Gunna – “A Gift & A Curse” review

Gunna is a 30 year old rapper from College Park, Georgia who got his footing in back in 2013 off his debut mixtape Hard Body. He would eventually catch the attention of local phenomenon Young Thug just 3 years later & would go on to sign to his 300 Entertainment imprint YSL Records. However it wasn’t until the release of his debut EP Drip or Drown & his 4th mixtape Drip Season 3 in late 2017 & early 2018 respectively where Gunna’s profile increased significantly. Drip or Drown 2 though was a mediocre full-length debut & W.U.N.N.A. (Wealthy Unapologetic N***a Naturally Authentic) wound up being one of the best trap albums of 2020, but the 4th & final installment of the Drip Season mixtape series aged like milk. But after being released from prison this past winter, he’s returning days until summer by dropping his 3rd album.

“back at it” is a trap rock opener produced by Turbo talking about how he can’t be stopped now that he’s home whereas “back to the moon” has a more delicate sound to it advising those who don’t fuck with him not to do what he does. “idk no more” discusses not trusting anyone at all over a booming trap instrumental, but then “paybach” has a more cloudier quality to the beat this time around addressing those who’ve turned his back on him.

Moving on from there, “ca$h $hit” continues forward in the form of an atmospheric trap ballad dedicated to the paper leading into “fukumean” fusing these woodwinds & pianos with hi-hats confidently talking about being in good spirits at the end of the day despite everything that’s happened. “rodeo dr” returns to a more trillwave route as the lyrics are laced with braggadocio just before “bottom” talks about coming from nothing over a symphonic trap instrumental. 

“p angels” explains having to swerve because they were all in his lane with some prominent hi-hats & a solemn loop while “born rich” goes for a more futuristic approach with the beat provided by Larrance Dopson of the west coast production team 1500 or Nothin’ talking about his kids being born into wealth. “go crazy” is another piano/trap crossover discussing that it’s deeper than rap while “bread & butter” was a decent pick for a single with it’s groovy trap production talking about doing whatever for money.

The song “turned your back” has a wavier feeling sonically admitting that he still hasn’t found his peace yet while the penultimate track “i was just thinking” reflects on when he was hard-headed & everything that could’ve been avoided on top of an acoustic guitar with some hi-hats of course. “alright” on the other hand ties up the album on a moodier note courtesy of Cubeatz assuring that everything will be ok when it’s all said & done.

Look: I’ll always defend Drip Season 3 & W.U.N.N.A. (Wealthy Unapologetic N***a Naturally Authentic) as the strongest bodies of work in Gunna’s catalog. That being said: I came away from A Gift & A Curse to be a mediocre comeback from YSL’s biggest signee. The production is a step down from Drip Season 4 if I’m being quite honest although I’m impressed with him not overloading 60% of it with features like he did on that previous tape & I can’t deny his confident passion.

Score: 2/5

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Big Hit & Hit-Boy – “Surf or Drown 2” review

This is the brand new collaborative album between California producer, emcee & singer/songwriter Hit-Boy & his father Big Hit. Coming up as a Polow da Don protege signing to his Interscope Records imprint Zone 4 Records with early production credits ranging from “Stronger” by Mary J. Blige to “Drop the World” by Lil Wayne & Eminem, it wasn’t until the winter following the last 2 jams where Hit-Boy would catch the attention of Ye or formerly known as Kanye West by producing his Christmas posse cut “Christmas in Harlem” & becoming an in-house producer for G.O.O.D. Music for 2 years approximately 5 months after that. It was there that he would cookup some notable bops such as “N****s in Paris” by The Throne as well as “Cold” by Ye & even “Backseat Freestyle” off Kendrick Lamar’s sophomore album albeit major label debut good kid, m.A.A.d. City. He then launched his now defunct Interscope imprint HS87 Music as his tenure under Kanye’s wing was coming to a close, continuing to build a reputation for himself by working with the likes of Beyoncé or Drake & Travis Scott for the remainder of the decade. But it’s no secret that these past few years have easily been amongst Hit-Boy’s most prolific yet considering his recent work with Big Sean, Benny the Butcher & more specifically Nas. But after demonstrating his talents on the mic this past spring by dropping his full-length debut Surf or Drown is through his newly founded EMPIRE Distribution imprint Surf Club Inc., it’s only right to celebrate Big Hit’s release from prison by dropping a sequel on Father’s Day Weekend.

