joMi – “S.U.M. (Someone Understand Me) 1” review

Oakland, California emcee joMi returning a year & a half after Too Close so he can release his 3rd full-length studio LP. Introducing himself in the underground off his 2018 debut Samo followed by the 2022 sophomore effort Media Noche, he actually came onto my radar around the time Too Close dropped since he signed to Soulspazm Records around that same time & finding out 80 Empire fully producing S.U.M. (Someone Understand Me) 1 had me more intrigued since I’ve been following some of the artists they’ve worked with for quite some time.

The title track sets a somber tone to get us started equating alcoholism with the devil whereas “Run” featuring Demrick depicts the desperate urge to escape reality over a cloudy boom bap instrumental. “Mirror 2 Times” works in a guitar solo he can reflect on the painful process of self-confrontation prior to “j.o.M.i (journey of My imagination)” telling everyone the meaning of his stage name bringing an atmospheric flare to the table.

“We Didn’t Notice TBH” goes full-blown trap to talk about feeling good leading into “Down If U Are” featuring G. Cardona & Ginger Nkosi highlighting the critical moment of self-questioning during joMi’s descent into drug experimentation. “Holy Water” hooks up acoustics & claps talking about alcohol being heaven sent, but then “Chico” featuring Baby Gas returns to the boom bap reflecting on the long way they came.

Starting the final leg of the LP, the song “Bottles on the Top Shelf” goes for a nocturnal trap vibe saying that the liquor & shrooms on the top shelf since they pair well while “144K” featuring Dizzy Wright brings a chilled out approach to the table asking if you want this drank & weed. The penultimate track “No Mind” featuring ¡MAYDAY! keeps it trap advising to ignore them & finally, “Used to Love” ends the album calling out a poison disguised as a remedy.

Other than that, S.U.M. (Someone Understand Me) 1happens to be a powerful concept album that explores joMi’s own battles with alcoholism & addiction. He takes listeners on an emotional journey through the highs & lows of substance abuse, delving deeper into darkness offering a raw & immersive look into the emotional turmoil of addiction with better picked guests & improved production.

Score: 4/5

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Claas – “In My Head” review

This is the 4th EP from Arlington, Texas emcee Claas. For about 2 decades, this guy’s been steadily putting in work for the underground whether it be on it his own or as a member of groups like The Underground Avengers as well as VLNC & the Caarnivorz. He teased his previous LP albeit 3 with Lyrikal Snuff Productionz by dropping a trilogy of EPs leading up to it much like Strange Music used to do in 2019/2020 right before the COVID pandemic, culminating in This is Revenge being released in full 2 & a half years ago. He has since decided to take listeners In My Head over a month after UGA’s 3rd & final album Oblivion & 3 weeks since former AAA Mega Campeon, AAA Mundial Parejas Campeon, AEW International Champion, AEW World Tag Team Champion, AEW World Trios Champion, HoG Tag Team Champion, MLW World Tag Team Champion, PWG World Tag Team Champion, ROH World Tag Team Champion & TNA World Tag Team Champion Rey Fénix had his final AEW match in Claas’ city.

The title track has a morbid trap atmosphere to get the 3 song, 11 minute offering started demonically talks about demons following him with no end in sight while “In This Box” drearily acknowledges death at the door encouraging to let him in. “A Part of Me” ends the EP with a guitar & hi-hats talking about searching, but being unable to find.

Very much outside his norm, what we have is a culmination of the roughest stretch in Claas’ life dealing with everything that has happened over a 2 year span & finding a way to put all that into words. He tells a story of himself battling the thoughts in my head & finally coming to grips with the biggest tragedy in his life happening, slowing falling into the depths of dark thoughts in his head.

Score: 3.5/5

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BP Infinite – “Kill or Be Killed” review

This is a brand new producer album from Amityville, New York beatsmith BP Infinite. In the last 19 years or so, he’s found himself working with underground veterans from K-Rino to Diabolic, Ill Bill, the Black Market Militia & Uncle Murda. His first producer album Timeless Music was released in the fall of 2017 followed by an EP called The Supreme 7, so I was interested in hearing Kill or Be Killed since the list of performers compared to the last couple solo efforts looked grander & jam packed on paper.

