This is the 3rd EP from Detroit emcee, songwriter & producer Royce da 5’9”. Most notable for being 1/2 of Bad Meets Ǝvil with local sensation Eminem, his mark as one of the city’s illest lyricists has already been made along the way. Especially with releases such as Death is Certain, Street Hop, Success is Certain, Layers & Book of Ryan. Also can’t forget to mention his work with longtime collaborator DJ Premier as the MC/producer duo PRhyme or with the now defunct quartet of all-star wordsmiths that was once Slaughterhouse. But with his previous album The Allegory turning 3 last month, Nickel’s returning in the form of The Heaven Experience.
“Signs” is a Godly trap opener produced by STREETRUNNER dedicating this to those who fuck with him for real whereas “Out the Barrell” works in a sitar-laced instrumental from DJ Pain 1 with hi-hats cautioning those who haven’t been out here long enough to test him. “Look at This” has a more rugged sound thanks to the J.U.S.T.I.C.E. League remembering his uncle Joe while the song “Grown Ass Man” classily makes it clear that he’s about his family. The penultimate track “Royce & Reggie” featuring Redman finds the 2 lyricists over a soulful boom bap beat acting a fool in cyphers to the dislike of others & “Ion Wanna” featuring Courtney Bell sends off the EP with a somber ballad about what goes around comes around.
If this just to prelude listeners for his upcoming 9th album much like how Tabernacle: Trust the Shooter held everyone over until Layers dropped shortly after, then I think people should be more than satisfied with it. I like how Nickel took a backseat on the production by bringing in some established vets to take care of things in that department as one of the best lyricists in the D continues to elevate himself higher & higher in the ranks.
Autumn! is a 25 year old rapper, singer/songwriter & producer from Lafayette, Louisiana who got his start by dropping 19 EPs & a full-length debut on SoundCloud since 2018 prior to signing to Victor Victor Worldwide & Republic Records after the Not Much Left EP. He made his major label debut last spring with his sophomore effort Antagonist!, following it up with ##B4GC2 & Golden Child 2. But with the final chapter of the trilogy in the form of ##B4GC3 a couple months ago, Autumn!’s ending it by delivering his highly anticipated 3rd album.
“God’s Child!” is a spacious trap opener with twinuzis hoping that everyone’s proud of him whereas “All My Duffels Goyard!” blends pop rap with pluggnb talking about just how he likes his duffel bags since he’s finding himself getting back into fashion again. “Chelsea, N.Y.!” works in some pianos & hi-hats for a dedication to the titular spot in the City of Dreams, but then “Backseat!” cautions to watch out for all the hoes you come across in this game over some woozy synthesizers.
Meanwhile on “Tootheache & Gaslighting!” we have Autumn! delivering a 2-parter with a plugg-infused first half with a drum & bass fusion coming in during the latter as he warns not to play him like a fool & everything he says being facts leading into “You > Them (Hate It!)” expanding on D&B even further my blending that with pop rap talking about the trials & tribulations of a relationship he once had. “Them > You!” is basically a counterpart to the previous cut from its piano/drum & bass production to its seductive lyrics just before the intoxicating sequel to “My Collection!” off ##B4GC2.
“No Good!” is a spiritual successor to “No Good 4 U” by Summrs by atmospherically breaking down why he’s bad for this woman he’s seeing while “Still the Same!” has a more playful tone throughout reminding that he hasn’t changed since becoming famous. “Still the Same! 2” samples “If It Means Anything!” off his simp music ❤ EP expands on how he’s living now until the very song that was flipped makes it’s way onto the album with it’s icy synths & lyrics about a failed relationship.
The sequel to “If It Means Anything!” on the other hand chops up “Like a Tattoo” by Sade telling this woman he’s glad she came around even though he misses her & there’s no going back while “Like That!” is a more straight forward trap jam dedicated to all the fine women that New Orleans has to offer. “Girl from the Club! 2” samples “Party” by Beyoncé acknowledging this new chick wants to live in the fast lane while “Cowgirl!” shows her how to ride it over a rattling beat.
