Curren$y & Freddie Gibbs – “FETTI” review

Curren$y & Freddie Gibbs are 2 MCs in their late 30s with similar upbringings in their careers. Spitta was signed to No Limit Records & Young Money Entertainment/Cash Money Records throughout the 2000s while Freddie was signed to Interscope & CTE World/Def Jam in the late 2000s/early 2010s. Neither of them put out a full-length album on any of those labels, as it wouldn’t be until they found their success as independent artists. The 2 have been teasing a collab EP all year & for Halloween, they’ve decided to put it out with the legendary Alchemist producing it in it’s entirety.

The opener “Location Remote” sees the 2 getting boastful over a sinister beat & the next track “The Blow” of course talks about drug dealing over some bass playing, but the hook is pretty awkward. The song “New Thangs” is a return to the boastful bars over some luscious keyboards & even though the track “Saturday Night Special” has spacey instrumental, Spitta & Gangsta Gibbs are talking about 2 separate things. Curren$y is going at the people copying his style while Freddie talking about putting his mob over everything & later a sexual encounter.

The song “Now & Later Gators” is a Freddie solo cut that humorously indulges into old school R&B & the track “No Window Tints” is a Curren$y solo cut vividly going into the mind of a drug dealer over a sinister instrumental. The song “Willie Lloyd” is another Freddie solo cut, this time delivering more serious & gritty street bars over a suiting instrumental while the penultimate track “Tapatio” sees him reuniting with Spitta to talk about warrants being put out on them over a relaxing & almost tropical instrumental. The EP then finishes with “Bundy & Sincere”, where the 2 make a heartfelt tribute to Mac Miller over a smooth instrumental.

After being teased all year, this was well worth it. The Alchemist’s production is a little bit jazzier & he compliments the yin & yang chemistry between Curren$y & Freddie Gibbs near perfectly. If you wanna hear 2 independent vets form like Voltron, then give this a listen. I should also mention that both parties have fallen out a short while after this EP came out, which kills any & all hope people have for a sequel. Shame, but is what it is I suppose.

Score: 4/5

Mick Jenkins – “Pieces of a Man”

Mick Jenkins is a 27 year old rapper from Chicago, Illinois who blew up in 2014 with the release of his 3rd mixtape The Waters. He then released his debut album The Healing Component & after the release of a couple EPs since then, he’s ready to deliver his long-awaited sophomore album.

The intro “Heron Flow” starts off as a spoken word piece, but then a funky ass instrumental kicks in halfway through. The first actual song “Stress Fracture” tackles his inner demons over a mellow Black Milk instrumental while the track “Gwendolynn’s Apprehension” is about this person who isn’t on the same page as Mick another Black Milk instrumental albeit with a heavy J Dilla influence to it. The song “Soft Porn” is a decently slow sex jam while the track “Grace & Mary” is about how he wakes up praising the higher power over a bass-heavy beat with some keyboards & synths. However, it’s way too short.

The song “Barcelona” is a shot at lyrical cliches over a gritty beat & after the Percy interlude, the next song “Reginald” is essentially about not letting your partner count up your drug money over a relaxing instrumental. The track “Padded Locks” with Ghostface Killah sees the 2 wildin’ out over a KAYTRANADA instrumental with a prominent BADBADNOTGOOD sample while the song “Ghost” talks about his rise to success is over an instrumental with some jazzy keyboards.

The track “Heron Flow 2” is pretty much a reprise of the opener & the song “Plain Clothes” is an awkward attempt at going materialistic over a blissful trap beat. The track “Pull Up” vividly talks about a friend of his over gloomy boom bap beat while the song “Consensual Seduction” is another romantic slow jam. The track “U Turn” is about wanting to smack people who think they know him over another slow instrumental albeit with a prominent organ while the funkily KAYTRANADA produced “Understood” follows it up perfectly. The “Smoking Song” that finishes the album of course is about marijuana over some live bass playing.

For all the hype, this was totally worth it. I’d shave off a couple tracks, but it’s a lot more focused & the concept is more consistent than that of The Healing Component as is the jazz-influenced production that one can catch on Mick’s work in the past.

