T.I. – “Kill the King” review

Atlanta, Georgia rapper, songwriter, actor & record executive T.I. calling it a career with his 12th & final studio LP. Amongst “the big 3” trap pioneers alongside Gucci Mane & Jeezy respectively, he would go on to drop a few classics back in the early 2000s including the Atlantic Records-backed sophomore effort Trap Muzik as well as King & Paper Trail. Last time I enjoyed a full-length from the Grand Hustle Records founder was Dime Trap under Epic Records back in 2018, coming off his beef with 50 Cent to Kill the King.

After the “King’s Thought” intro, “See Wh’am Sayin’” opens up with him talking about taking the crown back home over a DJ Toomp instrumental whereas “Let ‘Em Know” incorporates a trap beat from Pharrell so he can put his foot on the gas. “Where I’m From” produced by Dr. Dre & Dem Jointz talks about the ATL being the home of the scandalous leading into “Rant” addressing the biggest misconception of his career: That he gives a fuck.

“Mr. Him” runs it back with Pharrell chasing the vision instead of a bag just before “How It Went” featuring The-Dream joins forces for a trap/R&B duet recalling the way their careers panned out for them. “Dope Boys Academy” featuring Jeezy & 2 Chainz finds the trio talking about their days of slanging drugs while “Pistol on the Dance Floor” takes a funkier approach to conclude the 1st half of Kill the King & getting significantly flirtatious through the lyrics.

Kicking off the 2nd leg, the final single “And Won’t” has more of an underwhelming pop rap vibe suited for radio play talking about him folding for a bitch while “Gorgeous” instrumentally slows things down courtesy of Young Fyre admiring the beauty of this woman who he can’t get enough of. “We On” talks about him doing it big over a Turbo beat while “Llogclay” featuring YoungBoy Never Broke Again finds the pair telling listeners to choose between growing old or dying young.

“Ego” winds down Kill the King’s last moments standing by nobody being able to fuck with him while “Trauma Bond” samples “Ballan’ Parlay” by the late Big Pokey so he can talk about his legacy being celebrated. “Represent a Time” featuring Young Dro warns to be cautious of what we put next to the flame over an Organized Noize beat & after “Big Dog” soulfully gets boastful for a couple minutes, “Continental” ends the album getting reflective over a Juicy J instrumental.

The L.I.B.R.A. (Legend Is Back Running Atlanta) left me disappointed when T.I. had initially made his EMPIRE Distribution debut during the 2020 COVID-19 pandemic & I can understand if some don’t care for Kill the King that much either, but it’s definitely the most enjoyable full-length in his catalog since Dime Trap since this egotistically self-gratuitous persona that kinda enters the room before he does physically gets sent off permanently because of the fulfillment he feels towards his music career.

Score: 3.5/5

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Maxo Kream – “O.Y.N. (Old Yung N***a)” review

Houston, Texas emcee & songwriter Maxo Kream enlisting JPEGMAFIA to fully produce his 5th mixtape. Breaking out in the beginning of 2018 off his full-length studio debut Punken following his first 4 mixtapes, this resulted in him signing to RCA Records for the sophomore effort Brandon Banks & of course Weight of the World. Last we heard from him was Personification under his own label Persona Money Global in late 2024 & is joining EMPIRE Distribution to describe his O.Y.N. (Old Yung N***a) status.

6 Months Clean” kicks things off admitting that he relapsed after trying to quit poppin’ percs & sippin’ lean whereas the title track works in some sampling techniques so Maxo can talk about being that muhfucka. “30 N Dirty” has somewhat of a cloudier vibe instrumentally telling all these ashy dudes to go put themselves on & after “This Shit Going On” eerily talks about him being fed up with strippers, “Time Out” reaches the halfway point suggesting he needs to take a break for a bit.

Kicking off the 2nd leg, “Cum Over” has a more seductive flare to it encouraging his lover to pull up on him while “Fake Jeezy” featuring Denzel Curry talks about their hopes of not running into any opps & being old school gangstas. “How I’m Coming” featuring Cartel Bo & Josh Kream incorporates some horns to discuss running up bags while the outro “How TF I’m Lucky” concludes the tape looking back at the past 15 years of his career.

