Lil Uzi Vert – “Red + White” review

Lil Uzi Vert is a 26 year old rapper & singer from Philadelphia, Pennsylvania that became a household name in the trap scene with their 2015 mixtape LUV is Rage & then Lil Uzi Vert vs. the World the following year. Since the release of their 2017 debut album LUV is Rage 2, Uzi has been entangled with a nasty legal battle with Generation Now Entertainment/Atlantic Records until Eternal Atake came out in March of 2020 to moderate reception & followed it up a week later with the far superior Lil Uzi Vert vs. the World 2 that spawned the deluxe version trend where artists would drop a “deluxe version” of their newest project that’s basically an entirely new album. But after dropping a bunch of singles on SoundCloud thought the past week, Uzi is warming everyone up for The Pink Tape by dropping their 3rd EP.

“Space Cadet” is an pluggy opener produced by Brandon Finessin’ of Working on Dying that’s a bit all over the place if I’m being honest with Uzi talking about not being used to stallin’ & used to cake whereas “I Know” taking a cloudier route thanks to Sonny Digital being aware of what their lover is really like referencing WWE Hall of Famer Mike Tyson. “Flex Up” reunites with Maaly Raw for a mellow trap banger talking about being the next & best one, but then “Hittin’ My Shoulder” has a more abstract approach thanks to Dun Deal calling out people on their fake love & biters.

Meanwhile on “For Fun”, we have Uzi over an airy instrumental taking about counting ranks solely for his pleasure leading into the vibrant “Believe Me” continuing to brag lyrically. The song “Issa Hit” shoots for a more abrasive aesthetic thanks to Oogie Mane asking if it’s lit just before the penultimate track “Glock in My Purse” advises to look at it like a bag with DJ Mustard providing a synth-heavy sound. “Final Fantasy” on the other end finishes the EP with a rage beat bragging that they have the strategy.

It’s been over a little over 2 years since we last heard from Uzi on their own & for them to give us Red + White in advance, I think it’ll definitely hold us over until The Pink Tape whenever it comes out. It sounds laser-focused & I appreciate that production experiments with the plugg/hypertrap sounds that’ve been becoming more popular in recent memory.

Score: 3.5/5

B.H. Tryggs & Black Canvas – “The Renaissance II” review

This is the 2nd collaborative album between Grand Rapids emcees B.H. Tryggs & Black Canvas. Coming up as members of the OxfordGang crew, the duo have most definitely worked with each other numerous of the times within the last 4 years dating back to the 2 features Tryggs had on Canvas’ debut EP Triple Hero. They even put out The Renaissance together last summer & are already keeping the series going by reuniting to dropping a sequel.

“Underworld” is a Black Canvas solo cut to kick off with a piano/boom bap instrumental talking about they gon’ respect the shooter whereas “Reefer Madness” finds the duo over some strings & dusty drums to express their love for weed. “B.C. Sniper” takes a more solemn route flexing their prowesses just before “Master Sword” is a synthesizer/boom bap combo talking about how much heart they have. Meanwhile on the orchestral “Kisses from Rogue”, we have these guys declaring themselves to be the best in the business leading into the shimmering “Godspeed” asking how one desires to live & be remembered.

“Genesis” is a Black Canvas solo cut with an organ, a vocal sample & some hi-hats pouring his heart out lyrically while the song “Kill Hercules” is another Canvas solo dolo moment except with a more morbid trap tone talking about how he can’t be stopped. Tryggs links back up for the penultimate track “90’s All-Stars” returning to the boom bap comparing life to a double-rim & to round it all off, “40 Love” details being on the road to glory backed by a trap instrumental with a medieval loop.

From what I’ve heard from both these dudes so far, I think The Renaissance II is a refinement of the predecessor. The Oracle comes up with some incredibly interesting ideas throughout the production he cooks up throughout this whole album with both MCs pinging off each other lyrically excellently showing the world how hungry they really are. Will we get a 3rd installment of The Renaissance series next summer? Only time will tell.

