Darby O’Trill – “GATOR LaKE” review

Key Largo, Florida emcee Darby O’Trill dropping his 8th studio LP in preparation for Hallowicked. A close collaborator of Chapter 17/Psychopathic Records in-house producer Devereaux, their debut on wax Piecemeal received critical acclaim during the COVID-19 pandemic & signed Lyrikal Snuff Productionz & fulfilled it over 3 years ago with Gully, which is a modern day wicked shit classic. Amputate was a solid prelude to The Tomb, the latter was even better. Darby’s official C17 debut Creek became his best since Gully as did GARDeN, coming off WIL(low) to take us to GATOR LaKE.

“The gator lake visitor center” produced by none other than Devereaux cooks up this murky trap instrumental to kick things off creeping through the fog with the spirits of the swamp accompanying him whereas “Mask made from a lampshade” talks about this voice in his head getting louder over a cold trap beat from Shaggytheairhead. “I played baseball when I was a jit” goes for a trap metal vibe instrumentally talking about being the nuisance he is leading into “Irregular Puzzle Pieces” featuring Shaggytheairhead throwing it back to that 10 Bandz freshness.

As for “Doctor my dick has teeth & chewed a hole in my leg”, we have Darby over a Mobb-like beat throughout the 3rd single talking about nobody being safe from this toxic waste just before “Jezt n death” featuring Klokwerk E talks about heckles & macabre considering they’re laughing at their victims bleeding out to their deaths. “Flannel full of bullet holes” continues from there advising that it’s good to speak the unspoken sometimes while “Ranidaphobia” describes about the fear of frogs.

“Bologna flavored bong water” hits the midway point of GATOR LaKE with the 4th & final single talking about living like a scrub until the end & having no regrets while “I like your hands, may I have them?” professes that he’s fed up with this endless loneliness he’s been feeling. The lead single “Shitstorm” featuring Ouija Macc cautions not to tell them they’ll be fine when they know they won’t while the 2nd single “The trialz & tribulationz ov apeboy” talking about splitting skulls of those who fuck around.

The trap metal influences make their way back around for “Making Out with the Floor Again” asking whether or not one would be pissed off or cherish him more if anyone found him like that but after “Stop smiling you look stupid” airs his grievances towards someone he knows who he wishes the absolute worst upon over a shimmery instrumental, “Smell ya later loser!” runs it back with Devereaux talking about being near death despite looking zombified.

“Meet me at GATOR LaKE” winds down the last few moments of the album turning up the trap metal elements to find blood soaked all over his clothes once again & considering his blade to be his closest friend while the final song “The Proto cat bluez” preceding “The interview” out skit finishes GATOR LaKE at it’s core retaining the trap metal influences for a 3 minute outro talking about how the sun will shine even when the day of our demise comes around.

Anyone who’s already followed the CReEK through the GARDeN & past the WIL(low) will eventually find themselves at GATOR LaKE, which has been said to be the finest Darby O’Trill has ever sounded in his entire career & I couldn’t agree more with that sentiment as someone who’s been paying attention to him since the pandemic. The production almost entirely handled by Devereaux strengthens Darby’s distinct mix of trap metal & the wicked shit cautioning those who dares to enter the waters won’t ever leave.

Score: 4.5/5

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MC Eiht – “The Story of My Life” review

MC Eiht is a 55 year old MC, songwriter, actor, podcaster from Compton, California notable for being the de facto leader of Compton’s Most Wanted. He would also go on to drop over a dozen solo efforts, including his debut We Come Strapped under Epic Records along with his Hoo-Bangin’ Records/Priority Records debut Section 8 & Which Way iz West via Eiht’s own imprint Blue Stamp Music Group in tandem with EMPIRE Distribution. The latter of which will already be celebrating an entire decade next summer, telling The Story of My Life for his 18th studio LP.

“8 Lawz” featuring Glasses Malone kicks things off with both of them linking up to talk about the 8 rules people must abide to whereas “My N***a” continues from there with an ode to a homie of his. “Again & Again” instrumentally leans towards a smoother boom bap vibe talking about the west coast forever staying in the building just before “Dear Neighborhood” turns up the funk so Eiht can pen an open letter to the CPT district that made him who he’s becomes

Conway the Machine appears for “Everyday” talking about making money daily over another boom bap beat & suckas trying to bring them down in every way leading into “IDC” chopping up a soul sample admitting he could give a fuck less anyone does whether they’re tweeting or reading a book. “Throwin’ Hands” aggressively gets in his gangsta rap bag over an instrumental that has a dreary quality to it preceding him suggesting everyone buckles up for this “Journey” he’s taking us through.

