Rx Papi & 1600J – Self-Titled review

Here we have a brand new self-titled collaborative EP from New York rappers Rx Papi & 1600J. Both of whom have established themselves individually within their local underground scene off projects like Foreign Exchange, Pack a Punch, NextDoorNeighbors or more recently 16GTC & Raheem Dead, Somebody Shot ‘Em. Now both of these guys have previously crossed paths with one another before on tracks like “1 Time” or “Blowin’ My Phone”, so a whole EP from them together only make sense.

The cloudy “All Day Long” produced by Harrison couldn’t have been a more perfect opening track to the EP flexing that they making money all day every day whereas “Flood Warning” takes the psychedelic route instrumentally callin’ the cappers on their bluffin’. “Not the Night” melodically promises their significant others that they still love them no matter how big they get just before “Cross My Screen” returns to a cloudier vibe talking about getting excited when their bitches numbers hit their phone screens.

“Only Fans” starts the 2nd half of the EP on some melodic, romantic plugg shit while “Special Ed” delves into pluggnb refusing to go back to their old hoes since they bagged the right ones now. “Ain’t Shit” has this luxuriously smoother trap vibe to the beat clapping back at the bitches that told them that they wouldn’t be shit, but then the closer “Money Hunt” closes up shop with 1 last plugg track talking about being on a hunt for the bread.

What Rx Papi & 1600J give us on this eponymous EP joins the ranks as one of the best collaborative projects they’ve ever done, reaching the bar set by Fleechy’s joint efforts with RXKNephew & the Pack a Punch EP with Smokingskul. I’d even argue it’s on the same pedestal as the NextDoorNeighbors EP that 1600 did with Pasto Flocco couple years back. It’s more plugg/pluggnb centered production-wise & both artists do a noteworthy job of elevating the chemistry.

Score: 4/5

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Stanwill – “4ever $hittin’” review

This is the 3rd proper solo album from Detroit, Michigan rapper Stanwill. Coming up as 1/3 of the ShittyBoyz with Babytron & TR Dee signing to Lando Bando’s own The Hip Hop Lab Records, he eventually branched out on his own during the COVID-19 pandemic off the debut EP $camwill as well as it’s successor Gifted & the debut mixtape Van Gundy. He also went Full Auto for his 3rd EP making his full-length debut with Big $hitter followed by the 4th EP Big $hitter: Lost Files & of course the sophomore Still $hittin’ celebrating it’s 1-year anniversary last weekend, it makes sense for him to clarify that he’s 4ever $hittin’.

“Neverland” start off with a bit of a psychedelic plugg vibe talking about being the weatherman whereas “Paramount” named after the Paramount Skydance Corporation works in some pianos to discuss the only thing that he’s really concerned of is the paper. “Standing Ovation” takes the spacious trap route instrumentally thanks to Danny G & Jakesand talking about playing the dirtiest game while the synthesizer infused “Live & Learn” humorously boasting that his wrist 41 & the cougar bitch he bagged being 42 providing the clique scoring 2 pointer.

Tay B joins Stan for “Be Fr” gives off a suspense-raising Detroit trap flare to the beat talking about both of them always keepin’ it 100 leading into “Cockadoodledoo” mixing 808s & pianos flexing that he can do this shit in sleep every single day of the week. “Smithereens” brings back the plugg influences that we heard at the very beginning so he can talk about those laughing at his losses cheering for his victories, but then “Sexyy Red” featuring T Bone go back on forth on a Detroit trap instrumental wanting bitches similar to the rising St. Louis trap star.

“Whack-a-Hoe” hooks up these orchestral elements with 808s saying that if the money makes the world go round, then he’s the reason that Earth’s spinning prior to Certified Trapper dropping off the worst feature throughout the entire album on “Brothers” despite the synth-trap beat & the lyricism talking about riding & dying for their brothers. “Make It Last” going for more of an electronic trap approach with the instrumental likening his squad to a marching band with the AR drum attachments while “AR in My Goose” returns to the Detroit trap sound cautioning to duck before he taps you in the head.

