Scum – “Bad Uncle” review

This is the 3rd EP from Denver based Russian-American emcee Scum. Emerging as the founder of the seminal horrorcore label Lyrikal Snuff Productionz, he’s gone on to release 14 albums & a couple EPs on his own, the last 3 full-lengths being in a trilogy called the Dyin’ World Chroniclez. But coming off S.O.S.’ debut album Blame Us last summer, the Gorefather’s teaming up with Chapter 17/Psychopathic Records in-house producer Devereaux for his 3rd EP.

The title track is an orchestral trap opener to the EP talking about hearing about a party that he wasn’t even invited to whereas “Way 2 Foul” by S.O.S. recaptures the chemistry of Blame Us by jumping on top of an instrumental with a terrifying atmosphere to it detailing how disgusting or dirty both of them really are. “Lozt” works in some bells & hi-hats confronting those running they mouths that is until “Sick Puppy” featuring LSP alumni/C17’s latest signing Darby O’Trill wickedly promising that those who cross them will get fucked up over a booming trap beat.

“Beyond Salvation” works in some heavy horns & hi-hats warning not to fuck with him or even try to pull up on him prior to “The Selectaz” featuring Chapter 17 founder/Psychopathic recording artist Ouija Macc declare themselves as exactly that over a synth-laced trap beat. “Whatcha Gon’ Do?” nears the end of Scum’s best EP to date with suspenseful wicked shit banger & “Awld Goat” by M.M.M.F.D. comes through with an aggressive closer advising to stay away from old goats with new tricks.

It’s been over a decade since the Gorefather’s first EP Mr. Zipperface & the follow-up Grim Zipper is approaching the 10-year mark next spring, so it only makes sense to make Bad Uncle a charm because it’s easily the best of the 3 he’s dropped to date. Devereaux continues to elevate himself as one of the underground wicked shit scene’s most in-demand producers in recent memory, Scum lyrically is at some of his most grotesque in the best way possible & the features all perform on his caliber.

Score: 4.5/5

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Hardrock – “1of1” review

This is the 3rd full-length album from up-&-coming Atlanta, Georgia recording artist Hardrock. Getting his start over 2 years ago off his debut EP Y.N.S. (Young N***a Shit), he would continue to build up anticipation by delivering 6 more EPs ahead of the commercial debut LP Next! & the breakout sophomore effort 808 Speaker Knockerz. The latter of which contains some of his best tracks to date like “H.Y.L.M.N.? (How You Like Me Now)”, “Madonna”, “New WRLD” & “Luigi Mansion”. So when 1of1 was announced out of the blue merely days ago, one could only go into it expecting him to take his potential to new heights.

“poet” starts the album with a drumless string instrumental declaring himself as exactly that whereas “bleh” was not only the perfect choice for a single, but it’s another one of Hardrock’s best songs to date from the synth-heavy instrumental to the lyrics about being as rich as Dallas Mavericks owner Mark Cuban & how everyone he knows loves to smoke weed. The title track works in a whistling trap beat discussing his uniqueness, but then “marathon” goes for a more futuristic direction with Cxdy of Internet Money Records’ help talking about not going down & running this money.

The luxurious piano chords & hi-hats throughout the DJ Phat hosted “kickdoors” are an ear-worm as he looks to slide through & wet your shit up just before “darkness” has this retro video game-inspired loop with hi-hats & sub-bass talking about chasing his shadows. SahBabii delivers the album’s only feature on “jansport” despite it being ok compared to the mellow ass instrumental & Hardrock’s own performances leading into “WA\VE” becoming another show-stealing moment much like “bleh” except he makes it clear he don’t have smoke with nobody over an off the wall rage beat from both BNYX & F1LTHY of the Working on Dying collective.

“eye to eye” goes for a hazier vibe produced by Nosaint from Vanguard Music Group admitting that he thought he was on the same page as someone else until he was sadly mistaken while “promises” is yet another highlight by making a 180 as ReidMD brings in a joyful synth lead & Hardrock pulling off the same remarkable vocal utilizations that made 808 Speaker Knockerz so special to me. “not afraid” confesses he has no fear of death whatsoever over some solemn chords while the trillwave-inflicted “range/era” admits he doesn’t think this is love.

