Chester P – “The Nameless Project” review

This is the 4th studio LP from Canonbury, London, England, United Kingdom emcee/producer Chester P. A member of the Mud Family collective as well as 1/2 of the Task Force alongside his older brother Farma G, he would later go on to release the full-length solo debut From the Ashes in 2009 followed by the sophomore effort New Mic Order: Survive or Die Trying & the sequel. 8 months however have gone by since The Post Apocalyptic Storyteller extended play & now The Nameless Project has emerged.

“Fuck Your Future” has a quirky industrial hip hop vibe to it instrumentally talking about his home being a place where the eyes of the soldier are empty & soulless whereas “The Backdraft” uncannily discusses the harsh realities of society working until they grow old. “It’s a Lot” kicks it off the top for 72 seconds talking about having to step up his lyricism & after a skit, “Criminal Peeps” dedicates itself to all the hoodlums who like to cause mayhem in the streets.

As for “Charlie Sheen”, we have Chester over a sinister boom bap beat likening the cocaine to the infamous actor of the same name while “Tycho Brahe (The Man With the Golden Nose)” once again talks about crack retaining an industrial flare to the instrumental. “The Ballad of a Drunken Spaceman” packs a punch despite its brevity detailing our main character getting thrown in a basement for a minute & after the “LSD” skit, I’d consider “Dead Watch” to be a lot more of an interlude than an “intro”.

“The 5 Fingers” slows down his vocals talking about either dying or surviving as far as he’s concerned while “Warning Shot” gets anarchic over a futuristic boom bap beat. “Dead Canaries” comes through for a minute & a half cautioning spitfire towards anyone who gets caught in his way but once “Gas Mask Squad” treads the industrial hip hop/boom bap waters 1 last time advising to be weary coming to the dead watch, “1 Love from Camelot” sends off The Nameless Project penning an open letter to someone he knows behind bars.

One of the most prolific artists in the entire UK hip hop scene returning after 7 years with EP containing no samples tackling mature topics was a refreshing comeback for Chester P & he switches it up again with The Nameless Project in some capacities. I find the post-apocalyptic themes to be cohesively told regardless if some might’ve hoped for a feature or 2 & the secondary influences of industrial hip hop heard within the production certainly suit the concept when it’s needed.

Score: 3.5/5

Nas – “The Lost Tapes II” review

Nas. What can be said now about the renown Queensbridge, New York MC that hasn’t been said already? From his first 2 studio albums illmatic & It Was Written to The Lost Tapes & Life is Good, the man has really cemented himself as one of the greatest spitters in all of hip hop. He is fresh off his overhated Kanye West produced comeback NASIR last summer & now, he’s back with the sequel to his iconic rarities compilation.

The comp starts off with “No Bad Energy”, which is of course a positivity anthem with a Swizz Beatz instrumental with some beautiful background vocals. The next track “Vernon Family” talks about being rich over a funky instrumental from Pharrell & despite the decent braggadocio on “Jarreau of Rap”, the jazzy instrumental is absolutely HIDEOUS! The track “Lost” proclaims himself as a prophet over a lavish boom bap beat from Statik Selektah while the song “Tanasia” talks about a woman over this orchestral RZA beat.

The track “Royalty” is a mediocre dedication to this young queen over a decent Hit-Boy beat while the song “Who Are You?” brags over some keyboards. The track “Adult Film” needs no further explanation & the piano instrumental from Swizz Beatz is pretty while the song “War Against Love” is an ode to Africa with a relaxing instrumental.

The track “The Art of It” talks about smoking weed over a funky boom bap beat from Pete Rock while the song “Highly Flavored” talks about his fate & the sample that RZA uses is very creative. The track “Queens Wolf” talks about his evolution over a DJ Toomp instrumental with some prominent keyboards & strings while the song “It Never Ends” talks about ongoing violence in the hood over an ominous piano instrumental from The Alchemist.

