Lil Tecca – “Tec” review

This is the sophomore full-length album from New York rapper, singer/songwriter, producer & Galactic Records founder Lil Tecca. Blowing up in 2018 after signing a distribution deal with Republic Records & the viral single “Ran$om”, it would later be included on his debut mixtape We Love You Tecca that same year & would receive lukewarm reception although it’s truthfully grown on me a tad bit over the course of time. His debut LP Virgo World was released during the pandemic & is widely considered to be the weakest entry in his discography. The last time we heard from Tecca was a couple summers ago when Internet Money Records founder Taz Taylor executive produced a worthy sequel to We Love You Tecca & is looking to give a listeners a closer at Tec.

“Yves” is a cloudy trap opener produced by BNYX of Working on Dying asking the the fuck is you on & that his shawty knows he’s a Don whereas “H.O.E. (HVN ON EARTH)” featuring Kodak Black works in a cloudy pop rap atmosphere talking about the women in their lives behind Heaven to them. “Gist” goes into plugg territory a bit courtesy of Rio Leyva & Taz Taylor feeling like they tried to stab him in the back when all he did was count the bread, but then “500lbs” blends some synths & hi-hats talking about not trusting a single thing he’s told.

On the other hand, “Fell in Love” featuring Ken Carson finds the 2 getting boastful over some rage beats just before the title track talks about regretting but not receiving accompanied by cloudier instrumental from Taz. “Salty” has a spacey, orchestral trap quality to it that Dynox provides with Nick Mira as well as Rio & once again Taz ballin’ regardless leading into the summery “Real Discussions” looks to never take this shit for nothing.

“Dead or Alive” shows off his wealth & looks back on his upbringings over a glossy instrumental while the dancehall-inspired “Want It Bad” is soured by mediocre romance-inspired subject matter. “U Don’t Know Tec” gives off a moodier vibe dissing those try to associate themselves when it only benefits them while “Used2This” talks about switchin’ hoes like switchin’ the channel over an incredibly colorful ass beat.

To start the final leg of the LP, the piano-driven “Trippin’ on U” admits he can’t change this bitch & is unwilling to do so while “Either Way” promises to never switch sides with a somewhat afrobeats inspired sound. The penultimate track “Need Me” returns to a trillwave groove keeping his day going & “Monday to Sunday” concludes Tecca’s sophomore effort by doing this shit early every day over synths as well as hi-hats from Noah Mejia.

I’m going to have to take back my previous statement when Virgo World dropped that this guy was a 1-hit wonder because as I mentioned: We Love You Tecca has grown on me with time & the sequel was cool. That being said: Tec beat the sophomore slump allegations on here because I can truly say it’s the best full-length LP to date. The production compared to the debut 3 years before is more consistent & Tecca profoundly shows us how much he’s grown up.


Score: 3.5/5

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Doja Cat – “Scarlet” review

This is the 3rd full-length album from Los Angeles, California recording artist Doja Cat. Blowing up in 2018 off her viral novelty single “MOOO!”, was followed up the next year with her debut mixtape Hot Pink which was decent as a whole despite the fact that “Say So”solidified that she wasn’t going away anytime soon. Planet Her showed some improvement compared to her previous works by delivering a pop rap/R&B concept album based around a self-originated world. However, my expectations for Scarlet were higher considering that it was confirmed to be a full-blown hip hop effort.

”Paint the Town Red” stars off the LP by pulling from snap & chipmunk soul saying what she said whereas Demons” is an underwhelming no melody trap metal/horrorcore hybrid d.a. got that dopehelped put together laced asking if bitches are shook now that her pockets are on swole. “Wet Vagina” takes a roudier approach hilariously declaring herself to be the queen of drip, but then “F.T.G. (Fuck the Girls)” comes through with a trunk-knocking instrumental from Beat Butcha charismatically giving a middle finger to the hoes hating.

Meanwhile, “Ouchies” is a 2-minute riot starter laced by London on da Track & Sean Momberger with her popping it all off referencing WWE Hall of Famer Mike Tyson just before “‘97” takes lavish route thanks to Jay Versace talking about how it looks like she genuinely doesn’t give a shit whatsoever. “Gun” moves the album forward with a cloud trap joint clarifying that she does in fact know how to use a firearm leading into the atmospheric “Go Off” flaunts the new materialism such as ice that she had recently acquired.

