Tha God Fahim – “Dump Gawd: Hyperbolic Time Chamber Rap 8” review

This is the 55th EP from Atlanta, Georgia emcee/producer Tha God Fahim. Starting as an affiliate of Griselda Records as well as 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, Dump Gawd: Rhyme Pays produced by Mike Shabb, Tha Supreme Hoarder of All Pristine Wealth. Supreme Dump Legend: Soul Cook Saga produced by Cookin’ Soul & Machine Gun Vocabulary produced by Cartune Beatz. A Dumpathon began last Thursday & his putting together his 5th EP in the week with Dump Gawd: Hyperbolic Time Chamber Rap 8.

“Blk Luster S” jazzily begins by boasting the fact he dropping music more than singlehanded record labels & going beyond the standard whereas “KaioX10” soulfully talks about the flow being inhumane & being one of the greatest with the pen. “Malfunction” maintains a chipmunk soul vibe making everyone break down & not work properly prior to “Saiyan Blood” hooking up an orchestral flip taking shots at the bitter.

Getting the 2nd half of the EP going, “Tha Heart’s Darkness” returns to more of a chipmunk soul sound promising it won’t end well for any challenger whenever he raises the excalibur while “Special Benefits” has these prominent saxophones making premises diminish with fatalities Mortal Kombat style. “Tha Way” featuring Big Cheeko lastly strips the drums so both of them can talk about aiming for the stars.

We needed a change of pace from the Dump Gawd: Hyperbolic Time Chamber Rap saga like Lethal Weapon since we’ve been getting the first 6 installments for several months, but both parties keep everything that makes this series so great in the picture much like they did 24 hours ago. Nicholas Craven blends hardcore hip hop, drumless chipmunk soul, boom bap & jazz rap seamlessly for 15 & a half minutes on top of Fahim performing better.

Score: 4.5/5

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$amaad – “Child of Drama 5: Fin” review

Compton, California rapper/producer $amaad concluding the Child of Drama series that made him a breakout name in the underground with his 3rd mixtape. Since 2018, he’s built quite a large discography for himself consisting of his last couple tapes as well as 26 EPs & 4 albums. The Say Hi $amaad! (Care Package) series would go on to receive the same favorable reception as the Child of Drama, making the 5th installment of the latter the final entry of & his 5th body of work in 2025 ultimately.

“Rigo” is this cloudy trap intro asking if you’ll be mad or not if people start sleeping on you & needing adderall whereas “Keep the Dream Alive” talks about the things he does never being enough on top of knowing nobody but everybody. “Interface & Glock” works in some sampling boasting that he doesn’t have any rivals he can think of while “Pimp Juice” expresses the love he has for sippin’ lean keeping the Sprite in his cup dirty.

RTW Biggs’ feature on “Put the Pint Back” is the weakest of the 2 even if they embrace a heavy plugg vibe so both of them can turn the city up together just before the warmongering “Tank Davis” homages the current WBA Lightweight Champion of the same name. “Bootychaaain” brings back the cloud rap vibes talking about working hard for all he has & getting by off his music career, but then the atmospheric “Bands & Strippers” doing it the way he does because he came from nothing.

“Telegram” featuring Rafa & produced by Evilgiane takes it’s name after the cloud-based, cross-platform, social media & IM service with Milt saving the best feature of the 2 for last while “Use Ya Brain” playfully references 2-time WWE Hall of Famer, 4-time WWE world champion, WWE Intercontinental Champion, 6-time WWE tag team champion, the current WWE Senior Vice President of Talent Development & head booker of their developmental NXT brand Shawn Michaels said to be inducting WWE CCO Triple H as a 2-time WWE Hall of Famer next month after recently making former CMLL Mundial Femenil Campeon, inaugural CMLL Mundial Femenil Parejas Campeon & 新日本プロレス STRONG女子チャンピオン Stephanie Vaquer the current NXT Women’s Champion & NXT Women’s North American Champion.

Meanwhile on “Explicit to Do List”, we have $amaad talking about his life going the way he’s planned it & being unable to wait for all his homies behind bars to come home while “All These Hoes Get Wet” hooks up these pianos to tackle themes of lust. “Who Am I?” mixes a reversed sample & 808s together to talk about being in this shit for way too long that is until “Purple Swag” once again serves as an ode to that purple drank.

“Until the Sun” continues to push towards the conclusion of the Child of Drama series dissing everyone who keeps putting him in a box only to get out of it every single time & being in your city throwing cash prior to “Femto” reuniting with Evilgiane for the final time going as hard as they did on with Rafa on “Telegram” earlier radiating a cloudy drill hybrid warning that you’ll have to go through him if they want his bitch.

