tana – “London” review

This is the 7th EP from Atlanta, Georgia up-&-comer tana. Coming up in 2018 as a member of the plu2o9 collective under the original moniker BabySantana, he would go on to drop his first 2 EPs Recreation! & Planet Sosa alongside his debut mixtape Quan a couple years later & eventually signed to Lil Tecca’s very own Republic Records imprint Galactic Records the next fall. But coming off his last 3 EPs n(n) as well as Santana & it’s sequel, tana’s rang in 2023 by making an impressive major label debut off his last EP Gaultier at the beginning of the year. So considering that, I went into London to hear where he’d take it from there ahead of a self-titled body of work next month.

Things start off with a cloudy 2 & a half intro talking about being unable to prioritize a bitch over a bag despite wanting her badly whereas “nan” takes it a step further by detailing having to cut off his last girl because she was fucking with his head backed by a booming trap instrumental. “bool” talks about running the bucks up accompanied by a spacious beat with some 808s, but then “up” shoots for a glitchier trap approach sonically admitting he fucked up but he knows how to fix it.

“kould tell” psychedelically points out that the one he’s seeing now has clearly never been with a rockstar before leading into the trillwave-infused “cheque” encouraging shawty to rock with him even though he doesn’t play guitar. “rn (right now)” makes it clear that he don’t pop out when it’s bright out over a pluggnb instrumental that is until “ainmean.” strips the drums completely telling her that he didn’t mean to hurt her feelings. “pop it.” wraps up London by blending synths & hi-hats telling his lover that he’ll buy anything in the stores for her.

Gaultier quickly became the best EP in his discography once the year started & London is already right behind it on top of raising my expectations for self-titled next month. The production’s on par with tana’s major label debut continuing to expand on his pluggnb, cloudy pop rap sound & he’s continuing to deliver some of his strongest performances.

Score: 3.5/5

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Planet Asia – “Sardines” review

This is the 24th full-length album from Fresno veteran Planet Asia. Emerging as 1/2 of the duo Cali Agents, he would also go on to have a very successful solo career & has made a lengthy yet consistent discography for himself. This includes The Grand Opening, The Medicine, the DJ Muggs-produced Pain Language, Abrasions, the Apollo Brown-produced Anchovies backed by Mello Music Group, the 38 Spesh-produced Trust the Chain, the Evidence-produced Rule of 3rds & more recently the Snowgoons-produced U.Z.I. (Universal Zeitgeist Intelligence) only last fall. So when it was announced that Apollo Brown was returning so he & Planet Asia could drop a sequel to Anchovies, that was more enough to go into Sardines with high anticipation.

After the “Bird Food” intro, the first song “Get the Dough Off” really opens the album with a drumless beat likening himself to a product pusher whereas “Panama Sun” featuring Detroit battle rap veteran Marv Won finds both MCs joining forces over a more sample-based instrumental admitting that their grind is deep rooted to the point where they can’t turn away. “Stones” continues to strip the drums once more in favor of strings making it clear he’s still in office like Castro that is until “Fly Anomalies” shoots for a darker approach cautioning not to be confused by the monsters.

The General Monks link up on “Wizardry” jumping on top of a flute so that both members Planet Asia & TriState of the Durag Dynasty can compare themselves to wizards with both of their pens just before “Jungle Juice” brings back the soul dropping some late night rugged shit. “Wide Awake” cooks up a more smoother beat painting exotic portraits of the 3rd dimension leading into the organ-laced “Acid Rain” featuring Sick Jacken asking who else is bringing they type of pain that they do.

“Peas & Onions” weaves a bare sample into time fold reminding that it’s self explanatory & that we all know what does while “Broad Dayin’” talks about how the game is fake like these Hollywood bitches’ upper-lips ties into more heavy sampling within the production. “’88 S-Curl” featuring another Detroit vet Ty Farris brings back the drumless vibes displaying a back-&-forth chemistry with each other while “Bazookas” shoots for a creepier atmosphere boasting that he’s firing missiles in the studio. “Can You Believe It?” ends the album with some jazzy undertones pledging allegiance to his region of humble beginnings.

If Planet Asia & Apollo Brown were looking to do Sardines better than when they put out Anchovies together 6 years ago, they could very well have just done that here. Apollo expands on the drumless/chipmunk soul sounds of the predecessor with some jazzier undertones this time around & the lyricism from not just King Medallions but even the 4 features all go harder than galvanized steel.

