Lyte – “Metamorphosis” review

Lyte is a 32 year old MC from Flint, Michigan who broke out in 2014 off his debut mixtape Follow the Lyte. He then signed to the Insane Clown Posse’s very own Psychopathic Records on New Year’s Day 2017 & put out his debut EP Psychopathic MonStar that summer following the 18th annual Gathering of the Juggalos in Oklahoma, but amicably left a couple years later in order to focus on building his own label MonStar Entertainment & becoming a father. But now after returning from his sabbatical, he’s finally unleashing his full-length debut to the world.

“Bars XXX” kicks off the album on a victorious note with the help of MonStar in-house producer Lendo Smiley talking about how he used to pray for this moment whereas “You Might Know” works in a guitar to tell the story of his struggle & where he is today. Layzie Bone & Stevie Stone tag along for the piano-laced “Problem” advising that you don’t want any beef with either one of them just before “Sunshine” returns to rap rock turf talking about making it out of the storm.

Meanwhile on “Flame”, we have Lyte on top of an operatic vocal sample boasting his rapping prowess leading into “Take Control” mixing some keyboards & guitars talking about fueling the flame except the hook is like nails to a chalkboard. “Change You” however goes into a spacious direction admitting that he hasn’t been the same since he’s made some dough, but then “Lyte It Up” goes into mellow boom bap turf talking about smoking weed.

“Level” incorporates some synthesizers with the help of Hypnotic Sound’s very own Str8jaket prior to Skitzo coming into the picture for the eerie “Cut Like That” produced by Jim Job referencing former IWGPジュニアヘビー級チャンピオン, 2-time WWE Intercontinental Champion & 4-time WWE Tag Team Champion Owen Hart. “Outlaw” is a dope piano ballad comparing himself to such while “Mind Back Right” brings in P.R.E.A.C.H. & Twisted Insane to showcase their chopper flows over a solemn trap beat that Lyte happened to cook up himself.

The track “We Got That” goes full blown rap rock to talk about his ride or die bitch while the penultimate song “Stay in Yo Lane” with Ant G, Bam Beda, DJ Clay, Double Dragon, Frank Nitty & Tha Hav Knots is a lethal 7-minute posse cut going at their competition. The title track then finishes the album with an acoustic trap banger talking about being so much more than what the world thought he was.

I wasn’t sure if this day was actually gonna come like a lot of juggalos thought, but I’m actually happy it did because what a way for Lyte to return after that 5 year gap. The way he goes into detail as to how much he’s changed since then is very admirable & the production is as consistently stellar as it was on Psychopathic MonStar. Welcome back, dude!

Score: 3.5/5

Babytron – “Megatron” review

This is the 6th mixtape from Detroit rapper Babytron. Coming up as a member of the trio ShittyBoyz along with his childhood friends Stanwill & TR Dee signing to Lando Bando’s own The Hip Hop Lab Records, he’s also branched out on impressive solo career for himself as well as the side groups Lewis & Clark and the Dookie Brothers. However, it seems like last year was probably his biggest year yet landing interviews ranging from No Jumper to even Rolling Stone or the release of Luka Trončić last summer prior to signing with EMPIRE Distribution later that same month & then Bin Reaper 2: The 2nd Coming back in the tail-end of October. But to follow all that success up, he’s kicking off his 2022 run with Megatron.

“Letter to Cornelius” starts out the tape mixing jazz & trap to spit braggadocio whereas “Manute Bol” works in some strings to talk about being paid similar to that of the late NBA player of the same name later referencing the greatest WWE superstar ever; soon-to-be inducted Hall of Famer, 7-time world champion, 7-time tag team champion & WWE Hardcore Champion The Undertaker. “Peachtree” goes into a cloudier direction letting muthafuckas know that no one can beat him, but then “Cobra Kai” works in a danceable groove to talk about some late night shit.

