Vinnie Paz – “Tortured in the Name of God’s Unconditional Love” review

Vinnie Paz is a 45 year old underground veteran from Philadelphia, Pennsylvania known for being the MC of Jedi Mind Tricks & the leader of the Army of the Pharaohs collective. He put out his first 2 solo albums Season of the Assassin & God of the Serengeti in 2010 & 2012 respectively, but returned in 2016 with The Cornerstone of the Corner Store. The Pain Collector would become my favorite of his since his first 2, but as above so below & Burn Everything That Bears Your Name were both almost as great, so I had no worries going into his 7th album considering his consistency.

“Pistol Opera” is a creepy boom bap opener with some piano chords talking about respecting violence including a reference to WWE Hall of Famer, former WWE Champion, 3-time WWE Tag Team Champion, 2-time NWA National Heavyweight Champion & AJPW世界タッグチャンピオン Ted DiBiase until Method Man comes into the picture for the unsettling “Invisible Ether” produced by Stu Bangas talking about what happens when they start to flow. “Faith Healer” goes into trap territory thanks to longtime Enemy Soil Entertainment in-house producer C-Lance cautioning that shit’s all fun & game till the drum-magazines are empty, but then “Be Wise as Serpents” is a rap metal boom bap fusion with a ghostly hook & Vinnie acknowledging that motherfuckers think it’s cool to behave stupid.

Continuing from there with “Heroin on a Harpoon”, we have Geechi Suede talking about becoming rich as soon as his mom gave birth to him & Pazzy referencing the late WWE Hall of Famer Luna Vachon over a boom bap instrumental with a blaring guitar & some jazzy undertones until “Curse of Canaan” with Kurupt finds the 2 talking about keep pushing the lines & the main loop throughout sounds like video game sound effects to me. I also love the lines referencing Breaking Bad, Better Call Saul and Rick & Morty since those are some of my favorite shows. “Rambo Knife” however has some amazing vocal samples throughout speaking on cutting coke & causing panic, but then “3 Levels of Hikmah” is a triumphant jazz rap cut laced by Oh No with some incredible ad-libs talking about people shooting at him like paparazzi & a line referring to WWE superstar Mustafa Ali.

“Killpoint” returns to the boom bap with some horn sections courtesy of Vic Grimes as Vinnie & M.O.P. get malicious lyrically while the piano-trap joint “Deadman’s Hand” calling himself the most ignorant of all-time while “Winged Assassins” with Boob Bronx & Ras Kass ruthlessly compare their rhymes to black hand-grenades including a reference to former 3-time WWE Intercontinental Champion, 2-time WWE United States Champion, 5-time WWE tag team champion, 7-time WWE Hardcore Champion & NWA World Tag Team Champion Dustin Rhodes. “A War Chest & a Propaganda Machine” has a more delirious quality to it provided by DJ Muggs being straight up & telling anyone who wants smoke with him to say his name while “Gunpowder Plot” with O.T. the Real spit some drug trafficking tales.

“Slight Rebellion Off Madison” is a woodwind/boom bap hybrid talking about how his shooters don’t die while “Father Yod” by the Heavy Metal Kings & Lord Goat finds the trio over some grim piano chords to spit that gun talk. The song “Spoils of War” with Big Twins aggressively talk about stomping on motherfuckers heads when they be outside over some ominous production while the penultimate track “Loro Pianas Robes” with Thirstin Howl III discuss being the upmost & being left cut in half over a glistening boom bap beat. “Zafiro Añejo” with Boob Bronx & Recognize Ali ends the album with the 3 referring to this as beautiful architecture with a flute hanging behind them.

Ikon the Verbal Hologram has always remained consistent with his music & even though God of the Serengeti is my personal favorite album of his, I definitely think this is the most I’ve enjoyed since The Pain Collector. The production has some more trap undertones to it this time around surprisingly, but best believe Paz & nearly every feature are absolutely catching bodies with their pens the whole damn time.