My favorite feature on 4ever $hittin’ is easily TR Dee on the luxurious “Simple” talking about how simple this shit really is to them prior to “Bases Loaded” in actually serves as a solid freestyle over the “They Losing Me” by Big Homie Dre Cash beat. “Chop Suey” featuring Drego contains the LP’s 2nd best guest appearance eerily talking about the barking gonna be dead if they end up biting that is until “Ahh Haa” gets back in his Detroit trap shit laughing at one of his brodies shooting an opp.

“Nonstop” kinda has this chill mood to the instrumental refusing to stop since time is money after while the west coast flavored “Los Santos Customs” makes reference of the Grand Theft Auto V & Grand Theft Auto Online vehicle customization & repair shop of the same name. “Crunch Time” couldn’t of been a better choice of a climactic closing track to the album talking about chillin’ with a bitch that don’t know English for so long to the point now where he speaks in Spanish to the plug.

This last handful of solo projects we’ve gotten from Stanwill over the course of these past 3 years have been more moderate compared to Van Gundy, but there’s no debate from my point of view that 4ever $hittin’ is the most that I’ve enjoyed a solo project from him since $camwill when the world was on lockdown. Although only a couple features stood out, I love that he tries out some new sounds albeit primarily sticking to the Detroit trap wheelhouse.

Score: 4/5

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Brother Ali – “Love & Service” review

Minneapolis, Minnesota activist & battle emcee Brother Ali teaming up with Oakland, California producer Unjust for his 8th full-length LP only 4 & a half years after the Evidence-produced Secrets & Escapes. Exploding within the underground off his 2003 sophomore effort Shadows in the Sun & of course his 2007 follow-up The Undisputed Truth, he would continue this string of acclaimed releases with Us as well as the Jake One-produced Mourning in America & Dreaming in Color and All the Beauty in This Whole Life. Can’t forget to mention Ali’s debut EP Champion turning 20 in a couple weeks & his debut mixtape Left in the Deck either. It’s been a few years since we last heard from him on his 4th EP Brother Minutester which marked his departure from Rhymesayers Entertainment after nearly 2 decades. So with Love & Service being his first album through his very own label Traveler’s Media, that & seeing some of the features nevertheless kept me interested.

After the “Chapter 1” intro, the first song “Ottomans” is a boom bap opener welcoming y’all to the extravaganza & informing everyone listening that they’re now rockin’ with a true & living master except the “mumble rap” jabs are cringe since this isn’t 2016 anymore whereas “Awaken” mixes together these woodwinds & strings talking about sleepwalking through our days. “The Collapse” calling out those who were dazzled by the warning signs flashing continuing to dance in the midst of it all collapsing over an instrumental with a summertime-flare, but then “Manik” featuring Aesop Rock & Casual brings the trio together getting in their battle rap bag for 4 minutes.

“Nom De Plume” kinda goes for more an uncanny atmosphere talking about part of dues having to be paid in order for him to even offer you this news making it rain blood & tears on any stage he rocks while “Cadillac” fuses these organs & guitar licks discussing his father-in-law’s titular yellow tinted whip. “Gauntlet” featuring Roc Marciano goes into a jazzier direction talking about both of them being on some other shit their whole entire lives pretty much leading into “Howlin’ Wolf” hopping over a brass sample to rock & moan much like the blues icon of the same name.

Quelle Chris joins Ali Newman for the spacious “Ghosts” pleading to not let them walk on their own just before the title track smoothly talks about how it’s all simply Love & Service at the end of the day. “Worthy” continues near the end of the album by affirming that every single one of us is worthy of love accompanied by a peppy beat & lastly to finish up Ali’s first full-length in nearly 5 years as of this upcoming fall, “Inside” finishes up the album by vulnerably talking about being unable to hold his tears back.

A good majority of Brother Ali‘s discography is exceptionally high in quality & although this isn’t one of my favorite projects from him, I still find it to be absolutely tolerable. Unjust provides a warm & unquantized sound chopping & flipping educational children’s movies from both the 70’s & 80’s using an ASR-10 sampler cohesively bedding Ali’s dense & poignant musings on God, death, empire & beauty in the process.

