Nick Grant – “Smile” review

This is the 5th studio LP from Atlanta, Georgia emcee Nick Grant. Blowing up a decade ago off his debut mixtape ’88 along with the Epic Records-backed full-length debut Return of the Cool, his next tape Dreamin’ Out Loud would prelude the acclaimed God Bless the Child produced by Tae Beast of the Top Dawg Entertainment in-house production team Digi+Phonics followed by Carolina Diaries & Welcome to Loveland. I did like Sunday Dinner & I Took It Personal was a great perspective on the industry itself, but he’s returning with a Smile on his face.

“Another Classic” hops over an orchestral boom bap beat from the Trackmasters to talk about the realest stepping on business for as long as he lives whereas “Money Problems” works in a chipmunk soul sample so he can break down his experiences with financial issues. “The Algorhythm” featuring Punch incorporates a flute so they can talk about some of these people dancing to the same song over & over leading into the gospel-influenced “Back Up” sending a warning to those who want to put him down.

Westside Gunn & Young Chris join Nick on “Price Tag” sampling “Love (I Guess That’s the Fool in Me)” by City Limits so they can talk about nothing being free in this world to end the 1st leg while “Bullsh!t” featuring CyHi the Prynce & Ransom references the late アイアンマンヘビーメタル級チャンピオン, TNA World Tag Team Champion, WCW World Television Champion, 2-time WWE United States Champion, 7-time WCW World Tag Team Champion, 4-time WWE Intercontinental Champion & 2-time WWE Hall of Famer Scott Hall.

“Generational Runs / No Shortcuts” kicks off the last leg of Smile with a 2-parter expressing his desire or being placed amongst the greatest when his run’s up just before “Dope Bitch” talks about the girl he’s with being awesome in her own ways. “Sensitive Gangsta” spends a couple minutes poking fun at these so-called street dudes who’re overly in their feelings & “Everyday I Wake” concludes Smile by spitting pain some wouldn’t understand over a soul sample.

Agreeably considered to be one of the most slept-on lyricists of this decade, Nick Grant continues to validate those claims with Smile striving to become a timeless artist. He’s trying prove to his audience that anything’s possible now that he’s at a place where he doesn’t want people to forget who he is & learning that our experiences are the true meaning of life, bringing a handful of guests who’re all on their own plateaus of potency rather than continuing to spit verses by himself over a varied batch of production.

Score: 3.5/5

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bleood – “Protagonist” review

bleood is a 21 year old recording artist from Florida whose 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 the Kill of B Killd EP last month however, he’s dropping his 5th extended play out of nowhere ahead of the 1c member’s full-length debut album Kill Ur Idols coming next month.

“maybach key fob” talks about popping out while he pops xanax & having as many pills as Pouya does leading into “chrome dinosaur” dissing both che & Tana along with him mentioning his beef with rexv2. “codeine tears” talks about his cup being more pink than the main character of the classic Cartoon Network series Courage the Cowardly Dog leading into “rub my belly” making it clear to either che or rexv2 that neither of them are in the same lane as him.

As for “on E”, we have bleood going hard at those who have no money in their pockets whatsoever just before “push” talks about punching any cornball who comes around his parts. “i aint start making money till i started doing drugs” pretty much says it all there & after “ding dong” talks about a whole Seal Team 6 running a train on a hoe who belongs to the streets, “friend or foe” concludes Protagonist airs out a bitch who treats him like a coupon.

Making up for all the delays Kill Ur Idols has gone through recently, I completely understand why bleood proceeded to drop protagonist out of nowhere almost a week since former AEW World Trios Champion Mark Davis ended Jack Perry’s reign as AEW National Champion & the lasting impression I have of it would be that I’m expecting his debut album to take himself farther from here. The experimental production has some interesting ideas built upon the sounds of rage, digicore, drill & free car music although I feel like there’s a decline in quality towards the 2nd half.

Score: 3.5/5

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TopOppGen – “Peace Doesn’t Reside on My End” review

TopOppGen is a 20 year old rapper from Charlotte, North Carolina who dropped his debut mixtape Mind of a Menace in the summer of 2021. He would go on to follow this up with 3 extended plays & 6 mixtapes including TopOppBusiness, All I Know is 6, ?, 6orry for the Wait, House Arrest Tingz, The Last 6ixer…, love, topopp & imperfections until signing to Columbia Records. The full-length debut fake pills & real scars along with the sophomore effort kalon have both been making waves & the singles building up towards his 3rd album made it seem like it could be his most defining statement thus far only hours after Cedric Alexander ended Leon Slater’s reign as TNA X Division Champion.

