Donnie Darko – “Before the World Got to Us” review

This is the latest EP from East Coast hip hop artists Sutter Kain & Donnie Darko. The first of whom is a producer, DJ & occasionally MC from New York & the latter being an MC from New Jersey. The 2 have been collaborating with one another pretty much since the beginning & to kick off the 2nd quarter of 2020, they’re coming together for Before the World Got to Us.

The opener “Gladys” finds Donnie talks about growing up in Newark over a slowed down loop of “Giving Up” by Gladys Knight while the next song “Block Game, Pt. 3” pretty much addresses the current state of the world over a boom bap beat flipping Debbie Taylor’s “Let’s Prove Them Wrong”. The track “Driving My Crazy” addresses how the world today is insane over a flawlessly incorporated soul sample while the song “Life, Pt. 4” is essentially about how rough life is over an instrumental that kinda has an Alchemist influence to it.

The track “Shadows” talks about almost dying twice over a mesmerizing beat while the song “Feelings” goes at those who rap alike over a boom bap beat. The penultimate track “As the Beat Cries, Pt. 2” standing ground despite life being rocky over a flute & some humming then the closer “Loser, Pt. 10 (Before the World Got to Us)” tackles depression over a boom bap beat over a hypnotic vocal sample.

It’s more an EP to me, but still great nonetheless. Sutter Kain’s production has only gotten grimier with time, Donnie Darko’s sounds angrier than ever & the 2 continue to bring the best out of each other after all the extensive collaborating over the years. Really looking forward for the sequel After the World Got to Us next month.

Score: 4/5

Watson & Holmes – “The Case of the BPM Killer” review

Watson & Holmes are an East Coast hip hop duo consisting of Stu Bangas on production & Blacastan on the mic. They made their debut together in 2014 with a fantastic self-titled album, which was followed up with The Uncanny Adventures of Watson & Holmes in 2017. been another 3 years, the duo are reuniting for what would unfortunately by their 3rd & final full-length studio album.

After “After Intro”, we get into the first song “Bull’s Eye”. Where Blacastan talks about how skilled he is about over an eerie instrumental. The track “Crumpets” is a continuation of where “Bull’s Eye” left off despite only being a minute & a half then the song “Don’t Judge Me” with SmooVth sees the 2 talking about growing up in the 90’s over a boom bap beat with a cumbersome guitar in the background.

The track “Sincere” lyrically is probably the most introspective cut on the entire album & the beat is pretty calming too whereas the song “Crawl Space” with Goretex sees the 2 getting murderous & the instrumental fits the vibe like a glove. The track “Behold” talks about his longevity over a suspenseful beat while the song “23 x 1” talks about how sharp his lyricism is over a daunting instrumental.

The track “Bookies” with Nowaah the Flood has a mobster feel to it down to the Italian-flavored beat while the song “Styles” talks about how original Blacastan is over a cutthroat instrumental. The track “Hair Pins” finds the duo linking back up with SmooVth to go at their competition over a buzzing instrumental with 80’s-like synths & then before the outro, the final song “Grand Imperial” with Marvalyss is just a decent riot starter.

If you wanna get into Watson & Holmes, I’d recommend their first 2 albums. However, what they do on this new one is still dope. The chemistry between Blacastan & Stu Bangas is still there without a bit of doubt but the features are hit or miss & it’s too short, only running at 27 minutes.

Score: 3.5/5

Thundercat – “It Is What It Is” review

This is the 4th full-length album from Los Angeles, California musician, singer/songwriter & producer Thundercat. Emerging in the 2000s as the bassist for Suicidal Tendencies, he would subsequently sign to Brainfeeder Records & make his full-length debut The Golden Age of Apocalypse nearly a week before I started high school. He would follow it up with the sophomore effort Apocalypsea couple summers later & his debut extended play The Beyond / Where the Giants Grow a month succeeding my graduation became popular due to the inclusion of his most lauded single “Them Changes”. It would eventually be included on his previous LP Drunk, which is his most cohesive musical statement & an essential within the Brainfeeder discography. 3 years later, he’s accepting that It Is What It Is.

