¡MAYDAY! – “The Thinnest Line III” review

Miami, Florida trio ¡MAYDAY! preluding their upcoming 9th full-length LP albeit the first under their very own label ¡MAYDAY! Music distributed by It Goes Up Entertainment & Strange Music with their 5th EP & the 3rd installment of The Thinnest Line trilogy. Formed in 2003 by keyboardist/guitarist Plex Luthor & emcee Bernz, the duo released their self-titled debut in the fall of ‘06 before adding 4 more members into the fold: emcee/producer Wrekonize, bassist Gianni Ca$h, percussionist NonMS & drummer L.T. Hopkins in 2009. Together, they would begin to rock the underground off 2 EPs & their sophomore album Stuck on an Island. This would catch the attention of Kansas City veteran Tech N9ne, who signed the group to his independent powerhouse Strange Music in 2011. They would go on to cement themselves as a flagship act on the label’s roster off critically acclaimed projects like Take Me to Your Leader, Thrift Store Halos, Believers & Future Vintage. However since 2016, ¡MAYDAY! has maintained it’s current lineup consisting of Wrek, Bernz & NonMS. Their first album as a trio Search Party was a decent sequel to Stuck on an Island & the heavily reggae-influenced South of 5th was slightly better, but Minute to Midnight wound up to easily be ¡MAYDAY!’s best in 6 years. They have since remained tied to Strange by forming ¡MAYDAY! Music & signing a distribution deal with Strange Music co-founder Travis O’Guin’s own subsidiary It Goes Up Entertainment. Now as far of The Thinnest Line series, the independently released first installment is my favorite & the follow-up backed by Strange was just decent. However since Minute to Midnight was a return to form, the latest entry had to be better in my mind.

After the “End” intro, the first song “Hate to Love You” is an incredibly catchy pop rap opener to The Thinnest Line III cooked up by NonMS coming to terms how hard it is to admit that they’re in love with these individual partners whereas “Warning Signs” takes the acoustic route thanks to MIKE SUMMERS a.k.a. 7 talking about having fun pretending what they had was permanent. “Pull Up” has a groovy self-produced instrumental as ¡MAYDAY! & Mike SB refuse to stop until they’re in the car with the windows down as Mike gives the weakest feature of the 2 but I still liked it, but then the futuristically funky “Last Night” picks things back up asking what you doin’ out here tonight. “At Least We Tried” shifts into summery turf refusing to say goodbye & “Hit My Line” featuring Trizz concludes The Thinnest Line III with an atmospheric trap flare advising to give ‘em a call.

This recent installment of the Miami trio’s trilogy has to be the best since the first one & it’s more than enough to hold fans off until their ¡MAYDAY! Music debut album because much like Minute to Midnight, what we have on The Thinnest Line III is another example of their recent output continuing to improve. The production’s more consistent than The Thinnest Line II’s was primarily due to letting one of their best collaborators handle 4 of the 7 tracks leaving the other 3 being in-house mixed in with versatile performances from ¡MAYDAY! themselves & 50/50 features.

Score: 4/5

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¥$ – “Vultures” review

¥$ is a superduo consisting of Los Angeles, California singer/songwriter, multi-instrumentalist & producer Ty$ alongside Chicago, Illinois rapper, singer/songwriter, one of my top 10 producers of all-time, fashion designer & former G.O.O.D. Music founder Ye formerly known as Kanye West. We’ve seen them together a handful of times for nearly a decade on tracks like “Guard Down”, “Real Friends”, “Ego Death” & “Everything We Need”. However with my favorite Ye album The College Dropout turning 20 today, ¥$ are officially kicking off the Vultures trilogy ahead of the sequel in March & the final chapter in April.

