New surprise mixtape & the CBFW Records debut from Detroit, Michigan rapper Veeze. Emerging back in 2019 off the strength of his debut extended play Navy Wavy, he would go on to blow up in the summer of 2023 after dropping his full-length debut Ganger under Warner Records. He has since spent the last few years making guest appearances for several projects & felt like Y’all Won only announced 24 hours prior through social media would cement Veeze as the greatest signing on the entire CBFW roster.
“Tesla Pill” begins with a cloudy trap instrumental talking about him not hanging it up until he becomes a billionaire whereas “Wrong Place, Wrong Time” embraces the Detroit sound so he can discuss keeping it lit for the city. “Bruce Wayne Coupe” talks about how there should be 1,000 people kissing his ring considering people take a lot from him just before “Malice in the Palace” sticks out as a favorite from the Taurus beat to the boastful lyrics.
Meanwhile on the significantly darker “New Clothes”, we have Veeze detailing him being rich without any problems prior to another highlight track explaining that he doesn’t talk about “Old Shit” & tana producing a cloudy instrumental that I’d consider to be amongst Y’all Won’s strongest. “Listen to Me” describes giving advice to bosses over this soulful trap beat while “Still Grinding” talks about this shit historically being in his blood.
“IDK” winds down the last act of the tape observing that the reason all these muhfuckas are broke is simply because they don’t have any aura & his main bitch being unapproachable while “Birdman” compares himself to the Cash Money Records co-founder of the same name way he stunts in addition to staying around shottas whenever he’s in the hood. The outro “Lose It All Today” takes up the last 4 minutes hopping over a sped-up vocal sample talking about making bands flip.
Ganger already made it pretty clear that Veeze ranks amongst the 2020’s finest Detroit trap artists alongside the likes of Lelo & Y’all Won marks Veeze’s comeback with a respectable half hour letting the world know what makes him more appealing than Rylo Rodriguez or Lil Dann & Noodah05. Not even gonna mention EST G & 42 Dugg because they’re both on CMG too, but I respect that he held it down without any guests even if some of the production could be better.
Los Angeles, California emcee/producer A-F-R-O back with his 16th extended play. A protege of R.A. the Rugged Man after winning the Definition of a Rap Flow contest, his 5th EP A-F-R-O Polo produced by Marco Polo under Duck Down Music Inc. introduced himself as a promising up-&-comer within the underground. The Drawing Board alongside the Stu Bangas-produced The Bad & the Ugly: The Goods Always Die First and Crimson Fury have all testified to his vengeful return in recent memory, coming off The Bad & the Ugly II and No More Patience… to let Blood Rain.
The self-produced “No H.E. Double Hockey Sticks” begins talking about him being a man of God hence why he stays away from the pits of Hell whereas “The Hangman” goes for a symphonic boom bap vibe instrumentally assuring that he ain’t the one to fuck with. Highway Robbery” featuring 4-Ize finds the 2 speaking of winning the lottery & no one taking them alive while “No Talk” flexes of being more legitimate than someone who regularly stays silent.
“Saints Row” kicks off the 2nd half of Blood Rain taking a funkier approach to the beat advising for those nearby not to make a move unless he says it’s alright to while “Antagonist hooks up an organ flip to talk about becoming more villainous the older he got. “Burn It Up” has a more ghostly boom bap flare to it staying gold because he’s always outside with his squad & the title track finishes up talking about there eventually being a sunny time.
I’m sure his full-length debut will be coming within the next 7 months or so like the No More Patience… outro last winter promised, but Blood Rain will suffice for those who’re ok with going on a quick 20 minute journey through his mind. Compared to a great deal of his earlier output, the boom bap production’s more experimentally darker even if I felt like the self-produced half of it was stronger & he sounds significantly angrier.
This is the 10th & possibly final studio LP from Buffalo, New York producer, curator, record executive & audio engineer Struggle Mike. Introducing himself at the end of 2019 off the strength of his full-length debut Great Escape followed by Next Up as well as Wall & Progress, he eventually kept his consistency going on Ties & Struggles until signing to Black Soprano Family Records as an artist after becoming an A&R of theirs. IYKYK, IYDK & Honor would all come out through the label & he’s back 24 months later for Muerte.