To start the final leg of the album, “outofplace” has a bassy albeit cloudy beat owning up to his wrongdoings while the song “barry” pulls from dance music a little bit sonically talking about being up in this bitch even though he’s still slimy. The penultimate track “complicated” with 1 more airy pop rap cut revisiting the theme of what doesn’t feel like genuine love & “penny” serves as a nocturnally cloudy closer talking about a codeine dream he had that must be rooted in some meaning.

808 Speaker Knockerz was a fantastic introduction to Hardrock for a lot of people including myself & 1of1 continues to expand on the potential that he showed everyone last summer on the same pedestal. The production incorporates elements of pop rap into the cloudy trap sound of the last album with the rage/plugg undertones still in place, his songwriting is continuing to improve & the way he regularly switches up is incredibly distinct.

Score: 4/5

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Terror Reid – “Hot Vodka 2” review

This is the debut mixtape from San Jose deejay, producer, rapper & actor Terror Reid. Originally started turning heads a decade back after dubstep pioneer Skrillex signed him to his OWSLA Music for short period of time, he went on to drop 2 full-lengths & 13 EPs in the EDM genre under the name Getter before embarking into hip hop during the pandemic with Hot Vodka, which my homie Rone Bone of The Beneath the Dirt Podcast put me onto when it came out & was impressed by the boom bap/g-funk production as well as the raps from Terror himself. This was followed up with the sophomore EP DYNAMO & now after teaming up with Pouya to on the collab EP Chrome Casketz few weeks ago, Terror Reid is back in effect to deliver a sequel to his debut EP.

After the intro, the first song “Run It Back” starts the tape getting in his shit-talking bag over some kicks & snares whereas “Babe Ruthless” featuring Lu is a sick boom bap/g-funk crossover talking about exactly how they do it. “Tha Jackpot” fuses a crooning loop with more kicks & snares admitting that he feels like a God, but then “Daz My Bitch” shifts into a feel-good ballad dedicated to the woman of his life.

“Stay Dipped” featuring Domsta has a somber g-funk vibe reminding us all these hoes ain’t shit leading into “Hasselhoff” going for a more symphonic trap turn references WWE Hall of Famer, former 6-time WWE Champion, 2-time WWE Intercontinental Champion, 2-time WWE United States Champion, 5-time WWE Tag Team Champion & NWA World Tag Team Champion Stone Cold Steve Austin. “Dis Substance” takes the psychedelically cloudy route of course discussing drug use just before the guitar-driven “Medicine (Tha Cycle)” singing about a cycle that had ended.

The song “Comatoze” has a woozier vibe instrumentally promising to rob any poser of their green for doing simply that while the penultimate track “1st Blood” shoots for a dreamier boom bap groove profoundly spitting words of wisdom. Pouya saves the tape’s best feature for last on the grueling closer “No Gimmix” much like on the original Hot Vodka itself matching the energy they captured on Chrome Casketz only 3 weeks earlier referencing WWE Hall of Famer Mike Tyson.

If you loved the boom bap/g-funk fusions that Terror Reid has become known for, you should come away from Hot Vodka 2 liking it as much if not more than the original EP that introduced us all to him during a retrospectively weird time. The production expands on the sounds of the predecessor & I love how he focused more on himself as a performer by having the same amount of features albeit focusing more on himself as an MC instead of leaving it half solo cuts, half features.

Score: 4/5

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NEMS – “Rise of the Silverback” review

This is the 4th full-length album from New York emcee NEMS. Coming up in the battle rap circuit, he would go on to have a brief stint with Psycho+Logical-Records in the late 2000’s before dropping the debut Prezident’s Day under Creative Juices Music back in 2010. This was followed up almost 9 years later when he & JAZZSOON teamed up for the damn near flawless Gorilla Monsoon, but the follow-up Congo received more mixed results despite it’s highlights like “Wow” & “Cousins”. But after signing a joint deal with Paul Rosenberg’s very own Goliath Records alongside distribution from Virgin Music earlier this summer, NEMS is returning to have Scram Jones fully produce Rise of the Silverback.

