This is the 6th & final full-length album from Detroit quartet the Clear Soul Forces, who blew up at the beginning of 2012 with the viral sensation of their viral “Get No Better” music video. They put out their magnum opus Still just a little over a year ago but with 313 Day being this weekend, they’re celebrating with one last hurrah.
The album starts with “Gimmie the Mic”, where the group spit some charismatic battle bars with each other for 2 minutes over a funky beat from Ilajide. The next song “Bussaflow” finds everybody going back & forth with each other over a dystopian instrumental while the track “Chinese Funk” sees the 4 showing off their skills over a flute-tinged boom bap beat. The song “Funky Enough” is a slick crowd mover while the track “Like That” shows you how they do things over a punchy instrumental.
The song “95” is them saying they’d rather be rapping instead of working a day job over an instrumental with an infectious groove while the track “Watch Your Mouth” is a warming to those talking down on them over a synthy boom bap beat. The song “We Gets Busy” talks about their hustle over a trunk-knocking beat while the penultimate track “SS2” is a lethal sequel to “Suspect Spiterzzz” over an electro-boom bap beat. The album then finishes with “Chip$”, where the group talk about making money over a hypnotic beat.
This is a damn near perfect way for the group to go out. It’s a little too short only running at a half hour but in that short amount of time, they remind us all why they are one of the greatest groups to come out of Detroit in recent memory from the evolving sound to the tight lyricism. Best of luck to E-Fav, Ilajide, L.A.Z. & Noveliss on their future endeavors.
It’s actually here; The full-length debut studio album from New Orleans, Louisiana emcee/producer Jay Electronica. Ever since his breakout mixtape Act 1: Eternal Sunshine (The Pledge) in 2007, this has become one of the most anticipated hip hop albums within the past decade. 13 long years have passed, but the day has finally arrived & he’s enlisting Roc Nation Records founder JAY-Z to provide verses throughout a large amount of it.
After the “Overwhelming Event” intro, we get into the first song “Ghost of Soulja Slim”. Where both Jays make references to death as well as racism & Islam over a grand instrumental from Electronica himself. “The Blinding” talks about Electronica’s return over an instrumental from araabMUZIK alongside Hit-Boy & Swizz Beatz that starts off with a grim atmosphere until transitioning into something more calming. “The Neverending Story” talks about the noblest of gentlemen over an alluring instrumental from The Alchemist while the song “Shiny Suit Theory” is pretty much an adviseful conversation on wax backed by a jazzy beat.
“Universal Soldier” talks about wanting to be saved from themselves over a heavenly boom bap beat while the song “Flux Capacitor” finds both rappers being off beat to the point where it’s distracting. The track “Fruits of the Spirit” is solely Electronica comparing himself to Thanos over a soulful instrumental from No I.D. while the song “Ezekiel’s Wheel” addresses those who ever doubted this day ever come & it’s so long that the Brian Eno sample starts to become annoying before it’s even over. The album finishes off with “A.P.I.D.T.A.”, which pays tribute to those in Jay’s life that’re no longer here over a guitar instrumental that fits the tone fantastically.
Starting the deluxe run, we’re treated to a Conductor Williams remix of “Abracadabra” from the What the Fuck’s a Jay Electronica? mixtape while “Who Killed Michael Jackson??????” featuring Quinten Miller after the “Real Life Alchemy” interlude talks about collecting profits until the prophecy’s fulfilled over synthesizers. “Is It Possible That the Honorable Elijah Muhammad is Still Physically Alive???” featuring D.R.A.M. takes inspiration from the Jabril Muhammad book of the same name on top of an Evidence beat while “Japan Airline 1628” references the 1986 UFO sighting in Alaska.
“4,400,000,000 (The Worst is Yet to Come)” takes on an experimentally drumless sound talking about being a denier of climate change & suggesting he’s more of a “Smooth Criminal” than Michael Jackson because used to live with Puff Daddy a.k.a. P. Diddy or Diddy when he was still with Cassie, although he was never issued an affidavit when the disgraced Bad Boy Entertainment founder was on trial for sex crimes & “Highlander” produced by Feardorian is more of an interlude than anything.
