Che Noir – “No Validation” review

Buffalo emcee/producer Che Noir staying busy with her 10th EP. Discovering her after 38 Spesh signed Che to TCF Music Group & fully produced her first 3 EPs, her Apollo Brown-produced full-length debut As God Intended & then her self-produced 4th EP After 12 during the 2nd half of 2020 was where her potential began to blossom exponentially. She has since followed this up with the sophomore effort Food for Thought as well as The Last Remnants, the Big Ghost Ltd.-produced Noir or Never, The Color Chocolate, The Lotus Child & the Superior-produced Seeds of Babylon. The Color Chocolate 2 kicked summer off in full gear a couple months ago with a sequel that I liked more than the original & needs No Validation at this point.

“Incense Burning” kicks it all off with an angelic boom bap instrumental from The Other Guys feeling like she’s finally found her tempo whereas the jazzily dusty “Smooth Jazz” featuring 38 Spesh talks about their self-education regulating their street abilities. “Sugar Water” keeps the jazzy boom bap vibes going to speak on the real ones rising while “Moroccan Mint” featuring Jae Skeese talks about never folding because of the wisdom they teach.

Ransom & Skyzoo join Che on the crooning “Katastwof” explaining that it ain’t really a journey if there’s no specific destination intended leading into “Dollar Tree” featuring Skyzoo & Von Pea talking about having it all despite not needing much. “Ego Trips” keeps it in the basement instrumental not having it because she controls her destiny & “Susie” featuring Smoke DZA talks about a woman acting like the character from the Paramount Skydance Corporation-owned Nickelodeon series Rugrats.

Making a mission statement for those who know what they bring to the table with or without applause, Che Noir & the curated lineup of elite lyricists that joins her side navigate themes of legacy as well as resilience & self-worth over the soulfully signature analog rich production style that Mighty Joe & Isaiah or The Other Guys have become known for with each guest MC adding their own signature flavor to the Poetic Movement Records founder’s reflective world.

Score: 4.5/5

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Kwamé – “The Different Kids” review

Queens, New York emcee, producer & singer/songwriter Kwamé making a comeback after over 3 decades with his 5th studio LP. Signing to Atlantic Records in the late 80s, his debut The Boy Genius & the conceptual sophomore effort A Day in the Life: a Pokadelick Adventure would both become well received in their own rights, although I can’t the same for either Nastee or Incognito. Now commemorating the 10-year anniversary of his own label Make Noise Recordings, the East Coast veteran is returning & has brought The Different Kids with him after signing a new distribution deal with Virgin Music.

“The Kwamé Show” is a sample-heavy intro talking about how there ain’t nobody like him almost 4 decades into the game but after the “Mom’s Grocery List” interlude, “Hello / Anybody?” moves forward with a 2-parter getting caught up in his zone. “Stroke Dif’rent” after the “3:00 AM” interlude goes for a funkier vibe talking about The Different Kids ruling the world leading into the “You Don’t Work Hard” interlude.

Meanwhile on “Adulthood”, we have The Boy Genius taking the boom bap route instrumentally welcoming listeners to the state of full maturity while the danceable “Lemme Git (All Owt)” asks where the inner strength is because of all this weakness. “No Way, Go Away” gives off a bit of a soulful edge refusing to waste his energy on bullshit leading into the single “Ms. Mary Mack” showcasing his wordplay abilities.

Lady Tigra gets her own song with the 68 second “Ole Skool Rappah” talking about her traditional values when it comes to MCing while “Nobody” sampling “La Di Da Di” by Slick Rick so he can stay in his lane. After the “New Beginning” interlude, “Kwamé 2 Kwamé” dabbles with electronics for a message from his future self while “There Eye Go” ends by talking about not needing a reintroduction.