“Soul Food” featuring Dave East continues the sampling so both of them can discuss never being caught in a bad mood around other Gs while “Pistols & Palm Trees” ends the 1st half reminding the world of his west coast origins. My favorite track would be “On Go” produced one of my top 5 producers of all-time Pete Rock, beginning off the 2nd leg remind us how they do it while “How the Enemy Lie” talks about a hard muhfucka trying to arrive.

B-Real joins Eiht during “Run It Up” so they can increase the amount of bread they have & warning what’ll come to anyone acting tough around them while “We Been Bacc Here B4” nostalgically talks about screaming “Fuck y’all” until his voice gives out around some parts he’s already familiar with. “N the Mixx” hops over a rap rock beat from DJ Muggs demanding to know if anyone else can outrap him while “All Chrome” talks about the life of a hustler again.

“High Like” featuring Brotha Lynch Hung hops over a crooning instrumental simultaneously keeping it elevated & gutta while “Hubcity” featuring Jay Worthy feels like a generational passing of the torch, talking about there being bread to spend. “Remember Us” winds down the last few moments of the album addressing his legacy & being recognized everywhere he goes while the closer “Tippin’” wraps up The Story of My Life with a jazzy CMW reunion.

Starting the deluxe run, “Box” talks about having the capability of making people hear his gangsta raps from several blocks away while “Neighborhood Therapy” brushes off any fears he had hearing the stories that’ve come outta his neck of the woods. “Bandana” talks about people’s street dreams making the rocks fatter while “Pay ‘Em No Mind” featuring Project Pat speaks of vegans not existing to them since everyone wants beef.

“B210” looks back at the days when his homie had the old school Nissan growing up while “Spinach” calls for everyone following the bread to pay up right in the spot. The groovily self-produced “Set It Off” talks about making bitches go outta control & their boyfriends not doing shit because they’re too soft while the final bonus track “Sweet” expresses how great life’s been for him.

Official, Lessons, it’s sequel & Revolution in Progress were all average at best even if they have some cuts that I still revisit nearly a decade later. That said: If The Story of My Life truly marks the end of MC Eiht’s illustrious career dating back to the 80s like he said 13 months ago, then I can’t complain since it’s a consistently tasteful reflection of his legacy from the production to the guests & usual street narratives people know & love him for.

Score: 3.5/5

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Olēka – “Human Error” review

This is the full-length studio debut from Houston, Texas singer/songwriter, producer & audio engineer Olēka. Known for being a member of Quadeca’s touring band, she even made a couple guest appearances on the latter’s previous LP Vanisher, Horizon Scraper a year & a half ago until he signed her to his independent label X8 Music around that same time period. It’s almost been 3 weeks since Life 1 dropped & he’s taking it upon himself to handle the mastering process of Human Error.

“Meta Cognition” fuses alternative rock, neo-psychedelia, noise rock & math rock asking how she’s supposed to clean up this mess when she’s a fool at her greatest thrwhereas “Want to Find It” sings about deciding what matters most to ourselves. “Floating” moves on from there assuring this person she’ll always stay by their sides in every alternate reality one can think of just before the grungy “Heavy Handed” sings about occasionally being convinced she’s living in someone’s dreams.

The title track blends indie & art rock so she can explain that the world only knows what you tell along with God’s awareness of what we meant leading into “Somewhere Out of Reach” describing the ability this individual has of singing her to sleep regardless of whether or not they’re far apart from each other. We later have Olēka singing about always checking “Around the Corner” for someone although it’s not because she thought they were confused until “Who’s Watching the Kids?” clarifies the world’s cold but here.

“See the World” winds down the last few moments of Human Error embracing an electronic atmosphere to it wondering whether or not anyone would like to envision a place without her while the ambient outro “Peace” sings about nothing in this world offering her tranquility. “Sunshine When It Rains” still deserves a nod regardless of it being left off the final version because I consider it a touching remembrance of her grandmother who passed away.

