Westside Boogie is a 33 year old MC from Compton, California who broke out onto the scene in 2014 with his debut mixtape Thirst 48. He would go on to follow it up with The Reachexactly a year later as well as Thirst 48 II the year after that before catching the attention of Detroit icon Eminem & signing to his Interscope Records imprint Shady Records in late 2017. His full-length debut Everything’s for Sale at the beginning of 2019 was a solid way to introduce himself to a wider audience & the sophomore effort More Black Superheroes did it’s job encouraging the world to embrace their powers, but is returning 9 months later in the form of his debut EP.
“Cold as Love” is a spacious trap opener with Superblood Boog talks about being in his head & pondering why one feels so safe yet shady can’t save him after invading his space while the penultimate track “Tell Me” works in a chipmunk soul sample & some hi-hats so Anthony can describe all the things that he wants to be told such as never hearing any kind of sucka shit again or how to fix the hood if he ain’t never in the hood. “Mood” on the other end sends off the EP with Ratchet Boog over a piano trap instrumental dropping some braggadocio for dat azz.
Everything’s for Sale gave a wider audience a good look as to who he really is & the concept of More Black Superheroes is still compelling to this day in my book but if Live at the Novo is only a prelude for his upcoming 3rd album, then I think it’s a solid offering to keep listeners satisfied until then. He delves more into himself lyrically whilst introducing his 2 alter-egos & the trap undertones of his 2 full-lengths are more prominent here than they were in the past.
Bear1boss is a 24 year old recording artist from Atlanta, Georgia who came up in 2015 off his debut mixtape #beentrill#. He has since gone on to build up a lengthy yet impressive catalog for himself including 5 more tapes as well as 21 EPs & even 5 full-length albums. My introduction to his music was last spring when my younger brother & UnreleasedSnip founder Jacob! played me “Fair” & “All Alone” off his 18th EP Dynamic, where I found myself being impressed by unique voice & style to the point where I’ve been following him since. But coming off his last EP Leave Me Alone! exactly a month ago, Bear1’s back for another.
Things kick off with Bear admitting on the opener “Taking It Too Far” that he’s been on shrooms over a digicore instrumental from PROJECT4PLAY whereas “Ratchet” works in some synths & hi-hats talking about how he simply cannot be topped considering the position he’s currently at now in his life. “SRT 4 Leaf Clover” has a more rage inducing vibe to it to deliver some braggadocio just before “Pockets on Evil” comes through with a more bombastic quality to the beat as he flexes his wealth & I love how he utilizes his voice during the hook.
The song “Stick in the Trunk” comes through with a more atmospheric sound with a rubbery bass-line & hi-hats woven into the fold so Bear1 can point out that he is indeed strapped while the penultimate track “Gucci Prayer Sock” returns to a more glitchcore-based sound touching on romance on the lyrical end. “Demise” on the other end finishes the EP by blending hypertrap with plugg by calling out those who wanna be just like him & feeling like that guy.
If you’re not up on this guy yet, then I think you should because you never know what you’re gonna get yourself into considering how experimental he is with his sound & Blow Up!. The production is more rage-centered with some pop rap & digicore undertones throughout the 7-track/18 minute course of the EP & combining that with his signatory fun performances laced with a bunch of crazy vocal effects continues to show as to why he’s one of the most exciting new faces in the trap subgenre.
This is the brand new collaborative EP between Buffalo recording artists Conway the Machine & Jae Skeese. One being Westside Gunn’s brother & Benny the Butcher’s cousin with the other becoming the first to sign to La Maquina’s very own EMPIRE Distribution imprint Drumwork Music Group a couple years back. Both of them have worked with one another a handful of times since, but are joining forces to deliver Pain Provided Profit ahead of Con’s upcoming 3rd album Won’t He Do It at the end of the month & & Jae prepping his sophomore album albeit Drumwork debut Abolished Uncertainties after coming off his critically acclaimed 3rd EP Authenticity Check last spring.
