Diamond D – “The Rear View” review

Diamond D is a 54 year old MC/producer from The Bronx, New York who came up as a mentor of Jazzy Jay. He would then form the D.I.T.C. collective alongside Lord Finesse & Showbiz in ‘92 only to put out his classic full-length debut Stunts, Blunts & Hip Hop shortly after. D went on to drop 4 more albums & a couple mixtapes of his own but now that it’s been a year & a half since Gotham gave us their acclaimed self-titled effort, he’s back in effect for a 6th album.

After the Chris Rock intro, the first song “Life’s What You Make It” is a symphonic opener to the album produced by Focus… talking about never saying your word’s your bond & breaking it whereas “Live My Life” takes a groovier approach encouraging to let him glow. Westside Gunn tags along for the guitar-driven “Faithful” getting in their mafioso bag leading into the title track bringing back the strings thanks to Nottz taking about feeling so free.

Meanwhile on “Godly”, we have Diamond D over some dusty drums & pianos confessing that’s exactly how he’s feeling just before Dre comes into the picture for the classy “Neva Settle” talks about keeping their eyes up & that they gotta get it. After the “Joe Crack” interlude, “Ouuu” mixes some lavish keyboards & a crooning vocal loop reminding that nothing can stop you as long as you listen to your heart prior to the synth-laced “Smoke Sumthin’” dedicating a banger to all the chiefers out there.

“The Wrong Thing” comes through with a more smoother aesthetic getting on the more romantic side of things, but then the Posdnuos-assisted “Flying High” delivers a charming banger about being the hardest. The song “The Man’s Swift” returns to the boom bap spitting some braggadocio while the penultimate track “The Scorn” with KP laces some horns talking about wanting the chicken & there isn’t any other like them. “Inertia” however serves as a mystical finisher saying all he honors is his balls & his word.

As much as I admired The Diam Piece & it’s sequel for primarily focusing on Diamond D’s production skills, I’d still recommend giving The Rear View a shot for those who missed hearing him on the mic. A couple weak features here & there, but the production is a lot more laid back with more slower tempos & the man himself sounds rejuvenated lyrically.

Score: 4/5

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Ty Farris – “Fluorescent Mud” review

This is the 7th full-length album from Detroit emcee Ty Farris. Coming up under the name T-Flame, he was featured on a lot of projects throughout the mid-2000’s until the very end of the decade where he started to put out solo stuff at a prolific rate from Tyrant to Room 39. He just dropped his 3rd EP Moments of Mayhem back in March produced entirely by Italy’s very own Slim 1 & has decided to recruit Switzerland’s very own Sebb Bash for Fluorescent Mud.

“Bashing Heads” is a chaotic opener declaring himself as the main event & his opposition as the undercards whereas “Mental Tats” takes a morbid route talking about how this the meeting of the Gods. “Crown Us” works in some strings talking about how sometimes you lose battles before the crown comes & after “The Homie Van” interlude, “Where’s the Garbage Can?” lividly calls out anyone who wants to step up to him for being wack referencing the recently departed former アイアンマンヘビーメタルチャンピオン, TNA World Tag Team Champion, WCW World Television Champion, 2-time WWE United States Champion, 7-time WCW World Tag Team Champion, 4-time WWE Intercontinental Champion & 2-time WWE Hall of Famer Scott Hall. Meanwhile on “Deadly Dialogue”, we have Ty over a wavy instrumental talking about being prepared for such leading into Estee Nack tagging along for the tense “That Simple” telling everyone in their path to face the music.

“Con Uno” solemnly talks about being one of the greatest to ever do it & the “Destinations” interlude, “Feed the Kids” has this incredible vocal sample addressing poverty while the song “Can’t Candy Coat It” atmospherically confesses he only writes what. The penultimate track “Condominium Crack Dealers” with Planet Asia incorporates some organs getting on their hustler shit & the horn-laced “Immortalized” finishes the album by talking about his legacy.