Kevin Abstract & Sugar Cherry were already established by the time they signed to X8 Music whether it be the latter’s extended plays or Kevin’s former role as the de facto leader of the now defunct BROCKHAMPTON collective, so there’s been a lot of hype around Olēka for the past year & Human Error makes up for the delays it’s suffered with a gorgeous debut album. Her addicting vocal performances compliments the singer/songwriter, indie folk, post-rock, chamber folk, slowcore, alternative rock, neo-psychedelia, noise rock, math rock, indie rock & art rock production for the beginning of what I believe will be a promising career.

Score: 4.5/5

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Young Chris – “Catch a Vibe” review

Young Chris is a 43 year old rapper from North Philadelphia, Pennsylvania notable for being a member of the State Property crew & 1/2 of the Young Gunz subunit. He has since dropped a total of 16 solo mixtapes as well as a couple extended plays & 2 collaborative projects within nearly 2 decades, with the Cardiak-produced The Revival being my personal favorite of the bunch. Coming off the drumless Made in Philly with MadeinTYO this spring, he’s mainly holding down his 3rd EP by himself since The Network 3.

“Still Fine Dining” kicks things off with this 105 second intro hopping over a luxurious boom bap beat talking about being the one who weathers the storm whereas “Sativa on the Rooftop” goes for a drumless vibe instrumentally reminding us that he’s made it & some bitch on the verge of getting her boots knocked. “Disappointed” featuring Freeway & Icewear Vezzo finds the trio talking about not letting anyone get ahead of them while “Making Drops” balls on all these bluffin’ cornballs who stay cappin’.

Peezy appears for “The City Up” produced by Swaggyono of Working on Dying so they can talking about shaking up their respective hometowns of Philly & Detroit rollin’ with the pros in the club just before “Was It Ever Luv?” soulfully asks if what he had with this woman was legitimate or fraudulent. “This Life Get Crazy” spends the remaining minutes of Catch a Vibe treading the acoustic trap waters talking about the highs & lows of existing.

Hearing that Fine Dining collaborative EP he put out with Dave East the summer prior had me hoping Young Chris would go solo again sooner or later regardless of me still putting it above Made in Philly & despite it’s own flaws, Catch a Vibe attests to the former Roc-A-Fella Records signee’s longevity whether it be the 3 guest verses or the interesting production choices & Chris’ distinctive style drawing comparisons to the now defunct Def Jam Recordings imprint’s founder JAY-Z.

Score: 3.5/5

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Sleazy F Baby – “Northern Quarter Confidential” review

Northern Quarter, Manchester, England, United Kingdom emcee/producer Sleazy F Baby dropping off a new solo extended play of material. A member of the Cult of the Damned collective, he would sign to Blah Records in 2015 & make his full-length debut that year with All Blahk Tracksuit. He would also form the Super Sag Bros with Black Josh towards the end of 2017, coming off the Dirty Dike-produced sophomore effort Blaxploitation under Melonskin Records to drop Northern Quarter Confidential a week after Leon Slater became the youngest TNA World Champion.

“Cruise” gets the 4-pack going with a piano instrumental talking about the Cult always sending trends & being those muhfuckas prior to “Anti Hero” ending the 1st leg of the EP hooking up a woozier instrumental clarifying that he isn’t anything like the other weirdos he’s been compared to. “Whatever You Like” kicks off the 2nd half experimenting with plugg wanting to know the type of things the woman he’s addressing tends to enjoy & “STFU” finishes Northern Quarter Confidential on some cloudy, hardcore boom bap vibes.

So apparently Northern Quarter Confidential marks the beginning of a new series where Sleazy F Baby can keep building with 4 Limbs for as long as they like & it’s smooth introduction to where things will eventually go. The latter’s production doesn’t blow me away like All Blahk Tracksuit or Blaxploitation did although I appreciate the variety of styles ranging from drumless to boom bap to plugg despite primarily embracing a jazzier sound, suiting the more introspective approach Sleazy takes to his songwriting.