“Cocaine Paste” is a bluesy opener produced by Graymatter detailing the way Drumwork be landsliding whereas “Metallic 5’s” takes a more rawer approach from the boom bap instrumental referring themselves as 2 of the illest at large. “Stefon Diggs 2” dives into jazzier turf explaining that their story is motivation leading into “Le Chop” displaying a killer back & forth chemistry between the 2 talking about how they gon’ ride for their freedom over some keys, kicks & snares.
The song “Immaculate Reception” is essentially a Jae Skeese solo cut keeping things in boom bap turf acknowledging that they watch his current position in the game while the penultimate track “Promise” is a more inspiring ballad from the beat to the lyrics about grinding for the paper. “Food” with Goosebytheway, SK da King & 7xvethegenius however ends things with a ruthless posse cut advising to get out their way.
Every time we’ve heard Con & Jae on the same song together, it’s always been nothing but pure heat & that’s exactly what I expected going into this EP right here. Lo & behold: It’s most certainly worth the listen for any hardcore Griselda fan like myself to the point where my anticipation for both Won’t He Do It & Abolished Uncertainties have increased as well. The production is hard yet rich as the student & teacher ping off each other as wonderfully as I could’ve imagined. The Drumwork takeover has officially begun & I’m all for it.
Smokingskul is a 20 year old Swedish-American rapper from Naples, Florida who came up in the spring of 2018 off his debut EP Souls. After going on to drop 25 more down the road, it wasn’t until last September where my little brother & UnreleasedSnip founder Jacob! played some of his shit for me during a smoke session. Namely the singles “Assembly Line” & “Vlone”. I was so impressed by the witty lyricism throughout both of those cuts, that it intrigued me enough to check out the Geffen Records-backed Nat Cap a few days later & that’s where he won me over. I didn’t get to cover the follow-up Swedish Guy, but I did enjoy Bready quite a bit at the beginning of the year & is now following up Death Before Dishonor with his 28th EP.
“pocket money” is a 45 second plugg opener produced by SenseiATL with Skul talking about being in his element & that everyone knows who finna run that shit while the song “kanye” produced by TDF works in some 808s for 53 seconds for 53 seconds starting off with him confessing that he feels like Ye formerly known as Kanye West himself “with the Nazi” obviously poking fun at Ye’s recent antisemitic behavior forever altering his public appearance after calling himself a Nazi & being off the flock. The penultimate track “mom” has a more chaotic vibe sonically thanks to boolymon asking if you want the baby Glock or the bigger straps & to finish things off, we’re treated to an aggressive sequel to “backdoor” reusing the same TDF beat with all new lyrics such as the bar about keeping an Uzi like Autumn! or the Rodneyy diss at the end of his verse.
I’ll admit that I was a bit worried going into this EP considering that it’s 4 joints & 4 minutes long as a whole, but but it surpassed my expectations & I came away from it looking at it to be superior to the EP that he dropped just a few weeks ago. He’s only been getting stronger with the punchlines & I find this here to be more well-produced than the predecessor. Without a doubt my favorite artist in the dark plugg scene right now next to Glokk40Spaz.
Liberation is a MC/producer duo consisting of Brooklyn veteran Talib Kweli on the mic & Oxnard extraordinaire Madlib behind the boards. The pair first linked up in ‘07 off the strength off an eponymous self-titled debut backed by Stones Throw Records & have collaborated with each other a handful of times since, with the last time being Black Star’s long-awaited sophomore album no fear of time* about 10 months ago at this point. An album much like Gotham’s own self-titled debut the year before proved that Kweli can still make great music even though I’m not afraid to acknowledge the fact that he makes a total prick out of himself on social media these days. Nonetheless, Liberation’s returning in effect for a sequel to their debut that’s been 2 years in the making & I’d be lying if I said I wasn’t looking forward to it.
