Paul Wall & Termanology – “Start Finish Repeat” review

This is the 2nd collaborative LP between Paul Wall & Termanology. One hails from Houston, Texas & the other coming straight out of Boston, Massachusetts. However, both of them have been holding it down for the culture for the past 2 decades with their insane work ethics & albums like The People’s Champ or Politics as Usual. They’ve worked with one another a few times within the last couple years & are took their chemistry to new heights with Start 2 Finish, so it was enough to have me anticipate the sequel Start Finish Repeat.

“Wall Paper (No Chit Chat)” is an angelic boom bap opener produced by Statik Selektah getting on that grind time whereas “Palm Trees” featuring AZ takes a more summery route from the slick instrumental to the lyrics about being fresh out the coupe after traveling high. “It’s Magic” featuring CL Smooth goes into funkier territory doing this with no apologies whatsoever leading into “Houston BBQ” featuring Bun B returning to the boom bap thanks to Large Professor providing an anthem for you to cookout to in the 713.

Moving on from there, “Talk About It” weaves this groovy sample with kicks & snares dropping smooth braggadocio just before “Positive Vibes” featuring Tony Sunshine of the Terror Squad gives off a glossy boom bap edge to the beat getting in their positivity bags. “Do It for the Ghetto” featuring Big K.R.I.T. works in some pianos & hi-hats so all 3 of them can join forces to write a ballad dedicated to the streets, but then “Got It Made” featuring Peedi Crakk of State Property discusses the way they living over an airy instrumental from Diamond D of the Diggin’ In The Crates collective.

“Blue Bill Bandit” compared themselves to thieves when it comes take $100s over a flute-tinged boom bap beat from Buckwild while “Smoke Somethin’” featuring Sheek Louch incorporates a soul sample courtesy of JR Swiftz talking about smoking weed of course. “Leather Recliner” is a synth-laced late night cruiser to bump riding with the top down while “No Apologies” brings back the Trill O.G. Bun B for a glamorously dusty joint about how they gon’ have to bring an army to take theirs.

To start the final leg of the duo’s 2nd collaborative effort, the penultimate song “Real Life” gives off a jazzier flare musically giving y’all a look into their actual lives & the title track featuring NEMS fresh off his Scram Jones-produced major label debut Rise of the Silverback rounds it all out with Cartune Beatz keeping the jazz influences in the picture bringing some kicks & snares into the fold so all 3 emcees can make it known to everyone listening with only minutes left that they back at it.

Start 2 Finish was a cool look at the Boston & Houston emcees gelling with one another, but this sequel over here is on par & even has it’s highs that’re higher than the last collab album was a year & a half ago. The production is generally based in Term’s east coast boom bap roots, but he & Paul are both spittin’ at an exceptional caliber together & the feature list is consistent on top of it

Score: 4/5

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BigBabyGucci – “When U Wake Up” review

This is the 3rd full-length LP from Charlotte, North Carolina recording artist BigBabyGucci. Getting his start in the summer of 2016 off his debut EP ART HOE Collection, he would continue to build a name for himself by putting out 18 more EPs as well as his last couple albums & a mixtape along the way. But coming off both his last tape Homesick & the sophomore LP Colors during the first quarter of the year, BigBabyGucci’s returning in time for Friday the 13th to drop When U Wake Up almost a month after Je’Von Evans became the youngest DPW Worlds Champion.

“Stargaze (Maniac)” is an electro hop opener à la Ye or formerly known as Kanye West asking if he’s crazy as fuck comparing his cougar to the late WWE Hall of Famer, former WWE Champion, 2-time WWE United States Champion, 2-time WWE Intercontinental Champion, 4-time WWE Tag Team Champion, 2-time WWE Cruiserweight Champion, 2-time ECW World Television Champion, IWA World Champion & AAA Mundial Parejas Campeon Eddie Guerrero whereas “No Favors” works in some pianos & hi-hats talking about being unable to do any sort of favor for anyone. “Drug Bender” goes into psychedelic trap territory to give those who like to get a little too fucked up something to vibe to, but then “Feel This Way” triumphantly admits to everyone listening that he truthfully hasn’t felt the way he does in quite a minute.