I completely understand why people were disappointed by Tyler, The Creator not having any beats on here considering his chemistry with Maxo Kream, but O.Y.N. (Old Yung N***a) had me thinking it could join Personification in becoming some of his best material based off the teasers & now it’s officially my favorite tape in his discography. JPEGMAFIA’s production more experimental than the H-Town artist’s usual stuff & he spends less than a half hour detailing his legacy.

Score: 4/5

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Ouija Macc – “Sixela” review

2nd studio LP of 2026 & the 11th overall from Las Vegas, Nevada emcee Ouija Macc. Breaking out when the Insane Clown Posse signed him to Psychopathic Records shortly after putting out his debut EP Trashfire independently almost a decade ago, Ouija has since proven himself as the hatchet’s biggest solo act dropping his last 10 full-lengths, 2 greatest hits compilations, 8 mixtapes & 5 EPs all in the span of almost 9 years. He even started his own label Chapter 17 Records, with Darby O’Trill now being the only artist signed. He has since declared himself America’s Most Wicked back in November, coming out of the Pyramid of Skulls to have Flexatelli fully produce Sixela a week after Caleb Konley ended CoKane’s reign as JCW World Juggalo Heavyweight Champion.

“Sixela Legna” opens up with a sinister trap intro talking about him being on the verge of losing his mind whereas the 3rd single “Zombie Walkin’” gets back up on his bullshit, crushin’ something soon as he steps up in the function. “Sour Dough Toast” talks about the feeling Ouija has of him not belonging on this planet because it’s a curse just before the lead single “Phonky Phonky Sh17” embraces a phonk sound & infusing it with horrorcore lyricism.

As for “Kerosine Flex”, we have the C17 CEO getting busy on ‘em returning to a trap sound while the 5th & final single “Corpse Boy” talks about spraying a fully loaded clip at all the dorks who come around his way & being an MVP when it comes to the art of murder. “That Dust” continues from there telling us what it was like for Ouija growing up in the deserts of Sin City leading into “Murda Mission” talking about slaughtering his opposition & torturing them until he’s done.

“Out da Jungle” reaches the halfway point of Sixela speaking of him hanging out with the dead because the living are unable to stand him while “Set Trippin’” continues the 2nd leg talking about Chapter 17 being the very reason why throats are left slit & killing anyone who fucks up his mood. “Sally Mander” includes a shoutout to Death Grips during the final verse that I loved as a fan of theirs since high school while “God’s Ashtray” asks listeners for their interpretations of Hell.

After an “Internal Monologue” detailing suicide ideation, the song “Demon Juggalo” cloudily talks about pullin’ up to the spot like he owns that hoe while “Calculator” boasts of his status as a calculated killer doing numbers. “Dracula” talks about eating the pussy at the red light because he’s that much of a perv & the outro “Elote” concludes Sixela singing that looking into the eyes of his newborn child makes him feel as if he passed away.

Devereaux’s normally credited for producing a great deal of Ouija Macc’s discography other than a few notable exceptions, but I’m very much appreciative of what he was trying to do with Sixela even if I prefer the previous album 3 months earlier as my favorite thing he’s done in 2026. Flexatelli’s production is certainly refreshing for anyone who wanted Ouija to work with someone else behind the boards & it compliments the latter’s wicked lyricism.

Score: 3.5/5

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Shakewell – “Slugeater” review

Los Angeles, California emcee Shakewell has returned for his 4th extended play. Coming up almost a decade ago off his debut EP Keystone Prince, he followed it up a year later with his 2nd EP Big Juice tha Sip resulting in the $uicideboy$ signing him to G*59 Record$ right when the pandemic started & releasing the full-length studio debut Pray 4 Shakewell. It’s already been a couple years since Dangerously Close & the Slugeater’s continuing to tease a sophomore effort.

“Smoke (I Want It All)” after “Tha Prologue” intro experiments with metal music to open up the EP talking about looking for trouble whereas “It Happened Again” featuring the Regional Justice Center heavily confronts someone who betrayed all of his dogs. “Year of tha Worm” featuring Raygunn Ethan has a cloudier Memphis sound to it talking about being the chosen one & after “Shameless Money Drain” featuring Drain brings the guitars back in so he can rip shit up, Slugeater finishes up with a 3 minute punk rock outro where he’s “Talkin’ My Shit” with Alpha & Omega.