Score: 4.5/5

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Speshal Machinery – Self-Titled review

Speshal Machinery is a newly formed New York superduo consisting of Rochester emcee/producer & TCF Music Group founder 38 Spesh as well as Buffalo emcee, entrepreneur, Drumwork Music Group founder & my personal favorite of the Griselda Records roster Conway the Machine. These guys have worked with one another on numerous instances like “2 23’s” or more recently “Lalo”, but are looking to kicking things up a notch by coming together for an eponymous full-length debut album.

The intro sets it off with drumless organs so both MCs can trade the mic back & forth with one another excellently for about a minute & a half whereas “Latex Gloves” featuring Lloyd Banks goes for a groovier direction sonically talking about pushing weight. “Last Week” dives into spacey boom bap territory boasting that they were gone 3 days flat the week leading into “Been Through” featuring Elcamino finding the trio making it clear that people don’t know everything each artist has experienced up to this point over horns, kicks & snares.

The title track is sample-based boom bap heater talking about both of them being as rare form as they come just before “Fireplace” is more of a 38 Spesh solo cut lasting only a couple minutes ruggedly comparing the trap house to a place for domestic fire with an angelic loop on top of kicks & snares. La Maquina returns for the angelic boom bap single “Goodfellas” featuring Benny the Butcher so all 3 of them can air out those salty that they ain’t on their level, but then “Unruly” works some jazzy undertones into the fold explaining how disorderly they are.

“Made Bosses” draws near the end of Speshal Machinery’s eponymous debut by cooking up a luxurious boom bap ballad with Emanny on the hook boasting about the fact that both of them have made it in the industry & “We Outside” featuring Che Noir& Pharoahe Monch closes out the album in the form of a 3-minute soulful barfest.

TCF & Griselda have long maintained a mutual respect & prosperous working relationship with one another like I mentioned at the beginning, so it made since for Spesh & Con form a duo & drop a full-length album together because I’m positive that it’s a little bit better than the Pain Provided Profit EP that Conway dropped with Jae Skeese earlier on in the year. 38 Spesh’s production is stronger & he keeps up with the Drumwork founder on the lyrical end just fine.

Score: 4/5

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Glokk40Spaz – “Took the Biggest Risk” review

This is the 3rd full-length album from Atlanta, Georgia recording artist Glokk40Spaz. Emerging off the Don’t Get Took Off mixtape trilogy & the debut EP Spaz&B, he would also go on to drop his very first LP 2 Glokks followed by the sophomore effort Baby Whoa with both of them receiving quite a bit of acclaim. But now in light of the EBG Records founder signing to Columbia Records, I was anticipating to hear what hear how his major label debut Took the Biggest Risk would play out.

“Enough Ammo” opens the LP with synthesizers & hi-hats advising to take precaution when you step in his trap house whereas “Forgot My Manners” works in a piano-trap instrumental some bells talking about growing up on some Adam “Pacman” Jones shit gangbanging in his city. “3rd World” embraces the plugg sound flexing that he be high as Hell just before “Different Goals” works in some hi-hats & low at synthesizers pointing out the difference in goals between him & everyone else.

Meanwhile, “Fuck Sum” has these organ-like synth melodies promising to look in the eyes of his enemies as they die referencing WWE Hall of Famer Mike Tyson leading into “Whatchu Sayin’?” making it clear that he can meet up & have a shootout with any opposition whatsoever. The trap beat from SenseiATL on “Facecard” gives me an UFO inspired feeling showing off big chopsticks that’ll make motherfuckers doing backflips, but the “Blame Us” brings back the synthesizers once more talking about potentially being coupled with a bitch that has mob ties.

“I Got an Army” layers an aggressively passionate delivery over a plugg beat acknowledging that he’s got a militant force in full effect ready to go to war for him while “Tailor Made” hooks up these wavy synth melodies & hi-hats talking about having the mind of a psychotic. “Levels 2” detours into pluggnb territory courtesy of Dylvinci delivering a sequel to one of the best cuts off the Spaz&B EP that is until “Backdoor” mixes some synthesizers & hi-hats talking about busting through the back entrance all for the bag.