Continuing forward, “Pecan Pie” blends these horns & hi-hats looking back on the days when he used to have to rob just to get by & make it through the struggle alive leading into “Early Bird” draws from 808s & Heartbreak for an electropop ballad about talking about how he can’t trust anyone yet he never learns. “Kapitol” weaves these pianos & hi-hats for an 85 second cut repping the titular clothing brand just before the synth-laced trap “Like I’m Famous” talking about the way this chick treats him.

“Ken Doll” goes for a bassy, atmospheric approach asking this Barbie if she genuinely hates him while the wavy “Seance” talking about he how he just had to lay someone down really badly because he was snitching to the feds. “The Brand” hooks to a somber loop & hi-hats discussing the fact that people be spending all the money they have not saving any for themselves in the end at all while “Midnite” gives off a jazzier edge to the beat interestingly talking about being high late at night.

On the other hand, “Product of a Playa” gives off a rage-inducing vibe instrumentally telling what it’s like to be an artifact of a hustler while “The Rush Before the Fall” dives back into the electro hop sound talking about being unable to miss his shot if he were to take it. “Bombay” intoxicatingly describes this chick wanting a night off while “Codeine Love” is an energizing dedication to sippin’ lean in the midst of partying out with others.

“The Madness” happens to be the last before the closer nearing the end of the album hopping on top of a cloudy ass beat talking about being so high that he’s looking over at the insanity & to close out the LP, it’s only feature Sik-K joins BBG for “Graveyard” wrapping it all up on eerie dark synth hop note providing some wicked imagery appropriately since it’s Friday the 13th & Halloween’s coming up.

I’ve been hearing about dude since this past spring when Colors & I can definitely see why people have been telling me to check him out because I enjoyed When U Wake Up as an album. He’s incredibly versatile primarily basing himself in the pop rap/trap styles with an clearly obvious Kanye influence & some rage undertones with catchy songwriting/performances.

Score: 3.5/5

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MIKE – “Burning Desire” review

This is the 5th full-length LP from Livingston, New Jersey emcee & 10k Global founder MIKE. Breaking out in 2015 off his debut mixtape Winter New York, he would continue to make a name for himself by churning out 4 more tapes as well as his previous 4 albums & 8 EPs full of amongst the finest abstract hip hop that you’ll hear within the last decade. Standouts include May God Bless Your Hustle, War in My Pen & even the collab effort with Wiki from last month Faith is a Rock entirely produced by The Alchemist. So considering the latter, I was highly looking forward to Burning Desire.

After the “Intro with Klein”, the first song “Dambe” truly sets off the album with a cloudily self-produced instrumental dreaming of taking over the city much like one of the greatest movies of all-time Scarface whereas “Zap!” works in a glossier sound so dude can show off his hypnotizing aura. “African Sex Freak Fantasy” goes into industrial turf for about 75 seconds talking about how there ain’t nothing like him talking tough on some g shit that us until “Snake Charms” hooks up a soul sample discussing the loneliness he feels after being unable to glow where he fit it.

Earl Sweatshirt’s guest appearance on “Plz Don’t Cut My Wings” is my favorite off the LP as they hop on top of a symphonic beat to pleading to not have their wings cut off at all but then after the “Real Love” interlude, “U Think Maybe?” fuses elements of soul & jazz getting on the romantic side of things conceptually. “Zombie” returns to the cloudy boom bap telling everyone that you can imitate his still even though they’ll never thank him for it, but then “Set the Mood” gives off a psychedelic edge to the beat getting the fun started.

