ИF – “Hope” review

This is the 5th full-length album from Gladwin, Michigan recording artist ИF. Coming up in 2010 off his debut mixtape Moments, he signed to Capitol Records about 4 years later & made his full-length debut the following year with Mansion. This was followed up in 2016 with Therapy Session, but it wouldn’t be until 2017 where ИF would finally achieve mainstream success with Perception. But coming off The Search which celebrate it’s 4-year anniversary this summer, ИF’s returning to in an attempt to give people Hope.

The title track is a mediocre cinematic classical opener to the attempting to give the people something different by introducing a new side to him & that’s exactly the opposite of what the fuck he does with some far too dramatic conscious raps whereas “Motto” a cringey pop rap ballad reminding that if it ain’t broke, don’t fix it. Cordae outshines ИF on “Careful” as they discuss the importance of taking risks to get where they are today over a trap beat with some choir vocals, but then “Mama” is a more profound moment on the album with it’s pianos, hi-hats & lyrics about hoping his mother found peace before she passed.

“Happy” is a hideously overproduced pop rock jam whining that he just can’t imagine who I’d be if I was happy leading into “Pandemonium” returns to trap turf calling his pen cutting edge when there are far more lyricists that would murder him like Griselda even though their style is obviously more different than ИF’s. “Suffice” is a weak trap infused 2-parter despite the topic of mediocre not being enough & trying to make an impact on hip hop while the Julia Michaels duet “Gone” is a melodramatic breakup ballad.

Moving on from there, “Bullet” opens up the final leg of the album with an epic cinematic trap crossover paying tribute to his wife Bridgette even though the Kevin Abstract-inspired vocal pitch-changes are distracting while “Turn My Back” is a corny Christian rap with an energetic instrumental insultingly comparing himself to Ye or formerly known as Kanye West, Drake, Eminem who has clearly been a blatantly huge inspiration to him throughout his career, Dr. Dre, J. Cole & Kendrick Lamar when they’re all in a different league than him.

The song “Mistake” blends some pianos & strings to deliver some subpar singing performances although the topic at hand addressing those who think he’s a mistake relatable yet we’re all here for a destined purpose with our mistakes helping us learn to become better people while the penultimate track “Let ‘Em Pray” fuses trailer music with trap calling out those who pray on his downfall when really his music is mediocre at beat & below average at worse. “Running” ends the album with a garishly sung conversation with himself over some acoustics.

I really wasn’t expecting much going into this album & sure enough, it’s just the same shit you’d come to think would happen on an ИF album. The production pulls from pop rap, trap, alt-pop & even epic music as heard on his last mixtape Cloud although they don’t really do those sounds much justice with some sappy Christian & “conscious” if you can call it that lyrics. He really does sounds like he wants to improve his discography & unfortunately misses the mark.

Score: 1.5/5

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Slump6s – “Forgive Never Forget” review

Slump6s is a 19 year old recording artist from Rochester, New York who broke out right when the 2020 COVID-19 pandemic started off the strength of his debut EP Naveah. He has since gone on to follow it up with 7 more EPs, a collab EP with tana who just dropped his major label debut GAULTIER through Lil Tecca’s very own Republic Records imprint Galactic Records a couple months ago & even the full-length debut Genesis last summer. But coming off the 3-piece Dog Pack, slump starting off the 2nd quarter of the year the way he started it: with a new EP & his 9th one overall.

“Show Me Luv” is an ethereal trap opener produced by CXO about how he does this for all the people he knows in his life who couldn’t be here standing with him whereas “Ruthless” works in a futuristic backdrop & some hi-hats talking about being focused on getting this money. “Fashion” shifts gears with the rage beats making it clear that he’s back in his motherfuckin’ bag again prior to “Commas” returning for a more psychedelic trap to rock all black like he’s DONDA referencing Ye or formerly known as Kanye West & the EP artwork itself. The penultimate track “S.D.M.N.S. (Shit Don’t Make No Sense)” returns to hypertrap turf with the title saying it all & “Walked” featuring Maajins ends the EP with both of them over some hi-hats & an intoxicating loop talking about being on route.

