Tha God Fahim – “Slam Dump” review

Atlanta, Georgia emcee/producer Tha God Fahim shaking things up a bit with his 67th EP. 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. Dump Gawd: Hyperbolic Time Chamber Rap 19 on Halloween was technically his most recent solo effort until Slam Dump, starting a new series instead of doing a Lethal Weapon 5.

“Happily Ever After” jumps over a chipmunk soul instrumental talking about there being no happy endings when ever he closes a chapter whereas “All Buckets” chops up another sample cycling through an entire clip until he hears a click. The title track featuring Jay NiCE soulfully talks about this rap shit being easier than breathing prior to “Clean ‘Em Up” also featuring Jay NiCE winning championships without coaching.

Jay NiCE makes his 3rd & final appearance on “International Champs” talking about making sure your “gold” doesn’t turn out to be copper in reality while “1st Strike” make for some of the extended play’s craziest rhyme schemes continuing a legend’s story. “Professional Hits” incorporates more samples to talk about his words representing lightness & “Noble Lineage” concludes with a soulful outro explaining that trials are a part of the process.

Regardless of how long it’ll be until Dump Gawd: Hyperbolic Time Chamber Rap 21 & whether or not it’ll be another collaborative effort with Jay NiCE, I have to appreciate Tha God Fahim for doing a 180° although it wouldn’t surprise me if Lethal Weapon 5 does come to fruition within the next year. Drega33’s production ranks amongst his best as he & FlyG prepare for the MENNBLVCK sequel in less than a couple weeks & the lyricism maintains Hyperbolic Time Chamber Rap 19‘s caliber.

Score: 4/5

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Swapa – “CLRBLND” review

Swapa is a 21 year old recording artist & producer from Harlem, New York introducing himself in 2021 off his poorly received debut EP To Each It’s Own. He would gradually improve himself from there whether it be New Harmony, Bannon, Ollo, Eigen, Island or his most recent extended play as of me writing this Armageddon celebrating it’s 1-year anniversary last month. In regards to his full-length studio debut album CLRBLND, seeing a couple notable producers that I’m a fan of making some contributions to it had me intrigued & I thought I’d give it a shot.

“tap in” starts us off by introducing a new mind of swag to the world since he’s in his bag differently whereas the experimental “fully chop” talks about nobody being able to fuck with him because of his boss status. “redinyoeyes” appreciatively throws it back to the Bannon era a little for those who’re fond of that point in his career leading into the self-produced “skull” talking about the type of guy he is compared to some of these lames.

Moving on from there, “heavy metal” continues to display Swapa’s production talents assuring that he’s in it similarly to the titular genre of music just before the 808-heavy “steve kerr” talks about being richer than the Golden State Warriors’ head coach himself. “nah” stylistically feels like some new age Future shit getting fried while “sir scale” produced by Whyceg & Goxan works in more 808s talking about everything he says eventually selling.

“rigged” reaches the halfway point of the LP subtly referencing the NBA’s ongoing illegal gambling scandal involving Chauncey Billups, Damon Jones & Terry Rozier while “old habits” sticks out with one of my favorite flows throughout CLRBLND asking if one wants to die now that he gave his bitch a Glock to carry for protection. “nother level” speaks of wanting to murder their opps & throw their corpses in the river while “again” talks about it only being him & his bands in the end.

Things take a more rage-inducing vibe on “troll” considering himself a threat while “ykisshme” leans heavier towards a synth-based sound thanks to Clayco promising y’all gonna know it’s him when he pulls up. “marni” much like “old habits” shines as a moment where he shows off what he can do with his flows while the piano-heavy “why not?” talks about doing this music shit for himself. “alien” finishes Swapa’s debut with him psychedelically arriving to the function looking extraterrestrial.

