Dom Kennedy – “Class of ‘95” review

Dom Kennedy is a 40 year old MC from Los Angeles, California who I became a fan of during my adolescence through his 4th & 6th mixtapes From the Westside with Love & Yellow Album respectively. He later made a sequel to his breakout tape as his official full-length debut studio album, going on to release 6 more & of course forming the MC/producer duo Half-A-Mil with Hit-Boy since then. From the Westside with Love III in the fall of 2021 was met with mixed reception & with it’s anniversary coming up early next week, he’s returning for the 8th studio LP in his discography.

“Rich Kids” is this sample-driven trap opener feeling closer to God than ever chasing the money whereas “Leanin’” works in a psychedelic backdrop & some hi-hats boasting he ain’t gotta floss since people tryna stealin’ the sauce anyway. “Legendary” takes the Mobb route instrumentally reaffirming his status in the streets, but then “Casablanca” featuring Polyester the Saint & TROY NoKA talking about everyone knowing he been on.

As for “Slauson Phil”, we have Dom over more atmospheric trap production reflecting on going from selling cans to buying whips leading into “Nowornever” observing that dudes be fuckin’ with the same girl & that being wild to him since it’s a small world we’re in. “Attention” had a syrupy trap flare to the beat tackling the theme of romance just before “Baby James” talks about planting a tree when he was broke & having money now.

“Miracle on 43rd” spaciously finds him mobbin’ on the plane with a Louis Vuttion tote bag while “Rollin’” brings a charming trap flare to the table talking about being as seasoned of an MC he is. “Celine” atmospherically gets boastful giving thanks to God for all the paper he’s made while “Indepedent” shows off his indie status since he’s never signed to a major label & all of his music coming out through The Other People’s Money Company.

Meanwhile on “Loved”, pushes forward the 2nd half of Class of ‘95 with a drumless loop matched with the lyrics about being influential although not as much as J. Cole & that they still love him the same while “Promise” featuring Niko G4 gets on the pop rap tip promising their lovers to stay solid like when they met. “Emergency” smoothly asking if it’s real love if it’s never been tested while “Gallery” talks never dreaming of going mainstream since he’s famous on the block.

“Lonely Hearts” gets the encore of the LP going by hopping over this soulful trap beat dedicating this joint to all the lonely hearts listening while the title track moodily talks about finding a woman that he’s been looking for throughout his whole entire life. The closer “Sketches from Westlake” ties things up keeping money on his mind considering every day to be the 1st of tha Month making it work by stackin’ now & ballin’ later.

Truthfully, it’s been quite a while since I found myself enjoying a Dom Kennedy project & Class of ‘95 surpassed my expectations ahead of it since it could probably be his best solo offering since Los Angeles Isn’t for Sale 2. The production eclectically pulls from trap to soul, Mobb music, pop rap & drumless as Dom pretty much recaps how life’s been treating him in the last 3 years since he last dropped.

Score: 3.5/5

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ovrkast. – “Kast Got Wings” review

Oakland, California emcee/producer ovrkast. enlisting enlisting St. Paul, Minnesota producer/rapper Cardo behind the boards for his 13th EP. In almost a decade, he’s been making waves by releasing a couple mixtapes on top of the last dozen EPs in his discography later landing production credits ranging from MAVI to Earl Sweatshirt & even Drake. Coming off the 1-year anniversary of the predecessor Reset! over the summer & is ringing in the final quarter of 2024 by shaping Kast Got Wings up to be the most exciting entry in his discography yet.

The opener “UP” gets the ball rollin’ with a rich trap instrumental feeling on the verge of erupting working the hardest he’s ever had whereas “PAYMEAGRIP” works in more hi-hats & a mellow backdrop advising to cough up the dough since they tryna erase the hood he came from. “CUT UP” fuses jazz rap & trap asking what the business is just before “BEAT IT UP!” talks about going harder than muhfucka.

“FREE UP SUM’N” starts the other half of the EP going for a minimal sound wanting to know what’s up with it taking 1 for the team while “SLOW MONEY” shifts into boom bap territory so he can talk about staying golden. The closer “BIPPER’S JOINT” ends Kast Got Wings by hooking up these piano chords & hi-hats feelin’ like he could possibly make a scene.

When you look at the handful of EPs that ovrkast. has put out since 2015, this new one here unsurprisingly takes the cake as his best one thus far & increases my anticipation for his full length debut studio album whenever that comes. Cardo’s production mainly has a trap vibe with additional elements of boom bap & jazz rap, allowing the Oakland lyricist to drop his most passionate performances.

