Big Sean – “Better Me Than You” review

Detroit, Michigan rapper & singer/songwriter Big Sean returning after 3 years to release his 7th LP. Coming up as a protege of Chicago icon Kanye West & signing to his Def Jam Recordings imprint G.O.O.D. Music, he generated some buzz in the late 2000s by dropping the Finally Famous mixtape trilogy, but it wouldn’t be until 2011 when his profile significantly increased when Sean dropped a 4th installment as his full-length debut. This was followed up the next year with the highly acclaimed Detroit mixtape & then a sophomore album the year after that entitled Hall of Fame. However, his next 2 full-lengths Dark Sky Paradise & I Decided. were both mediocre in comparison to all those past efforts. Now the last time Big Sean dropped a project was in late 2017 with Double or Nothing which had INCREDIBLE production from Metro Boomin’ top to bottom, but Sean himself was SEVERELY lacking. His G.O.O.D. Music contract was fulfilled with the surprisingly mature Detroit II & the Hit-Boy produced What You Expect? was better, but is coming back addressing some leaks over a month ago brushing off that it’s Better You Than Me.

After the “Pressure” intro, the first song “Iconic” that by BNYX of Working on Dying alongside Hit-Boy, Rogét Chahayed & Tom Levesque of Vanguard Music Group cooked up together starts us off on some trap rock shit flexing his icon status whereas “Typecast” takes the cloudy trap route instrumentally showing off the pimpin’ in his blood feelin’ like Jerry Buss in the arena. “Break the Cycle” featuring Uncle Charlie Wilson of the Gap Band on the hook has a funky boom bap flare that Leon Thomas III provides callin’ out those who believe more than what actually happened, but then “Who You Are (Superstar)” brings a triumphant trap vibe to the table calling his #1.

“Yes” was an mediocre 2-part trap single that FNZ helped put together with an annoying ass hook telling us the way he responds when muhfuckas say no just before “It Is What It Is” featuring Gunna picks things back up from the synth-trap beat from Turbo to the lyrics about how this is only as big as it gets. “Apologize” is a self-produced drumless open letter to Sean’s mentor Ye which isn’t surprising since Kanye talked mad shit about him in that 2021 Drink Champs interview & after the “Clarity” skit, “On Up” has an old school west coast sound that FF for Def Entertainment in-house producer KeY Wane brings to the table dedicated to his son Noah.

Meanwhile on “Something”, we have Syd of The Internet & originally Odd Future joining the Sean Don for a subdued trap/pop rap joint reminding the listeners that we all have our different bullshit that we’re each going through in our lives until Thundercat provides a psychedelic tone for “Black Void” being done with the disrespect. “This n That” featuring Bryson Tiller & Kodak Black ruins a heavenly Hit-Boy instrumental talking about taking psychedelic mushrooms & 1,000,000 Pieces” featuring Larry June likens their lives to a puzzle broken down to so many pieces over a mellowly dusty instrumental.

“Get You Back” featuring Cash Cobain gets into the sexy drill style that the latter sample drill pioneer has become known for in regards to his solo work with the help of WondaGurl talking about ex while “Certified” featuring the late D12 leader Proof’s son Nasaan vibrantly boasts their certifications in the rap game. After the “Focus” skit, “Boundaries” points out that time ain’t running out when it’s really life running its course while “Precision” was a decent trap/chipmunk soul hybrid.

As we approach the final moments of Sean’s first full-length outing since leaving G.O.O.D. Music, the official closer “My Life” finds KAYTRANADA backing Sean with synths & an outro skit “Happiness” that really should’ve been separated into a track of it’s own telling us he had to boss up & the bonus cut “Together Forever” makes me want The Alchemist to do an entire project for Sean in the future whether it be the gospel flip or the Detroit star saving some of the best lyrics for last.

Better Me Than You surges beyond the sentimental to embody something altogether more meaningful regarding the man behind the mic & I respect that he’s at a point in his life where he lets things happen when they’re supposed to happen, yet I didn’t enjoy it as much as Hall of Fame or Detroit or even the sequel & What You Expect?. All 4 of which are my favorites in his discography. Even if some of the production & guests falter, I can’t dismiss the newfound perspective.

