoritarianism, the industrial/groove metal production feels meat & potatoes.

Score: 2.5/5

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PISS – “you made me / skin on linen” review

PISS is a feminist post-hardcore/noise rock band from Vancouver, British Columbia, Canada consisting of drummer Garreth Roberts, bassist Gavin Moya, guitarist Tyler Paterson & frontman Taylor Zantingh. They’ve done several live performances within the past couple years already, but are looking to make bigger waves after signing to the Seattle, Washington indie label Sub Pop Records roughly 6 months ago so they can make their full-length studio debut following a small handful of widely revered teasers.

After the “kai & friends” intro, “i wanted to be a singer” blends noise rock & post-hardcore for Taylor to sing about learning some people only listen when you’re screaming whereas the sass/pigfuck fusion “time loop at hot slit” after the “andrea” interlude makes some powerful commentary regarding the objectification of women. After the “manon on the trial of gisèle pelicot” interlude, “a little girl’s horse craze betrays her” combines elements of hardcore along with noise rock & sludge metal looking for a way out of her body to disguise the scent that drew them out.

“there was a door” after the “toni” interlude moves on from there singing about abuse just before “how can you act opposite to this emotion?” following the “andrea II” interlude discusses never feeling safe in one’s own body again. The 2nd “blocking a scene you can’t remember” mixes post-rock, slowcore, noise rock, spoken word, post-hardcore & emo tells the story of a woman who was sexually abused by an older man.

“self-blame with thorn necklace & hummingbird” pays homage to Frida Kahlo’s painting of the same name for a 49 second pigfuck track while the 3rd & final single “Rote Zora. “Resistance is Possible.” Emma, no. 6, June 1984, pp. 39-41. 15.” after the “vikki” interlude gives us a cross between post-hardcore, noise rock, sludge metal & spoken word assuring that resistance is always a possibility. “i keep trying to change the ending” ends the album with a 7 minute outro singing about the inability of bleeding forever.

We already have a couple months left of 2026 & PISS’ inaugural LP already has the bragging rights of being the best thing Sub Pop has put out this year & dare I say: Some of the most powerful noise rock/post-hardcore to come out of the riot grrrl movement this entire decade. you made me / skin on linen’s secondary influences of spoken word, interview, post-rock, pigfuck, sass & sludge metal by including a bunch of interludes might sound tiring, but the feminist themes need to be heard now more than ever in times like these regarding misogyny.

Score: 4.5/5

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Nettspend – “Virginia Creeper” review

This is the 2nd extended play from Richmond, Virginia rapper Nettspend. Blowing up in 2023 off his debut EP Kickdoor, he would also team up with Hooligan Lou for the poorly received collab EP 3rd Knock preceding him signing to Grade A Productions & Interscope Records a few months afterwards. His debut mixtape Badass Fucking Kid was welcomed to divisive feedback although I personally enjoyed it more than Kickdoor or Nettgenes’ eponymous debut EP. Coming off the introspective Early Life Crisis as well as the Him tape, the Virginia Creeper has appeared on Devil’s Night.

“same language” gets the ball rollin’ talking about making it big since Lil Bibby gave him a deal prior to “Get Guap” flexing that he’s been on top ever since he was a teenager over a distorted CXO instrumental. “6weeks” talks about every day looking like the previous 24 hours leading into “LL50” remembering the late Bloodhound Q50. “nite nite” produced by che spends a couple minutes dissing 9 Vicious & “JSX” concludes Virginia Creeper talking about wanting to fly his girl out using the semi-private airline.

Nettspend celebrates the Halloween season in preparation for his upcoming sophomore effort Slut & the NXO collaborative project with OsamaSon dropping the most mediocre collection of material he’s made since joining a major label, which is saying something because I enjoyed his last 3 offerings more than most did. The problem with Virginia Creeper lies within the trap, rage, cloud rap, plugg & pop rap production largely coming across as uninteresting regardless of him getting some stuff of his chest.