The sequel to “Grindin’ My Whole Life” is an uncanny trap opener with co-production from Rogét Chahayed reminding that g’s don’t cry whereas Y.K.W.S.F. (You Know What’s So Funny?)” featuring Big Sean works in these horn sections & hi-hats calling out those who think they stressed out when they stretched out in reality. “Sunrise” pushes forwards as a warm Hit-Boy solo cut talking about seeing everything coming from the top floor leading into “Monte Carlo” pairs Big Hit with [Half-a-Mil] going for a more sample-based sound declaring to be the hosts for the evening.

“Reckless & Ratchet” gives off a vintage west coast groove to the beat so they can talk about just wanting to fuck prior to “Show Me” delves future into that with a groovy ballad dedicated to all the freaks out there. The 4th installment of the “Tony Fontana” series fuses jazz rap with trap & these g-funk synthesizers discussing their Scarface inspired lifestyle while the song “Police” weaves some organs into the fold talking about he should’ve been a cop to be above the law with a license to kill. The piano trap driven penultimate track “Wake Your Game Up” apologizes to all the women they’ve disrespected & “More 4 Me” is a boom bap flavored sendoff to the album as they talk about wanting more.

Surf or Drown is still a solid debut showcasing of Hit-Boy’s abilities on the microphone, but for him to do the sequel with Big Hit fresh out of the pen as a Father’s Day gift alongside paying homage to all the solid ones out there is truly inspiring to me. The natural father/son chemistry throughout is entertaining as Big Hit’s pen-game is on par with Hit-Boy’s as the latter continues to draw rom all sorts of different sounds on the production end.

Score: 3.5/5

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Killer Mike – “Michael” review

Killer Mike is a 48 year old MC, songwriter, actor & activist from Atlanta, Georgia who was brought into the limelight due to his feature on “The Whole World” off of OutKast’s eponymous greatest his collection. He eventually signed to Columbia Records & put out the full-length debut Monster in the spring of 2003, following it up with the I Pledge Allegiance to the Grind trilogy through his self-owned Grind Time Official Records with the exception of Grand Hustle Records helping distribute the final installment. The last we heard from Mike on his own was over a decade ago when his future Run the Jewels cohort El-P fully produced the critically acclaimed R.A.P. (Rebellious African People) Music through the [adult swim] owned Williams Street Records alongside GTO & Grand Hustle of course, but is now enlisting Chicago veteran No I.D. behind the boards all throughout his 6th album after signing a new solo deal with Loma Vista Recordings last summer.

“Down by Law” is a soulful trap opener produced by Corey Mo with Michael talking about how nobody would’ve known who he was without the praise he’s received up throughout the years whereas “Sher Tears” featuring Mozzy takes the gospel route thanks to No I.D. declaring that today’s the day you’ll find rest in your soul. “Run” featuring Young Thug was a triumphant lead single to begin the rollout for the album making it clear that the race for freedom ain’t won just before “N***a Rich” featuring 6LACK has a heavenly instrumental from Cool & Dre talking about making your own rules.

Meanwhile, the sophomore single “Talkin’ That Shit!” draws from the Memphis scene courtesy of founding Three 6 Mafia member DJ Paul with co-production from TWhy belittling those on that hoe ass shit leading into “Slummer” showing some more gospel influences with the beat reflecting on a teenage love as Jagged Edge pulls off some marvelous vocal performances. “Scientists & Engineers” featuring fellow Dungeon Family members André 3000 & Future gives off a more experimental flare instrumentally talking about living forever prior to “2 Days” displaying Don Cannon blending these organs with guitars, kicks, snares & hi-hats feeling like the world against him.

“Spaceship Views” featuring Curren$y & 2 Chainz is a spacious trap banger that da Honorable C.N.O.T.E. laced dedicated to weed with Kaash Paige dropping some “yeah” adlibs à la Travis Scott that’re just distracting & annoying, but then “Exit 9” featuring Blxst on the hook sees Beat Butcha cooking up a slicker vibe getting on the more celebratory side lyrically. “Something For the Junkies” lives up to it’s name as a morbid trap ode to substance abusers while “Motherless” fuses pop rap with conscious hip hop & neo-soul talking about his deceased mother profoundly. The penultimate track “Don’t Let the Devil” gives us a taste of what’s to come from Run the Jewels 5 as El-P produces the chipmunk soul infused 3rd single & spits the final guest verse on the entire album towards the backend of it cautioning not to let Satan pressure you while “High & Holy” finishes off on a summery note so he can talk about his life being a testimony.