“Bandits” by Benny the Butcher, ItsHOLY & Moon after the “Bandidos” intro welcomes everyone to the land of the robbers over a boom bap beat to get things going whereas “Solid” by Party G the Humble works in some violins so he can talk about staying loyal. “La Commission” by Heist Da Profit, YaH-Ra & 448 Brad finds the trio linking up to get on their mafioso shit leading into “Brick James” by Fuego Base & Mark 4ord talking about the country feeling like it’s end days are nearing.
B.A.R.S. Murre & Speedie da Icon both appear on the primarily drumless “Good Boy” up until the final 45 seconds talking about well-behaved children becoming hustlers while “It’s a Lifestyle” by Jess Classic discusses the way he lives over a bare guitar loop. Eto joins B.A.R.S. Murre for “Hell”, spending a couple minutes bodying a flute instrumental from DJ Benoit just before “Anything Goes” by The Hoodies finds E-Class & Young Poppa talking about there being no restrictions.
“Get to the Money” by Heist da Profit, Joxiel & Smoke Bulga after the “Locked Up” interlude Boons 153rd kicks off the 2nd half of Muerte talking about making some paper over a decent trap beat prior to Gunny H discussing his “Deals with God” on top of a vocal sample & mixed with hi-hats. “Violins” by Lo Profile & Rick Hyde embraces an eerier boom bap sound talking about making people go to sleep when the strings cease while “Take a Risk” by B$F Tone 066, Mike Major & Miles A aim to step out their comfort zones.
After the “Smoke Break” by D Les comes through with a quick drumless freestyle, “What’s Real?” by O.T. the Real & 067Red talks about not knowing what’s legit until it falls in the cooking bag while “Old NY” by Ockz & Spiderdagod explains that they’ve always liked being underdogs. “Southside” by Balistic Man, Chop the Father & Speedie da Icon brings everyone together to hustle until daylight while “The End” by Conway the Machine & Lefty Gunplay excluding the “Just Like That” outro finishes with an outstanding east/west coast boom bap closer.
Confirming in a recent interview that he’s fulfilled all of his contractual obligations for Black Soprano Family, this new era of Struggle Mike’s career collides some of the underground’s biggest artists as well as those who’re a part of his Mike’s own Struggle Cartel collective & a few of Steve Lobel’s clients for what could potentially be the last time we might hear from musically due to some legal issues. When he comes back, he did say he plans to capitalize on his squad over at the Struggle Compound.
doPE is a superduo consisting of Los Angeles, California musician, songwriter, author & actor John Densmore alongside Hempstead, New York emcee, songwriter & producer Chuck D. The latter of whom gained notoriety for being the frontman of the seminal political hip hop outfit Public Enemy & the other broke out as the drummer for one of rock music’s most celebrated bands: The Doors. Both members announced their formation a few months earlier & are dropping a debut album under SpitSLAM Records.
“every tick tick tick” begins with a funky rap rock intro produced by C-Doc where Chuck’s talking about ageism, sexism & racism being in the way of people living their daily lives whereas the title track discusses elders being the roof that shelters the youth. “doomsay” returns to a rap rock sound for a gritty description of the apocalypse & after a recitation of “The Bone of my Father” by Etheridge Knight, we have “i love that i don’t love” soulfully ending the 1st half speaking of The Rhyme Animal’s relevancy.
As for “people are strangers”, we have doPE suggesting not to even try at being friends with them if you only know of them while “breakthru” spends 115 seconds talking about the rise of technology over the course of their lives. “ops3ssion” does it’s job masterfully fusing Public Enemy’s politically charged lyrics with 70s rock instrumentation while “everyone dies” following a reading of “Djali II” by Kamau Daáood concludes no country for old men by providing 1 last crucial message for the younger generations listening.
Originally released as a Record Store Day exclusive last month, doPE’s full-length studio debut finally arrives streaming services a month later & would say no country for old men joins Radio Armageddon & Black Sky Over the Projects: Apartment 2025 in terms of the run Chuck D has musically been on for the past 12 months. The production impressively mixes hip hop with funk & rock, sprinkling hints of spoken word along the way to provide some social commentary many need to hear.
The Kottonmouth Kings are a Placentia, California rip hop outfit now consisting of D-Loc, Chucky Chuck, Judge D & The Taxman. The original marquee act of Suburban Noize Records, their full-length debut Royal Highness distributed by Capitol Records was easily the rawest entry of their discography & the sophomore effort High Society embraced a more futuristic soundpreceding Hidden Stash II: The Kream of the Krop & Rollin’ Stoned stylistically bringing KMK to their own. The last time we heard these guys as a group was when the late Saint Dog & Johnny Richter got with Loc for their 14th album Kingdom Come on 4/20 2018, excluding 25 to Life which is essentially D-Loc’s 3rd solo album. To celebrate 3 decades since their formation however, they’re signing to Virgin Music for a brand new extended play of material.