Score: 4/5

Joell Ortiz – “Mona Lisa” review

Joell Ortiz is a 38 year old rapper from Brooklyn, New York who rose to prominence after being featured in the Unsigned Hype column of The Source in 2004. He then signed to Aftermath Entertainment in 2006 & they allowed him to release his debut album The Brick: Bodega Chronicles with E1 Music in the next year. Then in 2008, he left Aftermath & formed Slaughterhouse with Royce da 5’9”, KXNG CROOKED & Joe Budden. They saw a lot of success together with their self-titled debut the next year, landing a contract with Eminem’s Interscope Records imprint Shady Records in 2011 (the same year Joell put out his sophomore album Free Agent. However, the supergroup’s only album on the label welcome to: OUR HOUSE in the following year would unfortunately end up being their last. He’s been focusing on his solo career ever since then & now for his 6th full-length album, he has enlisted Detroit’s very own Apollo Brown to produce it in it’s entirety.

After the “Brushstrokes” intro, we go into the first song “Reflection”. Here, Yaowa putting his 2 cents in on the demise of Slaughterhouse over a mellow beat with some strings. The track “‘My Block” is a vivid tribute to the Cooper Park Houses over a soulful beat while the song “Cocaine Fingertips” is filled with hilarious battle bars over a settle bass-line. The track “Grace of God” is about making it out of the projects with an orchestral boom bap beat while the song “That Place” recalls a friend of his being shot over a somber beat.

The track “Word…” talks about his main squeeze over some bass guitar while the song ““Decisions” contemplates whether to keep rapping or selling cocaine over a gloomy instrumental. The track “Timberlan’d Up” sees Joell linking up with Royce to talk about fighting people over a gritty boom bap beat but if you were a huge Slaughterhouse fan like I was, then you’ll definitely like the remix with KXNG CROOKED a lot more. The penultimate track “Come Back Home” reflects on the good times in his block over a soulful boom bap beat & then the titular song is a 3 minute epic that finishes the album.

As expected, this is Joell’s best work yet. His lyricism is sharper over time & the organic Apollo Brown production suits his stories near perfectly. If you wanna hear an underrated vet at his most mature moments, then give this a listen.

Score: 4.5/5

Georgia Anne Muldrow – “Overload” review

This is the 9th studio LP from Los Angeles, California singer/songwriter, rapper & producer Georgia Anne Muldrow. Self-producing her 2006 debut album Olesi: Fragments of an Earth under Stones Throw Records, the sophomore effort Umsindo was as positively received although Early alongside King’s Ballad & Owed to Mama Rickie’s reception were generally lukewarm. Seeds produced by Madlib however would become the most revered entry in her whole discography, coming off Oligarchy Sucks! & A Thoughtiverse Unmarred to make her Brainfeeder Records debut with Overload.

After the “I.O.T.A. (Instrument Of The Ancestors)” intro, the first song “Play It Up” advises the star that guides & leads her through not to worry about the haters whereas the title track blends contemporary R&B with hip hop & trap thanks to Mike & Keys and DJ Khalil confessing that she’s been overwhelmed by work lately. “Blam” goes for a neo-soul vibe singing about picking up a gun & pulling the trigger out of self defense leading into the “Williehook” skit.

“Aerosol” embraces a psychedelic soul sound describing finding beauty within your average urban neighborhood while “Vital Transformation” sings about all of us being meant to evolve. “You Can Always Count on Me” kicks off the 2nd half uniquely covering a song off The Gap Band’s eponymous 3rd album just before “These Are the Things I Really Like About You” featuring Declaime finds the 2 joining forces so they can tell each other what they enjoy the most regarding one another.

The track “Canadian Hillbilly” pushes towards Overload’s conclusion singing about her husband always being by her side no matter what life throws at her while the jazz-infused “Conmigo” pleads for those listening to cherish everyone that we keep close to our hearts. And prior to the “Ciao” outro, “Bobbie’s Dittie” spends the last 4 & a half minutes experimenting with jazz fusion singing about how fake the bruise we take from love is once we’ve awoken.

