Beck – “Ride Lonesome” review

Beck is a 56 year old musician, singer/songwriter & producer from Los Angeles, California who released his full-length studio debut Golden Feelings & Stereopathetic Soulmanure independently until signing to DGC Records for his most celebrated opus Mellow Gold preceding 1 Foot in the Grave. Odelay, Mutations, Midnite Vultures, the Geffen Records-backed Sea Change, his Interscope Records debut Guero, The Information & the Danger Mouse-produced Modern Guilt were all equally praised although his ongoing Capitol Records tenure has been hit or miss. Coming off Morning Phase as well as Colors & the Pharrell-produced ハイパースペース, the Fonograf Records founder’s back for a self-produced 15th studio LP.

The title track combines singer/songwriter, contemporary folk, Americana & alt-country for a melancholic take on loneliness whereas “Run Away” pleads for this individual not to leave, assuring there won’t be anything left to say whenever the apocalypse comes. “In the Night” explores chamber folk, singer/songwriter, art pop, Americana, chamber pop & folk rock so he can sing about lost love while “Failed Words” yearns to turn the world back to be with this individual 1 last time.

“Disappearing Act” blends singer/songwriter, chamber folk & art pop for the 3rd & final single tackling the unknown just before “For Your Love” kicks off the 2nd half of the album incorporating some strings to sing about wandering ruins only because of the affection Beck has for this person waiting down in the lowlands. “Slow Canyon” acoustically continues from there yearning to meet his lover inside a hurricane while “It Ends Right Here” sings about putting a stop to the search for this person he’s addressing.

Winding down the last leg of Ride Lonesome, the song “Falling Through My Hands” gently describes this lover who Beck met at a point in his life where he felt like he was sinking considering her a martyr of the battle while the piano-driven “If You Don’t Know What Love Is” sings about not knowing anything at all in response to the idea of not understanding the concept of love itself. The closer “Beyond the Light” spends the last 5 & a half minutes taking inspiration from Americana again asking if his partner remembers the dying of the light when the sun set on their love.

Some people didn’t think Beck would make anything as great as Modern Guilt ever again considering the mixed reception of his output in the last 2 decades, but he finally did it with Ride Lonesome. His production ditches the synthpop, alt-pop, dream pop, neo-psychedelia & electropop experimentations of it’s predecessor in favor of embracing the sounds of alt-country, singer/songwriter, art pop, chamber folk, contemporary folk, Americana, chamber pop & folk rock reminiscent of Morning Phase & Sea Change’s rich atmospherics for a reflective return.

Score: 4.5/5

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Eastside Ninjas – “The Return of the Lotus” review

This is the sophomore effort from Detroit, Michigan quartet the Eastside Ninjas comprised of Jamie Madrox, Monoxide, Blaze Ya Dead Homie & Anybody Killa. All 4 of whom broke out after the Insane Clown Posse signed them to Psychopathic Records in the late 90s/early 2000s, they would eventually form a Pact of the 4 following the formation of their own labels Majik Ninja Entertainment, Grundy Entertainment & Native World Inc. respectively. A Return of the Lotus was announced this summer & was highly skeptical because 2 of the most important petals being missing.

After the intro, “Shadow” produced by Fritz the Cat & Grady Finch combines trap & rock so they can spit the wicked shit talking about death still following them whereas “Eradicate” embraces a darker atmosphere instrumentally admitting to being no good. “Wolves” discusses being left to die only for them to survive an encounter with a pack of carnivorous mammals just before “All of My Words” continues from there finding the Ninjas pleading for the universe to lift this curse off their intestines.

“Resilience” reaching the midway point of the LP showing strength of spirit in their characters when being spoken down upon leading into “Mummified” turning the rap rock influences up so they talk about not being free as long as their corpses are hanging on. “Thoughts Lethal” keeps the guitars in tact breaking down their individually fatal minds while the only single “I Kill ‘Em Better” decently talks about the animalistic monster living within every single one of us.

The song “More Like Control” speaks of never giving up regardless of all the nonsense people would like to try sellin’ ‘em while the rap rock-tinged “Down 4 Life” poses the question of whether or not people would still support them after the situation with Majik Ninja’s ties to Psychopathic being severed almost a decade ago & as much as some would like to say yes, this album has caused reasonably more alienation than their 2020 attempt at reviving the Psychopathic Rydas. “Walking Disaster” spends the last 4 minutes talking about things not going their way with those they used to follow.

