Shoreline Mafia – “Bidness is Boomin’” review

This is the 4th extended play from Los Angeles, California duo the Shoreline Mafia now consisting of Ohgeesy & Fenix Flexin’. Originally a quartet, their debut mixtape ShorelineDoThatShit resulted in them signing to Atlantic Records for their next couple tapes & EPs as well as a full length studio debut. They would temporarily disband following Mafia Bidness so it’s members could pursue their solo careers, reuniting with half it’s members in 2023 & are coming off returning to Atlantic in tandem with 300 Entertainment for the sophomore effort Back in Bidness to explain how Bidness is Boomin’.

“Planet of the Apes” opens up by detailing the gangsta lifestyle over a nervous instrumental whereas “We Like to Party” produced by Hitmaka & Ty$ was easily my favorite single of the 4, interpolating “La Di Da Di” by Slick Rick himself during the hook. “Take U Home” gives off a more soulful vibe talking about their desires of bringing women back to their residences while the 4th & final single “Wood Wire Buffs” explains that the main reason women fuck with them is because of their professionalism.

The 2nd single “Out My Mynd” kicks off the latter half talking about having the ability to make wishes come true due to their statuses as stars while the hyphy-tinged lead single “Rockin’” samples “Funky Little Beat” by Debbie Deb so they can discuss their success. “Fine Shyt” winds down Bidness is Boomin’s final minutes talking about the women they’re seeing fucking their exes prior to the closer “Play Ball” ties things up with this gangsta rap/hyphy outro.

I wasn’t so much a fan of the Disco Mafia’s eponymous debut a few months earlier was a bit underwhelming, so the singles that were building up towards Bidness is Boomin’ gave me the impression of surpassing Party Pack 2 to become the Shoreline Mafia’s greatest EP. A lot of the same musical ideas we heard on Back in Bidnessover a year ago from nervous to hyphy & gangsta rap all bleed through the production once more, but it’s more polished.

Score: 3.5/5

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Razakel – “The Possession of Razakel” review

I believe this is the 5th extended play from San Antonio, Texas rapper & Shrunken Head Entertainment founder Razakel. Known for being 1/3 of the Slice Girls as well as the Dead Girlz & 3FRMHELL in addition to her formerly comprising 1/2 of the Serpentines, she also has over a dozen solo albums under her belt along with her last 4 extended plays. She had a song on her most recent full-length Surprise, Surprise! last fall that was produced by Grand Rapids, Michigan rapper, singer/songwriter, producer & Dirtcore Music founder Crossworm and that has now led us to The Possession of Razakel.

“Sum1 Like U” begins with this industrial boom bap intro lyrically talking about figuring out the kind of people who’re fake & live always wishing for those specific types of individuals whereas “Funeral” further embraces an industrial vibe instrumentally, advising for the crowd who’re against her to begin planning their own memorials in advance & lacking any mercy. “Slasher” on the other hand ends the EP fusing horrorcore lyricism with EDM instrumentation.

Come to think of it: Pretty much everyone on the current Dirtcore roster has already put out new music on the label over the course of these past 4 years, so I can get on board with Crossworm’s idea of reaching out to other artists in the underground & do a brief takeover of sorts. Mainly because I firmly believe people will consider The Possession of Razakel to be some of greatest material she’s recorded in whole career, sharpening her pen for 10 minutes over a small handful of industrial hip hop beats.

Score: 4/5

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Farma G – “Nearly Nothing’s Enough” review

London, England, United Kingdom emcee/producer Farma G enlisting Brighton, East Sussex producer Relense to solely produce his sophomore effort. Known for being a member of the Mud Family collective & 1/2 of the Task Force alongside his brother Chester P, he would go on to produce for several big names within the underground from Rome Streetz to Vinnie Paz & the latter’s Heavy Metal Kings cohort Ill Bill. Signing to High Focus Records a few years ago, How to Kill a Butterfly was a solid beginning of this new chapter in his career & the chances of Nearly Nothing’s Enough outdoing it were very likely given some of the teasers.