“Stars” co-produced by Digital Nas, FNZ & most importantly JPEGMAFIA samples “Good Luck” by Dijon to begin things talking about ripping up contracts & keeping “a few Jews on the staff now” in reference to Ye calling himself a Nazi on InfoWars whereas “Keys to My Life” takes the hazy trap route thanks to Timbaland explaining that it wasn’t always like this. “Paid” explains they’re only here to stack bread as KAYTRANADA & Wax Motif flip “Brighter Days” by Cajmere leading into “Talking / Once Again” featuring Ye’s oldest daughter North West finds her dad’s mentor No I.D., Swizz Beatz, DJ Camper & even James Blake help blend alternative R&B, jersey club rap, gospel, pop rap & art pop as they address that “the clouds are gatherin’ to release what they held in”.

Meanwhile, “Back to Me” featuring a jaw-dropping Freddie Gibbs verse details their sexual desires including Ye referencing Jay & Silent Bob in Dogma or a bar Freddie had about Twitter owner, Tesla CEO, SpaceX founder & Neuralink founder Elon Musk over YZY SND’s head of music 88-Keys sampling “Rock Box” by Run-D.M.C. just before “Hoodrat” dabbles into rap rock territory overdoing it with the Latarian Milton vocal chops & ¥$ continuing the themes of romance by expressing the divine beauty they see in both of their current partners Bianca Censori & Zalia respectively. “Do It” featuring a Nipsey Hu$$le intro & a YG verse near the end mixes these strings & hi-hats thanks to Wheezy, DJ Mustard & Cubeatz as they try to make a movie just before the heavily distorted “Paperwork” featuring Quavo talks about getting their paper right.

“Burn” might be my favorite on the LP speaking on a dangerous kind of love as Chicago veteran The Legendary Traxster & Leon Thomas III sonically throw it back to the Late Registration days while “Fuk Sum’n” featuring Playboi Carti & Travis Scott is this experimental trap 2-parter looking to do exactly that. Havoc’s remix of the title track featuring Bump J & Lil Durk is the only version of it that exists to me going for a cloudier vibe as opposed to the Chicago drill influence of the original except the “How I’m antisemitic? I just fucked a Jewish bitch” line is still trash, but then the aptly titled “Carnival” featuring Playboi Carti & surprisingly Rich the Kid samples “Hell of a Life” off my 2nd favorite Ye album My Beautiful Dark Twisted Fantasy talking about her “riding the dick like a carnival” ride.

Starting the last leg of the album, “Beg Forgiveness” with co-production from London on da Track has to be one of the most tiring moments heavily building itself around “Gabriel” by Joe Goddard for nearly 6 whole minutes while “Good (Don’t Die)” picks things back up with will.i.am sampling “I Feel Love” by Donna Summer talking about their hearts being ice cold & the thoughts that keep them up all night. “Problematic” talks about feeling like they beat a murder case over Chad Hugo’s horns & the epic closer “King” addresses that they thought the headlines were Ye’s kryptonite when it’s really his antisemitic behavior.

KIDS SEE GHOSTS’ self-titled debut & even The Throne’s only album Watch the Throne are superior in comparison, but that’s not to say I didn’t enjoy a pretty solid amount of Vultures & I’m hoping the next 2 installments of the trilogy are superior. The first chapter has a predominant experimental hip hop & pop rap sound with additional elements of trap music, hip house & alternative R&B as Ye breaks down everything that’s happened these last couple years although I don’t like the way he handled the backlash that he got for the antisemitic comments.

Score: 2/5

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Kemastry – “A Delusional Guide for the Disillusioned” review

London, England, United Kingdom emcee Kemastry breaking out solo with a whole entire EP locking in with one of the UK hip hop movement’s most decorated DJs/producers DJ Jazz T to handle the beats. Notable for being 1/3 of the trio CMPND alongside Vitamin G & Wundrop, they would make their debut under High Focus Records in the fall of 2019 with Eagle Court & most recently made a sequel with the sophomore effort Long Live the Court through the Hove, East Sussex imprint. Kemastry however has opted to crack open A Delusional Guide for the Disillusioned by having the founder of Boot Records producing it for his label.