Score: 3/5

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Bktherula – “N5ON” review

Atlanta, Georgia rapper & singer/songwriter Bktherula back for her 4th studio LP. Beginning a decade ago as a pop/R&B singer, she eventually broke out in the plugg scene after dropping the single “Tweakin’ Together” produced by my lil homie Mars off her debut mixtape Love Santana. This resulted in her signing to Warner Records, following it up with her sophomore tape Nirvana along with the full-length debut Love Black & LVL5. Coming off LVL5 2 & Lucy however, she’s returning 16 months later for N5ON.

“I Go Punk” kicks things off with Whethan fusing grime, dubstep, pop rap & hybrid trap talking about killing the ego right then & there leading into “Activated” produced by iloveit! chaotically admitting she’ll be on her worst behavior once she’s finished with this cup in her hand. “Oh Yay” goes for an atmospheric direction instrumentally yearning to see her lover’s body moving in different ways while “Addicted2U” featuring underscores blends electropop, electro house, dance-pop, hyperpop & progressive house achieving their goal of making something generational.

Cade gets behind the boards during “2002” talking about the club playing her music in a room full of sexy women just before “2wice” confronts someone who walked passed her a couple times like they never shared a name. “Lost in a Rave” talks about her desire of hearing a bass drop until it cuts through the evening & once “Afterz” flexes her money being longer than a pterodactyl, “Drunk” finds herself wanting to get wasted with her partner.

“Wav” hops over a Keyon Christ beat admitting this feels more like a dream to her instead of sincere love while “Push Pull Method” talks about a lost friend of hers who she can’t stop thinking of saying she would marry her when the party ends only to marry some other guy. “Jevitas” lets ¥en Diezel handle the sole verse going full-blown Spanish for an anthem dedicated to all the youthfully attractive women in the function while “Alisha” ends N5ON advising the person addressed not to call her without humble intentions.

Both singles that’ve come out within the past several months were a clear indication of Bktherula making a stylistic departure with N5ON & unsurprisingly, it’s the most experimental thing she’s made thus far. The songwriting’s noticeably more repetitive than anything she’s done previously, but the largely EDM-oriented production contrasting the trap/rage sounds she became known for at the turn of the decade validates it.

Score: 3.5/5

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k-os – “BLackneck” review

k-os is a 54 year old rapper, singer/songwriter & producer from Toronto, Ontario, Canada whose full-length studio debut Exit alongside the sophomore effort Joyful Rebellion & Atlantis: Hymns for Disco cemented himself as a dominant force in the Canadian hip hop scene despite releasing his debut single in 1996. Yes! we well as BLack on BLonde & Can’t Fly Without Gravity would all be welcomed to mixed reception, returning over a decade after the latter to have Drake oversee the creation of his 2nd extended play.

The self-produced “Still #1” opens up with k-os over a boom bap instrumental making the observation of there being no blacks in power around his parts leading into “OK Corral” letting this woman know she’s not the only one who wants to shoot his firearm. “Eureka!” comes through with a cross between “Beat It” by the late Michael Jackson & “Hey Ya!” by André 3000 talking about being loved despite his ugliness just before flexing that he has the “Golden Touch”, leaning towards a Velvet Underground vibe.

“i would never.” winds down the last few moments of BLackneck amplifying the rock influences we heard moments ago, this time drawing inspiration from The Hives so he can make a promise to not even attempt at steal someone else’s girl because he believes there’s already too much beauty in the world as there is while the 2nd & final single “Guns&Roses” talks about cutting rappers up like it’s chop suey, throwing it back to the Joyful Rebellion days. The closing track “Hootenanny” sends off the EP with a 3 & a half outro reminiscent to De La Soul.

It really isn’t much of a surprise Drake financially backed BLackneck considering k-os has always been one of his biggest musical influences & the fact they did a song together back in 2011 called “Faith”. Even if Drizzy’s detractors choose to put his involvement as executive producer to the side, Kheaven made up for the lukewarm reception that’s defined his work since Atlantis: Hymns for Disco by reminding us all of his talents whether it’s his varied production style or him becoming the change he wants to see.