Meanwhile on “Beyond Turnt”, we have the Dog $hit Militia general continuing to flex accompanied by some strings leading into “Huge Lifestyle 2” is a mediocre sequel to a loosie that GTP Daidoe put out a little over a year back. “Area 51” has an appropriately spacious atmosphere to it talking about being an alien just before “Mr. Do the Dash” brings a weepy violin loop into the mix declaring himself as such.

“Extra Butter” has a dope ass funk sample dissing his competition while Helluva takes “Crocs & Wock” into a more electro-direction to ball. “BMF” of course flips the 50 Cent single “Wish Me Luck” paying tribute to Big Meech’s operation of the same name prior to DaBoii tagging along for the hyphy-laced “Chess Players” to talk about their reckless gangster mentalities.

Following that, “6 Star Wanted Level” comes through with some insane beat switches for each verse saying he lives a GTA life while “Mainstream Tron” has a more playful tone talking about all the success he’s been seeing as of late. “Hustle Junkie” is basically him admitting that he’s addicted to grindin’ with an exotic sample woven in while “God Tier” goes into soulful territory talking about being his own boss.

“December 1st” flips the Sue Ann Carwell joint “I’ll Give You Love” to declare himself a living legend while “Hold Up, Wait!” returns to a more symphonic sound talking about being too high & punching a clerk harder than the longest reigning 2-time WWE Universal Champion, former 3-time WWE Champion, WWE Intercontinental Champion, WWE United States Champion & WWE Tag Team Champion Roman Reigns. “RIP Virgil” experiments with disco paying homage to the late Off-White founder of the same name while “Stupid” finds Babytron displaying a decent back & forth chemistry with Glockboyz Teejaee over a violin instrumental.

The song “Jerry Rice” returns to the jazzy sounds of the opener continuing to diss anyone who thinks they can step up to him while the penultimate track “10 Toes Wherever” samples the classic Nate Dogg/Warren G banger “Nobody Does It Better” to talk about feeling cocky. “The Lost World” ends the tape with multiple beat switches from Danny G & some incredible charisma in Babytron’s verses.

If you ask me, Megatron serves as yet another reminder as of why Babytron is one of the hottest rappers in the city right now. He continues to bring some exciting new sounds into the Detroit trap scene & his pen-game (most notably the punchlines) continue to level up at an astonishing rate.

Score: 3.5/5

Stinkin’ Slumrok – “Stink-O-Vision” review

This is the sophomore effort from Walthamstow, East London, England, United Kingdom emcee Stinkin’ Slumrok. A member of the Cult of the Damned collective as well as 1/2 of the duos Swamp Harbour & Morrstinkin’, he would eventually sign to the London imprint Blah Records in the summer of 2015 after I had graduated from high school & make his full-length debut with Don Pong. He has since shifted his focus towards Swamp Harbour & Morrstinkin’ whilst making a handful of guest appearances, returning to his solo endeavors by turning on the Stink-O-Vision globally for all to view.

Nobodies Home hits us with a jazzy boom bap instrumental on the intro “Yeayeayea” responding to a woman saying he needs to change his ways that he’ll take it slow whereas “SAS” featuring Black Josh finds the 2 teaming up to rip it hardcore together. “Burst” takes a piano flip & throws some kicks & snares in the mix talking about now being the time to get wrecked instead of split open prior to “Botany Bay” featuring King Grubb & Lee Scott finding the trio talking about keeping it going until they hit kingdom come.

“Why Slummy?” reaches the halfway point of the album addressing the people who question him for the way he is leading into “Whodafuckisthis? leaning towards the trap side of things so Swamp Harbour can talk about people giving no fucks regarding them whatsoever. “Show Me” has a moodier boom bap sound altogether tackling themes of lust just before “Some Things” hooks up a prominent vibraphone talking about spending an entire 24 hours not doing shit.