Score: 3/5

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che – “Sayso Says” review

This is the full-length debut studio album from Atlanta, Georgia up-&-comer che. Starting as a member of the 4ersona collective under the original moniker murkio before settling on cheRomani+ & later abbreviating it. But it wasn’t until more recently where he decided to build a solo catalog for himself by putting out the debut EP 3 over a year ago & followed it up this past February in the form of X, which was supposed to be the original version of his 3rd EP Closed Captions over the summer which was a solid introduction to who he is artistically & personally. Crueger last Halloween showed more of a Chief Keef influence & is releasing Sayso Says with only less than a month left of summer.

“I Rot, I Rot” starts by hopping over an intergalactic trap instrumental from CXO talking about not needing any more new friends whereas “Saska, You Made It” turns the rage up celebrating his newfound success. “Pretend We’re Sleeping” encourages everyone to do their own shit working in some synths & hi-hats prior to “Get Naked” goes hypertrap again flexing his VIP status.

The message on “Enjoy Your Life” comes from a good place of heart maintaining the rage beats thanks to Ginseng telling his fans to enjoy their time here alive just before “Been There, Done That” has this bubbly hypertrap tone to the beat talking about doing it all. “Hex On My Chest, It’s Going Down” goes for a spaciously booming approach instrumentally advising to simply get through it & you’ll be ok leading into the energetic “Pissy Coffee” refuses to play games with anyone.

After the interlude, “It’s My Party & I’ll Die If I Want To” kicks off the other half of Sayso Says inducing more rage talking about not wanting peace anymore while “Don’t Tell No1” encourages people to come fuck with him over densely buzzing synth work with repetitive chord progressions & melodic synth leads. “Nunca Hacer Cocaina” incorporates a hint of digicore undertones speaking out against cocaine usage while “School Girl Sashimi” keeps the rage beats rolling talking about lust.

“Y.D.F.W.M.N.M.? (You Don’t Fuck With Me No More?)” whips up an ethereal trap banger calling out the people who switched up on him while the futuristic “Children Shouldn’t Play with Dead Things” wishes this bitch knew how he really felt. “Cut Off Your Hands” turns the bass up suggesting his girl should chop her hands off since she gives so much head & “My Favorite Color is Red” serves as a bombastic closer leaving blood everywhere.

Only a couple years in the game & I have no doubt in my mind that Sayso Says will take che to newer heights since it basically surpasses every expectation set out by his early EPs. His songwriting/performances are on par if not above Crueger’s last Halloween & I’d be reminded if I didn’t commend him for doing such an outstanding job self-producing a lot of it basing the LP’s sound primarily in the rage subgenre that he emerged out of.

Score: 4/5

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Nails – “Every Bridge Burning” review

Nails is an Oxnard, California grindcore band consisting of guitarist Shelby Lermo, bassist Andrew Solis, drummer Carlos Cruz & frontman/guitarist Todd Jones. Their 2010 debut Unsilent Death has become of the greatest albums in the extreme metal/hardcore punk fusion subgenre, landing them a contract with Sunn O)))’s independently owned Southern Lord Records to put out an acclaimed sophomore effort in Abandon All Life & later signing with Nuclear Blast Records a few years after that for You’ll Never Be One of Us. Nearly a decade of radio silence, Todd & company are returning on Every Bridge Burning.

“Imposing Will” couldn’t have been a better choice for an opening track mixing grindcore & metalcore having the effect of an urgency talking about no matter how deep it cuts, it’ll never be enough whereas the 1-minute “Punishment Map” brutality sets out to making people feel the way they make Todd feel. The title track explosively talks about the knife inside & the past being where there’s hurting just before “Give Me the Painkiller” fuses metalcore, grindcore, thrash metal, speed metal & stenchcore discusses a painkiller addiction.

On “Lacking the Ability to Process Empathy”, we have Nails going for a primarily metallic hardcore sound with additional elements of grind to talk about friends turning into enemies leading into “Trapped” going full-blown grindcore feeling stuck in a living Hell. “Made Up You Mind” continues the shortened song structures & a diverse palette of intense techniques calling out someone who isn’t in control, but then the skull-smashing “Dehumanized” discusses the idea of dehumanization.

“I Can’t Turn It Off” reaches the final moments of Every Bridge Burning addressing everyone who thinks that Todd’s a terrible person refusing to apologize for doing it his way & never compromising himself or the rest of the Nails for that matter & lastly, “No More Rivers to Cross” is this adrenaline-inducing 3 minute closer clarifying that he doesn’t see things the way others do wanting be left alone, pay his bills & die in his home.

