Daniel Son & Raz Fresco – “Northside” review

Here we have a brand new collaborative LP between Toronto, Ontario, Canada emcees Daniel Son & Raz Fresco. The latter of whom I was introduced to during my freshman year of high school off the strength of his feature on former Odd Future member Ace Hashimoto’s 5th mixtape All Day DeShay: AM & the other coming to my radar at the tail-end of 2019 linking up with Futurewave for his classic sophomore effort Yenaldooshi. We’ve heard both these guys together on numerous occasions such as the songs “Dirty Dozens” & “Big Bird”, so it shouldn’t be too surprising that they’re turning things up a couple notches on Northside.

To get us started, “Ice Water” works in a sample with kicks & snares talking about how cold it is where they’re from going back & forth with one another whereas the title track serves as a dusty ode to all the lock-breakers & Glock bleeders from where people get even instead of getting old. “W.C.H.M.F. (Who Can’t Hear Must Feel)” incorporates a string sample explaining that somebody eventually gonna get burned wherever there’s smoke while “Lawyer Fees” soulfully makes some noise in the studio.

“Rusty” featuring Gritfall brings a groovier flare to the beat talking about trying to get rich, but then “Frostbite” goes into soulfully drumless turf referring to themselves as trailblazers where the path is empty. “Last Minute” returns to the boom bap so both of them can bring you a different flavor on some court-side shit just before “What’s the Mission?” comes through with an atmospheric albeit dusty vibe explaining that the mission both of them are on is to get paid.

Nearing the conclusion of Northside, the calmingly drumless penultimate track “Watch Ya Mouth” flips the iconic Jeru the Damaja single “Ya Playin’ Yaself” warning everyone near their vicinities to watch what comes out their mouths that is until “Forks on the Road” closes up shop returning to the boom bap using the titular metaphor to talk about being unsure which way to take & that they must keep going.

Physics of Filth & Bite the Bullet with Asun Eastwood have been my favorites from Daniel Son when it comes to collaboration projects with another MC & now Northside has surpassed them both on top of being my new favorite Raz Fresco collab effort. The sound that the latter goes for like wearing a northface jacket in a snowstorm in the sense that it’s but with a feeling of warmth on the inside, but they also pay homage to the deep hip hop roots in Toronto & add on to that legacy with another solid contribution of art that continues to push the culture forward.

Score: 4.5/5

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BVA – “The Dam Builder” review

This is the 3rd full-length LP from Glastonbury, Somerset, England, United Kingdom emcee BVA. Coming up as a member of The 4 Owls as well as Brothers of the Stone & the 3 Amigos, he’s also given us a couple albums & EPs of his own over the course of this past decade with the 2021 sophomore effort Lex Neville under his own label Real Life Drama Records & his first EP BVA MC standing out the most of the few solo efforts under his belt. However after learning that Leaf Dog was fully producing The Dam Builder after dropping When Sleeping Giants Wake a month ago, I went into it expecting to surpass everything BVA had done previously & only 48 hours away from Néon becoming the new RPW British Cruiserweight Champion.

After the intro, the first song “Charge It to the Game” officially begins the album with a soulful boom bap instrumental talking about being heartless in the face yet the calmest in his lane whereas “New Days” featuring Verb T takes the jazzier route explaining that it ain’t ever same as older days. “Out Here” featuring Benny the Butcher & Leaf Dog returns to the boom bap so they can talk about being raised outside leading into Leaf sticking around on the mic for “8 Bit Tales” dustily telling freaky tales like Too $hort.

“Desire” brings a whimsical boom bap vibe to the beat talking about there still a fire even when it’s cold ahead of Leaf Dog returning inside the booth once again for the orchestral “Take It Easy” likening the instrumental hitting like a wake & bake. “Nice n Crispy” works in more kicks, snares & orchestra elements to say shit like this is what makes them say these type of days be some of the best just before “1 in the Ashtray” talking about getting stoned during the day pretty much as soon as he wakes up.

Meanwhile on “Flying Daggers”, we have BVA over more classical flavored boom bap production refusing to allow anyone to burst his bubble while the solemnly “Dreamer” talking about how it don’t cost shit to be nice & people having their heads up in the clouds rather than in their vices. “Lost” has a soulful boom bap flare instrumentally explaining that every one of us is lost looking for a way out while “Over the Edge” takes a second checking what he knows in his head over more kicks & snares.