Meanwhile on “Goblet”, we have Bang On! joining Slummy getting ready wrap up the broadcast on the Stink-O-Vision needing their paper pronto due to the fact of time waiting for nobody while “Rah Rah Rah” featuring the B-Movie Millionaires alongside Bill Shakes & King Grubb spends the full-length’s last 4 minutes or so representing the Cult each of them have memberships in over synthesizers combined with kicks & snares.

Sticking out amongst the other Cult of the Damned members for his style bridging younger & older hip hop fans alike, the follow-up to Stinkin’ Slumrok’s debut could be a cut above his debut 7 years earlier although some could dispute that opinion. Nobodies Home’s production kinda reminds of King Grubb’s debut album Droopy. in the sense that it’s experimental, except it’s catered towards the jazz rap style & Grubb’s wordplay has been swapped out in favor of Slummy getting waved & smoking weed with baby mamas despite him not having any children.

Score: 4/5

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King Von – “What It Means to Be King” review

King Von was a 26 year old rapper from Chicago, Illinois who came up as a Lil Durk protege. Now I wasn’t big on his mixtapes Grandson: The Mixtape or LeVon James at first, but he really blew me away once his full-length debut Welcome to O’Block came out a little over a year ago on Devil’s Night. But as soon as he finally won me over, he was tragically murdered a week later in broad daylight. So it was only a matter of time before Only the Family Entertainment put out a posthumous album albeit Von’s 2nd overall.

“Where I’m From” opens up the album with Chopsquad DJ mixing some pianos & snares as Von addresses Patoon’s death whereas “War” has a more dramatic tone sonically talking about his mob ties. G Herbo tags along for “FaceTime” to spit that gun talk on top of a rubbery bass-line & some murky choir vocals provided by Hitmaka leading into the 21 Savage-assisted “Don’t Play That” taking a more cloudier route talking about what they usually do with their day.

Meanwhile on “Straight to It”, we have Fivio Foreign assisting Von in cooking up a combative drill banger just before “Trust Nothing” with MoneyBagg Yo finds the 2 talking about bitches tripping about shit that has nothing to do with them over a thunderous trap beat with some piano chords. “Evil Twins” showcases some amazing back & forth chemistry with Lil Durk accompanied by an atmospheric backdrop, but then “Too Real” goes into a hazier direction talking about how legit he was.

“Rich Gangsta” with Tee Grizzley pretty much speaks for itself as far as the content goes even though it has one of the weaker instrumentals on the album until the synth-laced “Mad” picks things back up with Von angrily calling out those who envied him prior to his murder. “My Fault” incorporates some rich keyboard melodies as A Boogie wit da Hoodie assists Von in a decent romance ballad & the electronic undertones of “Change My Life” are a nice change of pace addressing a lover who thinks she was his wife.

Following that, “Hard to Trust” is an Asian Doll tribute that goes well down to TM88’s production until Dreezy’s verse comes in towards the backend of it while “Get Back” with Boss Top & DQFrmDaO fails at it’s attempt at a Chicago drill anthem. “Get It Done” with OMB Peezy kinda has a Detroit trap vibe to the instrumental with the pair delivering some mediocre gangsta raps while “Chase the Bag” references the WWE’s 2nd flagship program Friday Night SmackDown on the Fox Corporation’s flagship property.

The track “Go N Get Em” sees Boss Top returning for a chilling look at how murderous they can be while the final song “Grandson for President” is pretty much a remix of the classic Crime Mob single “Knuck If You Buck”. The outro “Family Dedication” though ends the album with a moving spoken word bit paying tribute to all of Von’s loved ones.

For a posthumous album, I’m actually kinda torn on it. There’s nothing really wrong with King Von’s verses or a good portion of the production, but the feature-list is just so oddly picked out with their contributions ranging from focused at best to pointless & phoned in at worst.

