This is the 7th mixtape from Detroit, Michigan rapper/producer Prince Jefe. Known for his affiliation with the ShittyBoyz, I can’t forget to mention the 9 EPs & his previous 6 tapes he’s already put out since 2023 to establish himself as a solo artist. Personal favorites of mine gotta be Jefe, 12/19, On the Run & more recently Lab Talk a couple months earlier. For his 3rd & final offering of the year, he’s looking to do it Jefe’s Way under Lando Bando’s own The Hip Hop Lab Records.
“Angel” opens with some strings & bells talking about hearing Envy next to him as if he’s on The Breakfast Club with Charlamagne tha God leading into “Handle It Right” venting over seeing people he knew in life changing all because of some money. “Tryna Tell U” embraces the Detroit trap vibes heavier talking about living more on the right side of things these days prior to “50 Boy” boasting that he cooks better than his own mother.
As for “Jealous”, we have Jefe going for a cloudier approach to the Detroit trap aesthetics comes clean of his daughter catching a body recently & feeling that exact way about it just before “Math Ain’t Mathin’” warning that he got hitmen who’ll send out hits with the blicks if you piss him off over a Jakesand instrumental. “Single Again” has a cloudier Detroit sound to it talking about a breakup while “L.L.$. (Long Live $camaurion)” featuring Fordio of the Dog $hit Militia pays tribute to $camaurion, who was killed in a fatal car accident last fall.
“Voodoo” admits it’s been hard to switch from the streets to rap while the self-produced “On the East” featuring Certified Trapper boasts of everyone in their hoods knowing about them. “J Reed” references Green Bay Packers WR Jayden Reed while “Another Deuce” produced by Danny G talks about having junkies knocking on his door in the early morning. “Heel Toe” featuring Babytron ends Jefe’s Way with them entertainingly going back-&-forth with each other.
Familiarizing myself with his appearances on Lando Bando’s 4th album New Era & of course Babytron’s 8th mixtape Bin Reaper 3: New Testament, the most underrated artist in the Detroit trap scene puts out a new tape under Lando’s steadily growing label & it easily surpasses a lot of what I’ve heard regarding Jefe’s earlier material. Including his work when his original moniker used the same name as Rap-A-Lot Records founder J. Prince because he’s doing it how he wants to.
This is the 5th full-length album from Santa Monica emcee, producer & singer/songwriter Earl Sweatshirt. Beginning his career in 2008 under the name Sly Tendencies as the son of Cheryl Harris & late poet Keorapetse Kgositsile, he posted a handful of tracks for a mixtape called Kitchen Cutlery on MySpace, but the tape would never be released to this day. Then he formed a rap trio with 2 of his friends called The Backpackerz & planned to release a mixtape together titled World Playground, but they disbanded sometime in 2009. Shortly after, he joined Odd Future & appeared on their 2nd & final mixtape Radical that May. 10 months later, he put out his only mixtape to date Earl with OF’s de facto leader Tyler, The Creator producing a bulk of it. The tape received a lot of buzz, but Earl’s mother would send him to a therapeutic retreat school for at-risk boys in Samoa sometime after until February of 2012. He was then granted his own Columbia Records imprint Tan Cressida Records & released his full-length debut Doris a decade ago to critical acclaim right before I started my junior year of high school for his clever rhyme schemes & the gritty production from The Neptunes to even the RZA. He then formed the duo Hog Slaughta Boyz with OF affiliate Na’kel at the beginning of 2015 & released his sophomore album I Don’t Like Shit, I Don’t Go Outside. a couple months after. Many of which consider to be better than Doris for it’s darker aesthetic. Some Rap Songs not only wound up being my favorite album of 2018, but also the best work of Earl’s career as I look at it as the bastard child of one of my all-time favorites album: Madvillainy. But after dropping a small handful of SRS leftovers in the form of Feet of Clay through a new distribution deal Tan Cressida signed with Warner Records & then his full-length debut on the label Sick! about 2 & a half years ago, Earl’s enlisting one of my top 10 producers of all-time The Alchemist to speak the truth hence the Voir Dire title after a decade of working together. Especially since Earl coined the Uncle Al nickname.