Impressed with his verse on Devstacks’ sophomore effort 4SouljasOnly earlier this spring, it only made sense for me to find out if CLRBLND would be capable of topping Armageddon in addition to some of the other EPs he has under his belt that I don’t find myself going back to very often like Island for instance. Surely enough, all 5 tracks he produced by himself along with “sir scale” & “ykisshme” to name a couple all make for the finer moments over the course of Swapa’s proper introduction.

Score: 3.5/5

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FKA twigs – “Eusexua 2: Afterglow” review

Cheltenham, Gloucestershire, England, United Kingdom singer/songwriter & dancer FKA twigs releasing a sequel to Eusexua with her 4th album. Notable in the art pop scene for her XL Recordings subsidiary Young Recordings debut EP2 after her eponymous debut EP along with her full-length debut LP1 & her 3rd EP M3LL155X. Her sophomore effort Magdalene was also acclaimed with many saying it’s better than LP1 & the same goes with her Atlantic Records-backed debut mixtape Caprisongs, releasing Eusexua at the beginning of 2025 & has followed it up almost 10 months later with Afterglow.

“Love Crimes” makes for a post-dubstep intro singing about the best time being the hardest ones to let go & advising her lover to take things slow whereas “Slushy” blends alternative R&B & glitch pop so she can create some harmony by painting her own utopia with her mind. “Wild & Alone” featuring PinkPantheress finds the 2 joining forces over a UK garage be at to sing about loving a celebrity who constantly has the feeling of isolation leading into ”Hard” pulling inspiration from Janet Jackson a little describing the way she wants to be loved.

Trip hop, illbient, alternative r&b, future garage, chopped & screwed, ambient dub and eccojams all collide on the final single “Cheap Hotel” yearning for her & her romantic interest to go all night with each other sexually at a spot behind the club just before “Touch a Girl” shifts more towards an alternative R&B vibe singing about a clever man leaving her spinning although he’s not good with women. The lead single “Predictable Girl” comes across as an internal monologue blending UK bass, 2-step, glitch pop deconstructed club, future garage & industrial techno while “Sushi” starts the 2nd half singing about wanting to take this guy out.

“Piece of Mine” starts the final moments of Eusexua 2: Afterglow balancing glitch pop & alternative R&B advising the man she’s with to relax his mind because he’s a part of her while “Lost All My Friends” could be my least favorite track here due to be heavily repetitive songwriting despite the EDM approach instrumentally. “Stereo Boy” finishes twigs’ 2nd full-length of 2025 singing about hearing the static within the titular character’s heart, allowing him to drive herself off the edge if she can land in his oils although her pain has remained even after she changed the station.

Maintaining than continuing the primary electronic dance music influences of it’s predecessor & swapping out the art pop elements in favor of alternative R&B, what was originally set to be an expansion of Eusexua has become a spiritual successor that’s more experimental than it’s counterpart. The production additionally exploring sounds of UK garage, post-dubstep, glitch pop, UK bass & deconstructed club expands on the feelings that come after experiencing Eusexua & transmuting them into a soundtrack for the hours after the rave tackling themes of freedom alongside pleasure & maximizing every moment to the fullest.

Score: 4.5/5

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The Neighbourhood – “(((((ultraSOUND)))))” review

The Neighbourhood is an alternative rock & indie pop band from Newbury Park, California consisting of drummer/percussionist Brandon Fried, bassist Michael Margott, rhythm guitarist Jeremiah Freedman, lead guitarist Zachary Abels & frontman Jesse Rutherford. Signing to Columbia Records in 2012, they would go on to make their full-length debut the next spring with I Love You. & Wiped Out! celebrated it’s 10-year anniversary only a couple weeks ago. Hard to Imagine The Neighbourhood Ever Changing would improve from both it’s predecessors while Chip Chrome & the Monotones would moderately fulfill their Columbia contract. They have since taken a hiatus between 2022 & this summer, joining the Warner Records roster for their 5th album.