“Shutcho” ends the first half of the LP with a dreamier instrumental calling out those who be running their mouths nonstop while “Agora Hills” blends these hi-hats & icy synths getting on the more romantic side of things conceptually. “Can’t Wait” goes into luscious boom bap turf eager to being next to that special man in his life while “Often” gives off a funky neo-soul tone talking about this guy must do the bullshit he pulls on her quite frequently. Moving on from there, “Love Life” spaciously makes it clear that she loves when her life’s like this while “Skull & Bones” goes for a ghostly feeling sonically talking about the only thing she folds under is pressure. 

“Attention” fuses jazzy boom bap with trip hop & neo-soul courtesy of Rogét Chahayed embracing herself as she disses the people who’ve disliked & hated her for her change in appearance in the public eye while ”Balut” pulls from g-funk a little bit too comparing it to takin’ candy from a baby. The “WYM” freestyle that rounds out the new best full-length album in Doja Cat’s discography finds her kicking it off the top for a couple minutes over an orchestral loop & hi-hats.

DJ Camper’s soulful beat on “Acknowledge Me” is a good way to get the deluxe rolling hating herself when you get under her skin while “Disrespectful” talks about a hustler who ain’t getting funds over piano chords, kicks & snares. “URRRGE!!!!!!!!!!” featuring A$AP Rocky draws inspiration from the Memphis scene fighting the urge to keep gettin’ rich while the playful trap cut “OkLoser” addresses a chick who left the team. “MASC” featuring Teezo Touchdown talks about being too grown for bullshit backed by a rich trap instrumental while the pop rap/trap crossover “Piss” produced by CashMoneyAP likens her diamonds to urine & “Headhigh” mellowly ends the bonus track run talking losing faith in humanity.

Doja Cat has proven before that she could rap her ass off so when it was announced that Scarlet was going to be predominantly built around that style, I knew it had to be better than Planet Her & sure enough: it is. She delivers some of her most passionate performances to date, the production is refined compared to the last LP & I like how she ditched to features to hold down the fort all by herself.


Score: 3.5/5

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Cymarshall Law – “The Peaceful Warrior” review

This is the 13th full-length album from New Jersey emcee Cymarshall Law. Emerging back in ‘04 as part of the duo Power Man & Iron Fist alongside the late Pumpkinhead, it wasn’t until 3 years later where he branched out on his own off the full-length debut Hip Hop in the Flesh, which was followed up by the Hip Hop in the Soul trilogy & Freedom Express. He’s made a handful since, which the last one I covered being I Still Love H.E.R. couple years back. But with the 1-year anniversary of The Sorcerer’s Art Supplies coming & going over the weekend, Cymarshall’s returning as The Peaceful Warrior.

The “Warren Peace” intro is a angelic boom bap opener to the album talking about how original & different he is whereas “Burn Bright” takes a jazzier route declaring himself to be a burning sensation on the mic. “Outside Looking In” brings in more jazz horns, kicks & snares hoping better days are ahead as it’s looking grim for him right now leading into the piano boom bap infused The Orator” living up to it’s name perfectly saying just because you started your journey early doesn’t mean you have to get to the destination before them.

“Doing My Thing” gives off a groovier vibe talking about being out here doing his own shit these days prior to “The Pressure” works in some strings as well as kicks & snares talking about the pressures that he’s been dealing with in his personal life. “Find the Top” is another piano-boom bam cut saying he loves hip hop culture more than Jada Pinkett Smith loved 2Pac, but then the title track talks about being ready when the time comes over a mellow backdrop laced with kicks & snares.

Meanwhile, “Soul Mates” featuring a soulful hook from Kafeeno is a moody boom bap pop rap crossover to start of the 2nd half of the album talking to that one special woman in his life while “Competitive Man” brings it back to you raw getting on some hardcore shit. “Palm of My Hand” gets dustier sonically talking about having the game on lock while “Royalty” ends the 3rd leg of the LP with some keys, kicks & snares talking about how their spiritual intelligence could never be taken away from them.