“100 High Street” opens the album with some strings, kicks & snares so Earl can talk about how it wasn’t easy even though he’s a grown man now reaping everything he’s sowed in whereas “Vin Skully” goes for a more sample based groove remembering the cold & shrugging ’til he was sore inside the crib with a better understanding. “Sentry” featuring MIKE works in a crooning loop dropping bars like “Freddie Hubbard sing through the acts, chop another piece off the branch. “Memories careen out the past, halt me to a screech in they tracks” or “You remember I’m feelin’ like Aubrey. There ain’t real n***a higher involved than me, I was there on a small façade. No need actin’ surprised when you call me”, but then “All the Small Things” has a more delicate sound talking about holding your breath.
The mellower vibes of “My Brother, The Wind” from the synths & melodic sample are incredibly soothing dropping wig-flipping bars like “My brother, like Sun Ra, we all need you. Godspeed You! Black Emperor” leading into the bluesy boom bap hybrid “27 Braids” showing off exactly how many brains he’s rocking nowadays & referencing becoming a father himself couple summers ago. “Mac Deuce” gives off a more lusciously shimmery edge instrumentally filling all the vacancies like the brightest star just before blissfully drumless “Sirius Blac” comes out swinging with “Roc Marciano told you it don’t last, get you a snack. Photocopies of my shit hittin’ the net, n****s is ass. I nicked my hand on a backboard glass, shattered it like Shaq” explaining that only big fish surround their pond.
The song “Geb” talks about being the man over a heavenly beat with the standout bar to me personally being “It’s on tuck like Doubtfire, close as a secret. My mouth shut ’til the bag wired then I release” while the penultimate track “Dead Zone” flirts with death to curve em & watch him work bringing in these lavish piano chords starting his verse perfectly with “Have the pull-out like a flatbed, get it cracking like cueballs. Plastered on the wall like a fathead in a pool hall”. “Free the Ruler” couldn’t have been a better choice for a closer from the soulful chops to the lyrics talking about how “it’s not normal, but I swear this shit is regular”.
The streaming version of this LP contains 3 bonus cuts & I’ll go over them right now. “Heat Check” starts things off with heavy synthesizers admitting that he couldn’t cope with the dope fiend shit looking to leave on the highest note, but the remaining 2 both feature Vince Staples interestingly. The first of which “The Caliphate” goes for a cloudier sound getting on their abstract shit lyrically & the other “Mancala” concludes the bonus track portion of the album with pianos as Earl confesses he’d be remiss to try & go at least without a blick ’round him.
Despite the fact that Sick! is widely considered to be the uknowhatimsayin¿ of Earl’s discography, my expectations were already very high going into Voir Dire as someone who’s been listening to him since the Odd Future days & it is without a shadow of a doubt that it’s the best thing he’s done since Some Rap Songs. It will also go down as one of the best albums of his career & the strongest of the 3 projects we’ve gotten from him since the Warner deal. I literally have no complaints about it whatsoever from Al’s drumless jazzy production to the intricately abstract wordplay that Earl is known for.
This is the sophomore full-length album from horrorcore supergroup Cabal. Consisting of Bukshotas well as Lo Key & Mr. Grey, the trio have all worked with one another individually up until a couple summers ago when MIKE SUMMERS a.k.a. 7 got behind the boards throughout the duration of their debut The Watchers. This would send shockwaves within the underground wicked shit scene & would really be the beginning of Mobstyle Music’s takeover, so for them to return 3 years later to take us into The Pitwas something I was looking toward to.
After the titular intro, the first song “Eidolon” is a dementedly uncanny trap opener about the trio waiting in the darkness whereas the piano-driven “1 Dark Night” recalls the events of a fatefully dark evening that occurred long ago. “Diamond” goes for a more uncanny atmosphere boasting that they went from horrorcore artists to being Gods within the subgenre prior to the sonically uneasy “Obey” advising to succumb to them.
“We Come in Peace” goes for a cavernous trap vibe explaining that they come with the message to be taken to the leader of this world they’ve stumbled upon & after the “Chamber” interlude, “All Rise” morbidly calls for everyone to demand their gratitude to the trio. “Philistine” delves deeper into the most misunderstood people in the ancient world over a ghostly trap beat just before the atmospherically ghoulish “Nightmar3” talks about declaring themselves as nightmares personified.
However, “Coming with Me” looks to take every last person with them showing no mercy & a beat that makes you feel like you’re listening to a horror movie on wax leading into “The Signal” pulling from trap once more talking about being world eaters. After the “Swallow” interlude, “Fire from Beyond” hooks up an apocalyptic loop & hi-hats promising that everyone will fall while “Forest Lights” draws inspiration from boom bap talks about the end creeping towards them.