“Hula Girl” sets up their return with a bit of a homage to Oasis singing about the feeling of being removed from his peers whereas “OMG” continues by blending elements of the Wiped Out! & Hard to Imagine The Neighbourhood Ever Changing eras lyrically calling back to “You Get Me So High” & “No Grey” respectively, which is something I believe longtime fans will certainly admire. “Lovebomb” goes for a more nostalgic vibe altogether breaking the curse that all of Jesse’s previous relationships all have in common just before “Private” sings about the relationship he has with his current girlfriend Valentina Bilbao.

As for “Lil Ol’ Me”, we have The Neighbourhood continuing to pull inspiration from Oasis with a hint of Nirvana sprinkled in this time around singing about people wanting Jesse’s soul after putting a lease on it while “Planet” incorporates a bridge reminiscent of the late Michael Jackson yearning to take back a light that was stolen. “Holy Ghost” reaches the halfway point experimenting with alternative dance singing for Valentina to hold him close whenever he feels uncomfortable or wants to give up making music while “Rabbit” begins the 2nd act of (((((ultraSOUND))))) tackling themes of agony & despair.

“Tides” keeps it rolling by throwing it back to the Wiped Out! days once again depicting a relationship built around constantly fighting & asking if they can put their differences behind them while “Daisy Chain” shifts towards an indie rock direction stylistically singing about the topic of nostalgia. “Zombie” compares Jesse to the undead because of him staying up all night waiting for a woman he’s been in contact with as of late to answer his missed calls while “Mama Drama” thematically picks up where “Daddy Issues” left off a decade earlier.

The song “Crushed” winds down (((((ultraSOUND)))))‘s final 11 minutes by taking a bit of a funkier approach in terms of sound singing about self-destruction while “Mute” apologizes in advance if Jesse’s been acting weird, attributing it to his desire of wanting to disappear & things inside his head becoming increasingly loud. “Stupid Boy” concludes the band’s comeback with a sequel to “Pretty Boy” off Chip Chrome & the Monotones, except the aesthetics of I Love You. happen to be more significantly prominent with his empathy increasing & his faith in humanity decreasing.

“Start” appropriately begins the deluxe run singing about having a difficult conversation with someone while “Good Grief” continues by admitting that he’s been having difficulty trying to get over the individual he’s addressing. “Lulu” sings about creating a self defense mechanism that allows Jesse to transform himself & experience life through a different identity while “Red Flag” suggests to set him on fire before he loses it. The final bonus track “Bed” spends the last couple minutes singing about being unsure of whether he’s lonely or alone & lying to himself to make everything seem alright.

Up until this point: These guys to me personally have always been one of those acts where they’ll occasionally wow me by putting out tracks like “Prey” or “Roll Call”, but (((((ultraSOUND))))) changes everything for The Neighbourhood returning under Warner Records for what might be their strongest LP. The production has something that all fans can enjoy recapturing every style they’ve explored during their Columbia Records tenure from alternative rock to indie pop, indie rock, alternative dance & dream pop with it’s darker & moodier spin complimenting Jesse Rutherford’s intimately self-aware lyrics revolving around heartbreak, disillusionment & emotional vulnerability.

Score: 3.5/5

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Che Noir & 7xvethegenius – “Desired Crowns” review

Buffalo, New York emcees Che Noir & 7xvethegenius joining forces for a collaborative full-length studio LP. One of whom blew up after 38 Spesh signed her to TCF Music Group & the other would sign with Conway the Machine’s own Drumwork Music Group, although they have since started their own labels Poetic Movement Records & Broadband Sound respectively. We’ve heard them cross paths with each other several times over the years, elevating their chemistry in part of their quest of their Desired Crowns.

After the “Trapped in the Silicone” intro, the first song “Topanga” produced by Lord Sear sets it all off with a soulful sample for both ladies to body for a few minutes whereas “Not Me” locks in with Chup so they can talk about going pound for pound. The 3rd & final single “Sum of 2 Evils” hooks up a crooning boom bap instrumental from Conductor Williams flexing that they could fit all the money everyone’s bragging of in their purses leading into “Amina” talking about making it because of survival.