“Speak It Into Existence” starts the 4th quarter of the album with another piano/boom bap hybrid discussing how he really spoke his good fortune into existence all from being persistent while “Lost” featuring Peter Anguira on the hook takes a dreamier approach instrumentally getting on some more personal subject matter drawing from his past. “Insecure” is another jazzy boom bap cut giving a shoutout to anyone listening who’s ever felt inconfident & “Keep Growing” featuring Talk2Francis closes out the album with both of them over a dreamy loop with kicks & snares talking about being here for growth.

Compared to The Sorcerer’s Art Supplies a whole year ago, The Peaceful Warrior is unquestionably better. Maybe even a tad bit superior to I Still Love H.E.R. the year before that. Slimline Mutha’s production ranges from jazzy boom bap reminiscent to that of one of my personal top 5 producers Pete Rock to moody pop rap with Cymarshall getting more personal on the lyrical side of things.

Score: 4/5

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Summrs – “What We Didn’t Have” review

This is the 9th full-length album from Lafayette, Louisiana recording artist Summrs. Starting out as a member of the Goonie-founded SlayWorld collective, his presence has been known predominantly in the plugg scene by constantly dropping projects whether it be his last EP What We Have or even the Fallen Raven LP, both of which I highly recommend listening to if you wanna get into his music. But coming fresh off his last couple albums Stuck in My Ways & Ghost from earlier this year, Rino’s looking to bring back the plugg elements that Ghost lacked on the official What We Have sequel What We Didn’t Have.

“Overdosing on Toxicity” sets the tone of what’s to come by telling his lover to save him & that he’s been feeling crazy over some pianos, synths & hi-hats whereas “The Healing” gives off a bouncier flare instrumentally talks about curing his soul. “Rehab” works in more synthesizers & hi-hats from Goyxrd making it clear that we all know Summrs is the MVP leading into “Feel Dumb” takes the psychedelic route a bit confessing that he’s sick of everyone showing him fake love or those who be making up their lives.

Meanwhile, “International” shows off Louiveedee’s new btich who just so happens to be nasty behind closed doors over some icy synths & hi-hats prior to the 2-parter “Playin with a Demon / Jokes on U” reminding the hoe who’s been cheating him exactly who she’s fucking with starting off playfully prior to a shimmery switch-up. “The Talk” addresses some bird business & being as dark hearted as he is backed by an atmospheric beat, but then “Xanax / Burnt Memories” talks about deserving my flowers today as opposed to when he’s no longer here to smell them over some synths & hi-hats with a bassy instrumental switch.

“Til Death Do Us Part” gives off a bit of an intergalactic atmosphere to it calling out a bitch for trying to get in the middle of his money & that she knows damn well of Rino being a player while “If Ya Wanted 2 Know” weaves these wavy synthesizers into the fold opening up about us being the reason that he goes. “Top Off” starts off by pulling up stuntin’ over a peppy instrumentally while “House Arrest” later admits that he can’t have his pole with him since he got an electronic ankle tag on him taking it back to the pluggnb sound.

“Auntie Cat” keeps the synths & hi-hats in tact paying homage to his late aunt of the same name knowing that his grandmother’s fucked up over her passing trying to get her back while the Asian rock-infused “How Dare You” talks about not dying from drank. “Martin & Gina” featuring Autumn! finds them comparing themselves & their Glocks with a switch to that of the titular couple from one of the greatest sitcoms of all-time going straight plugg while “Chasing Your High” featuring Desire encourages their lovers to stay the night since they makes theml feel right.

“It’s Nothing” marks the beginning of the end for the best album of the 3 that Rino has dropped this year declaring that he & his crew keep them Draco’s out without fucking around over a booming yet futuristic beat, but the “Spiritual” outro really wraps everything up by by drawing from regalia clarifying that he still goin’ through pain cause we were with him through everything.

What We Have is the best EP in Summrs catalog, so I went into What We Don’t Have expecting it to be his finest full-length LP surpassing Fallen Raven & that’s pretty much what we got here. The pluggnb production is more consistent than his last couple albums we’re truthfully & you can really hear the pain that he’s experienced in his voice delivering the most personal subject matter of his career.

