K.A.A.N. – “Peace of Minds” review

Maryland emcee/producer K.A.A.N. reuniting with Aftermath Entertainment in-house producer Dem Jointz for his 24th full-length studio LP. a name for himself in the underground over the course of the past decade by delivering standouts in his ever-growing discography like Black Blood, the Ski Beatz-produced Requiem for a Dream Deferred & the Big Ghost Ltd.-produced All Praise is Due, Mission Hillz or recently The Death of a Rapper & The Nightly News both produced by former Strange Music in-house producer MIKE SUMMERS a.k.a. 7. But after being teasing Peace of Minds since September, it’s only right for the Maryland lyricist & the Compton producer to link back up to start the 2nd month of the new year.

After the “Wake Up” intro, the first song “Corner Store” is a 2-part trap opener talking about how they wanna see him fall whereas “A.S.C. (Ain’t Shit Changed)” keeps the hi-hats in tact making it known that things are still the same with him. “Living n Fear” has a groovier vibe to it explaining that his whole house on fire prior to “Destination” shifts into boom bap territory talking about what you get when you follow false prophets.

“Dying Breed” goes into a drumless direction likening himself to a group of people that’re slowly fading away as time goes on leading into “Hurry” bringing the kicks & snares back into the picture manically getting in his hardcore bag lyrically. “Basque” is an organ boom bap hybrid produced by Black Milk asking what the fuck he’s gotta do to prove who’s who, but then “Prize” aims to keep his eyes on the finish line over more trap production.

To start the 2nd half of the album, “Designer Drug” goes into a psychedelic direction admitting that he went down the rabbit hole for all the wrong reasons just before the atmospheric “Smoking Section” slides through for an anthem dedicated to the smokers out there. “F.Y.F. (Fuck Yo Feelings) says it all conceptually over a dusty instrumental while the rock-inspired “Past That” talks about moving on from the bullshit.

“Footsteps of Greatness” begins the encore of the LP by speaking from experience on top of an unsettling & lastly, “Katch Up” closes out Peace of Mind by hooking up this delicate back drop with some hi-hats thanks to fellow Aftermath in-house producer Focus… so K.A.A.N. can get into his shit-talking bag 1 last time talking about all the ways that people be envying him ever since his career took off really.

Mission Hillz was more trap-based unlike both Black Blood & Pure Intentions, so it doesn’t really surprise me to hear that Peace of Mind continues to expand on the sounds of the previous LP that K.A.A.N. & Dem Jointz did with one another. The latter’s production continues to show progression over the last 7 years of working together dabbling with psychedelia, boom bap, drumless & a hint of rock suiting the Maryland emcee’s potent topics.

Score: 4.5/5

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$crim – “Lonely Boy” review

This is the sophomore full-length solo LP from New Orleans, Louisiana rapper, producer & deejay $crim. Coming up as 1/2 of the $uicideboy$, the duo has been impeccably consistent since their formation over a decade ago & Wetto here was actually the first one to branch out on his own by dropping the solo debut A Man Rose to the Dead during the COVID-19 pandemic to mixed to negative reception including from myself. However since Ruby da Cherry’s been grinding with a couple of skate punk EPs since last summer, it’s only right for Budd Dwyer to introduce us to the Lonely Boy.

“destination: home” is a cloudy trap opener co-produced by G*59 Record$ in-house producer Dynox encouraging to dream on whereas “a boy whistling in the graveyard” displays a more melodic delivery over an atmospheric instrumental with some hi-hats hoping that he gets right. “maserati slick” shows off the new whip that he just copped accompanied by a psychedelic trap beat leading into “who saves the savior?” asking who could love what he’s become going for a Memphis-influenced sound this time.

Meanwhile, “night gallery” continues forward by working in this vast instrumental keeping the hi-hats into the fold just before “demo demon” looks to pull up on his opposition. The synth-heavy title track goes into territory addressing the loneliness that he feels, but then the meditative “don’t know why” rides around town so fucked up to the point where he can’t even see

“blam!” experiments with rage beats talking about unloading the chopper on anyone who goes against his set prior to “4muhslime #freethug” paying tribute to Young Thug & the beat giving off a solemn vibe. “devil’s revenge using god’s subjects” sets out blow all these racks with a bitch blowing his high shooting for a moodier aesthetic while “i just hope that my death makes more cents than my life” delves into hypertrap turf flexing that his money keeps going up.