Score: 4/5

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BROCKHAMPTON – “T.M. (The Mountain)” review

BROCKHAMPTON was a hip hop “boy band” that originated in San Marcos, Texas in 2010 via the “KanyeToTheForum under the original name AliveSinceForever. But when things started to look good for them after they released the SATURATION trilogy to universal acclaim in 2017, one of their founding members Ameer Vann was kicked out midway through the following year due to sexual misconduct resulting in the boys’ next 2 albums following iridescence & GINGER were both released to moderate reception. ROADRUNNER: NEW LIGHT, NEW MACHINE however became their best post-Ameer album a year & a half ago at this point but after announcing their disbandment following their Coachella performances this past April & only a day after their de facto leader Kevin Abstract dropped his new solo effort The Family, the boys are getting back together one last time for their 7th & final album.

“F.M.G. (Fuck My Gang)” is an aggressive trap opener produced by Kiko Merley & JOBA with Dom McLennon & Matt Champion accompanying Kevin to quit being humble whereas “Animal” finds Jabari Manwa, Kevin & Matt talking about turning into beasts over a cloudy Romil Hemnani instrumental. “Listerine” though returns to trap territory as Dom & Jabari addressing a bitch that’s tripping ’cause it’s less on them prior to the playful sounding “New Shoes” with Kevin, Dom, Matt & Merlyn Wood assuring everyone that the group is still on good terms with one another even though they’re disbanding & Matt wanting a house in 大阪 or the home prefecture of former 3-time WWE women’s world champion 3-time WWE Women’s Tag Team Champion 明日華.

However on “Keep It Southern”, we have Kevin & Merlyn over a trap beat with some synths paying tribute to their Texas roots just before “Man on the Moon” dives into more melancholic territory with a cool dance break at the end for Kevin & Matt to talk about wanting to make out with their lover on the actual moon itself & the hook is probably the catchiest on the album. “Better Things” is pretty much a moody Kevin Abstract solo cut with Matt on the hook & an outro from JOBA to speak on the next chapter of their lives just before “Crucify Me” works in some live drums & pianos for Kevin & Matt express their desire to rewind & pretend that they knew what they were in for with a crazy instrumental outro pulling from jazz music.

The song “Duct Tape” has a more booming quality to the instrumental as Jabari, Matt & Kevin admitting that they don’t have anything to talk about anymore as a unit while the penultimate track “Always Something” shoots for a more melodic approach as Dom, JOBA & Kevin sing about letting motherfuckers in something they should know. But then, “GOODBYE” serves as a bittersweet EDM-influenced coda with JOBA & Matt talking about not the “best time of our lives” for granted.

I’ll never forget seeing the SATURATION artwork everywhere when that album was first released when I was 20 & it prompting me to check out their music because it was good enough to make me to stick around for the whole ride, to which I’m happy I did because this was great swan song from them. I like how they fuse elements of trap, alternative R&B, cloud rap & even neo-psychedelia with their west coast pop rap style as everyone braces themselves for the next chapter. And before I end this review, I just wanna thank BROCKHAMPTON for all the dope music they’ve given us in the last 5 years & I wish them all nothing but the best going forward.

Score: 4/5

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Kevin Abstract – “The Family” review

This is the 4th full-length album from Corpus Christi rapper, singer/songwriter, producer & director Kevin Abstract. who made his debut in 2014 with MTV1987. He followed it up 2 years later with the fantastic American Boyfriend: A Suburban Love Story & then the following year, he rose to stardom as the de facto leader of BROCKHAMPTON. But with their 7th & final album T.M. (The Mountain) coming tomorrow, Kevin’s re-emerging on his own with The Family marketed as a group project only to fulfill their RCA Records contract.

“Take It Back” is a chipmunk soul opener with Kevin admitting that he had to wash the blue paint off to set himself free & promising the next chapter to be everything whereas “RZA” works in another pitched-vocal sample from Ciarán talks about having to be more like The Abbot himself after speaking to his mother the other day trying to give him advice. “Gold Teeth” looks back on the early days of the boy band over a crooning loop kin to “They Don’t Care About Us” by Michael Jackson just before “Big Pussy” has more of a jazzy boom bap flare to it asking to stop harassing him because the show’s over.