Reason joins Che & 7xve on “Flight” recalling the best thing that their mothers told them was that the sky limit’s over a V Don beat & after the “Love You” interlude, Che Noir herself works in a soul sample during “Conquer” talking about making waves by following moves. “Town Ballroom” brings a dustier vibe thanks to Khrysis coaching shit ain’t funny despite them smiling while “Breaker” prior to the “Black Girl” remix ends with them in disbelief over the goals they’ve achieved.

Almost 4 years in the making, Desired Crowns progresses a chemistry that previous cuts like “Bless the Food” or “Neck Protected” have already captured previously except 2 of the illest women in Buffalo have grown a lot artistically throughout this ongoing decade & that’s a reoccurring reminder of this album now that they’re both doing their own thing. Appropriately, Che Noir & 7xvethegenius only have 1 guest to accompany them to put all their energy towards their synergetic bonds over a consistent batch of beats for nearly a half hour.

Score: 4/5

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Dave McMurray – “I Love Life Even When I’m Hurting” review

Here we have the 9th studio LP from Detroit, Michigan saxophonist & multi-instrumentalist Dave McMurray. Introducing himself in 1989 off his debut album The Secret Life & returning 7 years later with the sophomore effort The Dave McMurray Show under Warner Records, he would go on to put out Peace of Mind as well as Soul Searching & Nu Life Stories between the late 90s/early 2000s until returning in 2018 by signing to the greatest jazz label of all-time Blue Note Records & made Music is Life his debut for the home of the genre’s finest. Coming off Grateful Deadication & it’s sequel, he wants to make it clear that I Love Life Even When I’m Hurting.

After the spoken word intro “This Life” by Herschel Boone, “The Jungaleers” starts with Shady Records in-house producer Luis Resto alongside drummer Jeff Canady & percussionist Mahindi Masai joining Dave to pull from Afrobeats for a nod to the high school the latter had attended whereas “Just a Thought” dedicates itself to his wife & daughter. “7 Wishes 4 G” blends soul-jazz & deep house for a love letter to “Astral Traveling” by Pharaoh Sanders leading into him covering “We Got By” by Al Jarreau.

“The Plum Blossom” by Yusef Lateef gets covered to start the 2nd half while the title track recruits Blue Note president Don Was to play acoustic bass. “Find Your Peace (4 Tani)” gives his flowers to drummer Tani Tabbal bringing the soul-jazz influences back in full effect to endearing results. “The Wheel” finishes the LP with a cover of the Grateful Dead b-side of the same name & honoring Jerry Garcia’s legacy in his own fashion.

Celebrating the love he has for the Motor City & for the many musicians he’s collaborated with, Dave McMurray comes off the Grateful Deadication series to make his greatest musical statement since Music is Life. Consisting of 6 original compositions & 3 covers in the wake of a friend of Dave’s who succumbed to illness & passed away alone, it’s admirable for me hearing him using that energy to construct a full-length themed around positivity surrounded by the most special people in his life.

Score: 4/5

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Boldy James – “Criminally Attached” review