Starting the 2nd leg, “new glock 4 my opps” continues to blend buzzing synths with repetitive chord progressions & melodic synth leads looking to make the block hot while “1st things first” admits that he doesn’t go outside much although everyone should pray whenever he does returning to a relaxed, dream-like & reverb-heavy production style. “north pontchartrain blues” suggests to come spend the night & never leave him over a slick trap instrumental while the bass-heavy lead single “paradise” describes his ideal place.

“just because you’re paranoid doesn’t mean you’re wrong” atmospherically laces $crim’s feelings with drugs clarifying he can’t help but go when they call him while “a man touched the sky” talks about refusing to take any chances over another trillwave beat. “all graves go unvisited in the end” dejectedly confesses to people betraying him when he never thought they would while “nightmare on the northside 2” is a worthy sequel to a highlight off A Man Rose from the Dead.

Moving on to the final quarter of the LP, “chrome cowboy” looks to do whatever it takes to keep catching those Ws trying to give off a vibrant approach generally while the rage-inducing “die4me” asks if anyone’s loyal to him. “1-800-PAIN” is cloudy a reminder that shit ain’t sweet when you look in his eyes while the trippy “marlboro country” talks about a whole new vibe he’s been on. The angelic/trap crossover “a nice place to visit” heads back west & lastly, “levitate” ends Lonely Boy on an upbeat note riding & dying by his shawty.

Granted it kinda seems like $crim heard Destroy Lonely’s last album If Looks Could Kill since it was also 26 tracks & nearly 90 minutes long when we first got it last spring, yet Lonely Boy still shows significant improvements over A Man Rose from the Dead. It’s refreshing to hear Budd experimenting with new sounds & his performances actually sound invigorated as opposed to being monotonously boring on the predecessor.

Score: 3.5/5

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Tha God Fahim – “Supreme Dump Legend: Soul Cook Saga” review

Tha Dump Gawd himself Tha God Fahim from Atlanta, Georgia beginning the 2nd month of 2024 by linking up with Cookin’ Soul for the 21st full-length LP in his ever-growing discography. Starting as an affiliate of Griselda Records as well as being 1/3 of the Dump Gawds alongside Mach-Hommy & Your Old Droog, we also can’t ignore the massive discography that he’s managed to build for himself, some of the standouts include Breaking Through tha Van Allen Belts & Dump Assassins. But dude has been on a CRAZY ass EP run in 2023 with the standouts being the Camoflauge Monk-produced Dark Shogunn Assassin, the Nature Sounds-backed Iron Bull & the Nicholas Craven-produced Dump Gawd: Shot Clock King 4, the Oh No-produced Berserko, Fahim’s last EP Dump Gawd: Rhyme Pays produced by Mike Shabb & even the previous album Tha Supreme Hoarder of All Pristine Wealth. So hearing that Big Size would be behind the boards to begin the Soul Cook Saga of the Supreme Dump Legend series, I was certain it had to be the best body of worked they’ve ever produced for another MC.

After the intro, the first song “Blood Sport” starts things off with this cinematic boom bap instrumental likening himself & his squad to champions whereas “Get Ur Weight Up” takes a more lo-fi route working in thee kicks & snares so tha Dump Gawd speaking on some advice that was given to him. “Economics” featuring The Musalini who signed to Jamla Records last year talks about turning rhymes into heavy cash over a boom bap beat with this infectious sample, but then “Guillotine” hooking up more kicks & snares with this psychedelic backdrop referencing 10-time WWE world champion, 2-time WWE Intercontinental Champion, 5-time WWE Tag Team Champion, United Football League (UFL) co-owner, the newest member of the WME Group-owned TKO Group Holdings’ board of directors & $7 Productions co-founder The Rock whose daughter Ava is now the GM for WWE’s developmental NXT brand.

