Beverly Hills producer, DJ & rapper The Alchemist coming off his born day over a week ago by dropping his 11th EP & a sequel to the last one Flying High. Beginning as 1/2 of the duo The Whooliganz in 1993 with Scott Caan, they would only disband a year later after recording a debut album that eventually got shelved & Scott went onto acting like his father. Mudfoot on other end quickly established himself as one of the greatest producers in hip hop history with a resume including ranging names from Mobb Deep to even Eminem. But after producing Faith is a Rock for MIKE & Wiki alongside the best album of 2023 Voir Dire by Earl Sweatshirt, it should be known that Uncle Al’s still Flying High.
“Turkish Link” is a full-fledged solo cut to start the EP with Alchemist himself over a jazzy instrumental boasting lyrically whereas “Phil Drummond” featuring Conway the Machine finds the 2 on top of a a murky boom bap beat talking about their current statuses. “Vertigo” featuring Action Bronson takes a groovier approach musically looking to dismantle shot while “Royal Hand” happens to be the grimy, long-awaited reunion of Gangrene after 8 years & they both sound like they never even took a hiatus to begin with. The closer “Paint Different” featuring Curren$y finishes things with 1 last jazz rap cut belittling their competition.
Unlike the last Flying High, we have one of my top 10 producers showcasing his skills on the mic more often in comparison which shouldn’t surprise people since he started out with the late James Caan’s son as a duo of MCs, but a lot of performances on his his producer work are left to the guests & he gels well with them over his own production rooted in his signature hardcore albeit jazzy boom bap sound. Heard he & Hit-Boy are doing an album à la Champion Sound by Jaylib, which is VERY interesting considering “Slipping Into Darkness”.
Majid Jordan is an alternative R&B duo from Toronto, Ontario, Canada consisting of singer Majid Al Maskati & producer Jordan Ullman. Forming in 2011, it wasn’t until a couple years later when 40 signed them to OVO Sound & was featured on their mentor Drake’s hit single “Hold On, We’re Going Home”. Their 2nd EP A Place Like This stands to date as the best project in their catalog, as none of their 3 full-length LPs have been able to reach that caliber generally receiving moderate feedback. However, my curiosity got the best of me & I had to give Good People a shot.
“Tears in Your Eyes” is a smooth soul opener expressing how much he deeply needs this woman in his life whereas “Waiting for You” featuring OVO’s newest recording artist Naomi Sharon mixes alternative R&B with sophisti-pop & some smooth soul undertones as she & Majid both sing about hanging on to love. “Eyes Closed” is really the only song on here I don’t like sounding like Majid’s impersonating Michael Jackson over another smooth soul instrumental just before “Hands Tied” dabbles with new wave & synthpop a bit having an epiphany now that he & his significant other have found each other.
Meanwhile, “Slip” takes a more spacious route to the beat from Jordan as Majid comes clean with this woman to not leave him in doubt leading into the 7-minute “Violet” singing over atmospheric production about growing when their hearts are open. “The Message” goes for a stripped-back approach telling her that all he can offer her belongs to her while the breezy guitar ballad “Cyanide” confesses to this woman that he takes his shy away. The fittingly peaceful closer “Sunset” reminds that being here today & gone tomorrow truly with him it is a tough pill to swallow.
It’s seriously already been a decade since these guys made themselves at home with OVO & as someone who’s been listening to them since that Drizzy single they were featured on, this is the most I’ve enjoyed a whole album from them thus far & it’s the best thing they’ve done since A Place Like This. Jordan Ullman expands beyond the duo’s alternative R&B sound in favor of smooth soul, sophisti-pop, neo soul, new wave & synthpop as Majid Al Maskati assures everyone that solid individuals will be there for you whenever you find it.