In honor of the album winning 3 Grammys, I’ve decided to finally cover the 4 bonus tracks since I never got around to it in the fall. The first of which “Yes!” begins by clashing gospel & boom bap discussing that he doesn’t cap about what he puts on wax while the solemn trap jam “Maynard Vignette” featuring J.I.D & T.I. gives a glimpse of the trio refusing to slow down. “Get Some Money” has to be my favorite bonus cut here encouraging to stack chips paying homage to the greatest H-Town duo ever UGK & lastly, “Act Up” featuring Young Nudy ends the deluxe on a triumphant note advising not to fuck with them when strapped up with the sticks.

As someone who considers OutKast to be the greatest duo in hip hop history & got put onto Killer Mike through them, what he delivers throughout Michael is 110% on par with if not superior to R.A.P. (Rebellious African People) Music because he just dropped another classic over a decade later like ain’t shit. It’s essentially an audio movie or like an August Wilson play telling the story & beautiful nuances of what it was like to be him growing up in the deeply religious westside of Atlanta with the features being unparalleled.

Score: 4.5/5

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SoFaygo – “Go+” review

SoFaygo is a 21 year old rapper from Cobb County, Georgia who’s cemented himself as one of the biggest faces in the plugg/pluggnB & rage scenes in recent memory. He’s since gone on to drop a dozen EPs & it’s even resulted in Houston trap trailblazer Travis Scott signing him signed to a Cactus Jack Records, who put out his long awaited full-length debut Pink Heartz this past fall even though reception towards it was generally mixed. But to coincide with the 1-year anniversary of both him making it on the XXL Freshman Class & the release of B4Pink the previous summer, Faygo’s coming back & turning what was supposed to be the deluxe version of his last album into his 13th EP.

“Pure” featuring YSL Records signee Yung Kayo starts off the EP with some synthesizers & hi-hats talking about refusing to let anyone box them in whereas “4Sum+” goes for a shimmery approach instrumentally thanks to Bakkwoods, PROJECT4PLAY & Rafmade detailing being too up. “We Good” produced by Noah Mejia takes the cloudy trap route telling his dog that they straight leading into “Ye” keeping the atmospheric vibes going courtesy of BryceUnknwn comparing himself to the person formerly known as Kanye West with all the swag that he creates.

Meanwhile, “Fuck a Post” continues towards the cloud rap trajectory talking about not being on social media like that to chase the paper just before “On the Moon” has a more murkier feeling to the beat from BNYX of Working on Dying so he can flex lyrically once more on the lyrical front. “Backseat” delves back into a spacious groove calling money his best friend, but then “Havoc” appropriately gives off a rage-inducing edge with it’s instrumental causing devastation.

“Wish I Could Tell You” featuring DD Osama was an underwhelming choice for a single from the uneventfully airy production to the mediocre chemistry between the 2 artists while the track “Undercover” pulls from plugg music a bit getting more romantic. “RC” cooks up another trillwave beat comparing his life to a roller coaster & the bonus cut “Beautiful Rockstar” officially sends off the EP by vibrantly detailing the lifestyle that he lives with a roomy trap instrumental backing him.

Pink Heartz for the mixed reception it got is still a fine major debut & I feel like those same fans who’re left disappointed by that previous album last fall will find themselves leaning towards Go+ because there’s no question in my mind that it’s Faygo‘s best since Travis signed him. The feature list isn’t as consistent as the full-length debut even though I appreciate him boiling it all down to only 2 guests & the most refreshing part is him returning to the pluggnb/plugg elements that his previous Cactus Jack material lacked.

Score: 3.5/5

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Janelle Monáe – “The Age of Pleasure” review

This is the 4th full-length album from Kansas born albeit Atlanta, Georgia based singer/songwriter, rapper & actress Janelle Monáe. Emerging as a member of the Dungeon Family collective signing to Bad Boy Entertainment in 2006, she would properly introduce herself the following the year with her debut EP Metropolis & formed her own Epic Records imprint Wondaland Records shortly after even though. Her classic big commercial debut The ArchAndroid acted as the 2nd & 3rd suites in a 7-part series that Metropolis began, with her sophomore effort The Electric Lady serving as the 4th & 5th suites. Janelle’s last album however Dirty Computer departed from the Cindi Mayweather Metropolis narrative & departed from the psychedelic sounds in favor of pulling from pop, funk, hip hop, R&B & neo soul although there are also some minor elements of electropop, space rock, pop rock, Minneapolis soul, trap, futurepop, new wave, synthpop & Latin music. But 6 years later, she’s looking to reinvent herself once more on The Age of Pleasure.