After the compositional “Mind Control” intro, the first song “Delusional” begins with this old school boom bap instrumental talking about being stick up in this rat race from the sun whereas “Apocalyptic Flows” featuring Ramson Badbonez contains the strongest guest appearance of the 2 linking with Kemastry over pianos mixed with kicks & snares spittin’ deadly cadences of their own. “Hamster Wheel” featuring Roughneck Jihad has a cloudier, almost jazzier boom bap vibe to it having no one to trust & “Stay Grounded” smoothly ends by giving that very advice.

Countering the scathing observations & multi-syllables Wundrop & Vitamin G have respectively become known for with his surreal unpredictability, Kemastry elevates that to a whole new level providing A Delusional Guide for the Disillusioned to begin carving a path for himself individually. DJ Jazz T’s boom bap production pared with the CMPND member’s signature approach to songwriting with only a couple features joining him for roughly 15 & a half minutes isn’t a bad way for him to establish himself on his own & has me anticipating where he’ll go from here.

Score: 4/5

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Booba – “AD VITAM ÆTERNAM” review | Booba – « AD VITAM ÆTERNAM » revoir

Sèvres, Paris, France emcee Booba has returned with the 11th full-length LP in his discography. Coming up 1/2 of the duo Lunatic with Ali after starting as a b-boy, they would go on to release a critically acclaimed debut Mauvais Œil & a moderately received sophomore effort Black Album until disbanding. Booba’s solo debut Temps Mort much like Mauvais Œil considered to be a landmark in the French hip hop scene, with Panthéon & Ouest Side also being positively received. 0.9 & Lunatic wound up getting mixed reactions until returning to form on the next few albums Futur, D.U.C, Nero Nemesis & Trône. Ultra has gone on to be considered by many to be the Tallac Records founder’s worst full-length outing yet, so I went into AD VITAM ÆTERNAM hoping it would be the most I’ve enjoyed something from him in 7 years.

Sèvres, Paris, France maître de cérémonie Booba est de retour avec le 11e album de sa discographie. Faisant partie de la moitié du duo Lunatic avec Ali après avoir débuté en tant que b-boy, ils sortiront ensuite un premier album acclamé par la critique, Mauvais Œil, et un deuxième effort moyennement reçu, Black Album, jusqu’à leur dissolution. Le premier album solo de Booba, Temps Mort, tout comme Mauvais Œil, est considéré comme une référence sur la scène hip hop française, Panthéon & Ouest Side étant également accueillis positivement. 0.9 & Lunatic ont fini par susciter des réactions mitigées jusqu’à revenir en forme sur les prochains albums Futur, D.U.C, Nero Nemesis & Trône. Ultra est considéré par beaucoup comme le pire album du fondateur de Tallac Records à ce jour, alors je suis entré dans AD VITAM ÆTERNAM en espérant que ce serait le plus que j’apprécierais quelque chose de lui en 7 ans.

“Rebel” starts the album by talking about how everything goes through force & that we’re acquired by right on top of a murky trap instrumental whereas “Saga” switches gears into this pop rap ballad boasting that he’s always surrounded by models & the world is his. “Dolce Camara” featuring SDM finds the pair describing their handsomeness on top of synth-horns & hi-hats prior to the underwhelming trap single “Sport Billy” telling us where he hid the weapon bag.

« Rebel » commence l’album en parlant de la façon dont tout passe par la force et par laquelle nous sommes acquis juste au-dessus d’un instrument de trap sombre tandis que « Saga” passe à la vitesse supérieure dans cette ballade pop rap vantant qu’il est toujours entouré de modèles et que le monde est son. « Dolce Camara » avec SDM trouve le duo décrivant leur beauté au-dessus de synthés et de charleys avant le single trap décevant « Sport Billy » nous disant où il a caché le sac d’armes.

Concluding the first half of the album, the lead single “Signé” isn’t any better unfortunately fusing pop rap with afro trap & funk brasileiro explaining that he’s always been told to go elsewhere since he wasn’t awarded as a shooter leading into one of the better cuts “6G” being a decent continuation of the series of songs that began on D.U.C nearly a decade ago. “G.M. (Gyèt Manmanw)” featuring Evil P & Gato is this cringey trap cut dedicated to not having girlfriends since they only knowing big sluts, but then “Abidal” featuring Sicario talks about being in the flagship waiting for the signal giving off more of a generically dark trap vibe.