Almost 15 years of cementing themselves further as the greatest grind band that the subgenre has seen in recent memory, Nails’ comeback effort makes it seems like they never even left in the first place because it’s their 2nd classic with Nuclear Blast & their 4th consecutively gratifying LP overall. They show everyone exactly how much they’ve evolved since the last time we heard from them taking their signature style & excellently fuse it with metalcore, crust punk, sludge metal, thrash metal & speed metal.

Score: 4.5/5

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Destroy Lonely – “Love Lasts Forever” review

Atlanta, Georgia recording artist Destroy Lonely returning for his sophomore effort. The son of former Disturbing tha Peace Records signee I-20, he’s released a total of 11 EPs since originally breaking out through SoundCloud in 2019 prior to Playboi Carti signing alone to his Interscope Records imprint Opium Records to surprise drop his last tape No Stylist in light of his ongoing tour with fellow label-mate Ken Carson last summer followed by the full-length debut If Looks Could Kill last summer. Another year passing & the most versatile Opium artist looks to remind us that Love Lasts Forever.

If you really think about it, “Forever” pretty much gets the ball rollin’ in the form of the title track telling us love as well as money & his particular lifestyle being eternal sampling All Saints whereas “Love Hurts” featuring Lil Uzi Vert finds the 2 telling us the downsides of romance going for an atmospheric trap instrumentally. “Luv 4 Ya” was a fine choice of a lead single waking up too rich while “Crystal Clear” goes for psychedelic approach admitting to not understanding that some of his homies ain’t here & bitches being unforgivable. The latter being odd considering the domestic abuse allegations couple months earlier & he responded by saying “hoes mad” & nothing more.

“Baby Money” moves on from there with an atmospheric trap flare to the beat flexing the newest nickname that he’s received prior to the quasi-pluggy “Say That” reuniting with Lone’s longtime collaborator Clayco telling it’s only life as opposed to a lifestyle of it’s own. The symphonic trap vibes of “Pimp Talk” happens to be a cool change of pace portraying himself as an actual pimp just before “Cadillac” shows off the 200 on his neck over a decent FNZ instrumental.

Nearing the end of Love Last Forever’s first half, “Syrup Sippin’” produced by Toom of Vanguard Music Group brags he got weed blowin’ strong similarly to that of a speaker & that he does in fact sip lean while “Lock In” talks about a bitch tryna skate all on his ice thinking she Frozone from The Incredibles trilogy. “Doubt It” refuses to a miss a single dollar further embracing the Baby Money persona, but then “Wish You Well” has one of my favorite beats on the album courtesy of Wheezy so he can talk about the legitimate trappin’ he does.

“Ship Her Off” once again portrays himself as a pimp droppin’ an entire check with his clothes refusing to switch up his flow reconnecting with Cxdy of Internet Money Records while “Honestly” opens up about a breakup wishing an ex-girlfriend of his was still here with him since shit’s been getting real & he’s been bigger than big lately. “Take a Trip” brings an energetic quality to the table getting in his young rich bag for 3 & a half minutes while “Extra High” talks about feeling safe once he’s higher than he normally is.

Meanwhile on “Amerika”, we have Lone over a somber trap sound making everything black & “Thrill” featuring Ken Carson reminds us of the strong chemistry between Opium’s first 2 artists. “About Money” starts the bonus track run making it clear he’s got his mind on the paper over rattling bass while the uncanny atmosphere of “No Worries” co-produced by Taurus shrugs off any concerns. “Pass Me the Keys” lastly closes shop talking about being high to the point where he shouldn’t be driving.

“The Bounce” officially starts the deluxe run rockin’ 5 star since stylin’ ain’t so hard for him over a cavernous trap instrumental from BryceUnknwn while the trippy “Make a Sound” talks about shawty fallin’ in love with Baby Money leaving $100s peakin’ out & his cross is upside down representing the Opium clique. “See You Tomorrow” cloudily sets out to pop a bottle & call up the models the next day since there ain’t no time for sorrow while “Meet the Boss” chaotically boasts that he doesn’t know another young dude out here like himself. “Bling” entrancingly shows off old school bling puttin’ on for the ’99 & 2000s paying homage to the Juvenile hit “Back That Azz Up” servin’ crack like the 80s named after the Cash Money Millionaires single “Bling Bling” off B.G.’s 4th & best album Chopper City in the Ghetto.