“Red Eye” produced by Mike Kumagai thunderously begins talking about people everywhere knowing the Kings got the best flow whereas the title track goes for more of a reggae vibe to discuss Americans struggling these past 16 months. “Break the Chains” shifts towards punkier territory talking about rebelling against the system & once “Move Along” encourages all to overcome the odds, “Raise Up” finishes off with a celebratory heater.
I recently got to see the Kottonmouth Kings live the day before Mother’s Day earlier this month since both Motown Rage & Kung Fu Vampire opened for them, but this new lineup’s inaugural collection of music was what 25 to Life should’ve been & makes me more optimistic of where things will go for them hereon out. It’ll be a delightful surprise for fans to hear Kumagai reuniting behind the boards & taking it back to the rip hop sound he helped perfect almost a quarter of a century earlier, mixing political rebellion & stoner raps they’ve become synonymous with.
Here we have the 6th solo LP from Baltimore, Maryland emcee, singer, producer & visionary JPEGMAFIA. Breaking out a decade ago with the release of his full-length debut Black Ben Carson, it wouldn’t be until the man’s next 2 albums Veteran &All My Heroes are Cornballs where he would reveal himself as one of the most creative minds in hip hop today. The 8-track EP, it’s follow-up with almost all newly recorded material, LP!, the Danny Brown collab effort Scaring the Hoes & I Lay Down My Life for You each had moments of their own despite Experimental Rap’s length worrying me.
The self-produced “babygirl” after the “投影の芸術” intro begins with this hardcore trap metal single referencing 2-time WWE Hall of Famer, 14-time WWE world champion, 5-time WWE Intercontinental Champion, 3-time WWE tag team champion & the WME Group-owned TKO Group Holdings division’s CCO Triple H whereas “Burning Hammer” references former 10-time AJPWタッグチームチャンピオン, 3-time AJPW三冠ヘビー級チャンピオン, GHCヘビー級チャンピオン, GHCハードコアチャンピオン & 2-time GHCタッグチームチャンピオン 小橋 建太’s finisher.
“$” combines brostep tearout, hardcore hip hop, experimental hip hop, jersey club rap, industrial hip hop, deconstructed club, hybrid trap & riddim talking about the love he has for his own wealth while “Pop this Heat” samples both “The Way” by Ariana Grande featuring the late Mac Miller & “A Little Bit of Love” by Brenda Russell to discuss the game being so soft. “Meet the Dealers” featuring DATPIFFMAFIA links up for a 2-parter about them telling who ain’t ever been to war in their lives based on how they act.
We have Peggy going at the throats of people who be running to the internet soon as shit happens to them during “headline but once “Degenerate Prayer” flips “Frankie Teardrop” by Suicide to talk about scrapping the plates if anyone who touches his paper, “Shake Your Booty” by Bunny Sigler gets sampled during “The Ghost of Emmett Till” making a reference to WWE Hall of Famer, former WWE Champion, WWE Intercontinental Champion, WWE United States Champion, 3-time WWE Tag Team Champion, 17-time WWE Hardcore Champion & current English color commentator for their Libre AAA Worldwide (AAA) subsidiary JBL.
“Since I Met Ye” chops up “Mr. Big” by 8Ball & MJG so Peggy can respond to the backlash he got after producing some tracks for ¥$’ debut albumVultures alongside it’s sequel while “¥” combines industrial hip hop, glitch hop, glitch, epic collage, hardcore hip hop & deconstructed clubhouse referencing the inaugural 2-time AEW World Trios Champions The Elite. “G.Y.B.B. (Get Your Bitch Back)” on the other hand goes for a more soulful boom bap vibe talking about being nothing like those in the streets.
2-time WWE Hall of Famer, former 16-time WWE world champion, WWE Intercontinental Champion, 6-time WWE United States Champion, 6-time WWE tag team champion & 9-time NWA World’s Heavyweight Champion Ric Flair gets referenced on “Tsar Bomba” to end the 1st half while “Mask On” talks about robbing people. “Lights” after the “His Will” interlude however references WWE Hall of Famer, former SMW Tag Team Champion, 3-time WWE world champion, 2-time WWE Intercontinental Champion, 12-time WWE tag team champion & WWE Hardcore Champion Kane.