Double disc 13th full-length LP from Atlanta, Georgia rapper, songwriter, trap pioneer & actor Jeezy. Emerging in the early 2000s off his full-length debut T.U.I. (Thuggin’ Under the Influence) & the sophomore effort Come Shop wit Me, his biggest breakthrough wouldn’t come until 2004 where he began a partnership with Def Jam Recordings that’s going on strong to this very day & dropped the classic Thug Motivation 101: Let’s Get It the following summer. Subsequent discography highlights would include Thug Motivation 102: The Inspiration, The Recession, Thug Motivation 103: Hustler’z Ambition, Seen It All: The Autobiography & even The Recession 2 that came out the day after his Verzuz battle against longtime rival Gucci Mane during the COVID-19 pandemic. He went back to basics with the help of DJ Drama last fall on his 14th mixtape Snofall & a year later, Jeezy’s departing Def Jam after nearly 2 decades to state that I Might Forgive…But I Don’t Forget.
“I Might Forgive” sets off the 2-disc effort with a triumphant trap instrumental addressing those who say the Snoman fell off & that he needs another hit whereas “My Name” hooks up some melodic background vocals & hi-hits talking about not letting anyone throw dirt on his name hence the title. “No Complaining” gives off a ghostly trap vibe thanks to the J.U.S.T.I.C.E. League & TM88 making it clear that he ain’t buggin’ since he came a long way that is until the orchestral-trap “They Don’t Love Me” produced by ATL Jacob admits he feel like the streets don’t love him anymore.
Moving on from there, “Trust No One” says it all hoping over pianos & hi-hats to declare that he ain’t trusting nobody since everyone out here’s getting killed just before “Sad” brings these unexpected bagpipes into the fold talking about the way his competition is going out. “Couldn’t Lose If I Tried” shows plenty of charisma for 3 minutes flexing that he can’t take no L’s, but then the piano-trap driven “Rewrite History” talks about still celebrating of his victories to this day.
“Never Had a Bad Day in My Life” pretty much says it all as it’s simply a W for him to wake up in the morning over a reversed loop & hi-hats from Cubeatz while “This Too Shall Pass” has this chilling vocal sample throughout providing advise to those that don’t wake up without a bag. “Don’t Deserve Me” gives off an ominous trap flare saying he feels like the rap game don’t deserve him prior to the victorious “If I’m Being Honest” once again talking about how it’s a win he isn’t dead or in jail.
The smooth “Don’t Cheat” has to be the most mature song on the first disc declaring that real ones aren’t unfaithful to their significant others & the soulful “Shine on Me” promising that it’ll be ok in the end. “Keep the Change” ends the first disc of I Might Forgive…But I Don’t Forget on spacious note calling out someone he always thought the best of & how much of a real shame it is. To start the 2nd disc or the But I Don’t Forget half of the album with J.U.S.T.I.C.E. League production top to bottom, “Delusional” is a jazzy start asking why they let the submarine implode.
“Nothin’ to Prove” blends in these horns & hi-hats asking what’s the matter since he ain’t letting them have it their way while the epic trap banger “Titanic” advises that this type of shit isn’t for the weak. “Everything About Me is True” asks what if he told y’all exactly that over a shimmery trap beat while “Expectations” gives of a mystical atmosphere declaring the first mistake is actin’ like you really enemies with him kinda sounding as if he was almost trying to do a 2Pac impression when he said that.
The sample throughout “Claim to Fame” is absolutely stunning explaining that winning, losing & bouncing back is all part of the game while the groovy “What I Gotta Do” talks about how this is a real song as opposed to a chill song oxymoronically. “My Intentions” is more of a slow jam dissing those who be throwing shit his name all day & the spacious trap cut “Never Be a Fan” cutting off those who he ain’t vibing is or even going as far as to telling them the truth if they really don’t know what love is.
“Sade” shows a more sensual side to Jeezy talking about bumping the smooth soul icon & sampling her own music appropriately on top of that, but the cloud rap/trap hybrid “Don’t Let Up” talks about being fucked over as a youth & that it left him with too much trauma. “Since Pac Died” glamorously confesses he hasn’t shed a year since the day 2Pac passed while “Free Champagne” mixes these pianos, guitars & hi-hats declaring a toast to tomorrow. “No Choice” ends the 2-disc full-length by warmly telling y’all to go get it.
