KanKan – “##RR” review

KanKan is a 21 year old artist & producer from Dallas, Texas who emerged in 2019 as a member of Slayworld & by landing production credits for a wide range of artists from Summrs to even Little Pimp. He’s also dropped an eponymous debut mixtape & 14 EPs in that short amount of time, but all of that has but nothing but a pre-game & is ready to prove the world what he’s really capable of on his very 1st full-length album.

“Arcteryx” kicks it all off a fun little freestyle accompanied by a minimal yet joyous instrumental whereas “Red” is a bass-heavier cut speaking on his newfound fame. “Breakin the Bank” is a cool electro/trap fusion about his wealth, but then “Not da Same” feels like a leftover from Yeat’s latest album Up 2 Më given the lack of KanKan’s presence on it.

The title track brings in some hypnotic synth melodies celebrating the paper coming in by dropping it on a black Bentley & Roxis just before “Wreck” works in a blobby bass-line talking about walking in the club with that fire. After the acoustic-tinged “Oxy” interlude, “Milan” serves as a corny love ballad with an underwhelming Joony verse at the start leading into the cloudy yet monstrous “Dissin’” goes at his naysayers.

“Under Me” continues where the previous cut left off thematically albeit with a mistier beat while “Take It to Trial” serves as an underwritten shot at studio gangsters. The song “Fuk tha Clout” with Yeat finds the 2 on top of a mind-altering instrumental saying they don’t care about the fame while the penultimate track “Russian Shit” works in some piano melodies getting on his hardcore shit & “Demon Time” is a short yet grim finisher to the album displaying his recklessness.

Overall, #RR is a pretty respectable debut album & I’m curious to hear where he goes from here in the subsequent future. A couple songs seem like they’re unfinished & not fully realized, but KanKan continues to make his mark as one of the biggest names in the plugg scene today as he vibrantly details where he’s at currently.

Score: 3.5/5

Lute – “Gold Mouf” review

Lute is a 32 year old rapper from Charlotte, North Carolina who came up almost a decade ago as a member of the short-lived Forever FC as well as his debut mixtape West1996 a little bit after their disbandment. This would catch the attention of local legend J. Cole & he would sign Lute to his Interscope Records imprint Dreamville Records the very day the label dropped their 2nd showcase compilation Revenge of the Dreamers II in December of 2015. Fast forward to his full-length debut a couple years later being a respectable sequel to his breakout tape but now, he’s enlisting Rapper Big Pooh to oversee this sophomore album of his.

“100” is a dreamy boom bap opener about keeping it real whereas “G.E.D. (Gettin’ Every Dolla)” has a bit of a lush trap instrumental speaking on making the money. “Myself” addresses being extroverted with a meditative Trox beat, but then “Be Okay” has a bit of an R&B-flare optimistically looks forward to the future in the midst of dark times.

Meanwhile on “Eye to Eye”, we have Cozz tagging along for a piano ballad about how real recognizes real just before “Changes” vibrantly details that he’ll never switch up like a lot of other cats did. “Ghetto Love” is a decent romance cut that I can do without whereas “Amen” with fucking Little Brother gets on the boom bap tip takes another whack at it doing a much better job with it’s spiritual references.

SABA comes into the picture for “Birdsong” to talk about living how they want over an alluring vocal sample leading into the dusty, boastful “Flossin’” featuring Shady Records’ very own Westside Boogie & produced by Marco Polo. The song “Life” vulnerably details how he handled the hurdles 2020 threw at us while the penultimate track “Overnight” is a guitar ballad reminder that Rome wasn’t build in a day. “Crashing” serves as a cloudy finisher saying he’s been stuck in his ways & been in control of his own faith.

For anyone who enjoyed the West1996 duology, I think you’re gonna like Gold Mouf just as much if not even more. Big Pooh brings in a gang load of fresh faces behind the boards to demonstrate their talents, the features are well-picked & Lute’s at his most honest lyrically.

Score: 3.5/5

Stanwill – “Full Auto” review

Here is the 3rd solo EP from Detroit, Michigan rapper Stanwill. Coming up as 1/3 of the ShittyBoyz with Babytron & TR Dee signing to Lando Bando’s own The Hip Hop Lab Records, he eventually branched out on his own during the COVID-19 pandemic off last summer the debut EP $camwill as well as it’s successor Gifted turning 1 this winter & the debut mixtape Van Gundy earlier this year. However, he’s looking to completely go Full Auto in preparation for a full-length debut studio album.

The self-produced “Slime Ball” starts by talking a whole lot of gang shit whereas “Ándale” flexes that he & the rest of the Dog $hit Militia collective will slide in ア・ベイシング・エイプ, which is one of my favorite clothing brands personally. “Max Payne” references the Rockstar Games-owned franchise of the same name & promising a mugger he’ll get his ass beat if he tries him while “Fast Lane” talks about living in the fast lane.

