Lil Gotit & Lil Keed – “Fraternal” review

Atlanta, Georgia rappers & siblings Lil Gotit & the late Lil Keed celebrating Halloween with a brand new collaborative project. The latter eventually became the most popular of the 2 in the late 2010s when Young Thug announced he has signed him to YSL Records & his younger brother would go on to put out a total of 5 full-lengths as well as a couple mixtapes under Alamo Records until his departure almost 3 years ago already. Keed unfortunately passed away in 2022 of eosinophilia & Gotit’s finally putting Fraternal together after teasing it with a couple singles throughout the entire month, making it Keed’s 2nd posthumous offering succeeding Keed Talk to ‘Em 2.

“Game Time” finds the Renders over a cloudy trap instrumental for 85 seconds talking about nobody being in their range artistically whereas “Cash Brothers” takes a few minutes to back out with each other & stack their bread. “Relapse Game” works in some strings & hi-hats so they can talk about loading up the sticks while “Red Eyes” conceived during for the Trapped in Cleveland 3 sessions has a new life of it’s breathed into it.

Tee Grizzley joins Gotit & Keed on the cloudy trap fusion “From the Heart” talking about how everything they do comes from a place of sincerity just before “Stupid Shit” produced by CashMoneyAP demands answers for all the stupidity around them recently. “How Bout You?” continues the 2nd half suggesting that people should be taking risks & trying to become rich while “Woah” lusciously getting higher than the rest thanks to Outtatown behind the boards.

“Young N***a” gets to the encore of Fraternal by digging up another outtake from the Trapped in Cleveland 3 sessions while “5 Star Residence” sticks out in being another favorite of mine personally from the Supah Mario instrumental to the Render siblings talking about the bankroll coming in all different types of colors. “Wild Life (I’m Higher)” closes Gotit & Keed’s joint effort with them reflecting on their crazy lifestyles while “What’s Up?” starts the deluxe run talking about wanting to get high.

As for “Give ‘Em Hell”, we have the Render brothers taking a few minutes to speak of sliding with their money in their pockets while “I’m So Sorry” apologizes in advances for the possibility of sending hits at the detractors who want nothing more than to see them both lose. “Boss Man” airs out the clones stealing their drip & getting pissed because they didn’t get co-signs from either one of them while “Cat Got His Tongue” speaks of cornballs pillow talkin’ to hoes on the phone over a Taurus beat.

“Minaj” featuring Ty$ with G*59 Record$ in-house producer Dynox behind the boards brings the trio together talking about the baddies they’re dating playing their parts while “Rappin’ Shit” guides listeners through the rap game itself. “Fierce” marks the last time both performers appear on the same song with each other since the last 3 bonus tracks “Disgust Me” & “5AM” are Lil Gotit solo joints & “Baby Boy” being a Lil Keed solo song, shrugging off all competition they might have for being weirdos.

Personally, I’ve always found myself listening to Lil Keed more than Lil Gotit although I’ve enjoyed a great deal with their collaboration so I had no problem going into Fraternal. Solid way of Gotit remembering his older brother & I’m pretty sure he would be happy with it if he were still here. The production’s ok but from beyond the grave, it’s bittersweet hearing Keed with his younger sibling carrying his legacy & doing so the right way.

Score: 3.5/5

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The Doppelgangaz – “Bet on Black Cloak” review

Orange County, New York duo The Doppelgangaz back with their 13th EP on Halloween. Consisting of MCs/producers Matter ov Fact & EP, they’ve gone on to make waves in the underground by dropping a total of 8 full-length albums as well as a dozen EPs & 6 beat tapes. Standouts include their breakout sophomore effort Lone Sharks, the follow-up Hark, their 5th album Dopp Hopp, Aaaaggghh, Black Cloak Lifestyle & Went Left. The latter of which got a sequel this summer, assuring that you can Bet on Black Coat a few months later.