It might come as a surprise to people that Shakewell was in a metalcore band called Betrayal before switched his style in for the Memphis-inspired trap sound G*59 has collectively become synonymous with, but that doesn’t necessarily excuse Slugeater for being as such of a mixed bag it is. Don’t get me wrong: I appreciate him taking it back to where it all began drawing inspiration from punk to metal & beatdown hardcore. Even if the features leave little to be desired.

Score: 2.5/5

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2slimey – “TotalBass” review

2slimey is a 20 year old rapper from Midwest City, Oklahoma who came up under the original moniker GGS making more traditional hip hop music until switching up his style. His debut extended play SsoMe wouldn’t come out until 19 months earlier & follow this up with his full-length studio debut High Anxiety. He has since been getting co-signs from North West to PlaqueBoyMax & Lil Uzi Vert, preluding a forthcoming sophomore effort with a 2nd EP & just in time for summer to officially commence.

“Left Right” made for an underwhelming intro talking about pulling up with a Glock whereas “Wine” discusses rolling at the top. “lobby” tediously talks about unloading an entire clip just before one of the few tracks I enjoyed “Bentleys & Lambs” disses ily2erk over a Noah Mejia instrumental. “Ballout” vapidly talks about doubling his revenue & after “Money Dumb” co-produced by Internet Money Records in-house producer Synthetic makes up for it with my favorite single, “Why You Wanna Hate on Meh?” ends with a response to his detractors.

For the past 4 months ever since I heard his UG Cypher verse, I’ve been saying that 2slimey in my personal opinion could likely be the most overhyped rapper today & TotalBass pretty much confirms that for me anyway since it’s less more enjoyable than his debut. The experimental trap production including secondary influences of rage & terror plugg are actually pretty decent, but I can’t say the same regarding his hardcore performances.

Score: 2/5

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Naomi Sharon – “No Sleep in Paradise” review

This is the sophomore effort from Rotterdam, Zuid-Holland, Netherlands singer/songwriter Naomi Sharon. Starting in 2018 with her debut single “Breeze”, she would go on to release 4 more singles until Toronto, Ontario, Canada superstar Drake signed her to OVO Sound for an impressive debut Obsidian giving a refreshing take on the way the label delivers alternative R&B going beyond that in favor of neo-soul, afrobeats, afro house, downtempo, sophisti-pop, deep house, ambient pop & smooth soul. Coming off The Only Love We Know however, she’s been getting No Sleep in Paradise.

“I Know” blends deep house & alternative R&B to kick things off singing about being built from broken time & stitched with 2nd chances whereas “Miss That” experiments with Afropiano admitting that she’ll miss the way her ex used to pull her in & kiss her back. “Weak” fuses alternative R&B with Afrobeats asking if this person even realizes that she’s hurting her while “Try” produced by KAYTRANADA & Jordan Ullman sings about having the whole night to reach the sun.

Moving on from there, “If You Wanted to You Would” brings the deep house elements back in the picture demanding to know why this person said they need her in their life just before the spacious “Starting Fires” encourages her partner not to hesitate with her heart. “Was It Ever Love?” finds herself questioning if her ex truly loved her since all he never showed that he sincerely cared while “Better Days” sings about her praying & waiting for things in her life to improve.

“Celebration” gets the 2nd half of No Sleep in Paradise going pleading to be drowned in the truth without any hesitation while “Pink City” sings about rivers & skies collide when stars surround you over a moody beat from Noel Cadastre. “Untitled” addresses an individual who waits & lets her bleed rather than chasing & pleading while “Half a Lie” sings about her always having to fake her peace along with desiring truth instead of perfection.

The song “Leaving” winds down the album’s final moments explaining to her partner that she can’t carry the weight of their paradise & getting out of their presiding town while “Light My Soul” sings for her lover to elevate her & kiss the fire in the middle of him lighting her soul over an Afropiano instrumental. The title track appropriately concludes No Sleep in Paradise confessing to her carrying love similarly to baggage she forgot to claim.

In only less than 3 years, Naomi Sharon has quickly risen above the ranks to become the most talented signee on the OVO roster & her 2nd album No Sleep in Paradise continues to validate that even if I’d put Obsidian above it. She might be the best songwriter on the label even if the neo-soul influences are being decreased compared to her last couple projects in favor of the production taking it’s inspiration from alternative R&B, alt-pop, sophisti-pop, Afropiano & deep house.

