Majik Ninja Entertainment – “Songs of Samhain 4: The Liminal Space” review

Majik Ninja Entertainment is an underground hip hop label from Detroit, Michigan founded by Twiztid & their manager George Vlahakis in 2014 after departing from Psychopathic Records only 2 years before. However, they quickly built an empire or their own from bringing a few other PSY alumni along for the ride to help introduce G-Mo Skee & Alla Xul Elu to a much wider audience. The label’s first comp showing off their roster Year of the Swordhas to be my personal favorite of the 4 thus far with all respect to Songs of Samhain as well as the Attack of the Ninjas compilation & Songs of Samhain 2: Haunted Record Player. But as that time of the year comes around again, MNE’s following up on Songs of Samhain 3: Cult of Night by taking a trip through The Liminal Space.

After the “Liminal Space” intro, the first song “I’m the Night” by Twiztid is a rap rock opener produced by Fritz the Cat making the comparisons of Jamie Madrox & Monoxide to darkness whereas “All My Friends Are Dead” by Blaze Ya Dead Homie jumps over some pianos & hi-hats from Grady Finch talking about his homies no longer being here with him. “Deluded Dead” by Jamie gives off an industrial rock vibe musically discussing the mislead deceased, but then the self-produced “6 Feet Deep” by the artist formerly known as Young Wicked himself James Garcia of the Axe Murder Boyz ominously looks to bury motherfuckers.

“Highest High & Lowest Low” by Bonez Dubb, Boondox & Insane E finds the trio over a dark trap beat explaining that things have changed as they look to plateau leading into “Last House on Dead Street” is the prelude to an album that Blaze has been working on for the past 15 years when he was still on Psychopathic from the morbid instrumental to the gruesome performances. “If I Return” by Jamie & Zodiac MPrint heinously declares what would happen if they eventually make a return accompanied by a grueling beat just before “Merciful Fate” by the Eastside Ninjas goes for a ghoulish atmosphere talking about voices invading their minds.

The song “Strangehold” by Alla Xul Elu & the House of Krazees puts the 2 generational horrorcore trios together for the first time ever cavernously spitting the wicked shit beautifully while the chaotic penultimate track “Collide” by Triple Threat talking about everything inside being a mess. “Wounded & Suffering” by Grady Finch & WackGxd ends the compilation with a decent ballad rooted in Oh! The Horror’s signature sound.

Cult of Night showed some considerable improvement over Haunted Record Player & the original Songs of Samhain so with Fright Fest coming up in a few days, the journey through The Liminal Space is once that juggalos will enjoy for future Halloween seasons. The performances are a tad more consistent as everyone displays their own artistic characteristics in their respective fashions.

Score: 3.5/5

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Brigid Bites – “Pumpkin Spice” review

This is the 2nd EP from Davenport, Iowa rapper & dancer Brigid Bites. Creating the juggalette burlesque troupe in 2017 called Juggalesque, they’ve have since become a drawing attraction at the Gathering or the Juggalos since then with her eventually joining Chapter 17 Records CEO/Psychopathic Records recording artist Ouija Macc on stage quite a few times since. However she made a pretty solid introduction into the music world this past spring with her last EP Hatchet Girl, she’s returning in time for Hallowicked to put out Pumpkin Spice.

The title track produced by Elevated Focusion formerly known as Jonny Rythmns gives off an electronic vibe instrumentally as she talks about the titular spice mix making you feel incredibly alive whereas “Batshit Love” works in some synthesizers expressing her to desire to be insanely toxic. “D.O.T.W.S. (Daughter Of The Wicked Shit)” gives off an eerier trap flare to the beat declaring herself to be exactly that & “Stay Forever” is a groovy choice of a closer describing a carnival full of dead ghosts.

Hatchet Girl to me is still a solid gateway as to who Brigid is both personally & artistically, but I honestly think that she outdid herself a bit on here. The production mostly handled by Elevated Focusion is on caliber with the last EP as I feel like he continues to bring the best out of the Iowan Juggalesque founder so she can provide the soundtrack to the best time of the year.

Score: 4/5

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Anarchy – “My Mind” review | アナーキー – 「マイ・マインド」レビュー

Anarchy is a 42 year old MC from Kyoto, Japan getting his start in 2006 off his full-length debut Rob the World followed by Dream & Drama and Diggin’ Anarchy respectively. Following his debut mixtape D.G.K.A. (Dirty Ghetto King Anarchy) alongside his next couple LPs New Yankee & The King, it wasn’t until Anarchy’s very first EP Noise Cancel celebrating it’s 2-year anniversary of the summer being the last time we heard from him. But for his 2nd EP, we’re being treated to Statik Selektah producing the whole thing.