“Dopp Gang Thang” starts off with a piano-boom bap instrumental talking about being the game never being the same again whereas “6 Ways 2 Sunday” dustily flexes that they do things the dumb way. “Wacky Wild Crazy” works in some pianos to talk about acting that way sometimes while “Don’t Mess with Them Sharks” advises that you don’t wanna fuck with them. “Whatchu Wanna Do?” soulfully asks their partners that very question for the evening & “Live 2 Regret It” ends with a message to the hardheaded.

The ghastly duo continue to warm up for their forthcoming 9th LP by taking it back to the traditional boom bap sound that made The Doppelgangaz so popular in the underground after taking a quick g-funk detour with a rawer, more rugged, dustier & dirtier extended play than the slept-on Groggy Pack Entertainment founders have ever sounded almost 2 decades in the game.

Score: 4/5

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SosMula – “Kamp Krystl Lake” review

This is the 4th studio LP from Manhattan, New York rapper SosMula. Coming up as 1/3 of the now defunct City Morgue alongside fellow emcee ZillaKami & producer Thraxx, they’ve released 2 full-length albums & an EP together up before branching out on their own for a little bit. Sos was the first to step up to the plate by dropping 13 Songs 2 Die 2, which was a bit of a disappointment in my opinion due to the features & production. ZillaKami followed it up a month later with HIS solo debut Dogboy & the duo reunited to drop Bottom of the Barrel the month after that, both of those I found much more tolerable. 2 High 2 Die was better than it’s predecessor & the Sleez Machine EP that fall was the worst solo effort of his yet. Signing to Limosa Nostra Records & Atlantic Records following the divisive reception of his final Republic Records offering Sleez Religion, it only makes to go to Kamp Krystl Lake on Halloween.

“Killa Season” begins with a bloodcurdling trap metal intro talking about shooting his opps on camera whereas “Mr. Anderson” bombastically flexes that his stick matches the kicks in his wardrobe. A favorite of mine “Kathedral” featuring Ricky Hil & produced by Thraxx blends a shredding guitar riff & some hi-hats to get on some gangsta rap shit lyrically leading into “Aaron Hernandez” referencing the disgraced New England Patriots tight end of the same name.

Moving on from there, we get more trap metal production on “Blood of My Blood” showing a bit of a Marilyn Manson inflection in SosMula’s vocals during the hook just before “God’s Country” embraces a cloudier trap direction & pens a more nauseating chorus than earlier. The lead single “Trench Brazy” was an impressive 2-parter Lex Luger cooked up likening himself to a pimp while “House in the Trees” feels like God isn’t answering his prayers.

“Project Baby” was another exciting single reusing the same beat as “Deception” by Cameron Azi from 13 months ago except I feel like Mula suits it better down to the additionally included sampling of “Pop Out” by Playboi Carti while “Spiral” angrily talking about running up to houses to put his gun in the mouths of whoever opens it. “Preacher” speaks of hooking up with the reaper & gangbangers repping his set while “Mercedez Brazy” takes a slower approach than the other singles.

The song “Blakk Bootz” winds down Kamp Krystl Lake’s final 8 minutes with an industrial trap sound talking about his preference of rockin’ an all black got while “Outlaw Squad” contains some of the goofiest vocals throughout the album comparing himself to a fugitive. “Circus Roaches” lastly ends things experimenting with a grungy rock outro talking about him trying to figure out all this shit happening recently while “Excalibur” starts the deluxe run going to war over a trap metal beat.

“Spin Class (Fitness for Opps)” cloudily promises to gauge out the eyes of those going against him while “GTA VI” references Rockstar Games’ upcoming action-adventure game of the same name. “Death from Above” talks about the sky & eyes turning red over a rap rock instrumental while “Walk ‘Em Home” boasting all his stacks are chrome. “Barbellz” featuring Ricky Hil intriguingly trades the mic back-&-forth with one another the final bonus track “M. Bison” has a bar referring to WWE Hall of Famer Mike Tyson.