Displaying several facets of Kwamé’s multi-hyphenated artistic personality, The Different Kids coincides with the new Rakim EP The Re-Up produced by Big Ghost Ltd. as another example of hip hop’s pioneers returning after a decade or over of inactivity to make quality additions to their discographies that further cement their longevities improving from both Nastee & Incognito. He blends witty braggadocio, captivating storytelling & occasional social with precisely dexterous flows & production that details his resilient creativity.

Score: 4.5/5

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Joey Bada$$ – “Lonely at the Top” review

New York City emcee, singer & actor Joey Bada$$ making up for the delays of his 4th LP. Emerging as a founding member of the Pro Era & Beast Coast collectives, his debut mixtape 1999 under GoodTalk Records has gone on to become a classic & Summer Knights was a solid prelude to his full-length debut. B4.DA.$$ eventually came on his 20th birthday & lived up it to it’s expectations by expanding on the vibes of 1999, although the sophomore effort ALL-AMERIKKKAN BADA$$ unquestionably became the most political he’s ever been & 2000 would’ve been a perfect 10 if “Welcome Back” was left off of it. Set to come out earlier this month, Columbia Records has finally letting him tell the world what it’s like for him being Lonely at the Top.

“Dark Aura” produced by Chuck Strangers was a great gangsta/jazz rap single & a better intro choice talking about how nothing can be done regarding his return whereas “Swank White” featuring Westside Gunn works in some heavy sampling to reference former TNA World Tag Team Champion, 3-time IWGP USヘビー級チャンピオン & IWGPタッグチャンピオン Juice Robinson of former AEW World Trios Champions & ROH World 6-Man Tag Team Champions Bullet Club Gold a.k.a. the Bang Bang Gang.

The instrumental Kirk Knight cooks up on “Supaflee” feels reminiscent of the iconic N.O.R.E. single “Superthug” produced by the production duo of all-time The Neptunes & it’s a dope homage if that’s the intention prior to “Highroller” featuring A$AP Ferg teaming up over a boom bap instrumental from Boi-1da so they can talk about blowing the bag. “Ready to Love” combines pop rap & boom bap seamlessly with the help of Hitmaka leading into “BK’s Finest” featuring CJ Fly, Kai Ca$h & Rome Streetz repping their borough over a Statik Selektah beat.

“Underwater” finds himself occasionally feeling trapped & being unable to break free, which may or may not be related to Columbia Records delaying Lonely at the Top earlier this month. Regardless, “3 Feet Away” moves forward with a more trap direction instrumentally talking about putting trust in God just before “Speedin’ Through the Rain” gives off a jazzy boom bap vibe thanks to Jay Versace keeping his foot on the gas pedal traveling the road to riches.

The penultimate song & final single “Still” featuring Ab-Soul removes the jazzier elements of the previous joint talking about knowing that their artistic successes were destined while the title track homages the title track off Gang Starr’s masterpiece Moment of Truth. “ABK” deserves an acknowledgement too because of its fusions between hardcore hip hop, hyphy & boom bap even though it didn’t make the final cut. And of course Jelly Roll revealing the Lonely at the Top cover weeks prior to him tagging with former 14-time WWE world champion, 4-time WWE tag team champion, WWE Intercontinental Champion & WWE United States Champion Randy Orton at SummerSlam XXXVIII.

By far one of the craziest moments of 2025 was when Joey Bada$$, CJ Fly, Kai Ca$h, Jae’Won, Ray Vaughn, Reason, AZ Chike, Daylyt & Hitta J3 were all trading diss tracks with one another in May & the founding Pro Era member gears up for an upcoming album fully produced by Statik Selektah to come out of the vault with a tight collection of songs culminating in hardcore hip hop, boom bap, jazz rap, pop rap, trap & gangsta rap that are still worth your time even if it’s not up to par with 2000.