アナーキーは日本の京都出身の42歳のMCで、2006年にフルレングスデビューのロブ・ザ・ワールドから始まり、ドリーム&ドラマとディギン・アナーキーがそれぞれスタートしました。彼のデビューミックステープD.G.K.A.に続いて（ダーティ・ゲットー・キング・アナーキー）彼の次のカップルのLP「ニュー・ヤンキー」と「ザ・キング」と並んで、アナーキーの最初のEP「ノイズ・キャンセル」は、夏の2周年を祝うまで、彼からの最後の連絡がありました。しかし、彼の2枚目のEPでは、スタティック・セレクタが全体を制作しています。

“Light Up” sets the tone of what’s to come by weaving a rock-inspired boom bap instrumental into the fold so Anarchy can kick some flows in Japanese rockin’ it with Statik once more from start to finish whereas “Reach featuring C.O.S.A. finds the 2 over a cloudy backdrop with kicks & snares talking about the city of dreams. “Brooklyn” pushes near the end of the EP keeps it dusty with a heavenly sample flip paying homage to the titular city in Kings County, New York & “Pass the Mic” ending My Mind on a warm boom bap note encouraging to have the microphone given to him.

「ライトアップ」は、ロックにインスパイアされたブームバップインストゥルメンタルを折り目に織り込むことで、来るべきもののトーンを設定します。アナーキーは、最初から最後までスタティックで日本のロックのいくつかの流れを蹴ることができますが、「C.O.S.A.をフィーチャーしたリーチは、夢の街について話しているキックとスネアで曇った背景の上に2を見つけます。「ブルックリン」は、ニューヨーク州キングス郡の名目上の都市に敬意を表する天国のサンプルフリップでほこりを払い、「マイクを渡す」は、彼にマイクを与えることを奨励する暖かいブームバップノートで私の心を終わらせます。

Although Nujabes & the Teriyaki Boyz have always stood as my favorite acts within the Japanese hip hop scene throughout my life, Anarchy’s been putting it down for nearly 2 decades & this new EP with Statik Selektah has to be one of the best I’ve heard this year. Statik’s boom bap production matched with Anarchy’s improved performances compared to Noise Cancel makes a great introduction to anyone who hasn’t heard of him in America.

しかしヌジャベスと照り焼きボーイズは、私の人生を通して日本のヒップホップシーンの中で私のお気に入りの行為として常に立ってきました、アナーキーは20年近くそれを置いてきました&スタティック・セレクタとこの新しいEPは、私が今年聞いた中で最高のものの1つでなければなりません。スタティックのブームバッププロダクションは、ノイズキャンセリングと比較してアナーキーの改善されたパフォーマンスと一致し、アメリカで彼のことを聞いたことのない人に素晴らしい紹介になります。

Score: 4/5

スコア: 4/5

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City Girls – “R.A.W. (Real Ass Whores)” review

The City Girls are a duo from Miami, Florida consisting of Yung Miami & JT. Both of whom have put out 2 full-lengths & a mixtape under Quality Control Music throughout the past 6 years to mixed reception. JT would go on to become Lil Uzi Vert’s girlfriend with Yung Miami having a child with Southside & recently breaking up with Puff Daddy a.k.a. P. Diddy or Diddy at the beginning of 2023. Nonetheless, the singles they’ve releasing leading up to their 3rd & final LP have actually been some of their best songs ever namely the improved production choices that their previous material lacked.

After the intro, the first song “Piñata” is a industrial no melody trap opener produced by Southsidetalking about how their significant others wanna hit it whereas “Static” featuring Lil Durk works in some pianos & hi-hats thanks to Tay Keith telling dirty bitches not to worry about them at all. “No Bars” by JT fuses hyphy with crunk & mobb music kickin’ it off top solo dolo just before “Line Up” pulls from ratchet music getting raunchy of course.

“Show Me the Money” gives me a bit of a Miami bass vibe instrumentally talking about the dollars leading into the pop rap ballad “Emotions” featuring Muni Long pleading not to let them fall in love for nothing when it’s all said & done. “Fancy Ass Bitch” featuring Juicy J samples “Int’l Players Anthem (I Choose You)” by UGK & OutKast showing off how fancy both of them are, but then “Good Love”featuring Usher draws inspiration from Atlanta bass detailing being freaked in the city.