“Billboards” has these incredible guitar licks throughout the instrumental talking about seeing how it is now that he’s made it to the charts these days hanging out with some bigger names while “‘98” dives back into jazz rap turf boasting that eyes stay dilated because of the za that he blazes. “Do You Believe?” though gives off a hazier sound declaring himself to be the outlet & that he be around while the title track gives off a mellower vibe musically looking back on those who used to say he was buggin’ & seein’ numbers now.

To start the 2nd leg album of the album, “They Don’t Stop in the Rain” gives off a warmer feeling to the beat talking about how people tried to switch up on him & betray him while “Baby Jesus” flips another soul cut calling out idle minds turning into demons after running around for a significant amount of time. “Ho-Rizin’” brings back the synths telling everyone of the kinda women he has while “Mussel Beach” featuring El Cousteau & Niontay cinematically talking about his heart broken realizing she only loved him for the paper.

“16s” has this melodic vocal loop staying yo to write verses nonstop & after the “Should Be!” interlude, the piano-driven “What U Say U Are” talking about how he needs to take a deep breath. Larry June has my 2nd favorite feature on the album with “Golden Hour” over a high-pitched flip both spitting charismatically. After the “Playtime” interlude, “Have a Ball” ends the LP in a bluesy fashion saying he doesn’t need to decide when not fighting fair.

Now for those of you who’re new to MIKE coming fresh off Faith is a Rock, then there’s no doubt that you’ll come away from Burning Desire enjoying it as much if not more than that collaborative album we just got from him a month ago. He covers some new themes in the conscious abstract fashion that he’s known for with his production refining his experimental hip hop, jazz rap & cloud rap styles by incorporating elements of hypnagogic pop & even vaporwave.

Score: 4.5/5

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O.T. the Real – “Zombie” review

This is the 5th full-length LP from Philadelphia emcee O.T. the Real. Starting up in 2016 after coming home from prison & dropping his debut single “Papercuts”, his profile began to grow from there after showcasing his skills on radio stations as well as his a discography currently consisting of 4 albums accompanied by a mixtape & 7 EPs up to this point. Standouts include the Heatmakerz-produced 3rd EP The Irishman, the DJ Green Lantern-produced 3rd album Broken Glass that dropped on my 25th birthday & his previous LP the Statik Selektah produced Maxed Out. I haven’t covered his music since then but he’s dropped his debut mixtape No Matter What & a total of 3 EPs: Desperation of December, It’s Almost Over & Red Summer. All of which were hit or miss for me personally so when it was announced that O.T. was finally signing to Black Soprano Family Records/MNRK Music Group & enlisting araabMUZIK to fully prelude his debut for the Buffalo indie label Zombie, it raised my expectations significantly.

“If They Coulda, They Woulda” is a rugged 103 second boom bap opener having all the perfect samples of the dope that he be producing whereas “Turning Stones” shifts gears into trap territory dedicating this to all his homies who got it their own way. “The Crown” featuring an opening verse from Benny the Butcher & Elcamino on the hook lavishly talks about wearing the titular object on their rollies leading into the spacey trap flavored “Strong Survive” talking about only those who have strength will prosper.

Conway the Machine slides through on the jazzy “Just Different” cautioning that it ain’t the same when it’s you being the one to come & get, but then “Certain Things” featuring 38 Spesh addresses specific topics that they don’t even talk about over an eerie loop hooked up with these kicks & snares. “Ice Baby” takes a groovier route instrumentally working in some hi-hats too showing how he hits it with the ice just before “Blood Stains” featuring Rome Streetz drearily returns to the boom bap talking about having to wash the streets to remove the stains from it.

“Whole Shabang” featuring Amir Ali is an alluring trap start to the final leg of the LP comparing this music shit to the coke exchange prior to the trillwave-inducing “Anemic” featuring LIHTZ talking about how homie only had 1 life & he played with it rather than just staying with it. “JJ Reddick” picks things up comparing himself to the Orlando Magic player of the same name over a glamorous boom bap beat that is until “Fade Away” ends O.T.’s debut with B$F on a dreary note with kicks & snares talking about how you never know when death’s gonna aim your way.