After the “Ascenscion” intro, the first song “Pussy” is a gully boom bap opener directed at all the bitch boys out there whereas the title track featuring Sheek Louch works in some Godzilla-esque horns as well as these kicks & snares talking about putting bullets in your mouth. “Drip” goes for a more cavernously shrilling boom bap route boasting how he got exactly that just before “Blicky” shifts gears into orchestral-trap turf paying ode to the heat.

“Demon” featuring Gunplay has a more chaotic loop with some hi-hats talking about not giving a fuck & quite possibly the most repetitive hook on the LP, but then “Don’t Ever Disrespect Me” featuring Ghostface Killah finds the 2 returning to the boom bap cautioning to never go against them. “Keep On” blends some pianos, kicks & snares looking to always move forward no matter what by telling his story leading into “Hold That” turning back into trap territory getting raunchy lyrically. Probably the weakest track on the entire album in my opinion with all respect to the Fuck Ya Lyfe General.

To begin the last leg of the album, “Gorilla on Your Back” weaves a boom bap instrumental with a gospel choir sample into the fold calling out your dreams being gone because you kept chasing dragons while “No Face” featuring Fat Joe keeps the organs, kicks & snares in tact talking about keeping it litty. The penultimate track “Dirt” featuring Peedi Crakk sees the pair hop on top of a flute-tinged trap beat declaring to be dirty dickheads & NEMS ties everything up aptly by firing “Missiles” over an eerie boom bap instrumental.

Considering NEMS’ popularity on TikTok almost reaching 1M followers on top of Eminem’s manager giving him a record deal & having Scram Jones produce his major label debut, my expectations into it were EXTREMELY high. Lo & behold: Rise of the Silverback is up there with Gorilla Monsoon for his finest body of work to day. Scram’s production balances boom bap & trap in a way I felt Congo lacked, the feature performances are more consistent & the Coney Island emcee doesn’t miss a step with the pen.

Score: 4.5/5

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Quavo – “Rocket Power” review

This is the sophomore full-length solo album from Atlanta, Georgia rapper, singer/songwriter & producer Quavo. Rising to prominence in 2013 as 1/3 of the Migos with his nephew Takeoff & Offset, he would also form the duo Huncho Jack in late 2016 with Travis Scott & drop their only album thus far Huncho Jack, Jack Huncho to mixed reception. However with the 5 year anniversary of him becoming the first Migo to branch out on his own with a solo debut in the form of Quavo Huncho, he’s dedicating Rocket Power to his fallen Unc & Phew cohort Takeoff following his tragic murder few weeks after the release of their only album Only Built for Infinity Links last fall.

“Fueled Up” is an atmospheric trap opener produced by Kenny Beats & Murda Beatz declaring that it’s all love as he goes back to his old ways whereas “Patty Cake” by Unc & Phew finds the duo over some horns & hi-hats provided by DJ Dureltalking about being heavyweights as opposed to lightweights. “Mama Told Me” follows this up in the form of a synth/string trap hybrid discussing everything his late mother Edna Parker told him throughout his life just before “Who wit Me” comes through with a more vigorous atmosphere thanks to BNYX of Working on Dying & his brother BEAUTIFULMVN wanting to know exactly who’s on his side here.

After the “Narkedo Speaks” interlude, “Hold Me” hooks up a solemn loop & hi-hats so Huncho can plead to everyone in his life who’s no longer here with him to keep him strong leading into “Where Can I Start?” gives off a more mystic trap groove talking about looking up & getting to the guap. “Wall to Wall” goes into more futuristic turf instrumentally discussing a lil bitch who think she can be bought, but then “Turn Yo Clic Up” featuring Future was a mediocre choice of a single largely due to the cut-rate beat.

Unc & Phew get back together 1 last time on “Back Where It Begins” with Future only handling the hook this time so Wheezy can shoot for a more atmospheric approach behind the boards taking everything back to where it all started for them both in the ATL while “11.11” reflects on the darker nights he’s been having throughout the past 9 months even though the instrumental here is just ok. Pooh Beatz gives “Galaxy” a more piano-driven vibe that I enjoy a bit discussing the feeling you get when you pull up & kill ’em while the cloudy “Disciples” talks about refusing to play with motherfuckers this year.