The 5th & final single “Interstellar Love” co-produced by Flying Lotus after the “Lost in Space / Great Scott / 22-26” intro embraces a heavy nu jazz fusion sound with elements of psychedelic neo-soul singing about us decaying over time whereas “I Love Louis Cole” featuring the real Louis Cole himself finds the 2 describing their friendship. The 2nd single “Black Qualls” featuring Childish Gambino & Steve Arrington goes for a funky psychedelic soul vibe singing about the state of no longer living in fear leading into “Miguel’s Happy Dance” going synth-funk offering a tune to dance your pain away too.

After the “How Sway?” interlude, “Funny Thing” takes it back to the Drunk era conceptually describing himself at a part that’s on the verge of reaching it’s peak just before the funky “Overseas” reaches the halfway point singing about a chick who blows his mind. The 3rd single “Dragonball Durag” ranks amongst his greatest blending neo-soul, psychedelic soul, nu jazz, funk, alternative R&B & acid jazz looking to be accepted by a woman no matter what it takes while the lead single “King of the Hill” after the “How I Feel” interlude samples “Girl Dinner.” by THABANG! thanks to BADBADNOTGOOD wondering how different things would be if they focused on the more important things.

“Unrequited Love” details the actual experience of romance from what some would call “the one that got away” to different shades of what people would think love is while the 4th single “Fair Chance” lets Lil B & Ty$ handle the verses over a funky alternative R&B/psychedelic neo-soul instrumental Sounwave helped cooked up remembering the late Mac Miller. After the 51 second “Existential Dread” interlude, the title track written after learning of Mac’s passing spans the last 5 minutes saying goodbye to their late friend while “Bye for Now” featuring Michael McDonald technically ends with the pair singing about the struggles of moving on.

Mac Miller was a very close friend & collaborator of Thundercat’s, so it was a guarantee that It Is What It Is was going to be dedicated to his memory & I wouldn’t say it’s better than Drunkalthough it lands close to The Beyond / Where the Giants Grow amongst his top 3 projects. The production between him & Flying Lotus feels like a continuation of sorts to the neo-soul & psychedelic soul sounds that made Drunk additionally taking inspiration from jazz fusion, nu jazz, alternative R&B & synth-funk to lesser extents & he retains his signature sense of humor in the midst of grieving Mac’s death.

Score: 4/5

Conway the Machine – ” LULU” review

Conway the Machine is an emcee that blew up as 1/3 of the trio Griselda with Westside Gunn & Benny the Butcher. Last year we saw him droping a total of 3 short projects last year & now with the 1st quarter of 2020 coming to a close, he’s enlisting West Coast veteran The Alchemist to produce his 6th EP in it’s entirety.

After the intro, we get into the first song “14 KI’s”. Where Conway of course talks about pushing coke over an ominous beat. “The Contract” speaks on how nobody’s on his level over an orchestral instrumental while the song “Shoot Sideways” with ScHoolboy Q sees the 2 talking about murder over a boom bap beat. The track “Calvin” talks about being the big homie over a demented beat while the song “They Got Sunny” with Cormega sees the 2 going at wack rappers over a grimy boom bap beat. The EP finishes off with “Gold BBS’s”, where La Maquina talks about gunning down those who oppose him over a boom bap beat with a spooky vocal sample.

To me, this is easily one of the best things Conway has ever put out. He sounds a lot more focused than he did on the 3 projects that he dropped last year & the production is more consistent too because you can’t really go wrong with The Alchemist.