Score: 4.5/5

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October London – “October Nights” review

October London is a 37 year old singer/songwriter from South Bend, Indiana starting out in 2013 off his debut EP The Introduction & both installments of the Color Blind series. He eventually caught the attention of Long Beach icon & WWE Hall of Famer Snoop Dogg, who signed him to Doggystyle Records for his 4th EP Please Leave a Message before Message before moving over to Death Row Records not too long after Snoop bought the label he started out at & teamed with gamma. for a new distribution deal. October has since released his first 2 albums & a couple more EPs through the revived west coast powerhouse with Crypto Winter, Technicolor, The Rebirth of Marvin & The Greatest Gift. However, the singles ahead of his 3rd full-length studio LP here were generating enough buzz for people to tell me that they wanted to see me covering it & I was more than willing to do so since I enjoyed The Rebirth of Marvin the most out of his discography.

The drumless opener “Slander My Name” addressed those who’re slandering him or making it sound like he did dirt on them whereas “Touch on Me” jazzily sings about love making being natural since every single one of us are human & sexual beings at the same time. “A Beautiful Woman” produced by Soopafly shows appreciation to the amazing women in October’s life speaking beautifully to the heart of love prior to “3rd Shift” groovily singing about working 23 hours.

“Don’t Go” pleads for his romantic interest not leave since he needs her in his life over a piano instrumental while “She Keeps Calling” mellowly discusses a woman who keeps blowing up his phone & him eventually coming back to her for more lovemaking. “All I Want is You” featuring Boney James sees the 2 making it clear they don’t want any other woman besides the ones they currently have on top of a trap soul beat, but then the jazzy “Don’t Waste Your Time” courtesy of labelmate Charlie Bereal sings about life not playing the same game as us.

Meanwhile on “Kill Shot”, we have October luxuriously describing a woman who sent the final death blow straight into his heart while “Missing You” magically gets in his breakup bag reflecting on when he was with an ex-girlfriend with the help of Babyface. “Bedroom Bully” featuring Tyrese goes for a minimal approach instrumentally for a lustful duet while “The Best Problem” intoxicatingly referring to his new girl as the best distraction.

“Momma” starts the final moments with a soulful tribute to anyone listening who loves their mother while “Put You On” featuring Snoop Dogg sees the pair coming together so they can uplift & upgrade their current partners over a Mike & Keys beat. “The Reception” featuring Ledisi is another duet painting the imagery of a wedding with both artists playing the newly wedded husband & wife while “Time” closes the LP by promising he’ll love her until the end of time.

Firmly establishing himself as The Rebirth of Marvin when Death Row relaunched, October Nights here if anything proves R&B is alive & well by delivering what I consider to be his 2nd best work behind the predecessor. It has an essence of soul, vulnerability & an innovativeness that’s been missing in the R&B genre for a while, highlighting the artist’s continued evolution & natural sense of identity.

Score: 4/5

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Elucid – “Revelator” review

Here we have the 3rd full-length solo LP & Fat Possum Records debut from Queens, New York emcee/producer Elucid. Since 2007, he’s been making a name for himself whether it be his 10 mixtapes & 2 EPs that he’s released by himself or becoming 1/2 of the abstract duo Armand Hammer. His debut album Save Yourself came during the spring of 2016 & he returned a couple years ago for the sophomore effort I Told Bessie. Armand Hammer released a highly acclaimed sequel to Shrines through Fat Possum last fall called We Buy Diabetic Test Strips & Elucid has inked a solo deal through the label for Revelator.

“The World is Dog” is this self-produced, industrial abstract hip hop opener with additional elements of rock and a hint of drum & bass talking about a forced past will eventually eat us all whereas “CCTV” featuring Creature maintains an industrial vibe instrumentally courtesy of August Fanon wanting y’all to tell them the lies are really the truth. “Yottabyte” hooks up a piano-heavy beat fighting fire with fire, but then “Bad Pollen” by Armand Hammer reunites the duo over a crooning vocal sample saying you’re crazy if you think you’re crazier than them.

The fusion of cloud rap & sound collages on “Slum of a Disregard” are pretty cool showing no surprise to abuse of power since Elucid’s landlord happens to be a Zionist leading into the buzzing “RFID” talking about knowing where to dig if it’s a war & where to lay if it’s love. “Instant Transfer” by Armand Hammer from the BLK LBL sessions flexing they the one’s just before “Ikebana” returns to the boom bap feeling like everyone new with him.