Moving on from there with “50M Freestyle!” where uzis admits he can taste his first milli with a peppy instrumental backing him while “Can’t Rent Anymore!” has a more futuristic yet vibrant approach talking about not giving a flying fuck about a rental. “Twotimestwo!” brings a more atmospheric vibe to the table as he paints a picture of his girl bringing her friend with them for a threesome while “Colors!” flexing his hunnids being blue & green with some hi-hats & bass behind him.
“Baby Fewch!” opens up the final leg of the album as Autumn! airing out the lames with a dramatic quality to the beat this time around while the song “Recollections of Fame!” is a catchy plugg banger about his BMW E-31. The penultimate track “I am the Goat!” weaves some more synths & hi-hats discussing his greatness with the closer being “The Remorse!” off ##B4GC3, which is an emotional tribute to his deceased brother.
If any of you were 50/50 on Antagonist!, I think Golden Child 3 will definitely make up for it as twinuzis ends the trilogy with his most well-rounded full-length album so far. The production is well grounded in his pluggnb roots whilst experimenting with drum & bass along the way as his growth throughout the years prevalently shows itself in the 67 minute run.
This is the 2nd EP from Ladera Heights MC, singer/songwriter, producer, actor, visual artist, designer & comedian Tyler, The Creator. Blowing up about 15 years ago as the de facto leader of Odd Future, his evolution both artistically & personally since the collective’s disbandment in 2015 has truly been amongst the most fascinating ones I’ve ever witnessed in my lifetime going from the bratty edginess of Bastard & Goblin to the undeniable maturity & versatility shown on Flower Boy & IGOR. Even Tyler’s last album Call Me If You Get Lost happened to be his best lyrically & as he gears up for his next one this summer continuing the 2-year schedule that he started on, he’s giving fans a collection of outtakes from the CMIYLG outtakes in the form of The Estate Sale.
After the “EVERYTHING MUST GO” intro, the first song “STUNTMAN” with Vince Staples is an energetic trap banger to the EP as they pay homage to “Swagger International” by Pharrell essentially whereas “WHAT A DAY” has a more colorful tone to it thanks to Madlib as Tyler talks about being your biggest cheerleader. WANG$AP reunites for the synth-laced “WHARF TALK” discussing getting lost together with their significant others just before “DOGTOOTH” is a jazzy, dirty south/neo-soul hybrid expresses Tyler’s desire for a woman that he can satisfy. The song “HEAVEN TO ME” details what his version of the pearly gates is over a boom bap instrumental while the penultimate track “BOYFRIEND, GIRLFRIEND” with YG is a funky pop rap ode to love. “SORRY NOT SORRY” however ends the EP with a bare sample of “He Made You Mine” by Brighter Side of Darkness wavering between apologizing both sarcastically & genuinely.
Given the ending of the closer’s music video where the authentic Tyler kills off all his past eras, it’s clear that he’s getting ready to drop his 7th album this summer & I think The Estate Sale is an excitingly short offering that’ll keep everyone satisfied until then. Tyler’s production plays into the mix of styles that Call Me If You Get Lost revealed to have sonically & his still bringing his A-game with the pen. Here’s to the new chapter from hip hop’s most beloved unique personalities in just a few months.