“The Curse” bleakly details the curses that chase them explaining they don’t see a reason why to fight for their souls back anymore, but then the final song “Wizard of Saws” preludes the “Skulls” outro & finishes Cabal’s sophomore effort in the form of 1 last horror-inducing trap cut pointing out how their hearts be as cold as the winter season justifying that the trio’s reign of having the wicked shit in a headlock is only growing stronger.
The Watchers quickly became a modern day horrorcore classic when it was unleashed to the world a couple years ago so it was announced on the Berzerkers’ eponymous debut EP last summer, I was excited for all 3 of them to take it to the next level & that’s sure enough what they do here. 7’s masterfully dark production is being taken to a new level as is the chemistry between the members of Cabal themselves & the hardcore, gritty lyricism.
This is the 5th full-length album from West Coast-based hip hop collective the Soul Assassins. Founded in 1992 by DJ Muggs, their debut Chapter Iwould become a bonafide classic & would follow it up with the equally solid II. This was followed up almost a decade later with Intermission & another 9 years later when they got back together on Dia del Asesinato. But coming fresh off producing a plethora of albums for a wide range of different artists, Muggs is looking to close out the trilogy that began Chapter I & pick up where II left off by taking everyone to Death Valley.
After the “Time Has Come” instrumental intro, the first song “It’s On” by Boldy James sets it all off talking about how he & the Concreatures bleed the block over a lusciously groovy beat whereas “Check In” by Jay Worthy gives off a more blaxploitation inspired sound as he flexes the chess moves he’s been making. “Sicilian Gold” by Ghostface Killah & Westside Gunn gives off a more triumphant vibe so Starks & the FLYGOD can brag about their drip, but then the piano-heavy “67 Keys” by Meyhem Laurenas well as Roc Marciano & Rome Streetz finds the trio getting in their coke rap bag.
After the “Mr. Cartoon” interlude, “Joker’s Wild” by CeeLo Green shifts into boom bap turf taking pride in being Chicano just before “Shell Casings” by T.F goes for a darker atmosphere advising that those who try to play hero will get shot. “Street Made” by Freddie Gibbs & Scarface weaves more kicks & snares into the fold talking about being made by their respective hoods that is until “Where We At” by Boldy James gives off a drumless edge this time basing the subject matter around one of his most famous adlibs.
“We Ain’t Playin’” by Jay Worthy, T.F & 2Eleven returns to the boom bap declaring that they ain’t fuckin’ around whatsoever while “Burn the Playbook” by Domo Genesis & Evidence sees the pair over more kicks & snares with a cloudy backdrop promising to never run slow. After the “Majik” interlude, “Crazy Horse” by Crimeapple & Roc Marciano strips the drums once more spitting their signature gangsta raps while the lead single “Metropolis” by Method Man & Slick Rick hooks the kicks & snares back up reminding that they can’t be touched lyrically all these decades later.
To start the final leg of the album, “We Coming for the Safe” by Boldy James is an eerie way to do it of course talking about breaking into safes while the track “Skeleton Bones” by Rome Streetz further demonstrating himself to be gave of the most skilled pens in the game currently by dropping lyrical acrobatics. And prior to the outro, the final song “Dump on’ Em” by Cypress Hill alongside former N.W.A members Ice Cube & MC Ren ends the 26 year trilogy with a beat kin to Cypress Hill IV repping the west coast.
Already over 3 decades since the Assassins have been around albeit over a quarter of a century since they started dropping music & 5 years after returning from a near decade-long hiatus with Dia del Asesinato, there’s not a single shadow of doubt in my mind that Soul Assassins III: Death Valley couldn’t have closed out the trilogy any better. The guests are well-balanced between hip hop veterans & of the biggest names in the underground currently as they all come together to destroy mics in their own fashion backed by Muggs’ distinctly raw production.
This is the full-length debut album from Atlanta, Georgia up-&-comer Bermuda Yae. Making his presence known by dropping 3 EPs & a couple mixtapes, this would all lead up to the immensely talented South Carolina producer/recording artist Pi’erre Bourne signing Yae to his own Interscope Records imprint SossHouse Records. And considering that Pi’erre’s began a run producing albums for the artists he’s signed after putting out his critically acclaimed Grails EP this past spring, but Bermuda Yae is pleading The 5th & becoming the 3rd SossHouse artist to introduce himself on an LP of his own after both J Billz & Kura respectively.