Seeds remains my favorite album of Georgia Anne Muldrow’s with Olesi: Fragments of an Earth, but Overload comfortably places itself behind the latter amongst her most celebrated material & vindicates every reason why Flying Lotus signed her to Brainfeeder. The production’s more on the neo-soul, alternative R&B, synth-funk & psychedelic soul side of things rather than continuing to emphasize the predecessor’s heavy boom bap/conscious hip hop influences & she’s thematically healing from the pain society has caused.

Score: 4/5

Hock Tu Down – “Hock Tu 3” review

Hock Tu Down are a duo from Liverpool, Merseyside, England, United Kingdom consisting of producer Reklews alongside Runcorn, Cheshire, emcee/producer & Blah Records founder Lee Scott. Forming in the late 2000s, both members of the Children of the Damned & it’s successor the Cult of the Damned would drop their full-length Prozium Peddlin’ at the end of 2009 & followed it up 9 months later with their debut EP Something Strange. It’s been over 8 years since the latter & these guys are reuniting for a sophomore effort.

“Breakfast” talks about having so much fun in the sun to the point where he might cry over a raw boom bap instrumental whereas “Fanks” takes a more personal approach to Lee’s songwriting speaking of both his parents. “Glenn’s Eye” has a slower vibe to the beat talking about being the ones to explain how shit’s gonna go down leading into “Kit Bag” featuring Milkavelli reunites the Mcabre Brothers referencing former UFC Featherweight Champion & UFC Lightweight Champion Conor McGregor.

As for “Deus Ex Machina”, we have Hock Tu Down giving a fuck less if they impress or disrespect anyone surrounding them working in more kicks & snares with some jazzier undertones just before “1 Tu” talks about reality being what you make of it whether someone’s there cooperating or not. “Game On” featuring Jehst finds the Group talking about life being unfair on top of this slow boom bap instrumental & “Black Hoodie Season” after the “Bengal Tiger” skit moves forward with an autumn ode.

“Yarbles Mahoney” continues the 2nd half of Hock Tu 3 ruggedly talking about being a rare 1-of-1 edition sitting on a lonely shelf while “Honest Daze” featuring Nickelus F & Quelle Chris sees the trio confessing every mistake they made caused them to run & gun more. “Sun D” dustily talks about having nothing to do like it’s a Sunday while “Zip” takes a couple minutes so he can discuss today being a great day to rebel in Hell.

The track “Breathe 101” winds down the album’s final minutes jumping over a gully beat reminding us to take deep breathes regularly & the final song “I Made Some Shit” preceding the compositional 60 second outro sends it all off treading intergalactic boom bap waters instrumentally talking about making more music with the money that Lee’s made off his previous material & tripping on the 12th stair when he was on his way to the pearly gates of heaven.

Prozium Peddlin’ was an outstanding debut for Hock Tu Down & I felt like Something Strange in comparison was ok, but Hock Tu 3 wedges itself in middle behind their inaugural LP almost a decade ago & above the extended play they gave us prior to their hiatus. Waiting for the right time to make a return, Lee Scott takes a batch of boom bap production he’s had from Reklews for some time in middle of him hanging around family & using them as inspiration to write the final product.

Score: 4/5

Roc Marciano – “Kvos” review

Roc Marciano & DJ Muggs are 2 criminally underrated legends in the hip hop world. Both of whom been having a big 2018, with Roc putting out Rosebudd’s Revenge 2: The Bitter Dose in February & Behold a Dark Horse just last month while Muggs just put out a new Soul Assassins album Dia del Asesinato & the new Cypress Hill album Elephants on Acid within the past 2 months. But now, they’re uniting to put out Roc’s 7th full-length album.

After a 2 minute instrumental intro that sounds like it could be playing at the start of a blaxploitation film, the first song “Dolph Lundgren” sees Roc talking about him & an unnamed current rapper being from different eras over a minimalist instrumental with some acoustic guitar strumming. The next track “White Dirt” boasts about what he has over a grimy rap rock beat while “The E Train” is about being one of the illest over a laidback instrumental.