Score: 3.5/5

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Kid Rock – “Halfway 2 Jesus” review

This is the 13th studio LP from Romeo, Michigan rapper, singer/songwriter, producer, DJ & WWE Hall of Famer Kid Rock. Coming up as a b-boy for The Beast Crew in the late 80’s, he wound up signing to Jive Records & RCA Records for his full-length debut Grit Sandwiches for Breakfast before they cut ties with him due to comparisons to Vanilla Ice. Bobby then dropped The Polyfuze Method & Early Mornin’ Stoned Pimp on his independently owned Top Dog Records, but got Atlantic Records to help back Devil Without a Cause & the success of that rap rock classic lead to him shifting away from hip hop to teeter between classic rock & country for the last 2 decades even to this day. This foray has been either hit or miss with me personally, but I can’t deny the success of “Picture” & “All Summer Long” (the latter of which has been revealed in recent years even by the producer Mike E. Clark to have been originally made for the Insane Clown Posse) or how much I enjoyed the Rick Rubin-produced Born Free since it originally came out back when I was in middle school. Coming off the universally panned Bad Reputation in 2022, he’s claiming to have found God & went full gospel for Halfway 2 Jesus.

“James 1:7 (Jesus is King)” after the “Freedom” intro comes through with a below average Christian/southern rock single explaining the titular bible verse was the whole inspiration for this whereas “7 Sins” featuring Lil Wayne finds the pair combining those 2 sounds with hip hop admitting they’re guilty of committing the titular 7 deadly sins. “Why Don’t You Look Into Jesus?” poses the titular question since He has the answers leading into Eminem reuniting with Bob for the first time since “Fuck Off” almost 3 decades ago during “Heal My Faith” talking about remaining friends despite their political differences.

We have Kid Rock asking why Jesus would turn his “Water Into Wine” embracing a southern rock vibe altogether just before the title track featuring Gary LeVox & Jimmie Allen unites the trio singing about seeing the light. “I Don’t Drink the Whiskey Anymore” reaches the halfway point of the album making a public declaration of him quitting the distilled alcoholic beverage that I myself admittedly enjoy, but then “Me & Jesus” commences the 2nd leg singing about needing nobody else other than the son of God.

“God is Good” portrays himself as someone who was always doubted which I personally consider ironic because of his wealthy upbringings although I suppose it’s better he combined them into 1 track instead of splitting them while “Into the Setting Sun” pleads for Jesus Christ to guide him as he rides off in the sunset. “Broken Hearted People” sings about turning the page with a little bit of love when his authoritarian bootlicking speaks for itself while “‘Til You Can’t” pointlessly covers the Cody Johnson track of the same name.

The song “High Road” winds down Halfway 2 Jesus’ final act singing about life being too short to be bothered & heading down a dignified path while “Procession” embraces a more classical tone although him AI-generating it when he’s a self-taught musician’s certainly a choice. “God Bless the USA” concludes with this “patriotic” anthem when the rise of fascism in the land of the free & the home of the brave he kisses up to doesn’t make it great on top of his failed attempt at going up against this year’s Super Bowl halftime show performed by Bad Bunny, which was pre-taped.

Being someone who believes in God & in the afterlife, a huge reason Halfway 2 Jesus seemed humorous on paper is due to a line Kid Rock had when he made “Cool, Daddy Cool” for the Osmosis Jones soundtrack with his late hype man Joe C. saying “Young ladies, young ladies, I like ’em underage. See some say that’s statutory, but I say it’s mandatory”. Other than Wayne’s verse & the reunion with Em, this would be the LAST example of gospel music & he also confirmed usage of Suno for vocal choir/orchestral arrangements.

Score: 0.5/5

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rexv2 – “Baby Houston” review

rexv2 is a 20 year old rapper & producer from Houston, Texas who broke out in the spring of 2025 when his debut mixtape Da Fleh & debut extended play Aberration respectively came out only a couple months apart. He would go on follow it up with Who Killed rexv1? exactly 4 weeks later & his full-length studio debut Winner’s Circle of would subsequently arrive 5 months after. His most recent EP liars go to hell dropped near the conclusion of summer apologizing for the delay of his 5th EP, which has arrived 6 weeks later.

“WellDeserved” kicks things off with this 68 second intro talking about making success look easy whereas the self-produced “DCLikeDom” brings in a rage beat flexing that he put his property in his portfolio. “TinyTina” instrumentally goes for a pluggier vibe so he can talk about being geeked up for a minute & a half leading into “ThePainNeverGetsErased” morbidly gets in his gangsta rap bag boasting the lifestyle coming with it.