As someone who started following O.T. about 2 & a half years ago when The Irishmen dropped, Zombie is his strongest project since Maxed Out & easily one of the best to come out of the Black Soprano Family camp this year as he is a more than welcoming addition to the roster. araabMUZIK’s production is noticeably more consistent than the mixtape & trilogy of EPs we’ve gotten from O.T. in the last couple years as they go down to the streets with one another to match their intensity.

Score: 4/5

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Ken Carson – “A Great Chaos” review

Ken Carson is a 23 year old recording artist from Atlanta, Georgia breaking out in the SoundCloud scene & becoming a protege of local trailblazer Playboi Carti as one of the first artists to sign to the latter’s newly founded Opium Records. He would go on to drop a total of 5 EPs prior to his full-length debut Project X couple summers back & coming off the mature sophomore effort X over a year ago already which Anthony Fantano infamously gave a 0. However to commemorate Friday the 13th being in October this year, Ken’s unleashing his 3rd full-length LP.

“green room” is a rage-inducing highlight produced by F1LTHY of Working on Dying to start everything off calling out half of these motherfuckers out here that ain’t never seen shit whereas “jennifer’s body” talking about his bitch being a hottie interpolating “Good Riddance” by Green Day over some hi-hats & fuzzy synths. “fighting my demons” keeps it rolling with a hypertrap, cloudy 2-parter from Outtatown smokin’ on kush & looking to triumph mentally, but then “singapore” featuring Destroy Lonely keeps the rage beats in tact flexing in the titular country.

Meanwhile, “lose it” goes for a bombastic approach instrumentally confesses that he feels like he’s going to snap at any moment leading into “hardcore” talking about going gore on top of this set of booming sub-bass & hi-hats. “Me n My Kup” gives off a psychedelically vibrant atmosphere making it known he’s the only one up in here with his cup by his side just before the shrilling trap banger “it’s over” talks about his pants falling because of carrying too many racks on him.

Lone returns alongside Lil Uzi Vert for “Like This” jumping over a futuristic instrumental with some hi-hats showing y’all how lit it can get while “succubus” goes for a distorted sound courtesy of a returning F1LTHY behind the boards talking about a bitch he knows that’s going straight to Hell without a doubt in his mind. “Paranoid” featuring Destroy Lonely wipes “singapore” from F1LTHY’s rage beat to discuss the paranoia that both of them face while the glitchy “pots” talks about curving someone’s girl until he saw the way she twerk.

“overtime” continues to scathingly diss those who be frontin’ that they killed people or having swag when they never did over some rattling hi-hats while “vampire hour” takes a cloudier approach sonically dedicating this one to all the vamps that’ve been in the building. “nightcore” perfectly lives up to it’s starting off with a nocturnal trap beat clarifying they ain’t shooting shit like Julius Randle, but the 2nd half has a cavernous tone to the instrumental talking about the way she move.

If you couldn’t already tell by the title of “rockstar lifestyle”, we have Ken giving everyone a look into how he’s living these days promising to never sell his soul whatsoever over a rubbery trap beat prior to the pop rap/rage hybrid “i need u” serving to be a good choice for a single & a closer exhibiting his unrequited love for his girl on top of continuing to brag about his lifestyle for the last time.

“loading” starts the deluxe run on some plugg shit to talk about the only thing he fears of is having his heart broken while “more chaos” keeps the icy synths & hi-hats in tact continuing the chaos. “toxic” has more of a hypertrap approach to talk about an evil bitch while the rage-inducing “leather jacket” likens himself to a biker. “mewtwo” jumps over synthesizers & hi-hats comparing his girl to the titular Pokémon while “s.s. (sydney sweeney)” energetically pays tribute to the titular actress. The glitching “overseas” serves as the final bonus track talking about beatin’ muhfuckas like Creed.