After the “Civilian Life is Nothing“ interlude, “Ashes to Ashes” drumlessly exercising his demons both internally & externally while “Best Wishes” featuring Westside Gunn keeps the drums out of the equation hoping y’all have a blessed life. “Blood Libel. Who’s That Lying on God?” takes it a step further to defend Diddy much like Ye or formerly known as Kanye West did & “Big Baby Jesus” feels like another interlude.
“Letter to Mars” after the “Dear Mr. Blaine, I Won.” interlude gets the ball rolling on the Mars, The Inhabited Planet portion by talks about not making it where he is now & after the “1,000mph to the Border” interlude, “Candace Owens…Tell Us More!” pens an open letter to the far-right conspiracy theorist. “CNN & BBC are Liars” by PYT Joce after the “if you won’t do it for you…shine for me” R&B interlude performed by Harley both any Jay Electronica presence with PYT Joce dissing both news networks & after the “Remember That 1 Time Trump Tweaked on Zelensky in the White House?” interlude, the final bonus track “Anybody Else Know How to Work Ruby Slippers???????????????????” finishes with a once in a lifetime opportunity.
Does شهادةمكتوبة deliver after such a long wait? I’d personally say it’s a worthy conscious/abstract hip hop LP with secondary influences of hardcore hip hop, drumless, boom bap & experimental. The mixing could’ve been better at some parts but Jay Electronica’s intellectually Islamic lyricism remains intact, JAY-Z compliments him like Ghostface Killah did with Raekwon on Only Built 4 Cuban Linx… & the production is incredibly creative.
Here we have the 5th EP from Birmingham, West Midlands, England, United Kingdom emcee Truemendous. Introducing herself in 2015 off her debut EP Whoremonal Moodswings, she continued to build momentum with the trilogy P.S. This Is Your Mother Calling began & bridged by P.S. This is Your Father Calling. The final chapter P.S. This is Your Aunty Calling eventually caught the attention of High Focus Records, who signed Truemendous & looks to introduce herself as part of the roster in the form of Huh? a month after Gisele Shaw & Michael Oku respectively became the new RPW British Women’s Champion & RPW British Cruiserweight Champion.
“That Don’t Mean” starts us off showcasing unique flows over a Pitch 92 beat speaking of being self-aware of an imminent breakup & that taking breaks is ok whereas “Meerkatz” takes the cloudy trap route instrumentally asking how one’s broke when they’re always at work. “O.T.Y.L. (Only Time You Love), Pt. 2” produced by Illinformed is a boom bap sequel to a 2016 loosie that greatly improves everything regarding the original version prior to “Sweetheart” talking about giving a fuck less regarding anyone else’s superstitions.
Continuing the final leg of Huh?, the song “Sumtymes” goes for a west coast vibe to the beat speaking of everything being too much yet she manages to cope with it prior to Telemachus getting behind the boards 1 last time during the woodwind-heavy “Out My Face” telling a group of people she dislikes to back away from her quickly as they can. “Hmmm” closes up shop with some synthesizers questioning those acting out of pocket behaviorally & not saying shit as often as she once did.
Preluding her forthcoming debut album The Misdiagnosis of Chyvonne Johnson, the High Focus Records debut of Truemendous confidently marks the finest example of the very same storytelling expertise or varied range & unrivalled flow that helped give her the honor of being the label’s First Lady in the midst of the whole entire world shutting stopping as a result of the COVID-19 pandemic. Production’s a big upgrade compared to her earlier stuff & she really saved her strongest performances for this special occasion.
Lil Uzi Vert is a 25 year old rapper from Philadelphia, Pennsylvania that became a household name in the trap scene with his 2015 mixtape LUV is Rage & then Lil Uzi Vert vs. the World the following year. Since the release of his 2017 debut album LUV is Rage 2, Uzi has been entangled with a nasty legal battle with his label. But with the help of Roc Nation, he’s finally putting out his long-awaited sophomore album.