“Aunt Bonnie” vividly talks about murder over an apocalyptic instrumental while the song “Rolls Royce Rugs” of course returns to the bragging tip over a classy instrumental. The track “Caught a Lick” has a pretty murky vibe to it & Roc’s delivery on here is probably the catchiest on the entire album, but it’s way too short.

The song “Wild Oats” gets mafioso over a haunting instrumental while the track “Shit I’m On” gets on some “king shit” over a piano. The song “Wormhole” talks about his main chick over a hypnotic beat & the outro spurs battle bars over an instrumental with a killer guitar & occasionally some orchestral elements.

To be honest, this is one of the best albums Roc has ever done. Despite it’s 36 minute runtime, his gritty lyricism & DJ Muggs’ signature production style mesh with each other near perfectly. I can also appreciate Roc for not getting any features on here as well.

Score: 4.5/5

Asian Doll – “So Icy Princess” review

Asian Doll is a 20 year old rapper from Dallas, Texas who first came onto the scene in 2015 with her Rise of the Barbie Doll Gang mixtape. She has released 5 more mixtapes since then & just over the summer, she landed a contract with the legendary Gucci Mane’s Interscope Records imprint 1017 Global with this 7th mixtape of hers being her 1st outing with Wizzop’s camp.

The title track that kicks the tape off gets boastful over a video gamely instrumental & the next song “First Off” gets confrontational over a gritty trap beat. The track “1017″ with Gucci & Yung Mal sees the 3 talking about wanting to “stun ‘em” over a downtempo instrumental while the song “Southside” is filled with gritty street bars over a suiting instrumental from the 808 Mafia co-founder with the same name.

The track “Traumatized” talks about murder & the beat is just ok, but her voiced is SLATHERED in auto-tune to the point where it becomes annoying. The song “Talk” is even worse, because it sounds like “Myself” by ΠΔV for God knows what reason. The track “Kit Kat” talks about how she’s above her competition, but it doesn’t sound fully fleshed out to me. The song “Rock Out” is a raunchy sex tune over an instrumental that you can hear on any new E-40 album while the track “Hardest Doll” talks about her new lifestyle since signing to Wop over a Southside instrumental with some icy synths & heavy-bass.

The song “Rich Guy” talks about needing the titular type of man over a thunderous trap beat with some sirens while the track “Facts” with Dreezy sees the 2 claiming they both speak the truth over a trap beat with some synthesizers that provide a bit of a futuristic vibe. The song “Running Man” with Smooky MarGielaa is about how money made them both new enemies over a sinister beat while the track “NASCAR” is another brag about the rich life over a bouncy instrumental.

The song “No Cap” is mostly nondescript, but the dude who’s featured on it named Go Yayo sounds EXACTLY like Young Thug. If Asian Doll wanted the REAL Thugger on this tape, I feel like she easily could’ve went up to Gucci & said “Hey let’s see if Young Thug can do a feature for this project”. The penultimate track “Check” energetically returns to the flexing tip over a trap beat with a decent keyboard lead then the closer “Headspin” while both Asian Doll & YBN Nahmir compliment each other pretty well, it sounds unfinished.

I was pretty intrigued from the moment I heard that Asian Doll signed to 1017 Global, but this was pretty mediocre. She definitely sounds a lot better than she did on her previous tapes, but some of the production & most of the features kinda weigh it down. I really think Asian Doll has the most potential out of everyone on the current 1017 Global roster, but this barely makes a dent through the wall unfortunately.

Score: 2.5/5

City Morgue – “Hell or High Water” review

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City Morgue is a New York hip hop trio consisting of producer Thraxx alongside MCs ZillaKami & SosMula. They dropped an EP back in August & while I thought Zilla’s feature on the latest Denzel Curry album TA13OO was just ok, the trio’s full-length debut over here eventually got the best of me & I decided to give it a shot.