It’s been 4 months & Detroit veteran Boldy James has finally returned to make his Roc Nation Records debut in the form of his 17th LP. Breaking out in the fall of 2013 off his Alchemist produced debut M.1.C.S. (My 1st Chemistry Set), there was a point where Nas’ independent label Mass Appeal Records had them on their roster for a little while before getting locked up. Once coming home, Uncle Al would help get his name back out there once getting out by dropping the Boldface EP around Christmas 2019 & then the sophomore album The Price of Tea in China. Manger on McNichols produced by Sterling Toles was as equally fantastic & the Griselda Records-backed Versace Tape EP was a tad bit disappointing given how rushed it was. Bo Jackson though would become his most critically acclaimed work to date & Super Tecmo Bo was almost as great for an EP. Fair Exchange No Robbery produced by Nicholas Craven, Penalty of Leadership, Mr. 10-08 produced by Futurewave, the Conductor Williams-produced Across the Tracks the Harry Fraud-produced The Bricktionary & the Carlo Anthony-produced Hidden in Plain Sight were all welcomed to warm reception additionally. Token of Appreciation produced by Chuck Strangers was much better than both Murder During Drug Traffic & Permanent Ink, the Antt Beatz produced Hommage left people divided although I didn’t mind it, coming off the V Don-produced Alphabet Highway & the Killing Nothing sequel Conversational Pieces respectively by showing up Late to His Own Funeral. Signing to Roc Nation not too long ago, he & Craven have decided to run it back with Criminally Attached.

“Walnut Grove” comes out the gate with a vocal sample talking about making money for a long time putting it on his grandmother Mary Lou whereas “No Blemishes soulfully explains that a membership of the gang he’s in cannot be simply claimed.“Infrared.com” talks about still being in the ghetto with all of his Zs getting calls that shouldn’t be answered on speaker just before “Fully Smack” runs up a check quickly to the point where he doesn’t have to wait in a line.

David Hill & 50 Gwuap Taj join Boldy on the soulful “Trifecta” talking about the way they see themselves livin’ leading into “Thumb of Craven” starting the 2nd half continuing the drumless chipmunk soul vibes telling the heavyweights throw up against to walk a little lighter. “Mr. Quaker Oats” featuring Poppy Bricks embraces a jazzier vibe talking about being more Richie than Lionel while “Thread the Needle” suggests you know he came from the bands the way he marches in.

“2 Left Feet” begins Criminally Attached last several minutes talking about not missing a single beat when he’s hustling in the streets over a chipmunk soul instrumental & lastly, “1st Time Around” ends with a vocal jazz flip admitting that he isn’t referring to blank disc when he mentions CDs & advising that one shouldn’t get to acquainted with the 227 Concreatures because of all the excessive gang shit that stays surrounding them.

Hard to say whether or not we’ll still get The Pop Catcher either next month or in 2026 but either way, Boldy James’ official Roc Nation Records debut & his 4th album to be entirely produced by one of my personal favorite producers of this ongoing decade joins Late to My Own Funeral alongside Token of Appreciation & Alphabet Highway for the strongest out of the handful of albums the Motor City’s finest has had to offer in 2025. Gearing up for a Super Tecmo Bowl follow-up next year also, Nicholas Craven’s drumlessly soulful production is unparalleled compared to it’s predecessor 4 months earlier & the same can be said regarding the gangsta-themed lyrics.

Score: 4.5/5

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Oh No – “Nodega” review

Oh No is a 46 year old MC & producer from Oxnard, California known for being 1/2 of The Professionals with his older brother Madlib & of course Gangrene with The Alchemist. His debut album The Disrupt under Stones Throw Records would become a west coast hip hop gem & the sophomore effort Exodus into Unheard Rhythms of course relied on Galt MacDermot samples. Ohnomite & the Chris Keys-produced Ashes would succeed the Oxperiment & Ethiopium beat tapes, returning over a decade after Disrupted Ads for his 6th studio LP after signing to Nature Sounds.

After the “Broken Radio” intro, “No One’s Stop” ruggedly begins with The Disrupt jumping over a gritty self-produced instrumental trying to get guap setting up shop whereas “Community Trenches” by Team Getem featuring Blu, Kazi & M.E.D. finds the quintet advising staying indoors so the war outside can be avoided. Rah Digga & Talib Kweli both rip the mic together for “Around Here” letting it be known that some ain’t allowed to be near their premises while the 2nd & final single “Rooftop Shottas” by Ghostface Killah & TriState finds the pair coming together over a gully beat advising to give up everything they got in the middle of a stickup unless you wanna get shot.