After the “Tournament of Champions” intro, the title track by RJ Payne & Skyzoo sets the tone with its organ/boom bap instrumental explaining that you either kill or be killed in this game called life whereas “Street Vengeance” by Nature & Tragedy Khadafi has a mafioso flare to the beat getting in their hardcore bag lyrically. “We Out of Here” by Elucid & Gudda Vell soulfully unites the pair flexing that they runnin’ on their last legs prior to “They Know Who It Is” by E-Class & Nature keeping the soul samples in tact comparing themselves to Steph & Klay or Kobe & Shaq.

“Kill Squad” by Redman gives one of the hardest performances on the album over horns although my biggest complaint is that it’s a shorter than I imagined just before the vocal sampling returns on “Love & War” by Bub Rock, Eddie Kaine & J. Arrr talking about wanting to see their brothers ballin’ & keeping it 100 being law to them. “Raise Your Glass” by Bunchy Cartier, Shabaam Sahdeeq & 9th Prince strips the drums to make a toast while “Can’t Fuck with Me” by Mooch & Tragedy Khadafi ruggedly talks life being different for them now.

Gudda Vell & the Intelligent Hoodlum express their desire of being great on “No Replay” further marking a return to the boom bap, but then “The End” by E Murda & Shots hops over a crooning sample to make money & put others in their place. “Screwface” by Dunbar has a suspenseful vibe instrumentally putting the listeners in his shoes while “Deep in My Heart” by Cory Gunz, eLZhi & Tragedy Khadafi hooks up a gospel flip flexing their lyrical prowesses.

“I Survived” by Eddie Kaine & Shots further pushes towards the end of the LP going chipmunk soul looking to stay high where they reside witnessing someone pass away in front of them at 16 & “Listen Up, Pt. II” by Bunchy Cartier & Pillz wraps up by working in pianos clarifying that the only thing on their minds is the money both of them stay stackin’ up.

Kill or Be Killed is the hip hop equivalent of a roundhouse kick to the face from both the beatsmith & his incredible cast of collaborators, almost like the movie Bloodsport with a tournament of diverse & unique talent. To make all of it possible, BP spent 18 months of fleshed out all the production that he thought specifically matched the artists he wanted to work with & it’s finally paid off.

Score: 3.5/5

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Ramirez – “The Warlock & The Gorilla” review

San Francisco, California emcee Ramirez following up From tha Guttah to tha Grave by surprise releasing The Warlock & The Gorilla as his 12th EP. Coming up in 2014 as a longtime affiliate of the $uicideboy$, he would go on to co-found to the New Orleans-based indie label G*59 Record$ with them & build himself as an artist by dropping 8 mixtapes, his last 10 EPs & 4 full-lengths in the span of nearly a decade. Tha Playa$ Manual was his best LP yet with it’s g-funk production from Rocci & The Tragedy of a Clown was a good comeback from a year & a half ago, From tha Guttah to tha Grave back in March was good & this new one had me especially intrigued since he said it was to hold us off until his upcoming 5th album Tha Playa$ Manual II.

After the titular intro, the first song “Stackin’ Ends” featuring Soulzay has a slick Memphis vibe instrumentally to officially begin letting us know that’s exactly what both of them be doing whereas the cloudy trap banger “Carti Frames” continues forward talking about cold blooded pimpin’ going through his veins. “Window” featuring Shakewell has an eerier atmosphere to beat almost like it’s something out of a horror flick flexing their gangsta ties & “The Depths” hellishly talks about looking to blast someone in the deepest pits with the shotty.

“Crocodile Skin” builds the concept around the infamous “interior crocodile alligator” line from King Chip of The Almighty GloryUS blending a soul sample with hi-hats while the jazz/trap hybrid on “Medusa Packs” blew me away getting returning to his pimpin’ shit. “Casket Dreamz” featuring Pouya talks only having their brothers over a solemn trap instrumental leading into the west coast-flavored “International Waters” featuring Jay Worthy find the 2 gettin’ fly. “It Ain’t My Fault” featuring Shakewell lastly ends with a homage to Silkk the Shocker’s biggest hit.