Archie’s Comic almost a couple months ago has been singled out from many including myself to be the worst project in $amaad’s whole discography & to close the book on Child of Drama for good, it’s far more interesting than the boredom that Archie’s Comic was plagued by. The production shows influences of wave, plugg, cloud rap & drill music putting a bigger emphasis on killer rather than filler.

Score: 3.5/5

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Ramson Badbonez – “White Rabbit” review

London, England, United Kingdom emcee Ramson Badbonez teaming up with Real Life Drama Records co-founder Leaf Dog to fully produce his 14th studio LP. An underwing of the Task Force, he would eventually sign to High Focus Records in 2013 making his debut for the label with A Year in the Life of Oscar the Slouch that same winter. Hypnodic, Jason Bonez, Mic Day the 13th, Death Mask & Fusion would all come out under the Hove, East Sussex imprint with White Rabbit now becoming the 7th raising my expectations with Leaf’s heavy involvement.

After the “Nothing Stops Him” intro, the first song “Hijack” is this sample-driven boom bap opener letting y’all know what he’s all about whereas “The Great” maintains a boom bap edge working in these horns boasting his lyrical technicality. “More 4 Less” featuring Smellington Piff instrumentally kinda reminds me of Mobb Deep talking about them being lyrically gifted until he looks back on getting called upon to take the “Dirt Road” to get where he is currently sampling a piano.

“Rabbit Hole” featuring mysdiggi finds the pair tryna open everyone’s heads in the midst of them getting deeply involved musically just before “Stolen Scrolls” gets back on the orchestral boom bap tip calling himself a professional dread expressionist with a vengeance list. “Try Not to Judge” featuring Verbz soulfully discusses their judgmental free tendencies, but then “Upside Down” featuring Cymarshall Law talks about the current state of the world.

As for “Loop Holes”, we have Badbonez over another piano-boom bap instrumental kicking hardcore lyricism for a few minutes while “Soul Searching” featuring Phoenix da Icefire talking about them being the butterfly effect that emerged from the chrysalis. “Can’t Give Up” soulfully gets on the motivational side lyrically & ahead of closing out with a “Wondaland” sequel, “Strike” featuring The 4 Owls gives a taste of what’s to come from the quartet’s upcoming 4th album.

Marrying his street poetry with the macabre at every turn, White Rabbit is a potent reminder of Badbonez at his lucid best & searches out the truth in the music he makes. Leaf Dog’s production provides a pitch-perfect soundtrack for Badbonez to showcase his full arsenal of multi-syllable flows, punchlines & infectious hooks as he adventures further down the rabbit hole.

Score: 4/5

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Nowaah the Flood – “Beluga” review

This is the 7th studio LP from Dallas, Texas emcee Nowaah the Flood. Breaking out in the summer of 2018 by releasing his first EP Trill Life Mathematiks around the same time as Nas’ 11th album NASIR fully produced by Ye formerly known as Kanye West, he would go on to drop 21 EPs along with The Nowaah & the Dewer’s eponymous debut album and roughly his last 6 proper full-lengths. Standouts for me personally include the DirtyDiggs-produced Private Stock, the Estee Nack collaborative effort Planted Seeds, The Infallible, the Stu Bangas-produced Respectfully, the Giallo Point-produced Right Over Left & it’s sequel, the DJ D-Styles-produced Crème de la Crème, the Kyo Itachi-produced Sudan Samurai Scrolls & recently Plans of the Diligent last Thanksgiving. Almost exactly 4 months later, DJ D-Styles is returning for Beluga.

After the intro, the first song “On Sight” kicks it all off perfectly from the grimy synth-driven boom bap instrumental to Nowaah’s lyricism promising the way it’ll be to those who wanna front whereas “7,000°” ruggedly talks about turning the heat up on everyone. “Big Wheels” keeps it in the basement making a reminder of his murderous reputation, but then “As I Walk Out My Door” featuring DNTE speaks of being weight watchers on the way to a weight house suggesting Planet Fitness can’t even catch a cardio case now.

“No Safehaven” starts the 2nd half of Beluga with a beat feeling reminiscent of “Back Down” by 50 Cent taking no prisoners & showing no mercy while “Willie Bobo” remembers the late Latin jazz percussionist of the same name. “The Sleeping Giant” strips the drums comparing his bars going straight to your brain to blow while “Never Expected” returns to the boom bap for a 3 & a half minute lyrical attack. “Rent Due” wraps things up by waking up the snakes in the grass with a pistol.