“Shark Biting Vampires” featuring Dano makes it clear that they don’t want anyone sounding like them on top of some woodwinds & just before “Heavy” featuring Raz Fresco makes up for Dano’s guest appearance on the previous cut which might be the weakest feature on the album. Here though, Raz & Fahim discusses the heaviness of words sometimes over this spacious boom bap instrumental. “Pedal to the Floor” kinda gives me a bluesier vibe making it clear he ain’t new to this leading into the dusty “Safe Hands” looking to make other rappers look bad. The orchestral sendoff “The Way of the Samurai” lastly portrays another day in the Shogunn saga.

Breadrick Douglas is said to be have Dump Goat II, 3 more projects with Monk, 3 with Craven, another one with Cookin’ Soul presumably titled Supreme Dump Legend: Soul Cook Saga 2 & a self-produced one all coming down the pipe in the future & Supreme Dump Legend: Soul Cook Saga. Cookin’ Soul’s boom bap production is consistent top to bottom, I enjoyed nearly every feature & Fahim indeed cementing himself as the strongest performer Size has worked with on a full project to date.

Score: 4.5/5

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Sly Moon – “No Gamble, No Future” review

London, England, United Kingdom emcee/producer Sly Moon ending January with his 4th EP. A member of the Children of the Damned as well as its successor the Cult of the Damned & the Sohio Players, he made his full-length debut in 2020 with Why Am I So Sly? under Blah Records followed by the Lee Scott collab effort F.D.M.B. (Flippin’ Dough Makin’ Bread) & Banned From the Vic. The last extended play of his The Ghost of Ungar came out a year earlier & is taking a more conceptual approach to No Gamble, No Future.

After the “I’m a Compulsive Gambler” intro, the self-produced “I Don’t Know” starts with this soulful boom bap opener talking about being blinded after keeping his eyes on the prize whereas “Aces Baby” produced by Lee Scott instrumentally discussing him grinding night & day playing with higher stakes. “Tears of Joy” goes for a jazzier yet funkier vibe talking about being lonely at the top loving the view while “Back Door Key” boasts of his money speaking loudly.

“The Dream’s Over” continues the 2nd half of No Gamble, No Future with everything crashing down on our protagonist running into the wall of the house after trying to take it down over this crooning beat & after the “Spinnin’ Out” skit, “Casino Chippin’” ends the EP hopping over a boom bap beat with some strings talking about another chapter in the rat race running backwards amongst the gamblers watching people become rich only to steal food from children’s mouths.

We’ve heard a significant amount of growth from Sly Moon with every EP he’s given us since Why Am I So Sly? & the progression continues throughout No Gamble, No Future. He chronicles of the ups & downs of an addicted gambler beginning in the red & grinds his way into the green, only to go all the way back to Square 1 in a never-ending cycle that anyone who has or had a gambling addiction can relate to though it’s never been my thing personally.

Score: 4/5

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King Kashmere – “Sounds Like Home” review

This is the 4th EP from Grahame Park, London, England, United Kingdom emcee/producer King Kashmere. Notable for being a part of several groups or duos over the last few decades ranging from Kingdom of Fear & Invisible Inc. to Gawd Status as well as Old Children & Strange U, he also has 7 full-length solo albums & a couple of extended plays under his belt through the likes of Low Life Records to YNR Productions & Boot Records. Making his debut for High Focus Records in 2016 off his 3rd album Woof, he returned to the label with TR3B & has brought Cuth in to fully produce Sounds Like Home coming off The Album to End All Alien Abductions a month after Leon Slater ended Connor Mills’ reign as RPW British Cruiserweight Champion.

“Change Your Energy” soulfully starts off talking about everyone having their own universe within ourselves whereas “Thick Bag of Slime” featuring Alecs DeLarge goes for a psychedelic boom bap vibe to speak of striving & getting little in return. The title track soulfully while talks about keeping it real when others pretend while “Door of Truth” grittily asks if one can afford losing the game of life. After the compositional “Places” intermission, the final song “Valhalla” wraps up Sounds Like Home crushingly remembering his brother Tom.