En conclusion de la première moitié de l’album, le premier single « Signé » n’est pas meilleur malheureusement fusionnant pop rap avec afro trap & funk brasileiro expliquant qu’on lui a toujours dit d’aller ailleurs puisqu’il n’a pas été récompensé en tant que shooter menant à l’un des meilleurs morceaux « 6G » être un continuation décente de la série de chansons qui a commencé sur D.U.C il y a près de dix ans. « G.M. (Gyèt Manmanw) » avec Evil P & Gato est ce fastidieux coupure piège dédié au fait de ne pas avoir de copines puisqu’elles ne connaissent que de grosses salopes, mais ensuite « Abidal » avec Sicario parle d’être dans le vaisseau amiral en attendant le signal dégageant davantage une ambiance de piège génériquement sombre.

“Bénigni” nears the encore of the LP by making Booba feel like a featured artist on his own album since USKY takes up a majority of it as they both ride alone in the city feeling inhabited over these piano chords that is until “C.V.B.S.P. (Ça Va Bientôt Casser)” concludes AD VITAM ÆTERNAM with this twinkling drill track admitting that it’s all inevitably gonna break soon & asking why he should wait as a result of that.

« Bénigni » s’approche le fin du LP en faisant sentir Booba comme un artiste invité sur son propre album puisque l’USKY en reprend la majorité alors qu’ils roulent tous les deux seuls dans la ville en se sentant habités sur ces accords de piano jusqu’à ce que « C.V.B.S.P. (Ça Va Bientôt Casser) » conclut AD VITAM ÆTERNAM avec ce morceau de forage scintillant admettant que tout va inévitablement bientôt casser et se demandant pourquoi il devrait attendre à cause de cela.

It’s blatantly obviously to say Booba won’t make another album like Temps Mort ever again although he came close to reaching that caliber a couple times on Ouest Side & Nero Nemesis, but wow it’s very unfortunate that AD VITAM ÆTERNAM was even a step below of the album that he gave us almost 3 years ago. Although I fully understand that he intentionally made it less than a half hour long due to the constraints of streaming, it just feels rushed ultimately.

C’est évident de dire que Booba ne fera plus jamais un album comme Temps Mort même s’il a failli atteindre ce calibre à plusieurs reprises sur Ouest Side et Nero Nemesis, mais wow c’est vraiment dommage que AD VITAM ÆTERNAM soit même un cran en dessous de l’album qu’il nous avait offert il y a presque 3 ans. Bien que je comprenne parfaitement qu’il l’a intentionnellement fait moins d’une demi-heure en raison des contraintes du streaming, cela semble précipité finalement.

Score: 1.5/5

Score; 1,5/5

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B.A.R.S. – Self-Titled review

B.A.R.S. is an underground quartet consisting of V Sinizter, Zitro, Tierre Diaz & Clifton Derrell. One of whom is a Saginaw, Michigan native releasing his debut EP Hunting Season in 2003 under Psychopathic Records, Zitro is one of the newest members of the hatchet family coming straight outta Detroit, Tierre hails from Boston, Massachusetts coming fresh off signing to DJ Clay’s very own Armed Robbery Entertainment last summer & finally Clifton represents the Windy City of Chicago, Illinois as an overly smart punk who experienced his first electric moment when Eric B. & Rakim’s rhythm hit him. So considering their histories intertwining with juggalo culture, it only makes sense for all 4 emcees to form a supergroup & introduce themselves as a unit on their debut EP.

The title track is an incredibly rugged opener talking about everyone watching them with all hands on deck whereas the rowdy “On Sight” sets out to start riots in every club they hit up. “The Pinnacle” begins the 2nd leg of the EP by giving off a bit of a futuristic vibe instrumentally boasting that they’re in demand & ready to bring the pain, but then “Top No More” rounds things out by calling out those who’re envious of seeing the 4 on top over these guitar licks & hi-hats.