Things kick off with “Baby Pluto”, where Uzi energetically introduces a new alter ego over a trap beat from Brandon Finessin’ of Working on Dying & Bugz Ronin with some twinkling keyboards. The next song “Lo Mein” flexes referencing Tesla CEO, SpaceX founder & Neuralink founder Elon Musk over a spacious beat while the track “Silly Watch” continues to brag over a rubbery Supah Mario beat. The song “POP” awkwardly gets raunchy over a bassy Oogie Mane beat with a strange synth lead as well as a part during the final verse where the word “balenci” gets repeated to the point of annoyance, while the track “You Better Move” tells his naysayers to back up over a flawless sample of the Microsoft pinball game.
The song “Homecoming” talks about how much of a boss he is over a bouncy beat while the track “I’m Sorry” sends a message to Brittany Byrd over an atmospheric instrumental. The song “Celebration Station” triumphantly talks about where he is now over a dystopian Outtatown instrumental while the track “Bigger Than Life” talks about his success over a trap beat with a harmonious vocal sample throughout.
The song “Chrome Heart Tags” continues to talk about Brittany over a hypnotic Chief Keef instrumental while the track “Bust Me” is a catchy sex anthem. The song “Prices” shows off Uzi’s wealth over an amazing sample of Travis Scott’s “way back” while the track “Urgency” is an moody lovey dovey duet with Syd that goes better than I had anticipated.
The song “Venetia” is another wealth anthem that’s just as energetic as “Prices” while the track “Secure the Bag” asks his opponents what they really about over a psychedelic beat. The song “P2” is a pointless sequel to “XO TOUR Llif3” down to the TM88 instrumental while the penultimate track “Futsal Shuffle” showcases a new dance move over an electro-trap beat. Then there’s the closer “That Way”, which is a modern take on the classic Backstreet Boys song “I Want It That Way”.
“New Patek” was a fun trap, pop rap, cloud rap & plugg single that was left off the final version for whatever reason there may be referencing former 2-time WWE world champion, 2-time WWE United States Champion, 2-time WWE Intercontinental Champion, 8-time WWE tag team champion, 8 time WWE Cruiserweight Champion, アイアンマンヘビーメタル級チャンピオン Rey & The Crash’s inaugural Mundial Pesocompleto Campeon Rey Mysterio.
Despite not being on par with LUV is Rage or Lil Uzi Vert vs. the World, I think it delivers after the long wait. Could’ve used a couple more features & the concept kinda gets lost after a while, but Uzi sounds completely refreshed & the production is really colorful. Really glad to see him come back & rise above all the label drama the way he does on here.
Megan Thee Stallion is a 25 year old rapper from Houston, Texas who rose to prominence last May with the release of her debut mixtape Fever. I myself was very impressed with how it displayed Megan’s knack for catchy songwriting, dirty south/Memphis inspired production & a unique personality. However despite being entangled in a lawsuit with 1501 Certified Entertainment earlier this week, I was still very curious & excited to see what she would do on her 3rd EP over here.
The album kicks off with “Ain’t Equal”, where Megan talks about how she isn’t like any other over a cloudy yet dark trap beat from Helluva. The next track “Savage” talks about how wild she is over a J. White instrumental with a keyboard lead similar to that of the Star Trak days while the song “Captain Hook” finds Megan over some bass lead by the sound of a sword being pulled out as well as some pots & pans. The track “Hit My Phone” featuring Kehlani is your usual bedrocker tune with Jake One behind the boards while the song “B.I.T.C.H.” interpolates 2Pac’s Ratha Be Ya Nigga” over a classy sample of Bootsy Collins’ “Rather Be With You”.