Score: 3.5/5

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Majik Ninja Entertainment – “Songs of Samhain V: Outside of Heaven” review

Here is the 7th showcase compilation from Detroit, Michigan underground hip hop label Majik Ninja Entertainment. Founded by Twiztid & their manager George Vlahakis in 2014 after departing from Psychopathic Records only 2 years before, they quickly built an empire or their own from bringing a few other PSY alumni along for the ride to help introduce G-Mo Skee & Alla Xul Elu to a much wider audience. The label’s first comp showing off their roster Year of the Sword has to be my personal favorite of the bunch thus far with all respect to Songs of Samhain as well as the Attack of the Ninjas compilation & Songs of Samhain 2: Haunted Record Player. However, they’re coming off Cult of Night & The Liminal Space to describe the Outside of Heaven.

After the “Pumpkin Boy” intro, “Glow in the Dark” by Jamie Madrox produced by DeadBoyGrim kicks things off with this trap opener talking about being crazy above intelligence whereas “Maybe I’m Dead” also by Madrox asks whether or not he really feels alive over a spooky Fritz the Cat beat. “Some Kinda Narcotic” by Bizarre, Jamie Madrox & LG talks about the music taking them to a hypnotic place over a boom bap instrumental from Stu Bangas leading into “W.W.W. (Wicked Worldwide)” by Anybody Killa & Twiztid dabbling with g-funk to clap back at their haters.

“Far from Ok” by Jamie Madrox, Krazy Attitude & Kryple finds the trio admitting they’re nowhere near being fine on top of a rock/trap fusion that Grady Finch cooked up while “Loser” by Hyro the Hero & Madrox talks about them not amounting to shit. “Pledge” by Blaze Ya Dead Homie, James Garcia or the artist formerly known as Young Wicked & Jamie Madrox links up so they can tell those who did them wrong to not do them the same just before “Blockin’ Out” by FJ Outlaw, Madrox & N*RAGED talks about cancelling out any negative energy.

Boondox joins Jamie Madrox for “Skin” so they can discuss their preference of being themselves instead of anyone else while “You Got Murdered” by James Garcia & Twiztid talks about what’ll happen if you speak ill of the wicked shit. “Pumpkin Pail” by Blaze Ya Dead Homie & Jamie Madrox explains how hollow they can be while “Just Outside” by Madrox & The R.O.C. preceding the “Pumpkin Boy No More” outro expresses hope of finding a way to get it.

I’ve enjoyed pretty much every single installment we’ve had in the Songs of Samhain series ever since MNE began dropping these comps when the 2020 COVID-19 pandemic shut the entire world down but if I had to choose my least favorite chapter in the saga, Outside of Heaven would hold the bragging rights for that title although it’s largely decent & that’s because it’s curator Jamie Madrox performs a bulk of these without Monoxide other than only a couple tracks.

Score: 3/5

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bleood – “Kill Your Idols” review

Floridian recording artist bleood at last putting out his full-length studio debut after several delays. Someone who’s debut extended play Seal of Memories came out in the fall of 2023 followed by a handful of a-side/b-side singles preceding the Rascal 51 as well as Pain & How Bleood Stole Xmas EPs respectively. Case in point: You Don’t Need Your Skin or the divisively received IDK I Can’t Say. Coming off the Kill of B Killd & Protagonist EPs however, Kill Your Idols looks to surpass Haunted Hills along with everything else he’s done.

“aw02 angel cry” sets the tone of what’s to come chaotically talking about how he can’t go anywhere because he’s been up & dissing 9 Vicious whereas “bite yoh neck” asks this woman who he can’t save whether or not she’d still love him if he passed. “flying dutchman” boasts his increasing popularity talking about having 2 hoes around him until “Lead Never Follow” featuring Pz’ flexing they were so stoned to the point where Medusa was their bitch.

The way “Onwards, Entrance Exams!” by あずまんが大王 gets sampled during “she loves me i hate her” was pretty neat, talking about bleood’s lifestyle along with guns & drugs just before “stupid b#@_h ruined my mood” airs out a chick who’s been getting under his skin. “i’m the king dracula” calls for the deaths of anyone who be sippin’ the lowest lean quality imaginable while “im a rascal surfer in a ocean of bleood” talks about trying to swim in the pussy.