“purple fluid” opens things up talking about falling in love with drugs after having his heart broken whereas “don’t cry” fuses rap rock, trap & emo rap assuring his partner that she doesn’t have to do him wrong if he does it initially. “chemistry” talks about love not meaning anything to him until “scrimmage” for some reason admits to stalking this woman’s page when he knows he has better stuff to do.

The 2nd & final single “love war” suggests maybe he’s better off in his deathbed when most would consider it to be the worst case scenario while “don’t wanna do that” talks about being on drugs that his homies have never heard of previously. “emo girl” wraps up the 1st leg of the LP proclaiming the chick he’s been with to be dumber than Patrick Star leading into “everything” talks about remembering all he & an ex have done together.

“I hate relationships” kicks off the 2nd half warns everyone who wants to kill him that he has guns of his own at the crib while “features” talks about being mesmerized by the beauty of this pretty girl with a cold heart. “rampaging” touches base regarding him being on lean for 3 straight weeks & pondering if he’s been losing his feelings while “heartfelt message” blends a guitar & hi-hats expresses hope of him never seeing a hoe’s face again because of their love dissolving.

The song “blow me away” winds down Peace Don’t Reside on My End’s final moments advising to let him be if someone finds him bleeding out all over the ground & his partner’s absence causing him to begin hallucinating while “cavity” talks about making it out the hood even if he couldn’t take the hood with him. The closing track “way past 10” spends the full-length’s last couple minutes taking inspiration from the late XXXTENTACION’s emo-folk stuff, primarily 17.

Proving himself to be one of emo rap’s most prominent forces within the past year, TopOppGen extends the back-to-back streak he’s been on since signing to a major label & making it a 3-peat considering how much Peace Doesn’t Reside on My End feels like a continuation of both it’s predecessors. The production refines his style by maintaining the secondary influences of gangsta rap, pop rap, rap rock & trap and he refrains from having any guests join him in expressing his pain.

Score: 3.5/5

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Genesis Owusu – “Redstar Wu & the Worldwide Scourge” review

Genesis Owusu is a 28 year old rapper & singer/songwriter from Canberra, Australia by way of Koforidua, Ghana who broke out in 2021 off the widely praised full-length debut Smiling with No Teeth. He would on to follow this up in the form of a sophomore called Struggler, which was still great although not as much as it’s predecessor. His 3rd studio album however has been shaping up to be more defining than the one that introduced us to him at the earlier portions of this decade based off the teasers & I had to give it a chance.

“Pirate Radio” begins with him dissing Tesla CEO, SpaceX founder, Neuralink founder & Nazi Elon Musk for a politically experimental hip hop, synth punk, hardcore hip hop, new beat, conscious hip hop, dance-punk revival, electro-industrial & industrial hip hop intro whereas “Stampede” blends dance-punk revival, alternative dance, coldwave, synth punk, chillwave & synthpop to explain that we’re all in this together.

DUCKWRTH appears on “Hellstar” so they can search for love in a hateful place leading into “Falling Both Ways” featuring Ladyhawke finds the pair singing about wanting to know the difference between the 2 places one goes in the afterlife. “The Worldwide Scourge” explains how the US voted for a Nazi sympathizer during the previous election when the fascism backs it up just before “Blessed Are the Meek” references WWE Hall of Famer Mike Tyson & talks about now not being the time to hide.

“Life Keeps Going” combines experimental hip hop, neo-soul, synth punk, neo-grime & alternative dance for the final single revisiting a theme the late 2Pac had once explored 3 decades earlier on the track “Life Goes On” until we get a depiction of the “Most Normal American Voter:” being misinformed, which is also factual. “Death Cult Zombie” later collides the styles of post-punk revival, new wave, rap rock, dance-punk revival, garage rock revival & pub rock to push the 2nd half forward calling out FOX News.