I’d have to put The Album to End All Alien Abductions & TR3B above Sounds Like Home, but I’m nevertheless grateful King Kashmere was able to give us a 6 track EP containing some of the most emotive material in a career spanning over 2 decades. Cuth’s production here leans towards a boom bap direction as opposed to Alecs’ experimentation during The Album to End All Alien Abductions providing a good soundtrack for The Iguana Man to back at simpler times, long lost friends & a new perspective regarding the beauty & brutality of the human condition.

Score: 3.5/5

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Static-X – “Project: Regeneration 2” review

Static-X is an industrial metal band from Los Angeles, California now consisting of frontman Edsel Dope, bassist Tony Campos, lead guitarist Koichi Fukuda & drummer Ken Jay. Formed by their original frontman Wayne Static, their 1999 debut Wisconsin Death Trip would become a breakthrough for them in the nu metal era & went on to release 5 more albums until Wayne tragically passed away in the fall of 2014. They reformed in Wayne’s memory in 2020 on their last LP Project: Regeneration mixing old sounds with new along with their new frontman Edsel Dope recording brand new vocals mixed with posthumous Wayne vocals that I found myself liking as much as their debut. So with the 25-year anniversary that & the 10-year anniversary of Wayne’s passing, they’re commemorating it with a sequel to their previous album.

“Stay Alive” is this great industrial metal opener with Wayne & Edsel sharing the mic talking about seeing red & needing this person in their lives whereas “Z0mbie” continues to incorporate the abrasive & heavy sound from industrial music into a heavier context by using elements from post-industrial like synthesizers & drum machines so Edsel describing a psychotic bitch. Wayne & Edsel link back up on “Jic Boi” admitting they’re strung out experimenting with cyber metal leading “Black Star” finds Wayne bringing the band back to their signature industrial metal sound solely talking about losing his mind over the course of what time he had left.

Moving on from there, “Kamikaze” screamed by Edsel kinda gives me a nu metal vibe a bit looking to go Hiroshima just before “No Hope” dabbling with alternative metal so Wayne can talk about needing something to die for. “Take Control” sees Tony Campos & Edsel on vocals together continues to fuse industrial & metal music in their stylistic fashion suffering from hallucinations, but then “Tone” delves further into industrial metal with Wayne talking about all that ever knew was fear along with joy & destruction.

“Run for Your Life” switches it up by going cyber metal again & Edsel confessing to being the enemy that’s dead inside while both Wayne & Tony join him for “Dark Place” so the 3 can sing about individuals searching for something to take away from tomorrow’s sorrow returning it to their industrial metal wheelhouse. “Disco Otsego” with Edsel on vocals is a cyber metal dedication to the titular city of this reviewer’s home state of Michigan while “From Heaven” hauntingly takes a darker tone & Wayne morbidly likening his life to a disease.

The penultimate track “Terrible Lie” begins the encore with this boring industrial/nu metal cover of the 9 Inch Иails song of the same name with some cyber metal undertones to it that both Edsel & Wayne sing together prior to the closer “Groove Yoda Data 14” ending Project: Regeneration 2 by putting a bigger emphasis on cyber metal & both of them talking about no pain killing them & that it’s cold inside.

Before I begin my concluding thoughts: It made me happy that Twiztid opened for these guys on the Rise of the Machine Tour as someone who considers “Push It” to be such a classic single & as a Detroit juggalo who’s been following the Majik Ninja Entertainment founders since their Psychopathic Records days. As for the music itself, this sequel expands on everything that made the predecessor great. They continue to balance the sounds they came up on & dabble with new ones along the way with Wayne & Edsel continuing to show chemistry 1 last time.

Score: 3.5/5

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Crimeapple – “El León” review

New Jersey emcee Crimeapple enlisting New York producer Preservation for his 12th studio LP. Becoming a fan of his in the fall of 2017 with his 4th EP Sweet Dreams along with the Big Ghost Ltd. produced full-length debut Aguardiente that following spring, his profile in the underground grew exponentially from there. Discography standouts include the DJ Skizz-produced Wet Dirt, the DJ Muggs-produced Medallo, Cartagena, Breakfast in Hradec & Sin Cortar. However coming off a sequel to the Kilómetros EP few months ago, El León to me personally was already destined to become the most I’ve enjoyed Crime’s music in nearly a year & a half.