“New Era” gives off a more laidback atmosphere talking about people wanting to dismiss him for coming to the game with a plan while “War Over Land” after the “1 Day It’ll All Be Over” interlude fuses conscious hip hop, urban contemporary gospel, glam rock, rap rock & drumless explains how possessive he can be. “Bridges on Fire” soulfully talks about him trying to make it through the night while “No Strippers in Heaven” includes a bar referring to the inaugural 4th Rope World Tag Team Champions & current 2-time HoG Tag Team Champions The Hardy Boyz.
After the “內戰” interlude, “Chat” experiments with a pluggier sound even though the “free Derek Chauvin” line when the hook comes around doesn’t sit with me right & the final song “The 1st Amendment” preceding the “You will always lose money chasing women, but you will never lose women chasing money” outro spends Experimental Rap’s final minutes talking about Turning Point USA co-founder Charlie Kirk being killed last fall.
Being a fan of JPEGMAFIA for almost 8 & a half years already, it’s been disappointing to see him go from giving us classics like Veteran & All My Heroes are Cornballs to beefing with artists that I’ve been a fan of longer than him like Armand Hammer or Earl Sweatshirt & Freddie Gibbs. That said: I’m sure it would surprise people to hear me say I’m more on the fence with Experimental Rap than a lot of his previous output. His experimentally industrial hip hop taking additional inspiration from riddim, brostep, glitch hop, rap rock, rap metal & deconstructed club is tastefully mixed even if the hardcore lyricism can be repetitive.
England, United Kingdom boom bap, political hip hop & ragga duo Babylon Dead consisting of Bristol emcee Jman alongside London producer Illinformed reuniting for their 3rd LP. These guys initially got together for The Mould Tape’s outro “Gettin’ Mouldly” & signed to the Glastonbury, Somerset imprint Real Life Drama Records for their full-length debut 2000 B.D. near the end of 2017. Last we heard from them was the 2020 sophomore effort Book of the Dead, returning once more for Death Upon Dem almost a week after the Slater Dojo & Leyton Buzzard respectively became the new RPW British Tag Team Champions & RPW British Cruiserweight Champion.
“Crash & Burn” begins with this cold blooded boom bap beat talking about destroying the whole system whereas “Real Badman” goes for a jazzier vibe instrumentally explaining that the legitimate are the ones busting shots. “How Yuh Mean” works in some vibraphones so Jman talk about the authorities wanting his people incarcerated leading into Illinformed embracing a darker boom bap sound so they can figure out who they’re trying to “Flex On”.
As for “Out Here”, we have Wyatt Earp appearing to diss the government along with them talking about burning up some weed because they’re struggling to breathe outside while “Bare Burial” after the “Covered in Blood” interlude nears the halfway point of Death Upon Dem on some ghostly boom bap vibes putting us inside the shoes of a mortician. “Buss a Shot” turns up the grittiness talking about shooting at corrupt officers while “Run” almost has this horrorcore quality to it surprisingly.
“Chant Down” after the “Seen” interlude winds down the last moments of the album promising that the revolution will in fact be televised this time while “Gully” rawly blends the sounds of ragga & boom bap for a hardcore hip hop anthem. “Redrum” has a ghostly yet dusty tone to it so they can quench for blood while “Anarchy & Chaos” sends it all off with an empowering rap rock outro suiting for a rebellion asking how high to raise the death toll.
It’s no secret that the world’s been in absolute shambles for the past 16 months, so Jman & Illinformed felt that it was only right for both of them to recapture the politically-charged boom bap/ragga fusions that Babylon Dead became known for in a time where we needed Death Upon Dem now more than ever for the people. Almost a decade since their debut, the subject matter they’ve always tackled directly over Illinformed’s jazzy boom bap production still feels relevant as it did 9 years ago except they only have 1 feature rather than a few.
GILLtemper is an east coast underground hip hop duo consisting of Millville, New Jersey rapper & producer Gibby Stites alongside Trevose, Pennsylvania rapper ILLtemper. Both of whom have already made themselves known whether it be Gibby briefly signing to Majik Ninja Entertainment in 2021 or the other being 1/2 of the Even Heathens, making his Lyrikal Snuff Productionz debut last fall with Paxil Rose. However after linking up on songs like “MayNeedAxe” or “April Showers”, they’re linking up for an eponymous extended play.