Meanwhile on “Situations”, we have Genesis talking about being prepared in case of any scenario where his life’s at risk while “4Life” depressively looks back at the life he & his friends once had. “Runnin’ Outta Time” talks about him following his gut instinct after seeing guts on his timeline & once “Big Dog” dismisses those trying to start beef with him ahead of summer, “One4all” ends the album assuring everyone things will work out in the end.

Channeling his frustrations after watching everything unfold for the last year & a half, Genesis Owusu has finally outdone himself by making Redstar Wu & the Worldwide Scourge the greatest achievement in his musical career surpassing both Struggler & especially Smiling with No Teeth. The production is a tasteful melting pot of experimental hip hop, synth punk, dance-punk revival, post-punk revival, alternative dance, neo-soul, deep funk & Brit rock and the lyrics are far more political than anything Genesis has done previously.

Score: 4.5/5

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Telehealth – “Green World Image” review

Telehealth is a post-punk/synthpop duo from Seattle, Washington consisting of Alexander Attitude & Kendra Cox. Their 2023 debut Content Oscillator properly introduced themselves combining both of those previously mentioned styles with new wave as well as egg punk, garnering the interest of locally historic indie label Sub Pop Records & they were officially signed a few months earlier. So for Alex & Kendra to make their debut for the imprint through their sophomore effort seemed like it could be the pairing’s biggest breakthrough yet.

After the “(user onboarding sequence)” intro, “The Telehealth Shuffle” begins with this compositionally playful & quirky dance-punk opener whereas “Kokomo 2” goes for a new wave/egg punk vibe singing about a machine rendering a senseless future to be useless. The 3rd single “Donor Country (A gOoD cAuSe)” asks why can’t we coexist & trying to find some charitable context leading into “Age of Muralcide” embracing a synth punk sound to explain capitalism & consumerism.

The 2nd single “Things I’ve Killed” embraces the a heavy Devo influence singing about a subreddit blaming millennials for all the industries that they blame for destroying prior to them asking for the “Cost of Inaction” to kick off the 2nd half incorporating elements of new wave, synthpop & dance punk. “Silver Spoon” humorously sings about being unable to afford death & taxes anymore considering everything’s getting more expensive while the lead single “Cool Job” describes looking for an occupation that would actually be fun.

“Yassify Me” for the 4th & final single explains the result of a $0 budget, a dream & Kendra’s aunt Becky absolutely committing to the bit while “Maria, Machine” takes inspiration from Devo once more with hints of Sparks or Zolar X. The penultimate song finds the duo embracing their “Villain Era” & confidently looking to take the crown while the outro “Living, Laughing, Loving, Trying” pretty much sums up the way most of us have been doing for the past year & a half.

Continuing their mission of financializing any difference of opinion over how the in-shambles local “music scene” should proceed, Telehealth’s 2nd album & Sub Pop debut vertically integrates itself towards the average Seattleite & consumers around the globe who are also ready to financialize their own passion for music. Green World Image has a more predominant post-punk feeling than synthpop except they’re progressively evolving beyond both styles in favor of exploring art punk, synth punk, dance-punk, egg punk, new wave & art rock.

Score: 4/5

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Memphis Bleek & Smoke DZA – “Trees Open Doors” review

New collaborative extended play between Brooklyn emcee & songwriter Memphis Bleek alongside Manhattan, New York emcee Smoke DZA. The latter of whom has been putting it down for over a decade dating back to when I was in high school & the other blew up in the late ‘90s signing to Roc-A-Fella Records/Def Jam Recordings. These guys have only crossed paths with each other couple times on songs like “Selling Smoke” or most notably “3 Kings” at the beginning of 2025, linking up so they can let everyone know Trees Open Doors.

“Blockbuster Night” begins with this jazzy boom bap beat talking about having a plethora of women in the room & poppin’ bottles from the throne whereas “Lock In” goes for a drumless chipmunk soul vibe instrumentally so both parties can discuss staying determined to finish the 1st half. “Slide” embraces a funkier sound aiming to get the dance floors moving & “Party of 5” featuring Christian d’Or saves my least favorite track for last, ending on a mediocre note.

This one’s definitely gonna appeal more to the most loyal fans of both Memphis Bleek & Smoke DZA because regardless of the guest appearance on the closer, I do think both east coast veterans compliment each other well over production ranging from boom bap to jazz rap & drumless, except I’m not sure who produced what because of there being no credits listed whatsoever, which isn’t new but it’s irritating when it happens.