Score: 4/5

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Izaya Tiji – “Alexandria” review

This is the sophomore LP from Ohio recording artist & producer Izaya Tiji. Emerging as a founding member of the Slayworld colllective, he would go on to build an extensive solo catalog for himself standing at a full-length debut alongside his last 22 EPs & 3 mixtapes. My personal favorite being his last previous tape Know Nothing Else 2 over 2 years ago at this point. But coming off Before Alexandria couple months ago, Izaya’s finally delivering the main course.

“Envy” is an atmospheric trap opener targeted towards those who’ve become jealous of how far Izaya’s come in his career up to this point whereas “Face Shot” takes the cloudier route boasting that he has the flash on without any cameras around the premises. “I Eat Humans” works in a shimmery backdrop & hi-hats discussing that he got Jew ties as well as giving a finger to the facists, by then “Rockt” gives off a more psychedelic trap edge this time around firing back at those who said he flopped.

Meanwhile, “Elysium” produced by SOULJASPIRITS dives back into trillwave turf talking about his own blissful heaven leading into the moody trap cut “Shy” discussing the whole concept of shyness altogether. “Can’t Stop 3” with thr6x moves forward with a triumphant tribute to the late Takeoff of the Migos who was gunned down the day after Halloween last fall just before “Cold Nights” gives off a ghostly feeling insteumentally tackling the metaphor for the feeling of isolation & detachment from others.

“Fritos” compares his white Molly to that of a hot tub & having old money sitting at the bottom of my bag looking like the titular snack over an airy trap beat while the dreamily produced “Hiccup” talking about people knowing he’s here for the big bucks & having to put back someone who got out for being too wild. “My Twins” hooks up these piano chords & hi-hats addressing an adversary he doesn’t see eye to with no more while “Simba” is a bell-infused trap cut talking about feeling like the titular Disney character.

Moving on from there, “At Last” brings back the keys & hi-hats once more saying at least he has his family with him even though he needs to kick the habit of substance abuse while the luxurious trap flavored “Empty” talking about being possessed by the money. To start the 2nd leg of the album, “Smushed” featuring YSK finds the pair teaming up over a delicate loop & hi-hats flexing that they so hard that they made their cities fly while “Infinite” gives off a more energizing vibe instrumentally talking about how they gon’ take you down.

“Got That” goes into glossier territory with the trap beat telling his homie not to talk back since he ain’t his bitch while the ghostly “Ain’t Faint of Heart” vents about a woman that wound up breaking his heart. “Vacant Trap” keeps it trillwave by pointing out an empty trap house that he just so happened to come across by while “Mac & Cheese” whips up a peaceful trap instrumental boasting that he got the check & letting these little motherfuckers continue to run their mouths for entertainment purposes.

Reaching the end of the 3rd leg of the album, “Cauterized” acknowledges that he can hook people up with a 4 piece & that he’s rolling up in a donkey over a spacious backdrop & hi-hats while “Butterfly” starts the 4th & final leg on a pillowy note talking about having to grow up on top of showing off the kind of doors that he has on his new whip. “Blackouts” admits that he’s lost some people & going haywire as of late backed by more spacey trap production while “Big Hat (Eye for an Eye)” hops on top of a subtle beat talking about not to worry since he knows the way.

“Half” has these cool electronic undertones throughout pointing out that every single thing he got ain’t recently ain’t all for him yet he ain’t dividing it all in an even portion while “Space from Reality” talks about people pushing down as if it’s the UFC, whose parent entity Zuffa was merged with the WWE to form TKO Group Holdings a few days ago after Vince McMahon’s sale of the historic septuagenarian professional wrestling promotion to WME Group was finalized over a euphoric instrumental. The atmospheric penultimate track “That’s My Dawg” is a straight-up dedication to the people in his life whose backs he’ll always have & “Call of Duty” closes the album by hopping out with the sticks with a beat that gives off a godly aura.