None of SosMula’s solo effort have come close to Dogboy but surprisingly, Kamp Krystl Lake gives pretty good reasons as to why Ricky Hil signed him to Limosa Nostra Records & Atlantic Records ahead of 10,000 Grams. Maybe even the best Sleezy has sounded on his own ever, stylistically drawing from the trap metal sound City Morgue pioneered to cloud rap & alternative rock taking it’s themes after the iconic Friday the 13th franchise.

Score: 4/5

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Scatz – “F.T.O.S. II (Fuck the Other Side II)” review

This is the 8th EP from Flint, Michigan rapper Scatz. Introducing himself 3 years ago with his debut EP Kyriee Krazy followed by the debut mixtape Yung N***a World, his next 5 EPs SharkLoto, Gift of Gab, Yung Dirty Bastard, The Biggest & Yung Dirty Bastard all the following year caught the attention of Rio da Yung O.G. & signed the 6 Ward Lord to M.I.N.E. Entertainment behind bars. F.T.O.S. (Fuck the Other Side) celebrated its 1-year anniversary last month, so it makes sense for him to drop a sequel on Halloween.

“Talkin’ Dumb” featuring Rio da Yung O.G. starts with both them over a Flint trap instrumental spitting a whole bunch of gang shit whereas “Jog” works in some 808s & pianos referencing the WME Group-owned TKO Group Holdings division WWE’s secondary flagship program Friday Night SmackDown. “1 of 1” flexes that the body he hit with the switch has become unique in it’s own way just before “Can’t Forget” featuring 2800 Twin decently trades verses with one another.

We have Scatz understandably representing his squad on “It’s M.I.N.E.” for a good 2 minutes while “Cheddar Bob” references DJ Rec, who inspired the popular 8 Mile character of the same name. “Fluffy” featuring Baby TR delves deeper into the gangsta lifestyle taking 2 blocks & keeping only 1 while “Lulu” featuring Doonie talks about both of them having more stripes than the British luxury fashion house Burberry.

“Make a Bet” featuring FTOS Swan promises to walk victims down in Rick Owens instead of wearing Prada while “King of the Hill” give a nod to the Hulu serves of the same name set to premiere season 15 in 2026 in light of seasons 16 & 17 being ordered. “Facts” wraps up F.T.O.S. II (Fuck the Other Side) II with him talking about shooting up a crib every single week with the sole purpose of testing his groove.

Gotta be honest: As much as I enjoy the original F.T.O.S. (Fuck the Other Side) last fall, its spiritual successor feels a bit mediocre in comparison. I don’t mind the production nor do I have any criticisms with Scatz’ own performances, but the guest list is more inconsistent with only 1 of the 5 sticking out & that being none other than Rio.

Score: 3/5

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Heem – “Bars & Noble 3” review

Buffalo, New York emcee Heem closing the Bars & Noble trilogy with his 4th LP. Catching my attention in 2020 after becoming of a protege of Benny the Butcher & signing to Black Soprano Family Records, he also made a few appearances on the label’s showcase EP prior to dropping his debut mixtape Long Story Short & a debut EP High Art. His debut album From the Cradle to the Game came in the spring of 2023, coming off the sequel to Bars & Noble earlier this year to complete the final chapter.

The title track opens up with a boom bap instrumental talking about leaving anyone running their mouths on stretchers whereas “Bonettis” featuring Illy Foo finds the 2 discussing times getting harder trying right some wrongs. “Buffalo to Bompton” featuring Figg Newton joins forces for a moderate east coast/west coast collaboration with a bit of a small g-funk influence just before “$20 Stones” gets on his hustler shit over a sample.

“Redrum” moves forward by showing off his murderous tendencies advising that people near him better run for their lives when he pulls up to the spot while “Menace to Society 2” conceptually picks up where the Long Story Short highlight left off. “Foot Steps” featuring Z Baby finds the 2 expressing their desire to get up & grind leading into “$1 & a Dream” featuring Jamal Gasol optimistically talking about their day coming.