Score: 4.5/5

Joyner Lucas – “ADHD” review

This is the full-length debut from Worcester, Massachusetts rapper & singer/songwriter Joyner Lucas. A man who first came to my attention in late 2016 with an incredible verse on “Sriracha” off of Tech N9ne’s 17th album The Storm. His exposure would increase the following year with the single “I’m Not Racist” along with a verse on “Lucky You” off of Eminem’s 10th album KAMIKAZƎ the year after that. But after spending 2019 dropping singles, he’s now giving fans the main course with ADHD.

After the “Screening Evaluation” intro, we get into the first song “I Lied”. Where Joyner admits that money has changed him over a demented instrumental. The next track “ISIS” with Logic sees the 2 getting into a contest to see who‘s cornier while “The War” with Young Thug sees the 2 talking about hoes over an instrumental kin to Beautiful Thugger Girls.

After a cringey Chris Rock skit, the song “I Love” talks about his passion for hip hop over an airy trap beat & an annoying ass hook. The track “Devil’s Work” is probably the best off the entire album as he pays tribute to famous celebrities that’ve lost their lives over a psychedelic rock beat & while the song “Lotto” insipidly boasts over a bland beat.

After the Kevin Hart skit which isn’t any better than Chris Rock’s, the track “Gold Mine” finds Joyner doing a shockingly dead on impression of Gunna on the hook & the acoustic trap beat adds to that while the song “Finally” with Chris Brown is a gross & pillowy expression about freedom. The track “10 Bands” gets materialistic over the worst Timbaland beat I’ve ever heard while the track “Revenge” talks about getting back over a decently hypnotic trap beat.

After the “Comprehensive Evaluation” skit, the title track tries to hop on the emo rap bandwagon over some piano chords that later transitions into a generically cloudy beat while the song “Still Can’t Love” whines about being single alongside King OSF & Fabolous over an instrumental that could’ve landed on any Lil Uzi Vert project. The penultimate track “Will” is a redundant tribute to Will Smith as much as I & everyone else loves him over a flute & some punchy ass drums whereas the closer “Broke & Stupid” is a fake woke reiteration or a Jim Rohn speech over a very classy Weldon Irvine sample.

For waiting a little over 3 years, it’s really sad for me to see him squandering his potential like this. The man certainly has lyrical talent don’t get me wrong at all, but the topics he chose to touch base on really doesn’t resonate with me & it’s sound as a whole is so directionless.

Score: 1/5

Daniel Son – “Dirty Dishes” review

Daniel Son is an emcee from Toronto, Ontario, Canada who’s been going at it since 2016 with his debut mixtape The Gunners. His sophomore album Yenaldooshi that came out last summer would go onto become his magnum opus & it was followed up 4 months later with Moonshine Mix 2. But to kick off his 2020, he’s teaming up with Finn for Dirty Dishes.

The album kicks off with “Fly Decorum”, where Daniel talks about being a legend over an instrumental kin to a blaxploitation film. The next song “Hit the Switch” with Asun Eastwood sees the 2 talking about those “trying to replace what we stole” over a spooky instrumental while the track “Foreign Chauffeur” with Rome Streetz sees the 2 reminiscing on growing up in the hood referencing 2-time WWE Hall of Famer, former 16-time WWE world champion, WWE Intercontinental Champion, 6-time WWE United States Champion, 6-time WWE tag team champion & 9-time NWA World’s Heavyweight Champion Ric Flair over a mournful boom bap beat.

The song “All Nighter” with Rob Gates sees the 2 getting mafioso over a mellow instrumental while the track “Cherry Beach” talks about his team being hungry over a somber piano instrumental. The song “Money Train” is really touching despite it’s 63 second runtime while the track “Lemon Hill” is another short yet gritty cut about how ill he is.

The song “Chasing Ghosts” with Jay Royale sees the 2 making a gruesome tribute to the heathens while the track “Burnt Thumbs” gets back on the drug dealing tip over a boom bap beat with a whimsical sounding flute. The song “Dirty Dozen” with Raz Fresco, Rigz & Saipher Soze is an eerie barfest while the penultimate track “Shorty from the West” with Family Gang Black sees the 2 talking about losing this woman to the streets over a settle instrumental with a guitar echoing in the back. The album then finishes with “Boat Trips”, where Daniel gets introspective over an unbeat instrumental.