“Couple Clues” luxuriously observes the humor in these kids being told they were special & reality cutting them like sharp metal as they grew up while the organ-laced “Curse of the Liquor” insightfully breaking down the cons of alcoholism. “Still Rowing” soulfully talks about your respect owing while “Mightier Than the Sword” mixed a crooning sample with kicks & snares likening himself to a beast in his lair calling the feeling home sweet home.

Ramson Badbonez joins BVA on “Hiding in Plain Sight” continuing the sampling of soul music cautioning not to trust the government, the lawmakers or pharmaceuticals while the track “The Medecine” featuring Leaf Dog brings back the strings throwing kicks & snares on top of them explaining that it was never about anything else. And prior to the outro, the final song “Always Something” featuring Leaf Dog ends the LP brushing bad things off like nothing over organs.

His last couple albums have been a tad bit overloaded with the guests, but BVA really tones it down for The Dam Builder resulting in living up to my expectations outdoing B.V.A. (Be Very Aware) under High Focus Records & Lex Neville in becoming my new favorite solo effort in his discography a couple months after the Grizzled Young Veterans became the new RPW British Tag Team Champions. Leaf Dog’s production fuses the raw drum patterns of the traditional boom bap sound with samples along with strings & organs so BVA provides some of his most focused performances.

Score: 4/5

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Rapsody – “Please Don’t Cry” review

This is the long-awaited & highly anticipated 4th full-length studio LP from Raleigh-Durham, North Carolina emcee Rapsody. Rising to prominence last decade with a handful of mixtapes & EPs, he 2012 debut album The Idea of Beautiful continued to show her potential until the Roc Nation Records backed Laila’s Wisdom in 2017 truly refined her style & sound almost perfectly. 2 years later, she signed to Def Jam Recordings releasing EVE to similar acclaim, but is returning after 5 years with Please Don’t Cry.

After the “She’s Expecting You” intro, the first song “Marlanna” produced by Sndtrak mixes boom bap & trap together so she can remind everyone exactly who she is whereas “Asteroids” takes a luxurious route instrumentally thanks to Hit-Boy hurling back at everyone that threw rocks at her. “Look What You’ve Done” brings an angelic vibe to the beat giving you what you need & that you can chase the bag just before “DND (It’s Not Personal)” funkily talks having one of those days of being left alone.

“Black Popstar” puts a bigger emphasis on the trap sound charismatically boasting on the lyrical tip leading into Eric G. giving “Stand Tall” some jazzy undertones refusing to let anyone trigger her & being true to bounce back on the days that she eventually does. “That One Time” talks about learning to be okay with your imperfections over some woodwinds & that life is a process every single one of us goes through, but then “3:AM” addresses a lover who makes her feel like a new person on top of S1 & Lonestarrmuzik drawing inspiration from neo-soul behind the boards together.

Meanwhile on “Loose Rocks”, we have Rapsody over a cloudier instrumental asking where her future lies if she doesn’t know the truth already by now prior to the S1 & Wu10 guitar-laced “Diary of a Mad Bitch” portrays an angrier side to as she takes this time to call out an ex who doesn’t deserve her. “Never Enough” featuring Keznamdi brings the pair together over a reggae/trap fusion talking about how everyone has wants & needs as well as being unable to find peace in Babylon while “He Shot Me” returning to the boom bap interpolating “I Shot the Sheriff” by Bob Marley during the hook tackling racially charged gun violence.

“God’s Light” marks a groovier turn within the instrumental talking about forever shining in the eternal light of the High Power himself while “Back in My Bag” hooks up these prominent horns & hi-hats so she can passionately getting back in her zone as if she never took a few years off to begin with. After the Niko Brim interlude showcasing his talents for a whole minute laying a verse on top of a classy beat, “Raw” featuring Lil Wayne fresh off performing for former 10-time WWE tag team champion Jey Uso’s entrance at WrestleMania XL last month against his former 9-time WWE tag team champion brother Jimmy unites both MCs over kicks & snares flexing their lyrical prowesses while “Lonely Woman” psychedelically encourages lonely women to love themselves.