Meanwhile on “All That”, we have Kevin admitting that the boys’ success came with problems of becoming rich with an amazing interpolation of the theme song from the titular Nickelodeon show that I grew up watching leading into “(Back from the) Road” reflecting on the Love Your Parents tour over a jangly instrumental. “Basement” has a more experimental quality to the production acknowledges his love for the fans despite that they’d kill him if they could, but then “Southside” tells those to stop actin’ like they know him over a sample-based trap beat.

“Good Time” has a more drumless approach to it speaking on the days when the boys played their final shows in London while the syrupy sample throughout “37th” is a cool ode to their Texas roots talking about ending up on the titular street if he could fly through a Cali night. “Boyband” weaves a gospel loop into the fold à la Kanye West’s last finished full-length DONDAacknowledging that they’ve always been outside of the lines while “Any Way You Want Me” asking what if he could change for us because we have him everything over a guitar.

Moving on to the title track, where Kevin jumps on top of a peppy beat with no drums talking about those not knowing shit about him while “Prayer” is a more melodic cut with some bare synths asking God not to make him grow up because he doesn’t want to move on from this amazing chapter in his life. The song “My American Life” goes in depth of how far he’s come in the last 7 years over some acoustics while the penultimate track “The Ending”samples “Let Me Be the One” by Willie Hutch asking if this is the way we all visioned the demise. “Brockhampton” though is a symphonic closer to the album with Kevin bidding farewell to the best boy band since 1 Direction.

It’s pretty much a Kevin Abstract solo effort labeled as a BROCKHAMPTON album & I’m assuming that’s the case because of contractual reasons, but I happen to think The Family is the best thing Kevin has done since American Boyfriend only 6 years back by now. He comes from the heart as he reflects one last time on the journey he & the boys have been on together with the production pulling from chipmunk soul, drumless, jazz rap & gospel. Considering that, I think TM will be a remarkably bittersweet swan song when it drops tomorrow.

Score: 4/5

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Juicy J – “Crypto Business” review

This is the 13th mixtape from Memphis, Tennessee rapper, songwriter, producer & record executive Juicy J. Rising 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 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 Continues under his new MNRK Music Group imprint Trippy Music. He just dropped Stoner’s Night with Wiz Khalifa at the beginning of the year & then Space Age Pimpin’ with Pi’erre Bourne over the summer, but is reuniting with longtime collaborator Lex Luger to surprise drop Crypto Business.

“Night at the Club” is an insane trap opener with Juicy describing the lavish lifestyle that he lives whereas “‘Cause I Live It” with Wiz works in some pianos & hi-hats talking about why they never talk it. Finesse2tymes’ verse on “Be Careful” is a little underwhelming to me despite the themes of watching out who you consider to be friends over more hi-hats & a creepy loop but after the “Big Triece Talk” skit, “Hit the Smoke” works in a soul sample talking about getting higher than a motherfucker.

Moving onto “Coinbase”, we have Juicy over a trap instrumental with some keys & horns calling money his league leading into the Lil Keke-assisted “Kill dat Shit” jumping on top of a repetitive “murder” vocal chop & heavy bass co-produced with BeatKing to get nasty lyrically suggesting they should be in the WME Group-owned UFC. “Respectfully” laced some strings & hi-hats from Hitkidd admitting he can’t give bitches anything as well as giving a middle finger to those who be hating, but then “R.I.P.” gives condolences to a number of things ranging from Michael Jackson to the clothes he’s ‘bout to fuck up & the beat here has an uneasy quality to it that I like.

“I Got” however admits he has issues accompanied by some rattling hi-hats while “Send Her Down” returns to a more dramatic approach in sound talking about still being here in spite of those who want him dead for whatever their reasons may be. “Shrooms” with LXST CXNTURY finds the 2 tweaking out on the titular recreational drug with a more darker quality to the production while “Clap” with Trey Dizzle is basically an inferior successor to “Kill da Shit” down the raunchy lyricism.