Jae Skeese joins Heem on the song “Graceful” starting the final leg of Bars & Noble 3 with my what could most likely by my favorite feature of the 5 in my personal opinion anyways asking to pray for them while “Family Tree” talks about his upbringings sampling soul music. “Warring Ave 2” finishes the trilogy with another sequel to a Long Story Short standout telling us more stories of him growing up in that very street of his hometown.

The original Bars & Noble was a solid dedication to all of the people in his circle who’ve been around since Day 1 & it’s sequel this spring at him at his wisest, but Bars & Noble 3 compared to it’s predecessors feels like a mix of both at times although the list of guests & some of the production doesn’t interest me all that much. By no means am I saying it’s wack, I simply prefer the earlier installments above this most recent one & that’s that.

Score: 3/5

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Tha God Fahim – “Dump Gawd: Hyperbolic Time Chamber Rap 19” review

Isn’t too surprising the 66th EP from Atlanta, Georgia emcee/producer Tha God Fahim would arrive on Halloween. Starting as an affiliate of Griselda Records & being 1/3 of the Dump Gawds alongside Mach-Hommy & Your Old Droog, we also can’t ignore the massive discography that he’s managed to build for himself, some of the standouts include Breaking Through tha Van Allen Belts & Dump Assassins. He’s been putting out amongst his best material in the past few years like the Camoflauge Monk-produced Dark Shogunn Assassin, the Nature Sounds-backed Iron Bull, the Nicholas Craven-produced Dump Gawd: Shot Clock King series, the Oh No-produced Berserko, the Mike Shabb-produced Dump Gawd: Rhyme Pays, Tha Supreme Hoarder of All Pristine Wealth, Supreme Dump Legend: Soul Cook Saga produced by Cookin’ Soul & Machine Gun Vocabulary produced by Cartune Beatz. Lethal Weapon 4 produced by Drega33 was the last time we heard Fahim on his own, making Dump Gawd: Hyperbolic Time Chamber Rap 19 the first since the season 2 premiere to be a solo effort.

“Not Ez” featuring Jay NiCE cautions that going against them will only backfire over a chipmunk soul instrumental whereas “Take the High Road” also featuring Jay NiCE works in some pianos to talk about being the new rulers of the game. “Grimsong” featuring Jay NiCE references WWE Hall of Famer Mike Tyson’s coke addiction prior to “Enchanted” setting the tone for the rest of the EP talking about immature styles not being a fraction of his power.

The song “Hexproof” nears Dump Gawd: Hyperbolic Time Chamber Rap 19’s conclusion cautioning not to ignore the factual combat found when dissecting tracks while “Mill 2” soulfully talks about this ongoing saga only being the tip of the iceberg as far as he’s concerned. “How Does It Feel?” finishes the EP by using some sampling technique a 1 last time looking to make a great impression whenever hits the stage.

Not too surprised that Jay NiCE appears during the 1st half or so of Dump Gawd: Hyperbolic Time Chamber Rap 19, but I could definitely say that this is the most that I’ve enjoyed an entry from the series ever since season 2 began over 4 weeks earlier. The production is prominently more drumless than Tha God Fahim’s last couple collaborative extended plays with the NiCEst of Immobilaire making boom bap a secondary influence & getting more abstract lyrically.

Score: 3.5/5

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Ransom – “The Reinvention” review

Here is the highly awaited 13th EP from Jersey City wordsmith Ransom. Coming up as 1/2 of the short-lived duo A-Team alongside Hitchcock, he branched out on his own in 2008 following their disbandment beginning with the full-length debut Street Cinema & the Statik Selektah-produced sophomore effort The Proposal. But it’s been safe to say these last couple years have been his biggest so far whether it be the 5 EPs that he put out produced by Nicholas Craven or 7 based around the 7 deadly sins, Heavy’s the Head produced by Big Ghost Ltd., the Rome Streetz collab album Coup de Grâce, Chaos is My Ladder, Director’s Cut 4 & Deleted Scenes 2. Lavish Misery produced by Harry Fraud was a step above Spare the Rod, Spoil the Child and MadeinTYO producing Smoke & Mirrors last summer was an exciting surprise, but The Reinvention produced by DJ Premier had me as excited The Coldest Profession almost 3 months earlier.