Baby Tate joins Rapsody on “A Ballad for the Homegirls” smoothly talking about becoming more & more like their mothers the older they become & after the titular interlude, “Faith” nears the conclusion of Please Don’t Cry telling everyone to maintain their faith over pianos & a chipmunk soulful hook that is until the closer “Forget Me Not” officially closes up shop by fittingly talking about not wanting to say goodbye & acknowledging that we love too deep to really ever be at peace with the ones that have passed despite the world being so bad.

Rapsody much like Sa-Roc has always been one of the very first people who come to mind when I hear out-of-touch heads bitching & moaning over women in hip hop this day in age severely lacking & Please Don’t Cry proves my point yet again. We get an artist who’s unafraid to draw on lifelong influences to find their true voice & pulling back the curtain on who she is off-stage as a person. She even reconciles with the past to empower her future, exploring the depth of her technical dexterity with more vulnerability than she has been previously.

Score: 4.5/5

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Peter Sparker – “Who We Are” review

This is the full-length studio debut from Atlanta, Georgia emcee Peter Sparker. Introducing himself on Devil’s Night 2020 through his debut EP Chillin’ in the Matrixx despite starting out in the ‘80s, he would later form the duo Sparkerdero with producer K. Dero afterwards & drop a debut album of their own Bubba Smith a few months later followed by the sophomore effort 2nd Round merely 4 months prior. He has since joined the rising Croydon, South London, England, United Kingdom underground label Hidden Hobby Records & looks to make his debut by having Paisley, Scotland producer STS soundtrack Who We Are.

“Hi” jazzily begins by talking about using his God given talents to the highest abilities imaginable whereas “Stop & Look” takes a more laidback approach instrumentally explaining that nobody’s better than us because they’re wealthier. “Speak to Me” takes the cavernous boom bap route explaining that he still strives to make people feel like he’s amazing when most already do just before “Mr. Winter” talks about being the reason why his city has snow days.

HellzYeah joins Peter on “Sharks” discussing that they always get things done right because each of them always do it correctly leading into “Bars Over Bullshit” pensively talking about prioritizing lyricism above nonsense. “Bone Collector” brings back the jazz rap vibes for 90 seconds boasting how insane the bars he comes up with inside his head truly are just before “Shrapnel” hooks up a funky bassline to talk about doing this shit for almost 3 decades.

“Pathological Rhymer” starts the 2nd half eating STS’ beats like he’s serving whole entire meals while “Time Bandits” featuring PrevMarco finds the 2 talking about time eternally slipping to the future since we all should know that waits for no man. “Something We Do” breaks down the differences between hip hop culture & rap music, dismissing the false notion of of artists thinking they’re living this shit simply because they’re rapping now while “Backspin” dedicates the next 68 seconds to all the b-boys.

WWE Hall of Famer, the shortest reigning WWE Champion & former WWE Tag Team Champion André the Giant gets referenced on “The Brakes” talking about only dealing with the best of the best while “This is the Way…” declares himself to be the weapon needed to correct the perception of an MC’s essence. “Revolution” sends off the LP with a minute long outro talking about still providing Edutainment despite not being KRS-One & nobody having the ability of altering the way he spits.

Chillin’ in the Matrixx was the only actual entry in Peter Sparker’s solo catalog up to this point for me to judge his music upon excluding both of Sparkerdero’s full-lengths, but I can definitely say Who We Are surpasses that previous EP he released during the COVID-19 pandemic & proves to be a great international signing for Hidden Hobby Records from STS’ boom bap production to Peter’s wordplay simultaneously opening up to this new era of authentic lyricists whilst throwing it back to hip hop’s early days.

Score: 4/5

C.R.I.M. – “In the Meantime” review

C.R.I.M. is a 30 year old MC from Detroit, Michigan who started out under the original moniker Crimson Alchemist releasing her debut EP E4 in 2018 pulling inspiration from her love for Pokémon & subsequently the 2020 Valentine’s Day-themed 4H (For Her) only a month until the world as we know it went under lockdown. She has since been putting out singles & doing features, but is taking the next step in her official return switching up her moniker & putting out her 3rd EP albeit her first body of work in over 4 years.