In what would turn out to be Ramirez’ final release on G*59, The Warlock & The Gorilla surpasses From tha Guttah to tha Grave as the best of the 2 EPs that he’s put out this year alone. Stronger feature list, the production expanding beyond from trap as well as g-funk, the Memphis scene, cloud rap & jazz rap & the Lil Homewrecker delivering performances that go considerably harder.

Score: 3.5/5

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Zukenee – “Guillotine” review

Atlanta, Georgia up-&-comer Zukenee following up his debut Player Slayer with a 4th EP. Starting in the spring of 2021 off his debut EP Undiscovered, he would continue to make a name for himself in the underground by putting out a couple more EPs in Castle & Playful alongside the debut mixtape Stop Playing last summer. Subsequent exclusive singles like “OJAYS” & “Chest” would later become amongst his best singles since both of them were released in the span of a year & a half until Player Slayer came this spring. Interestingly enough, Cade’s being brought in to produce Guillotine.

“Dungeon Detour” has a quirky trap feeling to get us started warning that the roundabout route to the dungeon has begun & to prepare for imminent battle whereas the vibrant “Dragons” talks about catching plays & running shit now. “Village” comes through with a rubbery dedication for all the slayers out there while “Trap Candle” flexes that he got money bustin’ out both of his pockets.

Meanwhile on “Checkmate”, Zukenee aggressively explains to u that you have to choose between the 2 sides of life being a boy or a slayer just before the synth-trap crossover “Warplay” declaring that he’s ready for war. “Bend” has an acoustic trap quality to it reworking a brick & a bitch, but then the rage-inducing “Trimlewinsky” balls hard. The trippy “Por Favor” warns he might fuck around & rinse you leading into “Blow Up” ending the EP by keeping the Glock hot.

If you weren’t feeling Player Slayer when it was first given to us over 4 months ago like a couple people were, you might find yourself enjoying Guillotine more & that for me personally has quickly established itself as the crown jewel of Zukenee’s discography. Cade’s takes him to a brand new level in a consistent fashion & the medieval theme during the 19 minute run stays pretty consistent.

Score: 4/5

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Chlöe – “Trouble in Paradise” review

Chlöe is a 26 year old singer/songwriter, producer & actress from Atlanta, Georgia coming up as 1/2 of the duo Chlöe x Halle with Halle Bailey. Introducing themselves in 2018 when Beyoncé signed them to Parkwood Entertainment/Columbia Records for their decent debut album The Kids Are Alright, the Bailey sisters’ sophomore effort Ungodly Hour in the summer of 2020 during the COVID-19 lockdowns would prove to be their most acclaimed body of work yet & have since been focusing on their solo careers. In contrast to Halle having yet to release her solo debut, Chlöe’s own debut In Pieces received mixed responses & is looking to have Trouble in Paradise top it.

“All I Got (Free Falling)” has a bare gospel-influenced beat from Bongo to get the ball rollin’ wishing she & her ex could start all over whereas “Might as Well” featuring Ty$ fresh off ¥$’ sophomore album Vultures 2 last Saturday morning coming together for a soulful duet singing about texting each other at 2am. “Boy Bye” fuses pop, contemporary R&B, 2-step, alt-pop & dance-pop thanks to Rogét Chahayed for anyone who needs to get rid of someone toxic and draining from their life just before “Redemption” catchily sings that she’s not being too big on the titular act herself.

Meanwhile on “Temporary Single”, we have Chlöe over a predominantly acoustic sound assuring that she briefly doesn’t have a man at the current moment while the intoxicating trap soul cut “Rose” talks about becomin’ alone & not meeting another man like the one she has now. “Favorite” featuring & produced by Anderson .Paak stands out as infectious R&B duet not tryna buy into favoritism, but then the syrupy “Same Lingerie” sings about needing some time to herself.

Lauryn Hill’s son YG Marley joins Chlöe for the dancehall/R&B crossover “Never Let You Go” finding both partners refusing to let go of one another while “Want Me” by Chlöe x Halle hops over acoustics as well as hi-hats & snapping fingers asking why everything in their past relationships changed. The piano-driven “Moments” sings that she has true love for her ex due to all the memories they have together while “F.Y.S. (Fuck Your Status)” blends trap soul & alternative R&B discussing one’s social status.