“Amazing Graces” begins with with a gritty piano instrumental talking about his style being so outstanding whereas “A Cut Above” works in some strings hoping that may the best man win lyrically. After the “Rap Radar” interlude, “Chaos is My Ladder” dustily welcomes anyone hoping to reach his level of lyricism while “Forgiveness” talks about going from broke to sipping champagne in Venice.

The song “Survivor’s Remorse” winds down the last few minutes of The Reinvention explaining that fake love always deceives along with the opinion of one not really trying to win if they’ve never taken a loss in their entire lives & the title track sends off the EP by advising those in attendance to prepare for his growth to he seen since they’re already stuck around to see the vengeance.

Representing a meeting of 2 master craftsmen whose fingerprints are woven into the DNA of hip-hop production & another who is recognized by peers & fans alike as one of the best pound-for-pound lyricists alive, The Reinvention showcases Ransom & DJ Premier joining forces to create a transformational musical experience that epitomizes the streetwise mentality realizing the journey’s just as important as the destination.

Score: 4.5/5

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730atMorning – “I Can’t STFU” review

This is the 9th extended play from Minneapolis, Minnesota rapper 730atMorning. Someone who would drop 3 EPs in 2022 including Pots*, untitled & Hi, I’m Alive. He would later follow it up with the Creeper EP, the 7:30* EP, the full-length debut Asphalt, the Guarded EP, the sophomore effort albeit Virgin Music debut Under the Bridge, the Rotten Fruit EP, his previous full-length Save Your Grievance & the almost inside EP. Coming off the Insiders tape however, he’s celebrating Halloween by admitting I Can’t STFU.

“Lessthan Lessthan” begins with a new jazz intro talking about his ego disintegrating whenever he looks at himself in the mirror whereas “Coastal” leans towards a heavy free car vibe instrumentally talking about being with a Mobile, Alabama woman. “Parasite” comes to the realization of him needing to start keeping his word more & after “Eek” talks about chasing money by refusing to sleep, “Dream” ends the 1st half experimenting with trap metal a bit.

As for “Roll”, we have 730 over a more synth-driven beat comparing his opps to DoodleBob & being booted up while “Check Touched” comes through with a 2-parter talking about being paid what was due. “Blank Face” was an exciting single realizing some things making more sense to him after mapping it out but once “U Don’t Love Like Me” splits itself into 2 separate sections speaking to a hot commodity, “Roket” ends the EP assuring that y’all don’t need to pray for his pockets.

Noticeably less cloudier & experimental than Insiders over the summer, 730atMorning still retains a prominent trap sound secondarily exploring the styles of rage, free car music, jerk & new jazz to result in what I’d say is debatably his 2nd greatest EP yet although it’s not better then either Insiders or Save Your Grievance for his finest 2025 opus. Nevertheless, I firmly believe the possibility of 1 Man Band & Context making bigger waves for him the following year continue to grow more likely.

Score: 3.5/5

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Big L – “Harlem’s Finest: Return of the King” review

Big L was a 24 year old MC from Harlem, New York known for his freestyling abilities & having some of the greatest punchlines in hip hop history. Making his debut under Columbia Records in the spring of 1995 with Lifestylez ov da Poor & Dangerous, the Children of the Corn & D.I.T.C. member would go on to start up his own label Flamboyant Entertainment & almost signed to Roc-A-Fella Records until he was murdered in 1999. The next summer, Rawkus Records would distribute The Big Picture (1974-1999) for Flamboyant & it would be equally beloved as the only LP of his lifetime to this very day. 139 & Lenox came out independently and RBC Records distributed The Danger Zone, but Mass Appeal Records is giving him a proper sendoff with his 5th & officially final album executive produced by Royce da 5’9 & the 5th entry of the Legend Has It series.