“Been That” gives a shoutout to Louis Vuitton men’s creator, Off-White founder & RSVP Gallery founder Virgil Abloh for the fit leading into “8 Phones” talking about not giving a fuck regarding the little guns or petty stacks because they got bigger sticks & longer money. “Kick Ass” finishes the Full Auto experience by talking about receiving slow head because the whip’s too fast, spending a total of $400 on 2 steaks.

I wouldn’t rank Full Auto above $camwill or Chosen, but it’s still a worthy Detroit trap solo EP from Stanwill displaying what he’s capable of doing by himself ahead of his inaugural LP whenever he decides to put it out. Production isn’t as interesting as the Van Gundy tape or his first couple EPs, except I like that he holds down the mic by himself as opposed to the guests on Full Auto’s predecessors.

Score: 3.5/5

maticulous – “no caps” review

maticulous is a 40 year old producer from Brooklyn, New York who originally broke out a decade ago off his eponymous debut EP & then a self-titled debut a few years later. This was followed up with The Chrome Tape in 2016 but after producing a couple albums for Justo the MC More recently, he’s dropping a sophomore EP with a jam-packed cast of MCs coming along for the ride.

“Shouts To…” by Homeboy Sandman starts off the EP with an alluring boom bap propping up those who got him out of a bind whereas “Everything” by Justo the MC & Skyzoo finds the pair putting all on the line on top of some strings. “Close Range” by J Scienide & Kev Brown takes a more soulful route getting at their competition, but then “Home Goin’” by Guilty Simpson is an airy boom bap cut detailing going to a funeral with the killers in the room.

Meanwhile on “Take Heed”, we have Breeze Brewin’ & Al Skratch coming together over a harp-laced instrumental advising to watch your surroundings just before “Bein’ This Nice” by Uptown XO & yU gets in that grimy shit talking bag. The penultimate track “Keep ‘Em High” by Beedie, Justo the MC & Rim has a more smoother vibe encouraging listeners to move with them & the closer “Survival Mode” by Ill Conscious & M.A.V. has some slick guitar melodies speaking on how it’s normal for them trying not to get killed in the hood.

Between this & the self-titled joints, I think no caps has to my favorite solo projects that maticulous has dropped so far. Some of the best beats he’s ever made pop up on here & the guests are a bit more consistent in terms of their performances.

Score: 4/5

Lil Wayne & Rich the Kid – “Trust Fund Babies” review

This is a brand new collaborative album between Lil Wayne & Rich the Kid. One is a icon from New Orleans, Louisiana who had the rap game in a chokehold during the mid/late 2000’s & the latter being a 1-hit wonder from Atlanta, Georgia who most people remember for “New Freezer”. Only reason being because of Kendrick Lamar’s odd yet show-stealing feature on there. We’ve only heard the 2 on a couple songs together within the last couple years but with the 1-year anniversary of the Nobody’s Safe joint album with YoungBoy Never Broke Again coming next month, he & Weezy are uniting for Trust Fund Babies

“Feelin’ Like Tunechi” has a bit of a jangly instrumental to it with both of them talking about being GOATed (which only Wayne has the bragging rights for in my opinion) whereas the orchestral “Headlock” doesn’t even sound focused lyrically. Tay Keith’s hazy production on “Trust Fund” is a breath of fresh air as is the concept about going from rags to riches leading into “Admit It” works in some uptempo synths admitting being wrong & being done wrong.

Meanwhile on “Shh”, we get the reminder that money talks on top of a reversed loop just before the spacious “Big Boss” declares themselves as such. Murda Beatz’ nocturnal instrumental on “Still” is another relief as they talk about being the same reckless dudes while the song “Bleedin’” serves as a boring ode to being fucked up with the penultimate track “Buzzin’” with YG taking another jab at it albeit being slightly better. As for “Yeah Yeah”, it closes the album with annoying cadences & a spacious beat.

Beyond that, what else can I really say about this album other than the fact that it just sucks? Wayne’s verses are just ok by his standards, but I can’t say the same for Rich’s at all & there’s no real chemistry between them on here. On top of that, the production is astoundingly cut-rate.

Score: 1.5/5

Wiki – “Half God” review

Wiki is a 27 year old rapper, songwriter & producer from New York City who came up a decade ago as part of the trio Ratking. Following their disbandment in 2016, he’s made a pretty successful solo career of himself with his debut No Mountains in Manhattan under XL Recordings & the sophomore effort OOFIE through his own label Wikset Enterprises. He just dropped the NAH-produced Telephonebooth back in the spring & to kick off the fall, Wiki’s bringing in Navy Blue to produce his 4th album from front to back.