Score: 4/5

Mozzy – “Survivor’s Guilt” review

Mozzy is a 35 year old MC from Sacramento, California who I became a fan of in the summer of 2017 off his full-length debut 1 Up Top Akh. He would go on to be featured on the soundtrack for the incredible Marvel blockbuster Black Panther only 6 months later & drop 6 more albums through his EMPIRE-backed Mozzy Records but considering that Memphis veteran Yo Gotti signed him to his Interscope Records imprint Collective Music Group back in February, it was only a matter of time that Mozzy would drop his major label debut considering the fact that CMG’s been turning a lot of heads & getting a lot of coverage recently.

“Not the Same” is a introspective opener with it’s piano/sample infused trap beat along with the lyrics addressing those who say he’s changed whereas “If You Love Me” takes a more acoustic turn asking why he would change if people cared for him. EST. G tags along for the grim “Lurkin’” getting on their gangsta shit, but then Shordie Shordie comes into the picture for “Tell the Truth” to deliver one of the weakest features on the album despite the hyphy instrumental & the subject matter of wanting to be alone.

Continuing on with “Murder on My Mind”, we have Mozzy over some pianos & snares explaining why he can’t sleep without no slime leading into “Burrr” weaving in a twangy trap beat talking about how things are getting icy out here. “Wouldn’t Be Us” with YG shoots for a more cavernous aesthetic as both MCs telling their significant others it’s different then they’re thuggin’ just before “Smoke Nuffin’” bringing back the keys as 42 Dugg assists the mic to keep it 100.

“4Life” is a heavenly ode to Mozzy’s affiliation with the Bloods while the weepy “Make the News” with Blac Youngsta & Yo Gotti finds the trio calling out those who don’t actually love them like they said. “What You Hollin’” with his younger brother E-Mozzy & Celly Ru sees the 3 over some pianos & thumping drums getting on their mobb shit while “Ain’t Really Real” throws some strings in the mix talking about fake love.

The song “Open Arms” has a more smoother feel to the production as Mozzy talking about the streets welcoming him very kindly while the penultimate track “In My Face” with Saweetie & 2 Chainz shows a raunchier side to all 3 of them over a nervous DJ Mustard instrumental. “Real Ones” with Roddy Ricch however is a deadpan finisher to the album by showing love to those who’re no longer here with him.

Overall, I’d say that Survivor’s Guilt is one of the best major label debuts that I’ve heard in a while & most definitely a standout in Mozzy’s ever-growing discography. I could’ve done without a couple of the features, but a good portion of them proves that he fits in with CMG with the emotion throughout the 43 minutes is truly touching.

Score: 3.5/5

Joey Bada$$ – “2000” review

Joey Bada$$ is a 27 year old MC, singer & actor from New York City who came up as a founding member of the Pro Era & Beast Coast collectives. His debut mixtape 1999 just celebrated it’s 10 year anniversary last month & has gone on to become a classic, but Rejex was a decent collection of leftovers & Summer Knights was an solid prelude to his full-length debut. B4.DA.$$ eventually came on his 20th birthday & lived up it to it’s expectations by expanding on the vibes of 1999, but Joey’s sophomore effort ALL-AMERIKKKAN BADA$$ revealed it be unquestionably the most political he’s ever been. 5 long years later, Joey’s officially giving us a sequel in the form of his 3rd album.

“The Baddest” is a piano-tinged opener produced Erick the Architect with Joey referring to himself as the baddest motherfucker in all of NY whereas “Make Me Feel” goes into boom bap turf thanks to Statik Selektah confessing that the haters made him take a hiatus for a bit. “Where I Belong” keeps the dustiness going taking about takin’ risks every time he hits the door leading into Westside Gunn coming into the picture for “Brand New 911” to bring in a jazzy instrumental that Chuck Strangers has cooked up getting on their fly shit.