The prelude that we got back in July ended up being one of Izaya’s best EPs in a while, so that alone was enough to increase the anticipation I already had for Alexandria & it’s quite truthfully on the same caliber if not better than his previous album 2020 only less than 2 months before COVID shut the whole world down. Tad bit too long, but he expands on the cloudy plugg/pluggnb trap sound that made a name for himself as well as sounding impressively focused & even improving his flows a bit.

Score: 4/5

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Ransom – “Spare the Rod, Spoil the Child” review

Ransom is a 45 year old wordsmith from Jersey City emerging as 1/2 of the short-lived duo A-Teamalongside Hitchcock. In 2008, he would branch out on his own following their disbandment beginning with the full-length debut Street Cinema & the Statik Selektah-produced sophomore effort The Proposal. But it’s been safe to say these last couple years have been his biggest so far whether it be the 5 EPs that he put out produced by Nicholas Craven, the 7 EP based around the 7 deadly sins or his previous album Heavy’s the Head produced by Big Ghost Ltd., the Rome Streetz collab album Coup de Grâce, or even his last couple albums Chaos is My Ladder or Director’s Cut 4. However only a couple months after Deleted Scenes 2, Ransom’s still applying pressure by putting out a 9th EP.

“The Powers That Be” is a drumless opener with Ran talking about prophesying this entire blessing whereas “New Test of Men” takes a jazzier route making it known that it was a never a priority for him to stay rich. “Scape Goats” featuring Che Noir & 38 Spesh is where the EP starts to pick up more as all 3 artists on the TCF Music Group roster astonishingly tossing the mic together over a string-infused boom bap instrumental & “The Desolate One” might be my favorite track on here from the rock-inspired Nicholas Craven beat talking about the industry being full of demons & broken angels. “Hymns” rounds it all out by providing some ghetto gospel over a ghostly instrumental from Sibbs Roc.

Even though I still think Deleted Scenes 2 is the best EP Ransom’s dropped this year, I still enjoyed a good portion of what we got on Spare the Rod, Spoil the Child. The 2nd half of the EP is better in my opinion, but the sounds are eclectic & the lyricism from Ran never disappoints me since he’s been on another level. That goes for both features too.

Score: 4/5

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Puff Daddy – “The Love Album: Off the Grid” review

Puff Daddy a.k.a. P. Diddy or Diddy & more recently Love is a 53 year old record executive, rapper, singer/songwriter, “producer”, entrepreneur, actor, television producer, sex trafficker & racketeer from Harlem, New York getting his start as the talent director at Uptown Records before founding his own label Bad Boy Entertainment. He would also have a huge role in the commercialization of hip hop culture on top of cultivating artists from The Notorious B.I.G. to Mary J. Blige & Usher. As for his own catalog, Puffy has dropped 5 solo albums in the span of 26 years despite the common knowledge that he doesn’t write his own lyrics or even produce. Although his debut No Way Out is widely considered to be the best, the next 3 he would put out Forever as well as The Saga Continues… & Press Play all received harsher reception in comparison. The last time we heard Puff in a full capacity was the winter of 2010 when he introduced the world to Dirty Money on the moderately received Last Train to Paris, but is returning after 13 years by signing a 1-&-done deal with Motown Records for his 6th album.

“Brought My Love” featuring The-Dream & Herb Alpert is a funky, R&B/pop rap crossover produced by Mario Winans & Stevie J of The Hitmen setting the tone of what’s to come with Puff dropping corny lines like “In the future, we’re both fine. I just gotta write a ticket with no fine” whereas “What’s Love?” featuring NOVA WAV finds the latter singing & P. Diddy rapping about what the purpose of love is if you can’t drown in it. “Deliver Me” by Dirty Money & Busta Rhymes is possibly THE best track on here since Puffy himself hardly appears on it letting Dawn Richard & Kalenna shine as well as the previously unreleased J Dilla instrumental drawing from electronic music & especially Busta’s verse at the end, but then “Stay Awhile” finds Diddy on mic once more with Nija asking to their significant others to stay with them for a bit longer over a groovy beat from Lil Rod.