I personally like to refer to Jeezy, Gucci Mane & T.I. as the Big 3 trap pioneers & I already went into I Might Forgive…But I Don’t Forget expecting it to be a step above Gucci’s latest double album Breath of Fresh Air from a few weeks ago especially considering that the J.U.S.T.I.C.E. League fully produced disc 2. Sure enough, that’s exactly what we got. The first half of it is cool, but man that 2nd disc joins The Recession 2 & Snofall amongst the best material Jeezy has done this decade. Now let’s see how T.I.’s upcoming double album & supposedly his last Kill the King does.
Queens emcee Lloyd Banks is returning with his 18th mixtape. Gaining notoriety in the 2000s for his witty punchlines along as well as being an original member of G-Unit alongside childhood friends 50 Cent & Tony Yayo, he kept himself busy for a little while after the group’s disbandment in 2015 by releasing A.O.N. 2 (All Or Nothing 2): L.I.U. (Live It Up) & Halloween Havoc 3: 4 Days of Fury just before taking on a 5-year hiatus that really lasted until he received a song placement on the soundtrack for Griselda Records’ theatrical debut Conflicted a year & a half ago along with the whole Course of the Inevitable album trilogy gaining renewed interest in the PLK himself. But 7 years since 4 Days of Furyended the Halloween Havoc trilogy, Lloyd’s resurrecting the series at The 72nd Hr.
“Above the Law” is a boom bap opener with some pianos talking about shocking the world whereas “Convoy” with Haas Almahdi cautions that the southern side of his hometown Queens is loaded with .357 Magnums over a glistening backdrop as well as some kicks & snares of course. “Familiar Scars” works in this appropriately ghostly boom bap beat so he can compare his life to a horror flick leading into the dusty “Speeding Session” talking about seeing the top from where he’s at currently & that they don’t get the vision.
Meanwhile, “Dangerous Minds” gives off an infernal boom bap flare to the instrumental warning that you really don’t wanna take this ride as much as you’d like just before “No Opinions” hooks up a shimmery loop with kicks & snares from Cartune Beatz talking about how there ain’t too many as hot as him demanding his props. “Clubbin’ & Chaos” goes for a sample-based boom bap feeling to it with his eyes never being taken off the prize, but then “Diamond Heist” featuring Vado finds the 2 over a despondent boom bap beat comparing their looks to pulling off the titular crime.
“Trap Dice” flexed that he’s so nice, he gets up when he slips & doubles on top of delicate keys alongside kicks & snares while “Broken Arrows” shoots for a darker atmosphere explaining that he’s just simply tryna breathe. “You Shouldn’t Be Here” has these beautiful orchestral elements throughout letting it be known that you’ll never be able to stick him while the dusty “Roaming Weather” is pretty much an open letter on wax to someone who Banks advises not to be a famous no one since nothing’s wrong with them.
The song “Take Me Under” somberly explains there ain’t no turning back for him until he hits the number while the penultimate track “Bad Advice” featuring Sy Ari da Kid on the hook luxuriously talks about not listening to your friends as their advice is obviously shitty. To end the 4th installment of the Halloween Havoc series, “Condolences” is a grueling closer promising that he’s hitting us at every quarter now refusing to stop.
The Course of the Inevitable 2 & Pieces of My Pain are still both enjoyable, don’t get me wrong on that. With that being said: Halloween Havoc IV: The 72nd Hr is the best thing Lloyd has done since his comeback album over 2 years ago. It’s more toned down with the features & increasingly raw than the trilogy of LPs we were treated to up to this point
Atlanta, Georgia teenage up-&-comer che celebrating Halloween by dropping his 4th EP. Starting as a member of the 4ersona collective under the original moniker murkio before settling on cheRomani+ & later abbreviating it. But it wasn’t until more recently where he decided to build a solo catalog for himself by putting out the debut EP 3 over a year ago & followed it up this past February in the form of X, which was supposed to be the original version of his 3rd EP Closed Captions over the summer which was a solid introduction to who he is artistically & personally. However after dropping 2 singles earlier this month, he’s quickly following up his last EP in the form of Crueger.