Crème de la Crème remains one of the most beloved entries in Nowaah’s catalog & this sequel nearly 2 months after the divided reception of Smash & Grab (Vanglorious Vandals) was what he needed, myself personally annoying it as much as Plans of the Diligent last fall. He’s significantly more focused, DJ D-Styles’ production is stronger, the songs feel more fully structured out in contrast to the rushed state of Smash & Grab (Vanglorious Vandals) almost 8 weeks ago.

Score: 4.5/5

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Reuben Vincent – “Hit Me When You Get Here” review

Charlotte, North Carolina emcee Reuben Vincent preluding his upcoming 3rd album by putting out his 3rd mixtape. Emerging under the original moniker Esau, his debut tape IDOL.escent would catch the attention of 9th Wonder & would sign Reuben to Jamla Records in 2016. His debut album Myers Park would be released the next fall followed by the previous EP Boy Meets World, the latter of which resulted in Roc Nation Records handling distribution for Reuben’s future output much like fellow Jamla signee Rapsody beginning with the sophomore effort Love is War almost 2 & a half years ago continuing to elevate his popularity. General Admission was ok in comparison & with the next LP set to be fully produced by 9th Wonder, they’re dropping off Hit Me When You Get Here in anticipation of it.

After the “Mama” intro, the first song “Mama’s Prayer” begins with this soulful instrumental likening himself to a pimp tryna get his cake up whereas “God’s Children” works in a crooning vocal sample taking more of a boom bap route looking back on the days before their innocence was taken from them stuck in their ignorance. “In Search Of” flips a piano to talk about going from being 13 to getting a deal while “Surfin’” gives off a chipmunk soul vibe initially thinking the picture would be perfect when it’s torn.

“The Way (You Love Me)” keeps the sample chops going addressing a romantic interest that he can’t get off his mind leading into “Let You Down” giving off a significantly jazzier approach to the beat talking about not wanting to disappoint anyone he deeply cares for. “Getting Along” featuring Foggieraw tells their lovers they do this music shit because they love it as opposed to selfishness prior to “Anything (Have!)” talking about his dream girl having whatever she wants.

As for “Good to Me”, we have Reuben over more soulful boom bap production expressing the large amount of gratitude he has currently on top of the hip hop game treating him greatly & “It’s Alright” gets back on the chipmunk soul tip to finish up Hit Me When You Get Here the way it really began talking about the familiar feeling of the world crashing down on us & God having a plan for everything.

Granted I felt that General Admission & As If Nobody’s Listening… were more average compared to Myles Park & Love is War, it shouldn’t really come off as that much of a surprise that Hit Me When You Get Here clears both of those projects & ranks as the greatest mixtape of his career. 9th Wonder’s sample-heavy production unsurprisingly doesn’t miss for anyone familiar with his general sound & Reuben fully locks in regarding his own performances.

Score: 4.5/5

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Tha God Fahim – “Dump Gawd: Hyperbolic Time Chamber Rap 7” review

Here we have the 54th EP from Atlanta, Georgia emcee/producer Tha God Fahim. Starting as an affiliate of Griselda Records as well as 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, Dump Gawd: Rhyme Pays produced by Mike Shabb, Tha Supreme Hoarder of All Pristine Wealth. Supreme Dump Legend: Soul Cook Saga produced by Cookin’ Soul & Machine Gun Vocabulary produced produced by Cartune Beatz. Coming off Lethal Weapon the other day, Dump Gawd: Hyperbolic Time Chamber Rap 7 is keeping the Dumpathon alive.

“From the Void” is this soulful intro likening people fucking with the Dump Gawd to gambling whereas “Falsified Documents” hooks up this string sample talking about being an envelope pusher & a master cooker at the same time. “Simple Math” takes the chipmunk soul route telling everyone to keep a positive attitude just before “Real Gainz” smacks the evil out of demons’ mouths giving consequences to those who go against the brotherhood.

The song “Strategic Plans” works in some crooning vocal sampling comparing his squad to the Avengers owned by The Walt Disney Company subsidiary Marvel while “Not tha Only One” maintains the chipmunk soul vibes talking about life being a lonely one sometimes. “Fallen from Grace” ends the EP with these pianos talking about him always trying to love something.

Lethal Weapon was a solid showcasing of Drega33’s talents behind the boards & Dump Gawd: Hyperbolic Time Chamber Rap 7 takes it back to what makes the series so beloved warming up for Dump Gawd: Hyperbolic Time Chamber Rap 8 tomorrow. Nicholas Craven’s production on this one is more prominently boom bap centered with the elements of chipmunk soul, jazz rap & drumless all revealing themselves at points during the 15 & a half minutes.