After the intro, “Save Us” begins with an opener produced by Gibby where he hooks up a gospel sample & both of them are pleading to be saved whereas “Lost Puppy” takes a more darker approach talking about darkness constantly following them. “Doing Fine” works in some pianos & strings to explain that nobody’s gonna get in either of their way leading into “Violence” ending the 1st leg talking about the enjoyment they get outta watching brutality unfold.
“Song” begins the 2nd half by being intentionally unserious for 3 minutes over an orchestral boom bap beat even if I’d say it’s my least favorite track here, but then “Cruise Dread” gives off a summery vibe instrumentally talking about a murder mystery on a boat. “Misogyny” asks themselves what kind of rappers they’d be without bringing up prejudice against women & “Manic” concludes with a boom bap outro feeling like they don’t have much left.
Excluding both remixes & the intro, I’d say that GILLtemper feels more like an EP than a full-length LP although I very much appreciate what both Gibby Stites & ILLtemper were trying to do blending humor & stealth-horror with hip hop over the course of their self-titled debut. There are a couple moments I don’t see myself revisiting especially like “Song” or “Misogyny”, but I do enjoy a great bulk of the production & each performer compliments one another.
Another extended play & the 8th overall from Detroit, Michigan rapper Lelo. Signing to 10K Projects a couple years ago, he would make his presence known more widely in the local trap scene by putting out his 4th EP Nightingale not too long after landing a record deal & gained even more exposure a month later by dropping the single “No Contempt” on SoundCloud. LifeAfterDogshit along with When It’s Over & New Detroit would further increase his profile, coming off Mastiff earlier this month to drop Pink Tiles.
The self-produced “Mo Betta” hooks up a sped-up vocal sample to talk about turning a bitch out whereas “Get Geeked” experiments with Detroit techno to speak of getting no sleep during the weekends. “White Russian” take a more soulful approach instrumentally to discuss hustlers receiving no love while “End of the World” suggests to worry about tonight over a pluggier beat. “All I Want” embraces a dancier sound talking about making this woman feel good & “I Just Wanna” ends by admitting he wants to fuck.
I respect Mastiff’s counterpart being more musically fun than it’s was 2 weeks earlier experimenting with secondary influences of Detroit techno as well as ghettohouse & juke, but I’m admittedly on the fence with Pink Tiles since I wouldn’t put it in the same ranks as the predecessor or New Detroit & When It’s Over. His performances & songwriting both validate him as one of the best Detroit trap artists in recent memory even if the production can feel repetitive, certainly doing more justice for dance music than Drake’s 10th album Maid of Honour tried to do.
GRPPLNG is a punk band from Detroit, Michigan founded by former DPW World’s Tag Team Champions, GCW World Tag Team Champions, IWGPジュニアヘビー級チャンピオン, 新日本プロレス 強力オープンウェイト タッグチームチャンピオン, ROH World Tag Team Champions, 3-time TNA World Tag Team Champions & WWE Tag Team Champions The Motor City Machine Guns. The full lineup however includes drummer Adam Tatro, guitarist Chris Plumb, guitarist Adam Cline, former TNA World Champion & record 10-time TNA X Division Champion Chris Sabin playing bass and lastly former TNA World Champion & TNA X Division Champion Alex Shelley performing lead vocals. However ahead of Alex & Chris signing to AEW in a couple months, they’re dropping off a debut extended play.
“Hovering” finds Alex singing about cutting his gateway drugs into 2 with all the things he does over pop punk instrumentation while “Held Out” reaches the midway point of H’s All Around pleading to let him move along. Hollowed” kicks off the 2nd half of the EP singing about being laid to rest in the graveyard of Alex’s dreams & the closing track “Hellbound” spends the final minutes suggesting for an ex to claim a spot with the bereaved if she breaks up with him.
The Motor City Machine Guns were already apart of another band called The High Crusade with former 2-time TNA X Division Champion Petey Williams back in the late 2000s so this isn’t really anything entirely new for them, but H’s All Arounddoesn’t sound anything like It’s Not What You Think even I prefer the latter. GRPPLNG eschews the alt-rock style of The High Crusade’s only album in favor of embracing a more pop punk sound exploring themes of heartache, happenstance, hubris & hope.