Daniel has been one of the most consistent dudes in the underground within the past few years & this is easily one of the best projects he’s ever put out. His lyricism has been getting more razor sharp with each release & Finn continue to reveal himself as one of the best producers Canada has to offer.

Score: 4.5/5

Vanderslice – “Trendsetter” review

This is the 3rd EP from Phoenixville, Pennsylvania veteran Vanderslice. A man that made a name for himself by producing for the Army of the Pharaohs on numerous occasions since the mid/late 2000s & just last spring, he produced Diabolic’s 3rd album Collusion in it’s entirety & that has quickly become my 2nd favorite release of his. But as the 2nd quarter of the year is starting to begin, Vansleazy’s hitting us with Trendsetter.

After the intro, the first song “ Cold Winter” by Vic Spencer is a minute & a half of witty battle bars over a grimy instrumental. The next track “Christmas Night Heist” by Ty Farris talks about being from Detroit over a tense boom bap beat while the song “Barry White Shit” by G Perico talks about ballin’ over an organ. The penultimate track “Puzzles” by Daniel Son gets on the mafioso too over an intoxicating beat & then before the outro, the closer “Shell Casings” by Capo talks about killing his competition over an suspenseful instrumental.

Vanderslice has always been one of the illest underground producers of all-time & this just solidifies it. It’s only 10 minutes long, but the sound on here is like no other & the guests fit in very well on top of his production.

Score: 3.5/5

Childish Gambino – “Atavista” review

This is the surprise 4th full-length album from California actor, writer, rapper, comedian, singer, DJ, director, producer & former FX hit series Atlanta creator Childish Gambino a.k.a. Donald Glover. His 2011 debut album Camp was pretty mediocre, but he would show his artistic growth on his next 2 projects R O Y A L T Y & Because of the Internet. Last time we heard from Donald in a full-length capacity was in 2016 with “Awaken, My Love!”, which was an awesome throwback to the days of Parliament-Funkadelic. But after leaking Atavista as 3.15.20 on his website in its entirety just a week ago, he’s now officially putting it out on all streaming services.

After the “0.00” intro, the self-produced title track gives off a bit of a Weeknd vibe singing that the high is low if the drug is faint whereas “Algorythm” finds Donald talks about partying over an enticing instrumental. The track “Time” with Ariana Grande sees the 2 talking about how life is moving fast over a synth-heavy beat from Jai Paul, Donald himself, Ludwig Göransson, DJ Dahi just before the 6 & a half minute “Psilocybae (Millennial Love)” featuring 21 Savage inspired by The Neptunes instrumentally gets romantic.

“To Be Hunter” industrially talks about what it is to be beautiful leading into the shimmery “Sweet Thang” getting flirtatious. The country-inspired “Little Foot Big Foot” featuring Young Nudy tells the story of a young drug dealer referencing WWE Hall of Famer Mike Tyson, but then “Why Go to the Party” is just Donald harmoniously singing a capella. “The Violence” funkily talks about how cruel the world can be & “Final Church” euphorically ends Atavista with Donald talking about finding love.

Starting the deluxe run, “32.22” finds Donald whispering & then singing in auto-tune over an instrumental kin to Kanye West’s 6th album Yeezus & the final bonus track “Feels Like Summer” fuses contemporary R&B, neo-psychedelia, smooth soul, alternative R&B, chillwave, neo-psychedelia, psychedelic soul, bossa nova & downtempo covering various issues facing our world today.

If this is truly the 2nd to last Gambino album like he’s been saying over the past few years, then I’m not mad because it’s his most esoteric body of work to date. I can see why some other people may not like it because of how weird it can be but I like that the production draws from neo-soul, contemporary R&B, psychedelic soul, experimental hip hop, art pop, funk music, alternative R&B, neo-psychedelia, synth-funk & his vocals have continued to get better over time.