The more that Ty drops a new project, the further that he cements himself as one of the most consistent MCs in Detroit today & Fluorescent Mud is no exception of that. Sebb Bash whips up some of his best production yet & T-Flame’s gritty yet ear-grabbing bars pretty much exemplifies the point that he made during the last joint. Can’t wait for the 5th & final installment of the No Cosign, Just Cocaine series.

Score: 4/5

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Devereaux & DJ Chunk – “Another Day in Hell” review

This is the new collaborative EP between Devereaux & DJ Chunk. One of whom is a producer from Florida & the other being Ouija Macc’s official tour DJ coming straight out of Utah, but have both been taking the underground by storm together in recent years as part of Chapter 17 Records. And to celebrate the Gathering of Dreams going down earlier this month, Dev & Chunk are joining forces to take you through Another Day in Hell.

“What You Got” by Shaggytheairhead is a rowdy opener talking about knocking out those who be sneak dissing them whereas “Chasing Monsters” by Baker Ya Maker & Damien Quinn works in a meditative trap beat talking about trying to find the shine. “Life in Prison” by Darby O’Trill & Ouija Macc bombastically calls out the pigs while the song “Mind Ain’t Right” by Řezník morbidly talks about how crazy he is. The penultimate track “Fro Curse” by A-F-R-O dives into boom bap territory with some rugged battle bars & “Don’t Listen to Them” is a dark instrumental outro with some killer cuts.

In comparison to the Moonlight Monster House project that Chunk did with Shaggytheairhead being a cool little remix project, Another Day in Hell is all original material & happens to be my personal favorite of the 2. Devereaux reminds everyone why he’s currently one of the most in-demand producers in the underground at the moment, the guest performances are consistent & Chunk is a monster with the turntables.

Score: 4/5

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S.O.S. – “Blame Us” review

This is the full-length studio debut from S.O.S. consisting of Russian-American horrorcore veteran Scum & his New Mexico-based protégé Smallz 1, who has been a longtime signee to Lyrikal Snuff Productionz for the last 15 years or so. Of course they’ve been working with one another for a long time & always killed it whenever they popped up together, so it was only a matter of time they dropped Blame Us a week after headline the first night of the Gathering of Dreams.

“Victim” kicks off the whole album with a symphonic boom bap beat attacking those with a victim’s mentality whereas the apocalyptic title track confessing to be the root of every issue. “Never” works in some rock undertones reminiscing on the times one had to lose it all just before the rebellious “March” talking about the Army of Beasts they have.

Meanwhile on “Blood”, we have Smallz & her mentor over some g-funk production detailing a bloodbath prior to “The Tab” embracing a funereal sound confessing to pay such in order for issues to be resolved. “That Kind of Shit” is a piano/string infused banger basically beeping the wicked shit leading into “Needful Things” asks about selling your soul over a glistening trap instrumental.

“Would That Be Alright?” shoots for a more deranging aesthetic expressing their desire to stab while “Rage” aggressively goes back & forth with one another stomping a motherfucker out. The song “What They Say” has a more jazzy, boom bap vibe talking about never giving a fuck about what others think of them while the penultimate track “Hate” is a livid diss towards all their enemies. “Off the Juice” however ends with a depressing tune about drinking & their inner demons.

I knew it was only a matter of time that they put this out on DSPs & if you love all the songs S.O.S. have done with one another over the years crossing paths, then I highly recommend listening to Blame Us for the Gore Hop fans who’ve come to love both artists. Scum & Smallz 1 bring the best out of each other lyrically accompanied by some gruesome production, refraining from having any guests to let their chemistry shine brighter.

Score: 4/5

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Megan Thee Stallion – “Traumazine” review

This is the surprise sophomore album from Houston, Texas rapper Megan Thee Stallion. Rising to prominence in the spring of 2019 with the release of her debut mixtape Fever, I myself was very impressed with how it displayed Megan’s knack for catchy songwriting, dirty south/Memphis inspired production & a unique personality. Her popularity began to rapidly increase off her 3rd EP Suga & the full-length debut Good News, but Something for thee Hotties: From thee Archives was a bit underwhelming in my opinion. However, I was optimistic going into Traumazine over here given how much I genuinely enjoyed the singles she’s dropped recently.