As the rage subgenre of trap music continues to expand from Playboi Carti helping start it all by dropping the album that started it all with 2020 Christmas Day sophomore album Whole Lotta Red to the rise of artists like Yeat, Summrs, the Homixide Gang, Ken Carson & KanKan to only name a small handful, I think Slump6s has definitely grown as an artist tremendously since he stated 3 years ago today & that not only proves what he said in late February that this is some of his best work, but intrigues me to hear if this is only the beginning of that.

Score: 3.5/5

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Meyhem Lauren – “Champagne for Breakfast” review

Meyhem Lauren is a 39 year old MC from Queens, New York that came up as the leader of the Smart Crew graffiti team. He eventually started rapping in the mid-2000s, it wouldn’t be until the 2010s decade that he saw success. Most notably with Mandatory Brunch Meetings, the Buckwild-produced Silk Pyramids, Piatto D’oro & most notably the DJ Muggs produced Gems from the Equinox. But coming off the Daringer-produced Black Vladimir to universal acclaim, Meyhem’s keeping the momentum going by reuniting with Muggs & bringing along Madlib so both West Coast veterans can produce his 6th album.

After the “Quicksand”, intro, the first song “Fresh Out the Water” truly sets things off with Muggs supplying a creepy vocal loop as well as some kicks & snares for Meyhem to make it clear that shit ain’t changed prior to Action Bronson tagging along for “Szechuan Capitol” so they can hop on a piano boom bap instrumental with a soulful beat-switch encouraging to protect your energy & Bronson talking about making his AEW debut in Arthur Ashe Stadium after a segment with former 3-time AJPW三冠ヘビー級チャンピオン, 5-time AJPW世界タッグチャンピオン, 4-time IWGPヘビー級チャンピオン, 6-time IWGPタッグチャンピオン, NWA World’s Heavyweight Champion, GHCヘビー級チャンピオン, GHCタッグチャンピオン, WCW World Television Champion, WCW World Tag Team Champion & newly inducted WWE Hall of Famer ザ・グレート・ムタ. “Midnight Silk” dives into drumless turf courtesy of Madlib to spit that mafioso shit leading into “Sunday Driving” having a more classier vibe sonically talking about focusing on the better things in life.

“Big Money” returns to the boom bap so he can flex his wealth just before “Evolution” blending some keys, kicks & snares so Meyhem can thank back from where he came from to how he’s evolved since then. “Dom vs. Cris” keeps it in the basement to justifiably talk about how he out here winning drinking champagne in the sunshine, but then “Holographic Rhetoric” by his little brother Hologram has a more soulfully drumless approach to declare that he doesn’t need to stop & he ain’t ever gonna change.

After the “Pop Clink Fizz” interlude, “OD Wilson” gives off a more sinister feeling to the beat bragging that the real ones are back on top like they oughta be while the cavernously funky “African Pompano” talks about repping the fly shit forever. After the “Triple M Airlines” instrumental interlude from Madlib, the penultimate track “One of Them Ones” reveals itself to be an unsettling boom bap anthem referring to himself as amongst the greatest & “Wild Salmon” is a grand drumless closer letting y’all know what he got on the grill as he drinks with the homies.

Black Vladimir quickly became a favorite of mine in his discography last summer & went on to be the best albums of the previous year, but he really outdid himself on Champagne for Breakfast to the point where I as someone who’s been listening to him since Silk Pyramids can say it’s the best album he’s ever done. Muggs & Madlib both play Yin & Yang behind the boards much like how Ye or formerly known as Kanye West & Pharrell did on Pusha T’s last album It’s Almost Dry with Meyhem murdering it with the gangsta raps complimenting both West Coast beatsmith’s signature production styles.

Score: 4.5/5

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Rae Sremmurd – “Sremm 4 Life” review