“‘Till I’m Gone” begins with a boom bap-tinged 3rd & final single celebrating his journey so far whereas “Ya Dead Now” talks about the trials & tribulations of a nomad being on the line. “Mr. Moany” portrays himself to be an depressed individual who can’t see to leave his own home due to the messiness of his life while the lead single “Makes Me Wanna…” makes some commentary on the state of the scene in an age of overinflated egos & social media clap trap.

Meanwhile on “Peace Pipes”, we have Farma talking about law enforcement officers who abuse their power just before “The Circus” works on a vocal sample so he can ask himself if anyone in this game has balls. “Punch Up” demands for everyone to give him everything they have or put their heads on the chopping blocks while “Matters of the Heart” talks about having the process of mending heartbreak lasting our whole lifetime.

“X-Files” kicks off the 4th quarter of Nearly Nothing’s Enough taking a more conspiratorial approach to his songwriting while “Psycho with a Lexicon” talks about analyzing murder scenes in order to identify the victims. The 2nd single “Sun Wukong” stunningly brings the anciently supernatural Monkey King from Journey to the West to life & the outro “Never Be the Same” finished the album talking about things constantly changing throughout our existence.

I can still picture Farma G making a full-length where he’s handling all the beats by himself with a few guests, but Nearly Nothing’s Enough will suffice as the greatest entry of his solo discography for now. Relense’s gritty analog production is a cut above How to Kill a Butterfly’s, soundtracking the venom & introspection that fuels a great deal of Farma’s wide range of topics taking him back to a corner where he once sat & studied the world as it passed him by.

Score: 4.5/5

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Grafh – “Sometimes Money Cost Too Much” review

Here is a brand new LP & the 5th overall from Queens, New York emcee Grafh. Emerging over 2 decades ago off his debut mixtape The Bang Out, he went on to release 7 more tapes before dropping his full-length debut Autografh only a few years later continuing that with a total of 10 mixtapes & an EP. The sophomore effort Stop Calling Art Content produced entirely by the late DJ Shay & released through Benny the Butcher’s very own MNRK Music Group imprint Black Soprano Family Records as well as his TCF Music Group debut Art of Words would become his most acclaimed material to date, coming off God’s Timing to explain how Sometimes Money Cost Too Much.

“Word Up Son” represents his home borough over a horn instrumental produced by 38 Spesh to open up shop whereas “Squeeze 1st” featuring Benny the Butcher finds the 2 talking about asking questions after initially firing shots over a bloodcurdling boom bap beat from Mike & Keys. “Outside” featuring Mitchy Slick & Styles P brings the trio together so they can let everyone know they’re still out in the streets leading into “Documented” talking about everything with him being kept on record.

Tech N9ne appears on “Suicide” explaining that crossing either one of them will result in the death of those doing the backstabbing while “Better with Time” featuring Bun B goes for a cloudy trap vibe instrumentally talking about improving as they get older. “Big League” featuring Joyner Lucas was one of the weaker singles teased fusing rock & trap to speak of being in the majors when Grafh’s the better lyricist of the 2 until “Brick by Brick” decently continues talking about the gangsta lifestyle.

“Rollin’” featuring Don Paul & Dope Gang Porter experiments with a more nervous sound encouraging the listeners to look at him & his squad now while “Twin” incorporates a sped-up soul sample to get more romantic on the lyrical side of things. “Lil Vybe” was another single that I wasn’t head over heels for continuing the sensual subject matter over a cloudier beat while “Some Wounds Never Heal” finishes with a drumless outro where we get hit with gut-wrenching introspection.