I really hope neither Twiztid or Drive-By take my criticisms of The Return of the Lotus personally because as someone who’s always stuck by them after leaving Psychopathic over a decade ago, this feels like an Eastside Ninjas sophomore effort that’s more wicked than the Pact of the 4 because it truly isn’t Dark Lotus without ICP hence why it could likely become the worst entry in MNE’s catalog. Outside of excluding Juggalo Championship Wrestling (JCW) Commissioner Violent J & the shortest reigning JCW World Juggalo Heavyweight Champion Shaggy 2 Dope’s crucial roles for obvious reasons or even the tolerable production, it’s simply no different than when D-Loc dropped that 25 to Life solo album under the Kottonmouth Kings name.

Score: 1.5/5

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9 Vicious – “Sedition” review

Here we have the 2nd mixtape from Atlanta, Georgia rapper & producer 9 Vicious. Breaking out in 2024 off the single “U Fancy” despite releasing his debut tape Naz in 2020, he would go on to further introduce himself on B4SA & the full-length debut Studio Addict helped him gain more exposure to the point where Young Thug signed him to YSL Records after B4TM dropped & Tumblr Music wasn’t that bad of a debut for the label other than “Clout Demons”. B4FN & For Nothing have both become the best things he’s made since the YSL deal, leaving when the Uy Scuti Bøyz consisting of diamond* & Tezzus signed. B4EM & Emotions were both welcomed to mixed reception, coming off his beef with che & Ken Carson recently dissing him to drop Sedition ahead of Sex Money Power & Life’s Beautiful.

“Anytime” begins with a rage beat from Patrick Garza for some mediocre gangsta rap bars whereas “Cracker” obnoxiously talks about him having sex with a white person. “Mind Racing” rambles on regarding a woman who he’s constantly thinking of & claiming to be the biggest in the game leading into “Sing to Your Heart” includes a hilarious bar about him having a good heart considering all of the controversies he’s constantly getting himself in.

As much as I love Patrick’s instrumental on “Roq & Kobe”, I can’t say the same for 9’s lyrics claiming to be freakier than Kevin Gates or having a girl who “eat the dick like a big back” while “Classy Girls” preludes Sex Money Power in the midst of talking about his women having class. “Stranger Things” denies OsamaSon’s claims that he pulled up to his house to end the 1st half of the tape while “Ace & Nicky / Casino” opens up the 2nd leg with a 2-parter.

“Chateau Moment” talks about pulling up to the wedding venue out in Clayton County with a bunch of hoes by his side while “Zone 3” splits itself into 2 separate portions touching base regarding his wealth. “Fuck Flags” responds to the backlash he got for waiving an Israeli flag onstage at a show in Prague a couple months ago while “U.O.E.N.O.” featuring NDO D homages the Rocko single of the same name that came out back when I was in high school.

The song “Sardinia” winds down Sedition’s final moments talking about being out in Italy with his toes out & a couple baddies accompanying him while “Go Bestie” produced by R8 of Vanguard Music Group discusses having sex in the back of a car & spending 20 in exchange for a neck piece. “To Be Continued” sends off the tape with 1 last 2-parter talking about all of his struggles fading away whenever he looks in the eyes of his partner & encouraging her not to let anyone else convince her she isn’t the biggest.

It is somewhat refreshing for 9 Vicious to let Patrick Garza handle most of the cloudy trap/rage production aside from R8 doing the last couple joints & a few other exceptions but unfortunately, Sedition doesn’t stick out any more than Emotions did although in no way shape or form does that imply that I’m looking forward to Sex Money Power whether it drops within the newest or in 2027 mostly because of the below average songwriting & of course his antics.

Score: 1.5/5

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Tha God Fahim – “Lethal Weapon 5” review

Yes, we have a new extended play & the 76th overall from Atlanta, Georgia emcee/producer Tha God Fahim. 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 tetralogy, 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, Slam Dump alongside it’s sequel, the self-produced Ultimate Rapper 5000 Guillotine & of course the historic Dump Gawd: Hyperbolic Time Chamber Rap anthology. However, he’s running it back with Drega33 for a 5th installment of the Lethal Weapon series.

“Lethal Weapon” hooks up a sample-driven boom bap instrumental talking about haters trying to decline the mastermind now that he’s been reactivated whereas “Vega” strips the drums to explain his whole function being leaving deathtrap in both the rap game & the trap. “All I Know” expresses his desire of trying to make millions & the wrong move resulting in facing time while “Times of War” soulfully talks about harmony coming before conflict sometimes.