“In the Shadow of If” on top of this slow, guitar-driven instrumental talking about taking a chance with no reminder while “S.K.P. (Some Kinda Power)” embraces a darker atmosphere makes it clear to not confuse him at all. “Hushpuppies” serves as more of an interlude within the track listing setting out to find fried fish while “14.4” featuring Skech185 is this drumless, industrial hip hop hybrid with a switch up during the last minute telling those who wanna run up on him that’s a no go.

Starting the final leg of the LP, the song “Voice 2 Skull” takes it back to the basement mixing heavy sampling with kicks & snares flexing he gets up before everyone else & loses his mind first while “Xolo” by Small Bills hops over these blaring guitars from The Lasso cautioning to get the fuck back & stay down. “ZigZagZig” ends the album on a dark-industrial note thanks to DJ Haram talking about surviving like a moving target.

Save Yourself has always been as my favorite Elucid solo effort even above I Told Bessie. That said, the raw crackling urgency that runs through Revelator like an underground power line brimming with the energy of now with a refusal to look away is enough to have it surpass both it’s predecessors. Intellectual rabbit holes have been filled in with concrete & reverb with nowhere to hide & no off ramp from the audio Autobahn that Elucid has fashioned.

Score: 4.5/5

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7xvethegenius – “Death of Deuce” review

This is the long-awaited sophomore effort & final Drumwork Music Group offering from Buffalo, New York emcee 7xvethegenius. Emerging off her first 2 EPs The Calm Before & Self 7xve as well as the full-length debut 7xve is Love, it wasn’t until she & Jae Skeese both became the first artists to sign with Conway the Machine’s very own Drumwork imprint where 7xve got her biggest break yet. She has since preluded Death of Deuce with Thy Will Be Done alongside Self 7xve 2 & most importantly the DJ Green Lantern-produced The Genius Tape. Almost 4 years after being signed, it’s finally here.

“A Lesson” produced by !llmind is this cloudy trap opener assuring that things are only gonna get crazier as time passes by & to think wiser from this point forward whereas “Triangle” featuring Papoose soulfully talking about seeing $1M before she even made it as far as she has in the game. “Graymatter” hooks up a boom bap instrumental from the titular producer asking how you gonna buy your mom a house with street credit just before the jazzily dusty “Psalm” featuring Jae Skeese that Camoflauge Monk laced gets the hurt off 1 verse at a time.

The title track maintains a boom bap edge courtesy of EYEKETYSON showing off some crazy ass rhyme schemes for 107 seconds straight leading into “Dirty Nikes” gets back to the soul sampling talking about focusing more on her craft as of late. “Moma” heads for a luxurious direction thanks to STREETRUNNER expressing gratitude for making it onto without a spoon or a fork, but then “Deuce” strips the drums completely welcoming y’all to this beach chair.

“Authentic” takes the spacious boom bap route altogether talking about wanting to be herself while “The Genius” was my favorite single from the Daringer beat to 7xve’s lyricism cautioning to say no to drugs sticking with rapping so y’all can learn what love is. “Jump” has some more jazz rap undertones from Haas Almahdi maintaining the kicks & snares cautioning that you should look before you leap while the J.U.S.T.I.C.E. League-assisted “Serious” flexes that she stay on top of their heads.

The penultimate song “Float” nears the end of Death of Deuce questioning God wanting to know when the first will be the last since she’s had her heart broken by these motherfuckers so many times keeping her head down focusing on work & lastly, “If I” closes the LP on some cloudy boom bap shit basically talking about if she were to pass away for roughly 5 & a half minutes.

Almost 4 years in the making & Death of Deuce begins a new era for the First Lady of Drumwork. I find myself leaning towards the production on The Genius Tape more in comparison but regardless, the elite lyricism & storytelling of that tape carries their way onto this album showing us how much she’s grown ever since Conway gave her a record deal.

Score: 4/5

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Glorilla – “Glorious” review

Memphis rapper Glorilla following up her 2nd mixtape EhhThang EhhThang with her full-length debut studio album. Breaking out off the viral & undeniably fun single “F.N.F. (Let’s Go)” couple years ago, the ultimately resulted in local veteran Yo Gotti signing her to his Interscope Records imprint Collective Music Group a little over a week before they dropped their 2nd showcase compilation Gangsta Art a few months later, making her the very 1st female recording artist on the label. Anyways, Life’s Great… continued to have her presence felt & EhhThang EhhThang was ok, but all roads trace back to Glorious.