The track “You Mean the World to Me” is a corny story about a woman that leaves her partner just to be with Nasir over a Kanye instrumental that samples “Don’t It Make You Feel Good?” by Leroy Hudson while the penultimate song “Queensbridge Politics” pays tribute to Prodigy over a boom bap beat from Pete Rock with some dark piano keys. The album then finishes with Beautiful Life”, where Nas addresses Kelis’ slander towards him over a luxurious No I.D. instrumental.

Been a long time waiting on this album & at the end, I think it’s pretty dope. The production is better than half of the albums that they were originally made for & Nas’ pen game overall is a step up from NASIR.

Score: 4/5

Nah Eeto – “53” review

Nairobi, Kenya, Africa recording artist Nah Eeto dropping her debut extended play under one of London, England, United Kingdom’s biggest independent hip hop labels: Blah Records. Her debut single “Auntie, What Happened To Me?”would come out on my 22nd birthday & that quickly sparked interest in what the rest of 53 was gonna sound like. Especially since I’ve already familiarized myself with her through the guest appearances she’s done for the likes of Cult Mountain as well as Bisk & Black Josh to only name a few.

“Kichaa II” featuring Dope-I-Mean & Stinkin’ Slumrok begins with an English/Swahili intro produced by Lee Scott talking about the trio’s inability to turn down money but once “E Eye O” featuring Boutross & the Mcabre Brothers joins forces over a trap beat from Jack Danz to see who can have the most charming verses when I’d say the latter & Nah are tied, “Mafu” wraps up the 1st half of 53boasting that the devil wonders how she hasn’t fallen from grade yet.

Milkavelli appears for “Mbali No Machina” getting bilingual once more spitting fierce English & Swahilian verses over this experimentally atmospheric instrumental preceding Nah Eeto singlehandedly flowing on top of these ominous synthesizers from Sumgii during “Bila You”, discussing her capability of baggin’ drugs & simultaneously robbin’ a dealer along with a client of theirs. The closing track “Tick Tock” spends the remaining 3 & half minutes of the EP hitting us with a Swahilian drill outro.

Yearning to put the Swahilian hip hop scene on the map, Nah Eeto has come a long way from being a Blah Records videographer to her recent features across several projects & now releasing music under the imprint giving us a better understanding of her artistic & personal identity. 53’s guest list is a mix of Blah Records alumni & fellow Kenyan rappers, the production’s consistent & I feel like anyone looking to get into shrap will have a better understand of that style.

Score: 3.5/5

Ronnie Bosh – “All People Expect” review

London, England, United Kingdom emcee Ronnie Bosh ready to embark on a new chapter of his career with a solo debut. An original member of the quintet Contact Play, he would go on to make multiple guest appearances for a multitude of projects over the course of the 2010s from Rag’n’Bone Man’s 3rd EP Put That Soul on Me to Dirty Dike’s 5th album Acrylic Snail as a more recent example. The latter of whom was announced to be fully producing All People Expect, which is welcoming considering the history they’ve had with one another for a decade.

“100%” opens up shop with this boom bap intro talking about him having no reasons to pretend when he’s got his swagger fully loaded whereas “Nothing” ruggedly speaks of dunces bluffing like it ain’t shit & the pigs using high breams to see more clearly. “Explain” featuring Jam Baxter takes a more soulful approach to the beat talking about monstrous flesh covered in rat’s skin just before the title track thematically shifts towards some conscious subject matter.

The 2nd & final single “You Know” goes for an old school vibe instrumentally talking about doing this shit so he can make jaws click instead of seeking praise from others while “Funghi” featuring Jam Baxter & Lee Scott sees the trio finding humor in the future, hence why they’ve been on this wave of spending a bunch of cash. “Get Out” combines elements of jazz rap & boom bap sending a message to the people who ain’t fucking with him prior to “1” showing a soulfully sensual side of himself.

“Do You Ever Think?” begins the album’s final act hooking up an organ flip asking this person with a shitty attitude if they’ve ever thought of the way they conduct themselves being the very reason Ronnie’s respect for them has slowly begun to deteriorate while the bluesy “Honorable Death” vividly tells the story of a man getting shot 21 times succumbing to his injuries. Contact Play reforms during the outro “Pulp”, hopefully planting the seeds for a reunion under High Focus Records when the time’s right.