Kicking off the 2nd half, “Verses N Curses” continues the sampling so Fahim can sling lightning while “New Life” featuring Jay NiCE jazzily talks about doing this shit for the next generation. “Stimulate the Mind” treads the drumlessly jazzy, soulful waters speaking of keeping his head high because he’s the chosen one until “Wear Fear n Love” concludes Lethal Weapon 5 talking about defining greatness as opposed to it defining him.

It’ll be almost 7 months since I last covered Tha God Fahim when Slam Dump 2 came out, which I’m not gonna beat around the bush admitting the reasons for being because neither The Blacker the Berry or Tha Nighthawk Chapter impressed me like his past material AND I felt like a break having reviewed him literally dozens of times in only a few years. Lethal Weapon 5 on the contrary has me more optimistic of his output ahead of Fanonmenal later this month from the improved production to the focused performances.

Score: 4/5

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WRLD Tour Mafia – “For the Fans” review

New surprise extended play from Detroit trap outfit the WRLD Tour Mafia consisting of Rafa, DaeMoney, WTM Solid, WTM Miles, WTM Re, WTM Amex & WTM Bankroll. Originally forming in 2019, they dropped their debut mixtape World Tour Mafia or Die a couple summers later followed by Tourmania the fall after that & the Mob Ties EP. Tourmania II marked DaeMoney’s final appearance as a member until his initial departure, returning after Blood, Sweat, Tours & C.$.B. (Cross $tate Boys) strictly For the Fans.

“Common Name” by Rafa & WTM Solid starts us off with both of them trading bars with each other whereas “Tour Signs” by DaeMoney, Rafa & WTM Miles produced by the latter alongside LulRose gets back to basics reppin’ the team. “Never Seen B4” by WTM Re & WTM Solid talks about pulling off shit they haven’t done previously but once “Quarter Zip” by Rafa & WTM Amex gets on their gangsta shit together, “Goated” ends the EP with a proper posse cut.

These guys’ last couple of full-lengths each have their fair share of tracks I still revisit even if I wouldn’t rank either of them in the same category as the Tourmania series & For the Fans dethrones the original Mob Ties to become the WRLD Tour Mafia’s greatest EP, putting all the bullshit Rafa had with Slae aside for a celebratory reunion over this tight collection of beats catered to none other than the Detroit sound giving the world only a taste of what we can expect from them hereon out.

Score: 4/5

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bleood – “Haunted Hills” review

This is the 5th extended play from Floridian recording artist bleood. Someone who’s debut EP Seal of Memories came out in the fall of 2023 followed by a handful of a-side/b-side singles preceding the Rascal 51 as well as Pain & How Bleood Stole Xmas EPs respectively. Case in point: You Don’t Need Your Skin or the divisively received IDK I Can’t Say. Coming off both the Kill of B Killd & Protagonist EPs however, the wait until his debut album Kill Your Idols continues with Haunted Hills.

“Cryn Innis Coupe” produced by BenjiCold comes out the gate with my favorite song here from the rage beat to the lyrics about not wanting to feel useless whereas “fuk 12” gives off some digicore vibes wondering how many hoes he can fit inside his big body. “yung vocaloid” includes a cool Fortnite reference during the hook & after the bombastic “shellshocked” takes a more repetitive approach in terms of songwriting structuring, the closing track “she wanna” ends the EP detailing a woman who’d like to hop in his wraith.

Apparently we’ll finally get Kill Your Idols next month & regardless of some calling Protagonist the weakest EP in bleood’s discography, the warmer feedback Haunted Hills has been getting in comparison raises any expectations people have had for the LP until this point. The experimental rage, Chicago drill, cloud rap & free car music production still has a lot going for it & I can understand the criticisms surrounding the vocals even if I think he’s a superior performer than 2slimey.

Score: 3.5/5

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Zukenee – “B4BB” review

Atlanta, Georgia rapper/producer Zukenee back for his 8th extended play. Starting in the spring of 2021 off his debut EP Undiscovered, he would continue to make a name for himself in the underground by putting out a couple more EPs in Castle & Playful alongside the debut mixtape Stop Playing. Subsequent exclusive singles like “OJAYS” & “Chest” would later become amongst his best singles since both of them were released in the span of a year & a half preceding Player Slayer. Guillotine, Birth of St. Slay, Slaytanic, Knight Shift, Eye Love U & Zuminati all followed & he’s coming off both entries of the Trapped in the Dungeon series to drop B4BB in preparation for Blunts & Blades.

