Stretch Money – “The Old Me” review

This is the 12th EP from Detroit, Michigan emcee Detroit, Michigan emcee Stretch Money. Emerging in the fall of 2006 off his full-length debut album Take Money to Make Money, he would go on to put out 3 more LPs with 25 Miles Per Hour as well as Locked In & Lil Daran from da Way Way. His output of EPs consists of The Villain, The Tribute, The Drunken Master, The Real Money, the Upper Echelon: Legend of the Silver Surfa duology, Giant, Eastside Lord & the previously mentioned 1984. Stretch also formed the duo Bill & Isiah with Valid, introducing themselves a year ago on their eponymous debut paying homage to the 80s in the process. Coming off To the West Coast…with Love & the other half of 1984 however, he’s taking it back to The Old Me.

“Big Daran” is this Detroit trap opener talking about fucking up the game for a minute now & calling it lightwork whereas “The Rapper” works in some sinister keys & 808s teaching y’all that you can get it too if you play your role & know your position. “Watch Me Get It” brings an eerie Detroit trap flare instrumentally to talk about these bitches sitting back & observing Stretch’s success continuing while “Blood, Sweat & Tears” atmospherically refuses to wait for his blessings to come. “Sadly Mistaken” maintains the Motor City’s unique take on trap music addressing themes of betrayal & lastly, “Not Them” spaciously ends the EP brushing off being anything like his competition.

To the West Coast…with Love earlier this spring was a short but great homage to the city of Los Angeles & as one would expect on The Old Me, we have Stretch Money taking it back to his roots to the point where I actually found myself enjoying this a lot more than the EP of his I previously covered a little over 5 months ago already. The west coast vibes from April within the production are completely thrown out the window in favor of the upbeat 808 percussion that makes Detroit trap stand out for 15 minutes, taking the opportunity to reflect on his past & mix it with where he’s at today.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

The Smile – “Cutouts” review

The Smile is an art rock trio from Oxfordshire, United Kingdom consisting of drummer Tom Skinner, guitarist/bassist Jonny Greenwood & frontman Thom Yorke. Forming in 2020 during the COVID-19 pandemic & signing to XL Recordings on the spot, they made their debut in the spring of 2022 with the well received A Light for Attracting Attention showing additional influences of post-punk, chamber pop, art pop, math rock, jazz-rock & krautrock. The sophomore effort Wall of Eyes at the beginning of the year primarily based itself around art rock, post-rock krautrock, neo-psychedelia & ambient pop continuing the acclaim & are looking to start the final quarter of 2024 the way they ended the first month of it for their 3rd album.

“Foreign Spies” is this ambient pop/progressive electronic opener with Thom singing about it’s a beautiful world paved with gold & people grabbing kitchen knives every time our backs are turned whereas “Instant Psalm” works in some acoustics & even these orchestral elements towards the backend of it discussing the many forms of emptiness. “0 Sum” draws inspiration from art punk, dance-punk, math rock, krautrock & mutant disco referring to overconfidence as a red flag prior to “Colours Fly” talking about how you can change your mind over art rock instrumentation.

We have The Smile passionately on the verge of completing a transformation beginning all this all over again on “Eyes & Mouth” finishing the first leg of Cutouts just before “Don’t Get Me Started” brings ambient pop, neo-psychedelia, indietronica, dub, progressive electronic & dub techno all together making it clear that your force ain’t shit. “Tiptoe” refers to themselves as baggage with no label over an ambient pop beat leading into “The Slip” blending indie rock, indietronica, post-punk, post-rock, art rock & krautrock referencing climate change, nuclear war, political disillusionment & the impact of world leaders on Earth itself.

“No Words” nears the final moments of the LP singing about joining the dots & coloring in aroad that’s paved with good intentions over a shredding guitar with a somewhat funky vibe to it while “Bodies Laughing” finishes the band’s 3rd consecutive classic unearthing a track dating all the way back to 1995 & almost made the final cut of In Rainbows, which happens to be my 3rd favorite Radiohead album behind OK Computer& Kid A personally fusing art rock with psychedelic folk & bossa nova music.