The last 3 albums we’ve gotten from Grafh within almost 5 years have been some of the most important material in his entire 2-decade career & that alone has raised my anticipation for Sometimes Money Cost Too Much. However since it’s finally out following some delays within the past couple months, I’m a little torn by it although there are certainly more highs than lows. He does his thing on the mic as do a great deal of the guests, but some the production left me underwhelmed & the 2nd half feels weaker than the 1st.

Score: 3/5

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Curren$y & Wiz Khalifa – “Roofless Records for Drop Tops” review

Brand new 2-disc collaborative mixtape & their 3rd together overall from New Orleans, Louisiana rapper, songwriter & record executive Curren$y as well as Pittsburgh, Pennsylvania rapper, singer/songwriter, actor & entrepreneur Wiz Khalifa. Proving themselves to be hip hop’s Cheech & Chong of the late 2000s when the Jet Life Recordings & Taylor Gang Entertainment founders dropped their How Fly mixtape, they would return a decade later for the 2009 album & are back again 7 years later to have Cardo & Harry Fraud respectively produce each side of Roofless Records for Drop Tops by themselves.

“Close Your Eyes” was a psychedelically cloudy intro talking about getting it because they’re going the hardest until the wheels fall off whereas “Jet Life Taylor” represents each of their respective crews over a calmly nocturnal beat. “So Many Flavors” kinda has this smooth west coast vibe instrumentally talking about having several different strains of weed leading into “Stoned & Leave” going for a pop rap direction wanting their partners to pull up to get high.

Cardo makes a turn for cloudy trap territory during “Bounce Back” so Spitta & Wiz can talk about feeling down bad sometimes & coming back from it by catching more Ws prior to “How Could I Lose?” suggesting that others are right when they say both artists are running the game. “The Same One” has a more subdued tone to the beat telling their lovers they can’t be at their houses unless there are no neighbors while “Live Fast Burn Slow” explains the way the game goes.

“Ashes Out the Window” experiments with somewhat of a pluggier sound calling for everyone moving slow to pick up the pace while “Rrari Twins” ends the 1st leg flexing their Ferraris & meaning big business whenever they pull up to the spot. “Pink Panther” gets the 2nd half going over a jazzily drumless loop taking a more sensual approach to their songwriting while “The Coin Toss” express a desire of making their families rich by the end of the summer.

We have the jazz rap influences making their back in the spotlight on “🍾🍾🍾” talking about smoking wherever they go & hosting meetings chillin’ inside of yachts but after “Smoke N’ Pray” combines some keys with more hi-hats to detail the complications that come with their boss statuses as well as wakin’ up early being an obligation, “Long as You Live” expresses the way they feel over a predominant woodwind instrumental talking about how touching $1M doesn’t mean shit to them.

“Storm Shadow & Snake Eyes” winds down the last 7 & a half minutes of Roofless Records for Drop Tops incorporating this bluesy guitar to discuss riding around their sports cars stoned as fuck & commending those who’re actually wise enough to stay out of their way while “z28” luxuriously talks about shit being far from sweet out in their hoods & people knowing your whip before your name because the game’s dirty like that. As for the final song “Palm Island”, it cloudily ends the mixtape boasting their expensive habits 1 last time.

Similarly to Jay Worthy’s debut album Once Upon a Time last fall, I choose to wait until both sides of Roofless Records for Drop Tops were officially released so that way I could cover the whole tape start-to-finish & I’m happy I did considering the mixed reception Disc 1 generally got at the end of the month will likely be reevaluated now that the other half’s here. It could potentially become amongst Curren$y & Wiz Khalifa’s greatest material as a duo since I’m at it, trading verses depicting their stoner rap escapades over Cardo & Harry Fraud production varying from trap to drumless & jazz rap.