Following the “Dr. Nodega Informercial” skit, “Gutter Streams” reunites Gangrene a year & a half following their comeback Heads I Win, Tails You Lose to talk about making the needle break after shooting dope through people’s veins & after the “Watch Ya Steps” interlude, Guilty Simpson alongside Montage 1 & Vic Spencer along with him for the spaciously raw “Grounding Stars” so they can get at the throats of those who think they be running shit.

J. Sands takes us all on an 103 second “Nodega Run” having some vibraphones backing his storytelling while the lead single “Money Everyday” by Big Twins & Tha God Fahim talking about looking for new ways of getting paid. After the “Nobody Told U” interlude, “How Crime Works” by Crimeapple gets on some boom bap shit explaining his grind up until the “Alley Loitering” interlude.

“No Parking Zone” featuring Logic sets out for all the smoke with the wankstas acting like they really got it while “Czarnobyl Torture” featuring Esoteric carries the battle bars over wanting their opposition to know the applause wasn’t meant to be a congratulatory gesture to them. And after the “Good Beer Therapy (Interlude)”, “Likwit Smoke” by Tash & Wildchild makes it clear they’re still part of the Likwit Crew.

The song “ICU with Bottle Service” featuring Bishop Lamont finishes up our last few minutes of exploring the Nodega with him & Oh No over a Khrysis instrumental sampling what sounds like an SNES video game warning that they’ll let fists fly towards detractors who stay flapping their mouths while “Corner Goons” by Team Getem featuring Jayo Felony concludes with the trio suggesting everybody chillin’ at the corner to move because they carrying weight.

Thematically built around a corner store where all microphone assassins can stop through to lay down their street tales, Oh No cooks up a freshly wild collection of songs as the drama unfolds only contributing a handful of verses & letting his guests shine throughout a good bulk of Nodega. His production is some of the most cinematic he’s ever made & even though his performances are all occasional, a great deal of the veterans that’re brought on board all do what they’ve become known for VERY well.

Score: 4/5

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Ty Farris – “Run Toward the Monster” review

Detroit veteran Ty Farris teaming up with Apollo Brown to produce his 12th LP. Emerging up up under the name T-Flame being featuring on a lot of projects throughout the mid-2000’s until the very end of the decade, it was at that point where he started to put out solo stuff at a prolific rate by dropping 11 mixtapes, all 11 of his previous albums & 4 EPs. Standouts include the Room 39 duology & the No Cosign Just Cocaine series, the Machacha-produced Malice at the Palace & the Graymatter produced Sounds That Never Left My Soul. Coming off Enigma with an Attitude & Timing of a Tarantula, we have 2 of the Motor City’s finest joining forces suggesting you Run Toward the Monster.

After the “Run” intro, the first song “Follow My Soul” makes for a passionate boom bap intro talking about listening to his intuitions in this cold game whereas the 2nd & final single “No Celebrations” speaks of the relentless grind it takes to reach the top. “Details” disses wankstas who portray fictitious crime they’ve committed in their music while “Authenticity” featuring Mickey Diamond finds 2 talking about their legitimacies.

“Ctrl Alt Delete” brings a bit of a psychedelic, boom, bad vibe instrumentally proclaiming his 3rd eye doesn’t ever sleep leading into “Beautiful Struggle” talks about the journey to where he is now wasn’t an easy one, but he wouldn’t have changed shit. “Sacred” works in some sampling for Ty to explain the way he feels every time he’s in front of a microphone just before “Cold is the Gun” talks about never buckling under pressure.

Kicking off the final leg, “Street Patriots” speaks of another day in the battlefield for his kind of people chopping up a vocal sample while “Traffic” talks about still going although most who were hustling beside him have fallen off. The lead single “Flawless Victory” featuring Top Hooter teams up over a flute warning of what their results will be in any beef until finishing up by asking God to have mercy for the “Young Rebels” trying to survive the fight.