The intro has a gospel sample mixed with hi-hats that I find myself enjoying quite a bit promising it’ll always gonna be what it is until the very end whereas “Hollon” produced by FNZ takes the crunk route instrumentally talking about these muhfuckas wanting to bag a stupid bitch these days. “Procedure” featuring Latto pulls from the Mobb scene a bit thanks to Supah Mario telling y’all what to do when a bad bitch walk in the room & I found myself appreciating “T.G.I.F. (Thank Glow It’s Friday)” in the context of the LP blending influences from the Memphis scene with cloud rap & crunk music turning up on a Friday evening.

“Whatchu Kno ‘Bout Me?” featuring Sexyy Red works in some synths & hi-hats so both of them can carry on the theme of partying prior to the rubbery “Stop Playing” that Timbaland laced telling everyone listening to stop fuckin’ with her. “Don’t Deserve” featuring Muni Long kinda has this trap soul admitting women all go stupid for men at one point in their lives while “Rain Down on Me” heads for a gospel trap direction showing a spiritual side to herself.

Meanwhile on “Glo’s Prayer”, we have Glo continuing the themes of religion over a cloudy trap beat just before “How I Look” featuring Megan Thee Stallion gives off a Detroit trap vibe instrumentally showing off their mob ties together. The horn-heavy “I Ain’t Going” continues to detail the gangsta lifestyle she lives, but then Bossman DLow has the weakest guest verse on “Step” despite a return to the Detroit trap sound matched with the lyrics about hoppin’ on 385 & do the dash pass these bitches.

“Let Her Cook” hooks up these hi-hats & a horn sample courtesy of both Coupe & Pooh Beatz displaying a complimentary no fucks given attitude during the 2 & a half minute run while the pop rap-flavored “I Luv Her” has a bit of nostalgia to it from the DJ Montay beat to the T-Pain hook. “Queen of Memphis” ties up Glo’s long-awaited commercial debut rightfully taking the throne as the most dominant force in Memphis right now.

Regardless if I wasn’t big on Anyways, Life’s Great… or EhhThang EhhThang, I still considered Glorilla to be one of my personal favorite artists on the entire CMG roster & Glorious dethrones her last 2 projects as the most essential body of work in her career thus far. The glow-up in comparison to the predecessors is real, nevertheless let it be known that the reigning queen of crunk is still hanging out the window with her ratchet-ass friends when the opportunity arises.

Score: 3.5/5

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Bizarre – “He Got a Gun 4” review

Detroit emcee Bizarre returning for his 8th solo LP & the 4th installment of the He Got a Gun series in time for the Halloween season. Emerging as an original member of the now defunct D12 led by the late Proof, he was also among the first in the crew to put out solo efforts with his 1998 debut EP Attack of the Weirdosbeing a hometown classic in my eyes. Fast forward 7 years later, Biz followed it up with a worthy full-length debut Hannicap Circus & has continued to put out music on his own since, with the last time we heard him being his 11th mixtape 18159 Stout during the first quarter or the year. The Foul Mouth-produced He Got a Gun as well as it’s it’s sequel & the predecessor Art Peace revitalized himself for all the doubters, so them coming off “Antichrist” on Eminem’s latest album THE DƎATH OF SLIM SHADY (COUP DE GRÂCE) with He Got a Gun 4 was definitely the best move.

“Jump Out There” starts by aggressively boasting the fact he’s more hood than everyone else going on a Rampage similarly to Busta Rhymes’ cousin whereas “Grew Up a Savage” works in some kicks, snares & a spacious backdrop talking about growing up in the wilder side of the city. “Rufus” gives off a morbid atmosphere instrumentally detailing his lifestyle while “B.M.T.” hooks up a drumless soul sample to smoke weed & chill out after a stressful day.

Moving on with “1 Way”, we have Foul taking it back towards a boom bap direction advising to watch how you speak to him since he’s a boss leading into “Dear Diary” heads for a personal approach lyrically getting all the shit that he’s been going through since we last heard from him earlier this summer off his chest. “Mother’s House” featuring Lokye has this delicately raw vibe to the beat allowing both of them to daydream, but then “King of Detroit” featuring J-Nutty finds the pair reppin’ their city.