Becoming a permanent behind the scenes fixture of the UK hip hop movement, fans have waited a long time for Ronnie Bosh to begin carving his own individual path artistically & High Focus ends that wait by letting his larger than life personality shine brighter than it has in the past. Dirty Dike offers amongst the greatest boom bap/jazz rap production he’s ever cooked up & one can certainly respect Ronnie’s attempts at testing out new things like singing or switching up his flows for 47 minutes instead of sticking to his bread & butter.

Score: 4/5

Dorian Electra – “Flamboyant” review

Dorian Electra is a 27 year old singer/songwriter from Houston, Texas who began making music in the late 2000s/early 2010s after putting out a music video showing admiration for both Friedrich Hayek & Steven Horwitz. However, their biggest breakthrough came in 2017 when Dorian appeared alongside Mykki Blanco for “Femmebot” off Charli XCX’s 4th mixtape Pop 2 succeeding the Don Bogman’s Family Christmas & Magical Consciousness Conference EPs. Looking to make bigger waves, they’ve decided against signing to a label for their full-length studio debut.

“Mr. to You” properly introduces themself to the world with this fun, poppy intro singing about a person who wants to be referred to as “Mister” whereas “Career Boy” fuses hyperpop, bubblegum bass, future bass, synthpop & electropop poking fun at this masculine ideal of the manly-businessman-hero & tearing him apart. The 4th & final single “Daddy Like” combines electropop, dance-pop, hyperpop, contemporary R&B, synthpop, trap, bubblegum bass & pop rap giving the phrase “daddy” a new meaning while “Emasculate” produced by Dylan Brady describes their masculinity in a negative manner.

Synthpop, dance-pop, electropop, contemporary R&B, synth funk & alternative R&B all collide on the single “Man to Man” redefining the values that masculinity traditionally holds into a new & healthier context while “Musical Genius” tackles the myth of a so-called “genius” predominantly being a male working in isolation. The title track explores electropop, hyperpop, dance-pop, bubblegum bass, future bass, synthpop, ratchet, hyphy & contemporary R&B singing about their ostentatious personality while “Guyliner” shouts out all the men who’re passionate for makeup.

“Live by the Sword” gets the 2nd half going fusing hyperpop, industrial & rock singing about getting what’s yours if one uses the proverb derived from the Gospel of Matthew & applies it to their daily lives while “Adam & Steve” swaps out both of the previously mentioned genres of favor of electropop, bubblegum bass, EDM trap & deconstructed club criticizing homophobia. “fReAkY 4 Life” officially ends Flamboyant singing about being kinky for life while “Tool for You” starts the deluxe run by admitting they’ve become a fool for the person they’re romantically involved with.

The song “Under the Armor” exposes someone who’s trying to hide their true feelings for Dorian only for them to see through all the bullshit while “Guyliner 2” continues to express the love they have for men who like to wear a little eyeliner for themselves embracing elements of EDM trap. The final bonus track “Your Kinda Guy” sends it all off blending glitch & house music assuring tonight’s the night everything will turn out fine for them, getting away from the city lights & yearning to be romantically involved with this person.

Flamboyant isn’t too far behind 1,000 gecs in terms of being some of the greatest hyperpop I’ve ever heard & further proves the stranglehold it’s had on the 2019 musical landscape. The production advances the style of electropop 100 gecs popularized sprinkling hints of dance-pop, synthpop, contemporary r&b, bubblegum bass, synth funk, alternative R&B future bass, ratchet, hyphy, EDM trap & deconstructed club to conceptually parody the ideas of gender & masculinity.