“Tomato” starts off Yae’s very first album with a spacious trap instrumental thinking of a masterplan whereas “Back in Dis Bitch” takes a bass-heavier approach talking about his return to the scene of course. “One of Dem” confesses to being one of those dudes with a wavy, booming quality to the beat just before “Reminisce” gives off a more delicate vibe sonically in order for him to reflect on the lyrical side of things.
Meanwhile, “South Dekalb” works in a rubbery bass-line describing the southern party of the titular county in Georgia leading into the airy trap cut “Boosie” paying homage to the titular Pimp C protege from Baton Rogue. “Einstein” on the other hand keeps the rattling bass & hi-hats in tact to talk about having a lightbulb go off in his head, but then “So Fly” gives off a lively feeling this time around obviously lacing his lyrics with braggadocio if you couldn’t tell by the title.
“Big 4” almost had a rage-inducing quality instrumentally looking to beat the block while “4 Life & Kites” shoots for a woozier aesthetic acknowledging that he’s already known about people not saying shit in their lyrics or copying him blatantly. “Freak Nik” has one of the quirkier instrumentals on the album & more sexually charged subject matter while “Fuckumean” can talk about him going crazy over these paired set of strings & hi-hats.
Pi’erre cooks up a more suspenseful vibe on “Wild Wild East” painting a picture of what it’s like to grow up in the Eastside of Atlanta, Georgia while the inebriating “John Deere” talks about rolling with no one but by his lonely. “Headphones” should’ve been combined into 1 instead of being split in half with the beat starting with some cheerful synthesizer melodies & hi-hats prior to swapping the synths out in favor of a shimmery backdrop advising to put on headphones for this particular cut, but “Preciate Y’all” is a cloudy finisher thanking everyone for sticking by him up to this point.
It makes me happy to see Pi’erre finally giving Bermuda Yae a chance to shine much like how when he produced both Streetz Hottest Young’n & Born Seditionary only a couple months ago. Similar to both of those debut albums, we get a closer look as to who Yae is both artistically & personally except each of the 3 introductory LPs have their own story & the production from his mentor is leagues better than those early EPs/mixtapes.
This is the 4th full-length album from Louisiana rapper, singer/songwriter & producer Autumn!. Emerging off of 19 EPs & a full-length debut on SoundCloud since 2018 prior to signing to Victor Victor Worldwide & Republic Records after the Not Much Left EP, he made his major label debut last spring with his sophomore effort Antagonist! as well as following it up with ##B4GC2 & Golden Child 2. However, he’s coming off ##B4GC3 & of course Golden Child 3 by dropping Midnight Club holding fans off until a sequel down the road.
“2 Chrome Necklaces!” is a wavy trap opener discussing his lifestyle & essentially serving as a peace offering to Yeat after they’ve been beefing for the past couple years whereas “Cocaine Diamonds!”takes a more euphoric route instrumentally talking about disappearing & reappearing like David Blaine. “She Say He Say!” however comes through with a trippy loop & hi-hats making it known who the flyest & realest couple in the game is, but then “Black Truck Greeters!” goes on to drop braggadocio over some punky drums & auto-tuned vocals.
To start the 2nd leg of the album, “Some of My!” works in some hi-hats & a shredding guitar riff getting in depth about a few of the bitches he’s had in his life that is until “Just Like Me!” details how the main woman in Wick’s life is similar to him in many ways with some cool rage undertones. “Abloh!” is the long-awaited tribute track to the iconic Off-White founder, Louis Vuitton artistic director & DONDA creative director Virgil Abloh going into more piano-driven turf leading into the atmospheric “Faith!” exploring how Twinuzis’ girl wants him to put his actual faith in her.
“Biggest Flaw!” gives off a syrupy, mellow flare finding out what’s going on in this woman’s head just before the poppy, cloudy “Chanelly & Birkin!”confessed that he’s found the perfect one for him. “4GSeller!” delving more into his lifestyle paying homage to the clothing store in New York until “Survive the Fall!” fuses elements of trap & rock to close out the album by declaring this his last call & having thoughts of suicide.
Golden Child 3 was a great conclusion to the trilogy that introduced me to Autumn! in the first place & the best full-length LP in his catalog yet. However, Midnight Club is right behind it without question. Wick’s ever-so stunning production is gradually evolving more & not only is is songwriting catchy, but so are his catchy vocal performances as he takes us through the way he lives. Twinuzis really went back-to-back in 2023 in only 5 months.