A fitting soundtrack for the cold months & colder realities, Run Toward the Monster reserves the arguable right of possibly becoming the greatest musical statement of Ty Farris’ entire career for it’s grittily emotional & unapologetically honest. Apollo Brown’s production has a heavily grimy, soul-drenched grit to it compared to Funeral for a Dream earlier this summer & T-Flame’s lyrics are amongst the most mature he’s ever penned, tackling issues like survival or self-awareness & standing your ground.

Score: 4.5/5

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Tee Grizzley – “Street Psalms” review

Here is the 6th studio LP from Detroit rapper & singer/songwriter Tee Grizzley. Originally a member of the quartet ASBH, it wouldn’t be until 2016 where he would blow up off his first solo single “First Day Out” & earned a contract with 300 Entertainment. His profile would continue to grow by dropping projects like his debut mixtape My Moment, the debut album Activated, his 2nd tape, Still My Moment, the Timbaland exec-produced sophomore effort Scriptures or my personal favorite: his 3rd mixtape The Smartest. Built for Whatever, Chapters of the Trenches, Half Tee, Half Beast & Tee’s Coney Islandwere generally mixed, coming off the sonically diverse Post Traumatic & declaring it’s Forever My Moment by spitting Street Psalms.

“In My Life” was a decent Detroit trap intro talking about not getting adjusted to being broke even though it took him a long time to get things right whereas “Walk” produced by Chopsquad DJ makes up for it from the the instrumental to Grizzley’s lyrics explaining that he balls late at night so he can party in the trenches. “Lou’s Deli” continues to head down that same trajectory in terms of quality explaining that he’s walking in the streets & stepping in the booth while “Seen Enough” featuring Polo G talks about being too deep in the water with the sharks.

As for “Make ‘Em See”, we have Helluva jumping behind the boards making it clear that he ain’t got no time to wait because he got a toddler & an infant when he’s not wrong there leading into “Chicken Different” suggest that this bitch changes her mind frame if she can’t handle what comes with the game. “Slow Me Down” makes it clear that he knows what it’s like to pray for something & then it ends up falling at your heels while “Voicemail” featuring [Rod Wave] talks about not getting sleep because of bitches abusing their numbers.

“Breath of Fresh Air” pushes towards the first half conclusion by assuring his girl that his emotions are safe with her & that he can’t wait to see her while “Van Nuys Aviation” recalling when people weren’t helping him when he needed it & wanting to take pictures with him now that he’s big. “Emotionally Intelligent” let the love of his life know that he’s constantly thinking of her & misses her dearly while “Trials & Tribulations” talks about the street shit being watered down to the point where they need to cut it out.

Continuing the 2nd half, I found the sampling on “Made It That Way” to be pretty interesting forcing himself to trap on days when he doesn’t even wanna do a damn thing while “In My Headphones” continues to show off some cool sample techniques talking about being quiet unless he means it. “Brain Cells” reunites with Helluva to hook some bells talking about the dumb shit he’s done lowering his intelligence while “Chase People” maintains the Detroit sound dismissing those calling even with him when he kept it going & they gave up.

“Back to Michigan” kicks off the final leg of Street Psalms with him & Helluva getting back together publicly admitting that 300 has given him a $20M offer in exchange for his penmanship while “Internet Detectives” takes a shot at that specific group of people. “Baby Teeski” pushes towards the end, talking about his family reasonably missing him & “New Chapter” finishes with a gospel influence speaking of having only God’s presence left.

Admittedly: As much as I liked Post Traumatic & Forever My Moment, I came away from Street Psalms enjoying it less than either or and it could be one of the weaker installments in Tee Grizzley’s discography. I appreciate the approach she took in terms of songwriting, although I don’t think the Detroit trap production was as enjoyable as the last couple projects that I previously had mentioned.

Score: 3/5

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