Rae Sremmurd are a trap duo from Atlanta, Georgia consisting of real life brothers Swae Lee & Slim Jxmmi. However, many forget that they came up as a quartet in 2009 alongside Bobo Swae & Lil Pantz under the name Dem Outta St8 Boyz & dropped their only mixtape 3 Stooges with Lil Pantz would departing the group prior due to legal issues & Bobo following suit after to focus on his studies in Florida. P-Nazty would go on to introduce Swae & Jxmmi to revered trap producer Mike WiLL Made-It, who took the Brown brothers under his wing by making them the first act to sign to his Interscope Records imprint Ear Drummer Records rechristened as the names they’re known by today. After beginning to turn heads with hits like “No Type” & “Throw $um Mo” featuring Young Thug, it was enough for Rae Sremmurd to properly introduce themselves on the full-length debut SremmLife a month after the final single & the sophomore effort SremmLife 2 the following summer finding them to artistically expand more. Especially considering that “Black Beatles” featuring Gucci Mane is unquestionably the duo’s biggest hit to date. Their previous album however SR3MMLIFE in the spring of 2018 had a pretty strong start as it contains some of their best songs like “T’d Up” or even “CLOSE” featuring Travis Scott, but each of the Brown brothers’ respective solo debuts that were attached to it Swaecation & Jxmtro were both underwhelming at best which is a shame because I really was intrigued by the whole Speakerboxxx / The Love Below concept/homage except it’s 3 discs instead of simply 2 & the first one actually has new music from the titular duo. But after 5 long years, Swae & Jxm are returning with their 4th full-length outing.

“Origami (Hotties)” is a synth-trap opener produced by none other than Mike WiLL Made-it as the Brown brothers asking if you can see the others that’re surrounding them & to fold the paper whereas “Royal Flush” works in some horns & hi-hats courtesy of Chopsquad DJ as Thugger tags along so the trio can talk about dropping cash on land along with making grandmaster plans that’re complex. “Mississippi Slide” has a more shimmery approach sonically thanks to Zaytoven so Rae Sremmurd can pay homage to the titular state leading into the piano/trap “Not So Bad (Lean’s Gone Cold)” interpolating “Thank You” by Dido on the hook talking about the racks stacking up too tall.

On the other hand, “Tanisha (Pump That)” feels like a Slim Jxmmi solo cut featuring Swae on the hook despite the electro undertones throughout the instrumental & the lyrics describing how no one can do it the way she does just before the Murda Beatz co-produced “Bend Ya Knees” brings back the keys & hi-hats so they can ask their lovers to forgive them for their rich tendencies. Future joins Rae Sremmurd for the cloudy “Activate” talking about not being normal anymore, but then “Flaunt It / Cheap” delivers a well sequenced 2-parter encouraging the the party girls to get if started & nearly spending a dozen.

“Sexy” is an irresistibly catchy pop trap jam that 30 Roc helped Mike lace describing how physically attractive they both are while “YMCA” weaves some synth horns & hi-hats talking about how the conduct will quickly become disorderly now that they in the place. “Something I’m Not” has more acoustic groove to it as Rae Sremmurd gets more introspective on the lyrical front while Sonny Digital gives the song “Torpedo” a more atmospheric vibe so the duo can take off the the cash. The penultimate track “Diamonds Dancing” reminds everyone they’re here to stay over a trap beat from DJ Sremm with a reversed loop & “ADHD Anthem (Too Many Emotions)” sends off the album with some rage beats from Ronny J & Dynox of Internet Money Records talking about being misunderstood.

Considering the 5-year gap between this & Rae Sremmurd’s last album, I was intrigued to hear where both these guys would take it with the comeback effort & I think fans will find Sremm 4 Life to be more salvageable than SR3MM was. I admire how the approach & content are both a little different than before, Mike WiLL & company bring some consistent trap production to the table, Swae & Jxmmi both sound more focused than they did on their respective solo debuts that were attached to the predecessor & they didn’t go overboard with the features.

Score: 3.5/5

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Lex the Hex Master – “Cathedral of Chaos” review

This is the 5th EP from Queens emcee Lex the Hex Master. Breaking out in 2015 with his independent debut album Born in Hell, the demented Detroit hip hop duo Twiztid would go on to sign him to their label Majik Ninja Entertainment shortly after & he has put out a plethora of releases since. This includes The Black Season, Contact, the Mr. Ugly duology, Beyond Redemption, Shadow King, Strictly 4 My N.I.N.J.A.S., Party Castle, Haunted Mansion & Palace of Illusions. But after taking a year off, Lex is finishing the series that began with Party Castle & ending it in the form of Cathedral of Chaos.