I’ve maintained that Lone is the most versatile Opium signing out of the 3 acts that Carti’s taken under his wing, but A Great Chaos happens to be an improvement over X as solid as that previous album was compared to his debut for it’s maturity. The production expands on the signature hypertrap sound that he’s made himself known for & another favorite thing about it for me is the simple fact that it’s significantly more darker than the previous LP was.

Score: 3.5/5

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Sleazy F Baby – “Blaxploitation” review

Sophomore effort from Manchester, England, United Kingdom emcee/producer Sleazy F Baby. A member of the Cult of the Damned collective, he would sign to Blah Records in 2016 & make his full-length debut that year with All Blahk Tracksuit. He would also form the Super Sag Bros with Black Josh in the summer of 2020 during the COVID-19 pandemic, enlisting Cambridge producer & Melonskin Records founder Dirty Dike from Contact Play to solely handle all the production for Sleazy’s equivalent to an audio Blaxploitation film.

“Lethal Weapon 5 (Swine)” aggressively begins with this secondary electronic influence to the beat talking about being mentally sick & not taking his meds whereas “S.W.M.D. (Sex, Weed, Money & Drugs)” dabbles with trap instrumentally breaking down those 4 subjects. “Sleaze” takes the boom bap route talking about part of his strength including him fucking up shit just before “Get Fucked Up” keeps it rugged sending a straightforward message to any lyrical opponent who dares to step against him.

As for “Pot to Piss”, we have Dirty Dike getting back in his trap bag behind the boards & Sleazy F talking about taking everything except counterfeits leading into “Pussy Whip” ends the 1st half portraying a more lustful side to the Cult’s sleaziest link. “Dip” kicks off Blaxploiation’s other act explore more themes of sexuality except there’s a more energetic approach to it than the previous track while “Bludclart” angrily talks about the gangsta lifestyle.

“Oscar” spends 86 seconds back in the basement hitting more uppercuts than Sugar Ray Leonard while “Big Pippen” references Scottie Pippen whilst putting himself inside the shoes of a pimp. After the “Jesus” interlude, “LA LA LA” takes a few minutes to tell us a “True Love Story” accompanied by a sully boom bap beat & “She Ain’t Yours” finishes Sleazy’s long-awaited 2nd album on a funkier note talking about people acting like they’re officially in relationships when that couldn’t be any more false.

Being a fan of Dirty Dike since his time with High Focus Records a decade earlier, hearing that he was fully producing Blaxploitation gave me the impression of it reaching the same bar Sleazy F Baby’s debut had set & I’d say that goal has been achieved. The production balances boom bap & trap for a great deal of the 38 minutes you get out of Sleazy’s return, handling the verses by solely himself rather than having some of his Cult brethren joining him with all respect to the Damned of course.

Score: 4/5

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Black Josh – “Today’s the Day” review

Here we have the 4th EP from Manchester, England, United Kingdom emcee/producer Black Josh. Known for being a member the Cult of the Damned & LEVELZ collectives as well as 1/2 of the B-Movie Millionaires, he would make debut over a decade ago off an eponymous EP & the full-length debut Blick Flair’s Ape Mountain until signing to Blah Records. He went on to drop 6 more albums & a couple more EPs under the London label, celebrating Friday the 13th in no better fashion than Today’s the Day.

“Habitat” was a dark, occasionally crooning boom bap intro coming out the gate with unapologetically hardcore penmanship whereas “Doolally” works in an organ sample mixed with kicks & snares talking about driving people crazy. The title track dustily finds himself ready to catch up to the money & the paper chase while “Vince Carter” featuring Da$h references none other then the greatest Toronto Raptors player of all-time himself over a symphonic boom bap beat.

Sonnyjim joins the B-Movie Millionaires on “E R M8” continuing the last leg of Today’s the Day bringing all 3 artists together hauntingly leaving heads spinning harder than The Fresh Prince of Bel-Air’s intro & after “Close to the Edge” maintains a boom bap vibe instrumentally talking about him feeling like he’s on the verge of slipping homaging the late DMX in the midst of it, we get hit with a soul sample & Josh letting the people he has in mind know he’ll “Pray” for them.