Created around the same time frame as Wall of Eyes, this is noticeably more challenging than it’s predecessor prioritizing atmosphere over conventional songwriting & it makes for interesting results a lot like just about everything The Smile has done in almost half a decade. They show more versatility than they did back in January staying rooted in their signature art rock sound additionally pulling from jazz-rock, art punk, dance-punk, math rock, mutant disco, ambient pop, dub, progressive electronic, dub techno, indie rock, indietronica, post-punk, post-rock, krautrock, neo-psychedelia, indietronica, dub, progressive electronic & dub techno psychedelic folk & bossa nova.

Score: 4.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Godspeed You! Black Emperor – “No Title as of 13 February 2024 28,340 Dead” review

Godspeed You! Black Emperor is a highly revered post-rock band from Montréal, Québec, Canada consisting of guitarist/keyboardist Efrim Menuck, bassist Mauro Pezzente, guitarist Mike Moya, bassist Thierry Amar, guitarist David Bryant, drummer/percussionist Aidan Girt, violinist Sophie Trudeau, film projector Karl Lemieux, drummer/percussionist Timothy Herzog & film projector Philippe Léonard. Their debut album F♯A♯∞ & more specifically the sophomore effort Lift Yr. Skinny Fists Like Antennas to Heaven! would become landmarks in experimental rock subgenre, disbanding for a period of time after Yanqui U.X.O. came out. They returned a decade later with ‘Allelujah! Don’t Bend! Ascend! & ‘Asunder, Sweet & Other Distress’ during my high school years followed by Luciferian Towers & G_d’s Pee at State’s End!. 3 years after the latter, GY!BE’s returning for their 8th full-length studio LP.

“Sun Is a Hole Sun Is Vapors” starts us off by taking the post-rock sound that the band is known for & fusing it with chamber music for roughly 5 & a half minutes whereas “Baby’s in a Thundercloud” epically continues to put an emphasis on timbre, texture & atmosphere over traditional conventions while often embracing Western Classical influences further. “Raindrops Cast in Lear” is another excellent chamber/post-rock hybrid to finish the LP’s first half while “Broken Spires at Dead Kapital” could be my least favorite track here although I appreciate the drone-spin on Western Classical music. “Pale Spectator Takes Photographs” primarily builds itself around these stellar, tension-raising guitars & “Grey Rubble – Green Shoots” finishes with an outstandingly melancholic post-rock/chamber music single.

Inspired by the ongoing war between Israel & Hamas that officially began a year ago this upcoming weekend, what the post-rock titans get across during the 6 track/55 minute listening experience is the old world order hardly claimed to care & this new century will be even crueler. Needless to say, it culminates in calling for everyone everyone to hold on & not give up by choosing your side in the conflict naming itself after the amount of people who’ve lost their lives 4 months after it all started since recording began during the winter of bombs. They take everything that made G_d’s Pee at State’s End! enjoyable minus the field recordings & channel their frustrations with Israeli/Palestinian conflict.

Score: 4.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

CunninLynguists – “The Heartstring Theory” review

Lexington, Kentucky underground veterans the CunninLynguists returning 7 years after their 6th studio album Rose Azura Njano to drop a brand new EP of material through Old Soul Music. Consisting of Deacon the Villain as well as Natti & Kno, the trio have had several classics under their belt for over 2 decades including their full-length debut Will Rap for Food or more specifically their 3rd LP A Piece of Strange & the follow-up Dirty Acres. And with L’Orange’s newly formed indie label gradually growing in the past year or so, The Heartstring Theory was certain to be a welcoming debut for the trio.

“Forever” is synth-driven boom bap opener to the EP with the trio Finding Forever similarly to how Common did 17 years back whereas “When Your World Falls Apart” hooks up some jazz rap influences talking about doing what you can do it seems like everything’s starting to crash down on you acknowledging that it isn’t an easy thing got some. “Fading (Clock Struck 5)” starts the 2nd leg of the EP with a groovy instrumental finding them addressing their romantic interests & “Wasted (Cloud 92)” featuring Kelly Moonstone ends on the soulful boom bap tip talking about being really fucked up with their boos.