Jozzy comes into the picture for “Homecoming” cautioning of a lover that’s not good to one another over a dreamy boom bap instrumental & Puff hilariously starting his verse by saying he kicks flows & busts down doors for her when everyone knows he’s never written any of his raps throughout his whole career just before “Pick Up” by Fabolous & Jacquees finds P. Diddy taking the backseat on the mic in favor of adlibs once again so Fab can outperform Jacq over slow instrumental talking about their partners being the ones they want. “Tough Love” by Swae Lee doesn’t have any Diddy presence whatsoever asking if it’s real or if she’s alone also with some twangy guitar licks & hi-hats leading into “Stay Long” by Summer Walkergoing for a magical sonic approach thanks to Timbaland & London on da Track talking about wanting nobody in her business.

“It Belongs to You” by Jozzy brings back the funk singing that her man knows that he has her while “Another One of Me” finds Puff back in the fold with French Montana, The Weeknd in what’s said to be his final feature ever & 21 Savage for a spacey trap jam declaring that part of them won’t come around again with the best verses going to Abel & 21 respectively. After the “Intermission”, the following song “Moments” by Justin Bieber sings over some live drums about how patient he’s been while “Need Somebody” by Jazmine Sullivan dives into mellower turf with co-production from KeY Wane singing that everybody needs somebody even if this shit ain’t right.

Kehlani & Ty$ share a heartwarming duet together on “Mind Your Business (Bosses in Love)” singing about doing whatever they want because they’re both bosses in their own rights & after the “Nasty” interlude from Jozzy, we have Coco Jones filling in Kehlani’s spot for “Reachin’” so she & Ty$ once again join forces on top of a cavernous trap beat encouraging one another to keep calling. Puffy returns with K-Ci from JodeCi as well as Kalan.FrFr for “Stay” jumping on top of pianos, gospel vocals & hi-hats for a pop rap cut pleading for their partners not to leave while “I Like” by Mary J. Blige sings about seeing him calling & is thankful he’s thinking of her over a sample-heavy beat.

“Closer to God” by Teyana Taylor fresh off her role in the A24 Films hood drama 1,001 sees the former Star Trak Entertainment/G.O.O.D. Music recording artist proclaiming she’s at peace when she’s with her husband Iman Shumpert over a blatant reggae instrumental while “Boohoo” by Jeremih proclaims it hurts when you’re gone but he still ain’t done with that over another funky beat. After the Burna Boy interlude, the DJ Camper co-produced penultimate track “Kim Porter” by Babyface & John Legend is a genuinely profound 7-minute tribute to P. Diddy’s first wife who passed away in the fall of 2018 with Timbaland behind the boards once more & “Space” by H.E.R. ends the album with bare pianos from Infamous telling her man to come her way.

Diddy doesn’t sing at all on The Love Album: Off the Grid as many including myself initially thought he would & only recites rap verses that people in the studio wrote for him on 6 of the 23 songs, so he’s pretty much playing DJ Khaled for the most part on here curating a bunch of mid contemporary R&B/pop rap hybrids after saying last summer that R&B is dead. The production truthfully isn’t too bad for both of those particular styles of music & unlike much of Khaled’s output, but the performances from the guests come with mixed results even though Puff gets washed on every song he raps on pretty much. I also feel that he called it Off the Grid to spite Kanye West since he went on IG last fall saying Diddy’s with the feds even though Ye technically wasn’t wrong.

Score: 2.5/5

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City Morgue – “My Bloody America” review

This is the 4th & final full-length album from New York trap metal outfit City Morgue. Consisting of ZillaKami & SosMula on the mic alongside honorary 3rd member Thraxx on production, I first caught wind of them due to ZillaKami’s verse on Denzel Curry’s classic 3rd album TA13OO & their debut that followed shortly after Hell or High Water completely stopping me in my tracks. Mostly because prior to that album, I never heard anyone fuse trap with metal music in the way that they did. This was followed up with the worthy sequel As Good as Dead, the mediocre debut EP Toxic Boogaloo & their previous album Bottom of the Barrel following SosMula & ZillaKami’s respective solo debuts 13 Songs 2 Die 2 & DOG BOY. However after several delays, they’re officially making My Bloody America their last hurrah.