Score: 4/5

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Rakim – “The Re-Up” review

This is the 2nd EP from pioneering Long Island, New York emcee/producer Rakim. Notable for being 1/2 of the seminal golden age duo Eric B. & Rakim, they put out 4 classic albums together from the mid-80s to the early 90s, with their debut Paid in Full & the sophomore effort Follow the Leader laying out the groundwork for future generations of hip hop to come. Kid Wizard eventually went solo in late ‘97 signing to Universal Music Group for an acclaimed debut The 18th Letter & the follow-up The Master while not as acclaimed still received positive feedback. Reception to The 7th Seal a decade after The Master was more mixed due to the lackluster production although the lyricism was certainly praised & G.O.Ds Network (REB7RTH) was a step in the right direction despite the heavy features, but Big Ghost Ltd. producing 2 new tracks on The Re-Up minus the 7 remixes raised my expectations greatly as a fan of both him & The God.

“I’m Good” makes for the only track of the 2 piece that doesn’t have a guest on it, but The God still delivers on the mic nonetheless over a boom bap instrumental from none other than the The Hands of Zeus himself whereas the final song consisting of brand new material & it’s sole single “Not to Be Defined” featuring Lazarus is also the sole moment that Big Ghost didn’t produce, leading it up to Dem Jointz showing the rhythm of the souls in both lyricists’ hearts.

I’m only gonna rate this purely based on the short batch of material that we got from The Re-Up because 1 thing that I wanna make clear is that the 5 remixes from G.O.Ds Network (REB7RTH) rival the original versions from the previous EP that I prefer more since that was all new material. Nevertheless, I still believe that the 3 newly recorded cuts are worth mentioning because they continue to exemplify that Rakim is still The God almost 4 decades later. G.O.Ds Network (REB7RTH) 2 has been said to have lesser guests than the predecessor & if that’s true, it could be on The 18th Letter caliber.

Score: 3.5/5

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Tezzus – “I Phønk, U Phønk” review

Atlanta, Georgia rapper Tezzus ending August with his 3rd EP of the month & his 6th altogether. Introducing himself with his first few EPs Hard2Kill as well as Hellraiser & Everyday’s Halløween, his debut mixtape Tezzus Khrist last holiday season would significantly elevate his profile locally as did the handful of appearances he made on The XA Tape earlier this year. Coming off his new Søufside collaborative EP with Percaso as well as Backrooms & more recently King Phønk, he’s preluding his upcoming blues project by dropping I Phønk, U Phønk exclusively on SoundCloud.

“Who” featuring Baby Osama opens with a rage instrumental from tana talking about their partners calling them to come back home whereas “Woo” gives off an eerie trap vibe to assure that he’s coming for throats. “Lucid Dreams” fuses hypertrap & phonk so he can talk about the realistic dreams he’s been having of fucking this bitch leading into “Heartbreak King” rounds out the EP by dabbling with chopped & screwed.

Only less than 3 weeks away from his said blues project, Tezzus decides to experiment with sounds for a good 9 minutes venturing out from the both of rage & phonk styles he blew up off of to incorporate elements of standard trap along with chopped & screwed. For only 4 songs, it’s still a worthy testament to his bold artistry & knack for going outside of the box.

Score: 3.5/5

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Westside Gunn – “Heels Have Eyes II” review

This is the 13th mixtape from Buffalo, New York emcee, songwriter, entrepreneur, curator & now professional wrestling promoter after forming the 4th Rope independent circuit promotion Westside Gunn. Proving his legend status & that he’s to be a force to be reckoned with all in nearly a decade whether it be running one of the hottest hip hop labels in recent memory to his first 2 full-lengths FLYGOD & Supreme Blientele. The success of the 4th Rope promotion has included 2-time RoW Heavyweight Champion Zilla Fatu becoming the inaugural 4th Rope Heavyweight Champion carrying on the legacy of his late father in former AJPW世界タッグチャンピオン, FMWハードコアタッグチームチャンピオン and 2-time WWE Intercontinental Champion Umaga as well as former 2-time WWE Cruiserweight Champion Real1 becoming the inaugural 4th Rope Flyweight Champion and even the current 4-time TNA World Tag Team Champions The Hardy Boyz becoming the inaugural 4th Rope World Tag Team Champions, releasing a sequel to Heels Have Eyes.