“Not Today” starts off with a misty piano loop talking about how he “can’t let it end this way”, but then “Roof” works in a more calmer sample speaking on turned his roof into his private quarters. “Remarkably” takes a boom bap turn flexing his lyrical prowess leading into Navy Blue actually hopping onto the mic for the soulful “Can’t Do This Alone” to help say they gonna ride or die for the game.

Meanwhile for “Never Fall Off”, we have Wiki on top of a psychedelic guitar instrumental saying he’ll forever be on top just before “Drug Supplier” with Jesse James Solomon brings in an orchestral loop telling the story of a pusher. “Wik da God” gets back on the bravado tip over a more haunting instrumental whereas “Ego Death” brings in a hypnotic vocal sample encourage listeners to free themselves.

“The Business” charmingly follows it up by telling listeners to get with the program while “Home” starts off with the sounds of cars passing by, but transitions into something more lavish talking about being in his element. Earl Sweatshirt tags along for the harmonious “All I Need” talking about life & what comes with it, but then Remy Banks jumping on top of a slick guitar lead to talk about the world knowing them for “Gas Face”.

MIKE comes into the picture for the slick “Promised” cryptically providing introspection while the song “New Truths” is a boom bap heater talking about hip hop’s effect on him throughout his life. The penultimate track “Still Here” looks back on his youth over a dusty yet lush beat & finally, “Grape Soda” rounds it out with some vocal harmonies in the background talking about better days.

Coming from someone who’s been following Wiki for a few years at this point, I consider him to be one of those artists where he gets better with time & he further solidifies that on Half God to the point where I feel like it surpasses both it’s predecessors to become his greatest LP. Outside of a couple lackluster features, I feel like it contains some of his best songwriting to date & Navy Blue’s drumlessly jazzy production is incredibly detailed.

Score: 4/5

Lucky 7 – “Lucky & the Laser Gun” review

Lucky 7 is a 35 year old MC/producer from Buffalo, New York who I first started noticing after he laced what I personally believe is one of the mort underrated Conway the Machine singles ever: “Temple”. But he’s dropped a total 2 albums, a mixtape & 3 EPs since then before signing to Drumwork Music Group over the spring of this year. And now with only 8 dates left on the Love Will Get You Killed Tour, it’s only right for Lucky to prelude his upcoming debut on Con’s very own EMPIRE imprint with his 4th EP.

After the intro, the first song “Nuke Dropper” works in a blaring boom bap instrumental to tell his opposition to get the fuck out of his way whereas “You Gotta Make It” has a more uptempo vibe encouraging listeners to getting theirs. “Motorbike Music” takes a more luscious turn with Luck & Elcamino proclaiming themselves as rebels, but then Flee Lord tags along for the morbid “Orange Soda” talking about their young shooters.

Meanwhile on “Metal Arm Tesuo”, we have Luck & Jae Skeese wickedly bragging about their extraordinary skills leading into “Kaneda Loves Kei” soulfully pays tribute to his lady. The song “Snoopy’s Penthouse” smoothly details the lavish lifestyle while the penultimate track “Playgrounds” has a more grimier sound with the help of Stu Bangas & Elcamino returning to help shoutout those who’ve been there since the beginning. “Goodbye to Your Life” ends with some strings & lyrics about getting the millions if you follow him.

Coming away from Lucky & the Laser Gun, it’s definitely a solid precursor to Lasertron Arcade. I think the anime concept is well executed, I fuck with the wide range of emotions throughout it’s 24 minute run & how Lucky brought in some fresh faces behind the boards for him to showcase his penmanship to new listeners.

Score: 4/5

King Klick – Self-Titled review

The King Klick is a West Coast supergroup consisting of Chucky Chuck, Johnny Richter & Obnoxious. 2 of the members have already made themselves household names with the Malibu-based independent powerhouse Suburban Noize Records by lending their hands in founding the groups DG@F & Kottonmouth Kings respectively, but the other is a bit of a fresh face to the label after signing to them about a year & a half ago. However with a few well received singles under their belts so far, the Klick’s finally dropping their eponymous debut EP after much anticipation.

“Throne of Spades” is a soulful boom bap opener reminding listeners how they do whereas “Subnoize O.G.’s” rightfully proclaims themselves as a such on top of a g-funk instrumental. “Everyday” is a epic 7 & a half minute posse cut showcasing a majority of the current Suburban Noize roster while the song “Who’s Next?” apocalyptically talks about slaughtering shit. The penultimate track “Spaceships” with Lil Saint & Underrated has a bit of a robotic beat getting on their weed shit, but then “We Want It All” with Madchild & M.C.U.D. ends the EP with a grimy trap banger getting at their enemies.