Score: 4.5/5

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NEMS & Ron Browz – “I Should Boom You” review

New York recording artists NEMS & Ron Browz joining forces for a new collaborative studio LP. One of whom is an underground veteran hauling from Coney Island, Brooklyn emerging in the battle rap circuit back in the early 2000s & the other’s a Harlem native gaining widespread recognition for producing Nas’ iconic JAY-Z diss “Ether”. They’ve crossed paths a couple times already on tracks like “The Bar Exam” & “Count It Out”, so I had no problem with Ron fully producing I Should Boom You. That said: Him rapping on every track did make me somewhat concerned since I’ve never considered myself a fan of Etherlibrium.

We get this gully boom bap instrumental for the intro so they can trade bars about being the “Hottest in America” & reminding the weirdos what the hammers can do whereas “Earl Manigault” featuring Lil’ Fame finds the trio calling for everyone to go home since they’re going harder. “First48” blends some pianos with kicks & snares talking about having guns tucked in their waists while “Kruger” compares themselves to the iconic Nightmare on Elm Street antagonist.

“Here I Go” featuring Papoose reaches the halfway point sticking to the traditional boom bap sound & having all 3 of them issuing a warning that anyone who targets them will become a statistic but after “P Anthem” shifts it’s focus towards the clubs exemplified by the raunchy approach both artists take with their songwriting, “Nothing Gon’ Stop Me” instrumentally pulls some inspiration from reggae music talking about being unstoppable forces.

Wrapping up I Should Boom You’s final minutes, the 2nd & final single “The Mush” goes for an old school vibe responding to all the doubters who’re mad at both performers for catching Ws & making new money while “Bendicion” talks about catching them on top of a cop car smoking or butt-naked on your girl’s fire escape. “The Bar Exam” sends off the album with a horn-inflicted boom bap outro flexing their lyrical proficiencies & the best verse being saved for last.

Some people like to say that both of NEMS’ full-lengths under Goliath Records are the worst in his discography, but I’d say that’s blasphemy since Rise of the Silverback would go behind Gorilla Monsoon for some of his best material & America’s Sweetheart had it’s moments even if the Fuck Ya Lyfe General himself wasn’t very happy with my criticisms of it. That said: I Should Boom You was more enjoyable than I had anticipated it being although the Gorilla Twins’ eponymous debut is more superior. The production’s more rawer than America’s Sweetheart & some of Ron Browz’ best rapping makes its way on here even if NEMS has the sharper pen.

Score: 4/5

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vax – “Blue Dawn” review

vax is a 17 year old rapper & producer from West Palm Beach, Florida who began making music at the age of 12. He would eventually go on to drop 6 extended plays since 2023 including New Jazz as well as Forgive My Sins & Pyramid Schemes, with Is This You? following Throne being my personal favorite of the bunch. He recently dropped #B4BlueDawn last month preluding his full-length studio debut & it’s been turning tons of heads within the underground recently, getting a couple recommendations from people to give it a shot.

“So Good” brings a rage beat in the picture to get the ball rollin’ talking about most artists who end up in his position wind up foldin’ whereas “M&Ms” describes being better off without his ex since she fucked him over many times. “Hit Me Up” talks about a type of love that’s way too strong & after “Familia” featuring 7k makes a humorous reference to Charlie Kirk’s demise last fall, “Honest” reaches the halfway point taking a moment to be sincere with his partner.

We have “Crushed” sampling “sidekick” by 2hollis to talk about the way he prefers to have ice in his cup & smashing hoes while “Race” featuring slayr saves the best feature for last, speeding up their flows to break down each artists’ individual lifestyles. “Never Die Young” takes a few minutes to talk about dying with no regrets when his time comes & once “Best Friend” explains that nothing can stop the love he has for his soulmate, the final song “It’s Okay, Don’t Trip” ends on a more optimistic note assuring everything will be fine.

A majority of those early EPs vax have given us flashes of his true potential & it’s all beginning to realize itself on Blue Dawn even if he’s taking a backseat production-wise. His whole style amalgamating in digicore along with rage & pop rap has been completely refined other than the occasional electropop being sprinkled in, complimenting his knack for writing hooks by spitting 1 energetically hungry verse after another & selecting 2 of his most prominent affiliates to make the only guest appearances.