Score: 4.5/5

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Tha God Fahim – “Lethal Weapon” review

Atlanta, Georgia emcee/producer Tha God Fahim dumpin’ his 53rd EP ahead of Dump Gawd: Hyperbolic Time Chamber Rap 7 tomorrow. Starting as an affiliate of Griselda Records as well as 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. That said: He’s been on a CRAZY ass run since 2023 with the standouts being 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, Dump Gawd: Rhyme Pays produced by Mike Shabb, Tha Supreme Hoarder of All Pristine Wealth. Supreme Dump Legend: Soul Cook Saga produced by Cookin’ Soul & Machine Gun Vocabulary produced by Cartune Beatz. We got a 2nd AND a 3rd installment to Tha Myth Who Never Quit. Taking a breather from of the Dump Gawd: Hyperbolic Time Chamber Rap saga, Drega33 is being brought in to produce Lethal Weapon.

“Leave Nothin’ Left” is this soulful intro boasting the brutality he has with sounds whereas “Tha Speed Force” goes for a drumless chipmunk soul direction instrumentally talking about having vengeance in his heart & wisdom in his mind. “Stay Warm” takes the sample-driven boom bap route moving at speeds that’re pretty much hard to be calculated just before “Silver Bullet” maintains the chipmunk soul edge likening his pockets to Peter Griffin from Family Guy on the Fox Corporation’s flagship property.

To start the 2nd half, “Make Believe” flexing that he’s a misfit with supreme linguistics leading into the crooning “Stronger Than Feelings” talking about him chillin’ on a yacht eating chicken parmesan. “Direct Path” hooks up this orchestral sample on telling everyone not to underestimate themselves & take themselves for granted prior to “Floater” promising to end all height with the techniques of Michael Jai White.

Was expectin Dump Gawd: Hyperbolic Time Chamber Rap 7 to come out first since the whole series has been gradually showing improvements in the last 4 months, but Lethal Weapon will hold off until that time comes in a few days. Drega33 gets a chance to let the underground know what he’s capable of behind the boards with his sample-heavy production pulling from boom bap, drumless & chipmunk soul for Fahim showing no signs of slowing down anytime soon.

Score: 3.5/5

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Tha God Fahim – “Dump Gawd: Hyperbolic Time Chamber Rap 6” review

Atlanta, Georgia emcee/producer Tha God Fahim continuing the Dumpathon with his 52nd EP. Starting as an affiliate of Griselda Records as well as 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. That said: He’s been on a CRAZY ass run in 2023 with the standouts being 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, Dump Gawd: Rhyme Pays produced by Mike Shabb, Tha Supreme Hoarder of All Pristine Wealth. Supreme Dump Legend: Soul Cook Saga produced by Cookin’ Soul & Machine Gun Vocabulary produced by Cartune Beatz. We got a 2nd AND a 3rd installment to Tha Myth Who Never Quit until starting the Dump Gawd: Hyperbolic Time Chamber Rap saga that spawned a 2nd, 3rd, 4th & 5th entry in only a few months. 48 hours after the last one, Dump Gawd: Hyperbolic Time Chamber Rap 6 has arrived.

“Symptoms” fuses jazz rap & chipmunk soul together calling his rhymes magnificently significant whereas “Disconnection” soulfully talks about never recovering by any chance on God’s green Earth from this knuckle sandwich he’s on the verge of giving y’all. “Korin” brings in these horns boasting that no one is surpassing him lyrically while the crooning “Over 9000” homages the iconic Dragon Ball Z line delivered by Vegeta.

The song “Crusher” hooks up a sample-heavy boom bap instrumental referring to himself as a phenomenal occurrence with no explanation while the soulful “Destruction Achieved” promises to hit the stage with the same machete that Jason Voorhees carries on him. “Tha Invitation” finishes with more sampling on top of him talking about getting his next belt & never taking a vacation since the Supreme Dump Goat is taking off.

Nearly every Hyperbolic Time Chamber Rap EP we’ve gotten since November all have vaguely similar redeemable qualities & the latest here takes it even further. The hardcore hip hop vibes they’re known for are still prevalent so are the jazz rap, chipmunk soul, boom bap & drumless undertones that both of them have pulled influence from during the course of their careers except they occasionally experiment with vaporwave at 1 point.

