Missy Elliott – “Iconology” review

This is the debut EP from Portsmouth, Virginia trailblazer Missy Elliott. In case you‘ve been living under a rock: Missy came into the game alongside Timbaland in 1997 with her groundbreaking debut Supa Dupa Fly. They maintained an impeccably close relationship since with Da Real World, Miss E…So Addictive, Under Construction & This Is Not a Test! all dropping throughout the late 90s & early 2000s. Timbo would go on to produce only the first 2 tracks on Missy’s LAST full-length album The Cookbook & that was back in 2005. We’ve only gotten a few appetizers for a comeback ever since from a couple loose singles to a halftime performance during Super Bowl XLIX, but it wasn’t until Missy would surprise the world with Iconology literally the day before it even came out.

The EP kicks off with “Throw It Back”, where Missy talks about shows her competition how it’s done over a bouncy trap beat. The next song “Cool Off” is a Miami Bass throwback while the penultimate track “DripDemeanor” gets sensual over a synth-funk beat. The EP then finishes with “Why I Still Love You”, where Missy provides the listener with a mellow R&B tune.

A lot of people including myself were expecting this to be her 7th full-length album, but I’ll take it as a decent EP. Not sure who did the production, but the beats are fine by their standards & Missy still has a captivating prowess. Also, the “This is a Missy Elliott exclusive” tag at the start of pretty much every song is annoying.

Score: 2.5/5

Powers Pleasant – “Life’s Beautiful” review

Powers Pleasant is a producer/DJ from Brooklyn, New York that came up as a member of the Pro Era & Beast Coast collectives. He’s had a hand in the instrumentals on some of the latter’s output from The Underachievers’ 3rd mixtape It Happened in Flatbush in 2016 to Joey Bada$$’ politically charged sophomore album ALL-AMERIKKKAN BADA$$ in 2017. However if the Beast Coast’s disappointingly average debut album Escape from New York earlier this year wasn’t enough, Powers has seen fit to drop an EP of his own.

After the “Sway’s Intro”, we go into the first song “Vintage Chanel”. Where Joey teams up with Kirk Knight as well as the 2 Dead Boyz to boast over an alluring trap beat. The next track “Please Forgive” by Denzel Curry, IDK, ZillaKami & Zombie Juice is a lyrical onslaught with an ominous beat while the song “Can’t Fucc Wit It” by Buddy & G Perico showcases the gritty life on the West Coast over an apocalyptic beat.

The track “Pull Up” by A$AP Ferg & Joey sees the 2 flexing over a cloudy trap beat while the song “Hit My Line” by AKTHESAVIOR, Jay Critch & Joey finds the 3 getting sexual over an intoxicating beat with a hook sounding totally ripped off from the Travis Scott playbook. The penultimate track “Purified” by Aaron Rose, CJ Fly & Joey talks about being blessed over a classy instrumental & then it closes out with a decent “Pull Up” sequel by the Beast Coast.

There’s not much else for me to say beyond that, this is a decent EP. Powers is definitely a talented producer, but 5 of the 8 tracks sound like leftovers from the Escape from New York sessions.

Score: 3/5

Rapsody – “Eve” review

Rapsody is a 36 year old MC from Raleigh-Durham, North Carolina that rose to prominence this decade with a handful of mixtapes & EPs. Her 2012 debut album The Idea of Beautiful continued to show her potential, but it wouldn’t be until the Roc Nation Records backed Laila’s Wisdom in 2017 that she would truly refine her style & sound almost perfectly. 2 years have passed & she has teamed up with Def Jam Recordings to deliver her highly anticipated 3rd full-length album.

The album kicks off with “Nina”, where Rapsody gets ambitious over a soulful beat. The next song “Cleo” sends a message to the naysayers over a boom bap beat from 9th Wonder sampling Phil Collins’ “In the Air Tonight” while the track “Aaliyah” ponders about that somebody over an Eric G beat with some beautiful background vocals. The song “Oprah” with Leikeli47 sees the 2 talking about being masters over an instrumental with some rubbery bass while the track “Whoopi” gets cocky over a quirky Khrysis beat.

The song “Serena” talks about not stopping over a restful instrumental while the track “Tyra” talking about how fine she is over a woozy beat. The song “Maya” talks about elevation over a soulful yet flute-heavy instrumental from 9th Wonder while the track “Ibtihaj” with GZA is pretty much a modern version of “Liquid Swords” down to the exact same Willie Mitchell sample.