“yu broke me down i built myself up” kicks off the 2nd half asking if anyone wants to the ride this wraith he’s driving leading into “super nova” talking about dual-wielding the green-red beam like Christmas came earlier than expected. “peeley” samples “EARDRUMMER” by che to discuss guns, money & women while “No New Frens” talks about his wealth regardless of the kllhhr “feature” being so short that it’s inclusion felt rather pointless.

BenjiCold gets behind the boards during “diablo may cry” speaking of looking to make more money & wanting better out of this slut he’s addressing while “2k tip” featuring FullyChop & SlimeGetEm decently trades verses without the need of a hook. “shiro” talks about having different colored hair similar to the No Game, No Life character of the same name & once “Kat Lazer Eye Chain” talks about getting ready to splash everything, “last” concludes the album referencing WWE Hall of Famer Mike Tyson.

Everything that bleood’s dropped in the past few years has all built up to this moment & now that Kill Your Idols has seen the light of day, I’d easily put it above the Pain tape as the most riveting entry in his discography. The experimental production varies between rage, drill, free car music, digicore, industrial hip hop & Chicago drill with the animated performances balancing lyrical themes of hardcore & horror regardless of Pz’ having the strongest guest appearance of the select few joining him.

Score: 4/5

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Dominic Fike – “How to Quit Smoking” review

This is the 3rd studio LP from Naples, Florida musician, singer/songwriter & rapper Dominic Fike. Signing to Columbia Records in 2018 off his debut EP Don’t Forget About Me & later What Could Possibly Go Wrong? during the COVID-19 pandemic, he would later join the cast of the Skydance Corporation division Warner Bros.-owned HBO series Euphoria during it’s 2nd season & the sophomore effort Sunburn wound up being more well received than it’s predecessor. 14 Minutes preluded his debut mixtape Rocket to mixed feedback & looks to teach the world How to Quit Smoking.

“Wallflower” was a decent indie pop opener singing about the type of person who’s shy yet introverted whereas “Small Town” works in some bedroom pop influences so he can reminisce over a woman he once knew, hoping to rekindle their relationship even though she’s not who she once was. “Pangea” combines bedroom pop, neo-soul & pop rap to discuss a relationship that has some serious potential while “Casting Call” sings about feeling like he’s up against robots due to the rise of AI.

reggie joins Dominic for “Doomsday” to directly addressing the theme of them going cold turkey on smoking & letting their partners know they love them more than they did the day prior leading into “Honeylove” featuring Grace Ives singing about wanting to consume each other’s DNA. “White Keys” blends alt-pop & bedroom pop for an observation of the space around them changing negatively affecting his relationship just before “Squeeze” sings about wanting to feel his lover’s touch.

“Reno” featuring Hether continues the 2nd half of the album throwing it all the way back to the What Could Possibly Go Wrong? era stylistically while “Lily Was a Cavalier” sings about the titular character fucking him much better than any of his exes have. “Cabby” featuring Emma Ogier finds the pair admitting they’re at their worst when they forget the humanity of their love while “City of Steel” featuring Jorjiana originating in Pittsburgh, Pennsylvania talks about heartbreak.

Danny Brown’s appearance during “Not the Spirit” ranks amongst my personal favorites contemplating whether or not they’d break even if they had a dime for every time they went broke while “War Machine” sings about his regrets ranging from drug abuse to infidelity, including an interpolation of “Got Ya Money” by the late Ol’ Dirty Bastard when the hook comes around. “Spotlight / Innerchild” finishes How to Quit Smoking in the form of a 2-parter promising to do his best despite not knowing what’s next.

Originally announced a couple months ago right when the Comedy Tragedy Parody Tour was getting ready to commence, Dominic Fike finally drops How to Quit Smoking following 2 or 3 weeks of delays putting himself in a position where he had no other choice but to step his game up regardless of me still having Rocket as his finest statement yet. Primarily because the indie pop, pop rap, indie rock & bedroom pop production can feel repetitive after a bit although appreciate the themes of growing up are undeniably sincere.

Score: 3/5

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