Score: 3.5/5

The Weeknd – “After Hours” review

The Weeknd is a 30 year old singer/songwriter from Toronto, Ontario, Canada that rose to stardom in the early 2010s with a trilogy of highly acclaimed mixtapes: House of Balloons, Thursday & Echoes of Silence. He then made his full-length debut in 2013 with Kiss Land, which was followed up in 2015 with Beauty Behind the Madness & then Starboy the year after. Last we heard from Abel was in 2018 with his debut EP My Dear Melancholy, & almost 2 years later now, he’s back with his 4th full-length album following a cameo in the A24 Films crime thriller Uncut Gems.

The opener “Alone Again” finds Abel sings about substance abuse over a glimmering instrumental from Ging & Illangelo, but then the drums kick in around the 2nd half & just hit you hard. The next track “Too Late” talks about how he & Bella Hadid are on their own now over a cool UK garage instrumental while the song “Hardest to Love” talks about how it isn’t easy for his past lovers to let him go over a liquid drum & bass instrumental.

“Scared to Live” is basically an apology to his exes over a gorgeous synth lead & some punchy drums while the song “Snowchild” talks about wanting to be famous at 16 & now he doesn’t want the fame anymore over a futuristic instrumental. The track “Escape from LA” talks about how Los Angeles will be the end of him over a melancholic beat from Metro Boomin’ while the song “Heartless” talks about being just that over a decent trap instrumental.

The track “Faith” talks about relapsing after being sober for a year over a hypnotic beat while the WWE WrestleMania XXXVII theme song “Blinding Lights” talks about how he can’t see clearly without Bella over a synthpop instrumental. The track “In Your Eyes” talks about how he sees something burning inside of this woman over a synthwave instrumental while the WWE WrestleMania XXXVIII theme song “Save Your Tears” pretty much tells Bella to cry another day over an 80s throwback instrumental.

“Repeat After Me” finds Abel telling her ex that he knows she really doesn’t love her new man over a euphoric instrumental from Tame Impala mastermind Kevin Parker alongside Oneohtrix Point Never while the title track is an open apology to all the women he’s hurt over an instrumental with some elements of future garage & progressive pop.

The closer “Until I Bleed Out” officially ends After Hours talks about not needing love or drugs anymore over an ambient pop instrumental while “Nothing Compares” complexly starts the deluxe run coming to terms with his feelings for his lover. “Missed You” realizes he still has feelings for a past love in his life & the final bonus track “Final Lullaby” sings to his lover helping them try to fall asleep.

When it comes to all 4 of The Weekend’s full-length albums, this is EASILY the best & I’d honestly put it on par with Trilogy. He artistically reinvents himself by expanding his alternative R&B sound in favor of synthpop, synthwave, future garage, ambient pop, trap soul, new wave & dream pop projecting the themes of loneliness, self-loathing & escapism.

Score: 4.5/5

ReachingNOVA & Teemonee – “Legends” review

ReachingNOVA & Teemonee are 2 rappers hailing from New York that’ve been active in the underground scene for a while now & this is their collaborative EP.

The EP kicks off with “KLMG”, where the duo go back & forth with each other repping their crew over a beat that sounds like the apocalypse is taking place. The next song “Thriller Music” sees the duo flexing over a bassy instrumental while “The Other Side” pays tribute to the loved ones they’ve lost over a cavernous beat. The track “Phoenix” talks about holding onto faith over a spacious instrumental while the penultimate song “Fusion” talks about backstabbers over a vibrant instrumental. The title track that closes out the EP finds the duo hoping that that the world remembers them & I love the atmosphere the instrumental gives off.

This is a pretty solid EP. The production is nice, both of their pen-games are witty & the chemistry between both parties is very natural. Really looking forward to seeing what they do from here.

Score: 3.5/5