The “Drop It Like It’s Hot” sample throughout the pointlessly minute & a half “Work for It” is ok even though the braggadocious lyrics are cool while “I Need a Thug” picks things back up from the bounce undertones that 30 Roc cooks up to the “I Need Love” interpolation looking to get with thugs. “Flashy” featuring Kim Petras dabbles with nu disco describing their ostentatious lifestyles while “Wigs” is a decent ode to the amount of wigs they own.

“Face Down” finds Mike WiLL Made-It cooking up an off-the-wall beat blending hyphy & ratchet music so Miami & JT look to be slutted out while the rubbery “What You Want” produced by Hitmaka & OG Parker talking about their lovers always getting them what they want. “Tonight” goes for a futuristic approach looking to do it all night while “Survive” hooks up a soul sample & hi-hats getting more personal. To close the album however, “Fuck the D to the A” ends things with a Detroit trap instrumental from Helluva bringing it hardcore.

You know I’ve never been big into the City Girls’ past material, but I gotta say that R.A.W. (Real Ass Whores) lived up to my expectations as the most well-crafted body of work in their discography. It’s refreshing to hear their production choices being stepped up with a variety of different sounds, the feature-list is tight & both of them delivering solid performances of their own. Pretty good note to end on for them as they embark on their solo careers.

Score: 3.5/5

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Stu Bangas – “Death Wish II” review

Boston underground producer Stu Bangas is back again for a sophomore full-length LP solely under his own name. For over the last 15 years, the dude’s résumé is an ever-growing list of veterans ranging from members of the Army of the Pharaohs collective to the late Sean Price. But since 2019, he’s been steadily grinding his ass off producing projects for the likes of Ill Bill & Recognize Ali. However with the 2-year anniversary of his official full-length debut Death Wish approaches next month, Stu’s returning for a sequel.

After the intro, the first song “Inhumans” by Apathy couldn’t have started off the album any better with it’s to boom bap instrumental the lyrics that take everyone who’s tuning in on a trip through the underground whereas “Sus” by Ras Kass works in some twinkling chimes as well as kicks & snares to talk about hating it when people act suspect. “Of Course It’s Me” by Ty Farris happens to be synthesizer/boom bap crossover boasting that both of them be unstoppable leading into “Hooligan Music” by Da Flyy Hooligan hooks up a flute over kicks & snares providing a theme song for the hoodlums.

“Y’all Clowns” by Celph Titled & Psycho Les after an interlude finds the 2 getting in their hardcore bags over a quirky boom bap beat just before “Gracious” by SmooVth cooking up more synths with kicks & snares explaining that his state of mind is hurtful. “The Garden” by Timbo King keeps it rugged clarifying this that different taste but after another interlude, “Feeling Brolic” by Recognize Ali & Vangarde takes the symphonic boom bap route feeling like they have a extremely muscular physique. The final “Deity” by Raze the Ratchet prior to the outro ends the album heinously calls for him rappers to face scrutiny.

Almost 2 years later & Death Wish is still one of my favorite producer curated LPs that I’ve heard in recent memory, so that was more than enough to have me anticipate hearing what Stu was gonna do with the sequel & I enjoy it as much as the predecessor. Only a couple weak guest performances like last time, but the boom bap production still hits hard & a majority of those who take the mic rip it up.

Score: 4/5

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Meechy Darko – “Doses” review

Brooklyn emcee Meechy Darko is returning with a brand new EP of solo material. Starting as 1/3 of the trio Flatbush ZOMBiES with his childhood friends Zombie Juice & Erick the Architect, they would go on to release a couple mixtapes & albums together throughout the previous decade all to critical acclaim before focusing on solo careers since their debut EP now, more than ɘver… came out a few summers back. Meech was the first up at bat with a full-length executive produced by Dot da Genius last summer called Gothic Luxury which es solid in it’s own right, but is looking to hold fans off until an upcoming sophomore effort with Doses.

“This is Doses” starts off the EP by promising to never overdose over a cloudy trap instrumental whereas “360° Resurrection” keeps things atmospheric stripping the hi-hats talking about trippin’ with drugs all in his system. “Falling…” gives off a psychedelic vibe instrumentally explaining that the good keeps dyin’ younger & all these evil motherfuckers continuing to live just before “No, Thyself (Paranoia)” featuring Nyck Caution finds the 2 over a drumless loop talking about how they know the message once the acid hits & Nyck hooking dude up with what could possibly be my favorite guest appearance on the project personally.