DJ Drama is a 44 year old DJ, record executive & music promoter from Philadelphia, Pennsylvania who got his start by founding Aphilliates Music Group alongside Don Cannon a decade ago. His profile would grow exponentially shortly after by beginning his iconic Gangsta Grillz mixtape series that’s still going 19 years strong today & becoming one of the most in-demand mixtape DJs ever by hosting some of the hungriest tapes from a wide range of already established artists including T.I., Jeezy, Gucci Mane, Lil Wayne & Fabolous. Dude even has 5 solo albums under his belt also, starting with Gangsta Grillz: The Album at the end of 2007 & the previous being a sequel to Quality Street Music the year after founding the Atlantic Records imprint Generation Now Entertainment with Don that initially discovered one of the biggest names the 215 has seen in recent memory: Lil Uzi Vert. Fast forward 5 years later, Drama would see a resurgence in his career after narrating Tyler, The Creator’s 6th album Call Me If You Get Lost fittingly enough since that itself was a homage to the Gangsta Grillz series. So coincidentally as T drops The Estate Sale to hold everyone off until his upcoming 7th album drops later this summer, DJ Drama is coming off hosting the recent mixtapes from the likes of G Perico & Kash Doll to name only a couple to drop HIS 6th album.
“Legendary” by Tyler sets off the album with Yung T detailing the influence that the Dedication mixtape series had on him during his adolescence over a rich, drumless instrumental from the Cannon whereas “Ho4me” by A Boogie wit da Hoodie is a disappointingly mediocre trap/pop rap ballad about taking it slow. “Raised Different” by Jeezy & the late Nipsey Hu$$le has a more somber approach touching on being made in the streets just before “F.M.F.U. (Fuck Me Fuck U)” by Gucci & Wayne find the 2 over some twinkling keys & hi-hats courtesy of CashMoneyAP paying homage to Keyshia Ka’oir Davis & Denise Bidot respectively.
Moving onto “Free Game”, we have Uzi & 42 Dugg joining forces to get in their bag over a Detroit trap beat from Helluva just before “350” by Rick Ross & Westside Gunn deliver some fly braggadocio with some pianos & hi-hats backing them. “Been a While” by G Herbo & Mozzy is a lavish trap banger that Nick Papz & Pooh Beatz laced about how they ain’t going nowhere leading into “No Weakness” by Symba, T.I. & Wiz Khalifa having a more cinematic groove to the instrumental as they remind y’all that no one built like them.
“Mockingbird Valley” by Jack Harlow is one of the weakest cuts on the album despite Don Cannon’s smooth production & that’s primarily because I personally found Jack’s performances to be mediocre until “Forever” by Benny the Butcher, Fab & Jim Jones makes up for it with it’s victorious trap beat & the razor sharp lyricism from all 3 MCs respectively about the lives they live. “Andale” by Moneybagg Yo & Offset is a decently aggressive cut quenching for blood while the song “Iron Right” by Boosie Badazz, OMB Peezy & the late Trouble is another dull moment from the annoying bed-squeaking sounds throughout the slick instrumental given by the late Traxamillion to the lyrics about not being the one to fuck with.
The penultimate track “I Ain’t Gon’ Hold Ya” by Jeezy was originally first heard on the Snoman’s latest effort Snofall that dropped about 5 months ago by now & there’s nothing wrong with hearing it again at the backend of I’m Really Like That since not only was Snofall amongst the trap pioneer’s best in recent memory, but this very song from it that makes it’s way over here just so happened to be amongst my favorites on it. “We Made It” by CyHi the Prynce & LaRussell wraps things up with a heartwarmingly melodic trap song about success.
As someone who also grew up on the iconic Gangsta Grillz series much like Tyler, I personally found Drama’s last 3 solo albums to be subpar at worst & mediocre at best. That however is not the case with I’m Really Like That, as I consider it to be his best full-length in a while & a solid one to make a comeback on. The performances from the guests are more consistent as are the production choices & the theme reflecting on his journey in the game as well as the relationships he’s built over the years further reminds us of his legacy as one of the greatest mixtape hosts ever.
Larry June is a 31 year old MC from Vallejo, California been steadily grinding his ass off since dropping out of high school by dropping his last 8 studio efforts as well as 14 EPs & 7 mixtapes. My favorites of his ever-growing discography include the Lex Luger-produced Trap Larry, the Cardo-produced Cruise USA & it’s sequel Into the Late Night, the Harry Fraud-produced Keep Going & more recently the mobb music-influenced Jay Worthy collab effort 2 P’z in a Pod that just celebrated it’s 1-year anniversary last weekend. But coming off Spaceships on the Blade last summer, Larry’s enlisting The Alchemist to fully produce his highly anticipated 9th album.