The track “Rich” talks about her newfound wealth over a quirky instrumental & speaking of Star Trak, the song “Stop Playing” is one of 2 cuts on the album produced by The Neptunes. This first one has a nightly yet calming vibe to it whereas Megan & Gunna both declare that they ain’t messing around. The penultimate track “Crying in the Car” is pretty much Megan melodically firing back out at those who’re mad at her elevation over a more lusher instrumental from Pharrell & Chad Hugo then the closer “What I Need” gets more flirtatious over a sensual Timbaland beat.
For a while I’ve been saying that Megan Thee Stallion is the best female rapper in the mainstream right now (with Rapsody being the best female rapper right now PERIOD) & this just proves my point. There are a few weak spots, but the catchiness of Fever is being quadrupled on here with her best songwriting & instrumental choices to date.
This is the 19th full-length album from Fresno veteran Planet Asia. Starting off as a member of the duo Cali Agents, he would go on to have a very successful solo career & has made a lengthy yet consistent discography for himself. Including albums such as The Grand Opening, The Medicine, PainLanguage, Abrasions & Anchovies. And to kick off his 2020, Rochester’s very own 38 Spesh is being enlisted to produce Trust the Chain in it’s entirety.
The album kicks off with “Body After Body”, where Asia reclaims his prowess over a triumphant beat. The next song “Resurrect Pharaohs” with The Musalini sees the 2 talking about how superior they are to their opponents over a suspenseful beat while the track “Mystery School” talks about running the game over a colorful soul sample. The song “God Degree” is filled with knowledge backed by an atmospheric beat & while the track “Passport Player” has some dope mob-bars over a boom bap beat with a luxurious piano lead, the hook is horrendous.
The song “Snake Charmer” talks about pushing drugs over a prominently icy flute lead while the track “Learned from OGs” with Elcamino & Fred the Godson sees the 3 showing love to those who came before them over a boom bap beat with an incredible orchestral loop. The song “Tec & a Mink” talks about how hard it is to be a good dude over a melancholic instrumental while the penultimate track “Juggernauts” talks about his crew shining over a victorious beat. The album finishes off with “Wintertime”, where Asia reflects on his childhood over a euphoric instrumental.
Personally, I find this to be one of Planet Asia’s best efforts yet. Could’ve been a bit longer as it only only runs for a half hour but in that short amount of time, he quickly reminds us of his place in the culture as a west coast legend with a ferocious pen-game & 38 Spesh backing him up with some very rich & grand production.
Lil Baby is a rapper from Atlanta, Georgia that rose to stardom in 2018 with his debut album Harder Than Ever. This was followed up with a collab project with Gunna entitled Drip Harder & his 4th solo mixtape Street Gossip, both of which didn’t match the quality of Harder Than Ever in my opinion. But after spending the last year doing features, he’s back with his sophomore album.
The opener “Get Ugly” talks about how life can be rough over a trap beat with some synths while the next song “Heatin’ Up” seems like a boring Drip Harder leftover. The song “How” takes aim it people ridin’ his wave over a bassy Murda Beatz instrumental while the track “Grace” with 42 Dugg sees the 2 flexing over an ominous instrumental. The song “Woah” continues to show off over a dull instrumental while the track “Live Off My Closet” with Future sees the 2 talking about their fancy possessions over a beat with some haunting keyboards.
The song “Same Thing” describes a day in the life of Lil Baby over a Tay Keith beat with an awesome acoustic sample while the track “Emotionally Scarred” talks about an ex over a bland beat. The song “Commercial” with Lil Uzi Vert sees the 2 talking about not looking back over a skeletal beat while the track “Forever” finds Baby getting with Lil Wayne to remind their listeners to be themselves over a demented beat. The song “Can’t Explain” talks about acting the same despite his new lifestyle over a trap beat with a quiet piano lead while the track “No Sucker” with Moneybagg Yo is pretty much both of them bragging over an airy beat.
The song “Sum 2 Prove” lyrically needs no further explanation backed with some strings & hi-hats while the track “We Should” with Young Thug finds both of them boasting about going from broke to rich & I love the ghostly melody in the beat. The song “Catch the Sun” gets more personal over a Hit-Boy beat with a mellow guitar lead while the track “Consistent” talks about his grind over a woozy beat.