“Nice Girls Finish Last” atmospherically starts the final leg of Trouble in Paradise singing about intercourse while “Strawberry Lemonade” experiments with a nu disco R&B sound talking about having the sugar for her partner. “Shake” featuring Jeremih goes from the nu disco undertones of the previous track to prominent house influences throwing that ass back & “Somebody” wraps up the album with an empowering pop ballad feelin’ like she needs someone.

She & Halle already earned my respect when Ungodly Hour came over 4 years ago, so I figured that Trouble in Paradise had to improve on the moderately received debut & it’s certainly a more consistent showcasing of what Chlöe’s capable of doing by herself. It’s a summer fling & coming-of-age celebration of being a woman having fun & not taking life too seriously pulling from pop, contemporary & alternative R&B, pop soul, pop rap, afropiano, trap soul, dancehall, nu disco, 2-step, alt-pop & dance-pop.

Score: 3.5/5

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Spice – “Mirror 25” review

Spice is a 42 year old DJ, singer/songwriter & producer from Spanish Town, Jamaica whose aggressive flow, musical versatility & outspoken lyrics made her one of the most prominent dancehall artists that the world has seen in recent memory. Her debut 10 backed by VP Records was a fun introduction to her music generally & although the sophomore effort Emancipated was simply average, I was anticipating her 3rd album more after learning that was self-producing the whole thing by herself.

After a 3 & a half minute intro, the first song “You Are Worthy” sets the tone of what’s to come acoustically letting everyone who’s tuning in know that they are in fact worthy whereas the reggae/psychedelic “Lead Me” featuring Ky-Mani Marley finds the 2 thanking Jah for everything that was given to them & letting Him guide you. “Whoop” heads for a cavernous direction saying y’all can miss her with any negative energy leading into the fuzzy “G.O.A.T. (Greatest Of All-Time)” talking about being the greatest in her subgenre.

Busta Rhymes joins Spice for the rubbery 2nd single “Round Round” that I actually found myself enjoying more than I initially thought I would going out to all the clubs worldwide just before the lead single “2085 Tea” humorously & sentimentally takes us 61 years from now being happy that she’s been minding her own business stripping down roots reggae with an increased emphasis on pure rhythm. “Ex Boyfriend” maintains a tropical bashment flare talking an ex of hers & the entrancing “Cry” featuring Lola Brooke calls out bitches who want smoke with them.

“D.D.D. (Dead Dick Disguises)” has a slower R&B groove to it this time around letting it be known she’s sick & tired of wasting her time on that shit while “Chair” returns to her dancehall roots flexing that her body stays rockin’ similarly to a rocking chair itself. “Super Hero” featuring Jada Kingdom & Pamputtae brings the synthesizers in the picture calling themselves vigilantes with a super clue while electronic/bashment fusion “Ghetto Gal” shrugs off anyone who thinks they can walk in her shoes.

Meanwhile on “Come Out”, we have Spice delivering one of the most empowering choruses Mirror 25 has to offer displaying her bad bitch status while “Bestie” fuses dancehall & house music dedicated to anyone in the world who has a best friend in their lives. “Put It On Me” featuring Patoranking has a futuristic bashment/afrobeats tone tackling themes of intimacy & intercourse while the celebratory “Happiness” works in some afrobeats undertones coming to the realization of the titular feeling suiting her.

“Mirror” entrancingly asks who’s the prettiest of them all while “Price Tag” keeps unraveling hypnotizing rhythms talking about money following her. “Mafia” pushes forward with a 3 & a half minute bad man anthem while “Gangster” featuring Chronic Law unites both DJs so they can talk about being rollin’ with certified gs that crush the road together.

Starting the final leg of the album, “Bailando” clashes Latin music & dancehall in an impressively unique fashion while “Hell No” clarifies that there are certain things she can’t do. The song “This Him Love” delvers further into raunchier subject matter while the penultimate track “God a Bless Me” speaks of Jah blessing her & having her back around the clock. Finally, she justifiably declares herself as the “Queen of the Dancehall” to finish the 85 minute experiences.

Quarter of a century in the game & Spice has decided to celebrate by outdoing herself from Emancipated by making Mirror 25 the best album that she’s done since leaving VP. Even if it’s 26 tracks & almost 90 minutes, her production top to bottom is a step above the predecessor’s revealing itself to be more musically ambitious injecting her dancehall sonic foundation with notes of the likes of country or afrobeats & R&B heavily reflecting as a result of a near-death experience.