Score: 3/5

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BNYX – “Genesis FM” review

This is the full-length studio debut from Upper Darby Township, Pennsylvania producer, songwriter & occasional rapper BNYX. Mentored by Jean Baptiste & later joining the Working on Dying production team known for pioneering tread music, he’s also known for being an extensive collaborator of Yeat, signing to the latter’s Lyfestyle Corporation imprint under Field Trip Recordings & Capitol Records distributed by Universal Music Group. His debut extended play Loading… made for a decent prelude & Genesis FM has arrived 7 months afterwards.

After the titular intro, “HunchO Step!” by Quavo begins with what I consider to be one of the stronger singles getting all the baddies to dance whereas “squEEze !i” by Lancey Foux was another track I enjoyed from the instrumental to the lyrics about being on go. “luv yoU right” by Chromeo stylistically shifts gears so the latter can confess to meeting their match just before “what’s happenin?” by Ledbyher talks about being with a woman thicker than his accent at the end who loves fake acting.

“Telepathy Love” by Clara La San goes for a poppier R&B sound so she can describe a relationship that feels rather psychic leading into “Fuëgo” by Peso Pluma & Yeat reaching the halfway point for a bilingual anthem about going loose off the alcohol. “OVERLOADDD” gets the 2nd leg of Genesis FM going on a more compositional note embracing an EDM sound while “I wanna know :)” by Big Sean & Clara La San links up for a pop rap duet where they’re trying to hear the truth.

Alt-pop, Atlanta bass, synthpop, electro, alternative R&B & indietronica all collide on another highlight single “Everywhere I Go (Remind Me)” by KiD CuDi interpolating the Röyksopp track “Remind Me” while “Science” by Nippa sings about his lover’s being a test subject for analyzation. “FANatic” by Beau Nox expresses a desire to touch the sights that’ve been speaking out & once “Fallen” by Don Toliver sings about falling for someone, “Time’s Slipping Away” by Anatole Muster bittersweetly ends yearning for 1 more day with this person.

I went into Genesis FM expecting to enjoy it more than Loading… because I adamantly believe BNYX is one of the greatest mainstream producers of this decade & as much as it pains to me say it, his debut album isn’t much better in terms of consistency. Happy an instrumental version happened since the pop rap, electropop, alt-pop, alternative R&B, electro hop, EDM trap, freestyle, indietronica, Atlanta bass & synthpop production is magnificent. However, the guest list once more feels hit or miss.

Score: 3/5

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Drake – “Maid of Honour” review

Continuing our coverage of Toronto, Ontario, Canada rapper, singer/songwriter, actor, producer & entrepreneur Drake with his 10th LP. Skyrocketing to fame in 2009 off his 3rd mixtape So Far Gone, the success of this groundbreaking project resulted in a contract with both Young Money Entertainment/Cash Money Records & they helped put out the man’s underrated full-length debut Thank Me Later the next summer. His sophomore effort Take Care the year after would be even better & I enjoyed Nothing Was the Same too but after If You’re Reading This It’s Too Late & then What a Time to Be Alive with Future (both of which came out in 2015), that’s when the quality in Drake’s music really began to take a nosedive. VIEWS was a terrible foray into dancehall, More Life was mediocre despite being stylistically eclectic, his YM/CM swan song Scorpion was a disappointingly failed attempt at making a double disc album showcasing the hip hop/R&B sides of the OVO Sound founder’s music respectively, Care Package is decent collection of 17 loosies from 2010-2016 that we’ve all heard before, Dark Lane Demo Tapes tried to experiment with new sounds only to miss the landing & Certified Lover Boy just felt like the same old shit we’ve heard from him before. Honestly, Nevermind was basically Drake’s own version of Renaissance by foraying into house music a month ahead to mixed reception until Her Loss with 21 Savage was a 6/10 at best because 21 felt like a featured artist on there. For All the Dogs was the most I’ve enjoyed Drake’s music since If You’re Reading This It’s Too Late & $ome $exy $ongs 4 U with PARTYNEXTDOOR last Valentine’s Day would become his worst collaborative project yet, coming off getting destroyed by Kendrick Lamar in a rap beef to drop Habibti, Maid of Honour & Iceman.