I’ve been looking forward to this EP from the very first time I heard that closer when they dropped it as the lead single over the spring & my God, did they deliver. The chemistry between the trio comes off as natural than forced, each member stands out in their own unique way & the production has a little something for everyone. Suburban Noize really gave their fans a true celebration of their legacy with this one.

Score: 4.5/5

Meek Mill – “Expensive Pain” review

Meek Mill is a 34 year old MC & songwriter from Philadelphia, Pennsylvania who started out in the battle circuit before T.I. briefly signed him to Grand Hustle Records. Once he left, Rick Ross brought him over to Maybach Music Group & has continued to make himself at home over there to this day. Throughout the last decade, we’ve seen a handful of ups & downs in his career. The critically acclaimed Dreamchasers mixtape series, his beef with Drake & who could forget where he was sentenced to 6 years in prison by a corrupt judge only to be released 5 months later? Meek’s last album Championships was seen as his most mature body of work yet despite being a tad bit bloated but after 3 years of singles & EPs, he’s finally following it up with his 5th full-length album.

“Hate on Me” kicks things off with Cardo sampling the Nas joint “Hate Me Now” as well as Meek going at his detractors whereas “Outside (100 MPH)” gets boastful over a more darker instrumental with a bassy switch up during the final verse. “On My Soul” contains a sumptuous Fuse beat with Meek talking about getting everything leading into Lil Baby & Lil Durk going back & forth with him on top of a Bulgarian sample for “Sharing Locations”. The title track has a moodier sound talking about the shit he went through with this money just before “Ride for You” serves as a boring attempt at a lovey dovey radio hit.

“Me (Fuckin’ With Me)” has a skeletal Boi-1da instrumental as Meek & A$AP Ferg saying no one’s on their level, but then Moneybagg Yo tags along for the uneventfully-produced “Hot” bragging about being those dudes. “Love Train” has a more lush sound to it with Meek venting about people switching on him while “Northside Southside” with Giggs murkily gets on their gang shit.

“We Slide” with Young Thug emotionally opens up on the struggles throughout their lives with a perfectly suiting piano instrumental from Tay Keith whereas “Tweaking” almost has a boom bap flare to it saying he’s too rich to pay hoes referencing Amazon founder Jeff Bezos. I think it’s pretty cool how “Love Money” works in some guitars talking about how he doesn’t love the paper anymore & “Blue Notes 2” with Lil Uzi Vert serves as an average sequel to the Dreamchasers 4 cut of the same name.

“Angels” is an emotional tribute to the late Lil Snupe just before finishing off the “Cold Hearted” trilogy with the hazy “Cold Hearted III”. The penultimate track “Halo” despite it’s nondescript production opens up about knowing too many angels & the 30 Roc-produced “Flamerz Flow” ends the album with a hungry freestyle.

As much of a fiery comeback Championships was, I didn’t really expect much from Expensive Pain given that most of the singles were mid. Lo & behold: That mediocrity carries it’s way onto the album. You got barely more than half of it being straight up bangers & the rest is just completely forgettable.

Score: 3/5

Summrs – “Nothing More Nothing Less” review

This is the latest full-length album from Lafayette rapper Summrs. Coming up as a member of the Goonie-founded Slayworld collective, he’s made his presence known in the plugg scene by constantly dropping projects whether it be the All Summr trilogy or his most recent EP What We Have which in my opinion would the recommended go to if you’re unfamiliar with the kid already. However only 4 months later, he continues to grind his ass off by putting out Nothing More Nothing Less.

The titular intro begins the album with Summrs & Goyxrd atmospherically looking back at going from the loser in his high school to being the man leading into the cloudy “Never Ever” addressing a person faking the funk. “Like a Band” smoothly details his exquisite life whereas “In the Name of U” glossily speaks on getting high to honor a woman named Brenda who’s no longer in his life.

“From da Heart” is quite possibly the most personal cut on the album detailing his emotional pain with a moody instrumental just before the nocturnal “Blood Always Thicker” pays tribute to his friends, family & fans. “Can’t Make This Up” has some lush synth melodies getting romantic, but then the Autumn!-produced “Da MVP” serves as a mellow victory lap.

Meanwhile on “First 48”, we have Summrs entrancingly getting in his gangsta back & “Back 2 da Basics” comes through with a killer off-the-top freestyle lasting a couple minutes. The penultimate track “I’m Ready” speaks on keeping the Draco with him at all times over some synths & hi-hats while “Where We Left Off / Real Me” is a well sequenced 2-parter that finishes the album talking to his lover.

Coming away from Nothing Less Nothing More, it’s probably my favorite album of his thus far & I’m curious to hear how Evolved II is gonna sound in a couple weeks. He puts his own unique spin on the plugg sound by continuing to infuse elements of R&B as shown on What We Have, but I would love a project from him produced entirely by Autumn! because they’re the plugg equivalent to Future & Metro Boomin’.