“Float” is a pop rap/contemporary R&B opener produced by Nate “Rocket Wonder with elements of both trap & dub music celebrating liberation & confidence whereas “Champagne Shit” triumphantly talks about moving your hips. After the repetitively written “Black Sugar Beach” dancehall interlude, Doechii comes into the picture for “Phenomenal” switches gears into afrobeats turf as they discuss feeling exceptional just before “Haute” talks about looking pretty & sexy over some horns.

After the French spoken word “Oooh La La” interlude performed by Grace Jones, “Lipstick Lover” fuses pop reggae & contemporary R&B with some lover’s rock & dancehall undertones admitting that she likes lipstick on her neck leading into “The Rush” featuring Amaarae takes a more atmospheric route with the instrumental talking about their types wanting to feel their legs against their thighs. “Water Slide” following the “French 75” interlude on the other hand is a catchily groovy ballad saying it’s time for her to backstroke.

Meanwhile, “Know Better” featuring CKay brings back the afrobeats discussing that no one does it better than them while the song “Paid in Pleasure” returns to a pop reggae sound talking about keeping it coming if you pay her in happiness. The penultimate track “Only Have 42 Eyes” tackles the fact that she only has eyes for 2” embracing the lover’s rock completely that is until “A Dry End” ends the album with a 2-minute stripped back acoustic joint telling her significant other to whine for her.

Now I wouldn’t put The Age of Pleasure on the same pedestal as her previous albums or her debut EP personally, but that’s not to say I enjoyed the stylistic change of pace that she brings to the table on here. She ditches the art pop influences of the predecessor in favor of pulling from afrobeats, pop reggae, dancehall, pop rap & lover’s rock as she takes on a more Afrofuturist persona celebrating her new era of liberation.

Score: 3.5/5

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Tommy Evans – “Van Goth” review

This is the 4th full-length album from Leeds, West Yorkshire, England, United Kingdom emcee Tommy Evans. Breaking out with his debut EP Time Capsule & the follow-up 4 Elements, he would then go on to release his first 2 albums The Turbulent Times of & New Year’s Revolutions before taking a 16 year sabbatical from the music industry. DJ Agent M was brought in for Tommy’s comeback effort Antifragile in the midst of the COVID lockdowns & is returning 3 years later by enlisting The Cat Burglar to fully produce Van Goth.

“Crude Oil x Kool Aid” is a chilling boom bap opener finding the UK hip hop veteran talking about rising & wisening up whereas “80Eight” featuring Kali GLD gives off a spacious trap vibe essentially serving as a love letter to the year 1988 considering how historic it was to our culture. “Nadiya Hussain” has a more glamorous boom bap vibe talking about being born to get cake just before “I Still Love H.E.R.” works in a playful loop with these kicks & snares paying homage to the iconic Common single “I Used to Love H.E.R.”

Meanwhile, the vibraphones throughout “Carpe DM” are really cool as he boasts that he was born to be the greatest leading into “Nocturnes in Neon” switching it up with a hypnotic trap beat talking about not wanting to be awaken from the dream that he’s having. The song “You” returns to that old school boom bap sound once more telling us that’s exactly all he sees, but then “Change is Now” is a more mystical ballad encouraging listeners to say it out loud. “Life is Art” rounds out the album with more vibraphones, kicks & snares making comparisons between the 2.

Antifragile was a solid comeback for Tommy, but Van Goth is more of a change of pace for him & I think one that find themselves enjoying. Quite possibly my favorite album of the 2 that he’s put out in the 2020s as me of writing this. You can definitely that it’s slightly more darker in comparison to this signature soulful sound yet there are moments where he displays genuine hope, jokes & joy amidst the abstract lyricism, socio-political commentary & deep reflection.

Score: 4/5

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Rico Nasty – “A Nasty Summer” review

This is the 2nd EP from Maryland recording artist Rico Nasty. Garnering my attention in 2018 of her 6th mixtape Nasty, I was still very much impressed by her unique personality & her eclecticism although it was just ok. However the next spring, she got Kenny Beats to produce her debut EP Anger Management in it’s entirety & that ended up being my favorite body of work of hers even to this day. Nightmare Vacation was a bit of a step down from Anger Management even though it has a good share of bangers like “iPhone” & “10Fo”, but Las Ruinas showed a more experimental side to her & is preluding her sophomore effort in the form of A Nasty Summer.