“Rat Bitch” featuring Big Jiggs gets the other half of the LP rollin’ breaking down Bizarre’s preference in women & Jiggs solidly portraying the titular role for her verse while “Let’s Go” marks a return of the Peter S. Bizarre alter ego over these infernal piano chords. “Jeeter” is a whole stoner’s anthem with some playful sampling throughout 130 seconds while “Grim Reaper” featuring Speak of the Devil dustily tells us who the drug dealer & crypt-keeper are in debt to.

Bub Rock & Kain Cole both join Bizarre on “God Speed” luxuriously giving y’all what you need instead of what y’all want reassuring slow motion better than no motion while “Flexin’ on Your Hoes” featuring Bruiser Wolf nears the end of the LP slickly getting in their pimp bags. The outro featuring Marv Won & Max Hilli concludes the latest entry of the He Got a Gun saga in the form of this lethal rap rock song looking to body those who wanna battle them.

This & all 3 of it’s predecessors stylistically are very much reminiscent to the final minute of “Antichrist” so if you loved it when shit got scary during Bizarre’s verse on that track, you’re probably gonna enjoy the entire tetralogy that revitalized the Idiotic Kidd’s passion for the game since all 4 installments maintain the classic level Attack of the Weirdos & Hannicap Circus already achieved. 2 & a half years later, Foul Mouth’s boom bap production & Bizzy’s hardcore lyricism excellently compliment each other as they continue to elevate their chemistry.

Score: 4.5/5

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Pro Dillinger – “Dirtwave” review

Haverstraw, New York emcee Pro Dillinger surprise-releasing his 7th studio LP. A member of the Umbrella collective as well as 1/2 of The Steiner Brothers, he has released a total of 5 mixtapes along with his last 5 albums & even 7 EPs. Favorites include the Finn-produced debut Pray for My Prey, the Machacha-produced Dirt Don’t Hurt, his 3rd EP MOSFoul, the Sting vs. Flair collab EP with Mickey Diamond & the Steiner Brothers’ eponymous debut. Dirty Work celebrated it’s 1-year anniversary earlier this summer & the dirtiest of the Umbrella brought Sean Kelly back to handle production for Reasonable Dirt much like Forever Foul, but is coming off the Don’t Feed the Animal EP by enlisting Futurewave for the highly anticipated Dirtwave.

“Still Here” is this soulful opener with Pro talking about everyone tryna rap out here actin’ weird in addition to there being a difference between men & mice whereas “Summer Smoke” takes the boom bap route instrumentally wantin’ it all & mobbin’ out. “Gun Play” maintains a dusty vibe altogether to talk about being strapped prior to “Magic” hopping over more perfectly crafted boom bap production flexing that he had to throw away his old bitch & not to fuck with him.

Daniel Son appears on “No Loyalty” to angrily call out everyone in the streets who’re disloyal just before “Target Him” featuring Blakkito spaciously makes it clear you ain’t dirt if you ain’t down with the gang. “Flower” gives off a magical boom bap edge showing his love for the Bonnie to his Clyde while “Back Home” by The Steiner Brothers talks about elevating over kicks, snares & a soul sample. “Say So” rightfully asserting Dirtwave’s masterpiece status & “Power Trippin’” ends it by discussing counting differently.

I’ve given Futurewave his props for being one of the greatest underground producers in recent memory plenty of times before & as I had expected, Dirtwave here has now surpassed Pray for My Prey in becoming my favorite body of work in Pro Dillinger’s discography. The production is as perfectly consistent as the previously mentioned debut if not taken to newer heights, I like that they’re only 3 guests & the Haverstraw lyricist himself goes harder than he did on his last 2 offerings.

Score: 4.5/5

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Twisted Insane – “Halfway Gone” review

San Diego, California chopper as well as horrorcore veteran & Brainsick Muzik founder Twisted Insane kicking off the Halloween season by dropping his 17th studio LP. Writing his first rhyme at the age of 12, he would go on to put out 5 mixtapes & a couple full-lengths until he was featured on the Tech N9ne single “Worldwide Choppers”. The Root of All Evil & The Insane Asylum further elevated his status in the underground, maintaining a consistent schedule since dropping 13 more albums in the process. Halfway Gone though was said to be the deepest creation yet & had serious potential of becoming a discography highlight.