“Focused” featuring Young Thug finds the 2 jumping on top in these sweet organ harmonies & hi-hats from Buddah Bless refusing to keep their eyes off their bankrolls while “Stain” featuring BabyDrill & Hunxho aims for a more vibrant approach to the beat with one of if not the most repetitive hooks on the album comparing it to Modern Warfare when they hop out the Lambo although both guest verses punch under their weight unlike Huncho.

The song “Not Done Yet” speaks on living out the vision with no regrets & the end being nowhere in sight over a synth-woven trap instrumental while the 2-part title track produced by Murda, BNYX & Dez Wright reminisces on kickin’ doors bright & early thinking about his late nephew. “Greatness” though ends Quavo’s sophomore effort by mixing pop rap & trap with pop reggae interestingly enough explaining how legends are made.

Given everything that’s happened within the Migos camp throughout the last year & a half, I went into Rocket Power expecting it to come from a more genuine place than Quavo Huncho despite it’s share of highlights to this day like “Workin’ Me” & “Rerun”. In the end, that’s exactly what my personal favorite member of the trio delivers. The production’s as tight as it was when we last heard him 5 years ago & you can truly hear how devastated he still is over Takeoff’s untimely murder 9 months later.

Score: 3.5/5

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Kut 1 – “Live Wires 3” review

This is the 3rd full-length album from Australian producer Kut One. Emerging within the underground in 2019 off The Icons split EP, he would then go on to drop a debut LP Live Wires during the pandemic & follow it up over a year later in the form of a sequel. It does makes sense for Kut to celebrate by making the Live Wires series into a trilogy celebrating hip hop’s 50th birthday today & 3 weeks after former IWGPタッグチャンピオン, the inaugural 2-time 新日本プロレス強い無差別級タッグチャンピオン & 2-time RPW British Tag Team Champions Aussie Open became the ROH World Tag Team Champions.

“Get Some” by Change, King Magnetic & Tom Sav is a gritty, piano boom bap opener with the trio telling anyone to bring all the smoke to them whereas “Stay Sucker Free” by Jamal Gasol works in some kicks, snares & strings talking about cutting all the cornballs out of his life. “Good for Nuthin’” by Daniel Son, Estee Nack & Saipher Sozë is an easy highlight for me as we get 3 deadly verses over a synth-laced boom bap instrumental just before “Mount Up” by Guilty Simpson stands out to me as well sending warning shots accompanied by an apocalyptic backdrop attached to more kicks & snares.

The eerie atmosphere throughout “Skip the Nonsense” by The Bad Seed is cool as he obviously encourages to take the high road when it comes to all the bullshit, but then “Never Settle” by Rim of Da Villins delivers another great cut from the sample-heavy beat to the lyrics getting it on his own. “Listen Up” by Pretty Bulli has a gloomier boom bap approach talking about having a couple screws loose leading into the spacious “No Room to Grow” by Craig G tells us that’s how he’s feeling.

“It’s My Word” by Rasheed Chappell begins the final leg of the album with a somber backdrop mixing kicks, snares & occasionally some hi-hats on top of it to talk the facts prior to “Been a Long Time” by Verbz officially tying everything all up with an incredibly pleasant instrumental catching up with everyone telling us how it’s been with him in the last several years up to this point.

There’s no question that Kut One has already cemented himself as one of the underground’s biggest beatsmiths to come out of Australia & whether the Live Wires series will continue on with a 4th installment or we get a new series in general, the latest of the trilogy is on par with the predecessors. The production is sonically diverse grounded in boom bap & a tight list of performers with the highs being noteworthy highs.

Score: 3.5/5

Noname – “Sundial” review

We finally have the sophomore full-length album from Chicago, Illinois emcee, poet & producer Noname in our hands. Emerging as 1/3 of Ghetto Sage, she gained national exposure the summer of 2016 off her debut mixtape Telefone took it to another level couple years later on the debut LP Room 25. But after going on to drop some loosie singles & occasional feature performances since then, Noname’s finally looking to join Little Simz amongst others too in the ranks of shutting up everyone claiming that women in hip hop are one of the biggest if not THE biggest problem with the culture today by returning with Sundial.

“black mirror” is a calmingly smooth opener to the album calling herself a black author
Librarian, contrarian & MC whereas “hold me down” goes into spacious boom bap territory talking about kicking out on your for a favor for a certain amount. “balloons” featuring a repulsively antisemitic Jay Electronica speaks on metophorically crying the titular object over a slick backdrop with kicks & snares produced by SABA, but then “boomboom“ goes full-blown jazz rap talking about making a wish.