Score: 3.5/5

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Rosco P. Coldchain – “Play with Something Safe” review

Philadelphia, Pennsylvania emcee Rosco P. Coldchain enlisting Montréal, Québec, Canada producer Nicholas Craven for his sophomore effort. Blowing up in the 2000s when he signed to Star Trak Entertainment, he would leave the label without releasing anything & dropped a couple mixtapes preceding his full-length debut Almost Famous produced by Fatin Horton formerly of The Soul Council during my freshman year of high school. For the Mature on the contrary divided audiences last February & he’s looking to make up for the mixed reception of that extended play advising to Play with Something Safe.

“Benz Sprinter” comes out the gate with a drumless sample talking about moving coke & being a gangsta whereas “Hold My Hand” soulfully comes to the realizations that he brought these problems onto himself due to his heinous ways of living. “Frankenstein” co-produced by Mike Shabb works in some creepy organ melodies talking about being the lord of the underground leading into “The Future” speeding up his flow to boast his authenticity.

Malcolm Kamal’s appearance on “Magnesium Chloride” was alright even if I enjoyed the boom bap instrumental & Roscoe’s verse talking about having bad habits despite both of them looking after “Prayer Group” begins the 2nd half bringing back the chipmunk soul vibes so he can confess that his family is all he has left, “Die Slow” featuring Bruiser Wolf hooks up some tense sampling techniques talking about being the newest members on the rise to be respected by bosses.

The title track featuring Ab-Liva & Jimmie D finds the trio uniting over a drumless loop to explain that nether one of them have time for any bullshit while the funky “Boogie Nights” talks about how right it’s gonna feel when he puts the crown on after being away for over a decade. “Refined” featuring Malcolm Kamal wraps things up finding peace from these mean streets whenever they’re with their lovers.

Nicholas Craven himself has said that Play with Something Safe is the closest thing he’s ever done to making a horrorcore album & not only would I have to agree with that, but it wipes For the Mature & dethroned Almost Famous to further validate why Rosco P. Coldchain has been one of the most underrated MCs in the game. The sample-heavy production style Craven has become known for is a lot better than the previously mentioned EP, bringing an improved guest list compared to his debut on board for some entertainingly dark street lyricism.

Score: 4/5

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Gloom Unit – “House of Gloom” review

West coast horrorcore duo the Gloom Unit consisting of Acetone Boogie & Frankie Goldie finally making their full-length debut. One of whom comes straight out of Tucson, Arizona & the other representing Sin City Las Vegas, Nevada respectively as part of the Swamp Society collective. They would properly introduce themselves as a pairing on New Year’s Day 2024 with the debut extended play Come Heavy produced by Chapter 17/Psychopathic Records in-house producer Devereaux, who would also produce the sequel Mo Heavy. A little over a year later, they’re taking us inside the House of Gloom almost a week after J-Rod ended Alice Crowley’s record-breaking 2nd reign as JCW Women’s Champion.

After the intro, the title track produced by none other than Devereaux brings an organ-laced trap beat into the picture advising to say your prayers because of the demonic shit they’re about to do whereas “Murda Gloves” goes for a morbidly slower vibe to the beat discussing the topic of murder itself. “Gloomhauer” works in some strings to talk about giving 0 fucks regarding the repercussions of them constantly killing it while “DaEyes” acknowledges their imperfections although they’re very much trying.

“RedDedRedemption” continues from there talking about watching bodies burning in The Wraith’s exhibition of Hell’s Pit leading into “No Shoulders” incorporates some sampling techniques flexing that they’ll still be carrying firearms on them when winding up in Shangri-La in the end. “Stomp ‘Em Out” featuring Darby O’Trill joins forces for an angrily cutthroat hardcore hip hop banger while “All Dead” talks about not being the type who enjoy cheap thrills.