Score: 4/5

Big K.R.I.T. – “K.R.I.T. Iz Here” review

Big K.R.I.T. is a 32 year old MC & producer from Meridian, Mississippi who started out by releasing a few mixtapes from the mid to late 2000s. He eventually signed to GoodTalk Records in 2010 & his 6th mixtape K.R.I.T. Wuz Here that same year landed him a joint venture with Def Jam Recordings & a spot in the XXL Freshman Class in 2011. His first 2 studio albums Live from the Underground & Cadillactica in 2012 & 2014 respectively continued to show his potential, but then he went on to form his own label Multi Alumni some time after. His first outing under the new independent label was his previous album 4eva’s a Mighty Long Time in October 2017, which is hands down the best double disc hip hop album of the decade. However after dropping his T.D.T. compilation of EPs at the jumpstart of this year, he’s back with the sequel to the tape that got Krizzle where he is today.

The album kicks off with the title track, where K.R.I.T. reflects about his time with Def Jam over DJ Camper sampling of “Trust in God” by The Winans. After the “High End County” interlude, we then dive into the song “I Been Waitin’”. Where Krizzle is happy to talk smack over an eerily bland trap beat. The track “I Make Easy” brags about his skills over a boom bap beat with some beautiful background vocals while the song “Addiction” with Lil Wayne is of course a buttery lust tune.

The track “Energy” still sounds as smooth as it did on T.D.T. while the song “Obvious” serves a a pretty decent sequel to the previous cut. The track “I Made” talks about his success over a vibrant trap beat while the song “Everytime” is an empowering motivational anthem. The track “Believe” get conscious over a trap beat with a God-like atmosphere to it & while I do like how the song “Prove It” with J. Cole sees the 2 talking about loyalty, the spacious trap instrumental is just ok & K.R.I.T. awkwardly sounds like he’s doing his best Future impression on the hook.

The track “Family Matters” pretty much speaks for itself over a bland beat & after the “Blue Flame” interlude, the song “Blue Flame Ballet” is a sensual strip club banger. The track “Learned from Texas” is a chopped & screwed tribute that still sounds as great as it did on T.D.T. while the song “Outer Space” is a nocturnal weed anthem.

The track “High Beams” gets spiritual & the beat is pretty intoxicating, but the delivery sucks. The song “Life in the Sun” gets celebratory over a beautiful piano instrumental & then the album finishes with “Mississippi”, where K.R.I.T. pays tribute to his home state over a bass-heavy trap beat.

Yeah, this was just as decent as I expected. It’s more commercial than K.R.I.T.’s past material, but there are slightly more hits than there are misses.

Score: 3/5

Inspectah Deck – “Chamber #9” review

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Inspectah Deck is a renown MC & producer from Staten Island, New York that came up as a member of the almighty Wu-Tang Clan. He’s delivered some of the group’s best verses ever from “Cold World” to “Triumph”, but it wasn’t until 1999 that he would make his solo debut with the underrated Uncontrolled Substance. His 2003 sophomore effort The Movement as well as his 2006 debut mixtape The Resident Patient were both solid in their own rights also but I can’t say the same for Manifesto back on 2010, Deck’s last full-length solo outing. The Rebel has since been focusing on CZARFACE with 7L & Esoteric throughout this decade but almost 5 months after the release of the CZAR’s collab album with Ghostface Killah entitled CZARFACE vs. Ghostface, we’re finally getting Rollie’s 4th full-length solo album.

It all kicks off with “Shaolin Rebel”, where Deck brags over an alluring beat. The next song “No Good” reflects on his criminal past over a luxurious beat while the track “Russell Jones” gets gutter over a perfectly grimy beat. The track “Can’t Stay Away” talks about his love for the culture over a soulful beat while the song “Na Na Na” is a mesmerizing party anthem with a hypnotic beat.

The title track boasts about his prowess with an epic beat while the song “Certified” is of course about his legacy over some strings & saxophones. The track “24K” with Cappadonna & Hellfire is filled with battle bars over a sinister beat while the song “What It Be Like” talks about the rough life in the streets over a somber beat.

The track “Game Don’t Change” is of course about drug dealing over a boom bap beat akin to the Wu’s signature sound & while I can appreciate the grinding dedication with the song “Dollar Signs”, the female vocals do get annoying after a while. The penultimate track “Who Run It?” with Hellfire & Streetlife see the 3 talking about their skills over a jazzy beat & then the album ends with “Fire”, where Deck & Trife Diesel spit just that over a boom bap beat with some plinky keys.