Score: 3.5/5

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Stretch Money – “To the West Coast…with Love” review

Detroit, Michigan emcee Stretch Money returning 4 months after 1984 to release his 10th EP. 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. However to start the 2nd quarter of the year, he’s cooking up an open letter To the West Coast…with Love.

“L.A.” appropriately starts the EP by setting the tone as a warm, slick tribute to the entertainment capital of the world whereas “Make Sum Em” goes into atmospheric turf talking about being stuck to this shit & keeping the faith at his lowest. “This is Y They Mad” is this smooth ass middle finger to everyone hating on him for making paper leading into “Ain’t No Secret” spaciously acknowledging that the way he’s coming really isn’t a secret whatsoever.

Meanwhile on “No Favors”, we have Stretch passionately talking about not needing a plug since he has his own cables just before the souful “Never Thought” talks about never imagining serving time behind bars like he did. “Zombie” weaves these pianos & hi-hats only needing money & Mary Jane, but then “Cool” is a trap closer thanking everyone for hopping on the plane with him.

Being a Detroiter who considers Los Angeles his 2nd home, this EP really spoke to me & I feel like a lot of people in both cities are gonna enjoy To the West Coast…with Love as a profound love letter to the sunshine state. He & the producer Vino coming straight outta South Central take the connection they have with one another & channel it all into this 8-track, 19 minute offering showing their appreciation for the City of Angels.

Score: 4/5

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Chetta – “Sacrifice & Sabotage” review

Here we have the 4th full-length studio LP from New Orleans, Louisiana emcee/producer Chetta. Starting out a decade ago with his debut mixtape Nino White, this was followed up with 18 EPs as well as 11 more tapes & a full-length debut, but gained significant attention off his G*59 Record$ debut Been Here Forever a couple summers back. Falling Off went on to be an equally dope prelude to the previous album Playboy, which also maintained the level of consistency as those previous projects since signing to G*59 as did Sick Bitch almost 5 months ago. That said: Expectations for Sacrifice & Sabotage raised exponentially after learning that $crim of the $uicideboy$ fully produced it.

“You’re Gonna Die Tonight” gets the ball rolling by mixing bells, a vocal sample & hi-hats asking exactly who wants to meet their demise risking their souls whereas “1 of 1” follows it up with a piano-trap banger talking about never folding since he’s locked in & they know how he be rockin’ it. “Millennium” goes full-blown rage beats to discuss feeling the exact same after poppin’ pills leading into “God, Can You Hear Me?” incorporating more keys & hi-hats into the picture explaining that he’s never scared.

The Memphis influences that G*59 is known for make their way onto “Born Under a Bad Sign” talking about always being him & not playing games at all prior to the riot-inducing “Horus” finding himself in his zone getting throwed unable to be saved because he doesn’t need anyone. $crim himself joins Chetta on the guitar-trap driven “Meet Me At My Worst” talking about being way too high for this shit, but then “Vera Wang” jumps on top of a crooning loop & hi-hats breaking down having hoes in every state.

“*Crash Out*” continues the 2nd half of Sacrifice & Sabotage by going for a creepy trap atmosphere sonically talking about drug use prior to the Memphis sound returning on “While I Burn” so he can ball on the right key & boast the fact that he’s tapped in. “KillKillKill” turns up the bass to 11 feelin’ like he could easily blow $100K while “…What a Letdown” tells a bitch that it’s on for her to hate him by now over what could possibly be the most upbeat instrumental on the entire album.

The dreary yet bouncy “Claymore” begins the last moments of the LP by talking about being tired & asking not just why they hatin’, but what they’re running from on top of it. “Missing<>Link” goes into cloudier turf asking a lil hoe what they missing so he can actually go get it next to just living out all that wishing she does & “As If Everything Wasn’t Enough” ties everything up by solemnly yet exuberantly getting all up in his bag.

36 projects overall in his discography in the span of 10 years & this most recent entry has not solely joined Been Here Forever as my one of favorite albums of Chetta’s that he’s put out since being signed, but even as one of my new favorite LPs of his whole entire discography period. $crim has evolved as a producer since Been Here Forever balancing old & new sounds together, so it’s right for him & Chetta to take themselves to a higher level than the G*59 debut.