The song “Gang Signs” is essentially about reppin’ your set over a vicious DJ Paul & TWhy instrumental with a vintage Three 6 Mafia sample while the track “Hurtin’” vents about his pain over a spacious beat. The song “Forget That” with Rylo Rodriguez is them both of them trippin’ on wax over a somber beat & then the closer “Solid” continues to spit from the heart over an uneventful instrumental.
Wasn’t expecting a whole lot & walking away from it, I didn’t get much. There are a small handful of catchy bangers on here, but I find both the production & rapping to be subpar for a good portion cod it. Just another mediocre trap album.
This is the 6th full-length album from New York veteran Afu-Ra. His 2000 debut Body of the Life Force is widely considered to be an underground classic & the 2002 follow-up Life Force Radio was pretty solid to me as well. Last time we heard from Afu was in late 2018 with Mazterchef & now, he’s back with Urban Chemistry.
The album kicks off with “Unstop”, where Afu links up with Starrlight talking about how untouchable they are over a symphonic instrumental. The next song “Kiss the Pain” with Myriam Sow sees the 2 getting romantic over a buttery instrumental while the title track with Big Shug & Keny Arkana finds the 3 talking about playin’ to win over a rock-influenced beat. The song “Reign on Me” with Mann gets conscious over a boom bap beat with a bit of an early-2000’s Dr. Dre influence to it while the track “Veni Vedi Vici” with Gavlyn talks about how both of them rose to stardom over a soulful beat.
The song “War Chemicals” with Stranjah Miller gets back on the conscious tip over a reggae infused trap beat while the track “Body’s Jumping” with Célia Kameni is a motivational piece backed with the perfect instrumental. The song “Take Me Along” with Taïro talks about elevation over a Caribbean instrumental while the track “Therapy” with LMK gets more spiritual over a dystopian beat. The song “Be Strong” with Dave Dario speaks for itself over a somber piano instrumental while the track “Lyrics Fly” with Lord Kossity is them showing off their penmanship over a boom bap beat with sample that sounds like it was taken from a Kung Fu flick.
The song “Molecular” with Jah Mason & Rocca sees the 3 talking about how it’s a big world out there over a beat with a Latin-flavored guitar throughout while the track “Lion Science” with Sr. Wilson is another reggae cut much like “War Chemicals” except this one has a more traditional feeling to it. The song “Money Change” with Skarra Mucci is pretty much about how currency can really effect one another over a ScottStorch inspired beat while the track “Firetricity” with Sizzla talks about babylon over a tense instrumental.
The song “Rise Up” with Lyricson gets back on the inspirational vibes over a colorful instrumental & while I like how the penultimate track “Me & My Sensei” with Charly B finds the 2 talking about how they always rep hip hop from New York to Paris, the beat is just ok to me. Then there’s the closer “I Try”, where Afu talks about how we need love every day & the instrumental really enhances the emotion.
It’s a decent album overall. I understand & really like the concept of him making a project showcasing the talents of artists from all over the world, but their contributions can be hit or miss with me at times & I can say the same thing about some of the production as well.
Royce da 5’9” is a Detroit veteran that most are familiar with for being 1/2 of Bad Meets Ǝvil with local sensation Eminem. However his mark as one of the city’s illest lyricists has already been made with releases such as Death is Certain, Street Hop, Success is Certain, Layers & even Royce’s last album Book of Ryan. Also can’t forget to mention his work with longtime collaborator DJ Premier as the MC/producer duo PRhyme or with the now defunct quartet of all-star wordsmiths that was once Slaughterhouse. But with Black History Month almost over, Nickel is celebrating with The Allegory.