“Smoking” remains locked in with all his dogs rockstar trippin’ in a bassy, hallucinatory fashion while “Healing” turns the atmosphere back up referencing UFC Hall of Famer, the inaugural UFC Women’s Bantamweight Champion, 3-time WWE women’s world champion & WWE Women’s Tag Team Champion Ronda Rousey formerly of both TKO Group Holdings divisions. “Forgot My Name” hazily further continues expands on the theme of getting stoned while “LSD” with Y3rip energetically gets extra lit every single night without getting exhausted making bar mitzvah money. “Money Anthem” is a whole theme song dedicated to the bread wanting naysayers to say something leaving their main bitches mouth full unable to say shit & the physical exclusive “Bangaz” featuring Don Toliver otherworldly talks about liking the way their bitches twist their fingers. “Get Right” goes rage again standing tall & “Prettiest One” cavernously cops a Chanel bag for the prettiest bitches.

I’d like to start the final paragraph of this review by apologizing to all my Opium fans reading this because I’m well aware of the fact I’ve gained a following within their fanbase not too long after Anthony Fantano’s scathing criticism for my support of them & even if Love Lasts Forever has it’s highlights, I didn’t enjoy it as much as I did No Stylist or even If Looks Could Kill. It’s understandable the most versatile signing on the Opium roster would want to take a break from having Clayco produce a large portion of the LP since they have that Metro & Future chemistry, it’s that a lot of this production feels repetitive as a result.

Score: 3/5

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Doechii – “Alligator Bites Never Heal” review

This is the Grammy winning debut mixtape from Tampa, Florida emcee Doechii. Breaking out in the spring of 2019 off her debut EP Coven Music Session. Then following her next 2 EPs Oh the Places You’ll Go & Bra-Less, she went on to sign to Top Dawg Entertainment/Capitol Records in March of 2022 earning a spot in the 2022 XXL Freshman Class & releasing she / her / black bitch shortly after. However, she’s returning to make it clear Alligator Bites Never Heal nearly 14 months since appearing in the A24 Films drama Earth Mama.

“Stanka Pooh” starts the story backwards referencing the longtime Warner Bros. franchise Looney Tunes over a morbidly slow instrumental whereas “Bullfrog” goes full-blown boom bap with a bass guitar to talk about Twitter fingers getting your whole life logged out. “Boiled Peanuts” keeps the kicks & snares in tact maintaining a chip on her shoulder with the gang all here with her on a sunny day, but then the beat on “Denial’s a River” radiates a DJ Premier influence describing her rise in popularity in the last 5 years.

Moving on from there, “Catfish” maintains the hardcore boom bap sound referring to herself as the Ruler of the Swamp prior to “Skipp” shifting gears to trap territory ripping 25 crews quickly. “Hide n Seek” hooks up an atmospheric backdrop & hi-hats feelin’ hardline broke with nothing for her heart to hold just before the moody “Bloom” talks about finding her own place to grow.

“Wait” produced by Dylvinci ends the 1st leg of the tape on a cloudier tip advising that you should just eat what’s already on your plate & poppin’ since The Nanny aired on the Paramount Skydance Corporation-owned CBS while “Death Roll” brings a trap flare back to the table making it clear she got shit to prove with no time to fall back. “Profit” layers these hi-hats with a soul sample pledging allegiance to financial gain leading into DJ Camper giving “Boom Bap” a comedically drumless chipmunk soul vibe taking a jab at her critics.

Meanwhile with “Nissan Altima”, we have Doechii over a hardcore trap/pop rap hybrid telling everyone to increase their rates for her while “GTFO” featuring KUNTFETISH aggressively tells everyone to move out their way. “Huh!” shoots for a synth-based direction talking about being so 100 while the playfully subdued “Slide” discussing her man liking the way she grooves.

“Fireflies” nears the conclusion of Alligator Bites Never Heal with this cavernous 2-parter fed up with dudes calling her childish & pleasing to not be let down while “Beverly Hills” groovily talks her shit for roughly 3 & a half minutes. The title track lastly ends the tape with an acoustic/boom bap beat asking if you would dance for her even after hurting the feelings of this particular individual & the bonus cut “Anxiety” samples “Somebody That I Used to Know” by Gotye wiping the Sleepy Hallow version.