Score: 4/5

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Scum – “Anti-Human” review

Denver, Colorado emcee & Lyrikal Snuff Productionz founder Scum moving on from the Dyin’ World Chroniclez trilogy by releasing his 15th full-length solo LP. Starting as a member of an experimental grind/noise band called Down Syndrome about 28 years ago, his solo debut Enter the Asylum just turned 20 this past winter & has outdone himself plenty of times since. Case in point: The Gorefather, Out with the Old & recently his 3rd EP Bad Uncle fully produced by Chapter 17/Psychopathic Records in-house producer Devereaux last summer. I also found myself enjoying the previously mentioned Dyin’ World Chroniclez trilogy of course too & was certainly interested in the outcome of Anti-Human.

M.M.M.F.D. gets us started with “This Pain” morbidly talking about losing an addiction battle & doubting that heaven would let them in if they even try walking through the pearly that is until “Revenge is Cheap” grabs the ski mask & makes them bleed rather quickly over this gruesome trap instrumental. “The Past” takes the trap metal route stylistically blowing up in people’s faces similarly to that of an explosive barrel, but then “Float or Sink” featuring Big Hoodoo works in kicks & snares talking about swimming for your life.

“What U Leave Behind” has more of a cloudy trap flare to it tackling the idea of forgetting things that one may now regret as time passes by while “Bloody Mess” works in some guitars & hi-hats talking about leaving them curled up in a ball bruised & abused. The piano-heavy “When I’m Gone” featuring Madopelli presents self-mutilation at it’s finest clarifying it’s about those who’ll remember you when the hype is through as opposed to who’ll show up at your funeral just before “Unsobriety” goes trap metal again talking about being fucked up to cope with anxiety.

S.O.S reunites on “Pull Up” going for a cloudy trap vibe thanks to Fiasco Andretti advising to come through just to be murdered leading into “Cold One” featuring Lyte menacingly breaks down simply how cold both the Gorefather & the Psychopathic MonStar can be. “Guilty” wickedly talks about sitting in this motherfucker with a shotgun while “Daaamn” produced by Godsynth calls out an individual that he heard stole from those that you should never steal from in the first place & severing ties in the process.

“No More” featuring JP tha Hustler, Mista Doesha & Slyzwicked begins the final moments of Anti-Human referencing former 4-time WWE world champion, WWE United States Champion & CWA Heavyweight Champion Sid Eudy while “Heavy Lies the Crown” continues the encore of the album with a synth-trap fusion talking about too much pressure steady caving in on his skull now. “Voicemail” ends the LP getting relatable over on top of kicks & snares needing someone to talk to as soon as possible rather than leaving a voice message.

Over 2 decades of giving the underground nothing but straight-up gore hop & Anti-Human continues to make that the case for the Gorefather himself. The overall sound is predominantly trap, yet you also get hints of trap metal & even boom bap so Scum can bring some his LSP brethren & even a couple Psychopathic Records alumni keeping the underground wicked shit scene alive & thriving in the distinctive styles of all performers involved.

Score: 3.5.5

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Mike Dean – “4:24” review

Houston, Texas producer, songwriter, multi-instrumentalist & one of the greatest audio engineers of all-time Mike Dean continuing to further establish himself as an artist by releasing his 5th full-length studio album. Pioneering the dirty south sound in the 90s as an in-house producer for Rap-A-Lot Records, one may also know him for engineering nearly all of Ye formerly known as Kanye West’s output up until his 2022 antisemitic meltdown calling himself a Nazi on InfoWars. 4:20 was a 90 minute exploration into progressive electronic & the nearly 2 hour sequel 4:22 continued towards that trajectory. Smoke State 42222 went for more of a straight-forward electronic sound with additional elements of space ambient & even Mike’s last LP 4:23 went head-on synthwave, landing a spot on my Honorable Mentions of 2023 list as a result of being more well-put together than his last couple solo efforts. Considering that, I went into 4:24 expecting it to reach the bar its predecessor had set.