For a 9 year wait, it’s a pretty passable comeback. Inspectah Deck definitely proves that he’s still the best Clansmen in terms of lyricism & I can appreciate that he kept it at a respectable length in comparison to Manifesto, but the production (mostly handled by Danny Caiazzo) is just decent as is the feature choices.

Score: 3/5

Dreamville Records – “Revenge of the Dreamers III” review

Dreamville Records is a record label founded in 2007 by J. Cole & his manager Ibrahim Hamad. They released their first showcase compilation in 2014 & followed it up at the tail end of 2015. But now with an ever-growing roster, they’re coming through with a 3rd showcase comp that was recorded in only 10 days.

The album opens up with “Under the Sun”, where J. Cole gets with Lute & DaBaby flex over a soulful trap beat. The next song “Down Bad” by Cole, Bas, J.I.D, the EARTHGANG & Young Nudy talk about their origins over a Bomb Squad-inspired instrumental from Pluss while the track “LamboTruck” by Cozz & Reason talk about being underappreciated over a decently relaxing instrumental. The song “Swivel” is a chilled out preview of the EARTHGANG’s upcoming 3rd album Mirrorland while the track “Oh Wow…Swerve” sees Cole talking about his current spot over an atmospheric beat, but then Maxo Kream talks about trapping over a gritty trap beat. The song “Don’t Hit Me Now” by Bas, Buddy, Cozz & Yung Baby Tate spits that gun talk over a mellow beat while the track “Wells Fargo” by Buddy, the EARTHGANG & J.I.D talks about robbing a bank over a vibrant beat.

The song “Sleep Deprived” by Lute, Mez & Omen talks about coming up from nothing over a somewhat funky boom bap beat while the track “Self Love” by Ari Lennox, Baby Rose & Bas is an ode to just that over a mellow beat. The song “Ladies, Ladies, Ladies” by J.I.D & T.I. is basically the modern version of JAY-Z’s “Girls, Girls, Girls” while the track “Costa Rica” by Bas, Buddy, J.I.D, Jace, Mez, Reese LAFLARE, Ski Mask the Slump God & Smokepurpp sees everyone getting boastful over a lavish trap beat. The song “1993” by Buddy, Cole, Cozz, the EARTHGANG, J.I.D & Smino talks about alcohol over a fittingly intoxicating boom bap beat while the track “Remembrandt…Run It Back” sees J.I.D & Cole paying homage to the iconic YoungBloodZ joint “Damn!”, but I also really love how the beat switches from a druggy vibe to something more energetic as soon as Vince Staples starts rapping.

The song “Sunset” by Cole & Young Nudy fire back at those who want smoke over an eerie trap beat from Pyrex Whippa while the track “Got Me” by Ari Lennox, Dreezy, Omen & Ty$ is a decently moody love anthem. The song “Middle Child” is pretty much J. Cole taking a jab at doing a Drake joint while the penultimate track “PTSD” by Mereba, Deante Hitchcock & Omen sees the 3 talking about simply just kicking it over a fitting instrumental. The compilation then finishes with “Sacrifices”, where Cole & the EARTHGANG team up with Smino & SABA to talk about their sacrifices over a funky beat.

I don’t know what else to say beyond that, this was disappointingly mediocre. The production was just decent & while I can appreciate they brought outside features in on this one, but it doesn’t help the fact that there are WAY too many cooks the kitchen.

Score: 2.5/5

Westside Gunn – “FLYGOD is an Awesome God” review

Westside Gunn is an MC from Buffalo, New York who’s been making noise with his label Griselda Records since 2016 with the release of his debut album FLYGOD. They eventually signed a distribution deal with Shady Records in 2017 but now that their major label debut is finally on the way as well as a little over a year after dropping his incredible sophomore album Supreme Blientele, Westside is preparing us for it with his 3rd full-length album & the sequel to the one that got him where he is today.