La Chat though reunites with her former mentor on the self-produced “Mind Yo Business” warning not to stick your nose where it don’t belong over a misty trap instrumental while the bell-laced “Let It Go” betting that a sucka isn’t gonna play with him. The chopped & screwed sample through “Hot Sauce” is a really nice touch talking about being posted on the curb where he used to get rocks off & the final song until the outro “Know What’s In It” truly the ends the tape by charmingly detailing the shit that he got inside of his turn-up cup.

I already knew going into Crypto Business as soon as it was announced merely hours before it came out that it would be the best thing that would give us this year. Lo & behold, I like it more than both Stoner’s Night & Space Age Pimpin’ combined. There are most certainly a couple questionable features & production choices during it’s 47 minute run, but the joints with Juicy & Lex are some the highest points on the tape because of how well they continue to bring the best out of one a dozen years later.

Score: 3.5/5

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Vic Spencer – “I.M.P.a.C.T. (I Must Punch a Car Today)” review

Vic Spencer is a 41 year old MC from Chicago, Illinois who emerged in the early 2010s as a member of the local SAVEMONEY collective led by Vic Mensa. He’s also made up a lengthy solo discography for himself with highlights including the Big Ghost Ltd.-produced The Ghost of Living to the Sonnyjim-produced Spencer for Higher trilogy. Vic’s already dropped a total of 3 albums in 2022 so far with the last one being the final installment of the Psychological Cheat Sheet trilogy a couple months ago & overt the weekend, he happened to enlist Boston underground veteran Stu Bangas to produce his 5th EP that surprise-dropped over the weekend.

“Spitbook” opens the EP with a horn sample with the drums kicking in halfway though calling himself perfect with the pen & pad whereas “Contractor” takes a more eerie boom bap route talking about getting fucked when people sign their lives away to shady record labels. “Confederate Flag Couch” has a more synth-based groove to it admitting that he’s fed up with people doubting him, but then Ankhlejohn & Fly Anakin come into the picture for the raw “Rusty Silverware” reminding that they ain’t to be fucked with.

However on “Bag Pipes”, we have Crimeapple tagging along with Vic over a jazzy instrumental dropping some gangsta bars just before the smooth “Pure Carnage” advises not to tell him about anything that they haven’t even gone through. “Graveyard Record Book” goes full-blown chipmunk soul explaining his violent while the song “Disappointed Development” with Sulaiman finds the 2 over a drumless loop talking about how it’s just another sad story. The penultimate track “RPG” featuring D. Brash has a more rugged quality to it so both of them can drop battle bars until the synthesizer-lenient boom bap closer “Strung Out” featuring Da Villins continuing to bring the hardcore lyrically.

“The Healing Remedy” was a favorite of mine off Beats & Blood, so it was really a matter of time before these guys did something together & it turns out to be my favorite Vic EP to date. The lyricism is some of his most abstract since Still Here back in the spring with Stu’s production teetering between boom bap & drumless.

Score: 4/5

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Glorilla – “Anyways, Life’s Great…” review

Glorilla is a 23 year old rapper from Memphis, Tennessee who broke out off the viral & undeniably fun single “F.N.F. (Let’s Go)” this past spring. This ultimately resulted in local veteran Yo Gotti signing her to his Interscope Records imprint Collective Music Group a little over a week before they dropped their 2nd showcase compilation Gangsta Art a few months later, making her the very 1st female recording artist on the label. So the stakes were high for her 2nd EP albeit CMG debut over here.

“No More Love” starts the EP by airing out people left & right who used to be in her life over a cloudy trap instrumental from ATL Jacob whereas “PHATNALL” featuring Lil Durk on the remix goes into Detroit trap territory comparing her pussy to fentanyl referencing Tesla CEO, SpaceX founder, Neuralink founder & Twitter owner Elon Musk. The “Tomorrow” remix with Cardi B is just ok from the keys & hi-hats to the lyrics basically talking their shit, but then “Unh Unh” returns to the Detroit trap sound once more to my surprise acknowledging that they don’t wanna see gangsta bitches winning.