“Subdivision of Time” begins by incorporating these synthesizers that only get grander & grander in the span of a little over 3 minutes whereae “3 AM” goes into space ambient territory starting off reminding me of the scene in one of my top 5 shows of all-time Rick & Morty where Rick’s traveling universe-to-universe searching for Rick Prime, but feels like an out-of-body experience during the 2nd half. “It’s in the Water” gives off a straight up progressive electronic vibe that I can imagine hearing in a sci-fi movie trailer just before “Don’t Fast Forward Life” incorporates some jazz influences towards the end that I love.

Concluding the first half of the album, “Distorted Time” brings the synthwave influences back into full effect leading into “Space Brains” admirably venturing out into electronic rock a bit. “Black Holes Echoing” returns to the large, throbbing synthesizers & upbeat percussion that retro electro is known for that is until “Swimming Pools & Movie Stars” presents these cinematic synths for a minute & a half. “Fast Forward Life in Rewind” pushes near the end of 4:24 by going space ambient again for 6 minutes, but then “I Like” closes the LP shooting for a ghostly atmosphere.

Everything that made 4:23 more enjoyable than Mike’s first couple albums manages to make their way onto this new one here & I find it to be as tightly crafted as the predecessor over a year ago already. He puts a bigger emphasis on the progressive electronic style predominantly throughout his solo catalog once more in the midst of maintaining the synthwave & space ambient elements although in a lesser capacity.

Score: 4/5

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tana – “bana” review

Atlanta, Georgia up-&-comer tana coming off a string of EPs by releasing his full-length debut studio album. Starting in 2018 as a member of the plu2o9 collective under the original moniker BabySantana, he would go on to drop his first 2 EPs Recreation! & Planet Sosa alongside his debut mixtape Quan before signining to Lil Tecca’s very own Republic Records imprint Galactic Records the next fall. tana then preluded bana by putting out Gaultier as well as London & Dale. Nearly 6 months after the latter, we’re finally being treated to the main course.

“Decatur” produced by Zaytoven has to be my favorite opening track to a tana project yet jumping over a rich trap instrumental talking about his current mentality paying tribute to the titular city in Georgia whereas “Never Sober” takes the atmospheric route thanks to Rio Leyva working in some hi-hats as well boasting that his clients are always under the influence. “Because of Me” is this piano/trap hybrid asserting his position over those who turned his back on him after teaching them everything they know leading into the pluggnb infused “Cut Ties” telling his old hoes he ain’t interested in them no more.

Meanwhile on “Helluva Night”, we have BabySantana luxuriously describing an eventful evening that he’s had just before the club banger “couple$$$” that Internet Money Records in-house producer Synthetic laced talks about the high status he’s reached as result of his position as an artist. “stfu” breaks down life on the road & being too busy to have conversations with others unless it’s about money accompanied by a harp & hi-hats, but then the heavenly “Designer Thangs” begins the 2nd half of the album by talking about tana’s commitment to his craft.

“Slide” makes it clear to his current romantic interest that he’s in her city for the night on top of a spacious backdrop & rattling hi-hats while “Jesus Piece” is this synth-trap fusion looking back on the early stages of his career since he was introduced to the industry at a young age. “YSL” playfully talks about having her leave in new Saint Laurent while “VTMNTS” mixes a guitar & hi-hats talking about the Swiss luxury fashion house. “Feng Shui” clouding prays for better days & “wake up” ends Santanaromani’s first LP by psychedelically hoping she’s still there when he gets up.

Of all 4 projects we’ve gotten from tana in the last year & a half ever since he signed to a major label, bana stands out differently than Gaultier or even London & Dale did. Not only is he continually progressing artistically here but this time, we get what could possibly be his most cohesive body of work thus far. It’s more well-produced refining his signature pop rap/trap/pluggnb stylings & as far as the subject matter goes, you get a clearer look at who tana is personally.