Meanwhile on “Cruise Control”, we have Joey over a cloudy trap beat from Mike WiLL Made-It & Cardiak talking about staying 10 toes down just before “Eulogy” returns to the boom bap shouting out all his homies that’re sittin’ on the big wheels. “Zipcodes” has yet another jazzier tone to the production provided by Kirk Knight talking about doing this with ease, but then “One of Us” with Larry June finds the 2 shooting for a smoother aesthetic calling out the people who wish they were them.

“Welcome Back” on the other hand is definitely the weakest cut on the album from the bland trap instrumental to the Chris Brown verse & the tepid subject matter while “Show Me” returns to a boom bap aesthetic talking about wanting to be proven that his lover cares for her. “Wanna Be Loved” with J.I.D has a more nocturnal sound to it expressing their desire to be appreciated while the song “Head High” is a jazz-inflicted ode to those who’re no longer here. The penultimate track “Survivor’s Guilt” comes through with a heart-wrenching tribute to Capital STEEZ & “Written in the Stars” sends off the album in glory rightfully talking about being a legend.

Some people tried to write Joey off because of “THE REV3NGE” & even I’ll admit myself that it was a Great Value version of the J. Cole single “Middle Child”, but I don’t see how anyone who loves 1999 as much as I do can dislike 2000. He really does an excellent job at recapturing the magic that made his debut mixtape one of the best of the 2010s & puts a more mature twist on it.

Score: 4.5/5

Rico Nasty – “Las Ruinas” review

Rico Nasty is a 25 year old rapper & singer/songwriter from Palmer Park, Maryland who caught my attention in 2018 off her 6th mixtape Nasty. Even though I found it to be decent, I was still very much impressed by her unique personality & her eclecticism. However the next spring, she got Kenny Beats to produce her debut EP Anger Management in it’s entirety & that ended up being my favorite body of work of hers even to this day. Nightmare Vacation was a bit of a step down from Anger Management even though it has a good share of bangers like ”iPhone” & “10Fo”, but was still excited for her 7th mixtape.

“Intrusive” is an industrial-laced opener with Rico talking about going at her competition whereas “Vaderz” takes a more hardcore/trap route as Bktherula tags along to go back & forth with one another comparing themselves to Invader Zim. “Black Punk” fuses trap metal with witch house to declare herself as such, but then Bk returns for the drum & bass-infused “Messy” asking how one can be organized yet disorderly.

Meanwhile on “Phuckin’ Lady”, we have Rico on top of a trippy instrumental expressing no remorse whatsoever just before “1 on 5” goes full-blown hip house warning that you’ll get jumped twice if her bitch jump first. “Gotsta Get Paid” works in a funky bass-line co-produced by 100 gecs to express her to desire to make paper leading into the Marshmello-backed “Watch Your Man” embracing neurofunk to rightfully boast her status in the game.

“Blow Me” comes through with a trappy pop rap ballad talking slick shit while the remix of “Jungle” by Elley Duhé is one of the more redundant cuts on the tape with all respect to both Fred again.. & Elley. “Dance Scream” on the other end takes a turn into electropop territory to plead for someone’s love while “Skullflower” dives into hyperpop talking about LSD.

Following that, “Focus on Me” embraces a more synthpop sound telling her lover she wants to be with them for the rest of her life while “Always” is less of a skit & more of a repetitive interlude. The song “Easy” is an acoustic ballad admitting that she letting someone make her feel her ashamed while the penultimate track “Into the Dark” brings back the drum & bass thanks to Charlie Heat promising to do better. As for “Chicken Nugget”, it’s a moody closer to the tape thanking her mother for making her strong.

If anyone reading this was a little disappointed as I was with Nightmare Vacation, then you’re gonna enjoy Las Ruinas much more because I think it continues to reveal herself to be the best female hip hop artist that the mainstream has to offer right behind the Hot Girl Queen herself: Megan Thee Stallion. I admire that the production is a lot more experimental in comparison to her full-length debut sticking to Rico’s trap/pop rap guns with the lyrics being more vulnerable this time around.