The title track has this interesting, guitar-driven trap instrumental throughout assuring that he’s here although half of him feels as if he isn’t whereas “External Wounds” works in a darker riff tone & hi-hats to talk about mental health pleading to get out of his life since he don’t need this shit. “So Far Ahead” maintains a gritty trap vibe boasting the fact that he’s ahead of the curve of everyone else that is until Swisher Sleep joins him on the somber “Memory” crushingly remembers his child who died after someone hit the street in the middle of a drive-by.

Continuing the series of tracks that began on his Hell’s Kitchen mixtape in the form of a 2-parter, “Blackout 4” expressing his desire to experience a sudden & temporary loss in consciousness while the acoustic “Tailspin” sings about being in a state of chaos, panic or loss of control. “Jesus” gets in his chopper bag for 3 & a half minutes speeding up his flows nonchalantly accompanied by some beat switches, but then “Motel 6” showcases more sung vocals detailing him getting drunk at the titular motel chain.

“1 Foot in the Grave” goes for an uncanny trap approach instrumentally talking about not asking him to stay since he’s close to dying anyway just before “Growin’ Up” featuring Fase 1 finds the pair vulnerably giving us a look at what it was like for both of them being raised in the southeast. “Wings” is a crucial highlight sending 1 out for everyone who’s still shrouded in darkness over a guitar/trap crossover leading into “Left Behind” featuring C. Ray talking about the type of people who want to see 2 of the biggest Brainsick artists forgotten.

One of the most personal moments on Halfway Gone would easily be “KJ” telling his son who no longer lives with him to pop him on his line anytime he wants to while “OT-IZ-UM” continues the theme of fatherhood grimly singing about having an autistic child himself. “N.T.S. 2 (Night Time Shit 2)” happens to be an amazing sick world to one of my all-time favorite Twisted Insane songs reiterating that he loves the dark & writes his best music when he’s in it while “Back When” feels like he hit rock bottom with nothing more to gain during the pager days.

“Botched” featuring Kamikazi gets the encore of Halfway Gone rollin’ wanting to know exactly why women nowadays seek validation as much as they do while “Same” featuring C. Ray reunites the 2 talking about still being the exact same muhfuckas they were when they first started out. “1 Trick Pony” sings over a guitar addressing those who say that’s all he’ll ever be when he proved them wrong & “Endgame” perfectly closes the LP searching for the final stage of his life.

In the ongoing series of albums that Twisted Insane’s been working on where they all sound completely different from one another, his 2nd offering of 2024 surpasses the west coast gangsta rap heavy predecessor from this summer Shoot for the Face 2.5 in favor of the deepest & most emotional music he’s ever made period. It’s something that would change the lives of many in their darkest moments since the west coast MC uses his own life experiences to help others cope with the hardships they face.

Score: 4.5/5

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Blood Incantation – “Absolute Elsewhere” review

Blood Incantation is a progressive death metal band from Denver, Colorado consisting of bassist Jeff Barrett, guitarist Morris Kolontyrsky, drummer Isaac Faulk & frontman Paul Riedl. Exploding in 2016 off their full-length debut Starspawn, it wasn’t until the 2019 sophomore effort & one of the best metal albums from the previous decade in my personal opinion Hidden History of the Human Race where I personally started catching onto them musically. It’s been 5 years since the groundbreaking statement was made & they’re finally returning for their 3rd studio LP.

“The Stargate” begins the first half of the LP with this 20 minute progressive death metal epic split in 3 parts additionally pulling from Berlin school, progressive rock & space rock. Part I lyrically discusses all life being suffering that basks in nothingness & after an appearance from Tangerine Dream bandleader Thorsten Quaeschning during the Part I, the 3rd & final installment of the saga talking about finally reaching stellar solitude assuring the circle can be brokеn once more. 

“The Message” starts the other with another 20 minute prog death metal roller coaster ride continuing the progressive space rock undertones asking what means to be human during Part I, waking up when the souls start to call your name through Part II & debating whether all of this is for nothing or if your life’s part of something on Part III to round things out.

Absolute Elsewhere is unlike anything you’ve ever heard from Blood Incantation before. At roughly 45 minutes, the 2 compositions that make up this album are as confounding as they are engaging in their scope melding the 70s prog leanings with the deathly intent of Morbid Angel. Taking its’s title from the mid-70’s prog collective best known as a celestial stopover for King Crimson drummer Bill Bruford, the Denver band are leaving the notion of genre behind and writing a new language for extreme music itself.

Score: 4.5/5

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