The song “Myrlie” gets conscious over a glitchy vocal sample & after the “Reyna’s Interlude”, the next joint “Michelle” talks about a lady’s party over a funky beat. The track “Inman” with J.I.D sees the 2 paying tribute to black men over a minimalist yet luscious beat while the song “Hatshepsut” with Queen Latifah sees the 2 talking about being the right women for their fellas over a piano-inflicted boom bap beat. The penultimate track “Sojourner” with J. Cole sounds just as witty as it did on Jamla’s the Squad II last winter & then the album finishes with “Afeni”, where Rapsody is talking to abusive men over a grand instrumental.

All that being said, Rapsody gives us another example as to why she’s the best female lyricist in hip hop right now. The production is sweet to the ear & her intelligent bars never fail to amuse me.

Score: 4/5

Obie Trice – “The 5th” review

Obie Trice is a 41 year old MC from Detroit, Michigan that came up battling at the Hip Hop Shop during the late 90’s. It was there where he was introduced to Eminem, who would make Obie the 2nd act to ever sign to his Interscope Records imprint Shady Records in 2000 right after D12. He eventually made his debut in 2003 with Cheers, which is considered an underrated Detroit classic. This was followed up in 2006 with the solid 2nd Round’s on Me, but then Obie decided to leave Shady/Interscope in 2008 due to promotion issues. His first post-Shady release was a long lost album with MoSS the year after he left called Special Reserve, but Obie would go on to form his own label Black Market Entertainment in 2010 & his 2012 independent debut Bottoms Up was almost like he never left. Then came The Hangover in 2015 which was the last release of his to have an alcohol-themed title, but was weighed down with lackluster production. Fast forward to today, Obie is back in effect with his 5th full-length album.

The intro sees Obie pouring his heart out over a decent boom bap beat while the next song “This & That” talks about the things he has to do to get where he is now over beautiful piano instrumental. The track “Heartless” passionately vents over a soulful beat while the song “No” is a generic club banger. The track “Truth to Power” talks about the current state of hip hop over a beat with some ominous keyboards while the song “Ass” is a strip club anthem with a synth-heavy trap beat.

The track “Rollin’” flexes over a hellish beat while the song “Take It There” brags over a luscious beat. The track “Letter” talks about Obie’s younger self over an uplifting beat while the song “Space” with Xzibit sees the 2 talking about life in the hood over a spacious boom bap instrumental.

The track “92” reflects on that titular year over an instrumental inspired by Dr. Dre’s production work in the early 2000s while the song “185+Deuce” with Spice 1 & Swift McVay sees the 3 spitting gritty street bars over a keyboard heavy trap beat. The penultimate track “Hate” talk about those knockin’ on him over a lavish instrumental & then the album ends with “Smr”, where Obie talks about rappers who’re on the internet a lot & where he comes from over some Neptunes inspired keys.

This is a pretty decent comeback from one of Detroit’s most underrated MCs. The production has slightly stepped up in comparison to the last album & Obie’s pen game remains sharp.

Score: 3/5

Bill Shakes – “Eh?” review

This is the full-length studio debut from Blackburn, Lancashire, England, United Kingdom emcee Bill Shakes. Formerly a member of the Children of the Damned collective & currently apart of it’s successor the Cult of the Damned, he would eventually sign to the London imprint Blah Records & have Reklews produce his 2011 solo debut EP For Goodness Shakes. However when I learned that Lee Scott would be handling all of Eh?’s beats by himself, I knew this return for Bill would be special.

The entrancing boom bap instrumental on “Chips ‘n’ Gravy” was a great way to grab listeners’ attention for an intro talking about taking everything he wants for free whereas “Smartprice” featuring King Grubb finds the 2 ruggedly speaking of being the kings of the most high regardless of the altitude. “Tugay Kerimoğlu” shouts out the retired Turkish soccer player of the same name alongside Black Sabbath frontman & WWE Hall of Famer Ozzy Osbourne leading into “Once Upon a Time in Blackburn” telling a story taking place in his hometown.

“Yeah Yeah” ends the 1st half of the LP showing a more aggressive side to Bill from the raw beat to the aggressively confrontational lyricism while “Uvavu Kart 64” featuring King Grubb reunites the 2 so they can assure everything will be ok, but it wouldn’t be alright. “The Legend of B-Town” recalls a hot summer day in 2002 where he was hanging out with friends blending elements of funk & boom bap while “11:30” dustily talks about an assailant running from law enforcement after failing to apprehend him.