Even if I have ScHoolboy Q’s latest comeback effort Blue Lips above Alligator Bites Never Heal as my favorite TDE release of 2024, I highly enjoyed this mixtape more than her EP that I covered couple years ago. It’s a testament to her unyielding spirit & limitless creativity, additionally embodying her resurgence & reclaiming of power in the process letting everyone know she was born to be the predator.

Score: 4.5/5

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K.A.A.N. – “In Due Time” review

Columbia, Maryland emcee/producer K.A.A.N. back with his 26th LP. Over the past decade or so Knowledge Above All Nonsense has been delivering numerous standouts in his ever-growing discography like Black Blood, the Ski Beatz-produced Requiem for a Dream Deferred, the Big Ghost Ltd.-produced All Praise is Due, Mission Hillz, The Death of a Rapper & The Nightly News both produced by former Strange Music in-house producer MIKE SUMMERS a.k.a. 7 or even Peace of Minds from just a few months ago. Los Angeles producer/deejay DJ Hoppa was brought in to produce Delusions of Grandeur a few months ago & is sticking around for In Due Time.

The title track starts by sampling soul music & throwing hi-hats into the equation boasting that he’s in a whole different category than everyone else whereas “C.T.T.S. (Can’t Touch This Shit)” goes full-blown boom bap talking about nobody being able to touch him lyrically. “Cautionary Tale” works in a soulfully dusty beat telling us what happens when you’re consumed by greed while “Weight” demonstrates a speedier flow trying to get rid of this baggage.

“Bon Appetit” returns the boom bap feeling like he’s about to be unleashed murdering everything in his path just before “Another Play” hooks up a woodwind talking about how much of a shame it is people are lost in the maze of the same game. “Warm It Up, K.A.A.N.” continues get in his chopper bag continuing to go at the throats of other rappers leading into the symphonic trap-flavored “Succession” advising everyone to get back.

Meanwhile on “Status Symbol”, we have K.A.A.N. over more strings swapping out the hi-hats in favor of kicks & snares likening the rap game to a petty bitch while “Stay Blessed” substitutes the orchestral elements with pianos spreading the titular message. “It Ain’t Easy” has a generally old school sound detailing the struggles while “Expectations” ruggedly tells us what some people look for all around the world.

“Enough of the Filler” pushes towards the end of the Delusions of Grandeur sequel In Due Time expressing his frustration over how much filler is packed into some of these artist’ projects in the digital age while the boom bap-tinged “Rat Race” lastly closes the 3rd consecutively amazing offering of K.A.A.N.’s this year alone talking about the weak being unable to survive.

For almost a little over 12 months now, K.A.A.N. has steadily been putting out some of the best material of his entire career & as much as I loved Delusions of Grandeur, I think In Due Time stands out as a sequel that’s better than the original. DJ Hoppa’s production is still boom bap heavy except you got some more trap undertones compared to last time & the Maryland chopper sounds hungrier.

Score: 4.5/5

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Glokk40Spaz – “Da Real Oso” review

Atlanta, Georgia recording artist Glokk40Spaz coming off his acclaimed collab EP with OsamaSon earlier this summer 3vil Reflection to release his 4th album. Emerging off the Don’t Get Took Off mixtape trilogy & the debut EP Spaz&B, he would also go on to drop his very first LP 2 Glokks followed by the sophomore effort Baby Whoa with both of them receiving quite a bit of acclaim. Took the Biggest Risk distributed by Columbia Records was a great major label debut for EBG Records founder & is commemorating the 1-year anniversary of the latter by dropping Da Real Oso.

“My Last Breath” is this rage-inducing opener to Glokk40 laced with Four3va shooting the Glock like the Dallas Mavericks brushing off any interest in recruits whereas “Pothead & Stoner” produced by F1LTHY of Working on Dying & OPM BABI who did a lot of the album maintains the hypertrap sound talking about being high as fuck. “505” bombastically warns that shit’ll be getting scary once you enter the trap & “How Vampz Feel” goes plugg thanks to Internet Money Records in-house producer Synthetic to talk about rolling the dice since the streets be a gamble.

Given by the title, “Let’s Get Active” has an aggressive tone altogether fucking all y’all shit up by himself while “Mystikal Draco’s (Psychotic)” hops over another rage beat talking about his psycho tendencies although the Aaron Rodgers bar felt awkward since his 1st season as a New York Jet lasted as long as former WWE Tag Team Champion & WWE Hardcore Champion Shane McMahon’s return at WrestleMania XXXIX this spring. Very much happy to hear Shane’s son Declan being a RB for the Indiana Hoosiers with NFL potential though.