“NDA” is a horn-laced opener asking where the real bitches at whereas “Ungrateful” with Key Glock calling out the fake shit over a piano/trap hybrid from BandPlay, which is just mild in my personal opinion. “Not Nice” takes a cloudier route getting on her fuck you shit just before Latto tags along for the OG Parker-produced “Budget” talking about upping their prices.

Meanwhile on “Her”, we have Megan embracing a dancier sound thanks to CashMoneyAP & YoungKio acknowledging that she’s pretty as fuck leading into “Gift & a Curse” weaves some keys back in provided by Murda Beatz talking about how fuckin’ with her is both a gift & a curse at the same time. “Ms. Nasty” is a cloudier cut declaring herself as such, but then the Pooh Shiesty-assisted “Who Me” has a more nocturnal trap vibe that Internet Money Records founder Taz Taylor brings to the table talking about fucking.

“Red Wine” shoots for a sensually glossy aesthetic asking to give her some time while “Scary” with Rico Nasty finds the 2 best females in the mainstream right now (not the best right now overall period. That would be Rapsody) over a spooky instrumental sending shots to the hoes they got beef with & even though “Anxiety” is a bit oxymoronic given the playful production & Megan’s lyrics about having bad days too, it’s good.

Moving on from there, “Flip Flop” throws in an incredible sample in the mix going on that she’s fightin’ tears behind her smile while “Consistency” with a clever Isley Brothers flip from Bongo getting romantic. “Star” is a funky ballad rightfully rubbing her superstar status in the noses of everyone while “Pressurelicious” has a weirdly mixed verse from Future despite the Memphis rap undertones & the subject matter about their affluence & shared toxicity.

The song “Plan B” weaves a killer JoDeCi sample into the fold to deliver an passionate female empowerment anthem which is needed because of the Roe vs. Wade overturning while the Juicy J/Mr. Lee-laced “Southside Royalty” freestyle with Big Pokey, Lil’ Keke & Sauce Walka is an immaculate ode to H-Town. “Sweetest Pie” however ends the album on an Atlanta Bass note promising the ride of her man’s life.

If you were disappointed with Something for thee Hotties like I was, then I definitely think you’re gonna like Traumazine a bit more. The production is just as varied as Good News was almost 2 years ago at this point & how Megan decided to move on from the whole Tory drama to remind everyone that she’s gonna win regardless.

Score: 3.5/5

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Destroy Lonely – “No Stylist” review

This is the 3rd mixtape from Atlanta, Georgia recording artist Destroy Lonely. The son of former Disturbing tha Peace Records signee I-20, he’s released a total of 11 EPs since originally breaking out through SoundCloud a couple years back & has even signed to Playboi Carti’s very own Interscope Records imprint Opium Records to surprise drop No Stylist in light of his ongoing tour with fellow label-mate Ken Carson.

“JETLGGD” is a futuristic trap opener that Zodiac of Vanguard Music Group cooked up talking about switching up his swag whereas “BERGDORF” takes a more triumphant route detailing the crazy life that he lives going off the top rope like former 3-time WWE world champion Rey Mysterio. “<3MYGNG” is a dance/trap hybrid expressing his love for his crew leading into the bassy “VTMNTSCOAT” showing off some new drip over an electronic-flavored instrumental.

The title track works in some retro video game like-synths bragging that he’s fresh as fuck, but then “FAKNGGAS” shoots for a more futuristic aesthetic talking about the wankstas. “SOARIN’” gives off a bassier tone admitting he doesn’t get fly no more just before “TURNINUP” is a colorful trap banger that Cxdy of Internet Money Records hooked up talking about getting lit.