As for “MaajinBuu”, we have rexv2 referencing the Dragon Ball character of the same name & talking about switching lanes over this chaotic beat just before “ChromeWristband” begins the 2nd half cooking up a more entrancing instrumental to drop some braggadocio. “ImFuckedUp” talks about being happy with a bag whenever he wakes up to one & for those around him to pass the drugs while “ImSoForsaken” admits to staying confined because the outside world’s cruelty.

“HellDesigned” winds down the last leg of Baby Houston on some wavier vibes talking about how what he thought he wanted turned out to be a burden to him in the end while “Luffa” speaking of baddies hitting up his phone now his music career’s been taking off. The hypertrap outro “HoustonBoy” concludes the EP shouting out the city that made him who he’s become now & thanking God he’s still here regardless of wearing a bulletproof vest underneath his shirt.

Discovering his music when his beef with bleood popped off earlier this spring, rexv2 returns 11 months since Winner’s Circle that showcasing a less experimental to his production although the similar elements of trap, rage & pop rap are all being retained. And I’d still that debut above everything else he’s made but in terms of his EPs, another thing Baby Houston has going for it would be the subject matter detailing his experiences in the 713.

Score: 3.5/5

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KXNG CROOKED – “West Coast ‘96” review

Eastside, Long Beach, California emcee KXNG CROOKED releasing his 6th solo LP & the first in 7 years. Originally signing to Virgin Music & Death Row Records without making his debut, he would go on to become a member of Slaughterhouse until their disbandment dropping a total of 17 mixtapes as well as 10 extended plays & his last 5 full-lengths. My favorites include the relevant Good vs. Evil, it’s sequel & Gravitas produced by Bronze Nazareth. The latter being the last time Crook has given us a proper album of solo material since he focused on doing H.A.R.D. with his Slaughterhouse brethren Joell Ortiz, taking it all the way back to West Coast ‘96.

After the “Dayz of the Past” intro, the title track kicks things off reflecting what it was like around his parts 3 decades ago over a ghostly boom bap instrumental prior to “West Coast ‘26” carrying that same energy over on some g-funk shit pretty much bringing us to the present day. “7 Day Theory” smoothly celebrates 2 whole decades since he founded the Circle of Bosses a.k.a. C.O.B. just before “Safe” sends a prayer to God asking to be protected from those who want him smoked.

“Po No Mo” already hits the midway point of West Coast ‘96 talking about becoming wealthy after struggling with poverty for a period of time while the trunk-rattling “For the Love” explains the only reason he began making music when the game was dangerously grimy. “Retire You” gives off some heavy Zapp vibes so he can tackle more romantic subject matter leading into “Makin’ Playaz” instrumentally whipping up something The Neptunes would’ve made back in the early 2000s.

The track “Changez” winds down the last few moments of the album eerily talking about how he used to be a fool at a younger age & cherishing life nowadays, acknowledging some want to see him fall off in addition to the necessity of legitimate ones evolving if they wanna maintain & “Last Song” spends the remaining minutes appropriately taking up the closer giving it up to all the people in his life who’ve since passed away because he doesn’t know when his time’s coming.

Originally set to drop back in July, it would turn out KXNG CROOKED delayed West Coast ‘96 a little more & would consider it a worthy comeback for the Long Beach veteran although I wouldn’t put it above the Good vs. Evil saga or Gravitas. The production has more of a consistent west coast sound to it compared to the last 3 albums Crook put out by himself, refraining from any guest appearance to test whether or not his love for making music has faded.

Score: 3.5/5

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6bill – “Pure Lust” review

This is the full-length studio debut from Queens by way of Jackson Heights, New York recording artist 6bill. Embracing a sound inspired by the electronic musician Burial, he would release his debut mixtape Live Laugh Count the summer prior to moderate reception although I did enjoy the features he did for the likes of Protect as well as southsidesilhouette & 730atMorning afterwards. He recently unveiled a tracklist for Pure Lust only 72 hours ago & now the final product is here at last.

We’re greeted to this rage-inducing intro talking about how the only thing he knows is to “Swerve” until things shift towards more of a spacier trap vibe instrumentally during “Reposado”, which is an ode to the tequila brand itself. “Venti” featuring ØWay co-founder diamond* finds the pair flexing that they have so much money to the point where they should open a bank & sipping lean while “Sevrage” talks about suffering withdrawals when he was out in Paris, France & riding foreign whips in London, England, United Kingdom.