“Copperhead” keeps the dense, buzzing synth work with repetitive chord progressions & melodic synth leads sliding on the block with the demons later referencing 16-time WWE world champion, 4-time WWE tag team champion & 5-time WWE United States Champion John Cena just before “You Not Da Only 1” hunts the opps like animals over synthesizers from Trgc.

The rage gets turned back up once again on “No Español” so he can catch a flip leading into “BLV Anthem” rocks out over more detailed hypertrap production hoppin’ in the whip & cranking that bitch up without a key. Who Don’t Love Money?” dabbles with plugg 1 more time detailing the gangsta lifestyle, but then “I’m Oso Shiesty” wraps things up raging again reaffirming that he really is in fact Da Real Oso.

Almost a year to the day where he Took the Biggest Risk & only 3 months since 3vil Reflection, the 2nd album that Glokk40 has released since joining a major label elevates himself further artistically where I feel like this is his best album to date. His performances are equally cutthroat than they were last September & most importantly, the production mostly handled by F1LTHY consistently sticks the latter’s signature rage sound diverting from Glokk40’s dark plugg roots.

Score: 4/5

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Stove God Cook$ – “Stop Callin’ Me, I’m Cookin’” review

This is the 2nd EP from Syracuse, New York emcee Stove God Cook$. A protégé of Roc Marciano, the latter produced Stovey’s highly acclaimed full-length debut Reasonable Drought in March 2020 right when the COVID-19 lockdowns began. He signed to Griselda Records not too long after & released his debut EP If These Kitchen Walls Could Talk a year & a half later. However he’s surprise-releasing Stop Callin’ Me, I’m Cookin’ ahead of his Griselda debut Stove Jesus & even an album produced by Stoupe the Enemy of Mankind.

“Earl the Pearl” is a soulful boom bap opener produced by Cool & Dre talking about dead rappers getting more life when their eyes are closed whereas “E$co Chipper” continues to chop up the soul samples showing disgust towards his competition. “Marvin Ye” works the kicks & snares back in likening himself as a mix between Marvin Gaye & Ye formerly known as Kanye West while “The Glove” after the “$ocrates” skit goes drumless again to talk about being amongst the illest. “Ba$eline Hov” has this chipmunk soul flare to the beat getting on his hustler shit & “Chapo Phone” sumptuously  talks about being a don.

Stove God to me is an extraordinarily generational talent & I’m confident that will be getting a sequel to Stop Callin’ Me, I’m Cookin’ at some point near future, considering the fact that this is only Side A but what we have here nevertheless has to be amongst the best EPs I’ve heard in this year. The soulfully drumless/boom bap production matched with Stovey’s immaculate Coke raps increase anticipation for Stove Jesus & the Stoupe-produced album, as will Side B.

Score: 4.5/5

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Juicy J – “Ravenite Social Club” review

Memphis, Tennessee rapper, songwriter, producer & record executive Juicy J coming off the Mental Trillness duology to release his 8th solo LP. Rising to stardom in the 90s as the co-founder of the seminal Three 6 Mafia alongside his Tear Da Club Up Thugs cohorts DJ Paul & the late Lord Infamous, he’s also had the most successful solo career out of everyone in the Mafia whether it be the Taylor Gang Entertainment/Columbia Records-backed Stay Trippy & Rubba Band Business: The Album or more recently Crypto Business & Mental Trillness. The latter & it’s sequel noticeably taking on a more serious tone than some of Juicy’s latest material, taking a good chunk of it’s time coping with Gangsta Boo’s untimely passing. Further diverting from the norm, he’s going jazz rap in the Ravenite Social Club.

After the “Provider” intro, the first song “The Higher Ups” further sets the tone of what’s to come hopping over a jazz boom bap instrumental from longtime Griselda affiliate JR Swiftz dissing corporate America whereas “Don’t Go Out” works in some pianos as well as kicks & snares advising not to go out the way Paul Castellano of the Gambino crime family did. “That’s Gangsta” keeps it boom bap explaining how hard it is to be splitting 50/50 with his bitch, but then “Everything All Good” has a warmer trap approach telling us he’s been doing ok.