These guys have maintained a tightly stellar discography in the span of 24 years & even when they take 6-7 years off like they did when you look at the time gap between their last couple projects, they still keep giving great results. Kno’s production other than throwing some synthesizers in the equation to get the gears turning brings together elements of boom bap, jazz rap & soul music tackling themes of romance adding a hint of conscious in too.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

DJ Hoppa & Johnny Slash – “Shadows in Sound” review

This is a brand new collaborative LP between Panorama City deejay & producer DJ Hoppa as well as Long Beach, California producer Johnny Slash. One of whom I became a fan of during my high school years after becoming an in-house DJ/producer for Funk Volume during their heyday & the other I first heard of when G-Mo Skee freestyles over a few of his instrumentals at the end of his gaming streams. K.A.A.N. just dropped 2 back-to-back albums produced by Hoppa over the summer Delusions of Grandeur & In Due Time maintaining the acclaim of some of his more recent output, but hearing Hoppa & Slash coming together for Shadows in Sound was interesting as someone who respects both producers’ artistries.

“Damn!” by Kail Problems is this dusty boom bap opener talking about being raised rugged in a city full of broad day muggers whereas “Microdose” by Wrekonize stands as one of my favorite tracks here working in more kicks & snares realizing that he’s definitely high taking more than what was supposed to be a minimal amount. “Lost!” by K.A.A.N. proves to be another highlight keeping it boom bap & the Maryland chopper setting a heinous tone lyrically just before “Funeral Pyre” by Body Bag Ben takes it further down the basement warning that the dysfunctionalists will leave y’all in permanent tourniquets.

The instrumental on “Bullsh!t” by Marley B. kinda radiates this funky boom bap vibe to it airing out all the cap that comes his way leading into “Smoke 1st” by Coast LaContro having a bit of a jazz rap influence so Coast can provide a banger for all the smoker’s out there. “Aim” by Cole Z hooks the kicks & snares up once again cautioning that he’s got the guns blazing when he’s out here working, but then the gorgeous sampling throughout “Can’t Save Me” by Rollen Poole finds him talking about them saying he’s out his mind.

“Protect the Innocent” by Seuss Mace nears the conclusion of Shadows in Sound by layering this synth/boom bap hybrid with conscious lyricism pleading for a safer tomorrow for our children to start today & the grisly “Code Red” by Big Renz properly closes out what is set to be a promising series of collaboration efforts from DJ Hoppa & Johnny Slash coming back to work after going rogue for a month as if he never had to leave in the first place.

If you highly enjoy what both of these guys have to offer behind the boards killing it for quite some time individually as west coast bred boom bap producers & they come together for a pretty solid collaborative effort. Their production over the course of 27 minutes is absolutely flawless with the guests ranging from established veterans like Wrekonize & K.A.A.N. to up-&-comers like Seuss Mace or Broken Complex Records signees Kail Problems & Marley B., both of whom dropped a collab EP earlier this summer.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Daniel Son – “Hare Brained Schemes” review

Here we have the 8th proper full-length solo LP from Toronto, Ontario, Canada emcee Daniel Son. A member of the Brown Bag Money collective, his profile began to rapidly increase in the underground off projects like the Giallo Point-produced debut mixtape The Gunners or the Futurewave-produced sophomore album Yenaldooshi. He just teamed up with Raz Fresco this spring for the spectacular collab album Northside paying homage to the roots of the Toronto hip hop scene & a few months after reuniting with Futurewave for the first time since Son Tzu & the Wav.God on Bushman Bodega over the summer, he & Finn are linking up for Hare Brained Schemes.