The album starts off with “Jul 27th”, which is mostly a spoken word piece from Raekwon over some synthesizers. The next song “Sensational Sherri” with Benny the Butcher sees the 2 about living what he raps homaging former WWE Women’s Champion & WWE Hall of Famer Sherri Martel over a sinister beat from none other than The Alchemist while the track “Bautista” named after the 6-time WWE world champion & 4-time WWE Tag Team Champion Dave Bautista gets confrontational over a piano-inflicted boom bap beat. The song “Lunchin’” gets mafioso over a luscious beat & while the song “Ferragamo Funeral” gets murderous over a soulful beat, it’s way too short. The song “1,000 Shot Mac” with Conway the Machine, Hologram & Meyhem Lauren sees the 2 talking about hustling over a classy sample & while I do like the chilled out beat on “Birkin”, Westside’s delivery does nothing for me.

The song “Pete Sake” has little to no Westside Gunn appearance at all, but Conway & Benny make it work as they deliver a raw prelude to their upcoming collab album referencing WWE Hall of Famer & inaugural ECW World Heavyweight Champion Jimmy “Superfly” Snuka. The track “Amherst Station 3” is a somber conclusion to the titular trilogy while the Evidence-produced “Dance Floor Love” is a soulful love tune that works better than I had expected. The penultimate track “Gunnlib” while brief makes me hope that Westside & Madlib do a whole album together in the future because their chemistry on here is flawless & then the album finishes off with “Lakers vs. Rockets”, where the FLYGOD brags over a gritty rap rock beat. However, the Sauce Walka feature is kinda vapid.

While I personally prefer the original FLYGOD, this sequel is definitely worth checking out. A few joints could’ve been stretched out a bit longer & a couple features I could’ve done without, but Westside’s vivid street bars remain & grimy production most definitely remain intact throughout it’s 32 minute runtime.

Score: 3.5/5

MadGibbs – “Bandana” review

MadGibbs is a super-duo consisting of the renown Oxnard, California producer Madlib & Gary, Indiana rapper Freddie Gibbs. The 2 started out releasing a handful of EPs throughout this decade, but it wouldn’t be until 2014 that saw the release of their iconic full-length debut Piñata. 5 years have passed & the duo have released their long-awaited sophomore album.

After the “Obrigado” intro, we go into the first song “Freestyle Shit”. Where Freddie pretty much raps about wanting it all over a jazzy beat. The track “Half Manne Half Cocaine” canes about the things he deserves over a surprisingly banging trap beat that later switches into something more nocturnal while the song “Crime Pays” of course talks about drug dealing over a soothing instrumental. The track “Massage Seats” flaunts about his new lifestyle over a prominent with a female vocal sample while the song “Palmolive” with Pusha T talks about making money & the sample that Madlib incorporates into the cut is alluring.

The track “Fake Names” tells the story of someone who was like a brother to him over a somewhat funky boom bap beat that later switches up into some relaxing woodwinds while the song “Flat Tummy Tea” gets mafioso over an intoxicating boom bap beat that later switches up into something more atmospheric. The track “Situations” talks about being a representer over a meditative beat while the song “Giannis” with Anderson .Paak sees the 2 spitting some game to the youth over a Middle Eastern sample. The track “Practice” is dedicated to the mother of his child over a luscious soul sample while the song “Cataracts” gets charismatic over an uplifting instrumental that later switches into more orchestral.

The track “Gat Damn” is a heart-wrenching ode to one of his fallen homies over a boom bap beat that suits the mood while the penultimate song “Education” with Yasiin Bey & Black Thought sees the 3 giving the listeners just that over a luxurious beat. The album finishes off with fireworks on “Soul Right”, where Gangsta Gibbs talks about getting his life together over a synth-heavy instrumental.

There seriously isn’t a single second of this album that I personally dislike, I really think MadGibbs just came through with the best album of 2019 & one that’s just as equally flawless as Piñata was 5 years ago. Madlib’s production is more dynamic than the last album, yet it maintains a unique sound that makes a perfect musical background for Freddie’s coke raps in the vein of an incredible blaxploitation film for the second time in a row.

Score: 5/5