“Hallelujah” opens things up with an eerie trap banger warning that it’s a wrap for these bitches now that Lex is back on the scene whereas “Money Back” has a more explosively aggressive atmosphere to it as he talks about the paper. “The Gang” has a more uncanny tone to the instrumental as dude reps his homies leading into Danny Diablo, Jake Palumbo & Madopelli Music coming into the picture for a rap metal/boom bap crossover to leave motherfuckers scared shitless in the terrordome. And prior to the titular outro, the final song “Bongs & Bonfires” ties up the EP with a peppy, tropical ballad about turning the night up.

So after almost 3 years this summer, the tetralogy of EPs from one of the most underrated/underappreciated MCs on the whole entire MNE roster finally comes to an end & it has me anticipating on whatever it is he that he plan on doing next whether it be a full-length or another EP or even another mixtape for that matter. Of the 4 installments, the production on the concluding chapter is predominantly more darker & the cutthroat Queens lyricist comes through sounding recharged on the mic.

Score: 4/5

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Curren$y – “For Motivational Use Only” review

Curren$y is a 42 year old rapper, songwriter & record executive from New Orleans, Lousiana that first got his start with No Limit Records in 2002. He would then hop over to Young Money Entertainment & Cash Money Records in 2006, but eventually branched out in 2008 with his own label Jet Life Recordings. The man has since made a name for himself by dropping a handful of projects every single year with my favorites including the Harry Fraud-produced Cigarette Boats, the Alchemist-produced Covert Coup, the prominently Ski Beatz produced Pilot Talk series, The Carrollton Heist, the Lex Luger produced Motivational Speech, the Statik Selektah-produced Gran Turismo & more recently Continuance to name a small handful. But coming off his 19th & 20th albums Spring Clean 2 produced by Fuse before last summer got underway & even a sequel to The Drive In Theatre that same Black Friday weekend, Spitta’s celebrating his born day by having So So Def Recordings founder Jermaine Dupri behind the boards for his 27th EP & the first in a new trilogy together.

“SoSo Jets” opens up the EP by talking about repping the underground as well as how the industry couldn’t change Andretti & the fact that his career has thrived since over some synthesizers, hi-hats & frequent JD adlibs whereas “Essence Fest” has a more traditional bounce vibe to it as he declares himself to be a Chevy on chrome & taking one of the hoes home. “Never Enough” follows that up with an inspiring trap banger about defeat not being an option & going from nothing to something until 2 Chainz tags along for the synth-funk inspired “Off the Lot” to not stop for a bitch.

The song “Screens Fallin” dives into boom bap turf acknowledging that he never said he runs Nawlins yet holds it down for them while the penultimate track “Never Fall Off” with T.I. is a groovy trap cut about never slippin’ with. Fortune 500” though returns to the boom bap 1 last time so he can let everyone in as to where he is in his life now with his paper being up, poppin’ champagne as if he won the championship & even his own son knowing the difference between the startup house & a mansion.

When I first heard that Dupri was gonna be the one handling the beats for this new Curren$y EP, it really had my interest considering how well established he is in the worlds of pop rap & contemporary R&B. We’ve also only seen him land a feature or production credit on occasion for over a decade or so, with the last time that I can recall him predominantly producing a project being Dondria’s full-length debut Dondria vs. Phatfffat nearly a dozen years ago back when she was on So So Def with him mentoring her. But the first installment of the For Motivation Use Only trilogy is a solid way to kick things off & has me intrigued to hear how the rest of the series pans out. Spitta’s subject matter absolutely lives up to his name as JD proves he hasn’t lost a step by resurrecting his signature production style.

Score: 3.5/5

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Twiztid – “Echoes from Dimension X” review

Twiztid is a hip hop/rock duo from Detroit, Michigan consisting of Jamie Madrox & Monoxide. Both of whom originally started out as part of the House of Krazees alongside childhood friend The R.O.C. in 1992 before their initial disbandment 5 years later. Almost immediately after, the Insane Clown Posse took Jamie & Mono under their wings by signing them to Psychopathic Records as the demented duo they’re known as today. They would become the label’s 2nd biggest act being their mentors off projects like Mostasteless, Freek Show, Mirror Mirror, The Green Book, W.I.C.K.E.D. (Wish I Could Kill Every Day & Abominationz. Shortly after the latter was released, Twiztid left Psychopathic to form Majik Ninja Entertainment in 2014. Since then they’ve released 7 albums & 7 EPs on their own label, my favorites of which being /ˌrevəˈlāSH⁽ᵊ⁾n/ & even their last full-length Glyph that they dropped over the fall. But as Jamie & Mono hit the road with Static X for their Rise of the Machine Tour, the Astronomicon founders are celebrating by surprise dropping their 15th EP fully produced by Stir Crazy.