After the “Assata’s Code” intro, the first song “Best Year Ever” sets the album up with a jazzy boom bap instrumental & Kweli talking about how things are only gonna get better from hereon out whereas “Air Quotes” has a more empowering quality to the beat as the subject matter delves into the fakeness & toxicity of everyone else in the rap game. “Nat Turner” with Cassper Nyovest blends trap with afrobeats obviously getting on a more conscious tip lyrically, but then “1 for Biz” with Wildchild works in some pianos along with these kicks & snares to pay homage to the late Biz Markie.
Meanwhile on “Loop Digga’s Revenge”, we have Madlib hooking up a soul sample shouting out those who grew up staring at album covers & encouraging to come to a show if you wanna see the greatest in action just before Pink Siifu tags along for the the slick “Ad Vice” talking about how unapologetic both of he & Kweli are with the latter’s daughter Diani on the hook. “Wild Sweet Love” comes through with a drumless get spacious vibe getting romantic leading into the flute/string-tinged “Wild Beauty” instrumental interlude.
The late Mac Miller slides through for “The Right to Love Us” reminding everyone what our women are fighting accompanied by a jazzy beat with some heavy kicks while “After These Messages” with Amani finds him joining his dad on the mic so the father-son pair deliver a meditation on American racism over some keys, strings & horns. Roc Marciano & Westside Gunn tag along for the sequel to the highlight track “Richies” off Hitler Wears Hermes IX down to the same Soul Superiors sample “Trust in Me Baby” as the trio bring it raw on the mic.
The track “Marathon Through Babylon” has a colder tone instrumentally as Talib & Meshell Ndegeocello both ponder why & when did everyone become such sheep as well as comparing their rhymes to that of alkaline & prior to the “Assata’s Reprise” outro, the final song “Something Special” really ends the album by mixing these synthesizers with jazz-funk icon Roy Ayers on the vibraphones by calling this innovation as opposed to imitation.
I with all respect like to compare Kweli to Kanye in the sense that both of them are established veterans with an insane amount of artistic talent who publicly make asses of themselves on the regular & I say that because when you think about that in the grand scheme of things, the apple really doesn’t fall far from the tree. That being said: Liberation 2 most certainly lived up to my expectations by continuing Talib’s artistic redemption that the Gotham album began & no fear of time* continued on with. Madlib’s production is potently jazzy & dusty with the whole concept of globally unifying through space & time undeniably needed to be heard.
Brigid Bites is a 35 year old rapper & dancer from Davenport, Iowa notable for creating the juggalette burlesque troupe in 2017 called Juggaleque. They have since become a drawing attraction at the Gathering or the Juggalos since then with her eventually joining Chapter 17 Records CEO/Psychopathic Records recording artist Ouija Macc on stage quite a few times since. But with the announcement of the 23rd annual Gathering being unveiled a couple days ago, Brigid is now delving into music in the form of a 10-minute debut EP.
The title track is a dance-influenced opener produced by Elevated Focusion a.k.a. Jonny Rhythms about pulling out the hatchet out her back & attacking a crooked cop as well as a dude in a mask standing in her kitchen while the song “Incubooty Call” takes a more occult route sonically for a dedication to all the wicked succubi out there. And prior to the “Heartbeat”outro, the final song “Branded” ties things up nicely with a cloudy trap banger courtesy of Devereaux encouraging everyone to burn down the fucking house.
Coming away from Hatchet Girl, it’s most definitely an impressive introduction as to who Brigid is both musically & personally to the point where I’m excited to watch her grow as an artist from hereon out. Jonny Rhythms & Devereaux both cook up song freshly detailed production on their parts as she establishes herself as a fresh new face in the underground wicked shit scene with some cutthroat lyrical performances. As someone who has mad clown luv for all juggalos throughout the history of the Dark Carnival since I too know what it’s like to be misunderstood & an outcast, it’s always exciting to see your homies succeeding
Macklemore is a 39 year old rapper & singer/songwriter from Seattle, Washington emerging as a teenager off his debut mixtape Open Your Eyes before following it up 5 years later with the full-length debut The Language of My World. He went on to drop his unplanned sophomore tape before achieving success with Ryan Lewis by releasing an EP & 2 full-length albums together before going on an indefinite hiatus. The Mack went solo once again releasing his sophomore effort Gemini to unfavorable reception & is returning nearly 6 years later with his 3rd album.