“Fucked Up Era” hooks up some horns describing what he was living in for the past year & a half or so that resulted in both Mental Trillness albums prior to “Thought It Was” strips the drums completely boasting his luxurious ways of living. “Deserve It” has this orchestral boom bap flare to the beat dedicating it to all the independent shawties ahead of “The Past is the Past” colorfully leaving everything behind him for approximately 116 seconds.

The self-produced “Consequence” mixes these pianos with kicks & snares reminding the listeners of the most valuable lesson a person can learn in their lifetime while “Payment” swaps the keys out in favor of synthesizers admitting The Notorious B.I.G. wasn’t lying when he said “Mo Money, Mo Problems” using his own experiences. “1 in 1,000,000” hops on top of more horns advising what a dangerous lie it is that you don’t have to work just before the soulfully drumless “Suicide Doors” featuring Cordae warns to get a bag before you beef since you’ll need money for war.

“The Bottom Line” continues to chop up the soul samples smoking & drinking 1 for old time’s sake while the 4 minute “To You” pays tribute to Lord Infamous, Koopsta Knicca & Gangsta Boo over Robert Glasper playing piano. “Sometimes” further pushes the closure of the Ravenite Social Club for the night soulfully asking if you needed someone to talk to & no one was there while “Things Changed” promising he’ll be there when his baby falls automatically telling her yes if she ever calls him.

Beginning the deluxe run, the drumlessly jazzy “In Plain Sight” disses the haters for wanting to see him torn down legalizing products to sell at the same price while “Fit the Mode” featuring Project Pat puts a mature spin on trap generally talking about the best thing in the world being a woman by your side. “Could’ve Been Worse” goes boom bap reminding that you only get 1 chance to make it while “Enemy Lines” angrily warns what happens once you cross a specific path.

“Just Listen” jazzily advises everyone who’s still tuning in for them to take care of their business while “Dizzy” drumlessly reflects on spending most of his time denying what the heavens planned & refusing to fake the funk anymore by letting the prophets come true. The final bonus track “Point ‘Em Out” featuring Remy Ma goes trap for a dedication to all the real women & not trying to risk being around the bitches who’re fake.

Both installments of the Mental Trillness duology were greeted to mixed reception although I personally appreciate them for being more introspectively serious than some of Juicy’s past solo material & now that we finally got Ravenite Social Club after 8 months in the making, it could very well be my favorite of his since branching out on his own & he’ll even tell you that himself. It’s a change of pace with its production building upon the sounds of jazz rap, boom bap, drumless & chipmunk soul focusing less on trap taking the overall maturity a step further.

Score: 4.5/5

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Pradabagshawty – “10 Freak Ho’s” review

This is the 3rd extended play, the 2nd of 2024 & Cegular Records debut from Columbia, South Carolina born albeit Atlanta, Georgia rapper Pradabagshawty. Introducing himself last summer off his debut EP Bloxk Addiktion, he would go on to follow it up with 1 Love a few months earlier until Whyceg signed him to his very own Sony Music imprint not too long afterwards alongside Babystaydown. Appropriately, the time has come for him make a wider introduction with 10 Freak Ho’s preluding Forever & After later this fall.

“Go Best Friend” featuring NDO D joins forces over a plugg instrumental talking about their hoes calling them their besties after fuckin’ & once “She Goin’” carries over the plugg vibes in a bubblier fashion getting higher than KiD CuDi, my favorite track here “Ball Me Back” produced by both Whyceg & SOULJASPIRITS reaches the halfway point talking about being fine with this woman getting passed around by the whole crew.

Starting the 2nd half, the song “At All” clarifies that he ain’t fuckin’ with any of these guys or bitches who stay smellin’ over an aquatic trap beat while “Fasting” locks back on with SOULJASPIRITS for another plugg banger talking about taking a break from going down on women. “B My Hoe” featuring ImSoMarcus finishes the EP in the form of this decent plugg outro desiring more money & asking the females around them if they could vibe with them whilst desiring to make more bags.

1 Love sticks out as the best EP we’ve gotten from Pradabagshawty in 2024 despite Bloxk Addiktion, but 10 Freak Ho’s gives the underground a gander at what this Cegular/Sony deal could do for him in the long run & it’s still very much an average listening experience justifying him getting a label deal. The trap & plugg production isn’t as interesting as it was 4 months earlier, with the lyricism focusing more on themes of love than his earlier stuff.

Score: 3/5

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