“I’m Dead Now” is fascinatingly morbid way to set things off as Twiztid hops on top of a piano/boom bap instrumental vividly portraying themselves as if they were actually deceased while the song “Chops & Sweeps the Leg” delves deeper into a more uncanny vibe sonically as the Multiple Man & the Monoxide Child talk about taking the advice from the millions & millions who’ve told them not to take shit for granted ever again with. The penultimate track “A Demon” has this raw, grungy guitar lead throughout to discuss enough being enough & truthfully feeling stuck in this Hell they’re trying to leave prior to “Slip/Trip” finishing the EP with a trap/rock crossover continuing to spit the wicked shit as a reminder to those who like to lie to themselves that they turned their back on juggalos.

Mirror Mirror has always been my favorite EP from the demented duo, but Echoes from Dimension X is already creepin’ up with Electric Lettuce as the best EPs that they’ve dropped since leaving PSY to start MNE. Stir Crazy’s production is interestingly detailed ranging from the opener kinda throwing it back to the boom bap Mostasteless days to preluding their upcoming album Welcome to Your Funeral with Zeuss by refining the predominantly rock-oriented direction Unlikely Prescription took during it’s 2nd half in the form of blending the rap rock qualities of both Mutant & Generation Nightmare with their horrorcore roots. At this rate, Planet Z’s bound to give us a wicked shit rap rock classic & the best rock album Twiztid has ever done.

Score: 4/5

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Tha God Fahim – “Berserko” review

Tha God Fahim is a 26 year old MC/producer from Atlanta, Georgia notable for his affiliation with Griselda Records as well as being 1/3 of the Dump Gawds alongside Mach-Hommy & Your Old Droog. We also can’t ignore the massive discography that he’s managed to build for himself, some of the standouts include Breaking Through tha Van Allen Belts & Dump Assassins. But coming off 4 EPs in the last 3 months with my favorites of the quartet personally being the Camoflauge Monk-produced Dark Shogunn Assassin as well as the Nature Sounds-backed Iron Bull & the Nicholas Craven-produced Dump Gawd: Shot Clock King 4 that literally just fucking came out last week, Fahim’s enlisting Oxnard veteran Oh No behind the boards for his 42nd EP in it’s entirety.

“Da Coldest” is a calmly laced opener with the Dump Gawd talking about being unable to see the game holding him back whereas “Faithful” works in some horns to ask why try if you ain’t even giving your all into it. Droog comes into the picture for the crooning “Cobbler” talking about being the ones that supply the product leading into “Tha Haunted” taking a creepier approach in sound to say those who think can fuck with him got it twisted & all he wants to do is run it up counting bands

Jay NiCe tags along for “Axe Pain” brings back the horns as they advise it’s better to be a moving target than simply a sitting duck just before “Bladepoint” talks about his exact line of business & playing to win it all. “Art Official” weaves a bare soul loop into the fold as he makes it clear that he ain’t here to play games with cats & to tighten up, but then “Grind Hard” follows it up with a mellow ode to the hustle.

The song “Megachad Rap” goes full-blown boom bap continuing to flex his greatness while the penultimate track “I Show I Prove” returns to drumless territory as he cashes out. “Nightmares” on the other hand truly ends the EP by talking about watching his back because of how petty some people truly are & that he’ll never retire from this music shit over some chilling vocals & synths.

I know I just said a week ago that Shot Clock King 4 is the best EP that Fahim has dropped in 2023 so far, but there’s no question in my mind that Berserko is on the same caliber. And if he’s continuing to drop EPs every month for the rest of the year like how Flee Lord & Papoose both did respectively, then I’m excited to hear what he has to offer next month. His determination is still clear as day & it’s refreshing to hear Oh No production start to finish not only considering it’s been 3 years since A Long Red Hot Los Angeles Summer Night dropped, but also how equally as talented as he is compared to his older brother.