Lastly, “All Black” featuring BabySolid recaptures the chemistry that made their collab tape GONE M.A.D for a dark plugg cut on their vampire shit while “8 Mile” has a more straight-up plugg groove daring these pussies to drop a diss on his squad. “Yung Killa Camp” shoots for a chilled out atmosphere taking 2 minutes out of his time to rep EBG while the pluggy “Get Wicked” looks to see what’s mobbin’ when he pops out. “Take a Risk” ties up his major label debut being more talking about risk taking over keys & hi-hats needing all the bread up front.

The deluxe has 9 bonus tracks & I’ll go over them right now. “Ace of Spades” starts with a distorted trap instrumental flipping everyone while the “Enough Ammo” remix featuring Young Nudy is actually superior to the original. “Glokk’$ on Me” goes head-on rage talking about having sticks on him while “See You Again” returns to the plugg sound making it clear that he ain’t even have to reload the Glock in his pocket.

“Open Cases” hops over ominous, sinister synth pads & lead melodies, skittering hi-hats & fast percussion & snare rolls detailing the gangsta lifestyle while the grisly “Good 2 Go” calls out those actin’ all hard when they really soft as shit. “How 2 Drive” talks about risking his life in East Atlanta over a booming beat while the trippy “Codeine Dreamz” featuring OsamaSon says it all. “4 Walls on an Island” ends the deluxe by rapping over the prison cell phone mixed with this cloudy instrumental.

The final installment of the Don’t Get Took Off trilogy solidified GL4Spaz as one of my 2 favorite artists in the evil plugg scene next to Smokingskul & the risks that he took on this album here will only elevate him to the next level. He continues to deliver lyrics from a gangster’s perspective whilst sonically refining the trap sounds & subgenres that he made waves off of

Score: 4/5

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Madd Maxxx – “Kaleidoscope” review

Madd Maxxx is a 38 year old MC from Brockton, Massachusetts notable for being a member of the Mission: Infect collective. He’s also released a couple full-lengths along with a mixtape & 5 EPs on his own, with the last LP being Where thx Wxld Thxngs Are back in 2016 & more recently the Halloween’s Over EP celebrating it’s 1-year anniversary this past spring. But when it was announced that Crossworm had signed Maxxx to Dirtcore Music, I was highly looking forward to hearing what was in store for his debut for the label & 3rd album overall.

After the intro, “The Culmination” is a ghostly trap opener to the LP speaking to the congregation whereas “Hell Yeah” has a more energizing atmosphere to it this time around talking about how there ain’t no limits until the finish. “Fuck Around & Find Out” dives into boom bap territory with a message directed at all of his detractors out there just before the woozy trap cut “I’m Still Here” acknowledges that he’s still rockin’ it in the underground wicked shit scene to this very day.

“B.L.G.B. (Bad Little Goth Bitch)” continues forward with a cool ode to all the goth bitches in the haughhh that is until “2Gunz” featuring Sleep Lyrical gives off more of a somber trap vibe instrumentally asking if anyone knows who they really dealing with. “IDK?” hooks up this unsettling loop & hi-hats talking about not caring or really giving any fucks leading into “Lovecraftian featuring Doc Gruesome, Lo Key & Samson Samson finds the quartet showing their appreciation for the titular horror subgenre over an occult beat.

Problemattik & 9 Millz both join Maxxx to tell everyone what “Life on Stage” is really like for them backed by a boom bap instrumental while “The Merry Go Round Broke Down” featuring Crossworm on the remix ruggedly points out the fact that he’s putting his life into this music shit for 2 decades at this point. “She Doesn’t Love Me Anymore” tugs at the heartstrings a bit on all fronts by discussing a breakup while the dusty “No Umbrella” tackles the themes of depression metaphorically standing in bad weather without an umbrella.

The song “Single Dad” profoundly starts the final leg of Maxxx’s debut on Dirtcore with a piano & a melodic vocal sample giving us a look to what it’s like for him to raise a son by himself while the penultimate track “The Only Life I Know” blends these rich chords & hi-hats together talking about how those who ain’t a part of his life already are all the targets. “1 More Show” featuring Reverend Television rounds out the LP in the form of a inspiring trap closer dedicated to all their homies that couldn’t be here with them today.

Of the 3 full-lengths that Madd Maxxx has dropped thus far, Kaleidoscope stands as my favorite in his whole entire catalog & it has me ecstatic for his future with Dirtcore in general. The skits with his son throughout are ironic if anyone couldn’t tell but it’s well-produced, the feature list is pretty tight & you get a more personal look at one of my favorite Mission: Infect members.