“Turkish Cotton” is a jazzy opener to the album as Larry talks about making sure your tax is right whereas “89 Earthquake” dives into boom bap turf airing out every single person out here still looking at him as a threat. Action Bronson comes into the picture for the slick “Solid Plan” doing it all for the motherfuckin’ bankroll leading into Big Sean tagging along for the groovy “Palisades, CA” paying tribute to the titular city in the sunshine state.
Moving onto “Summer Reign”, we have Larry over a warm sample to provide a fitting anthem to ride around with the top down to as the spring weather continues to roll it’s way around the corner just before the Beat Butcha co-produced “Orange Village” enlists T3 & Young RJ of Slum Village has a more hypnotic sound to it as the trio work, live & try for a better day prior to him flexing with a fresh amount of charisma throughout the drumless “Porsches in Spanish”.
“Art Talk” with Boldy James has a more spacious, psychedelic quality to the beat as they discuss getting it off the black top until the summery, calm “Ocean Sounds” gets into romantic pop rap territory & actually not coming off as forced as some try to do it these days. “Left No Evidence” with Evidence perfectly enough hope over some pianos, kicks & snares as they both rock the shit in their own respective ways while “What Happened to the World?” with Wiz Khalifa has a more mellow approach talking about the only thing on their minds is to get the money.
Meanwhile on “Éxito”, things take a more twangier route as Jay Worthy assists Larry in showing off just how well respected they are & not wanting to beef with anyone as they continue at trying to succeed while the song “60 Days” with Uncle Al himself finds the 2 exuberantly talking about how anything can happen in 2 months. The penultimate track “Barragán Lightning” with Curren$y & Joey Bada$$ provide a colorful anthem addressing living off life & “Margie’s Candy House” is a jazzy, soulful closer looking back on his younger days.
Of the 9 full-lengths that Larry has dropped throughout his 17 year career, The Great Escape will no doubt quickly become the strongest of them all & one that I think new fans will find to be a perfect introduction into his discography. Uncle Al’s production is more drumless yet jazzy this time around perfectly suiting the Vallejo delivers some calm bars of luxury cars as well as presidential suites & of course fresh-squeezed orange juice that’re cooler than the other side of the pooler. Amazing job, Larry!
London, England, United Kingdom producer Illinformed compiling a couple dozen tracks together for his official full-length solo debut. Forming multiple groups throughout the last decade like Babylon Dead or the Brothers of the Stone & the Creatures of Habit as well as being the brother of Leaf Dog & Eric the Red, he’s crossed paths with some of the local scene’s biggest underground labels from High Focus Records to Real Life Drama Records & Lost Scroll Records in addition to dropping The Mould Tape in the fall of 2015. However, he’s putting together a collection of songs for Real Life Drama where other artists are performing over his beats named after his own imprint he launched a year earlier: Illin’ for Meds.
“Rotten” by Eric the Red & Jack Jetson teams up over a raw boom bap instrumental talking about their fans fiending for new music like they’ve become addicted to crack whereas “Horror” by the Brothers of the Stone, Dirt Platoon & Ruste Juxx finds the quartet dropping off hardcore verses of their own without a hook. “Doctor” by the Creatures of Habit, Sk!nt, Smellington Piff, Verb T, Wish Master & 1Jack unites for a 3 minute UK posse cut just before “Doomed” by Babylon Dead & Jack Jetson talks about those being cursed from birth.
Bil Next, Bill Shakes & Datkid all get together during the dusty “On Peds” speaking of never making radio airwaves & fucking up ratios independently leading into “Nothin’ Else” by Gaza Glock talking about him solely doing this for the streets. “Graveyard” by Babylon Dead & Leaf Dog radiates a nostalgically vintage boom bap vibe recalling them working between the earliest hours of the morning while “On the Hunt” by Wyatt Earp ruggedly talks about him chasing for thousands of dollars that’ve yet to be made.