“The Slaughter” details calling Meechy’s grandma clutchin’ on the Bible over a jazzy ass beat leading into “HELLalujah” talking about being unable to serve money & God over an excellently crafted trap instrumental from Kirk Knight. “LASTNITE (Confessions of a Pussyholic)” featuring Anthony Flammia goes for a tranquil vibe thanks to Erick the Architect tackling the themes of sex while “That, I Could Live Wit” woozily talks about being different following his father’s passing. “TheWorldAlreadyEnded.” though happens to be a piano-driven closer burning money in the apocalypse.

I still prefer Gothic Luxury by a hair but regardless, Doses holds off finely until Meech is ready to unleash his sophomore effort into the world presumably another year from now. Yes the production on that previous LP is a bit stronger, it’s that the honesty Meechy showed throughout the predecessor which made it so enjoyable makes its way over here

Score: 3.5/5

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Tha God Fahim – “Tha Supreme Hoarder of All Pristine Wealth” review

Atlanta, Georgia emcee/producer & Tha Dump Gawd himself Tha God Fahim is back with the 20th 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 & his last EP Dump Gawd: Rhyme Paysproduced by Mike Shabb. But 6 months later, Camoflauge Monk is behind brought in to help tell the story of Tha Supreme Hoarder of All Pristine Wealth.

The title track starts off the album is a drumless opener with some synthesizers talking about being his own worst critic whereas “Crisis” goes for a hypnotic groove instrumentally cautioning for haters to act right since it’s duck season. “Big Money Talk” gives off a jazzier flare to the beat admitting that he doesn’t want to get into the literature because they see inferno when he raises the temperature, but then “The Learning” triumphantly professes everything that he’s learned up to this point.

“While You Hear” goes for a mellower approach sonically advising everyone that’s tuning in to value their time referencing 10-time WWE world champion, 2-time WWE Intercontinental Champion, 5-time WWE Tag Team Champion & $7 Productions co-founder The Rock leading into “Doubloons” being compared to as the fastest man alive when dumpin’ over a cloudy instrumental. “Lone Warrior” works in these pianos chords comparing himself to exactly that just before “Manifestin’” returns to the boom bap talks about another day of being a living legend.

Approaching the final leg of the LP, the penultimate track “Dry Ice” blends these mellow synth leads with kicks & snares sounding like it could be played during an [adult swim] bumper discussing doing the same thing differently every single day prior to “Da Bottom” closing out the album on a twangier note talking about turning his pain into commas & living his life with nothing but honor.

It’s been a while since we’ve last heard from the Dump Gawd since he was dumpin’ like crazy at the beginning of the year, but it’s great to see that Nature Sounds is helping him & the most underrated Heartbreakers member in Camoflauge Monk return like it was nothing because this is a strong full-length from Fahim. Monk’s production is a bit versatile compared to some of his past material with the Dump Gawd & the latter sounds recharged on the mic.

Score: 4/5

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RJ Payne – “The Barbershop” review

New York emcee & revered battle rapper RJ Payne formerly known as Reign Man back with his 9th EP. Building up an extensive solo catalogue for himself with 23 mixtapes as well as well as his last 7 EPs & 4 full-length albums. Benny the Butcher even signed RJ to Black Soprano Family Records for a brief period of time, putting out some of best material like Leatherface & Square Root of a Kilo under Benny’s ever-growing indie label of his own. However, My Life’z a Movie produced by Stu Bangas quickly became my favorite LP in RJ’s discography celebrating it’s 1-year anniversary last weekend & to come off the moderately well received P.A. Dre-produced sequel last month, Enemy Soil Entertainment in-house producer C-Lance is teaming up with the Reign Man for a trip to The Barbershop.

After the “Barberchair” intro, the first song “Uninspired” explains his reasons for inspiration being at a low currently over a luxurious boom bap instrumental whereas “Already Rich” works in some glamorous keys talking about being rich spiritually. “Man Child” gives off a somber vibe musically coming to teach & rebuild the love, but then the piano-driven “The Ghost of Kevin Samuels” gives his flowers to the late controversial internet personality going on to say that we need to look into the mirror & get our shit together.

“Losing My Religion” has a crooning soul vibe to it telling y’all to consider him to be a hoodlum with a mission while “Slave Food” cautioning those who’ll use food as a weapon as he’s been noticing it since the recession. But until the “Barberchair” outro, the final song “Conspiracy Theories” prays that every day will get better being well aware of what the government’s hiding over some kicks, snares & an luscious backdrop.