Score: 4/5

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Maajins – “teenage feelings.” review

Maajins is an up-&-coming 15 year old producer & recording artist who since the pandemic has been turning heads by lacing singles for the likes of tana & Pasto Flocco to Autumn! & even Yeat. However since February of last year, he’s been branching out into a solo career & has already put out a total of 10 EPs in just that short amount it time. And only 3 months after his last one Retaliation Tapes & then !@ another 3 months before that, we’re already kicking off September by delivering an 11th EP.

“jesus piece” is a self-produce woozy trap kickstarter to the EP talking about always having to catch his ice before going out on stage every single night alongside a syrupy outro whereas “stop me” instrumentally reminds me a lot of a calming retro video game boasting the fact that he always be going off the way he does. “outlaw” has a spacey, trap/rock groove to it calling himself a fugitive without y’all that is until “malibu” moves forward by cooking up a psychedelic tribute to the titular city in Los Angeles.

Meanwhile, “your fault” blends some synthesizers patterns & hi-hats telling his ex off that he has a new woman in his house with him now prior to “phase” confesses that he ain’t in the mood over a tropical beat. “x6” probably has the most peaceful instrumental on the EP flexing that he’s been on the move just before “hold tht” dabbles with some rage undertones thanks to Paulo making this the only track here Maajins wasn’t behind the boards for talking about needing more cash & that your girl is throwing it back for him. Those hypertrap elements come full effect on the closer “meds” featuring Bandanna$aint confessing that they high out of their minds.

I‘ve been familiar with his production work for a couple years now, but have yet to cover a solo EP from him out of nearly a dozen in the span of almost 2 years up to this point & I can say that teenage feelings could very well be my favorite one of the batch yet. His songwriting & deliveries are on point yet sonically, one could say it’s a lot more versatile than previous efforts from rage beats to some elements of plugg or even the rock influences on “outlaw”.

Score: 4/5

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Smoke DZA – “Flying Objects” review

This is the 20th EP from New York emcee & songwriter Smoke DZA. Starting out over 2 decades ago as 1/2 of Smoke & Numbers, he would eventually go on to achieve a cult following of his own by dropping 7 albums as well as 10 mixtapes & a plethora of EPs along the way. My personal favorites include the sophomore tape George Kush da Button, the Pete Rock-produced 4th album Don’t Smoke Rock & the whole 183rd-produced Ringside EP saga. But when it was announced that Flying Lotus was being brought in behind the boards throughout Flying Objects, I just knew it was destined to be the best thing DZA has done in a while.

“Spiritual” is a psychedelically futuristic opener to the EP talking about faith in the man upstairs whereas “Painted Houses” featuring Conway the Machine takes the eerie boom bap route with both of them coming together excellently cautioning to treat lightly since their respective teams the Smoker’s Club alongside Drumwork & Griselda stay strong. The latter 2 in particular. “Zelle Transfers” takes a calmer route instrumentally spitting a charismatic, 1-minute freestyle & “Drug Trade” featuring Black Thought & later Conway the Machine on the remix was a phenomenal choice for a lead single to the EP with the woodwinds, kicks, snares & mafioso lyricism.

The closer “Harlem World ‘97” featuring Estelle on the hook rounds it all out with elements of deep house & synth-funk trying to school the apple of his eye professing their love for one another. The first of 2 bonus tracks “Beyond Spiritual” featuring Big K.R.I.T. & Wiz Khalifa happens to be a sequel to the opener with the longest reigning AEW World Champion, former CZW Wired Champion, CZW World Heavyweight Champion,アイアンマンヘビーメタル級チャンピオン, MLW World Tag Team Champion, the inaugural MLW World Middleweight Championship & the current reigning ROH World Tag Team Champion MJF on the intro & the other finishes the deluxe run with a “Zelle Transfers” sequel.

I went into Flying Objects under the impression that it was gonna be a full LP, but I still came away from it looking at it as one of the best EPs I’ve heard this year. One of if not the strongest in his whole entire discography other than the Statue of Limitations collab EP with Benny the Butcher & Pete Rock obviously. FlyLo’s production is magnificently diverse in sound from boom bap to deep hip house & I really can’t remember the last time I heard DZA himself as focused as he is on here.