Meanwhile on “Blessed”, we have Glorilla over another piano-trap instrumental telling us that’s exactly how she’s feeling while “Get That Money” with Niki Pooh weaves a whistling sample into the fold as they encourage women not to be scared to as their men for money. The song “Nut Quick” is basically a Memphis version of the Missy Elliott joint “1 Minute Man” while the penultimate track “F.N.F. (Let’s Go)” happens to be a great addition to the EP despite the controversy surrounding it. “Out Loud Thinking” though finishes the EP by getting her thoughts out there over a glistening beat.

For a debut EP, it’s a pretty solid way for Glorilla to introduce herself to a wider audience because I think she’s one of the best signees on CMG alongside Mozzy & 42 Dugg. She definitely has potential as shown by her performances & songwriting throughout the 26 minutes of our time that she’s given us, but the production is just mostly average & the 2 features are hit or miss.

Score: 3/5

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Nas – “King’s Disease III” review

Nas is a 49 year old MC from Queens, New York who happens to be the son of jazz cornetist/guitarist Olu Dara. His first 2 full-lengths illmatic & It Was Written are widely acknowledged as some of the greatest in hip hop history even though I also really enjoy stillmatic, The Lost Tapes, God’s Son & Life is Good. Then there was the Kanye West-produced NASIR & The Lost Tapes II, which I felt like they were fine additions to his catalogue even though the overall consensuses were polarizing. But for almost 3 years now, Nas has been working exclusively with Hit-Boy & both of them are a good fit for each other. King’s Disease earned Esco his first Grammy, but the sequel & Magic would continue to elevate their chemistry to new heights. However, Hit-Boy & my 2nd favorite MC of all-time behind The God Rakim are now looking to end the King’s Disease trilogy with his 15th album.

“Ghetto Reporter” kicks off the album with a piano sample & Nasty Nas talking about evolving from King’s Disease at some point in time whereas “Legit” samples Eddie Cain declaring to be blacker than the new Black Panther movie that just came out today. “Thun” has a more orchestral groove to it representing Queensbridge along with the best line on the entire album. Ring halfway through the verse which is “No beef or rivals, they playin’ “Ether” on TIDAL. Brothers can do anythin’ when they decide to in a Range Rover, dissectin’ bars from “Takeover”. Sometimes I text Hova like “N***a, this ain’t over” laughin’” just before “Michael & Quincy” goes into boom bap turf with a trap switch-up during the last minute comparing him & Hit-Boy to the late Michael Jackson & Quincy Jones respectively.

Continuing from there with “30”, we have Nas over a dramatic trap beat reminding everyone how many summers he’s been doing this shit as well as teasing Light-Years & responding to his falling out with Pete Rock leading into the futuristically produced “Hood2Hood” repping a lot of cities from Canarsie to Compton & even Detroit. “Recession Proof” dives into funnier territory talking about feeling like a superhero, but then “Reminisce” blends soul & boom bap together until an amazing Brooklyn drill switch-up at the end admitting that he doesn’t like to look back on the past because what he’s doin’ right now is really lit which I think needed to be said because I’ve seen some bitter & disgruntled heads complaining about Nas working with Hit-Boy over the last couple years for whatever their reasons may be.

“Serious” is less of an interlude & more of a song about serious situations everyone eventually goes through over some harps until “I’m on Fire” returns to the soulful boom bap telling everyone he still has the same flame behind him from the “Hate Me Now” video which is such a hard flex in my opinion. “WTF / SMH” starts off on a trap note talking about riders ever get cancelled until the beat switch into a drumless loop & addressing how everybody’s so quick to turn while “Once a Man, Twice a Child” gives off a more dreamy boom bap vibe basically giving his thoughts on growing old which I needed to hear since I personally became an uncle last Thursday.

Following that, “Get Light” comes through with a jazzy party anthem while the swooning boom bap jam “1st Time” talks about hoping that this is your introduction to him & I really loved the bar at the beginning of the final verse acknowledging that people used to say he was the worst beat picker ever even though I myself never really agreed with it personally. The penultimate track “Beef” finds Nas remarkably personifying rap beefs themselves further reminding everyone how great of a storyteller he is with darker atmosphere to the instrumental while “Don’t Shoot” is powerful 2-parter cautioning not to kill thе messenger. The bonus cut “‘Til My Last Breath” though ends the album is a jazzy trap banger promising to be steppin’ until he’s gone.