Meanwhile, “potentially the interlude” charismatically points out that “people said they love but they really love potential with a crescendoing beat that gets more layered as it goes on just before “namesake” blends these synthseziers & jazzy drum patterns explaining that she never needed a man. “beauty supply” tranquilly encourages you to take a trip with here to exactly that leading into “toxic” calling out a man who thrives off toxicity over a mellow boom bap instrumental.

The song “afro futurism” hooks up these pianos with kicks & snares showing her appreciation for the movement while the penultimate track “gospel?” featuring billy woods, $ilkMoney & Stout fuses gospel & boom bap promising the sun will shine. “oblivion” featuring Common is a perfect choice of a closer that comes in the form of a funky hip hop ballad talking their shit without giving a fuck.

Like I said: People love to complain about women in our culture severely lacking musically this day in age but artists like Noname, Simz like I mentioned earlier, Sa-Roc who’s gearing up to drop her Rhymesayers sophomore effort & Che Noir currently prepping Lotus Child further prove otherwise. The jazzy/neo-soul production is exuberantly pleasant to the ear & her conscious lyrics remain profound as they were when she first broke out.

Score: 4/5

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Reason – “Porches” review

Reason is a 33 year old rapper from Carson, California who released a total of 4 mixtapes until signing to Top Dawg Entertainment in the middle of 2018 by reissuing the one that landed him the contract in the first place: There You Have It. However, his official full-length debut album New Beginnings received more mixed reception when it came out the fall where COVID had the whole world shut down. But considering a couple latest singles of his along with the fact that he called in some show on-air a few days ago to vent his frustrations over the ball being dropped promotion-wise & Anthony “Top Dawg” Tiffith’s son Moosa subsequently called in to get into a heated exchange of words with Reason saying former employee/pgLang co-founder Dave Free regrets even signing him in the first place, I went into the sophomore effort hoping I would like it more than the predecessor.

“Faded off Poor n Riches!” starts off the album with a drumless beat with the sound of a ticking clock talking about getting to share the Ws whereas “Caucasian Estates!” takes the morbid trap route thanks to Vinylz & Allen Ritter ensuring you to relax so he can push your shit to the max. The gospel influences throughout “At It Again” are pretty cool as he triumphantly focuses on winning once more that is until “A Broken Winter Break!” dives into soulful boom bap territory admitting he’s blurry of the 5th.

Moving on from there, “You Betta (Jesus Take the Wheel)” tells y’all to come & take the weight off him with a hazy trap beat just before “Send You 2 the Afterlife!” almost gives me a Memphis rap feel instrumentally with the title saying it all conceptually. “Call Me!“ gives off a more soothing vibe saying he’s way too stressed in here, but then the spacey boom bap-inflicted “Gang Shit!” calling out those who don’t like his image coming & you can hear the genuine frustration in his voice.

“F.T.N.! (Fuck These N***a!)” featuring Baby Tate has a more skeletal trap tone as they deliver a decent pop rap ballad together leading into the booming “Gina! (August Alsina)” dropping braggadocio likening his whip to 16-time WWE world champion, 4-time WWE tag team champion & 5-time WWE United States Champion John Cena. “Too Much! (Melly Mel)” follows this up with a bleak jazz rap ballad FNZ cooked up about overthinking while “Bussin! (WB Pt.2) featuring Top Dawg Entertainment labelmate Ray Vaughn who has yet to drop a full-length debut with the label probably because they’re shelving him too finds them over keys & hi-hats co-produced by Boi-1da talking about never being upset with how they living.

Meanwhile, “Rich Mirages!” hazily confesses having the optical illusion of being wealthy while “I Don’t Trust You!” featuring TDE’s latest signing as of me writing this review Doechii finds the pair making a better version of “F.T.N.! (Fuck These N***a!)” with all respect to Baby Tate except they’re tackling mistrust. The song “Family First!” featuring Kalan.FrFr, SiR & Zacari delivers a piano trap ballad dedicated to family while the penultimate track “Porch Steps!” featuring Dirty Dell nocturnally talks about never leaving the hood. “Poster Child!” however wraps everything up with 1 final boom bap cut hungrily declaring he got where he is today in the music industry because of a specific mindset.