“Heel Cena” after the “Bommes des Garçon” intro references 17-time WWE world champion, 4-time WWE tag team champion & 5-time WWE United States Champion John Cena’s short run as a heel over a vintage boom bap instrumental from CG whereas “Amira Kitchen” featuring Brother Tom Sos jazzily talking about everything working because God said it would. “Powerhouse Hobbs” featuring Benny the Butcher has to be one of the the grimiest moments here thanks to Denny LaFlare giving a nod to the current AEW World Trios Champion & former AEW TNT Champion alongside former 2-time AEW International Champion Will Ospreay leading into Conductor Williams sampling “Can You Lose by Following God” by Johnnie Frierson for “Mandela” & FLYGOD flowing all over it.

Stove God Cooks joins Westside Gunn on the Harry Fraud-produced “Brikolai Volkoff” referencing none other than the late WWE Hall of Famer & former WWE Tag Team Champion Nikolai Volkoff while “Aunt Gina” featuring Skyzoo dedicates itself to all type of people that they know from those in prison to brick movers. “Glowrealah” gives off a hypnotic boom bap vibe talking about possibly getting him a country chick just before “Prick” featuring Brother Tom Sos kicks the pianos back in effect talking about seeing dope fiends & broken dreams.

The song “Demna Left Balenci” begins the final leg of Heels Have Eyes II with DJ Muggs chopping up a soul sample & a bar referring to another current AEW World Trios Champion & former 2-time AEW TNT Champion Samoa Joe in addition to his reign as AEW World Champion while “Blow Hendry” featuring MIKE drumlessly references former TNA World Champion & the longest reigning TNA Digital Media Champion Joe Hendry, whom I had the pleasure of meeting at Astronomicon 8 this spring. The tape finishes with a sequel to the “Love U” interlude off Hitler Wears Hermes VII being used as an outro this time.

In no way am I trying to discredit the projects that followed Hitler Wears Hermes X because I enjoy And Then You Pray for Me for his attempt at experimenting with trap & Hitler Wears Hermes XI this past Valentine’s Day even if I still maintain that it felt more of a Peace FLYGOD sequel, but Heels Have Eyes II contains some of Westside Gunn’s greatest performances since what was originally the concluding chapter of his infamous mixtape series that continues today going back & forth between drumless & boom bap production with 5 other guests whose pen-games are individually unparalleled.

Score: 4.5/5

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D Smoke – “Wake Up Supa” review

This is the 4th studio LP & Death Row Records debut from Inglewood, California emcee/producer D Smoke. The older brother of R&B singer/Top Dawg Entertainment signee SiR, he made his full-length debut in almost 2 decades ago with Producer of the Year & re-emerged in 2019 off his debut EP Inglewood High & the Grammy nominated sophomore effort Black Habits. His last album Wars & Wonders broke down what it was like for him growing up in the City of Champions & has returned almost 4 years later for Wake Up Supa.

The title track with co-production from Terrace Martin drumlessly talks about people not listening to correction & shining when it comes to connection whereas “Na Na Na” featuring LaRussell finds the pair feeling like no one can tell them shit over an instrumental from both Larrance Dopson of 1500 or Nothin’ & Turbo. “No Passes” works in a heavy sample courtesy of Mike & Keys to drop some gas on these bitch asses leading into “Chin Up” talking about not letting anyone smaller than him outbox him.

“Fire” moves forward with a self-produced reflection on choosing a path different from the bloods & crips just before “Biscuits” featuring Nana & WWE Hall of Famer Snoop Dogg asking God for Him to bless their visions & carry them from insanity. “Count Cha Blessings” featuring Jane Handcock takes a smoother approach instrumentally talking about focusing on the Ws more than the Ls while “Energized” refuses to let anyone steal his energy & dismiss them in the coldest fashion.