The title track starts the LP with heavy horns & pianos saying he doesn’t care if he was acquired for your tastes or not whereas “Don’t Mention It” featuring Sadat X keeping it drumless talking about how this shit isn’t a joke to them at all. “Lion vs. Panther” has this crazy vocal flip comparing himself to a lion & everyone else in his way as panthers prior to “Hunting Methods” bringing this infectiously drumless loop flexing that he doesn’t wait in line.

“Melena Dorada” featuring RLX talking about how blessings are all copious over some strings just before “Fumemos” goes into a stripped-back direction dedicating this one to all the smokers. “Camino Solitario” talks about traveling down a lonely road over a boom bap instrumental, but then “Vida Mantequilla” hooks up these kicks & snares with heavy horns having fun with a blonde on a Friday.

The song “Paw Prints in the Sand” wants to know how anyone is qualified to go up against him over a nightly beat while the penultimate track “Quanto Te Quiero” shifts into more delicate territory talking about a romantic interest. Finally to end the album, “Bulevar” is a deadpan closer dodging stress in favor of catching fish on a boat & might even give you some game if you ask him correctly.

It’s been quite some time since I personally have covered a project of Crime’s as his discography tends to be a little hit or miss sometimes, but El León unquestionably lived up to my expectations becoming the most I’ve enjoyed a project of his in a year & a half. Preservation’s predominately drumless production is more consistent than a lot of his output in 2023 & we get a metaphorical beacon for the unyielding hunger that the lyrical predator has always shown.

Score: 4.5/5

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Che Noir – “The Color Chocolate” review

Buffalo emcee/producer Che Noir releasing her 7th EP ahead of the 1-year anniversary of the Big Ghost Ltd.-produced predecessor Noir or Never. Discovering her after 38 Spesh signed Che to TCF Music Group & fully produced her first 3 EPs, her Apollo Brown-produced full-length debut As God Intended & then her self-produced 4th EP After 12 during the 2nd half of 2020 where her potential began to blossom exponentially. She has since followed this up with the sophomore effort Food for Thought as well as The Last Remnants & Noir or Never like I previously mentioned, so I went into The Color Chocolate interested in hearing what is said to be the first of many projects she has this year.

“Peaches & Herb” featuring Ransom starts things off with a soul sample advising to embrace losses since there’s some shit you gotta learn leading into “Junior High” featuring Evidence & Your Old Droog working in some pianos with a crooning vocal flip getting on the same page with one another conceptually. “Greek Scholar” featuring ICECOLDBISHOP starts the 2nd half of The Color Chocolateblending these kicks & snares with synthesizers on a race for money & power prior to “Vanilla Skies” produced by Graymatter rounding out the EP altogether with it’s lone solo cut speaking from the heart over a summery boom bap instrumental.

The Color Chocolate is said to just be the beginning of the world fully knowing Che Noir’s art along with who she is & I’m sure we’re gonna get another project from her soon that I’ll like more, but yeah this’ll hold off just fine until that time comes. The production is a mix of boom bap, soul samples & synthesizers with guests on almost every song that give equally impressive performances as one of the best from Buffalo. Highly looking forward to hearing what the rest of 2024 has in store for her.

Score: 3.5/5

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Benny the Butcher – “Everybody Can’t Go” review

Buffalo emcee Benny the Butcher ending the first month of 2024 by releasing his 4th full-length LP & major label debut under Def Jam Recordings. 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. But for the butcher’s Def Jam opus, he’s having Hit-Boy produce half of it & leaving the other half to The Alchemist.

“Jermaine’s Graduation” sets the tone of what’s to come with a luxurious instrumental explaining that he doesn’t need a trophy because he is the trophy whereas “Bron” goes into a triumphant boom bap direction likening himself as the LeBron James of this rap shit. “Big Dog” featuring Lil Wayne works in this reversed loop talking about being too dogs, but then the title track featuring Kyle Banks on the hook giving back to the game accompanied by a soul sample & some kicks & snares.