Score: 3.5/5

RZA – “Bobby Digital & the Pit of Snakes” review

This is the 5th EP from New York emcee, producer, actor & filmmaker RZA. Widely known as the de facto leader of the almighty Wu-Tang Clan, he was actually the 2nd & last person of the group following GZA to come out with a solo effort before their full-length debut Enter the Wu-Tang: 36 Chambers by dropping his debut EP Ooh I Love You Rakeem under Tommy Boy Records just 5 months after The Genius put out his full-length debut Words from the Genius under Cold Chillin’ Records. The Abbott eventually put out his own debut album Bobby Digital in Stereo in the fall of ‘98, which I personally think gets criminally overlooked because people were expecting The Cure & I think it’s safe to say it’s never seeing the light of day at this point. Digital Bullet was a worthy sequel too, but I can’t say the same for Birth of a Prince or Digi Snax. He returned from a 14 year hiatus back in March to drop the DJ Scratch-produced Saturday Afternoon Kung Fu Theater & I still maintain that it’s RZA’s best solo effort since Digital Bullet even though the overall reception was mixed, so I was definitely curious to hear how Bobby Digital & the Pit of Snakes would play out especially since he’s back on the boards for the whole thing also.

“Under the Sun” is a guitar-driven opener talking about how we are all 1 whereas “Trouble Shooting” mixes boom bap & rock to confess that trouble keeps finding him. “Something Going On” has a grander tone to the instrumental as RZA talks about not wanting to die alone just before “We Push” works in some pianos to remind everyone that there’s more to the story.

The track “Cowards” brings back the rock influences which is nice except that the singing throughout is absolutely God awful while the penultimate song “Fight to Win” shoots for a more solemn aesthetic striving for victory. And prior to the “Live Your Own Rhythm” outro, “Celebrate Life” finishes the EP with a colorful ballad about commemorating our time here on planet Earth.

Saturday Afternoon Kung Fu Theater might be a tad bit better in my personal opinion, but that’s not to say I didn’t enjoy Bobby Digital & the Pit of Snakes for what it is because RZA really did drop 2 great EPs back-to-back. The whole concept of him figuring out the nature of his reality & himself is well thought out with him continuing to evolve as a producer & actually suiting him compared to the Wu sounding like they didn’t fit over a majority of the beats that he cooked up for the Clan’s last 2 group albums 8 Diagrams & A Better Tomorrow.

Score: 3.5/5

Knowledge the Pirate – “Wolves Don’t Eat with Shepherds” review

Knowledge the Pirate is a 40 year old MC from New York City who’s came into the music biz since the 90’s & was discovered by Will Smith’s former bodyguard Charlie Mack. He then signed to Interscope Records for a brief amount of time before leaving the game temporarily & re-emerging in the 2010s as a close Roc Marciano affiliate. His full-length debut Flintlock eventually saw the light of day in the summer of 2018, which was followed up with the sophomore effort Black Cesar as well as the debut EP Family Jewels & his 3rd album Hidden Treasures. But for his 4th full-length outing here, Knowledge is bringing Big Ghost Ltd. into the picture to produce the whole thing.

“Pull Up” is a string-laced opener talking about hopping out on those running their mouths whereas “Devotion” takes a funky, soulful route giving his flowers to all the people who’ve sacrificed a lot out in the streets. “Heavy Crown” shoots for a rawer aesthetic addressing street politics just before “Trenches” is a boom bap heater talking about making a $100k a month.

Meanwhile on “Young n Dumb”, we have Knowledge on top of a crooning sample expressing his desire to be the man in the slums leading into “Russian Sable” is a brooding eye-opener for those who don’t understand the dope game. “The Tombs” is a grisly shot at the people who be talking slick until the real G’s pop out, but then Flee Lord tags along for the guitar-laced “Bad Boys” to declare themselves as such.