“Pittslurgh” made for a vibrantly playful intro produced by Cade talking about being more geeked up than a nerd whereas “Chicken Tender” already wraps up the 1st half of B4BB showin’ off the ice shinin’ on his wrist right when he hops outta bed in the morning. “Bouncy House” kicks off the 2nd leg with the goofiest moment here & the only track Cade didn’t produce coincidentally talking about a ratchet hoe who’s convinced herself to be classy while the closer “Pahtment” discusses his swag originating from the apartments he grew up in.

Up until this point: I’ve said that Zuminati was the weakest thing Zukenee has done all year & unfortunately B4BB dethrones it with a 4-pack clocking in at less than 10 minutes that I’d put behind alongside Trapped in the Dungeon & it’s sequel. I’m still confident we’re gonna get something special out of Blunts & Blades and of course & the Cardo-produced Zudo, but Cade’s trap/pop rap production isn’t at his best despite handling 75% of it.

Score: 3/5

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Bonobo – “Distance in Static” review

Bonobo is a 50 year old downtempo producer from Brighton, East Sussex, England, United Kingdom who made his full-length studio debut at the turn of the millennium with the widely praised Animal Magic preceding him signing to the London indie label Ninja Tune. Dial ‘M’ for Monkey as well as Days to Come & Black Sands all received similar reception despite The North Borders, Migration & Fragments respectively leaving people divided. The teasers building up towards his 8th & most likely final studio LP right here made for some of his most promising material in a long time & I had to find out whether or not those expectations were met.

After the “Dawn” intro, the opening composition “Cycles” lays out the stall quite well for what’s to come cooking up a house instrumental with some live strings in the fold whereas the 2nd single “Fire on the Water” by Arooj Aftab takes a more downtempo approach singing about a fire being set in the water. The 3rd single “Drift” was conceived after he was messing with a 70’s synthesizer feeling like a cross between Trentmøller & Moby while “Talk to Me” by Nicole Miglis blends UK garage, progressive breaks & 2-step to sing about loneliness.

“Uncasually” comes through with a powerful cross between house & techno remembering a friend of Bonobo’s who had passed away a few years ago just before “Always on Your Side” by Joy Crookes reaches the halfway point singing about feeling overwhelmed by the negativity in this world. “Youth’s Fountain” by Nilüfer Yanya hooks up a prominent acoustic guitar looking to do anything because this person’s too far to save her while “Shokoufeh” interestingly builds itself around sampling an Iranian caltax performer of the same name.

Aanya Martin takes the microphone for “Can’t You See” admitting that she hasn’t been herself while “ID700” pulls out the titular Buchla modular synth for one of my favorite tracks here largely in part of the psychedelic vibes. “Me & You” samples “Mother, I Will Reveal” by Amai Ndinlule for a passable deep tech & stutter house lead single but once “Equinoctial” layers some textual Japanese vocals performed by Ichiko Aoba over an ambient instrumental, “Mercury” enlists guitarist Kanako Yamamoto for a guzheng outro ending the album the way it began.

Closing the book on the traditional sense of what a Bonobo full-length is, this new era of mini-projects including extended plays going forward kicks off with a varied collection of material that’s mostly average compared to his other stuff. I can commend the electronic, downtempo, future garage, deep tech, deep house, new age, chamber folk, progressive house, trip hop, UK garage, progressive breaks, 2-step, stutter house, ambient & techno production searching for pieces of intimacy in something transcendentally vast even if Distance in Static feels equally safe as it’s predecessors for over a decade.

Score: 3/5

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Ibibio Sound Machine – “Chopping Mountain” review

This is the 6th studio LP from London, England, United Kingdom afro-funk band Ibibio Sound Machine comprised of frontwoman Eno Williams, guitarist Alfred Bannerman, percussionist Afla Sackey, drummer Joseph Amoako, bassist Philip Ambrose, trombonist/keyboardist Tony Hayden, trumpeter/keyboardist Scott Baylis & saxophonist/keyboardist Max Grunhard. Introducing themselves a decade ago on the eponymous debut, they would show some growth on the sophomore effort Uyai & Doko Mien was merely ok. Electricity couple years ago on the contrary surpassed Uyai as the band’s crowning achievement in their discography, coming off Pull the Rope to outdo themselves with Chopping Mountain.