“Chant” opens the album with some pianos, organs, funky bass-lines & handclaps from Budo to boast his success with a tepid hook from Tones & I whereas “No Bad Days” is a happy go lucky ballad about things always being good when that’s far from reality because life really ain’t perfect. I’m sorry to be nihilistic here, but it’s true & that’s not to say I’m against music that’ll put me in a good mood. “1984” hilariously rips off The Weeknd’s last 2 albums sonically living like it’s the titular year while “Maniac” is a mediocre indie pop rap jam about needing a break in a relationship.
Moving onto “Day You Die”, we have Macklemore asking what would you do if you knew the exact day you die continuing to fuse lol rap with indie pop as Sarah Barthel delivers one of the better hooks on the album just before “Heroes” being the reason why I’m doing this review as someone was in my inbox hyping this single up to me & I actually can’t fully blame said person because this is one of the better moments on the album with the boom bap production & DJ Premier on the turntables except the raps are just mid.
“Grime” weaves some lucky bass-lines into the fold with the constant references to hip hop’s past makes me think he’s trying to rap like he’s The Game when even Drillmatic: Heart vs. Mind is better than dude’s whole catalog while “I Need” talks about wanting 2 bad bitches & a bag of good weed over a funky trap beat. “Lost” starts off with a summery approach talking about being obsessed with our public image more than stayin’ connected to our spirit until the bluesy “Sun Comes Up” details 3 insomnia nights.
NLE Choppa comes into the picture for the subpar pop rap collab joint “Faithful” despite the message of needing to be repaired about being broken while “Tears” has a funkier groove telling the story of a woman he met when he was 14 at his parent’s house. “Sorry” has a jangly tone to it apologizing to said ex-loved while the crooning “God’s Will” is one of the better songs talking about being built for this. The penultimate track “I Know” has a more spiritual vibe passing the advice from his mother to drive slow & Morray’s hook on “Tail Lights” isn’t bad either admittedly although I’ve heard the verses about being at a fork in the road done better.
Considering how much of an embarrassment Gemini was 6 years ago, I didn’t really expect much going into Ben. Lo & behold: It’s almost as bad if not worse than Macklemore’s previous solo album. I guess it’s cool to see him expanding the pop rap sound he became famous for by pulling from indie pop & trap, but the thing is that the lyricism isn’t really that deep as he wants you to think it is when you dissect them & continues to paint himself into a corner by doing so.
This is the 3rd album from Northampton, England, United Kingdom recording artist slowthai. Emerging during the backend of the previous decade off a couple EPs & eventually the full-length debut Nothing Great About Britain, his profile continued to grow shortly after due to his feature on BROCKHAMPTON’s 5th album GINGER the same summer as the latter & even the introspective sophomore effort TYRON backed by AWGE Records & Interscope Records, which just celebrated it’s 2-year anniversary last month. So considering that, it was only a matter of time until he finally unleashed U.G.L.Y. (U Gotta Love Yourself).
“Yum” is a chaotic EDM/hip hop crossover with slowthai aggressively admitting that he needs an intervention & been lacking motivation whereas “Selfish” really sets the tone for the whole thing from the artsy post-synth-punk instrumental to the lyrics about thinking for himself. “Sooner” has a more peppier, summery approach to it looking back on being broke & not having a pot to piss in prior to “Feel Good” has a more dance-punk/post-punk revival groove to it talking about feeling so good.
Moving on to “Never Again”, we have slowthai over some pianos & drums going in depth of walking away from his shadow & never thought of seeing it again just before the short yet raw hip hop cut “Fuck It Puppet” finds him confessing to trying to O.D. & pondering why the voices make him act impulsively. “Happy” is a catchy post-punk revival ballad about it being ok to cry, but then the title track dives into shoegaze turf pointing out that the most beautiful people do the ugliest things.