Anyone who considers themselves to be a fan of any or all 4 of the members of B.A.R.S. has to check out their eponymous debut EP together here & it makes me anticipate hearing what the underground supergroup has coming down the pipe from hereon out. The production gives off a different vibe for everyone & although everyone has stood out in their own ways previously, hearing them together is another level.

Score: 4/5

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Little Simz – “Age 101: Drop 7” review

Islington, London, England, United Kingdom emcee, singer & actress Little Simz returning with her 10th EP & the 7th installment of the Age 101: Drop series. Getting her start at the beginning of the previous decade, she would go on to drop 4 mixtapes along with her 9 previous EPs & 5 full-lengths LPs. GREY Area showed some serious artistic evolution, S.I.M.B.I. (Sometimes I Might Be Introvert) wound up being my 2021 Album of the Year after giving it a perfect 10 & No Thank You was a late AOTY contender in the following winter. However after 4 years, Simz is returning to put out a successor to Drop 6.

“Mood Swings” starts things off dabbling with hip house a bit talking about her mood abruptly changing on the regular whereas “Fever” tells the story of being in São Paulo, Brazil with her friend over a more tribal beat. “Torch” gives off a glitchy EDM trap vibe a bit advising not to be afraid of the bounce & that she’s trying to be the force but after the 3-minute instrumental cut “SOS”, we have Simz explaining that “they gon’ have to give me more of your soul when I’m needin’” over cloudy trap production. “Power” gives us off-the-top verse for nearly a minute as it sonically gives me a bit of a misty vibe & “Far Away” ends the EP with a jazzy UK drill fusion singing for her lover not to wait around for her.

Little Simz is by far my favorite UK artist in recent memory since S.I.M.B.I. (Sometimes I Might Be Introvert) is one of the best albums of this decade & No Thank You was near-flawless in it’s own right, but this has to be amongst the best installments of the Age 101: Drop EP series in my opinion. She’s demonstrating her range as an artist by rapping AND showing her singing voice as the overall sound here draws from electronic dance music, funk mandelão & of course grime.

Score: 4/5

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Confucius MC – “Stop Signs” review

London, England, United Kingdom wordsmith Confucius MC teaming up with Dublin, Ireland producer Pitch 92 for his 3rd studio LP. Known for being 1/2 of the Old Paradice and CoN & KwAkE, he introduced himself in 2014 off his full-length debut The Highest Form followed by The Artform a few years later & the sophomore effort Somewhere another few years after that. Familiarizing myself with him through his features throughout several High Focus Records projects over the years, it only makes sense to have one of the label’s in-house producers coming in the picture for Stop Signs.

After the “Leisure Time” intro, “Maintenance” begins with a funky beat advising to slow down whereas “Paper Champs” takes the boom bap route instrumentally seeking truth in an ocean of lies. “Missing Persons” brings the funk back with a slicker twist to it talking about someone disappearing every 2 minutes leading into “Raised by Wolves” featuring Renelle 893 links up so both of them can discuss their own upbringings.

“Loneliness in the City” has a somberness to the beat describing this epidemic around his parts & after an intermission, “Cognitive Behavior” featuring King Kashmere finds the 2 talking about being tired of the games. “Days Hours Minutes” featuring the latter’s Kingdom of Fear partner-in-rhyme Jehst speaks of time forever flying past us while “Burden” soulfully talks about not letting anything take a load on you.

Nearing the conclusion of Stop Signs, the song “Blue Skies” hops over a lo-fi boom bap l instrumental that sounds like it could’ve appeared during a bumper on the Discovery Global owned Cartoon Network late-night block [adult swim] asking for his spirits for them to tell him to read the signs & “Respite” concludes the EP with a 77 second outro structured similarly to “Leisure Time” the moment anyone giving this a spin would hear right when they press play.