If My Life’z a Movie is RJ’s best album, then there’s no question in my mind that The Barbershop will stand the test of time as my favorite EP of his because I went into it expecting it to be an LP but they still delivered on the same caliber as that Stu Bangas-produced album. Conceptually, RJ takes the listeners through a trip experience feeling as if you’re at an actual barbershop & the score that C-Lance cooks up is incredibly consistent.

Score: 4.5/5

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Slump6s – “Exodus” review

Sophomore full-length LP from 18 year old Rochester up-&-comer Slump6s. Ever since the pandemic, he’s built a name for himself in the rage/drill scenes by releasing a total of 10 EPs & a debut album up to this point. However, he’s returning over a year later after Genesis by taking us through his Exodus.

The intro is a futuristic trap opener dropping braggadocio whereas “Habits” featuring Dvertigo finds the 2 keeps things cloudy so both of them can talk about how every day is a new mannerism to them. “Sex” takes a more atmospheric approach instrumentally from CXO & che struggling with the problem of too many hoes to pick from as far as the one he wants to smash, but then the riot-inducing “Often” talks about falling in love with the crosshairs & hanging with the dogs.

“Solid” blends these finger snaps & a UFO-like backdrop keeping it exactly that just before “Tags” hooks up these synths & hi-hats to talk about how he didn’t come this far for no reason. “YSL” wavily detailing a chick that wants all of him & debating on whether or not he should go for the kill leading into quasi-quirky “Frontline” talking about turning up in the AM.

Meanwhile, “Karma” spaciously acknowledges that destiny be watching everything he does prior to “Nicki” shooting for a playful sound comparing this hoe that he with to Nicki Minaj herself. “Flu” featuring OsamaSon is a favorite of mine as both of them energetically boast while the cavernous “Issey” talking about going global.

“Gotchu” nears the end of the LP by singing with heavy auto-tune over an electronic beat & the closer “Amore” rounds out the album by vigorously talking about being the king of the hill. The booming bonus cut “$$$” however truly saves things for last telling a bitch straight up that she doesn’t have a clue of exactly what the fuck he’s been on.

Genesis & even some of the features that I’ve heard Slump on up to this point have shown me that there is in fact potential in him even though that & his EPs are more moderately received compared to his debut tape Origin, but I think we get a look from him on a new level with this sophomore effort. The production’s better & he’s displaying his versatility more.

Score: 3.5/5

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H.A.R.D. – “Prosper” review

Hardcore super-duo H.A.R.D. returning for their 3rd full-length LP. Consisting of Joell Ortiz & KXNG CROOKED, both of whom have had notorious label issues at the start of their careers, but would go on to see success as members of the supergroup Slaughterhouse along with Royce da 5’9” & Joe Budden from the late 2000s up until the mid-2010s. The quartet had quietly disbanded in 2016 after Joe’s retirement from making music even though it wasn’t confirmed until 2 years later, but the other 3 members have been keeping themselves busy ever since. H.A.R.D. introduced themselves a couple months after the pandemic hit with an incredible eponymous debut EP along with 2 full-lengths last year: The Rise & Fall of Slaughterhouse and Harbor City. But coming off JFKLAX, they’re now looking to Prosper.

“The Tale of 2 Cities” is a groovy boom bap opener talking about coming from Brooklyn & Long Beach respectively whereas “Still” smoothly makes it known that both parties are out here grinding. “Dodgers 2” works in a sample, kicks & snares for a sequel to “Dodgers” off their latest EP just before & “War Outside” blends these strings with hi-hats to describing the harsh realities of the streets.

Moving on from there, “Sunroof” hooks up this alluring vocal chops from The Heatmakerz explaining why be so calm in the booth leading into the soulful title track as Crook & Yaowa come from a more introspective side of things looking live on & live long. “Wife Her (Snipe Her)” groovily gets romantic promising that no man could compete with them while “W.I.F.E.” blends these jazzy horns & crooning samples talking about having no one to grow with ‘cause they don’t know shit.

“Black Tie Affair” continues to push towards the end of the Housing Authority Rap District’s 3rd album returning to the boom bap boasting their top dog mentalities sipping champagne & lighting a cigar up until the soulful “No More” ends the album no longer staying humble paying homage to “Back in the Day” by Ahmed during the hook.

Harbor City & JFKLAX are still both enjoyable projects, but I know both of these guys can put out another body of work that’s on par with self-titled or Rise & Fall of Slaughterhouse because they continue to show it a year & a half later. They’re both veterans & still have chemistry that’s no question, I just think they need more consistent production much like how Signature was better than Autograph itself.

Score: 3.5/5

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