Score: 2.5/5

RZA – “Saturday Afternoon Kung Fu Theater” review

RZA is a 52 year old MC, producer, actor & filmmaker from New York City who’s widely recognized as being the de facto leader the almighty Wu-Tang Clan. But he was 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, 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. It wasn’t until late ‘98 though where RZA put out his own debut album Bobby Digital in Stereo, which I think gets criminally overlooked because people were expecting The Cure. He then followed it up with a worthy sequel Digital Bullet, but I can’t say the same for Birth of a Prince or the conclusion to the Bobby Digital trilogy Digi Snax. But after teasing it during Method Man & Redman’s 4/20 Verzuz, he’s returning from a 14-year break in the form of his 4th EP produced entirely by DJ Scratch.

After the intro”, the title track kicks it all off on a symphonic note as Bobby Digital makes his glorious return whereas “Pugilism” mixes some keyboards & strings to get in his shit-talking bag except his vocals are mixed WAY better than it was when he originally dropped it on YouTube last spring. “Never Love Again” keeps the orchestra vibes going getting lovey dovey while the song “Fate of the World” dispiritedly vents about the current state of the world. The penultimate track “Fisherman” goes into jazzy territory talking about how “no one knows for whom the bell tolls” & lastly, “Kaiju” ends the EP getting conscious on top of a militant beat.

I really didn’t know what to expect from this EP given how mid Birth of a Prince & Digi Snax were as well as the 14 year time gap, but I can honestly say this is The Abbot’s best solo effort in 2 decades. I love how DJ Scratch’s production is pretty much a love letter to The RZA’s unique sound down to the Kung Fu movie samples as he details the collision between him & his alter-ego.

Score: 4/5

Your Old Droog – “YOD Wave” review

This is the 5th EP from Ukrainian-American emcee/producer Your Old Droog. Emerging in the underground off his self-titled debut, many first thought he was an alter ego of Nas given that their voices are somewhat similar. Nonetheless, the guy has reached legend status at this point by proving that he was in his own lane off later albums such as Packs & It Wasn’t Even Close. But coming fresh off the incredibly conceptual TIME & Space Bar over the summer & fall respectively, Droog is kicking off his 2022 by enlisting Nicholas Craven to fully produce YOD Wave.

“Fela Kuti” kicks off the whole EP with some gorgeous piano melodies saying he’s being away for too long whereas “Scooby Snacks” takes a more soulful boom bap route looking back on where he came from before getting back to business. “.500” works in some dramatic string sections talking about having less than nothing just before the organ-laced “Purple Rain Freestyle (Game, Blouses)” comes through with some braggadocio.

The song “Black n Red Huaraches” with Tha God Fahim finds the 2 comparing their lives to operas even though the instrumental is my least favorite on the whole EP while the penultimate track “Lost Love” gets romantic over a drumless chipmunk soul sample. Fahim returns once more for the closer “Body Right, Mind Right” to jump on top of some solemn piano chords talking about taking no one’s advice.

Coming from someone who’s been down with Droog since the beginning, I genuinely believe that YOD Wave is the best EP he’s made yet. It’s not as conceptual as his last 2 albums, but he’s just spitting nothing but pure heat for 20 minutes accompanied by some of the most astonishing production that Craven had to offer.

Score: 4.5/5

EveryWhere – “OmniPresent” review

EveryWhere is an MC from Reno, Nevada who came up a couple years ago off his debut EP Where 2 Now, which was later followed up with So Here We Ar3 & Not Here 4 Long shortly after. Last year alone he dropped Youniverse & At Most Fear back to back but to kick off his 2022, the dude’s enlisting Ill Melley to produce his full-length debut in it’s entirety.

“Solid” starts it all off with a spacey trap banger declaring himself as such whereas “Promise” follows it up by assuring that people are gonna love him for his talents & the instrumental on here has more darker aesthetic to it. “Praises to the Most High” goes back into cloudier territory getting spiritual, but then “Just Another Day” goes into boom bap territory talking about how the struggle remains

Meanwhile on “Exhibit”, we have EveryWhere on top of some synths & hi-hats getting on that new shit leading into the atmospheric “This is What I’m Made For” talking about how making music is his purpose. “On & On & On”goes back into boom bap turf to spit some battle raps just before “Give Me My Flowers” takes it back to the trap route talking about wanting his respect.