Score: 4/5

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MAVI – “Shadowbox” review

Charlotte, North Carolina underground sensation MAVI returning after a couple years to put out his 3rd album. Emerging off his full-length debut Let the Sun Talk a day before his 20th birthday, he would go on to land a verse on “El Toro Combo Meal” off of Earl Sweatshirt’s 2nd EP Feet of Clay a month later as well as preluding the further well received Laughing So Hard It Hurts in the form of a debut EP of his own End of the Earth. Few singles later, he’s ready to Shadowbox.

“20,000 leagues” goes drumless to start the LP rapping about saving him from himself whereas the 2-part “open waters” takes a cloudier route instrumentally keeping the drums out the picture for both halves explaining that creating art out of suffering is a haunting if not a futile endeavor. “i did” finally puts some drums in the equation keeping it cloudy talking about doing stuff that he promised not to do anymore & “i’m so tired” strips the drums once again abstractly wanting to be washed off so he can can make another song without a crater or a scar.

The beat on “tether” kinda has a glitchier, funkier tone altogether reminding that we’re all gonna die at some point in our lives while “the sky’s quiet” raps about making a bunch of hearts bleed unable to measure a correct amount of soup although he’ll get back on that when he eventually does. “latch” squares up at the score even if he wasn’t sure this is what he meant over Madlib-inspired production, but then the piano/boom bap hybrid “grindstone” addresses a bitch ass dude named Brandon telling him why he’s the greatest.

After the “drown the snake” skit, “drunk prayer” talks drinking until he’s unable to feel shit over a crooning sample wailing behind him leading into “the giver” telling his partner to make it make sense for him over lavish keys dashed with kicks & snares. “too much to zelle” goes for a psychedelic trap approach getting back to his boogie just before the jazzy “testimony” produced by Tom Levesque of Vanguard Music Group refers to himself as a living dream. “my own ways” finishes the album going his own path accompanied by an instrumental that doesn’t add the drums in until near the end.

Feeling a hopelessness towards Laughing So Hard It Hurts, MAVI felt like he had to come back learn & really how to make art all over again centered around visual art, fashion, interior design & design as an artistic framework & as an organizational force in society. The orderliness in the lives of the devoutly religious became an attractive subtext & lot of shadowbox’s backbone comes from his time with The Black Experience in Design, gaining the idea from them that design is power & the ability to determine the order of things & the way things are supposed to be are power.

Score: 4/5

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Benny the Butcher – “Summertime Butch” review

Buffalo, New York emcee Benny the Butcher putting out his 7th EP full of summer anthems. Being in the game for 2 decades already, it wouldn’t be until 2016 where he alongside his cousins Westside Gunn & Conway the Machine would take the culture by storm off projects like Tana Talk 3 & The Plugs I Met. Harry Fraud came in for a sequel to the latter following the mature Burden of Proof & finally, Tana Talk 4 took it back to the basement a couple years back. Coming off having Hit-Boy produce half of it & leaving the other half to The Alchemist produce his Def Jam Recordings debut & my album of the year so far Everybody Can’t Go, we’re now being treated to Summertime Butch.

“1 Verse Butch” starts us off with the Butcher over a piano/boom bap hybrid speaking that slick, street, intellectual drug shit whereas the soulfully dusty “The Most” talks about making it out of the hood alive & taking a lot for him for that to even happen. After the “Sundress & Sandle Season” interlude, “Knightfall” keeps the kicks & snares in tact advising not to let any static stop your business & the only single “Summer ‘24” gives off a symphonic boom bap flare instrumentally looking to shut the block down.

My favorite track here “Kitchen Table” hops over a smooth Harry Fraud beat continuing to discuss the dope game & after the “Peachtree” interlude, “The Blue Building” brings the soul vibes back in the fold mixed with hi-hats from STREETRUNNER playing more than simply a distributor role. “The Warehouse 3” featuring Elcamino, Fuego Base & Rick Hyde is this guitar-laced successor to both “Warehouse” tracks off Fuego’s debut Biggest Since Camby & “Higher” luxuriously ends the EP taking y’all to a greater level.