Lucky Daye joins Smoke on the soulful “Frequency” talking about needing love, support & encouragement along with asking why they keep getting declined whilst seeking a silver lining while “Jackie’s Triumph” strips the drums again so he can tap into his storytelling abilities lyrically. “Stomp” featuring Miles Minnick continues the sampling to talk about stepping on Satan while “Proud of You” produced by DJ Battlecat tells the individual it was written towards that he’s been watching them & that he’s pleased of them.

“Good Morning” nears the conclusion of the LP by stating that he doesn’t think anything will get the attention of those sleeping on him if Wake Up Supa doesn’t & the final song “So Good” ends the Rhythm + Flow season 1 winner’s inaugural release through Tha Row with a funky drumless outro talking about looking around & refraining whenever he feels like complaining because he’s ok as long as he’s still alive.

If you preferred Black Habits over Wars & Wonders by a slight margin like the majority of people, you’re probably gonna like D Smoke’s highly anticipated debut under Death Row Records as much if not more coming exactly 2 years since he became the 4th artist to sign with the most controversial record label in history’s current incarnation. Primarily because I feel like the conscious hip hop & R&B fusions that made him break out a month prior to the beginning of the COVID-19 pandemic are being purified as he opens a window to his self-aware perspective.

Score: 4/5

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untiljapan – “BornUnderPunches.” review

Here is the 6th EP from Atlanta, Georgia recording artist untiljapan. Putting out his last 5 EPs & landing a feature on “light ice” off Sk8star‘s 2nd mixtape whole new meaning, it wasn’t until his own full-length studio debut album Safe Travels where he established himself as an up-&-comer in trap, emo rap, cloud rap, alternative R&B & neo-psychedelia that landed him a contract with Interscope Records. His sophomore effort Trompe-L’oeil almost 3 months since it dropped has become one of the most beloved trap albums of the year, uploading BornUnderPunches. on SoundCloud without any warning.

“SoClose” starts with a rage beat talking about being here to take the throne & all the hoes whereas “NeverForget” doesn’t shy away from admitting he’s got lot of drugs running through his body & wanting money instead of rules over a CXO instrumental. “AcceptingMyFlaws” produced by Clayco & OPM BABI finds himself wanting this woman he’s been seeing to be truthful for once while “SayPlease” talks about feeling like he’s living every day the exact same.

To begin the 2nd half, “Showin’” samples “You’re Always on My Mind” by SWV keeping rounds of guns & sluts on him while “FuckedUpPeople” talks about the people he grew up around. “GunPowder” speaks on seeing somebody for who they really are while “PeopleNeverChange” talks about his gang going crazy in the back. “RealFunk” finishes BornUnderPunches. sampling “Cha Cha Slide” by the late DJ Casper cooking down those playing with fire.

Rather than sticking to the rich lusciousness than made Trompe-L’oeil the beloved major label debut it’s been rightfully hailed as being almost 90 days after if initially came out, the production on this EP sees untiljapan taking a more firm direction regarding the modern trap sounds that’s caused many heads to be turned these past 23 months although the usage of samples are equally impeccable as the predecessor earlier this summer.

Score: 4/5

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Wildchild – “Child of a Kingsman” review

Oxnard, California veteran Wildchild hitting us with his 5th album. A member of the Lootpack alongside DJ Romes & one of my top 10 producers of all-time Madlib, his first couple solo efforts Secondary Protocol & Jack of All Trades under Stones Throw Records & Fat Beats Records respectively, although T.G.I.F. (Thank God It’s Funky) & Omowale would be received more moderately in comparison. Regardless, I still went into Child of a Kingsman hoping for it to be his best since Jack of All Trades.

“A Kingsman’s Flowers” begins by take everyone on a trip down memory lane in order to explain the definition of a kingsman whereas “Season of Kingsmen” produced by Nottz talks about preserving hip hop since he like many holds it dearly to his heart. “Change for My 2¢” heads for a jazzier direction instrumentally to make some powerful social commentary just before the synth-heavy “Wing Chun” talks about remaining undefeated.