The Doppelgangaz are an East Coast hip hop duo from Orange County, New York consisting of MCs/producers Matter ov Fact & EP. Within the last 15 years, they’ve gone on to make waves in the underground by dropping a total of 8 full-length albums as well as 7 EPs & 6 beat tapes. Standouts include their breakout sophomore effort Lone Sharks, the follow-up Hark, their 5th album Dopp Hopp the follow-up to that Aaaaggghh. But coming fresh off their 8th LP Black Cloak Lifestyle last winter, they’re going left on their 8th EP.
“Easy Street” is a g-funk opener to the EP looking to get everyone’s hands up in the air & recite a prayer from the 2 cloak players that stay representing Groggy Pack Entertainment whereas the title track delves further into the g-funk realm justifiably flexing that they really did turn left here considering their East Coast roots. “Cloakland” takes the spacious route with some heavy synthesizers & more g-funk influences during the hook welcoming you to the titular city, but then “Cloak Life” ends the EP with 1-last g-funk banger as both Matter ov Fact & EP themselves talk more about the Black Cloak Lifestyle they live.
Considering the title of Went Left, I went into it expecting to be a change of pace for the New York duo & sure enough: I was highly impressed with what they delivered on here. Quite possibly the riskiest EP in their whole entire catalog. Instrumentally, they ditch the traditional boom bal sound they became known for in favor of showing their love & appreciation for the west coast by recapturing what made g-funk so special 3 decades ago meshing that well with more vibrant lyrics.
This is the sophomore full-length album from Los Angeles emcee Hexxx. First emerging in the underground back in the fall of 2016 off his debut EP Samhain, he would go on to follow it up 3 years later with his 2nd EP West Coast Wicked Shit prior to becoming the first act to sign to Ouija Macc’s very own Psychopathic Records imprint Chapter 17 Records other than Ouija himself last spring by dropping the classic debut Demon Season. However, he’s returning to tell the Tales of a Cursed G.
The title track is an eerie trap opener talking about being back up in the haughhh whereas “Blade to the Neck” has a more shimmery backdrop & the hi-hats remaining as he looks to cut a motherfucker’s throat up. The instrumental on “Another Day” featuring Shaggy 2 Dope of the Insane Clown Posse fresh off the first leg of his solo tour promoting his new EP Professor Shaggs & the Quest for the Ultimate Groove goes into g-funk territory with a Maezi666 instrumental reminiscent to “You Gots to Chill” by EPMD aptly detailing another day in the lives they life, but then “Darko” goes into psychedelic trap turf getting high in the street lights looking back on the dirt nights.
Meanwhile, the uncanny beat on “Shimmy Shimmy Yah” is pretty phat so HEXXX can talk about smoking that good kush & hitting pussies with the semi prior to “Black Crown” goes for a rowdier groove thanks to Devereaux referring to himself as a killer on the frontline. “Brick” works in a chopped & screwed sample of “Murder Go Round” off the wicked clowns’ sophomore effort Ringmaster over a mind-altering trap beat talking about continuing to hit ‘em with the titular object because it is what it is just before “Blueberry R3dbull” shoots for a more straight-forward west coast hip hop sound keeping the trouble poppin’.
“The Coast” featuring Trizz flips my favorite Necro joint “Your Fuckin’ Head Split” promising to make ghosts out of anyone who fucks around with them while the woozy “Season of the Sick” reminding that he’s a man with mob ties. The penultimate track “No Rest” draws near the end of HEXXX’s sophomore effort with an energizing ballad refusing to rest no matter what the circumstances & “Paradise” ends the album with a rubbery bass-line on top of some some strings talking about being a man of mistakes.
Demon Season quickly became a modern day classic for how it embodies the west coast wicked shit & over a year later, he’s done it again on Tales of a Cursed G only a month after Darby O’Trill dropped his Chapter 17 debut Creek because we’re witnessing the label going harder than they did last year. The subject matter comes from a more personal place in comparison to the debut & the production expands on the sounds of that previous album except they ditch the boom bap undertones.
Russ is a 31 year old rapper, singer/songwriter, producer from Secaucus, New Jersey who dropped off a total of 11 mixtapes on SoundCloud until signing to Columbia Records a couple years later & made his full-length debut in 2017 off There’s Really a Wolf. Quickly becoming one of hip hop’s most polarizing figures in recent memory in the process by being a “fake activist” against drugs & then there’s his infamous 2016 interview with DJ Vlad the culture vulture where he literally said “we need to blame producers for all the wack music today”. His 2018 follow-up ZOO kinda caught my interest due to “The Flute Song”, but the end result of it being taken over by this annoyingly bitter demeanor. Shake the Snowglobe was slightly better & his debut EP CHOMP ended up being his best work so far although it’s because the features & producers carried. Funny enough, the same thing happened on the sequel & more recently the Chomp 2.5 EP this past spring, but is preluding the final installment of the trilogy with a 4th album.