The Highest Form still has it’s moments a decade later, but I truly think Stop Signs might’ve surpassed it although I’m not sure why Confucius MC didn’t have High Focus Records distribute it because it very much sounds like something that would’ve come out of the renown Hove, East Sussex imprint. Pitch 92’s jazzy production is a huge step above Somewhere carrying the torch of Jaylib’s spirit further & Confucius’ poetic lyricism is at it’s most conscious, joined by a couple of artists on the current High Focus roster & none other than the YNR Productions founder himself.

Score: 4/5

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Icewear Vezzo – “Live from the 6” review

Easily one of the biggest names in the Detroit trap scene today & Iced Up Records founder Icewear Vezzo finally releasing his Quality Control Music debut album although the 4th full-length overall in his discography. For over a decade now, this dude has been making waves locally by releasing the Rich Off Pints trilogy of LPs & over a dozen mixtapes. The previous Paint the City hosted by DJ Drama over a year ago being Vezzo’s first project to come out though the Motown Records imprint & it was a solid prelude, so it definitely increased anticipation for his major label debut Live from the 6.

After the intro skit, the first song “Class of 2024” starts off with some synthesizers & hi-hats so Vezzo can remind us all that he inventing sippin’ mud despite the fact that he’s clean these days whereas the atmospheric “Projects” flexes that he’s a multi-millionaire in the trenches. “Perfect” featuring DaBaby is anything but since the latter’s appearance might be the weakest on the album although I do appreciate the luxurious instrumental & Vez’ braggadocio, but then “Rap Game takes the soulful Detroit trap route celebrating like a parade goin’ down.

“Momma Mil” goes for a darker approach to the vibes of the previous cut minus the soul sample making it clear that his mother didn’t raise no hoes & the “Motion” remix featuring Babyface Ray is superior to the original boasting that that’s exactly what they got over a synth-based Detroit trap beat. “Ain’t Enough” gives off an eerier atmosphere explaining that he needs $2M since $1M isn’t enough just before “Come Outside” featuring YTB Fatt is another underwhelming collab although the message of people dying out here in the D is accurate.

Picking things back up, “I Ain’t Mad at Ya” fuses cloud rap & Detroit trap addressing all the “fuck n****s” out there leading into “Chose Me” featuring Chuckie CEO talking about choosing himself over a ghoulish instrumental & Chuckie punching under his weight. Beginning the encore of the album however, “Different Day” almost has this pluckier tone to the beat talking about the concept of “same shit, different day” & “I’m the One” closes Live from the 6 with this futuristic trap banger talking about being him.

Vezzo’s verse on the “Detroit vs. Everybody” remix made me a fan of his when it came out on my 18th birthday & this major label debut similar to Paint the City continues to show improvement in Vezzo. Yeah the features are kinda underwhelming for the majority of it, but it’s more well-produced than some of his previous material & I admire that he pays homage to 6 Mile as a fellow Motor City native myself.

Score: 3.5/5

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Mvck Nyce – “Nyce to Meet You” review

Detroit emcee Mvck Nyce of the Umbrella collective picking up where the predecessor left off almost 11 months ago with his sophomore LP. Emerging in 2018 off the full-length debut InMyDarkestHour, he has since continued to turn heads by continuing to release a couple EPs Supernyce & Lord Be Whit Me along with the Circa ‘16 compilation more recently as the 1-year anniversary of that approaches next month to be exact. I was also anticipating Nyce to Meet You considering some of Mvck’s recent features for Bizarre of prior D12 fame, Dango Forlaine or even his Umbrella brethren Mickey Diamond, Substance810 & Snotty.

“Master” is a morbid boom bap opener calling anyone to try to master his style whereas “Hockeytown” explains that this the type of shit that gets motherfuckers icy over a rugged instrumental. “Ghetto Gold” works in more kicks & snares with this eerie backdrop boasting that these try-hards can’t even fuck with him or his set leading into “Professionals” going for a solemn boom bap vibe grinding all night long until the sun comes up & calling out those sounding unconfident in their raps.

The aptly titled “Hound Flow” has a mellower sound admitting that he’s feeling like he’s back just before “Fully Automatic” brings the kicks & snares back in the picture talking about getting with it or getting lost at the end of the day. “Yesterday” flips a gospel sample confessing he doesn’t know where to go even though he did his thing & made his lane, but then the instrumentally dejecting “Cups & Carats” talks about how many want to calm him down.