“Bambie” continues from there touching base regarding his lifestyle once again leading into “Midnight Blue” talking about him being out in Miami, Florida riding a jet ski. “Beat It” reaches the midway point incorporating more rage beats cautioning to be mindful of not breaking his trust while “Masquerade” featuring Pz’ continues the 2nd half with another excellent guest appearance from the latter ØWay member, observing the pretense of everyone.

Meanwhile on “You Make My Desire Pure”, we have 6bill over another booming instrumental addressing a woman who he firmly believes brings authenticity out of his lustfulness just before “Back to Weho” talks about heading out to West Hollywood, California again following some time away from the sunshine state. “All for It” however winds down the last leg of Pure Lust explaining that money & hoes always get in the way of things for him.

Chuckyy’s guest appearance during “Wipe Ya Nose” was personally the weakest of the 3 & the only one I could’ve done without regardless of the rage beat & them talking about feeling like bitches are setting them up while “Clermont” admits he’s been fucking with Molly lately only because he wants to show everyone he can do it. “WYO / R.I.P. Tris” saves one of the most interesting moments for last, concluding the album with this satisfying 2-parter co-produced by LulRose clocking at almost 4 minutes.

Live Laugh Count still has some moments that I go back to regardless of it being an average tape, but thankfully Pure Lust makes up for it with 6bill’s finest collection of material to date & I say that since there’s a real possibility of him surpassing it going forward. Most of the guests deliver great performances other than the last one & it’d be interesting to hear him bringing in more notable producers who’d bring the best out of his take towards trap, rage & pop rap.

Score: 3.5/5

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Rocket Rese – “The Hardstyle Massacre” review

Brooklyn, New York rapper & producer Rocket Rese making his full-length studio debut. Known for being a Sematary affiliate, his debut extended play Doubted Me earlier this year was welcomed to lukewarm reception although the 2nd EP Let Ya Speakers Bleed only a month later saw people welcoming it a lot more experimenting with hardstyle & gangsta rap. He was even featured on the recent SosMula mixtape Yung Plane Krash earlier this summer, preparing for The Hardstyle Massacre that would come in time for the Halloween season.

After the self-produced “Solo Produced” intro giving us a taste of what’s to come for only 83 seconds, “Carry-A-Drum” unfortunately begins with this mediocre intro combining the hardstyle subgenre of the hard dance side of electronic dance music & gangsta imagery whereas “Blackout” runs it up with Internet Money Records in-house producer Synthetic talking about fucking with savages. “Show Me” featuring 13° moves on from there with the strongest guest appearances wanting to prove if one really has bands.

“6 Hours” doesn’t really impress me all that much from the hardstyle beat to the subject matter regarding him being up at 4am smoking weed while “Freaky Girls” talks about his preference in women. “Hood Ravers” continues from there advising that everyone enjoys it through the storm as much as they can even if the instrumental was ok just before “Black on Black” featuring Sematary ends the 1st half with both of them making it up wearing all black.

Meanwhile on “Devil Dance”, we have Rese kicking off the 2nd leg of The Hardstyle Massacre talking about feeling dead inside at only 7 in the morning preceding “Pop Out” moving forward looking rock out any speakers surrounding him. “Molly Watah” featuring Black Kray finds the pair bringing more gangsta raps to the table while “Body” produced by Shadow Wizard Money Gang was admittedly another favorite, putting a horror twist to hardstyle.

“Nanana” talks about taking bitches to Mardi Gras & to leave anyone fraudulent behind while “Love It” discusses cutting chops by the dozens. “Futures” vocally reminds me of Chief Keef at moments talking about his diamond chain looking like coke & after the uptempo hardcore “4 My Homie” promises he’ll fight anyone who disrespects those he considers friends, The Hardstyle Massacre spends the remaining minutes of the album talking about being caught up “In the Hills”.

Being introduced to him when that SosMula collab dropped several months ago, I still think it’s corny Rocket Rese was caught faking a co-sign from one of my top 10 producers of all-time Ye formerly known as Kanye West last weekend & The Hardstyle Massacre makes for an average debut despite having a better understanding of what makes this guy appealing. The production doesn’t really interest me much outside of a small handful of exceptions including Whethan & Vieze Asbak’s contributions, but I’m curious to know whether or not he’ll make more beats of own going forward like the intro cut.

Score: 3/5

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