Score: 4.5/5

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Jehry Robinson – “Drink More Water” review

Jehry Robinson is a 35 year old rapper, singer/songwriter & producer from Long Island, New York who came up in 2016 of his eponymous debut EP & the debut mixtape Pts. IV-VI few months later. His biggest breakthrough came around Christmas 2019 after signing to Strange Music, establishing himself with the KC indie powerhouse by dropping his full-length debut 20/Twenty the summer COVID had the world shutdown & a sophomore effort The Name’s Not Important the next fall. And with the 2 year anniversary coming up this weekend, Jehry’s commemorating it by dropping his 3rd album.

“Still Breathing” featuring Rittz & Tech N9ne is a somber trap opener to the LP that Jehry himself produced with Matt Phoenix so he & both guests display their technical lyricism & speedy flows taking everyone hostage knowing that this the life they chose whereas “Sincerity” featuring Hi-Rez finds the 2 talking about how it really might not be as bad it seems since he’s in a state of arrival with his biggest fear fucking up his momentum over an uncanny loop with hi-hats. Hi-Rez’ appearance might be the weakest on the whole album in my respectful opinion. “Out My Head” has a more melodic approaching both in terms of delivery & the instrumental owning up that he’s the one to blame just before “Memorial Day” works in what might be a slowed down flip of the acoustic guitar at the beginning of Sixpence None the Richer’s best song “Kiss Me” & I could be totally wrong on that, but anyway he does display some real pain in his voice as he sings that heaven gained an angel feeling like he’s lost a friend.

King Iso comes into the fold on the bluesy trap hybrid “No Happy Days” produced by Wyshmaster tackling the themes of mental health that Iso has become renown for ever since signing to Strange right before Jehry did leading into “Kill My Daydreams” fusing pop rap & reggae talking about not letting anyone make you feel like you’re crazy or judge you for the things you naturally find yourself daydreaming about. “His Story” keeps the positive vibes going with a moodier atmosphere admitting he’s still lost & the best things in life come with pain, but then “Old Black Benz” talks about it having sex in his titular whip with a vibrantly summery beat.

“Candy Paint” is a quasi-jazzy trap crossover laced by Dominique Sanders getting on a more boastful side of things lyrically while “NY Talk” featuring Coney Island veteran NEMS who’s fresh off his fantastic major label debut Rise of the Silverback coming together over a club-rattling instrumental representing their home state. “Mushrooms” is a hypnotic ode to the titular drug taking them at 5am prior to “Water Boy” layering some hi-hats over these fresh piano chords talking about how motherfuckers always got something to say every single time he walks into the room now & that there ain’t no competition.

The lead single “Question Why” dives headfirst into boom bap territory so Jehry can count his blessings & never questioning why while the acoustic trap “Darkness” with C-Lance behind the boards calls out someone who’s been fucking with the wrong one feeling used & abused even though he never starts shit. “Razor” returns to a more tropical feeling sonically addressing the fact that we’re still hurtin’ & it won’t get better that is until the groovy “That Way” sings about exactly the way how he likes certain aspects of his life.

“Sleep Sleep” dabbles with acoustics more singing that he’s been lost in the wind & some of his friends don’t even know who he is anymore crying himself to sleep only to roll the dice in the morning while the closer “Front Door” continues to shoot for a more stripped-back sound continuing to sing about him not knowing life without the love of his life by his side. “Get Back Up” on the other hand happens to be a horn-inflicted pre-order exclusive bonus track delivering an anthem the champions can celebrate to.

Jehry’s verse on the “Screen” remix on top of the singles that we got up to this point had my anticipation Drink More Water continuously growing & makes it seem as if he never left to start. He’s definitely shown some growth in that 104 week span toning down the amount of features from last time on top of blending all the styles that he’s become known for since making himself home at Strange Music & continuing to push his artistic range forward.

Score: 3.5/5

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Axel Holy – “Extra Sauce” review

Bristol, England, United Kingdom emcee/producer Axel Holy self-producing his 10th extended play. Originally known under the moniker Baileys Brown producing for several local underground hip hop artists, he would eventually make his full-length solo debut in the spring of 2020 during the COVID-19 pandemic with WonderWorld followed by his last 9 EPs. My favorite of which are the Micall Parknsun-produced Got It Down & the Badhabitz-produced Persian Grillz, hoping Extra Sauce would be more enjoyable than On My Life & Ancient Rhythm respectively.