I wouldn’t put it above Smoking Kills regarding the extended plays in Black Josh’s discography, but Today’s the Day is definitely the most I’ve enjoyed a solo project from him since Mannyfornia. Rather than continuing to delve deeper into some of the most vulnerable material throughout Josh’s career much like Heartbreak Hostel did, the latter’s wordplay & the grimier production are enough to please any hardcore hip hop fan.

Score: 3.5/5

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Westside Gunn – “And Then You Pray for Me” review

Westside Gunn is a 41 year old emcee, songwriter, entrepreneur & curator from Buffalo, New York proving his legend status & that he’s to be a force to be reckoned with all in only the span of 8 years whether it be running one of the hottest hip hop labels in recent memory to his first 2 full-lengths FLYGOD & Supreme Blientele. Last we heard from West was the 10th & final installment of his infamous Hitler Wears Hermes mixtape series last fall only 3 days before Halloween, but is making his 7th & final official LP a sequel to his 4th one Pray for Paris over 3 & a half years ago already.

After the “FLYGOD DiD” intro, the first song “Mamas PrimeTime by Hall ‘N Nash featuring J.I.D is a dusty boom bap opener produced by Beat Butcha & Mr. Green boasting about how devine they are whereas “Kostas” by Griselda goes into trap territory thanks to Tay Keith including a bar about the Indiana Jones franchise owned by The Walt Disney Company subsidiary Lucasfilm. “1989” featuring Stove God Cook$ finds the 2 turning up 36 ounces in public housing even though Westside’s chopped & screwed verse is distracting, but then “Suicide in Selfridges” works in a hazy loop with kicks & snares courtesy of Conductor Williams so DJ Drama can help welcome y’all to the new golden era.

Stovey returns for the orchestral “Kitchen Lights” explaining that the wrists be shining differently leading into “FLYGOD 2x” flexing the fact that he can get anything these days over a lo-fi boom bap beat. “DunnHill” featuring Rick Ross finds the 2 over more trap production making it clear that the protocol is to hit everybody just before “House of Glory” named after the Amazing Red & Brian XL’s independent circuit wrestling promotion of the same name that Westside Gunn & Master P have invested themselves into has a beautifully classy RZA instrumental flipping Gladys Knight so West & Stove God asking what they’d have to weigh it for since it’s all good.

Estee Nack joins Westside & Stovey for “JD Wrist” over a futuristic trap beat from FLYGOD Jr. with additional vocals from DJ Trap-A-Holics cautioning not to trip like this while “Disgusting” featuring Giggs keeps the spacey vibes going with some hi-hats in the mix with a bar about The Simpsons trademarked by The Walt Disney Company & on the Fox Corporation’s flagship property. “Chloe” luxuriously returns to the boom bap provided by Denny LaFlare getting his romance bag while “LL Bool Gunn” finds West singing over some keys & hi-hats paying homage to LL Cool J himself.

“Babylon Bis” featuring Stove God Cook$ has a sumptuous boom bap quality to it that JR Swiftz hooked up talking about them knowing their drug of choice prior to “Ultra GriZelda” featuring Denzel Curry justifiably boasting that they be running shit up over a cloudy trap beat. “Jalen Rose” featuring Boldy James looks at Daringer pulling off an eerie trap vibe showing off their globetrotter statuses while “Steve & Jony” featuring EST G compares themselves as the Steve Jobs & Jony Ive of the streets over a woozier instrumental.

Jeezy slides through on the energizing “Mr. Everything” to drop some braggadocio in their own respective styles while “Freddy Js” featuring Detroit trap star Peezy finds the 2 over some piano chords talking about their eastside roots. “The Revenge of the Flips Leg” featuring Rome Streetz brings back the kicks & snares showing respect to Eastside Flip, but the title track featuring KayCyy closes out West’s last LP on a peaceful & beautifully sung note.