Score: 4/5

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Hardrock – “My Gift to You” review

Up-&-coming Atlanta, Georgia recording artist Hardrock celebrating his new Victor Victor Worldwide/Republic Records deal by releasing his 7th EP. Getting his start over 2 years ago off his debut EP Y.N.S. (Young N***a Shit), he would continue to build up anticipation by delivering 6 more EPs ahead of the commercial debut LP Next! & the breakout sophomore effort 808 Speaker Knockerz. The latter of which contains some of his best tracks to date like “H.Y.L.M.N.? (How You Like Me Now)”, “Madonna”, “New WRLD” & “Luigi Mansion”. Last summer’s 1of1 matched the caliber of its predecessor & is preluding the next full-length with My Gift to You.

“Boba” is a synth-heavy opener to the EP that Toom of Vanguard Music Group & Vendr helped make looking to fuck them over & detailing being in the trenches with the pots whereas “Clear the Store” incorporates a trippy rage beat talking about walking into the store simply to clear that bitch out. “Taliban Hoodie” mixes some synth-horns & hi-hats together refusing to let anyone play him since the block knows he’s famous, but then “South ATL” takes a darker route instrumentally thanks to Nosaint for a dedication to the southern parts of Atlanta.

The trippy lead single “King Tut” produced by Honorable C.N.O.T.E. talks about how nobody can do shit to him or his squad in general leading into “Russian Cream” talking about his mob ties over a bit of a quirky trap beat from Cxdy of Internet Money Records. “St. Patrick’s Day” brings back the hypertrap influences eating green like the titular holiday just before “Nvrcared” turns up the bass thanks to ReidMD brushing off what everyone else thinks of him. “Pain Strain” concludes the EP on some cloudy trap shit styling.

Slattydon was my favorite Hardrock EP up to this point, but I really think My Gift to You is on that same level if not better as it reaches the bar that 808 Speaker Knockerz & 1of1 had both set for him as one of the most interesting trap artists that Atlanta has to offer right now. His overall style is still refining itself as his popularity grows on top of the songwriting getting catchier & maintaining his unique voice.

Score: 4/5

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Novatore – “The 87 Arsonist” review

Chicago, Illinois emcee Novatore is back with the 12th solo LP in his catalog. Emerging as a member of the Infamous Crew, he’s also built up an impressive solo career over nearly a decade by dropping 4 EPs & an acclaimed collaborative effort with A.M. Early Morning produced by Stu Bangas called Kingdom of Criminality on top of all the previous LPs that he’s dropped along the way. Other highlights include Louie, Louie II, Embrace the Darkness, Portrait of a Madman, Embrace the Darkness II: Explorers of Experience, Master of Morbid Creations & Living in the End Times. He just put out Alchemy & Black Magic last summer & is returning to make his Goon MuSick debut as The 87 Arsonist.

After the “Ronald Bartel” intro, the first song “Flammable Material” is a grimy boom bap opener produced by C-Lance talking about feeling like he’s showing off every single time he’s writing whereas “Backdraft” featuring Lord Goat finds the 2 over a coldblooded instrumental with kicks & snares as they look to burn everyone lyrically. “Point of Origin: The Biography of John Leonard Orr” portrays the life of the titular serial arsonist & mass murder on his 75th birthday coincidentally with the help of Stu Bangas, but then “Pyromaniacs” featuring Celph Titled hops on top of a piano/boom bap crossover talking about their names raising to the top.

“All Consuming” featuring Daniel Son finds the 2 on their battle shit over some more keys, kicks & snares from Johnny Slash just before “Burning Monk” by Azthmatix begins with some jazzy horns & a vocal sample talking about feeling like a monk lighting himself on fire tackling the theme of self-destruction. The song “Waking Up to the Fire” is an operatic boom bap cut about his rhymes being conceived in his sleep leading into “Incendiary Device” featuring A.M. Early Morning recapturing the magic of their collab effort from a couple years ago. “Sent from Hell” featuring Benny Holiday ends on an atmospherically dusty note thanks to the Snowgoons burning hoes naked.

It’s been amazing to watch this guy gradually getting better over the last 3 years & his Goon MuSick debut here as I expected stands as yet another fiery entry in Novatore’s discography. The traditional boom bap production dominant throughout his entire catalog continues to only get consistently stronger by each year, it has a one of the more consistent list of guest MCs that match his caliber of lyricism portraying himself as an arsonist for about 27 minutes.

Score: 4/5

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