The album begins with “Caligula”, which is a mosh pit anthem with an abrasive trap beat. The next song “Arson” pretty much speaks for itself over a metal/trap fusion while the track “KenPark” sees SosMula & Black Kray spitting gun bars over a sinister heavy guitar lead with some hi-hats. The song “Gravehop187” is the duo reuniting albeit with Black Kray once again to get murderous over a chaotic instrumental while the track “Lamborghini Getaway” talks about 2 drug dealers doing their thing & escaping from the cops over a sinister trap beat from Ronny J.

The song “Nuka Cola” is filled with battle bars over a monstrous Powers Pleasant instrumental while the track “PTSD” gets back on the murder tip over a trap beat with a Halloween-esque guitar in the background. The song “So What” talks about how they don’t give a fuck over another intriguing fusion of metal & trap while the track “Snow on tha Bluff” is a tune inspired by the independent film with the same name with a druggy Ronny J instrumental.

The song “Downer” is all about how asshole-ish the trio are over a nu metal instrumental with some skittering snares while the track “Aw Shit” is a club banger with a cloudy trap instrumental. The song “SHINNERS13” talks about how they’ll ride for each other over a rap metal instrumental while the penultimate track “33rd Blakk Glass” is all about being unbreakable over an electronic/trap fusion. The album then closes with “SK8 HEAD”, which is a tribute to their skate team over a trap beat with some haunting synthesizers.

I really didn’t know what to expect going in, but this is truly one of the wildest trap records I’ve heard all year. It’s a little short & the 2 Black Krey features are meh but the youthful, angry chemistry between ZillaKami & SosMula is adrenaline inducing. And on top of that: the production suits this aggressiveness near perfectly. Especially with the trap/metal fusions, which I don’t recall ever hearing being done prior to this & I think it really does it’s part in helping them stand out in this modern day trap scene.

Score: 4/5

Quavo – “QUAVO HUNCHO” review

Quavo is a 27 year old rapper, singer/songwriter & producer from Atlanta, Georgia who rose to prominence in 2013 as 1/3 of the Migos with his nephew Takeoff & his cousin Offset. He also formed the duo Huncho Jack in late 2016 with one of the most creative minds in hip hop today: Travis Scott, dropping their debut album Huncho Jack, Jack Huncho at the very end of last year. He then got back with Takeoff & Offset at the beginning of THIS year to drop the Migos’ 3rd full length album C U L T U R E II, which is easily one of the most disappointing hip hop albums of 2018. However, they aren’t stopping there as Quavo is now the very 1st member of the trio to put out a full-length solo effort.

The album kicks off triumphantly with “BIGGEST ALLEY OOP”, where Quavo talks about his place in hip hop over a 30 Roc instrumental with a chilling flute & some female background vocals. The next track “PASS OUT” with 21 Savage sees the 2 getting boastful over a druggy instrumental, but the post-chorus where Quavo repeats his “skrr” ad-lib constantly is very tedious. The song “HUNCHO DREAMS” is a pretty solid response to “Barbie Dreams” off of Nicki Minaj’s latest album Queen backed with an atmospheric Murda Beatz instrumental while the track “FLIP THE SWITCH” with Drake sees the 2 talking about a bad bitch over a vibrant trap beat from Wheezy. The song “GIVE IT TO ‘EM” gets cold blooded over an eerie piano lead while the track “SHINE” is a club anthem with a spacey Tay Keith instrumental.

The song “WORKIN’ ME” talks about his relationship with his girlfriend Saweetie over an airy instrumental from Murda Beatz while the track “HOW ‘BOUT THAT?” talks about how the Migos are running the trap scene over a nondescript OG Parker instrumental. The song “CHAMPAGNE ROSÉ” with Cardi B is an alcohol anthem over a relaxing woodwind instrumental from Murda Beatz & the Madonna hook was a nice surprise as well. The track “KEEP THAT SHIT” by Unc & Phew is about how they’re rich & your broke over a murky Dun Deal instrumental while the song “FUCK 12” with Offset disses corrupt cops over a gloomy instrumental.