“Ok Den” is a futuristic trap opener to the EP produced by CXO flexing that he has fat racks like Pumba whereas “Sayso” likens himself to a demon to his girl with a new Moncler coat for the season over a rage beat. “Busan” mixes elements of pop rap & trap melodically speaking on themes of romance just before the atmospheric “Batman” talks about feeling like the titular DC superhero. To start the 2nd half of the EP, “Gah Damn” dives headfirst back into hypertrap territory threatening that you don’t wanna play games with che since he’ll wet your block up leading into the pluggy “Right Now” singing about his trap falling off so she wants him over quickly. “That’s My Type” gives off a playful atmosphere describing his kind of woman while the dreamy “Badu” comparing his new chick to the neo-soul icon. The closer “Call Me” ends Crueger with 1-last rage beat telling his significant other to call him back.
If anyone came away from Closer Captions impressed as I was earlier this summer, then I’m sure that Crueger would fit well in your Halloween playlist this season. There’s more of a rage influence to the production compared to our introduction to che only a few months ago being based around trap & Chicago drill, but the plugg undertones were quite noticeable & he’s more inspired by Chief Keef. Also, cheRomani himself as a performer is continuing to improve & that goes for his catchy songwriting too.
Jaysin the Sin God is a 30 year old emcee who came to my attention as a signee to DJ Clay’s very own Armed Robbery Entertainment. He’s also dropped 13 mixtapes & a couple EPs over the course of his career up to this point whether it be The Process series paying homage to Lil Wayne’s timeless Dedication series or his 2nd EP The Legend of Joe Dirt. But just in time for the Hallowicked season, Jaysin’s bringing along Chapter 17/Psychopathic Records in-house producer Shaggytheairhead to help make Palm Trees ‘n Post Offices the best thing that he’s ever done.
“Stoner Trap” is a piano trap opener wanting to be made aware if your trap is jumping from midnight to afternoon whereas the single “Black Air Forces” works in more keys & hi-hats talking about hitting a lick in the whip until torching it later on. “Teamwork” gives off a bassier trap flare to it looking to keep it g until he’s dead & gone that is until the tropical “Jalopy” talks about enjoying himself & being independent. “Bigger Loads” flexes that his trap is faster than adderall over another piano trap crossover & “Trappin’” rounds out the EP by giving off a psychedelic edge telling the story of a trapper.
Lo & behold: Palm Trees ‘n Post Offices will quickly go down as a crown jewel of Jaysin’s discography & the best EP of his career thus far. C17/PSY’s very own Shaggytheairhead cooks up some incredibly consistent production throughout the appropriately 17 minute run & Jaysin’s hardcore performances go well with it mixed in. If juggalos have yet to give this guy a chance, start with Palm Trees ‘n Post Offices.
Up-&-coming Syracuse, New York underground emcee Krazy Attitude released his 7th mixtape over here about a couple months ago on Devil’s Night, which is basically the day before Halloween. He’s already built up a full-length debut, his previous 6 tapes & 3 EPs all in the span of 5 years with the last time we heard from him being his 6th mixtape Quey Grizzley last year. And looking at some of the titles here named after classic hip hop cuts from the last 3 decades, I was intrigued going into Simulation of Death.
After the “Welcome to the Simulation of Death” intro, the first song “Serial Killa” freestyles over the classic Snoop Dogg joint of the same name featuring Tha Dogg Pound & RBX whereas “On & On continues to kick it off the dome over one of my favorite Pete Rock & CL Smooth tracks. “Rhymeslayer” seems to have new original production going for a rawer sound slaying rhymes for y’all prior to “BANG!!!” shifting gears into trap territory talking about how this shit easy.