Things take a funkier turn on “Multiverse” feeling as if the boom bap in him has been restored whenever his feet touch the floor leading into “Bat Signal” talking about how he don’t play. The beat Nottz whips up on “Mr. Pinocchio & Positive People” feels reminiscent of the late J Dilla touching base regarding crooked cops while “Freedom Riding” talks about the late John Lewis.

“Black Man Blues” turns the jazz influences back up so he can break down the hardships of being an African American feeling as if his glory is trying to be silenced & after the “Where the Poem Lady?” interlude, MAYAH takes over a good portion of the vocals during “Kingsmen” for a neo-soul jam continuing the themes of preserving the culture’s 4 elements & the overlooked element of knowledge.

The song “My Utopia” brings a drumless guitar beat into the picture describing what a perfect world would look like to him & after the “Brown Identity” interlude, “Welcome Home” ahead of the Antwone Fisher outro officially completes Child of a Kingsman by recapping a trip that Wildchild took to Soweto, South Africa with the MC/producer superduo Liberation.

Conceived during his time away from making music to focus on being a father, Child of a Kingsman stands out as potentially the finest example of Wildchild’s ability to make room in his songs for other artists to shine. Blending jazz & neo-soul together, he makes it a commitment to unify cultures through music & paying homage to all of hip hop’s veterans with intricately powerful songwriting.

Score: 3.5/5

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Hand Habits – “Blue Reminder” review

This is the 4th studio LP from Amsterdam, New York singer/songwriter Hand Habits. Following their first 5 EPs & of course the last 3 albums, they would go on to sign with Fat Possum Records for their last EP Sugar the Bruise to moderate reception although I personally thought it was Meg’s strongest one yet. They’ve put out a small handful of singles already to generate buzz for Blue Reminder, which is Fat Possum’s first offering in over 3 months & their first full-length under the label.

“More Today” sets the tone with a crossover between indie rock & singer/songwriter feeling like their romantic interest’s words are tearing her apart in a good way whereas the lead single “Wheel of Change” maintains both elements of the previous track & combines them with alt-country & folk rock to sing about needing their lover now more than ever.

As for “Nubble”, we have Meg fusing alt-country & dream pop together confessing that they feel like life has been treating her well outside of a few regrets they has just before “Dead Rat” recaps a true story of a mouse’s corpse rotting away from within the walls of their own home & advising people to let nature take it’s course.

“Jasmine Blossoms” was a great b-side to the latter single depicting the contradictions between the neighborhood of Mount Washington out in Los Angeles, California as well as the horrifying things one may come across on social media & the TV news stations leading into “Way It Goes” singing about the ups & downs of a relationship.

After the jazzy piano heavy “(Forgiveness)” instrumental composition, “Beauty 62” shows a bit of a Bob Dylan influence singing about finding beauty within all the chaos while the 4th & final single “Bluebird of Happiness” draws inspiration from the extensive amount of time Meg had spent on the road.

The title track easily sticks out as the most emotional & confessional moment on Blue Reminder wanting to prove that the love they have for their partner is true by doing literally anything over more keys while “Quiet Summer” sings about wanting to lie down during a warm evening around this specific time of the year. “Living Proof” wraps it all up with a subdued tone admitting they never knew what love could do.

Walking an emotional tightrope between hope & quiet anxiety, Hand Habits’ 2nd offering under the Fat Possum banner departs from the insularity that their previous material had become known for & it takes over Wildly Idle (Humble Before the Void)’s spot for Meg’s greatest LP of the 4. Their indie rock & singer/songwriter production has evolved greatly almost a decade in pulling from indie folk, slowcore, folk rock, americana, alt-country & dream pop to thematically attach itself to the idea of committing in many ways.

Score: 4/5

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