“Bun Dem” by Babylon Dead, BVA & Jack Jetson finds the trio joining forces so they can discuss lighting their competition ablaze while “Slippery Slope” by Sean Peng ends the 1st half maintaining the traditional boom bap sound talking about having bad dreams & trying to find his own inner peace. “Concern” by All Hail Y.T. & Chris Skillz soulfully offers wild aggression in hopes of altering the audience’s perceptions while “Scud” by Bisk, Jack Jetson & Pertrelli Purple talks about trying to escape the darkness following them.
As for “‘Till the End”, we have Left Lane Didon taking over the microphone confessing it’ll always be Doe or Die for him unless God decide to call him back home to the pearly gates while “Through Ya Door” by Crossbow T, Datkid & General ruggedly talks about people trying to bring them down although they refuse to express sadness because it’s what the detractors want. “The Omen” by Jay NiCE ominously promises to through hexes at those who dare to fuck with his clique while “I Need My Meds” by Inja, Smellington Piff & Wish Master talking about them having to be medicated individually.
“On the Edge” by BVA, Jack Jetson & Verb T rawly cautions to not be tricked by the laidback demeanors all 3 of them possess desiring for weed smoke to come out the speakers while “Illin’” by Datkid feels like it could’ve appeared anywhere throughout the latter’s 6th album Wakmo serving his usual crud. “Bad Times” by BVA, Eric the Red, Frek 1 & Verb T brings a dirtier boom bap flare to the table talking about the 4 making a killing while “Bukowski” by Bil Next, Datkid & Jack Jetson takes a few minutes dismantling opponents who can’t rap the way they do.
Nearing the conclusion of Illin’ for Meds, the track “Watch Out” by Chris Skillz & Lisaan’dro combines elements of boom bap & orchestral music sending a message to the crowd of idiots who wind up losing teeth for running their mouths while “Valerie Blue” by Res 1 gets in his storytelling bag a bit telling the world of an encounter he had meeting a woman who goes by that very name. “Still Cruddin’” by BVA, Datkid & Pertrelli Purple talks about continuing to thieve until there’s nothing left while “What For” by Tony Broke finishes on a funkier boom bap note looking for a new fix soon as the lights go out.
Needless to say: Producer-curated LPs have become historically known for being hit or miss regarding the level of quality & Illin’ for Meds lands right in the middle between good & bad although it has slightly more highs than lows. My biggest compliment is Illinformed’s production feeling a lot grimier than his usual jazz-influenced take on boom bap, although the enormous cast of artists can come cross there being too many cooks in the kitchen & some fat could’ve been trimmed down since I don’t think it should’ve been 74 minutes.
Here is the official full-length debut from London, England, United Kingdom emcee Illaman. Known for being the frontman of the rap rock/grime trio PENGUSHi & Problem Child, he eventually branched out on his own in the spring of 2019 off his debut EP Give Us a Smile. He eventually made his debut under Potent Funk Records with his next extended play Ugly Days & has teamed up with Dublin, Ireland beatsmith Pitch 92 in an attempt to make Sometimes Relax the greatest solo effort of the 3.
The title track begins by talking about giving ourselves a little trust in order to do anything we desire over a moody boom bap beat whereas “Get It” embraces a funkier approach instrumentally suggesting that everyone listening goes out to take what’s theirs. “Clouds” has a more cloudier trap vibe assuring there’s always time for growth to come just before “Absolutely Tidy” featuring PAV4N finds the 2 getting aggressively teaming up to get on some fuckery.
“Trust Me” has a more upbeat boom bap sound to it talking about doing your best in life even if things don’t always make sense & we ask what it all means leading into “Self Destruct” admitting that he’s at the point where he doesn’t even know what he’s doing anymore. “Time” has a cloudier boom bap flare to it cautioning that there’s no rest for the wicked & everyone urgently needs to wake the fuck up while “Never Ever” dustily talks about not having much.