A lot of people including myself generally think Reason is one of the more average artists on the TDE roster but after the whole situation with Moosa only a few days ago, it didn’t sit right with me at all as someone who watched the label in it’s prime in high school. That being said: the guy deserves better. He’s at different place emotionally, but the production’s just okay at best & the guests’ performances are hit or miss. As someone who watched the label in its prime back in high school, their downfall has unquestionably become one of the biggest tragedies in hip hop history.

Score: 3/5

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$uicideboy$ – “I No Longer Fear the Razor Guarding My Heel V” review

The $uicideboy$ are a revered duo from New Orleans, Louisiana consisting of Ruby da Cherry & $crim. Together, they’ve released a plethora of projects within the last decade whether it be the Kill Your$elf saga & Eternal Grey or even I WANNA DIE IN NEW ORLEANS & the Travis Barker-produced Live Fast, Die Whenever. The boy$‘ sophomore effort Long Term Effects of Suffering followed as did their last album Sing Me a Lullaby, My Sweet Temptation over the summer & are coming fresh off the Yin Yang Tapes tetralogy by saying fuck Grey Sheep III in favor of a new installment of their widely acclaimed I No Longer Fear the Razor Guarding My Heel series.

“Not Even Ghosts Are This Empty” starts the EP with a sample-based trap banger produced by $crim & Dynox of Internet Money Records talking about not being able to feel their faces no matter how hard it gets at times whereas “Finding Shelter In My Larynx” confessing that everything is black to them now over a more trillwave instrumental. “A Little Trauma Can Be Illuminating & I’m Shining Like the Sun” actually ends the EP by depressingly confessing that they still can’t sleep at night even though they playa.

The Yin Yang Tapes were ok even though I still go back to a couple cuts on there, but my expectations for I No Longer Fear the Razor Guarding My Heel Vwere very high the second it was announced & easily the best EP the boy$ have dropped all year. They take it back to the signature cloud rap sound of the predecessor & some emo subject matter on top of it

Score: 4/5

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K.A.A.N. – “The Death of a Rapper” review

K.A.A.N. is a 32 year old MC/producer from Maryland who’s already made himself well established in less than a decade by delivering standouts in his ever-growing discography like the Dem Jointz-produced Black Blood, the Ski Beatz-produced Requiem for a Dream Deferred & the Big Ghost Ltd.-produced All Praise is Due & more recently Mission Hillz. But to celebrate hip hop’s 50th birthday, former Strange Music in-house producer MIKE SUMMERS a.k.a. 7 is being enlisted behind the boards throughout K.A.A.N.’s 23rd album.

After the “Foreword from Soul Brother #1” intro, “The Spark” is truly what gets the album going with it’s organ-laced boom bap instrumental asking how one in this industry gets it all whereas “The Glow Up” goes into more sample-based territory talking about how they done see him blow up. “The Fame” gives off an eerier atmosphere with some kicks & snares worked in explaining that some live & would kill for clout prior to “The Life Imitating The Art” hooks up a crooning loop advising not to be scared of your reflection.

“The Politics” dives into wavy boom bap turf explaining that politicians & magicians are basically the same thing just before “The Image” hops on top of these strings, kicks & snares explaining the way to truly make a name for yourself in hip hop. “The Drugs” psychedelically confesses that he did too much & now he’s fucked up as a result leading into “The Self Hate” somberly airs out everything he dislikes about himself.

Beginning the final leg of the album, “The Cavities” discusses all the stale things in like that he likes to refer to as a cavity in a metaphoric sense with a syrupy, delicate beat while “The Fall Off”’s bluesy guitar passages fit with the subject matter of one artist’s demise in success. Eventually, the title track closes out the album manically gives us a glimpse into how our protagonist’s life unfortunately ends.

I’ve publicly stated numerous times that we were in for one of K.A.A.N.’s best albums to date & that’s exactly what we got here. 7’s cooks up production that provokes the emotions each individual joint offers the cohesively-told concept is so well thought out, really a tragic tale of how the industry can genuinely be sometimes.

Score: 4.5/5

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