“Turn It Up” is an aggressive trap opener produced by 100 gecs about never paying attention to a hatin’ ass hoe while the sped-up version of “Pussy Poppin’ (I Don’t Really Talk Like This)” is completely pointless & that’s coming from someone who considers the original to be another Nightmare Vacation highlight. The song “Dirty” gives off a more dissonant vibe talking about how her man likes everything while the penultimate track “Countin’ Up” finds Kenny Beats drawing inspiration from The Neptunes with the instrumental airing out bitches on her dick. “Big Titties” featuring EARTHGANG though closes the EP by rambunctiously talking about seeing their dreams vividly with co-production from Baauer.

Although not as good as Anger Management, I will say that A Nasty Summer is definitely still worth the listen for anyone who enjoys Rico’s music as much as I do. Only a couple redundant cuts throughout the 11 minute run, but the other 3 are more than enough to make up for it considering that 100 gecs & Kenny both bring the best out of her in their own uniquely distinctive ways. It’s really enough to make me keep my fingers crossed that we’re in for her strongest full-length.

Score: 3.5/5

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Concrete Dream – “It Was All a Dream” review

Concrete Dream is a trap metal outfit from New Jersey consisting of Jeremiah Mayhem, Craig Belesi Jr., John Kennedy, Juan Bang & Josh Batista. They began in 2018 with their debut EP Relationshit & then a self-titled debut album the year after that, but signed to Suburban Noize Records last summer after delivering only a couple singles since. But as the spade continues to celebrate it’s 25 year anniversary, Concrete Dream are unleashing their 2nd EP as their debut for the label.

“Catch 22” blends some heavy riffs & hi-hats together talking about hearing angels calling whereas “Pit Trap” featuring Hyro the Hero gets more abrasive as they all make it known that none of them fights fair at all. “Buckout Road” hellishly encourages people to run for their lives just before “Contagion” talks about tuning in to see them fall going into more straightforward rap metal territory.

The final leg of the EP starts off with “Called Out” returns to their signature trap metal addressing those quick to point a finger while the song “Amnesia” is a full-blown metal ballad talking about another case of memory loss. The penultimate track “Twitter” gives off a more nu metal flare discussing the cost of your hate & “Kill the Lights” is a vigorous closer talking about something being different this time.

Now if anyone loved the Dropout Kings’ latest album Riot Music that came out last month, you’re gonna want to give It Was All a Dream a listen too because these guys are in that hardcore trap wheelhouse. Jeremiah Mayhem delivers some his most captivating vocal performances & jots down some of his most well-written cuts yet as the 4 instrumentalists all play with intense ferocity.

Score: 4/5

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Statik Selektah – “Round Trip” review

Statik Selektah is a 41 year old producer, DJ & radio personality from Boston, Massachusetts widely considered to be one of the most consistent & hard-working producers in all of hip hop for over a decade now whether it be his output as part of the producer/MC duo 1982 alongside fellow Boston native Termanology or entirely producing projects for the likes of Action Bronson & Paul Wall. Even his 9 solo albums have a chockfull of bangers on them, most notably Extended Play & #WhatGoesAround…. But as the 3 year anniversary of Statik’s last full-length outing The Balancing Act approaches in a couple of weeks, he’s making a Round Trip with the 10th.

The title track by Posdnuos is a heartbreaking boom bap opener paying tribute to the late Dave of De La Soul who tragically passed away 4 months ago of congestive heart failure whereas “Historic” by AZ & Ransom finds the pair delivering coming together for a jazz rap banger talking about this latest run. “Different League” by Benny the Butcher & 1982 gives off a spookier atmosphere making it clear they’re a different breed just before “Can’t Stop” by Stove God Cook$ & Symba is a more motivational boom bap joint talking about keeping it moving with Nina Sky on the hook.