“Wolves Eat” returns to the boom bap with some more chopped vocal flips saying he got service while the song “Know God” takes a soulful approach looking back on forming a team to make bread during his adolescence. The penultimate track “Treasure Chest” with Ty Farris finds the 2 over a another guitar-driven beat talking about balling like MJ & Dr. J with “Sweetwater” serving as a bluesy closer advising not to be found floating in the Hudson River.

As much as I’ve enjoyed Knowledge’s work in the past, Wolves Don’t Eat with Shepherds could very well be my favorite of the 4 albums that he’s put out yet. You can never go wrong with Big Ghost Ltd.’s production & lyrically, it really does cemented Knowledge’s status as a wolf in the rap game.

Score: 4.5/5

Neon Sermon – “001” review

Neon Sermon are a horrorcore trio consisting of BatiBatt, Krux 1 & Lo Key. The latter of whom is most notable for being the leader of the Mission: Infect collective with Bati being his wife & Krux as his latest protege, joining the crew last year. They only have a couple songs under their belt together prior to bringing Bati into the picture couple months back for the lead single coinciding with the news of the trio’s formation & are following it up by dropping their debut EP enlisting former Strange Music in-house producer MIKE SUMMERS a.k.a. 7 behind the boards for the entire thing.

After the “Signal Received” intro, the first song “Doomsday Device” references former NWA World’s Heavyweight Champion, 4-time WCW World Television Champion, 8-time WCW World Tag Team Champion, WWE Hall of Famer, 5-time WWE United States Champion & WWE Intercontinental Champion Ricky Steamboat. whereas “Beamed Up” dives deeper into electronic territory looking for smoke. “GODZILLA” works in a trap beat to admit they they feel like the King of the Monsters with some speedy flows as well as a freshly chopped & screwed Eminem sample for the hook, but then “Level Up” takes a more abrasive route to declare sermon now being in session.

The song “B.I.A.T.D.A.T.L.M.O.M.F.K. (Bitch I Am The Devil And They Let Me Out My Fuckin’ Kettle)” returns to an EDM-influenced sound comparing themselves to Satan & that they’ve been let loose while the penultimate track “The Sickness” detours into boom bap territory talking about how no one’s ready for this. “You Now Belong to Us” on the other hand sends 001 off with an electronic/trap hybrid asking to step into their spaceship with a melodic hook that I consider to be the best throughout the whole thing.

Lo Key has been known for dabbling with completely different sounds with the most recent example being his nu metal-influenced 13th EP Metanoia last spring or even the last solo album The Eyes of Parasuva taking on a more alt-rock vibe & that’s exactly what he did here with his fellow Neon Sermon brethren. 7 embraces a heavy EDM influence over the course of a good bulk of his instrumentals with KruX turning the chemistry between him & his mentor up to 11.

Score: 4/5

Lloyd Banks – “The Course of the Inevitable 2” review

This is the 5th full-length album from Queens emcee Lloyd Banks. Gaining notoriety in the 2000s for his witty punchlines along as well as being an original member of G-Unit alongside childhood friends 50 Cent & Tony Yayo, he kept himself busy for a little while after the group’s disbandment in 2015 by releasing A.O.N. 2 (All Or Nothing 2): L.I.U. (Live It Up) & Halloween Havoc 3: 4 Days of Fury just before taking on a 5-year hiatus that really lasted until he received a song placement on the soundtrack for Griselda Records’ theatrical debut Conflicted a year & a half ago & his comeback effort The Course of the Inevitable last summer. However, we’re now being treated to The Course of the Inevitable 2 after getting a couple singles recently.

“Impact” opens up the album with Lloyd calling this his get-back on top of a cold instrumental from Cartune Beatz whereas “No Reward” takes the eerie boom bap route talking about rewards only come with the struggle. Conway the Machine tags along for the appropriately titled “Menace” to lyrically obliterate their competition leading into Benny the Butcher coming into the picture for the piano-tinged “Living Proof” talking about how real ones always regroup.