“Femoral” is this grungy boom bap opener talking about turning flesh into ice since he’s so cold & people wasting time like they have extra lives whereas “Missing Teeth” gives off a jazzier approach instrumentally applying pressure on everyone’s necks with their feet for deep pockets. “Capital Gains” featuring Pro Dillinger maintains a jazzy boom bap flare cautioning to recognize before they reck their lives, but then “Dance of the Drunken Mantis” briefly expresses his desire to be a Bush Doctor Millionaire.

As for “Clicqout Fountains”, we have Daniel hopping over a soulful beat boasting at the main pot to piss in was shitting on the competition leading into “Courtleigh Chemist” regularly talking about not changing shit if he were to do it all over again. “Chalk Brothers” featuring Lord Juco mixes the exuberant with the raw bodying shit together while “Iron Leash” featuring Family Gang Black finds the 2 grittily translating their pain into passion now that their music rocking overseas.

“Talon Claw” starts the final leg of the LP talking about cooking as if he was a French chef in the ‘60s while “Call Me” drumlessly reaffirms that he’ll go down as a legend when it’s all said & done saying it’s the dope everyone needs. “Sharing Needles” featuring Mooch returns to the boom bap catching the big sharks since neither one of them want to meet their demise struggling & “Fall Breeze” closes Hare Brained Schemes in the form of a dedication of those who have to stay home on the weekends because they can’t afford a sitter.

Dirty Dishes has always stood out to me as one of my favorite Daniel Son projects much like everything he & Futurewave have done with one another in the past, so that was more than enough to have me anticipating the follow up here & they sure as Hell delivered. Finn’s production here is some of the best that I’ve heard from him in a while, the features all match Daniel’s energy & the BBM standout himself lyrically keeps the same energy from the other 2 acclaimed projects I’ve covered from him this year.

Score: 4.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Dirty White – “Melodies of Redemption” review

Mount Clemens, Michigan emcee/DJ Dirty White teaming up with Majik Ninja Entertainment in-house producer Stir Crazy for his 3rd full-length studio LP. Returning after an 11-year absence in the summer of 2020 off the strength of his debut album Authenticated, he would later prelude the sophomore effort The Rebuilding of a Broken Soul a year & ago by putting out a debut EP Dirty White’s the Name! ahead of The Rebuilding of a Broken Soul itself seeing the light of day this past spring. Over 6 months later, Dirty White’s continuing to put in work starting the final quarter of 2024 by at least unleashing the Melodies of Redemption.

The “Evolution” intro tells his story from writing his first rhymes & performing a local talent show in 1992 to him walking away from it all for over a decade & his eventual return inspired by a conversation with the King of Rock himself forming his backing band the High Life Social Club consisting of drummer Jamie Brady alongside turntablists DJ Nano2hype & DJ Bet whereas the rock/boom bap hybrid “I Feel Alive (MFKA)” talking about doing whatever it takes to survive. “Ay Yo” stays on the rap rock tip clarifying he does this to make life better just before the bluesy “True Colors” seeing those for who they really are.

After the spoken word “Memories of the Mitten” interlude, “Summertime in Michigan” profoundly reminisce is on spending hottest & brightest of the 4 temperate seasons in his home state leading into “Night Terrors” giving off somewhat of a metal vibe instrumentally to talk about every memory of his coming alive whenever he closes his eyes trying to sleep. “Elevated” comes through with a passionate ballad calling to take him higher easing his pain with every day that passes by & after the “Albuquerque Clean” skit, “All Day” goes rap rock again feeling like he’s been resurrected.

“Dirty Laundry” starts the last leg of the LP throwing it back with an old school beat venting that he’s sick of people throwing stones if they live in glasses houses, having their music criticized when they’re listening to artists who’re less more talented than he is & the constant complaining while the final song “Weathered” has this country rap flare talking about living free & never tethered. The “Dear Anita” properly sends things off with an outro remembering his sister, who’s passing in 2020 made him a better artist.