“Falling” is a vulnerable post-punk jam asking if anyone feels like they’re driftin’ away through space” while the song “Wotz Funny” goes into rapcore territory asking what the fuck’s so funny. The penultimate track “Tourniquet” weaves some keys into the fold admitting that he still can’t learn from burning bridges until “25% Club” comes through with an acoustic sendoff to the album singing about having a vacancy that only his significant other is capable of filling.
Between this & Lil Yachty’s latest album Let’s Start Here. that we just got a little over a month ago, slowthai is the 2nd hip hop artist to successfully crossover into a new genre in 2023 as of me writing this. The overall sound is more post-punk with some minor synth-punk, post-punk revival, dance-punk & UK hip hop influences with a profound message throughout of self-love.
Kutt Calhoun is a 46 year old MC & business executive from Kansas City, Missouri who came up as a hype man for Tech N9ne & amongst the first to sign to Strange Music alongside Krizz Kaliko. He ended up dropping 4 albums & 2 EPs with the local independent powerhouse before starting his very own EMPIRE Distribution imprint Black Gold Entertainment named after his classic Strange victory lap. The only 2 projects he’s given us on his own so far are his last EP Kuttin’ Loose & his 5th album Persona Non Grata: Truth Be Told, but is returning after a nearly 4 year hiatus in the form of his 4th EP.
“I’m Back” is a fun way to set it all off from the dirty south-inspired beat to the lyrics telling the world of his return in the rap game whereas “Let ‘Em Know” takes the eerie trap route talking about there being a time & place for literally everything. The song “Been So Long” works in some hi-hats & spooky backdrop encouraging to walk down with him to see if you can truly feel the pain he’s lived while the penultimate track “Therapy” creepily declares that he ain’t slowing down anytime soon. “Last One Left” though is a great sendoff to the EP whether it be the piano trap instrumental that DJ Pain 1 whips up or Kutt’s lyrics about being the last of a dying breed.
Dude’s discography has always been consistent from the early days as a Strange Music household name to even the 2 offerings he’s given us since carving his own path, so I had no reason to have any worries going into Residue & it sure enough wound up being a solid comeback for Kutt. You can genuinely tell that he sounds passionate to be spittin’ again & the production is more consistent than the last album was.
Che Noir is a 28 year old MC/producer from Buffalo, New York who caught my attention after 38 Spesh signed her to TCF Music Group & fully produced her first 3 EPs. However, her Apollo Brown produced full-length debut As God Intended & then her self-produced 4th EP After 12 during the 2nd half of 2020 where her potential began to blossom exponentially. But coming fresh off her sophomore effort Food for Thought & her last EP The Last Remnants, Che’s enlisting Big Ghost Ltd. to fully produce her 6th EP.
After the “Female Rappers” intro, the first song “Resilient” is an intense sample-based opener taking pride in killing wack MCs & proving people wrong every time they spoke on what they thought she wasn’t capable of doing prior to Flee Lord tagging along for the demented boom bap cut “Sleep Paralysis” cautioning to never chill on the weekend. “Quiet Moves” works in some pianos, strings, kicks & snares detailing touching on the power of keeping a secret leading into 7xvethegenius coming into the picture for the grimy “Veracruz” getting in their battle rap bag.
“Cap Locks” featuring Planet Asia sets off the 2nd half of the EP with both MCs on top of a piano instrumental bringing you the hardcore, but then “Low Altitude” opens up about the road she had to travel down to get to where she is today over a calmer boom bap beat. The penultimate track “Brilliance” with Skyzoo touches on brilliant minds being a minority this day in age blending some kicks & snares with a delicate loop leading into “Bad Apples” with Ransom & 38 Spesh coming through with a horn-inflicted closer as the trio talk about their corruptness.
Wasn’t Built in a Day has quickly become my favorite album of 2023 so far since it dropped only a few days ago & Big Ghost just ended the week the way he started it except Noir or Never could very well be my favorite EP of the year as of me writing this review. The production is more consistent than it was on The Last Remnants as one of the best females in the rap game currently continues to ascend on the lyrical front.