Earlier on in the review I mentioned the fact that some people don’t like working with Nas & Hit-Boy, but I genuinely don’t understand how anyone can dislike King’s Disease III because it’s the best of the 4 albums that they’ve done so far. The production is more versatile in sound & God’s Son is still very much rapping his motherfucking ass off on the mic all these decades later.

Score: 4.5/5

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Tony Shhnow – “Plug Motivation” review

Tony Shhnow is a 26 year old rapper from Atlanta, Georgia whom my brother J$zpiech introduced me to off the strength of his 4th mixtape Black Billionaires Club & the song “Vet” taken from the full-length debut Da World’s Ours 3. He just dropped his 8th mixtape Reflexions to critical acclaim over the summer & I honestly wish I covered it considering that some of his best songs are on there like “Finessin’” or “Forgive Don’t Forget”. So when Tony announced his 6th album right here, the interest was most definitely there & I didn’t want to make the same mistake twice.

The title track is a triumphant opener to the album produced by MexikoDro & Popstar Benny taking you through the trials & tribulations of the rich & famous whereas “5 P’s” takes a more pluggier route discussing pints, pounds, pills, pussy & power. “Trust” works in some synths to tell all the pussies to quit flexing prior to the delicately produced “A to Z” cleverly using the alphabet to describe his lifestyle referencing 14-time WWE world champion, WWE Hall of Famer, 5-time WWE Intercontinental Champion, 3-time WWE tag team champion & current WWE CCO Triple H.

As far as “Fuck da Rap Game” goes, we have Tony keeping the plugg vibes going talking about becoming a boss just before “Life n Hard Times” confesses that he’s clean as a bitch & his trap house is dirty over a dreamy beat. The Darkside Mally feature on “Shook Dem Haters Off” doesn’t do it for me even though I like Tony’s verse & the CashCache instrumental, but then “Hell’s Hot” has a more darker quality to it getting on some bitter ex-boyfriend shit.

“Everything I Should” blends some synths & keys talking about having literally every single thing he believes he should in his possession until “Paper Trail” returns to pluggier territory telling a bitch he might dip on her because “I got chips, no you can’t Frito-Lay with me” & the hook from Bear1boss just so happens to be the best feature on the entire album in my personal opinion. “Sorry!” laces some more synths apologizing for not spending time with this woman while “10 Blocks” with SB Nunkk weaves some organs into the fold talking about how much their wrists cost.

Moving on from there, the cheery atmosphere of the “Can’t Say I’m Broke” instrumental is something I really enjoy as Tony brags about his wealth while “M’s” with ManMan Savage has a more calmer sound to it talking about how that’s all they just want. “Dat’s Me” is a bassy plugg banger comparing himself to a dog on a leash while “Jugg” with Diego Money finds the 2 dropping some gangsta raps over a quirky MexikoDro beat.

“World on My Back” has a more energetic tone to it talking about having power & Darkside Mally returns once more on the aggressive “Join the Campaign” with his verse here being better than “Shook da Haters Off” showing off their big dog statuses. “Not the Same” has an entrancingly psychedelic atmosphere to the instrumental talking about being cut from a different cloth while “Don’t Know” with Seddy Hendrinx comes through with an awkwardly sensual ballad.

The song “Know Us” sees Tony over a trap beat with some horns talking about how everyone is familiar with him & his squad while the penultimate track “Mean” explains how he likes his women over a plugg instrumental. “Work Like Dis” though is an explosive closer to the album going into detail as to what happens when one decides to grind as hard as he does.

This dude‘s a pretty much a pioneer in the plugg scene so for him to return to that style on Plug Motivation will definitely appeal to any fan of his old or new. He has a unique voice, his gangsta themed bars are ear-grabbing for all the right reasons & the BeatPluggz were the perfect people to enlist behind the boards as they whip up is some of their finest batch of beats to date.