Jam Baxter appears on “Lost S07E01” making their own continuation of The Walt Disney Company-owned ABC hit sci-fi adventure drama series that ended back when I was in 7th grade while “Funkpellybrick” featuring Sly Moon hooks up a downtrodden piano sample keeping their mind on others’ money. “U What M8” wraps up Eh?experimenting with hip house & probably has the most repetitive songwriting out of another other track I mentioned previously.

Catching onto Bill Shakes through guest appearances on projects like Leaf Dog’s sophomore effort Dyslexic Disciple or Eric the Red’s debut Caught Red Handed, he makes his comeback nearly a decade later with the most personal material he’s ever conceived. The production’s significantly darker than For Goodness Shakes’ was during my final year of middle school & lyrically, Bill uses this opportunity to thematically gives flowers to the Lancashire town that made him the man we hear in front of us today.

Score: 4/5

Little Brother – “May the Lord Watch” review

Little Brother is a reasonably beloved Durham, North Carolina group consisting of MCs Phonte & Rapper Big Pooh. They originally started out as a trio with producer 9th Wonder, their first 2 albums together The Listening & The Minstrel Show being hailed as some of the best albums of the previous decade. 9th then decided to focus on a solo career in 2007 & Little Brother dropped their 1st album as a duo Getback later that year. Then in 2010, they released their previous full-length album Leftback & officially disbanded shortly after. Almost a decade later, Phonte & Pooh have reformed LB to deliver a comeback album.

The album begins with “The Feel”, where Phonte & Pooh look back at their careers up until this point over a synth-funk instrumental from Khrysis with some luxurious piano chords. After the “A Word from the President” skit, the next song “Everything” finds the duo thinking about just that over a boom bap beat with some twinkling keys. The track “Right on Time” reflects on their rough past over a J Dilla influenced instrumental from Nottz while the song “Black Magic (Make It Better)” talks about hustling over a Focus… instrumental with some harmonious vocals.

After the “Life After Blackface” skit, the song “Goodmorning Sunshine” pays tribute to their significant others over a mellow boom bap instrumental. After the “Dyana Change My Life” skit, the song “What I Came For” talks about getting some over a cloudy boom bap beat. Then after the “Inside the Producer’s Studio” skit, the song “Sittin’ Alone” talks about being chilling at home by yourself over a blissful boom bap beat.

The song “Picture This” talks about gratefulness over a dulcet instrumental from Black Milk. After the “N****s Hollering” skit, the penultimate track “All in a Day” talks about their grind in hip hop referencing WWE Hall of Famer Mike Tyson over a grand instrumental. The album then finishes with “Work Through Me”, where Phonte & Pooh going back & forth with each other over a funky boom bap beat.

Never thought this day would come, but I’m glad it did. Sure it’s only 37 & a half minutes long, but it’s like they never left. On top of Phonte & Rapper Big Pooh sounding very refreshed, Khrysis really comes through with the instrumental palate on here. My only complaint about the album is some of the skits but other than that, this is a fantastic comeback from one of the greatest groups hip hop has ever seen.

Score: 4/5

Curren$y – “Hot August Nights” review

Curren$y is a renown 38 year old rapper from New Orleans, Lousiana that first got his start with No Limit Records in 2002. He would then hop over to Young Money Entertainment & Cash Money Records in 2006, but eventually branched out in 2008 with his own label Jet Life Recordings. Since then, the man made a name for himself by dropping a handful of projects every single year. The most recent being a collab album with California rapper Berner last July, but a little over month has passed and he‘s teaming up with Nard & B to entirely produce his 16th EP.

Things start off with “Must Admit”, where Spitta talks about being that dude over a cavernous beat. The next song “Eyes Closed” brags over a chilled out beat while the track “Caught Her Lookin’” gets charismatic over a somewhat tropical beat. The song “Know It” talks about being paid over a mellow beat while the track “Another Score” flaunts over an atmospheric beat. The song “Never Had” talks about people who act like he’s always been broke over a cloudy beat & then the EP finishes with “Right Now”, where Spitta tells the differences between himself & his competition about over a spacious beat.

It’s not as good as Gran Turismo, but this is still solid. Nard & B go to show that they’re one of the most underrated producers in the mainstream right now as Spitta sounds charming as ever.