The song “With or Without” with Fashawn finds the 2 vibrantly explaining how it’s just them in this shit & ain’t nothing else while the penultimate track “Crabs in a Barrel” comes through with a worthy sequel to “On & On & On” except it’s more trap-flavored. “Shake ‘Em Up” with VRSA finishes off the album with 1 last boom bap cut taking about aiming for the top spot.

Now if you’re looking for a new fresh face in the conscious hip hop scene, then EveryWhere is your guy because I think this is his best work right here. I really admire that he’s willing to step up & address some controversial subjects in our world today while Ill Melley’s production comes through with a great blend of boom bap & trap.

Score: 4/5

Da Flyy Hooligan – “Ben Kingsley” review

This is the 4th studio LP from Harlesden, London, England, United Kingdom emcee Da Flyy Hooligan. Dropping the full-length debut Ray Winstone as well as the debut extended play F.Y.L.P.M. (Fucc Ya Life Praise Mine) & the sophomore effort S.C.U.M. (Supreme Cut Untouched Magnificence) in 2017 respectively, he would go on to follow it up with 3 more EPs including his previous full-length being a sequel to F.Y.L.P.M. (Fucc Ya Life Praise Mine). Coming off Flyyghost’s eponymous debut however, local veteran Micall Parknsun has been brought in to fully produce Ben Kingsley.

After the “Don Logan” intro, the opener “Da Nyycest” begins with a gritty boom bap instrumental boasting his lyrical proficiency whereas “Bar of Soap” continues to talk about his place in the game as a verbal architect. “Gourmet Trap” gives off a drumlessly soulful vibe to discuss making money & watching it grow prior to “Ian McShane” telling those who wanna be like him to keep dreaming over some synthesizers mixed with kicks & snares.

“M.C.K. (My Cousin’s Keeper)” featuring Hooliyo Iglaciers finds both cousins trading the microphone back-&-forth over a piano-driven boom bap beat while “Model 500” symphonically talks about people not seeing him since he’s amongst the greats. “Pile Driver” co-produced by Beat Butcha references the maneuver innovated by the late 3-time NWA World’s Heavyweight Champion Wild Bill Longson prior to Dom Pachino appearing for the 3rd & final installment of the “Wu Baby” trilogy.

The track “Tape Decc” rawly talks about pouring champagne in celebration of WWE Hall of Famer Mike Tyson returning over a boom bap instrumental reminiscent to some of Griselda’s output & the final song “Royal Oak” preceding the “Jacky Tig Bitts” outro concludes the final moments of this 2nd installment in the Ray Winstone saga recalling the time he spent wasted away wishing death on others & seeing right through bullshit instantly.

Considering that Micall Parknsun produced nearly half of Ray Winstone, I was completely on board with the idea of him solely handling the production throughout it’s successor Ben Kingsley & we get an album that displays Da Flyy Hooligan’s evolution as a storyteller over prominent boom bap production giving his flowers to one of his all-time favorite actors hailing from Snainton who played the titular role in the 1982 biopic Gandhi.

Score: 4/5

Pasto Flocco – “R.O.A.M. (Rich Off A Mic)” review

This is the 2nd mixtape from Queens rapper Pasto Flocco. Originally a Lil Tecca associate, he’s been seeing quite the success off his own with the Surf Gang collective since their falling out dropping his first 2 albums March Madness & Dreams 2 Reality as well as a debut mixtape Surf to Kill (SGBSTK). This was all followed up over the fall when Pasto put out his 3rd album Disturbing the Peace while opening up for Lucki on the Wake Up Lucki Tour but after dropping a couple singles earlier this month, Pasto is returning in the form of R.O.A.M. (Rich Off A Mic).