“6 SHOTS!!!” gives me a bit of a Detroit trap vibe instrumentally belittling his opposition just before “Lyrical Assassinator” gets back on his freestyle shit over “Terminator X to the Edge of Panic” by Public Enemy. After the “Reality Check” interlude, “Winter Warz” of course finds him flowing over the timeless cut off Ghostface Killah’s solo debut Ironman, but then “Worthless World” blends these synths with kicks & snares getting in his underground bag.
Meanwhile, “Pencil Illness” continues to spit off top over the the flawless “All Caps” by Madvillain leading into “Harsh Reality” returning to the boom bap getting bringing to you hardcore on the lyrical front. “Here’s Mr. Terrorist” goes for a bit of a futuristic sound introducing his alter-ego of the same name almost like Eminem with Slim Shady & fittingly enough “Scary Movies” featuring Kean Asé joins forces on top of the beat from the immaculate b-side from Bad Meets Ǝvil.
After the “How High” interlude, “Smile More” goes for a suspenseful atmosphere instrumentally trying to show y’all the right way while “The Night Stalker” flows over “Blow” off of Tyler, The Creator’s only mixtape Bastard already fuckin’ celebrating it’s 14-year anniversary in a few days. “Unhinged” this time freestyles “Luper” by Earl Sweatshirt while the bell-heavy “DTF” admits that he’s crazy.
“Hellraiser” begins the encore of the tape by weaving these ominous synth patterns into the fold talking about being a murderer & “Kill Them All” closes out the tape with 1 last freestyle. Choice of song being “Skrunt Owt” by Fam-Lay or Tyler, The Creator’s “Splatter” freestyle at the beginning of Odd Future’s 2nd & final mixtape Radical that turned 13 about 7 months ago.
If you want mix between early 2010s & old school 90s hip hop with multisyllabic & internal rhyme schemes along with hardcore/horrorcore lyrics & braggadocio rhymes, then you’re gonna want to give this mixtape here a shot. You get a look at some of his influences throughout the whole duration of the project & feels reminiscent to Lil Wayne’s historic Dedication series
The Nnutthowze is a trio from Kansas City, Missouri consisting of Phlaque the Grimstress, Tech N9ne & Zkeircrow. Formed by the future Strange Music founder 3 decades ago already, their only full-length LP to date Welcome to My Asylum would go on to become incredibly pivotal in the development of Tech’s image & rap style that would carry him to success. But after reforming once the pandemic started to clear up, the 6688846993 is officially making their Halloween to be Siqnaling the Siqly as their debut EP.
After the “Enter Nnutthowze Soiree” intro, the first song “The Siqnal” starts off the EP with a trap/rock crossover dedicated to all of those who have been outcasted whereas “Wanna See Me Fall” featuring X-Raided finds the quartet over a darker instrumental talking about how people wanna see you fail. “Wind Me Up” featuring King Iso morbidly cautions that they’ll get ghostly if you approach them just before “Death Tries Like an F5” addresses mass killings over a trap metal beat.
“Glitch Up” takes a cloudier boom bap route sending a message to those they be hearing doing fuck with them leading into the quirky but still eerie “What Happened to You?” talking about being at a loss for words after noticing an off-putting occurrence. After the “Whispers in the Dark” skit & prior to the “Enter the Clergy of Crays” outro, the final song “We’re Home” featuring Seuss Mace joins Tech N9ne & Zkeircrow providing music for the soul over an atmospheric trap instrumental.
I generally enjoyed their reunion cuts on Tech’s latest couple albums & 30 years after the Nnutthowze’s debut album, they outdo themselves on a 10 track EP preluding their sophomore album Clergy of Crays. The production is better than it was on Welcome to My Asylum, the chemistry between all 3 members is still strong & solid feature choices on top of it.