Score: 4.5/5

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Tierre Diaz – “Maniflex” review

Worcester, Massachusetts emcee & actor Tierre Diaz returning 6 years after his full-length debut studio album Energy by making the sophomore effort his Armed Robbery Entertainment debut. Ever since performing the Clown Drip Stage at the 21st annual Gathering of the Juggalos which is the only Gathering that I’ve ever been to in my lifetime, he’s been seeing the biggest successes of his career whether it be DJ Clay signing him to A•R or forming the B.A.R.S. supergroup over 12 months ago exactly. He performed at this year’s Juggalo Weekend, so it makes sense to drop Maniflex a month later.

“The Wave” begins with a cloudy trap instrumental talking about everyone else being in a whole different lane compared to him whereas the title track keeps it atmospheric so he can shine as if he never even left. “Prime” goes for a guitar-driven trap direction keeping focused & never noticing others leading into “B.O.T.H. (Blood On The Hood)” showing a bit of a Memphis influence getting violent.

As for “Shiny”, going for a cloudier trap vibe once again telling everyone to quit acting as if they’re blind to the success he’s been seeing these past several years just before “Let’s Live” hooks up these prominent horns trying to go to places he ain’t ever been. “Bad Meets Killa” featuring Royce da 5’9” & produced by Johnny Slash returning to the boom bap to lay out hardcore lyricism, but then “Fantastic” featuring Ant G aptly explains how they’ve been.

The Insane Clown Posse joins Tierre for “Trending Topics” that Shaggytheairhead laced poking fun at everyone who be following trends while “Michael Myers Jordan Jackson” after the “MMJJ” interlude talks about being a mix of the Halloween antagonist, the greatest basketball player of all-time & the king of pop. “How Can I Sleep?” featuring King Gordy & Zitro ominously gets the trio in their wicked shit bags while “So It Is (RAPfirmations)” talks about being the person he always wanted to become.

“Delight” featuring Romey Sklar fuses trap & pop rap displaying a sensual side to both of them while “Girlfriend” embraces a rap rock sound talking about a woman who wants to date him. “urself” encourages everyone to be their true selves since ain’t nobody gonna come close to being you while “Time” continues the cloudiness talking every day being anew & hitting snooze.

The song “What’s Next for Me” aggressively nears the end of Tierre’s long-awaited Armed Robbery debut maintaining the fusion of hip hop & rock courtesy of Zug Izland guitarist Mike P. confessing that he’s unsure of whatever God has planned for him continuing to take the road he’s been going nonetheless & “Last Breath” is this gloomy trap outro talking about not wanting to have any regrets when his time to go comes.

In the 6 years since Energy, the Worcester artist/actor has had quite a few realized goals or dreams of his becoming manifested all in this era of his career & Maniflex attests to his growth since he first started making music. The production shows influences of boom bap, trap, rap rock & horrorcore with some of his biggest influences joining him on the mic spreading a message that has changed Tierre for the better & could change yours too.

Score: 4/5

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Che Noir – “Seeds of Babylon” review

Buffalo emcee/producer Che Noir recruiting Superior for her 8th EP. Discovering her after 38 Spesh signed Che to TCF Music Group & fully produced her first 3 EPs, her Apollo Brown-produced full-length debut As God Intended & then her self-produced 4th EP After 12 during the 2nd half of 2020 was where her potential began to blossom exponentially. She has since followed this up with the sophomore effort Food for Thought as well as The Last Remnants, the Big Ghost Ltd.-produced Noir or Never, The Color Chocolate & more recently The Lotus Child. It’s been only 5 months since the latter, the Seeds of Babylon have now been planted.

After the intro, the first song “Revelation” soulfully kicks it all off talking about getting a crown after trying to save this rap shit whereas “Bow & Arrow” kinda has a funkier vibe to the beat treating the money as if it’s a fish on a pole. “Sovereignty” goes drumless staying on the grind refusing to go for a day off & after the interlude, “Jynx’s Dream” is really a Jynx716 solo cut giving him a couple minutes to shine by himself.

“Ivory” works in some bongos to reflect on the days when she was surviving in the jungle while “Midnight” featuring ICECOLDBISHOP finds the pair talking about seeing rookies become masters outta special ed. The final song “Destiny Rose” prior to the outro strips the drums once again in favor of these bare strings expressing the joy that she gets out of motherhood being unlike anything else.

When discussing the EPs in Che’s discography, Seeds in Babylon has to be my favorite of her’s since Noir or Never couple years ago & I even enjoyed it as much as The Lotus Child this past fall. Superior keeps pushing himself as one of the German hip hop scene’s most in-demand producers currently & his sound combined with the Buffalo standout’s conscious lyricism makes her first offering of the year more than salvageable to any longtime fan of either of them.

Score: 4.5/5

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