Score: 3.5/5

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Downtown Boys – “Public Luxury” review

The Downtown Boys are a hardcore punk rock band from Providence, Rhode Island consisting of alto saxophonist Will Cioffi, guitarist Joey DeFrancesco, tenor saxophonist Emmett Fitzgerald, drummer Norlan Olivo, bassist Dan Schleifer & lead singer Victoria Ruiz. Making their eponymous full-length debut back in 2012, they went on to follow it up with the sophomore effort Full Communism as well as the Sub Pop Records debut Cost of Living. Almost a decade later, they’re returning for their 4th studio LP.

“No More Jodas” begins with an urgent lead single singing in Spanish about this person being the disaster Victoria wants prior to her stating that “The City Begins” where many assumed it would end over some punk rock riffs. The 3rd single “Sirena” uses a handful of metaphors to symbolize empowerment singing in Spanish once again dabbling with new wave just before the 4th & final “Yellow Sun” addresses Israel occupying Lebanon for the past couple years giving a shot at goth pop.

Meanwhile on “Viva La Rosa”, we have Victoria & Joey breathing new life into a song that was initially conceived during their Malportado Kids days take inspiration from skate punk leading into “Enemy Without” throwing the it back to the Downtown Boys’ earlier material stylistically. The 2nd single “You’re a Ghost” combines dance-punk & industrial rock so they can critique the rise of fascism in the United States while “Albuterol” treads the synth-punk waters singing about smoking in bed.

“Mi Concha” wraps up the final moments of Public Luxury with another Malportado Kids rendition singing about Victoria’s shell not being white enough for others amplifying the new wave elements while “Public Works” starts with some galloping punk riffs & commanding vocal performances preceding the synthesizers & even an occasional saxophone. The title track spends the album’s last couple minutes blending more synths with a piano for a delicately electronic outro.

Amplifying the primary post-punk influences of their 2017 debut for Sub Pop, the Downtown Boys make their return after 9 long years with the most expansive entry in the band’s entire catalog & definitely the strongest since getting signed. They also incorporate influences of hardcore punk, garage punk, art punk, dance-punk, industrial rock, new wave, synth-punk & skate punk to make some bilingual political commentary regarding the people having it all in the end.

Score: 4/5

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Benny the Butcher – “The Plugs I Met 2.5” review

Buffalo, New York emcee Benny the Butcher preluding The Plugs I Met III with his 10th extended play. Being in the game for 2 decades already, it wouldn’t be until the previous one where he alongside his cousins Westside Gunn & Conway the Machine would take the culture by storm off projects like Tana Talk 3 & The Plugs I Met. Harry Fraud came in for a sequel to the latter following the mature Burden of Proof & finally, Tana Talk 4 took it back to the basement a few years back. Coming off the Summertime Butch duology & Excelsior however, The Plugs I Met 2.5 has come 48 hours succeeding its announcement.

“Rise & Fall” featuring Elcamino & 38 Spesh after “The Dog & The Wolf” intro hops over a soulful instrumental from Harry Fraud explaining that there’s a certain price of the game that we haven’t accept even if we don’t want to leading into “Big Difference” featuring Bruiser Wolf & Fuego Base produced by the late DJ Shay works in a symphonic boom bap beat so the trio can respond to all of the haters criticizing them for their recent acquisitions.

Daringer & Beat Butcha get behind the boards on “Once Upon a Time” to kick off the 2nd half of The Plugs I Met 2.5, replacing the strings with a more sinister backdrop explaining that every leader was a good soldier at a certain point in their lives just before “Talk Shows” featuring Raekwon reunites with Harry Fraud to discuss having no respect for those who buy their runs since they hustled to earn theirs. The closing track “Can’t Be Much” sends off the EP with a symphonic trap outro getting in his coke rap bag lyrically.

Many will presumably say that The Plugs I Met 2.5 is the best thing Benny the Butcher has made since Tana Talk 4 or Everybody Can’t Go, but I did enjoy it a lot more than Summertime Butch 2 almost a year earlier as much of a huge improvement it was over it’s predecessor & has me anticipating a forthcoming trilogy chapter. The production feels like a mix between both installments of The Plugs I Met series letting Harry Fraud handle most of it outside of Daringer & DJ Shay’s contributions, bringing a stellar guest list on board for all but 2 tracks excluding the intro to break down the mafioso life.