“See You Soon” sets the tone for what’s to come with a half-baked, dreamy R&B ballad promising the woman he loves that he’s gonna see her sooner than later whereas “Smooth” works in a glistening boom bap beat talking about being connected to the truth even though bars like “We in Paris like we spoke French” is kinda cringe. “Fraud” shoots for a more stripped-back sound confessing that he’s lost just before “No More” keeps the acoustics in tact hideously singing about not wanting to cry anymore.
Moving on from there, “Empty” continues to delve further with the wimpy melodic performances over a self-produced guitar lead & hi-hats telling us that’s exactly how he feels inside leading into “I Love You Boy” swaps out the hi-hats for kicks & snares encouraging to run before they kill you referencing former UFC Women’s Flyweight Champion Valentina Shevchenko. “Enough” goes for a more sample-based sound feeling recharged & assured that he’s enough, but then “Adventure” starts off with more stripped back guitars talking about he’s not lost & the boom bap switch-up during the last minute or so was an unexpected surprise.
“Oasis” tackles the idea of being in his own refuge over a cloudy instrumental while “Fatima” whips up another trite pop rap ballad with decently bluesy beat. The song “Distracted” incorporates more synthesizers melodically refusing to let anything distract him while the penultimate track “Tunnel Vision” talking about priding oneself over a summers instrumental. “The Wind” though happens to be a 5-minute, hazily-produced closer consisting of him discussing needing his ultimate focus.
I stand by what I said in my CHOMP 2.5 review that that he’s trying to improve himself both artistically & personally, continuing to hope for that down the road. However, I came away from Santiago liking it less than the EP he dropped few months ago. I appreciate how he represents his mental, spiritual, physical & emotional journey to his treasure on here by getting more in depth as to exactly what his treasure is on top of his production showing some improvement. That being said: His songwriting is still mediocre at best & the vocal performances at times (particular his singing) fall flat in my opinion.
This is the 4th full-length album from Chicago, Illinois emcee Mick Jenkins. Getting his start as a member of the YCA collective, he would eventually breakout in 2014 with the release of his GoodTalk Records-backed 3rd mixtape The Water(s) followed by his debut EP Wave(s) & the commercial debut The Healing Component. His next 2 albums Pieces of a Man & Elephant in the Room were both released to more mild reception, but I still went into Mick’s official RBC Records debut The Patience hoping it would become the strongest LP in his catalog.
“Michelin Star” is a lavish opener to the album by Mick providing genuine words of wisdom whereas “Show & Tell” featuring Freddie Gibbs dives straight into boom bap territory with a string sample talking about how they had to proving the doubters wrong in front of their very eyes. “Sitting Ducks” featuring Benny the Butcher works in an uncanny loop with more kicks & snares saying they keep that flame with them sans the propane leading into the calming lead single “Smoke-Break-Dance” featuring J.I.D talking about puffing on that good shit.
Meanwhile, we have Mick returning to the boom bap on “007” making it clear that he fucked around & found a way out just before “2004” works in some heavy synths talking about being around the same people as he was 2 decades ago. “Roy G. Biv” produced by Beat Butcha psychedelically puts a unique spin on the concept of the acronym for the sequence of hues commonly described as making up a rainbow, but then “Pasta” takes a more atmospheric route talking about how all he sees is imposters.
The song “Farm to Table” featuring Vic Mensa goes for a mellow boom bap vibe finding both Chi-Town natives boasting that they keep baddies on their arms & they’re not bitches at all while the penultimate track “Guapanese” is a jazzy drumless crossover pointing out how money talks in a distinctive fashion. “Mop” ends the album by endless mopping his flows over a crooning loop & a bass guitar courtesy of FNZ.
I’ll admit that it’s been a few years since I’ve covered Mick’s music, but The Patience is quite possibly the most mature LP in his catalog thus far. The production is rooted in the stylistic jazz rap sounds that we’ve come to know him for, the features all have perform more consistently than Elephant in the Room & you can genuinely hear the frustration with the process of progression in his voice for the half hour duration.