“Warning” is a cloudy opener produced by J6 talking about how he’s too drippy whereas “Wizard” follows it up on a more suspenseful note spitting that gun talk. “4dagram” works in some synthesizers from J6 & Pasto himself talking about having to call a whip after a bitch tried to play him just before “Bands Up (B.V.P.)” takes a more futuristic route to flex his wealth.

Meanwhile on “Life I Chose”, we have Pasto over an psychedelic instrumental from Cade talking about keeping a blick on him because the streets is cold leading into the cloudy “T.M.U. (Turn Me Up)” that Feardorian laced calling out his haters. “Better Clone Me (Lifestyle Chosen)” has a more euphoric sound venting about how he ain’t gotta pop shit ‘cause cats know it, but then “B.S.A. (Money or Fame)” returns to cloud rap turf encouraging to look back & see how much he’s changed since 2018.

“GLE Freestyle” goes into a pluggier direction talking about refusing to let a thot finesse him of his profits while “Mercy (Just Woke Up)” is absolutely perfect for moshpits during future shows in every way. “Out of the Mix” follows it up with an atmospheric ballad declaring himself an underground legend while the song “Buckz Up (ADHD)” comes through with some braggadocio even though CCC’s production ain’t it. The penultimate track “Melly” picks it up with a repetitive bop produced by Zaytoven & lastly, “30Bandz” is a chilled out closer talking about moving like a vampire.

I’ve been a fan of Pasto ever since my little brother Jake introduced me to his music a couple years back & I gotta say: This tape is a little disappointing. I like how’s he doing all this fast-tempo shit & a decent amount of his performances are infectious, but I wish it was a little fully fleshed out.

Score: 3/5

Choirboy Dank – “The Road to Demon City” review

This is the full-length solo debut from Dodge City’s very own Choirboy Dank. Coming up as 1/2 of Swag Toof alongside Ouija Macc, the duo saw quite some success in the early/mid-2010s to the point where they were supposed to sign with Psychopathic Records in 2017, but disbanded due to a falling out between both members & Ouija ended up under the Insane Clown Posse’s wings as a solo act. Choirboy has since kept himself busy by dropping some singles & EPs of his own, the most notable of them all being his 2nd EP Must Warn Øthers produced entirely by Blockhead. However, all of those singles have been leading up to The Road to Demon City over here.

“Theatre School Dropout” starts off the album with a guitar-laced trap beat confessing that he’s been unable to relax lately whereas “Stir Up the Pot” follows it up with a more nocturnal tone talking down to his competition. “Get Your Guns” takes a more minimal route encouraging to bring the gats if you wanna have some fun just before “Call Your Mom” expresses his desire to tell his mother that he made it on top of a twangy trap instrumental.

Meanwhile on “Water & Bread”, we have Choirboy admitting that he’s never been this low or poor over a dejecting beat leading into the bombastic “No Favors” talking not needing any handouts. “O.K.” works in a glistening trap instrumental expressing optimism that he’ll be so much more than that, but then “Take Me Home” is yet another guitar ballad talking about dying alone.

“Hood Angel Baby” goes into a cloudier direction proclaiming he’ll take whatever he wants while “Song for My Son” of course is a touching ballad about fatherhood. “Deranged” incorporates some acoustic addressing those who’ve called him crazy while “Sunday 3X” has a more intoxicating feel talking about taking it easy.

Following that, “Domestic Violence” returns to a gloomier sound comparing how hard his music hits to such while “Spark Something” sepulchrally talks about the shit he’s seen. “Code Names” has a more playful tone advising not to get attached while the song “Ms. Fortunate” brings back the acoustics getting romantic. The penultimate track “Jack’s Idle Hands” is a bassy-trap jam talking about being a bully on his shit & “The Rain (Broken)” ends the album with a powerful look at depression.

Even though I’d have to say Must Warn Øthersis my favorite thing Choirboy has done on his own, The Road to Demon City is absolutely behind it. Some of the production could’ve been a little better in my opinion, but I really admire how the dude has nothing to hide lyrically & confesses about his life as much as he can.

Score: 3.5/5