Ending the 1st half, “Bouncing Off da Concrete” hooks up some predominant horns during the hook boasting the credentials they’ve already had out in the streets & this being normal to them while “Daishin Folklore” gives a backstory behind the Unit’s mascot who can be seen on the artwork of all their projects. “Less Than Gold” talks about earning everything they have & none of it being handed out for free while “Headbussas” featuring Donnie Menace succeeding at going full trap metal.

“Zim Dem” featuring PERCYBONES finds the trio asking everyone who doubted them how they like them now & fighting for survival since Day 1 while “Taking Out the Trash at Night” talks about coming alive right when the sun goes down. “Disclaimer” featuring 8corpses links up to provide advice that you shouldn’t ever take & something they feel like everyone should know while “Selena” featuring Sagan Ummo brings out a fully loaded chopper over a trap instrumental with bells.

The sample right from the start of “Don’t Close Ya Eyes” immediately drew me in talking about not falling asleep for the purpose of demons who tend to watch us in the late night hours & view our souls as food prior to the outro, “Isolation” spends the last 3 & a half minutes sitting in the House of Gloom all alone admitting that they’ve been following darkness their whole entire lives as well as coming to terms that neither of them feel like anyone’s out there.

If you’ve ever wondered what would happen if our minds turned against us & the walls of what was initially designed to protect us isolates each other from the outside world, the House of Gloom will give the answer one seeks right when the doors lock shut to commence an evil dream hosted by demons constructed by our fears & whatever emotion it is we try to hide over some of Devereaux’s darkest production accompanied by a few of the underground wicked shit scene’s finest presently.

Score: 4.5/5

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Bake Lo – “Spirals” review

Bake Lo is a 32 year old rapper from Detroit, Michigan who made his solo debut Only the Beginning in the fall of 2011 when I was a freshman in high school. He would go on to follow it up with the sophomore effort Misunderstood Mindstate, but it wasn’t until Anybody Killa signed him to Native World Inc. & dropped A Step in the Wrong Direction under the label where I personally started catching onto him. Monster would be released independently as was the Chuck extended play, which was the last time we’ve heard him. Coming off the 9th annual Astronomicon however, he’s returning for his 5th studio LP in preparation for him touring with ABK.

After the “Into the Spiral” intro, the opener “Spiral Down” expresses confidence that we’ll all begin life again someday leading into Str8jaket joining him in letting the “Words of Violence” fade & going for a boom bap vibe instrumentally. “Jewel Thief” angrily fires back at the people who take him for a fool leading into “Golden Eye” featuring MVNDI & Skwynts finds the trio hopping over an apocalyptic trap beat cautioning not to wake the beast inside of them.

“Criminal” featuring Donnie Menace joins forces so both of them can talk about living like mobsters robbing people for cleats while “Dirt on My Face” featuring Insane E fiercely emerges out of the flames of Hell in an attempt to escape the cells both of them have been locked in. “Spek” featuring Lyte reaches the halfway point talking about carrying Glocks around their respective parts of Michigan while “Just Incase” dismisses any & all precautions.

Things take more introspective approach on “Note to Self” asking himself who he is if he isn’t becoming the person he wants to be while “Confrmula” featuring Ant G, Histio & the King of HorribleCore talks about no longer waiting since now’s the time to claim what’s theirs. “Benjamin” experiments with country rap a bit admitting the devil wants his soul & after “Bite Outta You” industrially depicts himself as a bloodthirsty creature, “Uzumaki” featuring Zitro finishes things up addressing those who don’t like them.

Spirals showcases Bake Lo’s signature lyrical depths as well as his raw storytelling & authentic voice delivering a fresh yet grounded perspective inspired by the 8 years of growth since the Monster for longtime fans & new listeners alike. Committed to quality & genuine expression, Bake Lo invites the underground & the world at large to experience the evolution of his artistry redefining his sound with a list of underground wicked shit titans joining him on the mic.

Score: 4/5

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