After the “Hell” intro, the first song “Skull & Bones 322” marks the beginning of the end by cautioning to either phone home or start duckin’ on top of a bombastic trap metal instrumental with some industrial undertones whereas “Sauna” works in some rage beats talking about bringing the drama. “Haha Waco” features co-production from Taz Taylor so the City Morgue can eerily threat their opposition over an industrial/horror synth hybrid just before “Boy in the Box” talks about catching bodies taking it back to their signature trap metal sound.

“Welcome to the Hatman” dives right back into hypertrap territory delivering some demonic performances in the midst of all the sonic chaos leading into “Funny” being one of my favorite cuts on the album due to Powers Pleasant’s trap metal production being one of the best instrumentals on the album & the lyrics about how no one wanted them to succeed. After the “Counting Casualties” interlude, “Pros” boasts that they only hang with the best on top of more heavy guitars & hi-hats that is until “Vacant” asks how the fuck exactly you gon’ die with it over another rage beat.

Meanwhile, “Wicked” advises that you can’t walk around when they’re in your town over a heinous instrumental & “Locksmith” goes into psychedelic territory talking about being a problem. “Stupid Games” is another highlight for me as their honorary 3rd member Thraxx takes it back to their signature sound for old time’s sake asking if you want to die, but then the final song “Russian” prior to the “Tide” outro delving into hypertrap ending their 7 year saga by talking about hearing their competition is food & that it’s time for supper.

Hell or High Water stands as a landmark in the trap metal subgenre & As Good as Dead was a great sophomore effort, but I think Kami & Sos went out by delivering a long-awaited improvement over Bottom of the Barrel couple years back. They try out some new sounds while keeping their trap metal roots in tact & the fact there’s not a solo song on here is interesting since these guys display their chemistry 1-last time. I wish them nothing but the best in their solo careers.

Score: 3.5/5

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Nas – “Magic 3” review

Nas is a 50 year old MC from Queensbridge, New York known for being the son of jazz cornetist/guitarist Olu Dara as well as his breakout debut illmatic & the equally classic sophomore effort It Was Written going on to be widely acknowledged as some of the greatest albums in hip hop history. I also enjoy stillmatic, The Lost Tapes, God’s Son & Life is Good. Then there was the Kanye West-produced NASIR & The Lost Tapes II, which I felt like they were fine additions to his catalogue even though the overall consensuses were polarizing. But for the last 3 years, Nas has been working exclusively with Hit-Boy since the COVID-19 pandemic & both of them are a good fit for each other. King’s Disease earned Esco his first Grammy, but the sequel as well as Magic & the conclusion to the King’s Disease trilogy each took their chemistry to new heights. But coming off the incredibly solid Magic 2 over the summer, Nas is celebrating his born day by making his 17th album the final installment of the Magic trilogy & the last in his historic 3-year run with Hit-Boy behind the boards.

To open things up, “Fever” hops on top of a sample-based boom bap instrumental by declaring this to be prophecy & that he’s been fly for half a whole century by now whereas “TSK” works in some more kicks & snares with a gloomier loop talking about trying to stay humble yet he can take it back to Nasty if he wants to. “Superhero Status” moves forward with the art of sampling & keeps it boom bap so he can discuss how the way it’s goin’ down is simply a shame, but then “I Love This Feeling” goes for a jazzier yet soulful approach talking about outclassing people.

“No Tears” keeps it rolling by pointing out that it’s hard to find genuine lover over a tension-building beat prior to Lil Wayne coming into the picture for “Never Die” hoping over a soul-inflicted boom bap instrumental talking about both of their legacies in the culture. “Pretty Young Girl” mixes some horns with kicks & snares talking about a queen that has entered his life even though it might be the weakest cut on the album personally just before “Based on True Events” shoots for a triumphant boom bap vibe so Nas can get on his private investigator shit.

The sequel to “Based on True Events” weaves a spacious backdrop in the fold on top of kicks & snares yet again popping someone at the place of a transaction while “Sitting with My Thoughts” dives headfirst into trap territory talking about bouncing back after every loss. “Blue Bentley” encourages you to say that his life ain’t lit over a bombastic instrumental with some hi-hats while “JoDeCi Member” returns to the boom bap telling anyone to try him.