Dirty White’s been referring to Melodies of Redemption as the Mona Lisa of his discography & if you really digest it, it’s abundantly clear he spent the last 10 months giving it everything he has. His real, authentically emotional, soulful, uplifting, educational, inspiring, sobering & relatable performances matched with Stir Crazy’s electric production fusing hip hop & boom bap with other genres such as blues, rock, reggae, country & metal music makes for the wildest ride with the moral of the story being to not give up & keep pushing towards their dreams.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Tee Grizzley – “Post Traumatic” review

This is the 5th full length 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 would both later be received moderately and responses towards Half Tee, Half Beast & Tee’s Coney Island were generally mixed, but some of the singles ahead of Post Traumatic made it seem promising.

The intro fuses Mobb music with Detroit trap talking about having post traumatic stress due to his father dying recently & barely knowing his own mother whereas “We Dem” produced by Wheezy works in a symphonic trap instrumental flexing that he’s still him. “Blow for Blow” featuring J. Cole finds the 2 over a signature Pi’erre Bourne beat which is fine except for the “I’m really him, Bruce Jenner, boy just ain’t” line feeling reminiscent to the 1 bar he had on “Pi” off Might Delete Later, but then “All I Wanna Do” goes for a soulful Detroit trap vibe thanks to FNZ looking to get money.

“More Than Half” hooks up some horns & bells from Helluva to talk about half these muhfuckas out here folding eventually leading into “Ride or Die” featuring Tink heading towards more of a synth-based direction for a duet about having only each other on their minds. “Diana” switches gears in favor of a futuristic trap flare courtesy of BNYX from Working on Dying comparing her bitch to the late Princess Diana herself just before the bassy “I Ain’t Sorry” featuring Hunxho that Chopsquad DJ laced sees both of them at their most remorseless.

Meanwhile on “10pm in Detroit”, we have Tee Grizzley on top of these pianos & 808s boasting that he got money flowin’ all night like “Drunk in Love” by The Carters prior to “Swerv” featuring G Herbo putting a minimal emphasis on the drums so they can trade verses with one another without a hook for 3 minutes detailing their gang ties. “WTF I Want” mixes these synth-horns with 808s talking about doing whatever he feels like while the pop rap/trap hybrid “I Know” discusses knowing how to turn dreams into reality.

“Dream Youngin’” starts the 2nd leg of Post Traumatic on some atmospherically chill trap shit thanking everyone who’s ever supported him throughout his career while “Situationship” featuring Mariah the Scientist gives a shot at fusing trap soul & pop rap finding both of them wishing each other the best in the end. “Trench Baby” gets back on the Detroit trap tip talking about being born in the trenches of the Murder Mitten while “You Hear Me” featuring YTB Fatt comes through with this underwhelming team up looking to get their bags up.

Future makes up for some of the mediocrity joining Tee on “Swear to God” boasting that your album doesn’t even slap like Mixtape Pluto does which is valid since he took it back to his roots on there while “Pop Shit” featuring Baby Grizzley finds both Grizzlies shooting for a piano-driven direction instrumentally going from playing GameCubes to VS Cubes. “Deposits Crazy” gives thanks to God for somehow helping him through the pain in his life & “Detroit” featuring 42 Dugg serves as this bangin’ tribute to their hometown.

“Blueprint” pushes towards the final moments of the LP challenging everybody to step up & give back to the city in some type of way while “Suffer in Silence” talks about going off by loyalty & the way you treat him without anyone telling him that shit’s gonna change. As for an official closer, we get treated to the 7th AND the 8th installments of Tee Grizzley’s famous “Robbery” series with Helluva hopping behind the boards for both tracks that Segway into one another perfectly.

The Smartest still stands as my favorite tape in the Detroit trap star’s discography but when it comes to his full-lengths, I came away impressed with Post Traumatic as much as I was with the mixtape that I previously mentioned coming out during the COVID lockdowns. It’s more sonically diverse than what someone might expect being used to the Detroit trap style, showing comfortably yet resolute with these homegrown Michigan beats backing him while thriving across styles from rugged trap to even poppier territory.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Powers Pleasant – “Life Sucks” review

This is the official full length debut studio album from Brooklyn, New York producer & DJ Powers Pleasant. A member of the Pro Era & Beast Coast collectives, he’s had a hand in the instrumentals on some of the latter’s output from The Underachievers’ 3rd mixtape It Happened in Flatbush in 2016 to Joey Bada$$’ politically charged sophomore album ALL-AMERIKKKAN BADA$$ in 2017. Powers even came out with his own EP Life is Beautiful & has signed to Mass Appeal Records for the sequel Life Sucks.