Dabbla & Dubbledge both appear on “Gods” mixing some pianos with kicks & snares so they can speak of their status amongst magic beings by all means without the need of a hook but after “Couple Shells” incorporates what I’m pretty sure sounds like a gospel sample to talk about his ability of ending careers by burying any competition, “Like Me” spends a few minutes advising those listening to sort their lives out & the idea of fixing ourselves from our shortcomings.
Rounding out 3rd, the song “Healing” talks about how funny it can be when one loses their own mind & refusing to believe that time heals all wounds when I can confirm from my own personal experiences that it’s factual while “Winner’s Circle” explains his desire of getting shit poppin’ because it’s all he has. “Lightwork” wraps things up with 1 last boom bap joint dedicated to the people who aren’t feeling exactly the greatest & wants them to know their souls are beautiful.
Give Us a Smile was alright personally & I felt that Ugly Days made room for improvements, but Sometimes Relax wipes the floor compared to both of those early EPs since it exceeds what expectations were set based off both the singles making a statement regarding the trials & tribulations of seeking closure. Illaman’s lyrics are much more honest than what we’ve heard from him already & it’s refreshing to hear his off-kilter delivery being paired with Pitch 92’s signature production style reminiscent of Jaylib’s only album Champion Sound.
This is the 9th full-length album from Brooklyn emcee Kota the Friend. Breaking out in 2016 off his debut EP Palm Tree Liquor, he would go on to follow it up with 2 more EPs before dropping his debut album FOTO in 2019. Kota has since dropped 7 more under his belt, with my favorite To Kill a Sunrise fully produced by Statik Selektah celebrating it’s 2 year anniversary just last weekend. So with that in mind, he & the established Boston producer are reuniting To See a Sunset.
“High Noon” is a warm, soulful boom bap opener to the album looking back on the people praying on his decimation & Kota’s current view being tropical whereas “Real Ones” works in some bluesy guitars, strings, kicks & snares talking about life being good. “Elevator” takes a jazzier approach as he makes it clear that he ain’t got time for no dumb motherfucker prior to “Go Brooklyn” is an atmospheric boom bap cut representing his hometown.
Moving on to “Maybe So”, we have Statik bringing back the jazz as Kota talks about staying ahead of things just before “1 Life” laces some pianos so he can encourage everyone to do it right with the short time we have here. “Valleys” has a more lavish approach telling listeners everything’s gonna be ok & you’re gonna make it leading into the wavy pop rap ballad “Eye See U” addressing fakes. The penultimate track “Free Not Woke” brings back the blues guitars as Kota speaks on doing as you please & “Thank You” is an appropriate victory lap from the peppy beat to the gracious lyrics.
Truthfully, the last 3 albums that Kota’s dropped since I’ve last covered his music were all average at best respectively & To See a Sunset reveals itself to be a more than worthy sequel to what I consider to be the crown jewel of his discography. Statik’s production is as rich as it was on the predecessor except it’s jazzier as the theme turning your dream into a reality & being present with the realization that you’re living your best life is inspiring.
Hit-Boy is a 35 year old producer, MC & singer/songwriter from Fontana, California who’s been at for 2 decades after Polow da Don took him under his wing by signing him to his Interscope Records imprint Zone 4 Records. His early production credits range from “Stronger” by Mary J. Blige to “Drop the World” by Lil Wayne & Eminem, but wasn’t until the winter following the last 2 jams where he 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 “Niggas 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. So considering that & recently founding his own EMPIRE Distribution imprint Surf Club Inc., it’s only right for him to follow-up his 6 solo mixtapes in the form of his very own full-length debut.