The song “Speechless, Pt. 2” conceptually picks up where the first “Speechless” left off almost 2 years back accompanied by a flute-tinged beat making it clear that you can redo the voice, but you can never read his mind while the penultimate track “Japanese Soul Bar” is a 2-parter with a woozy kickstart & a luxurious switch-up drinking scotch in a bar until the daybreak prior to the drumless “1-800-Nas&Hit” ending an era by comparing all both trilogies to that of a greatest hits collection referencing the Star Wars franchise owned by The Walt Disney Company subsidiary Lucasfilm.

I’m sure Nas is gonna take a year off to prepare for the next chapter of his career, but to say it’s been exciting to hear his chemistry with Hit-Boy evolving from the first King’s Disease to literally every album they’ve done together would be an understatement & this could very well be my 2nd favorite installment of the Magic trilogy behind the one that started it all. The production’s more soulful in comparison to the last 5 LPs they’ve done in the last 3 years & the lyricism hits harder than the predecessor did earlier this summer.

Score: 4.5/5

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3-Headed Monster – “Rampage” review

This is the sophomore full-length album from horrorcore supergroup the 3-Headed Monster. Consisting of Detroit pioneers Esham & Violent J alongside Ouija Macc hailing from Las Vegas, all 3 members each have a distinctive history of their own. The first being the unholy godfather of the wicked shit founding Reel Life Productions, the other co-founded Psychopathic Records as 1/2 of the Insane Clown Posse whom the Boogey Man was once signed to from 2002-2005 & Ouija became the hatchet’s biggest solo act in 2017 following ICP severing ties with their former protégés the demented duo Twiztid earlier that same year despite them departing Psychopathic only 5 years before that to form Majik Ninja Entertainment now continuing to gradually build Chapter 17 Records as a dominant subsidiary of the label that runs beneath the streets as he’s been their only current artist other than the wicked clowns themselves since the pandemic. But as they begin the 2nd leg of their tour promoting their full-length debut Obliteration from over the summer displaying 3 generations of hip hop’s most underappreciated subgenre, the trio’s continuing their Rampage.

The intro begins with all 3 members aggressively going back & forth with each other on the mic over a rugged trap instrumental for a couple minutes proclaiming their greatest joy in life is to crush & destroy whereas “Bulldozer” works in a shimmery backdrop & hi-hats from Shaggytheairhead cautioning that everyone’s in danger. “End of Days” gives off a more cavernous trap vibe thanks to Devereaux making it clear that there ain’t no heroes in this saga just before the “Bepis” goes into atmospheric territory so Ouija Macc can whip up a solo joint & his rhyme schemes throughout are some the craziest he’s ever jotted.

“Sinister Super Sinister” by Violent J continues to demonstrate the talents of each member of the supergroup as he hops over a trap-rock crossover declaring himself to be exactly that leading into Esham’s solo cut “Cult Leader” diving headfirst into boom bap territory with some keyboard embellishments asking if one wants to lead a cult of their own. The 3-Headed Monster reunited as a unit for the chaotic trap banger “Red Pavement” looking to leave the haters laying, but then “Cobblestone” finds Ouija on his own again blending a suspenseful loop & hi-hats talking about them Sin City killas being at your neck.

The song “Pillow Talk” by Violent J goes for a more subdued trap sound proclaiming he gets down all the time killing for real & love how his new chick never asks why his clothes are bloody even though his raspy delivery is a little off-putting while “Dinero” by Esham talks about the money over a groovy sample flip. The title track though rounds out the trio’s sophomore effort with a 5 & a half minute trap heater taking away all the sunshine & rain in favor of smoke & fire instead.

The 3-Headed Monster’s formation has to be my personal favorite thing that Psychopathic has done all year even though I stand by me being happy to see them pumping out music at the rate they’ve been doing so all year, but I actually might like Rampage better than Obliteration by a hair. They’re stepping up their chemistry together on top of getting a couple chances to shine individually again & I love how the production sounds harder than our introduction to them over the summer.

Score: 4/5

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