“Wrong Turn” sets off the EP mixing technique & passion for a lifetime commitment over pianos, kicks & snares whereas “Adversary” is this synth-boom bap hybrid talking about solemnly swearing she’s up to no good. “The Whitney” featuring Jazar & Semi 6 starts the 2nd half of In the Meantime taking a jazzier approach instrumentally noticing everything ain’t the same once you get into the game prior to “The 11th Hour” featuring J. Santino finishing the EP returning to the boom bap so she can talk about regrouping.

I was fortunate to meet C.R.I.M. a few summers ago around the time that Fatt Father had delivered his 5th album Soccer Dad produced by Foul Mouth & found the way that she blended conscious lyricism with the nerdcore style of hip hop to be pretty distinctive. In the Meantime however could be my new favorite EP of hers & one that those who’ve been sleeping on her for over a decade should wake themselves up to with. Instrumentally, you’re getting the traditional boom bap sound & C.R.I.M. jumping over them recapping what she’s been going through.

Score: 4/5

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BADBADNOTGOOD – “Mid Spiral: Chaos” review

BADBADNOTGOOD is an instrumental band & production team from Toronto, Ontario, Canada consisting of drummer/vibraphonist Alex Sowinski, bassist/keyboardist Chester Hansen & multi-instrumentalist Leland Whitty. Forming in 2010 over their shared appreciation for the late MF DOOM & of course Odd Future, their first 2 full-lengths BBNG & BBNG2 further gained traction for blending original compositions & covers until III fully won me over near the end of my junior year of high school after Tyler, The Creatorintroduced me to them through shouting the band out on “Lone” off his sophomore effort Wolf. They also produced what I consider to be Ghostface Killah’s most underrated album Sour Soul approximately 9 months later & Leland was promoted from touring member to official member the next summer on IV. Matthew Tavares departed in 2019 & their XL Recordings debut Talk Memory subsequently came out couple years later. In preparation for a 6th LP, they’ve decided to give fans a taste of what’s to come by releasing a 2nd EP & the first in a new trilogy.

“Eyes on Me” officially gets the EP started by crossing over elements of jazz & funk music for nearly 5 minutes whereas “Take Me With You” picks up from there to give off more of a rhythmic jazz-rock vibe generally. “Weird & Wonderful” brings some funkier grooves back in the mix colliding them with BADBADNOTGOOD’s signature jazz sound to finish the 1st half that is until “Mid Spiral” begins the 2nd leg of the EP going straight up electric jazz fusing both funk & rock this time around. “Last Laugh” happens to be another jazz fusion composition turning the rock influences down although you still have some guitars popping up occasionally & the funk influences up while “Your Soul & Mine” closes Mid Spiral: Chaos giving us 1 more jazz-funk joint.

These guys’ potential was always shown best through the original compositions on their first couple LPs in my opinion since tracks like “Improvised Jam” or “UWM” stood out to me the most during my adolescence & even now all this time later are some of my favorite songs that’ve pieced together in the last 14 & a half years they’ve been actively making music. BADBADNOTGOOD however has been giving us 1 consistent body of work after another over the last decade in III, IV, Talk Memory & now you can add this newest EP of theirs onto the ever-growing pile. It predominantly stays within the band’s jazz fusion wheelhouse in terms of overall sound with additional jazz-funk & jazz-rock undertones sprinkled in.

Score: 4/5

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Glokk40Spaz & OsamaSon – “3vil Reflection” review

This is a brand new collaborative EP between Glokk40Spaz & OsamaSon. Both of whom have collaborated with one another in the past on the track “Codeine Dreamz”, but have individually made a name for themselves as 2 of the biggest up-&-comers that trap music has to offer with projects like Took the Biggest Risk or Flex Musix. However, they are linking up to surprise-drop 3vil Reflection on SoundCloud.

To start the EP, “2X” finds the 2 vividly portraying the gangsta lifestyles they live backed by an atmospheric trap instrumental whereas “Movie” works in some rage beats talking about having sticks on them & throwing their Dracos up in the air. “Blame Dem Drugz” might be my favorite track on 3vil Reflection diving into pluggnb territory going dummy that is until “Bankroll” brings back the hypertrap influences turning the bass up to 11 & counting their pesos.

“No Rules” has a straight up plugg vibe to it instrumentally taking out everyone who tries to get in their way just before the synthesizer-heavy “ADHD” talks about going to hit that kid since they actually have ADHD itself. The rage-inducing “Jungle” boasts that they just spent about $10K & “Wicked” shoots for a dark plugg sound popping out with the potato barrels on their glizzys, but then “Vixen” finishes the EP with 1 last hypertrap cut not giving a fuck no more.