“Harlem Universal” featuring Herb McGruff produced by G Koop starts with a soulfully funky beat representing their hometown whereas the only single “U Ain’t Gotta Chance” featuring Nas finds the 2 talking about nobody standing a chance against them in lyrical battle. The first half of “R.H.N. (Real Harlem N****s)” is taken from one of my favorite Children of the Corn songs “Harlem Nights”, but then “Fred Samuel Playground” featuring Method Man shouts out the location of L’s mural over a Conductor Williams instrumental.

After an interlude during the first 45 seconds of “Big Lee & Reg”, we’re treated to a brief verse from Errol Holden, the luxurious beat that Lord Finesse cooks up on “All Alone” sticks out in being amongst my favorite throughout the LP talking about looking for a place to call his own while “Forever” featuring Mac Miller bittersweetly unites 2 greats who were taken from us way too soon. There’s also the “7 Minute Freestyle” featuring JAY-Z, which is still her in today as one of the greatest freestyles in the history of hip hop.

Joe Budden only provides a spoken word intro to kick off the “Doo-Wop ‘99 Freestyle” making way for L Corleone to flow all over a beat that gives me a bit of a Halloween atmosphere but after the “Don & Satcha” skit, the “Stretch & Bobbito ‘98 Freestyle” angrily promises to take competitors out their misery while “Grants Tomb ‘97 (JazzMobile)” featuring BVNGS & Joey Bada$$ historically pairs the trio to talk about the need to get back on a roll.

“Live @ Rock N Will ‘92” starts the final leg sampling some pianos flexing that people are hiding in protective custody because he can’t be fucked with while “How Will Make It? (I Won’t)” gets remixed from the Return of the Devil’s Son compilation. After the “Don & Sacha @ Inwood Hill Park” outro, the bonus track “Put the Mic Down” featuring Fergie Baby & the late Party Arty finishes L’s coda with them over a Showbiz & Ron Browz instrumental.

Although I can’t say I’m not too surprised that there are some moments throughout Harlem’s Finest: Return of the King that I’ve already heard because neither Big L or Biggie a.k.a. The Notorious B.I.G. had the same work ethic 2Pac had, I did enjoy this better than I thought I would. Primarily since it does the Flamboyant Entertainment CEO’s memory & legacy better than some of these compilations we’ve been getting out of his camp for the last quarter of a century, which is all I asked & could’ve hoped.

Score: 3.5/5

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SABA – “C0FFEE!” review

Chicago, Illinois emcee/producer SABA celebrating Devil’s Night with a brand new EP. The co-founder of the Pivot Gang collective a decade back, he broke out in the fall of 2016 off the solo debut Bucket List Project & the follow-up CARE FOR ME was where his potential would be put on a much more broader display. Few Good Things was a better version of Cordae’s sophomore effort From a Bird’s Eye View coming off From the Private Collection produced by No I.D., he’s grabbing himself a cup of C0FFEE!.

“How Many X?” begins by asking all sorts of questions like the amount of times this woman had broken his heart or if she even wants give his love a chance & after the “don’t be long” interlude, “my bro” featuring Senite jazzily talks about charming a woman he fell for more than once. The self-produced “Looking for Parking” shows off his singing abilities hoping his girl ain’t tired after pulling up to her complex while “Today Years Old” talks about not being like others.

Starting the 2nd half, “high tides” discusses all the hues in his life get so bright for the moment just before “itachi” after the “supplier” interlude talks about trying to stay sane despite that not being so easy because of the turmoil unraveling in front of us these past 9 months. “TICTACTOE” lastly finishes the EP with him starting to miss phone calls & texts from a female he’s no longer on speaking terms with realizing that some shit is better off being let go of.

It doesn’t really surprise me that coming off the most beloved full-length of SABA’s career this spring, C0FFEE! would embrace an experimental sound & get more abstract with his songwriting. However even with all these interesting creative ideas floating around, I don’t find myself coming back to it as much as From the Private Collection because there are a few key moments where some of these tracks don’t feel fully fleshed out.

Score: 3/5

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