“Burning in Lagos” kicks things off with this 7 minute intro singing about her head being filled with circles of sleeping whereas the title track goes for a synth funk vibe to emerge from the surface after being reborn underwater like a phoenix rising. “When You Want to Dance” sings about having to synchronize if one wants to get down on the dance floors & after the 2nd single “Concept of Love” treads the synth funk waters again ponders how others interpret affection, the lead single “Return to Sender” recalls a car accident Eno was involved in.

We have Dele Sosimi appearing on “Give Me Peace” singing about being granted freedom over laid-back instrumentation to open up the 2nd half while “Menso” embraces some makossa vibes asking in Ibibio what’s wrong using a call-&-response delivery. “Love” pleads if Eno & her partner can try being 1 over a funky beat but once “Kukuru” embraces a more tropical sound to sing about accumulation, the closing track “River Don’t Rush” ends the album wondering why people worry over things they can’t control.

Chopping Mountain could likely be the weakest entry in Ibibio Sound Machine’s discography since Doko Mien considering I enjoyed it less than Pull the Rope although I’m confident of them having the capability of making something that’ll stand the test of time like Electricity. The electro, Afro-funk, synth funk & Afrobeat production along with the prevalent themes of love, unity & resistance that’ve always defined the band remain unbothered despite there being some points where Eno Williams’ vocals don’t do much.

Score: 3/5

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Rio da Yung O.G. – “The World is Yours” review

M.I.N.E. Entertainment founder Rio da Yung O.G. straight outta Flint, Michigan back for a sophomore effort. Breaking through the local trap scene during the latter portion of the previous decade under the mentorship of Peezy signing to #Boyz Entertainment in tandem with EMPIRE Distribution, he has since put out his last 9 EPs as well as a full-length debut album & a handful of collaborative projects under his belt all over the duration of 7 years. Rio Circa 2020 was a solid EP celebrating his 30th birthday but coming off Rio Free & F.L.I.NT. (Feel Like I’m Not Through), he wants everyone to know The World is Yours.

“Be Like Me” sets the tone of what’s to come with this Flint trap intro talking about everyone else wanting to be inside of his shoes whereas “Superstar” featuring Veeze finds the pair over a Detroit tap instrumental depicting gangsta rap imagery in their own distinctive fashions. “Lemme Guess” makes a number of assumptions ranging from a woman getting sexually involved with another guy to helping a couple get rich while “Laced Blunts” featuring Trippie Redd poses the question of whether one’s slime or not.

F1LTHY of Working on Dying gets behind the boards for one of my favorite tracks here “Lost My Voice” flexing that he’s talked so much shit to there point where his voice gave out while “Canal St.” discusses having nothing but blue strips on him. “Easter Pink” featuring Rylo Rodriguez links up so they can decently talk about the lean in their cups while “100% Alcohol” vents over a woman getting drunk off some Mexican shit asking all sorts of stupid questions.

“Button Up” featuring RMC Mike reminds the world of what makes them amongst Flint’s most beloved duos spitting straight bars without the need of a hook while “Milwaukee Bucks” produced by Danny G was another highlight talking about chasing the cheese despite not being a snitch. “Finna Drop (Tour)” hits the midway point of the album remaining hood despite him leaving Flint years ago while “Rocks Off” featuring Judah Weston teams up so they can decent get sexual.

YN Jay appears on “New York Minute” running it back with F1LTHY boasting of being the wealthiest to ever come out of their city while “Work Different” warns that getting on his bad side would be stupid as fuck. “Crooked Elbow” featuring the current 2-time WWE United States Champion Trick Williams’ manager Lil Yachty & Tierra Whack finds all 3 of them getting hardcore while “Peach Nehi” over some pianos & bells talking about dudes being sweeter than licorice.

“Kinda Anxious” talks about how he smells like a scald weighing a brick while “Not the Best Liar” admits that he isn’t the greatest at lying. “Get It Back (Zoom Meeting)” chops up a vocal sample continuing to depict the gangsta lifestyle while “Who Did the Body?” featuring Monaleo talks about applying pressure. “Douchebag” makes a clear distinction of being a boss instead of someone contemptible while “Okay wit Dat” talks about never being broke as long as his phone’s functioning.

This guy’s steadily been on the most prolific run of his whole career ever since coming home a few years back & The World is Yours keeps Rio da Yung O.G.’s consistency streak alive recording a majority of it in the middle of an ongoing tour in promotion for the very album capturing his grind & artistic evolution in the middle of keeping the unfiltered style of lyricism he’s become known for as nasty as he’d prefer it to alongside a respectable cast of big names joining him.

Score: 3.5/5

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