Meanwhile on “Value of a Check”, we have Lloyd addressing those wylin’ for a rep over a dusty instrumental just before “Power Steering” with Jadakiss finds the 2 talking about makin’ a killin’ this time around & the beat here’s just ok.“Fell in Love” shoots for a more sensual vibe whilst excellently tackling the idea of being lovestruck even though he didn’t want to, but then “Socialize” returns to the boom bap acknowledging the fact that some people will literally do anything for survival.

“Murda 1” has a more sumptuous beat talking about how vacations will come when the rain’s gone while “Don’t Switch” reunites with Tony Yayo to call out those who be changing up on their kinfolk without holding anything back over a cloud boom bap instrumental. “Dead Roses” brings in the pianos talking about wanting his flowers while he can still smell ‘em while the song “Trapped” talks about how some doors are open for a reason of a deadpan beat. The penultimate track “Traffic” with Dave East & Vado finds the trio maliciously declaring anyone who turns their back needs to suffer while “On My Way” is an organ-laced opener talking about it’s how you get up, not how you fall.

Anyone who’s been following G-Unit for the past 2 decades should know by now that Lloyd rarely misses when he drops & The Course of the Inevitable 2 to me is a worthy sequel to the comeback album that he just dropped a little over a year ago. His punchlines are always highly entertaining to hear & not only do the features remain as consistent as the predecessor was, but the production does also.

Score: 3.5/5

Joey Cool – “The Chairman of the Board” review

This is the 6th full-length album from Kansas City, Missouri emcee Joey Cool. Catching attention as a long-time affiliate of local independent hip hop powerhouse Strange Music dropping a total of 4 mixtapes & a studio album on his own, Tech N9ne decided to officially sign him to the Snake & Bat in 2017 & dropping his eponymous sophomore album the next year. This was followed up with Old Habits Die Hard as well as Coolie High & I Tried to Be Normal Once, but is ringing in another summer by delivering The Chairman of the Board.

After the “Moonlight” intro, the first song “Bumpy Johnson Back” is a boom bap opener with Joey returning to his roots whereas “The Chairman” takes a hazier route talking about being on deck. “Kingsman” shoots for a symphonic aesthetic detailing coming from a long line of hustlers just before Tech N9ne comes into the picture for the trap-tinged “Mega Grit” to talk about how they’ve been immortalized in this rap game.

Meanwhile on “Havana Conference”, we have Joey over a dusty instrumental advising not to call him lucky leading into King Iso tagging along for “Idle Hands” to return to trap territory thanks to Wyshmaster talking about eyeing a demon dancing. “Iceberg” with the legendary X-Raided who just happened to sign to Strange Music a couple months ago is a cloudy boom bap banger with both of them describing how cold blooded they are, but then “Hoodoo” incorporates a sped-up blues sample talking about staying at the bottom of the sea.

“Casper Holstein” mixes some pianos & snares comparing him to that of the Harlem monster of the same name & even though Tay Diggs’ verse on “Lansky” is probably the weakest feature on the album, I do like the plucky boom bap beat as well as the Meyer Lansky-influenced subject matter. X-Raided returns 1 last time for “We Got ‘Em Now” keeping it boom bap talking about doing it bigger than ever while “Troubled Waters” weaves some pianos & handclaps addressing the ones that made it through the hardships.

The song “My Boy” elaborates about his homie Frankie saying the best revenge is massive success over a flute-heavy instrumental while the penultimate track “Teremana” comes through with an aggressive ode to the titular brand of tequila. “The Best is Yet to Come” closes out the album with a chill boom bap anthem produced by Dominique Sanders talking about being far from done.

I’ve enjoyed just about every album that Joey has dropped since signing to Strange, but The Chairman of the Board stands as one of my favorites in his whole discography. I think the production’s a little bitter than the one he dropped last summer & he sounds a lot more confident on here as he leaves no room for questions regarding his current status.

Score: 3.5/5