Score: 3.5/5

Blu – “Ground & Water” review

Blu is a underground titan from Los Angeles, California that rose to prominence with the seminal 20017 album Below the Heavens: In Hell Happy with Your New Imaginary Friend. The man would go on to release a slew of projects with different producers since from a duology EP series with Nottz to his latest album with Oh No & now he’s adding onto that as Redefinition Records founder Damu the Fudgemunk is producing his 5th EP right here.

The opener “Both of Them” starts off with some old fashioned turntablism, but then Blu comes in to reclaim his prowess out comes in during the last minute or so. The next song “Feet on the Ground” is a party cut with a funky boom bap beat while the track “Beast Mode” is an average posse cut with an orchestral boom bap beat.

The song “Share the Love” with Raw Poetic finds the 2 talking about the industry over a somber boom bap beat & after the jazzy “Get on Down” interlude, the title track pays tribute to his hometown over a sample of Leon Haywood’s “I Want’a Do Something Freaky to You”. The song “Rhymes & Gemstones” gets insightful over an Indian sample & then the EP finishes with “Grey Heaven”, where Blu gets spiritual over some a beat with some shaking bells.

This was a pleasant surprise to me. Blu continues to show how much of a sharp lyricist he is & Damu maintains to be one of the best producers that the underground has seen all decade.

Score: 4/5

A$AP Ferg – “Floor Seats” review

A$AP Ferg is a 30 year old rapper from New York City that came up as a member of the A$AP Mob. He made his debut in 2013 with Trap Lord, which was a a fantastic display of himself to the mainstream. This was followed up the next year with the Ferg Forever mixtape & that was succeeded by the excessively commercial A.$.A.P. (Always Strive And Prosper) in 2016. Then came Still Striving in 2017 which returned to his Trap Lord roots, but was overloaded with features. 2 years later, we’re finally getting new music from Ferg with his debut EP over here.

It all starts with the title track, where Ferg charismatically brags over a trap beat with some prominent party horns. The next song “Jet Lag” talks about how fly he is over a grimy trap beat while the track “Wam” talks about killing his competition over an alluring beat. The song “Wigs” with Asian da Brat sees the 2 getting raunchy over a hyphy beat while the track “Butt Naked” with Rico Nasty is a tongue-in-cheek sex anthem with a synth-heavy instrumental.

The song “Pups” with A$AP Rocky sees the 2 talking about their friendship over a fantastic B.T. Express sample while the track “Hummer Limo” flaunts over an intoxicating Timbaland beat. The penultimate track “Ride” is a mediocre R&B crooner & the closer “Dreams, Fairytales, Fantasies” with Brent Faiyaz continues to get raunchy over a spacey Salaam Remi beat.

For the 2 year wait, this was just ok. I get that he‘s fusing elements from both of his albums, but obviously the cuts that’re in vein of A.$.A.P. (Always Strive And Prosper) don’t do anything for me at all.

Score: 3/5

Kill ‘Em All – Self-titled review

cover-22-768x768 Kill ‘Em All is a newly formed duo consisting of New York spitter Mach-Hommy & legendary California producer DJ Muggs. The duo first came together last summer with the songs “Blue Horseshoes” & “Contagion Theory” off of the latest Soul Assassins album Dia del Asesinato, but they made their debut this past March with Tuez-Les Tous & if that wasn’t enough, Mach & Muggs are already hitting us with a sophomore album.

After the “Jolly Roger Introduction”, we go into the first song “Lady Justice”. Where Mach literally sounds like he’s rambling drunk over a soulful beat. The track “Apollon’s Wheels” gets mafioso with Your Old Droog sees the 2 over some strings while the song “Cessna 210” with Tha God Fahim sees the 2 flaunting over a boom bap beat with some sirens. The track “Force Majeure” talks about how far he’s come over a boom bap beat with some piano keys & while the next 3 songs all feature verses from Tha God Fahim.

The first of these 3 being “The Omni” which has a great atmosphere in the production, but Mach’s delivery is atonal & Fahim’s feature is boring. The track right after “Daniel Fast” sees then sees the 2 spitting game over a dreary beat while the song “Mount Tambora” gets bloodthirsty over a forbidding beat. The penultimate track “Anacoma” with Sick Jacken sees the 2 rapping in Spanish over an enticing beat & then the album finishes with “Titanium White”, where Mach & Fahim get back together to spit some gritty street bars over over a dismal boom bap beat that awkwardly changes up during the last 30 seconds.

Compared to Tuez-Les Tous, this was jus ok. Mach & Muggs still show a solid chemistry, but the overabundance of features kinda overtakes it.

Score: 2.5/5