“Ferris Bueller” hits us with a soulfully drumless intro talking about how anything can happen on a rad day prior to the title track reaching the midway point of Extra Sauce going for a boom bap sound making something outta nothing. “Sunset Over Okinawa” kicks off the 2nd half talking about being in front of those who doubted him even if it took as long as it did & “All I Do” takes up the final minutes admitting that he’s been trying to maintain lately.

It was only a matter of time until Axel Holy gave us something that was entirely self-produced, so I went into Extra Sauce thinking I’d enjoy it more than On My Life & Ancient Rhythm much like how Persian Grillz was a significant improvement above Welcome Back & Chess. Sure enough: That’s exactly the case. He goes significantly harder than his last couple EPs saving himself a stellar collection of boom bap, drumless & chipmunk soul beats he made.

Score: 4/5

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$weet-T – “Sweeten the Pot” review

Michigan rapper $weet-T quickly following up his full-length studio debut Sweet Talk with a sophomore effort. Introducing himself alongside $kid for the collaborative EPs Monkey Business & Fancy Off Fiends respectively, it wasn’t too long thereafter when Lando Bando signed him to The Hip Hop Lab Records & properly introduced himself with a debut album earlier this spring. Exactly 90 days have passed & the newest ShittyBoyz affiliate is looking to Sweeten the Pot up a little bit.

“Sweet Chaka” starts by peakin’ off the boomers in contrast to those wasting their lives on on the Meta Platforms-owned Instagram whereas “The Whole Pie” featuring Babytron & Brezden finds the trio excitingly trading the microphone back-&-forth with each other. “Peep the Receipts” produced by Danny G & Jakesand cautions that he’ll make anyone obsolete if he & the gang pop out while “Federal Offenses” featuring Certified Trapper makes another attempt at a back-&-forth chemistry although not as great.

$kid reunites with his partner in rhyme on “Otis” throwing it back to the Fancy Off Fiends era a little dismantling their competition leading into “Spot Test” talking about making the pot burst with all the pressure he has on him. “7 Horses” brings $kid back in the fold for 1 more collaboration that I like less than the first one just before “Nebuchadnezzar” references the Discovery Global subsidiary Cartoon Network owned [adult swim] hit series Rick & Morty.

“Seasick” featuring BandGang Biggs links the 2 up to talk about ballin’ in contrast to others barely gettin’ by while “Hot Potato” dismisses those with puny vocabs & making people think he went to a university the way he articulates himself. “Callin’” taps in with Carlo Anthony to talk about the money hitting his line while “Cape Cod” speaks of plugging people in with God & airing out a whole team of broads.

ScrumbleMan’s appearance on “Dionysus” is one of the weaker guest performances on the LP even with them trading verses with one another while “Money Mission” featuring J1Hunnit makes up for it with both labelmates talking about their assignment of getting the bread. “Merlin” boasts that he keeps a 45 auto tucked like he was fightin’ the fascists while “Knockin’” makes reference to both Flynn White & Huell Babineaux from my favorite shows Breaking Bad & Better Call Saul.

“Good Run” pushes towards the conclusion of Sweeten the Pot by referencing future WWE Hall of Famer, former 6-time WWE world champion & 4-time WWE Tag Team Champion Dave Bautista while “Filthy” featuring GlockBoyz TeeJaee kicks off with a nod to EMPIRE Distribution founder Ghazi Shami & later the 2004 NBA Finals MVP Chauncey Billups. Couldn’t forget to mention the line about the Paramount Skydance Corporation subsidiary Nickelodeon hit series SpongeBob SquarePants almost halfway.

J1Hunnit comes back 1 last time for “Block Party” with a bar out the gate referring to former 3-time WWE world champion, 5-time WWE Intercontinental Champion, WWE United States Champion, 3-time WWE Hardcore Champion, 3-time TNA World Champion, ΩCW Heavyweight Champion, 9-time WWE Tag Team Champion, ROH World Tag Team Champion, HoG Tag Team Champion, 2-time ΩCW Tag Team Champion, 2-time TNA World Tag Team Champion & The Crash Mundial Parejas Campeon Jeff Hardy.

If you’ve ever wanted a spiritual successor to Fancy Off Fiends in the sense that Danny G’s handling most of the production, Sweeten the Pot would be it except it’s the most exciting that $weet-T has sounded by himself. Jakesand & Carlo Anthony’s contributions behind the boards are all on par with Danny’s beats since they’re amongst the best in Detroit sound & even if the guests are a little 50/50, the flows that $weet-T hits us with still makes up for it.

Score: 4/5

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