Score: 4.5/5

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Juicy J – “Mental Trillness” review

Juicy J is a 47 year old rapper, songwriter, producer & record executive from Memphis, Tennessee who rose to stardom in the 90s as the co-founder of the seminal Three 6 Mafia alongside his Tear Da Club Up Thugs cohorts DJ Paul & the late Lord Infamous. He’s also had the most successful solo career out of everyone in the Mafia whether it be the Taylor Gang Entertainment/Columbia Records-backed Stay Trippy & Rubba Band Business: The Album or even his last full-length The Hustle Continuesunder his new MNRK Music Group imprint Trippy Music. Last year he dropped Stoner’s Night with Wiz Khalifa as well as Space Age Pimpin’ with Pi’erre Bourne over the summer & the predominantly Lex Luger-produced Crypto Business in the fall, but is surprise dropping his 6th album out of the blue.

After the “Help You Need” intro, the first song “Going Thru Sum Shit” is a dark trap opener detailing the struggles of what Da Juice Man has been dealing with as of late whereas “Gettin’” takes a more chopped & screwed route talking about all the things he’s chasing. Xavier Wulf’s verse on “No Man” is underwhelming despite the slowed down vocal loop, hi-hats & theme of not being able to trust a single soul just before “I’m Stressin’” has more tense vibe sonically opening up about his stresses.

After the “Falso Reality World” interlude, Aleza comes into the picture for the vibrant “Ain’t Cool” to discuss how motherfuckers ain’t cool with one another hence the title even though they from the same hood leading into “Drink to Escape” returning to chopped & screwed turf touching on alcoholism as a way to cope with depression. “Memphis Made It” is a more heartfelt trap ballad paying tribute to the city that raised him, but then La Chat joins him for the bluesy “Deadbeat” portraying a toxic relationship.

“Different Type” weaves in some more hi-hats & a syrupy vocal sample to talk about the new times we’re in while “Demon of Addiction” symphonically tackles the complex disease that there is in fact hope of overcoming. “No Rapper” has a more rowdier vibes calling out the phonies even though Aleza, K Carbon & Slimeroni’s performances don’t do much for me at all with all respect until “Pay Attention” makes up for it with a cloudy trap joint about schizophrenia.

After the “Mental Health Crisis”, the song “Work Out” aggressively asks where the dollas at with a boring Finesse2tymes feature attached to it while the final song “Follow Home Robbers” prior to the “Juicy’s Pain” outro brings the late Gangsta Boo into the fold which is fitting because I’m sure the album as a whole was inspired by her unfortunate passing at the beginning of the to portray themselves as such so vividly over a morbid trap beat.

Some people including myself have felt like Juicy’s last couple solo albums tackle the same subject matter as solid as they all are, but I think Mental Trillness is the most personal we’ve heard from him in a while. The production plays to the Memphis trap sound that he helped popularize when Triple 6 broke out onto the scene & as he gives everyone a look at how he’s been handling Lady Boo’s untimely death throughout the past couple months.

Score: 3.5/5

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Big B – “Members Only” review

This is the debut EP from everyone’s favorite Las Vegas, Nevada hooligan Big B. Starting out as the frontman for 187, he would go on to join OPM following the demise of 187 & become a household name for the infamous California powerhouse Suburban Noize Records just a couple years later. His first 3 solo albums High Class White Trash, White Trash Renegade & More to Hate would become some of my favorite releases that the label has ever put out. Last we heard from B was during the pandemic when he dropped his comeback album Welcome to the Club only a day after the 7 year anniversary of Fool’s Gold & is reuniting with Michael Bradford on Members Only.

“Too Young to Die Old” is a country-infused opener with B talking about his mind being in his prime as his body declines whereas “Summertime Sunshine” is a more acoustic ballad encouraging to get reckless & party all night long. The song “Killers” melodically details the protection that he has around him while the penultimate track “Here I Am” has a more rock & roll groove to it talking about being as heartbroken as he is. “Clean Hands” though ends things by delving further into rock turf admitting everyone’s hands around his part are dirty.

If anyone enjoyed Welcome to the Club for the more mature direction it took on all fronts, Members Onlycertainly expands on that to a tee & every single fans who’s already in the Felons Club by now should give it a listen. Big B’s songwriting is cohesive, he clearly sounds focused through his performances & Michael Bradford continues to be the perfect guy to bring the best out of his new country style with the production is as potently organic as it was 3 years back.

Score: 3.5/5

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