“LNLY” dives into cloudy territory thanks to Clayco going into detail as to why they call him that prior to the rubbery yet atmospheric “PRSSURE” talking about how he knew he was special. “ONTHETABLE” is a bombastic ode to the bread while “SWGSKOOL” samples the Deftones joint “Beauty School” confessing that he done lost his motherfucking mind.

Following that, the vocal sample throughout “CRYSTLCSTLES” is hypnotic as fuck with Lonely comparing his girl to Alice Glass while “DANGEROUS” brings back the trap/rock combination to detail the side of Atlanta that he’s from. The guitars throughout “MKEITSTOP” are a bit more punk-inspired talking about making it all the way to the top while “ONTHEFLOOR” is cloudy trap rock crossover Y3rip fused together confessing the shit he’s seen at 20 years old.

The song “PASSAROUND” has a more quirkier feel to it talking about his preference to face his hoes while the penultimate track “OTW” rattles off some hi-hats with more mellow backdrop detailing the things that’ve been coming his way lately. “VETERAN” with Ken Carson is a rage-inducing closer as 2 Carti protégés put the lifestyles that they both live on wax while “BLITZ” starts the deluxe run psychedelically talking about being off the meds.

“HAVINMYWAY” discusses knowing what he wants from this life & already having all the secrets. “ALLURE” might be my favorite here from the cloudy beat to the bars of being in dreams like Freddy Krueger while “LOUVRE” turns the rage up again to talk about a Paris trip. The final bonus track “NEVEREVER” has to be right behind “ALLURE” for the best one serving as the theme if you ’bout that cash & them figures.

At the end of my review of Ken’s solid yet overhated sophomore album X, I said that I respectfully think Lonely is the best Opium signee yet & this new tape of his pretty much proves my point. He has more versatility than Ken as proven by the production, his vocal performances & songwriting. Very excited to see them both when they come to town.

Score: 4/5

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The Musalini – “Pure Izm” review

This is the 6th full-length album from New York emcee The Musalini. Beginning to take the underground by storm since 2018 after dropping his debut mixtape Musalini Season, would go on to release 3 full-lengths & another tape before signing to TCF Music Group. Since then, he’s made himself home by dropping a few EPs & Return of the Oro in the early part of this decade. Last we heard from Mus was at the very beginning of 2022 when he dropped my favorite album of his yet The Don & Eye fully produced 9th Wonder to produce his 5th album from beginning to end & has decided to recruit Khrysis for Pure Izm.

“Weed & Coffee” is a jazzy talking about life being beautiful whereas “Goldie in Town” takes a more sample-based boom bap route taking about he had to straighten up. Ian Kelly & Izzy Hott tag along for the soulful yet classy “Well Done” declaring themselves as the top dogs prior to Reuben Vincent coming into the picture for the piano-driven “$200 Pasta” to talk about that’s how they do.

Meanwhile on “Transmission”, we have Mus delivering a funky prelude to the next joint “2 Step on ‘Em” with King Draft embracing a dustier sound doing just that. “Off the Nest” mixes some pianos & an angelic vocal sample talking about doing this for the culture, but then “Nutella” with Planet Asia brings back the soul loop spitting braggadocio-infused lyricism.

The song “Crab Rangoon” with O-Finesse sonically feels like something ripped from a blaxploitation flick spitting that fly shit while the penultimate track “Ghost” with Izzy Hott shoots for a more solemn tone with the beat swearing that they’ll never go back to prison. “Panamanian Brunch” with Ice Lord is a classy sendoff to the album talking about being the big dogs.

Despite that I still maintain that The Don & Eye could very well be my favorite body of work that Mus has put out yet, this is still a solid follow-up in my eyes. The features are alright, but Khrysis’ sound suits Mus just as well as his mentor’s did with the MC continuing to put his lavish lifestyle on wax.

Score: 3.5/5

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Dangerous Thoughts – “Cheat Codes” review

Dangerous Thoughts is an MC/producer duo consisting of Danger Mouse behind the boards & Black Thought on the mic. 1 has an impressive resume of artists he’s worked with in the past ranging from Prince Po to the late MF DOOM & the other is one of the most acclaimed lyricists in all of hip hop. They initially formed in 2006 & when it seemed like we were never gonna get a full-length debut from them, the day has now come 16 years later.