Both of these guys have been dominating the plugg/rage scenes in their own distinctive fashions, so hearing them coming together on 3vil Reflection is a momentous occasion considering each artists’ rightfully increasing popularity & they give us the tightest collaborative effort in their discographies. Its production mostly has a hypertrap tone throughout with additional elements of dark plugg & pluggnb as 2 of their hottest artists in that field match their intensities.

Score: 4.5/5

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Rio da Yung O.G. – “Rio Circa 2020” review

Flint, Michigan rapper Rio da Yung O.G. celebrating his 30th born day by releasing his 10th EP. Breaking through the local trap scene during the latter portion of the previous decade under the mentorship of Peezy, he has since put out his last 9 EPs as well as a full-length debut album & a handful of collaborative projects under his belt all over the duration of 6 years. Rio’s previous EP The F Tape celebrated its 1-year anniversary several days ago, I can totally see why his estate unearthed Rio Circa 2020.

“Warm Up” has a rubbery, atmospheric Detroit trap flare instrumentally to get us started thanking God for allowing this rap shit to change his life whereas “Grease” bouncily talks about having the grease as opposed to the fire. “Grizzly Flow” pays homage to fellow Detroit artist Tee Grizzley over pianos & fingersnaps detailing the gangsta lifestyle prior to “Me & Mike” featuring follow M.I.N.E. Entertainment/#Boyz Entertainment artist RMC Mike demonstrating a back & forth chemistry between the 2 that gave us the Dumb & Dumber trilogy.

Mike sticks around for “Mike Voice” bringing a Bay Area vibe to the beat referencing former 11-time WWE Tag Team Champions, 2-time TNA World Tag Team Champions, ROH World Tag Team Champions, HOG World Tag Team Champions, ΩCW Tag Team Champions & The Crash Mundial Parejas Campeons The Hardy Boyz that is until Louie Ray joins Rio & Mike on “Flint Boyz” representing Vehicle City over a bell-laced instrumental. “Brother Flow” featuring Louie Ray brings in more bells, keys, strings & 808s laying out braggadocio for a few minutes preferring to shoot people than watching the WWE division of the WME Group-owned TKO Group Holdings just before “Primo Beat” keeps the bells in tact throwing the hi-hats into the fold once again continues to flex dissing those who ain’t doing shit.

“Collective Nights” produced by Danny G nears the EP’s final moments calling himself Dr. Seuss since he sold a green egg to a ham on top of having a money fight & doing a drive-by in the Hellcat coming out from up the roof of the demon over a grisly Detroit trap beat that is until the closer “DD4” finishes Rio Circa 2020 teaming up with RMC Mike for 1 more time so they can prelude an upcoming 4th installment of their standout Dumb & Dumb3r trilogy.

Rio been incarcerated for 3 years already & although only has 2 more until he finally comes home, he’s still been able to keep the streets hot in the form of both Fiend Lives Matter & The F Tape. And nevertheless of the material on this new EP being made during the COVID-19 pandemic, I happen to enjoy it more than the last one The F Tape from over a year ago. The guest are boiled down to a couple & his status in the 313 is firmly reminded.

Score: 3.5/5

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WTM Solid – “Bigg” review

This is the 4th EP from Detroit rapper WTM Solid. A member of the WRLD Tour Mafia, he also embarked on a solo career of his own beginning a couple years ago with the debut EP Originatour followed by both Matter of Time & more recently What’s the Difference? from last fall. WRLD Tour themselves collectively are coming off their 3rd mixtape Tourmania II incorporating heavier wrestling themes than its processor, so I was interested in Bigg. Especially considering both DaeMoney & Rafa’s latest solo material Rockstar Lifestyle 2 & Good Girls Don’t Exist respectively.

“FTP (FuckThePolitics)” begins with a mind-altering trap beat wanting his girl to tell him that he’s the hardest whereas “Pledge Allegiance” produced by LulRose turns the psychedelia up a notch needing $1M & looking to cut off any & all bullshit they try to bring his way. “H-Town” brings a Detroit trap vibe instrumentally talking about being his own boss callin’ bluff on those actin’ like they’ve pulled off scams when they really haven’t while “Blessings > Luck” mixes these g-funk like synthesizers & hi-hats expressing his gratitude for his blessings.