“Dirty” begins the encore of the album by telling y’all to shut the fuck up & sit the fuck back over a dusty ass beat while the jazzy “Gotham Nights” talking about the fact that everybody tryna be a hero. The eerie boom bap closer “Me Against the World” properly sends off Nyce to Meet You with one of the best songs I’ve ever heard from him passionately rapping that he let his demons out in broad day hoping that it would work.

Considering the 7 year gap between Nyce to Meet You & InMyDarkestHour along with the feature performances that I had mentioned at the beginning, I was highly anticipating to hear how much the Nycest of the Umbrella collective has grown since then & he definitely didn’t pull any stops on that at all here. Unlike that previous compilation, we have a more well thought-out & linear reintroduction from the Detroit emcee to the public eye altogether.

Score: 4/5

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Valid – “The Bronko Tape” review

Detroit emcee Valid coming off Bill & Isiah’s self-titled debut from last spring with his debut mixtape. Introducing himself properly in 2015 with Reach High, he would follow it up in 2019 getting more personal on the sophomore effort Mihajlo which I personally would recommend to anyone as the best place to start for anyone who wants to get up on Valid’s music & eventually the Plum Brandy EP only 9 months later. However after teasing The Bronko Tape recently in the form of a couple singles, now is the time for Valid to return for the first solo project of his in nearly 4 years.

“Big Bronko” has this mobster-like sample from Pig Pen so Valid can liken himself to Bronko Lubich who competed in the Billy Corgan owned National Wrestling Alliance (NWA), the Hart family-owned Stampede Wrestling, the WWE Hall of Famers Von Erich family-owned WCCW, the Crockett family-owned JCP & WWE Hall of Famer Verne Gagne-owned AWA from the early 50s to the early 70s whereas “Frozen Over Twice” works in this accordion flip from Middle Finger Music in-house producer Peace of Mind with DJ Los on the turntables talking about being known for doing the impossible. “Fever” goes into a silkier direction explaining everything’s been the same just before “Prayer for the Players” featuring Big Herk & Fat Ray finds the trio over a soulful boom bap instrumental from Simple Cuts spitting gospel for the gangstas.

Nearing the end of the first half of the tape “Let It Bang” featuring Asaka the Renegade talking about how heartless these hoes can be & Nick Speed paying tribute to the greatest Texas hip hop duo of all-time UGK behind the boards leading into the “Cyclone” featuring & produced by Ilajide formerly of the Clear Soul Forces going for a funky trap vibe looking to stir up shit similar to a storm or system of winds rotating inward to an area of low atmospheric pressure. Bill & Isiah link back up with the help of S.A.G.E. for “Dark Road” asking how you like them know over pianos & hi-hats, but then “Always Be Me” stays true to himself referencing 2-time WWE Hall of Famer, former 5-time WWE world champion, 11-time WWE tag team champion, WWE Intercontinental Champion & TNA World Tag Team Champion Kevin Nash over a boom bap beat.

“Do You Remember” blends a soul sample with kicks & snares describing a romantic interest who he viewed as an angel while “Forever & a Day” assures to tell him all your insecurities for him to embrace” over a luxurious boom bap instrumental. “Hell of a Love” draws near the end of the tape by really digging in the crates with it’s vintage sampling helping this woman with her self-esteem & the jazzy “Random Thoughts” rounds everything out by making a whole song around the fact that he & Tony Rizzo could talk about anything in the lab with.

Like I mentioned: This was the first solo project that Valid has put out in damn near 4 years since it’s anniversary is next Wednesday & much like the last full-length we got from him which will already be turning 5 this spring, The Bronko Tape is most certainly a step above Plum Brandy when he put it out literally before everyone’s lives changed forever. Don’t get me wrong: Plum Brandy was a fresh showcasing of his Serbian roots, but I like the production here better & the homages to Bronko Lubich as a wrestling fan myself.

Score: 4/5

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