“Entro” by Denzel Curry is this cutthroat boom bap opener flexing that he’s the King of the Hill & this Mike Judge his rap skill whereas “Rumble” by Joey Bada$$ works in some horns & hi-hats so he can get violent. “Galore” by DC the Don has some of the weaker performances on the album despite it’s cloudy trap instrumental talking about being allergic to catching feelings, but then “Shmoke” by A$AP Ferg & Armani Caesar finds the pair over a soul sample & hi-hats warning y’all don’t want beef with them.

Denzel Curry, Meechy Darko & Soulja Livin Tru get together for the atmospheric trap joint “Bandoe” flexing that all 3 of them are still boomin’ out the back door just before Joey Bada$$ & SABA team up on the laidback “Ball Alone” talking about not needing any help. “Know Me Now” by DC the Don acoustically sings that he wants to love with no control leading into “That’s Tough” by $not mixing trap & rock discussing doing shit himself tryna find his way.

“Pamper Pamper” by Mike Dimes brings a soulful trap flare to the table pulling out with his homies while “Baby Boy’s Drunk” by AG Club & Audrey Nuna comes through with this annoying attempt at a club banger. “I’m the Shit” by Guapdad 4000 & P-Lo hops over pianos & hi-hats to get boastful while “Wassup” by Jasiah & Tkay Maidza sees the 2 asking what the deal is. “SMH” by Aaron Rose, CJ Fly, Joey Bada$$ & Nyck Caution ends the album repping Pro Era.

The predecessor from 5 years ago Life’s Beautiful was a decent look at what Powers Pleasant’s solo discography could look like going forward & regardless if I didn’t enjoy Life Sucks more than the last EP, I can’t say it’s any worse either if that makes any sense. Powers’ production start to finish is absolutely fine primarily basing itself around a trap sound, the performances during the 36 minute runtime on the contrary tend to be hit or miss.

Score: 3/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

DJ Chunk – “Soul Spill” review

DJ Chunk is 31 year old DJ & producer from Utah notable for being the tour DJ for Ouija Macc & an in-house producer for the Psychopathic Records subsidiary Chapter 17 Records. He even has a couple solo EPs under his belt in the form of the Vinyl Days duology & most notably did a collab EP with C17/PSY in-house producer Devereaux at the Gathering of Dreams called Another Day in Hell, which I was very favorable towards. But when his 3rd EP was announced last weekend, I wanted to give it a listen.

“Official Redrum” starts us off with the C17 DJ showing us his skills on the turntables over a trap instrumental from Deadboy Grim who did the entire EP whereas “City on Fire” provides a slower, more morbid atmosphere to the beat looking to burn the entire town to the ground. The instrumental on “Don’t Make Threats” has this cloudy trap vibe that I like to it a lot allowing DJ Chunk himself to continually kill it with the scratches while “Imma Break It” looking to break it down for the slow muhfuckas with solemn trap production & Chunk’s wheelz of steel. “Don’t Need Nobody Else” ends the EP on some mystical trap shit & impressively scratching vocal samples 1 more time.

I’ve already reviewed a handful of beat tapes in the past, but I’ve never actually covered a turntablism project before up until this point although I absolutely loved The X-Ecutioners. Now in regards to Soul Spill here, DJ Chunk is basically continuing what we’ve seen from him in the past on both Vinyl Days EPs showing off his dope techniques on the 1s & 2s in time for Hallowicked season with Deadboy Grim’s production here resulting in being on par with what Mythic Mindz consisting of Chapter 17/Psychopathic Records in-house producers Devereaux & Shaggytheairhead have laid out for him the past.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!