The tenser atmosphere throughout “Kapital P” is a nice touch taking shots at everyone out here who stay petty as Hell & that he’s done thinking he’s just gonna do it ahead of the cloudy “Kiss & Tell” talking about refusing to stop until he’s rich. “$treet Gospel” airily admits that he’s infatuated with his lifestyle watering all his swag down leading into “Karrah Blue” sampling Street Fighter throwing orchestral synth melodies & hi-hats into the picture additionally to talk about being all around the world & warning that whoever checks him is a mismatch.

“S.A.S.G. (Slam A Slut Girl)” incorporates icier synthesizers & 808s bragging how fly as fuck he is getting higher than a billboard & representing his squad Slam A Slut Records until the very end, but then the trillwave-laced “Challenges” shows an introspective side to Solid lyrically talking about improving every day & really learning to manage only worrying about the cash a bit rather than a hoe. And finally, “Who’s to Blame?” concludes Bigg calmly asking himself if it’s his fault for certain things in his life.

Regarding the 4 EPs in Solid’s discography so far, I always had Originatour as my personal favorite & he manages to give us a new one days before it’s 2-year anniversary displaying everything that makes him stand out amongst WRLD Tour both individually & collectively. You’re still very much getting the upbeat 808 percussion & dynamic flows synonymous within the Motor City’s trap scene dashed with cloud rap undertones whilst demonstrating his growth in the last 104 weeks.

Score: 4/5

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Baby Money – “H.I.M. (Hustle In Me)” review

Detroit, Michigan rapper Baby Money returning 11 months after his 3rd mixtape Young N***a Old Soul 2 to release a 3rd full-length studio LP. Breaking out in the local trap scene during the COVID lockdowns off his first 2 EPs Blank Checc & Young N***a Old Soul, he would catch the attention of Quality Control Music & eventually signed with the Atlanta label introducing himself to a wider audience off his first couple albums Easy Money & New Money to mixed reception. Looking to bounce back from the less favorably received sequel to Y.N.O.S. however, I decided to give H.I.M. (Hustle In Me) a fair chance.

After the intro, the title track flexes that he drops work in your town & gives a reminder that what goes around comes around over a Detroit trap instrumental whereas “We Getting Money” talks about making the paper accompanied by bells & hi-hats. “Chances Make Champions” mixes a rubbery bass-line with strings living up to it’s name providing motivational wisdom on the lyrical front, but then “This That Typa” featuring Peezy thunderously brings the pair together discussing their preference of women.

“Turn Me Up” delves further for a tenser trap approach to the beat refusing to slow down just before “Countdown” laces some pianos & hi-hats talking about the fact that it took him a decade to be in the position he’s in currently. “Notha Level” featuring GT presents back-&-forth chemistry between both artists bringing a sinister Detroit trap flare instrumentally leading into the bouncy “Shinin’” showin’ y’all what real ice is.

Meanwhile on “Drip Check”, we have Baby Money over a sample-laced trap beat comparing & contrasting wealth & outfits prior to “Starter Kit” featuring Veeze reaching a spacey Detroit trap vibe goin’ ghost & poppin’ up to see if they miss ‘em. “I Need You” featuring Skilla Baby tells their romantic interests they’ll fly ‘em anywhere sampling soul music that is until “Wallah” clashes 808s & strings encouraging to come get the rope.

“Rapper Weed” nears the conclusion of H.I.M. (Hustle In Me) on a celebratory note talking about getting the finest kush for cheap since he already knows the plug & lastly, “Rose Gold” enlists Tee Grizzley to finish the album with 1 last Detroit trap banger shrugging off any worries about any price on top of pulling up to an all-white party in black range rovers & knowin’ that both artists are runnin’ the local trap scene in their own rights.

The last few projects Baby Money has given us ever since the Quality Control deal a couple years ago have all been incredibly average & as the first Detroit artist they’ve ever signed, it seemed to me that being under Coach K & P’s wings was a good fit in consideration of “Moncler Bubble” going viral. Either way, this is his best major label offering thus far. He sharply lets listeners inside of his hustler mentality with a mostly solid guest-list & decent Motor City trap production.

Score: 3.5/5

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