This is the 22nd extended play from Maryland recording artist BBY GOYARD. Getting his start in 2016 off You Had Me At Hello, he would go on to take over the plugg scene by putting out his last 21 EPs & 4 mixtapes. But coming off his debut full-length LP Loreseeker over the summer fully produced by DJ Smokey. However with only 4 days left until Halloween, it makes sense for GOYARD to drop off a 7-track offering to get people in the Spirit for the spookiest time of the year.
“New Earth” opens up shop with an adrenaline pumping trap instrumental with GOYARD getting boastful lyrically whereas “Shadowban” takes an industrial route to the best talking about being in MTL with empty bottles & that he loves to cast spells. “Myth” shoots for a haunting trap atmosphere showing off his wealth & looking to raise the stakes that is until “Black Magic Voodoo Diamonds” talks about the only thing he knows for certain is that he rocks with a band like The Used over a plugg beat.
The song “CursedLife” fuses elements of rage & Chicago drill so he can discuss how he lives with being cursed just before “Falls Count Anywhere” gives off a triumphant edge to the beat flexing that his whole fit costed him a mortgage. “Vowel Ritual” officially wraps up Spirit by asking what it’s exactly like in the Chamber of Secrets over a chaotic instrumental Egobreak & Shawn Ferrari produced together.
Lil Shannon has always been my personal favorite member of the Nitemare collective as proven & he continues to cement that as the case ahead of the spookiest time of the year because Spirit is certain to aptly get you into the Halloween mood. The production’s more trap-based with some undertones of Chicago drill & plugg thrown in unlike the sonic variety of Loreseeker balancing his playfulness with the occult in a healthy dosage.
DJ Shadow is a 51 year old DJ & producer from San Jose, California who came up as a member of the Quannum Projects collective. His 1996 full-length debut Endtroducing….. is a landmark in the instrumental hip hop scene & the sophomore effort The Private Press was well received too, but everything since then has been treated to moderate reception. Last we heard from Shadow was the 2-disc Our Pathetic Age, but is returning 4 years later by making a stylistic departure for his 7th LP & his 3rd under Mass Appeal Records
“Ozone Scraper” is an underwhelming choice of an opener setting the tone of what’s to come by pulling from synthwave and dancefloor drum & bass whereas “All My” draws inspiration from footwork musically although I’ve heard the late DJ Rashad do this style better on Double Cup. “Time & Space” is a longwinded IDM cut lasting at 8 & a half minutes even though it just makes me wanna listen to Aphex Twin after a while just before “Craig, Incels & Wrightson” goes back into a more synth-based groove.
Approaching near the end of the first leg of the album, “Witches vs. Warlocks” hooks up these synths & hi-hats coming off a little robotically dull leading into “A Narrow Escape” becoming one of the better tracks here going for a more energizing atmosphere this time around. “You Played Me” was the best single we got from the project drawing inspiration from synth-funk, but then “Free for All” fuses elements of wonky & rock that wind up with mixed results.
“The Prophecy” shoots for a ghoulish vibe clocking in at nearly 5 minutes while “Friend or Foe” brings the synthesizers & hi-hats back together once more with a crescendoing 2nd half. “Fleeting Youth (An Audible Life)” strips the drums completely incorporating a spacious atmosphere while the 8-minute “Reflecting Pool” feels a bit hollow to me personally. The penultimate track “Forever Changed” pushes towards near the end by giving a cloudier trap flare to the beat & “She’s Evolving” closes shop by cooking up 1 last synthwave cut.
For an album called Action Adventure, I didn’t really find it to have either of those as entertaining aspects disappointingly. There’s definitely some adventure in Shadow making a headfirst foray into electronic dance music, but it hurts me to say that it doesn’t hold a candle to previous material & could very well be the weakest thing he’s ever done. Compared to those who paved the way for EDM like Daft Punk or like I mentioned earlier Aphex Twin & DJ Rashad, his takes on synthwave alongside wonky or footwork & IDM feel very plain.