“Hoe Phase” begins with a club-inspired intro reminiscent of Honestly, Nevermind butchering a sample of “It’s Like That” by Run-D.M.C. whereas “Road Trips” goes for more of an R&B vibe singing about relationships falling apart. Stunna Sandy helps him take it back to 2016 during “Outside Tweaking” with the dancehall beat & “Cheetah Print” featuring Sexyy Red could not only be the worst track here, but also one of the worst songs Drake has ever career sampling “(It Goes Like) Nanana” by Peggy Gou

Central C appears on the tiring pop rap, dancehall, hip house, funk brasileiro, zess & dembow single “Which 1?” asking if one wants success or friends leading into “Amazing Shape” featuring Popcaan turns up the dancehall influences to describe women who’re built like an hourglass. “BBW” reaches the halfway point with a body positivity anthem that feels subpar until “True Bestie” samples “PSA” by Iconic Savvy to break down the chemistry between him & women when he’s out.

After the “Where’s Your Stuff?” interlude, “New Bestie” delivers a boring dancehall 2-parter expressing his gratitude towards Vybz Kartel while “Q&A” feels an egotistically insecure breakdown on wax. “Stuck” produced by Gordo & Internet Money Records in-house producer Nico Baran talking about taking Pamelor because of a breakup but once “Goose & the Juice” makes himself an escape route for someone trapped in a stagnant long-term relationship, “Princess” experiments with pop punk undertones for an underwhelming outro.

Thankfully this bridging entry of Drake’s trilogy Habibti began & Iceman concludes is the 2nd & last installment that I can say I flat out didn’t like even if Maid of Honour’s only a slight cut above the predecessor. The pop rap, dance, hip house, miami bass, electro, jersey club rap, dancehall, contemporary R&B & afrobeats production makes it feel like a cross between Views & Honestly, Nevermind except both of those are more tolerable even if they’re not necessarily great either.

Score: 1.5/5

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Hexxx – “Endless Night” review

The 4th extended play from Los Angeles, California emcee Hexxx has finally arrived. Coming up a decade ago off his debut extended play Samhain, he would go on to follow it up 3 years later with his 2nd EP West Coast Wicked Shit prior to his full-length debut Demon Season & the sophomore effort Tales of a Cursed G becoming west coast wicked shit classics in their own rights. Coming off the Suerte EP last summer, he’s coming back for an audio description of an Endless Night over 2 months after Persephone ended Mercedes Moné’s reign as CMLL Mundial Femenil Campeon & a couple weeks since Templario became a 2-time MLW World Middleweight Champion.

“Rock, Paper, Cemetery” reemerges out the dusk to talk about this shit being hereditary to him whereas “Crash Out” goes for a trap vibe admitting that he’s been feeling like a ghost drowning his pain away. After an interlude, “The Real” talks about his future plans of staying independent & shouting out the legitimate who’re still with him just before things take a darker turn instrumentally to discuss feeling like a “Freight Train” as of late.

After the “Ghost Dog” interlude, “Westside Samurai” keeps the west coast wicked shit coming talking about it taking a lot of pain for him to get the kinda shine he has while “Loco” gets on his g shit over a ratchet beat. “Entrance Theme” kinda has a Memphis-inspired atmosphere dedicating itself to all his fellow gangstas & once “Chrome Clouds” talks about keeping the wave moving, “Friday” sends it all off with a jazzy west coast outro for a weekend celebration anthem.

Despite putting out Suerte almost a whole year ago next month, Hexxx spent a great deal of 2025 taking a break from touring so he could dedicate all of this time towards making Endless Night the greatest thing he’s ever done in his career yet & I can definitely say it’s not too far behind the predecessor regarding his EPs. The production ranges from jazz rap to ratchet to Memphis rap & lyrically, the procurator of west coast wicked shit answers a few questions he’s had bubbling in his mind.