Score: 4.5/5

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Pz’ – “No Turnin’ Back” review

Yes, we finally have another extended play from Atlanta, Georgia rapper & fashion model Pz’. Emerging a couple years ago off the strength of his debut single “Sun”, he would eventually blow up last summer when “Hedis Bussin’” came out & has since collaborated with the likes of billi0n for his debut mixtape Revenge as well as the Uy Scuti Bøyz’ eponymous tape earlier this spring. B4NTB came out a few days ago & No Turnin’ Back has arrived after a 48 hour delay as promised.

“Never Gon’ Home” opens with a bassy intro explaining that it’s difficult for him to specifically say where he’s headed leading into “Live Strong” hazily talking about how he prayed for his success to come & all of his ØWay brethren playing their individual roles. “Dis Ain’t Right” speaks of being trained to kill along with smoking up all his weed because he can’t sleep at night while “Canes” talks about all this internet shit being a joke to him & coming from a city where all the artists are homegrown.

dragnutz makes the EP’s sole guest appearance on the synth-driven “No Ceilings” so they can discuss reaching new heights together just before “X Tape” talks about possibly changing this woman’s life after having sex. “Fête Feeling” experiments with Afrobeats observing that the woman he slept with has been acting strange around him & after “Claim to Fame” talks about constantly thinking of money, the outro “Maxfields” finishes up suggesting he might make a bag only to put it in his will afterwards.

No Turnin’ Back retains the similar trap & pop rap production that made B4NTB such an interesting prelude although there are more elements of rage being incorporated & a small dosage of Afrobeats towards the backend of it contrasting the previous EP’s futuristic swag undertones. Pz’ could potentially be the most versatile member of the ØWay collective the more I think of it & I already know his discography will only improve going forward.

Score: 3.5/5

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Matt Proxy – “Trojan Horse” review

Matt Proxy is a 19 year old rapper & producer from Minneapolis, Minnesota who began making music as a teenager several multiple aliases with the most prominent ones being cloutedmatt & mwru. He has since dropped a total of 5 extended plays, with his previous one Horse Play under Sony Music last fall coming out not too long after receiving co-signs ranging from JPEGMAFIA to fakemink & even Playboi Carti. Looking to further capitalize on his popularity, he’s releasing a full-length studio debut.

The self-produced “5” opens up with a rap rock intro talking about his life being in a rearview mirror although I wish fakemink had a verse whereas “Stars” hits us with a 2-parter detailing his every move being watched & smoking blunts for therapeutic purposes. “Atlanta” samples “Father”by The Christians along with “Answer” by Tyler, The Creator & “Forever” by The Marvelettes to talk about his dad just before “All You’ll Hear is My Song in Your Head” featuring JUSQ addresses insomnia.

“Misery” chops up “Hate Me Now” by Nas, “Just Too Much To Hope For” by the late Tammi Terrell & “Devil In a New Dress” by Ye featuring Rick Ross talking about his girlfriend still riding for him regardless of his own imperfections just before “New Solution” talks about being faithful to the money. “Blue” ends the 1st leg of Trojan Horseremembering his late sister who passed away back in March while “Never Kill Yourself” by never goodbye denounces suicide ideation.

We have “Meant2B” splitting itself into 2 separate portions talking about being destined for this music shit while “Love&Addiction” fuses experimental hip hop, drumless, sound collage, slacker rock, space rock revival & neo-psychedelia to ask if you can see the vision. “Sorry” later blends pop rap, neo-soul, experimental hip hop, neo-psychedelia, cloud rap & alternative R&B for another single addressing a breakup that he’s been going through.

“God” featuring Current Joys interpolates “Survival of the Fittest” by Mobb Deep talking about not wanting this life going full slacker rock & “iPhone” featuring Aiden Farley sends off Trojan Horse with a synthfunk/pop rap outro having Matt at the beginning of it talking about going fast, then we get a beat switch & Aiden hoping that nobody listens to the probable. I also found the guitar solo near the final moments to be exciting.

Trojan Horse marks a conclusion to a trilogy in which Beating a Dead Horse began & Horse Play bridged by taking more risks than Matt Proxy did 7 months earlier, resulting in the most powerful statement of his career so far. The experimental production dabbles with more live-instrumentation varying between slacker rock, chipmunk soul, industrial hip hop, sound collage, drumless, space rock revival, neo-psychedelia, pop rap, neo-soul, cloud rap, alternative R&B & synthfunk to take an prominently introspective approach to songwriting other than some occasional abstract & conscious detours.

Score: 3.5/5

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