Meanwhile, “T.M.V.T.L. (Trust More Valuable Than Love)” has some dynamic production throughout expressing the importance of trust over love just before “Back Again” returns to the boom bap with additional vocals from WWE Hall of Famer Snoop Dogg talking about being gangstas. “1 Foot In” featuring Stove God Cook$ starts the 2nd leg of the album admitting he was a foot out the game after that freestyle with Funkmaster Flex over a hard-hitting beat leading into “Buffalo Kitchen Club” featuring Armani Caesar blending these piano chords & hi-hats together reminding that nobody fucking with them.

“Pillow Talk & Slander” featuring Babyface Ray & Jadakiss sees the trio telling their older selves to watch out for these hoes over a rich trap instrumental while “How to Rap” takes it back to the basement showing everyone how it’s done. “Griselda Express” featuring Conway the Machine & Rick Hyde begins the encore of the LP by saying they ain’t stopping on top of a solemn beat & “Big Tymers” featuring Peezy ties things up with 1-last trap cut boasting their current statuses.

A lot people who started with Benny or played a part ain’t make it since some are no longer with us, in prison, taking other paths or others that just weren’t built for it. With the help of Hit-Boy & Uncle Al, he puts the biggest lesson he took from that on full display for his major label debut. The production is versatile, the guests match his intensity & the Butcher inviting y’all to his world.

Score: 4.5/5

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Masta Ace – “Richmond Hill” review

Brooklyn, New York emcee, songwriter, producer & record executive Masta Ace back with Toronto, Ontario, Canada beatsmith Marco Polo for his 9th full-length LP albeit their 2nd together. Breaking out in the late 80s as a member of the Juice Crew collective, his solo debut Take a Look Around became a Cold Chillin’ Records gem, the next couple SlaughtaHouse & Sittin’ on Chromewere accompanied by Masta Ace Incorporated, the Interscope Records-backed Disposable Arts is a classic concept album about enrolling in after realizing how bad the situation in Brooklyn is, his M3 Records debut A Long Hot Summer is another conceptual piece except this one’s about venturing through his hometown before going out on tour with Fats as his unofficial manager, MA_Doom: Son of Yvonne was basically him freestyling over the Special Herbs beats paying tribute to his mom & The Falling Season focused more on his high school years. However with the 5 year anniversary of A Breukelen Story produced by Marco Polo passing by this fall serving as a near-perfect love letter to the planet, Ace is taking it to Richmond Hill for the sequel.

After the “December 26” skit, the first song “Brooklyn Heights” is a boom bap opener with Ace telling y’all where he’s broadcasting from whereas “Certified” featuring Coast Contra takes a funkier approach instrumentally talking about their respective certification in the rap game. After the “Cartunes” skit, “Hero” featuring Inspectah Deck brings back the kicks & snares in full effect likening themselves to vigilantes just before “Life Music” featuring Speech & Stricklin’ finds the trio in their grown man bag over a dusty yet atmospheric beat.

“Below the Clouds” featuring Blu ruggedly advises to get your head out the clouds & after the “St. Roberts” skit, “Heat of the Moment” is an acoustic/boom bap hybrid continuing to provide wisdom such as making your decisions clear since they don’t want to understand what they fear. “Jordan Theory” mixes synths with kicks & snares explaining that you have to give up your soul to cross this bridge, but then “Money Problems” featuring Che Noir gives off an orchestral boom bap flare tackling financial issues.

After the “Scarborough” skit, “P.P.E.” takes it back to the basement talking about junkies & pushers being everywhere while “Outside In” featuring C-Red & E Smitty has to be one of the weaker tracks on here respectfully as we’re being treated to a piano-driven love ballad. “Connections” shows passionate hunger by keeping his status high until he’s satisfied over a sample-heavy boom bap beat while the jazzy “Plant Based” talks about how he’s been eating better these days. After “December 25” skit, “All I Want” featuring Wordsworth following the by wanting freedom for Christmas while the bonus track “Al Dente” asks when will we realize we’re equal.

Much like how A Breukelen Story was mainly inspired by Ace’s upbringings, this time we’re being treated to a conceptual album based on Marco Polo’s childhood growing up in the titular neighborhood in Ontario & one that reaches the bar that was set by it’s predecessor over 5 years ago. They take the issues of the day head-on with clarity so Ace can use his decades-worth of rapping experience to slice through the producer’s warm soul samples & crisp percussion.

Score: 4.5/5

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