“Sometimes” is a symphonic, soulful opener talking about thinking of a master plan à la The God MC himself Rakim Allah whereas the title track is a robotic boom bap cut boasting that he’s playing unlimited free throws referencing WWE Hall of Famer Pete Rose. Raekwon tags along for the piano/soul-tinged “The Darkest Part” to talk about being in another echelon just before “No Gold Teeth” samples “Stop” by Hugh Masakela promising to never retire.

Meanwhile on “Because”, we have Joey Bada$$ & Russ accompanying Thought in describing the harsh realities of America with a guitar driven instrumental as well as a passionate Dylan Cartlidge hook leading into the rugged “Belize” seeing DANGERDOOM coming together potentially for the last time to assist in some battle raps including a reference to the A24 Films absurdist black comedy drama The Lobster along with the inaugural IWGPヘビーチャンピオン, former 12-time WWE world champion, WWE tag team champion & 2-time WWE Hall of Famer Hulk Hogan. “Aquamarine” blends abstract with neo-soul confessing the conflict between him as a person & his status in hip hop, but then “Identical Deaths” brings some xylophones to the table talking about living many lives.

A$AP Rocky & Run the Jewels come into the picture for the hardcore “Strangers” to call out the bluff of those who dare to step up to them lyrically while the song “Close to Famous” almost gives me J Dilla vibes sonically talking about that’s how everyone be nowadays. The penultimate track “Saltwater” with Conway the Machine is a tense boom bap heater delivering some rugged ass bars only for the organ-laced “Violas & Lupitas” ending the album talking about doing God’s work.

For this being 16 years in the making & finally having it in the palm of our hands, it was much well worth it. Danger Mouse’s production is more sample-based than Sean Cane’s was on Streams of Thought 3: Cain & Able, the features all come correct (I don’t even mind Russ on “Because”) & Thought lyrically is just doing what he’s been doing best from the very moment he picked up a mic.

Score: 4.5/5

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Your Old Droog – “Yodney Dangerfield” review

This is the 7th EP from Ukrainian-American emcee Your Old Droog. Catching my attention when he dropped his self-titled debut, many actually first thought he was an alter ego of Nas given that their voices are somewhat similar. He eventually became a legend in his own right off later projects such as Packs as well as It Wasn’t Even Close, TIME & the Nicholas Craven-produced YOD Wave. YOD Stewart came out this past spring & it was ok, but the singles Droog has dropped in the last month had me raised my anticipation for Yodney Dangerfield immensely.

“The Unknown Comic” opens up the EP with an abstract boom bap beat taking about sending his opposition to the G League whereas “The Hand of YOD” works in some pianos to confess that people are just mad at him because he outgrew his peers.“$50K of Brunch” takes a soulful route thanks to Nicholas Craven talking about choosing to flip that bread than have brunch with Hov, but then “The Man on the Moon” mixes a crooning loop & strings provided by Jonwayne to air out some hacks.

The song “The Simpsons” named after the longest running animated series on the Fox Corporation’s flagship property copyrighted by The Walt Disney Company shoots for a cloudier yet dustier aesthetic talking about being the only one at the top while the penultimate track “The Tonight Show” embraces the funk to remind everyone that hoes will treat you like an OutKast unless you got some Stankonia. The Sadhugold-produced “Triple Lindy” ends the album by grimly promising to get his competition in their roots like Black Thought.

Of all 3 of the EPs that Droog has dropped this year, Yodney Dangerfield has to be right behind YOD Wave for my favorite so far. The bars that he spits here are like earworms in a good way & the production compared to YOD Stewart is significantly better too. If “The Return of Sasquatch” is supposed to be on YODFATHER, then my anticipation is very high because it’s one of my favorite singles of the year.

Score: 3.5/5

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