Pray for Paris is easily one of my favorites from the FLYGOD, so to hear And Then You Pray for Me as a counterpart makes a noticeable change in sound. The production’s more based around trap music even though he doesn’t abandon his boom bap/drumless roots at all as he pulls inspiration from all across the world by bringing a humongous list of guests with him throughout the journey.

Score: 4/5

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The Hoodies – “Hidden Gems” review

Brand new full-length debut LP from Ellenville, New York duo The Hoodies. Consisting of siblings E-Class & Young Poppa, these guys have been taking over the local underground scene for the past 6 years off the strength of their debut mixtape Blood Thicker as well as a couple EPs both Where Should We Land & more recently What Pressure Makes this past spring. However, they’re enlisting pioneering DJ/producer/emcee Kid Capri to unearth some Hidden Gems.

“We Don’t Play Around” is an atmospheric opener to the album by letting it be known that neither of these guys be fuckin’ around getting back in the zone whereas “Monster” works in a rugged boom bap instrumental getting on their demon time. “My Brother” takes a more orchestral route talking about their actual brotherhood, but then “I’m Hot” has a bit of a funky groove to it with these kicks & snares flexing their rapping prowesses.

Meanwhile, “Wish List” featuring Fooks has a mellower approaching bringing some hi-hats into the fold encouraging y’all to take a ride with them just before the vibrant “Big Stepper” talks about their big dog statuses. “Top of N.Y.” draws inspiration from the Brooklyn drill scene a bit saying there ain’t no reason to talk leading into “War” returning to the boom bap advising they don’t want beef.

“In My Bag” keeps it rugged g tying in their element a big while “Ride with You” is a smooth ballad getting on the more melodic, sensual side of things. “Let Me Show You” featuring Henny da Don on the hook smoothly talks about coming up from the hood with each other & “Who Am I?” is a soulful closer to the LP moving properly as opposed to moving with the ops or the feds.

These guys have been renowned for their commentary on social justice hence their name, but Hidden Gems is bound to turn more heads onto them because this is the finest body of work that they’ve given us to date. Kid Capri’s production is mostly grounded in the traditional boom bap sound with a healthy dosage of pop rap & Brooklyn drill undertones as E-Class & Young Poppa deliver the strongest performances of their career.

Score: 4/5

Samson Samson – “Bye-Fi” review

This is the 2nd EP from Hampton, Virginia rapper Samson Samson. Introducing himself a decade ago by releasing his debut EP Regret, he would return last spring by releasing the full-length debut studio album Beforecore flooded with guest appearances on nearly half of it, signing to Dirtcore Music exactly a month later & embodying everything he’s been wanting to do artistically on his sophomore effort albeit Dirtcore debut Witch Hunt celebrating it’s 1-year anniversary last weekend. But if you’re looking for Bye-Fi to recapture those vibes, you might just be disappointed.

“My Place” opens with a lo-fi trap intro with a cloudy remix from his Bodies Below Sea Level cohort Crossworm later on that I personally find myself gravitating to more talking about there being a little bit of evil his dreams whereas “E-motion” responds to those calling him emotional over a downtrodden boom bap instrumental. “Darker Coat of Paint” blends lo-fi hip hop & emo rap together suggesting he should’ve listened to himself when he said he wasn’t ready while “Compatible” expresses hope of finding someone who can turn it around when they’re both hurting. Fittingly, the title track ends with Sammy addressing an ex by telling her they weren’t meant to be.

Rather than continuing the horrorcore themes of Witch Hunt last fall, Dirtcore’s inaugural signing switches it up entirely taking accountability for himself & learning not to move on from a relationship so fast. The production’s prominently more lo-fi & the heavily emo subject matter spreads the lesson he’s learned, which is that love gets fickle when you dive into it quickly & says his farewells to something that was never going to work with the hopes of those listening say goodbye to things that we as people have wanted to sort itself out regardless if we have yet to realize that it won’t.

Score: 4/5

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