The track “LOSE IT” with Lil Baby is a mediocre tune about how hot this woman is & the song “RERUN” is an obvious & unfortunately structureless Huncho Jack, Jack Huncho leftover with a beautifully spacious WondaGurl instrumental. The track “GO ALL THE WAY” is very repetitive lyrically, but the electronic instrumental that Pharrell brings to the table kinda reminds me of some of the better cuts that he & his Neptunes cohort Chad Hugo produced together on Common’s Universal Mind Control a decade prior. The song “LAMB TALK” is of course Quavo bragging about his lifestyle over an airy beat while the track “BIG BRO” is a more mature cut as he talks about taking this person under his wing over a cloudy beat. However, that one line at the very beginning about Lil Peep was in horribly bad taste. The song “SWING” is an awkward attempt at going dancehall while the penultimate track “BUBBLE GUM” talks about how this chick has it over a generic instrumental. The album ends with “LOST”, where Quavo & KiD CuDi talk about rising above over a settle beat.

I’ve been waiting on a Quavo solo album & overall, it’s pretty solid. There are a small handful of boring & run of the mill joints but outside of that, the production is more consistent than C U L T U R E II‘s & Quavo himself sounds a lot more focused than he did on that album with his charisma shining brighter even on his own.

Score: 3.5/5

T.I. – “DIME TRAP” review

T.I. is a 38 year old rapper from Atlanta, Georgia who started out as the founding member of P$C in 1997. He then went solo in 2001 with his debut album I’m Serious, but it didn’t do well commercially & he was dropped from Arista Records as a result. He then formed his own label Grand Hustle Records & dropped his sophomore album Trap Muzik in 2003, which had a huge hand in popularizing the titular hip hop subgenre. He then continued the success of that album with Urban Legend & King, but then his next album T.I. vs. T.I.P. would be a disappointing longwinded mixed bag with a pretty great concept. He redeemed himself with Paper Trail in 2008, but dropped another mixed bag with No Mercy in 2010. Both of which came out during back to back prison sentences. He then returned to the scene at the end of 2012 with the flawed yet solid Trouble Man: Heavy is the Head in 2012 as well as the Pharrell executive produced Paperwork in 2014. He then took a more political tone at 2016 with his double EP Us or Else: Letter to the System but now, he’s returning with his highly anticipated 10th full-length album.

Things kick off with “Seasons”, where TIP talks about his desire to succeed over an organ. The next track “Laugh at ‘Em” is a middle finger to his haters over a triumphant Just Blaze beat while the song “Big Ol’ Drip” vividly talks about the drug dealing lifestyle over a trap beat with some nice horns in the mix. The track “Wraith” with Yo Gotti sees the 2 getting braggadocious over a gloomy Scott Storch instrumental while the song “The Weekend” with Young Thug talks about partying over a boom bappy Swizz Beatz instrumental with a prominently twangy guitar.

The track “The Amazing Mr. Fuck Up” endearingly addresses his current relationship with his wife Tiny over a laidback boom bap beat with Victoria Monet providing some background vocals while the song “At Least I Know” continues the theme of the previous joint with a moody beat. The track “What Can I Say?” reflects on how he got to where he is today over a druggy trap beat while the song “Jefe” with Meek Mill sees the 2 charismatically calling themselves bosses over a Latin-infused trap beat from Bangladesh. The track “More & More” with Jeezy sees the 2 talking about making money over a gritty trap beat with an organ while the song “Pray for Me” does talk about backstabbers, the YFN Lucci verse at the start is probably the weakest feature on the entire album.

The track “Looking Back” sees TIP getting retrospective on his life over a somber David Banner instrumental while the song “Light Day” is a message to those who wanna live the life that T.I. lived in the past with what could very well be the best flow on the entire album. The penultimate track “You” talks about judgmental people over an instrumental with a somber atmosphere to it & the closer “Be There” is all about being by someone’s side when feeling down over an eerie instrumental with a guitar that kicks in later.

For the 4 year wait, this was well worth it. The production’s on point, Dave Chappelle’s narrations are intelligent & T.I. gets a lot off his chest lyrically. If you wanna hear a trap legend sounding more mature than ever, then give this a listen.

Score: 4/5