“Unpredictable” by the greatest hip hop group of all-time Wu-Tang Clan pays homage to that old RZA sound as Ghostface Killah, Inspectah Deck, Method Man & Raekwon spit 4 lethal verses leading into “Ain’t Too Much To It” by Ab-Soul, Bun B & Conway the Machine is a somber boom bap ballad with the title saying it all conceptually. “Life & Times” by Joey Bada$$ blends these rich keys with kicks & snares talking about being perfect even though he’s not always right, but then “Droppin’ Bodies” by Millyz has to be one of my favorite songs of his yet with the smooth boom bap instrumental & lyrics displaying his cinematic lifestyle.

Meanwhile, we have Cormega & M.O.P. linking up on the warmly produced “It’s Different” with some jazzy undertones making it clear that this is business while “Lion Hearted” by Boldy James & eLZhi finds the 2 motor city wordsmiths over a more spacious boom bap beat justifiably talking about having flows like no tomorrow. “The New Joe” by NEMS is more sample-based as the Fuck Ya Lyfe general dropping some cutthroat battle raps while “1 4 Ages” by Tha God Fahim whips up a colorful instrumental so the Dump Gawd can talk about not slowing down to chase greatness.

Kota the Friend & Marco Plus hop on top of some kicks, snares & sumptuous pianos for “Right Here” making sure they have shit on lock & even though the vibraphone-inflicted boom bap production on “Limbo” is gorgeous, Russ sounds like a Great Value J. Cole even though I genuinely appreciate him discussing trying to evolve like he did on CHOMP 2.5 last month as decent as that EP was. “The Code” by Lukah, Reuben Vincent & Rome Streetz talks about living & dying by exactly that over a cozy jazz hop beat while “Got 2 Give” by redveil speaks on giving everything that he has with a catchy sample & his infectious performances.

“Vanilla Sky” by G-Eazy has a bluesier boom bap flare to it saying it’s been a minute since he’s decided to chill having a dream of living wealthy while the song “Factory” by IDK has a groovier vibe to it telling y’all not to disrespect him with all that talk. The penultimate track “In the Pocket” by Logic goes chipmunk soul comparing his lyrics going at your dome like an 8 ball prior to “Full Circle” by the Showoff Crew ending the album talking about having their best friends in the end over another vibraphone heavy instrumental.

As someone who’s been listening to Statik since his adolescence, I have a strong feeling that Round Trip will quickly become one of my top 3 solo albums of his because I find myself really enjoying this more than his last few even though they most certainly had their highlights. The Boston veteran’s production gives off a more summer vibe to his signature jazzy boom bap sound & the guest list is incredibly tight although a couple punched under their weight.

Score: 4/5

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7xvethegenius – “The Genius Tape” review

7xvethegenius is a 33 year old MC from Buffalo, New York emerging off her first 2 EPs The Calm Before & Self 7xve as well as the full-length debut 7xve is Love. However, it wasn’t until she & Jae Skeese both became the first artists to sign with Conway the Machine’s very own EMPIRE Distribution imprint Drumwork Music Group where 7xve got her biggest break yet. She has since preluded her sophomore album albeit Drumwork debut Death of Deuce with Thy Will Be Done & Self 7xve 2, but is teaming up with DJ Green Lantern for her debut mixtape.

“Meditation” is a spacious opener to the tape reminding that she’s the illest bitch out here today whereas “Biddy Mason” goes into shimmery boom bap turf talking about being right here with this army behind her for those trying to disarm her. “Back End Developer” gives off an uncannier vibe saying it’s time for her to talk her shit on these records that is until “Brainstorming” featuring Conway the Machine finds the pair strategizing on top of some chilling background vocals.

After the “AA Speaks” interlude, “Brain Food” dives into quirkier turf sonically so 7xve can tell everyone to look at who she was then & who she is now today just before “The Feel” gives off an atmospheric edge this time around talking about trying to show love. The song “Lost on Mars” is a desponding ballad of a man that loves the streets more than her while the penultimate track “Moon Walk” featuring T.F. returns to the boom bap pulling up as if they were surfing, but then “Neck Protected” featuring Che Noir & Rome Streetz ends the tape some pianos hooked up to kicks & snares as all 3 of them can deliver lyrical annihilation. I also really like the nod to “Da Rockwilder” during the hook too.

For a mixtape preluding her upcoming sophomore full-length effort, The Genius Tape has to be my favorite 7xve project to date & I can only imagine Death of Deuce taking it up a few levels whenever the time comes. She’s already proven to be one of the most skilled females in recent memory, but DJ Green Lantern’s production is more consistent than her last 2 EPs with all respect & the features are all well picked out.

Score: 4.5/5

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