Things kick off with “Mr. Grace”, where Royce delivers some wisdom & I love how the instrumental constantly switches from horn to string samples throughout. The next song “Dope Man” with Emanny sees the 2 discussing how drug dealers are the kings of the streets over an infectious instrumental while the track “I Don’t Age” talks about how dope he still is over a boom bap beat with the lead riff switching off between a bass-line & a piano sample. The song “Pendulum” is laced with battle bars backed with a solemn boom bap beat while the track “I Play Forever” with Grafh sees the 2 talking about falling in love with the street life over some horns.
After the “Ice Cream” interlude, the song “On the Block” sees PRhyme getting together to discuss hustling over a mesmerizing instrumental & the Oswin Benjamin verse really took me by surprise. After the “Generation is Broken” interlude, the song “Overcomer” with Westside Gunn is about how the 2 rose above their shortcomings over a prominent vocal sample & I definitely can’t forget to mention Royce’s disses towards former collaborator/Shady Records artist Yelawolf not too long after his verse starts. Is he really a “vulture pundit” in my eyes? No, not at all. That being said, I do understand Royce’s point of view on the whole thing. After the “Mrs. Grace” interlude, the song “Thou Shall” with Kid Vishisis essentially both of the Montgomery brothers talking about their accomplishments over a spooky instrumental.
The track “FUBU” with Conway the Machine sees the 2 challenging anyone who opposes them over a demented instrumental & after the “A Black Man’s Favorite Shoe” skit, the song “Upside Down” with Benny the Butcher finds both wordsmiths getting violent over a cavernous boom bap beat. After the “Perspective” skit where Eminem discusses racism in the music industry, the track “Tricked” with KXNG CROOKED is pretty much both MCs cleverly breaking down the idea of deception over a tense instrumental. After the “Black People in America”, the song “Black Savage” is empowering anthem towards African Americans with both dEnAuN & 6 July helping Royce heavily sample the afro-rock band of the same name. The bars that CyHi the Prynce & T.I. both bring to the table are dope, but White Gold’s verse was kinda pointlessly short to me.
The track “Rhinestone Doo Rag” despite being short is about how the next generation is on those listening over a soothing instrumental while the song “Young World” with G Perico & Vince Staples sees the 3 sending an important message to the youth referencing Tesla CEO, SpaceX founder & Neuralink founder Elon Musk over a funky instrumental. The penultimate track “My People Free” co-produced by S1 & Wu10 has a respectable concept, but it seems like more of an Ashley Morrell song to as she dominates a bulk of it & Royce makes very little appearance on it himself. Then there’s the closer “Hero”, where Royce pays tribute to his father over an instrumental that’s sweet to the ear.
The album isn’t perfect, but it’s still a fantastic listen. A couple of the features were pretty weak & the interludes are pretty annoying but lyrically, this is definitely Royce’s most conscious effort to date. And for him to start getting behind the boards & self-produce damn near the whole thing, he does a pretty good job at it.
This is the brand new EP from Buffalo, New York emcee Elcamino. First time I listened to him was in November 2017 when he dropped his self-titled EP with Griselda Records. This was followed up by his Walking on Water mixtape in the summer of 2018 & last year alone, he dropped 2 studio albums & a few EPs. However to ring in the new year, he’s dropping off the 38 Spesh-produced Martyr’s Prayer.
After the titular intro, the first song “Legal Money” shows off his riches over a spooky instrumental whereas “Flowers” finds Camino aspiring to be respected while he’s alive over a calming beat. The track “Street Signs” talks about how he would’ve died for his block over a boom bap beat & after the “Martyr’s Speech” skit, the song “Young Lordz” talks about coming a long way from the hood over a blissful boom bap beat. The track “Get Hi Too” is a short yet effective stoner anthem with a mellow instrumental & before the outro, the final song “2K20” with Che Noir sees the 2 flexing over an impeccable BADBADNOTGOOD sample.
Compared to Elcamino’s last 2 projects that he dropped this past fall, this is a big step-up. I feel like it could’ve been more fleshed out since every single cut is under 3 minutes but nonetheless, Spesh cooks up some of his best production & the pen-game has improved also. Looking forward to see what else he does this year.