Score: 4/5

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Drake – “Iceman” review

And finally there’s the Toronto, Ontario, Canada rapper, singer/songwriter, actor, producer & entrepreneur Drake’s 11th LP & subsequently his last for Republic Records. Skyrocketing to fame in 2009 off his 3rd mixtape So Far Gone, the success of this groundbreaking project resulted in a contract with both Young Money Entertainment/Cash Money Records & they helped put out the man’s underrated full-length debut Thank Me Later the next summer. His sophomore effort Take Care the year after would be even better & I enjoyed Nothing Was the Same too but after If You’re Reading This It’s Too Late & then What a Time to Be Alive with Future (both of which came out in 2015), that’s when the quality in Drake’s music really began to take a nosedive. VIEWS was a terrible foray into dancehall, More Life was mediocre despite being stylistically eclectic, his YM/CM swan song Scorpion was a disappointingly failed attempt at making a double disc album showcasing the hip hop/R&B sides of the OVO Sound founder’s music respectively, Care Package is decent collection of 17 loosies from 2010-2016 that we’ve all heard before, Dark Lane Demo Tapes tried to experiment with new sounds only to miss the landing & Certified Lover Boy just felt like the same old shit we’ve heard from him before. Honestly, Nevermind was basically Drake’s own version of Renaissance by foraying into house music a month ahead to mixed reception until Her Loss with 21 Savage was a 6/10 at best because 21 felt like a featured artist on there. For All the Dogs was the most I’ve enjoyed Drake’s music since If You’re Reading This It’s Too Late & $ome $exy $ongs 4 U with PARTYNEXTDOOR last Valentine’s Day would become his worst collaborative project yet, coming off getting destroyed by Kendrick Lamar in a rap beef to drop Habibti, Maid of Honour & Iceman.

“Make Them Cry” begins with a sample “The pressure is on me.” by Muchi to talk about his father Dennis battling cancer & some questioning the sincerity of that when he’s now cancer free whereas “Dust” takes a jab at Kendrick claiming that he doesn’t remember a word of his raps when it’s a lie. “Whisper My Name” disses JAY-Z stating he’d take the $500K instead of having dinner with him prior to “Janice STFU” dissing Hov once more over FNZ & Rogét Chahayed sampling “I Follow Rivers” by Lykke Li that was later remixed.

Future & Molly Santana appear on the 2-parter “Ran to Atlanta” that Dez Wright, !llmind, Southside & Wheezy all cooked up making a self-aware nod to “Not Like Us” just before “Shabang” produced by 40 talks about the aftermath of the Kendrick beef. “Make Them Pay” works in an ovrkast. instrumental I really found myself enjoying until he disses J. Cole, Rick Ross, DJ Khaled & Pharrell but then “Burning Bridges” splits itself in halves to take a jab at A$AP Rocky reusing a “back to back” line for some odd reason.

“National Treasures” concludes the 1st half of Iceman with another 2-parter that Boi-1da & Internet Money Records in-house producer Nico Baran both put together attacking LeBron James, DeMar DeRozan, James Harden & Russell Westbrook for attending the Pop Out show on Juneteenth 2024 while “B’s on the Table” talks about his ongoing Universal Music Group lawsuit. “What Did I Miss?” however began the whole rollout dissing DeMar & LeBron once more over a cloud trap beat from Tay Keith.

Meanwhile on “Plot Twist”, we have Drake over an instrumental Tom Levesque of Vanguard Music Group co-produced representing OVO & rebutting “Not Like Us” while “2 Hard for the Radio” basically pokes fun at “Not Like Us” even harder with it’s Bay Area sound & includes a DJ Mustard diss. “Make Them Remember” throws jabs at Kendrick, Cole, Dr. Dre & Joe Budden over a Boi-1da beat while “Little Birdie” talks about the aftermath of the Kendrick beef again.

“Don’t Worry” at last nears the conclusion of Iceman taking an alternative R&B approach courtesy of Sledgren interestingly pleading for his partner to come have the best time on the bedside while “Firm Friends” contains one of my favorite instrumentals thanks to Conductor Williams, only for Drizzy to hit us with more bars about the Kendrick beef & UMG CEO Lucian Grainge. The closing track “Make Them Know” spends the last 4 minutes admitting that the 4th of July in 2024 when the “Not Like Us” video premiered was the worst he felt in a minute.

It shouldn’t come as a surprise to everyone that Habibti & Maid of Honour were passionlessly rushed throughout the Iceman sessions because Drake wanted to get out of his Republic contract, but the final installment of the trilogy was actually my favorite of them all even if it’s average at best. Aside from the alternative R&B joint, the production carries over the trappy pop rap/chipmunk soul ideas For All the Dogs had contrasting the R&B & dancehall/EDM influences of Habibti & Maid of Honour although the victim raps ruin it.

Score: 2.5/5

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