After the “Big Hit” intro, “The Tide” fittingly enough sets off the album with Nas & Hit-Boy over a soulful beat with a trap switch-up later on displaying their tight chemistry whereas “State Champ” by Half-a-Mil & Jay305 find the trio accompanied by a cloudy yet vibrant instrumental representing Cali to the fullest. Dom Kennedy sticks around for “Corsa” admitting their hearts are still cold on top of some hi-hats & an airy backdrop leading into Curren$y being subbed into the game on the chill trap banger “Tony Fontana III” talking about how this shit is a marathon but they ain’t running a track.
Spank Nitti James takes up a bulk of “Just Ask” his verse is just ok personally although I love the hypnotically crooning trap production & the themes of asking before assuming leading into “NU.WAV” follows it up with a moody trap ballad about the way he formulates until “Slipping into Darkness”starts off with The Alchemist spitting a verse over a sample-based boom bap beat until Hit-Boy calls out those who tried to deflect him over some jazzy piano chords Uncle Al chopped up.
The song “2 Certified” goes full-blown UK drill as Avelino sets it off by helping the man behind the boards boast about their respective legitimacies in the rap game while the penultimate track “M.T.R. (Make the Rules)” is a vibrant yet chiller cut about how he simply knows the rules as opposed to making them. The album ends with a sequel to “Composure” off King’s Disease II with an aquatic yet jazzy boom bap instrumental getting more vulnerable lyrically.
Much like how The College Dropout cemented Ye’s abilities as a performer & The Life of Pi’erre 4 with Pi’erre Bourne, I think anyone who’s been fucking with Hit-Boy as long as me could tell you that’s exactly what Surf or Drown does for him. You get a good look into who one of the most consistent producers in the game today really is on the mic as he enlists a mainly consistent guest list that helps him rip his own beats to shreds ranting from boom bap to trap & even UK drill.
This is the highly anticipated sophomore album from Buffalo emcee Jae Skeese. Getting his start off the strength of his his debut mixtape W.A.C.K. (Women, Alcohol, Cash & Kicks) in the fall of 2010, it wasn’t until a decade later where he & 7xvethegenius gained wide exposure as the very first signees to Conway the Machine’s very own EMPIRE Distribution imprint Drumwork Music Group. He & his mentor just dropped their collab EP Pain Provided Profit a couple weeks ago, so it’s only right for Jae to come off that & his classic Big Ghost Ltd.-produced 3rd EP Authenticity Check by finally dropping Abolished Uncertainties.
“RVLVR” sets things off with Jae showing you why they call him exactly just that over a soulful boom bap instrumental whereas “Million Dollar Dreamz” takes a more shrilling route thanks to Ill Tone working in some more kicks & snares talking about chasing a bag. “Bonneville” keeps it in the basement courtesy of Cartune Beatz not wanting to no excuses whatsoever, but then Freeway tags along for the rugged “Out Here” letting their presence be known.
Meanwhile on “Burner Phone”, we have Jae with a story to tell over a soul sample & snares just before La Maquina himself slides through for the classy trap hit “Symmetry” as they talk about trying to find a balance in their lives. “Lunch Table” returns to the boom bap with the help of EYEKETYSON letting y’all in on the newest page of his odyssey leading into “1 of 1” blends jazz & soul touching on his uniqueness.
The final leg of the album starts with the 3rd installment of his “EKIN” trilogy that began on Revolver Ocelot & continued on Iroquois Pliskin by jumping on top of a victorious loop with some kicks & snares talking that talk while the song “Mind Right” produced by Graymatter has a more harmonious vibe to it as he discusses on mental health. The penultimate track “Red KoolAid” comes through with some flawless saxophones as Jae talks about being made different & “Auntie Crystal” has a cloudier approach that Tony Seltzer cooked up concluding the album with a dedication to his titular aunt.
He’s come a long way since his full-length debut in Search of Symmetry & if anything, the sophomore effort Abolished Uncertainties further proves that as I would call it his best album to date between both of them as the Drumwork takeover continues. The introspective story throughout is cohesive & well-told as his artistic growth in the past decade is being put up in full center.