Score: 4/5

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Planet Asia – “U.Z.I. (Universal Zeitgeist Intelligence)” review

Planet Asia is a 46 year old MC from Fresno, California who came up as 1/2 the duo Cali Agents. He would also go on to have a very successful solo career & has made a lengthy yet consistent discography for himself that includes The Grand Opening, The Medicine, Pain Language, Abrasions, Anchovies, Trust the Chain & Rule of 3rds. But for his 10th EP over here, Planet Asia’s enlisting the Snowgoons to produce the whole thing top to bottom.

“Splashing” sets it off with a holy instrumental & Asia boasting how great his style truly is whereas “Pistol Grip Pump” with Jay Royale takes a more rugged route from the boom bap sound to the lyrics letting y’all know they ain’t on fake shit whatsoever. Flash tags along for the creepy yet dusty “Metabolism” talking about both having high chemical reactions when it comes to the streets while the song “Scud Missile” returns to a more rugged sound providing information to everyone listening. The penultimate track “Brick & Motor” keeps it in boom bap turf to give it raw & uncut with “The Office” accompanied by A Plus tha Kid ending the EP with a guitar-based beat taking through another day at the titular location.

Of the 5 projects that he’s given us throughout the year, U.Z.I. (Universal Zeitgeist Intelligence) has to be my favorite one of them all & possibly amongst the best bodies of work in Planet Asia’s ever-growing discography to date. The Snowgoons’ signature sound compliments his lyrical style well in my personal opinion & even though the features are kept to a minimum, the verses that Jay Royale & Flash both spit on this EP go as hard as those of the seasoned West Coast vet.

Score: 4/5

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Novatore – “Living in the End Times” review

Novatore is a 34 year old MC from Chicago, Illinois who originally came up as a member of the Infamous Crew. He’s also built up an impressive solo career since 2015 by dropping 4 EPs & 9 albums all in that amount of time, with the previous offering Master of Morbid Creations this past spring. But for his 10th full-length over here, Novatore’s enlisting both Johnny Slash & longtime collaborator C-Lance behind the boards for such a milestone in his ever-growing discography over 2 months since former 2-time AEW World Champion CM Punk cut a shoot promo regarding his former 2-time ROH World Tag Team Champion partner in former アイアンマンヘビーメタル級チャンピオン, IWA World Champion, JCW World Juggalo Heavyweight Champion, 2-time NWA World’s Heavyweight Champion, 2-time NWA National Heavyweight Champion & RPW British Heavyweight Champion Colt Cabana.

“Outlaws of Outer Space” opens up the album with a synth-boom bap hybrid talking about being ready for total war prior to King Magnetic tagging along for “Road Warriors” named after the WWE Hall of Famers & former 3-time WWE tag team champions welcoming you to your only future & the crooning sample throughout is flipped really well. “Audio Assault” ruggedly calls for all his enemies to fall to their knees leading into A.M. Early Morning & Nightwalker coming into the picture for “The Time Has Come” to flex their prowesses & my favorite part about the beat has to be the guitar hands down.

Continuing from there with “Terry Funk Syndrome”, we have Novatore over more synth/boom bap production referring himself to be amongst the dopest out paying homage to the WWE Hall of Famer, former 2-time ECW World Heavyweight Champion, ECW Television Champion, 2-time WWE United States Champion, WWE Tag Team Champion, NWA World’s Heavyweight Champion, former JCW World Juggalo Heavyweight Champion & 3-time WCW Hardcore Champion of the same name whereas “End Times” is just an instrumental interlude.

“The Game is Over” with Benny Holiday & iLL ZakieL finds the trio ruggedly letting everyone know they didn’t come to fuck around while the song “Mass Panic” has a more dustier quality to it talking about how we’ve been a nation of zombies. The penultimate track “Wasteland” with OutcastGawd Lord El sees the pair going back & forth with one another over a pitched-loop until “Class Act” is a piano-laced closer talking about never being afraid to fail.

Although I’d personally say Master of Morbid Creations happens to be the better of the 2 albums that Novatore has dropped throughout 2022, you should be more than satisfied with what we got on Living in the End Times. The features are a little hit or miss, but the production & concept are both as strong enough as the predecessor’s to make me be able to want to listen to it again.

Score: 3.5/5

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