Everybody Can’t Go still remains my album of the year so far 8 months later & yet, Summertime Butch still stands out on its own going for a completely different vibe than the Def Jam debut did at the very beginning of 2024 telling us the biggest lesson Benny’s learned. The balance between boom bap & trap remains prevalent, he’s simply giving us 24 minutes & 8 songs for you to enjoy with only little time left of summer itself.

Score: 3.5/5

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Logic – “Ultra 85” review

Maryland rapper, singer/songwriter, producer, author & Twitch streamer Logic releasing his long-awaited 10th & final LP that he’s been working on since 2018. Emerging just over a decade ago off the strength of the first 3 installments of the Young Sinatra mixtape series. His potential would continually be shown on his first 2 albums Under Pressure & The Incredible True Story. However, it’s no secret that the quality of his music took a nosedive from Bobby Tarantino to Supermarket or the unlikeable bitterness of Confessions of a Dangerous Mind. No Pressure however was a mature sequel to his full-length debut & I also thought the Doc D concept mixtape Planetory Destruction was decent too, but Bobby Tarantino III was pretty underwhelming. His final offering for Def Jam Recordings that dropped couple summers ago Vinyl Days happened to be his most artistically definitive yet & College Park was just ok, so hearing Ultra 85 finally coming out had me hoping it’d be his best in a couple years.

“Paul Rodriguez” is a 9 minute, jazzy boom bap opener produced by Logic himself alongside Bobby Boy Records in-house producer 6 & Beat Butcha sampling “Love So Fine” by Roger Nichols including standout wordplay mentioning the Comcast Corporation subsidiary NBCUniversal owned DreamWorks Animation Studios along with The Walt Disney Company owned Pixar Animation Studios whereas “Mission Control” puts a dusty flip on the iconic Gucci Mane single “Lemonade” cooking without even being in the kitchen at all. “Deja Vu” has a predominantly conscious, east coast tone serving as a sequel to “Fade Away” off The Incredible True Story & after the “Glorious Ultra Panavision” skit, “Fear” blends pop rap & hip house with neo-soul & conscious jazz rap shedding fears of judgement from others & becoming the person he truly wants to be.

The cloudier boom bap aesthetics of “Favela” are a nice touch tryna challenge anyone who wants to step up to him on the mic referencing Tesla CEO, SpaceX founder, Neuralink founder & Twitter owner Elon Musk while “Gardens III” hooks up some kicks & snares with an alluring vocal sample going off the grid. “Ghost in the Machine” featuring ADÉ & Robert Ivory samples “Going in Circles” by The Friends of Distinction takes it back to the basement still representing the Ratt Pack, but then “Interstellar” returns to the jazzy boom bap tip talking about those who never understood what Bobby’s been through.

“In Retrospect”’s instrumental kinda radiates a jangly boom bap energy to end Ultra 85’s first half refusing to come down from where is at life currently while “44ever” was a decent continuation of “44 Bars” & “44 More” off the first 2 installments of the Bobby Tarantino trilogy. “Love Me” flips “Amen, Brother” by The Winstons wanting the light to be given to him so he can shine & after the “Planet Death” skit, “Teleport” spaciously shows off speedier flows reflecting on many memories & harsh moments in his life.

After the “Chess” skit, “Antidote” featuring ZeelooperZ goes head-on trap flexing that the art they make goes over people’s heads while the boom bap heavy “Once Upon a Time in Hollywood” recognizes Quentin Tarantino’s latest movie to date as the best of his career although I’d say Pulp Fiction. “Peace, Love & Positivity” richly advising that listeners never give up their dreams. “City in the Stars” by Robert Ivory is a sequel to “City of Stars” & “Thank You for Believing in Me” ends singing over a guitar dedicating it to his fans.

Regardless if I still have Vinyl Days as my favorite album of Logic’s career, Ultra 85 takes a step above College Park as the best one Logic has done since leaving Def Jam to go independent & it’s certainly an incredible way for him to go out so he can focus on producing full-time. The production goes from boom bap to jazz rap, trap, cloud rap, pop rap, hip house, conscious hip hop & neo-soul showing how much he’s grown in nearly 2 decades with performances as consistent as they were couple years back feeling reminiscent to Cowboy Bebop.

Score: 4/5

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