Ransom – “The Uncomfortable Truth” review

Jersey City wordsmith Ransom dropping his 14th EP a week following its announcement. Coming up as 1/2 of the short-lived duo A-Team alongside Hitchcock, he branched out on his own in 2008 following their disbandment beginning with the full-length debut Street Cinema & the Statik Selektah-produced sophomore effort The Proposal. But it’s been safe to say these last couple years have been his biggest so far whether it be the 5 EPs that he put out produced by Nicholas Craven, 7 based around the 7 deadly sins, Heavy’s the Head entirely produced by Big Ghost Ltd., the Rome Streetz collab album Coup de Grâce, Chaos is My Ladder, Director’s Cut 4 & Deleted Scenes 2. Lavish Misery produced by Harry Fraud was a step above Spare the Rod, Spoil the Child & MadeinTYO producing Smoke & Mirrors last summer was an exciting surprise, coming off The Reinvention produced by DJ Premier this past Halloween to confront The Uncomfortable Truth with Conductor Williams.

“Clairvoyance” ferociously breaks the gate down talking about his ability to perceive events in the future whereas “Blood Stains on Coliseum Floors” works in a crooning soul sample posing the question of why one would believe in faith when every single prophecy he’s familiar with has been ignored. The only single “Bomaye” drumlessly references the Rumble in the Jungle between George Foreman & WWE Hall of Famer Muhammad Ali just before “Temple Run” featuring J. Arrr talks about not reaching their full potentials.

To begin the 2nd half, “Late Replies” keeps chopping up the soul samples apologizing to the love of his life for responding to her calls & texts later than he normally does leading into “The Human Animal” talks about people trying to pass batons in the midst of racing death. “Flowers & Tombstones” featuring J. Arrr reunites the pair 1 last time over a drumless beat to place blossoms on these analytics’ gravesites while “Trigger or Trigga” soulfully ends the EP talking about people falling victim to trigger works.

Wouldn’t have expected The Uncomfortable Truth to drop so soon after The Reinvention almost 3 weeks earlier but unsurprisingly, it’s another one of the greatest extended plays throughout Ransom’s whole entire catalog. Conductor Williams’ production leans heavier towards the drumless side of things contrasting Preemo’s signature boom bap sound of The Reinvention on Halloween & the lyrics are more soul baring, bringing along J. Arrr for a couple appearances instead of holding it down by himself again.

Score: 4.5/5

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Tha God Fahim – “Slam Dump” review

Atlanta, Georgia emcee/producer Tha God Fahim shaking things up a bit with his 67th EP. Starting as an affiliate of Griselda Records & being 1/3 of the Dump Gawds alongside Mach-Hommy & Your Old Droog, we also can’t ignore the massive discography that he’s managed to build for himself, some of the standouts include Breaking Through tha Van Allen Belts & Dump Assassins. He’s been putting out amongst his best material in the past few years like the Camoflauge Monk-produced Dark Shogunn Assassin, the Nature Sounds-backed Iron Bull, the Nicholas Craven-produced Dump Gawd: Shot Clock King series, the Oh No-produced Berserko, the Mike Shabb-produced Dump Gawd: Rhyme Pays, Tha Supreme Hoarder of All Pristine Wealth, Supreme Dump Legend: Soul Cook Saga produced by Cookin’ Soul & Machine Gun Vocabulary produced by Cartune Beatz. Dump Gawd: Hyperbolic Time Chamber Rap 19 on Halloween was technically his most recent solo effort until Slam Dump, starting a new series instead of doing a Lethal Weapon 5.

“Happily Ever After” jumps over a chipmunk soul instrumental talking about there being no happy endings when ever he closes a chapter whereas “All Buckets” chops up another sample cycling through an entire clip until he hears a click. The title track featuring Jay NiCE soulfully talks about this rap shit being easier than breathing prior to “Clean ‘Em Up” also featuring Jay NiCE winning championships without coaching.

Jay NiCE makes his 3rd & final appearance on “International Champs” talking about making sure your “gold” doesn’t turn out to be copper in reality while “1st Strike” make for some of the extended play’s craziest rhyme schemes continuing a legend’s story. “Professional Hits” incorporates more samples to talk about his words representing lightness & “Noble Lineage” concludes with a soulful outro explaining that trials are a part of the process.

Regardless of how long it’ll be until Dump Gawd: Hyperbolic Time Chamber Rap 21 & whether or not it’ll be another collaborative effort with Jay NiCE, I have to appreciate Tha God Fahim for doing a 180° although it wouldn’t surprise me if Lethal Weapon 5 does come to fruition within the next year. Drega33’s production ranks amongst his best as he & FlyG prepare for the MENNBLVCK sequel in less than a couple weeks & the lyricism maintains Hyperbolic Time Chamber Rap 19‘s caliber.

Score: 4/5

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Dave McMurray – “I Love Life Even When I’m Hurting” review

Here we have the 9th studio LP from Detroit, Michigan saxophonist & multi-instrumentalist Dave McMurray. Introducing himself in 1989 off his debut album The Secret Life & returning 7 years later with the sophomore effort The Dave McMurray Show under Warner Records, he would go on to put out Peace of Mind as well as Soul Searching & Nu Life Stories between the late 90s/early 2000s until returning in 2018 by signing to the greatest jazz label of all-time Blue Note Records & made Music is Life his debut for the home of the genre’s finest. Coming off Grateful Deadication & it’s sequel, he wants to make it clear that I Love Life Even When I’m Hurting.

After the spoken word intro “This Life” by Herschel Boone, “The Jungaleers” starts with Shady Records in-house producer Luis Resto alongside drummer Jeff Canady & percussionist Mahindi Masai joining Dave to pull from Afrobeats for a nod to the high school the latter had attended whereas “Just a Thought” dedicates itself to his wife & daughter. “7 Wishes 4 G” blends soul-jazz & deep house for a love letter to “Astral Traveling” by Pharaoh Sanders leading into him covering “We Got By” by Al Jarreau.

“The Plum Blossom” by Yusef Lateef gets covered to start the 2nd half while the title track recruits Blue Note president Don Was to play acoustic bass. “Find Your Peace (4 Tani)” gives his flowers to drummer Tani Tabbal bringing the soul-jazz influences back in full effect to endearing results. “The Wheel” finishes the LP with a cover of the Grateful Dead b-side of the same name & honoring Jerry Garcia’s legacy in his own fashion.

Celebrating the love he has for the Motor City & for the many musicians he’s collaborated with, Dave McMurray comes off the Grateful Deadication series to make his greatest musical statement since Music is Life. Consisting of 6 original compositions & 3 covers in the wake of a friend of Dave’s who succumbed to illness & passed away alone, it’s admirable for me hearing him using that energy to construct a full-length themed around positivity surrounded by the most special people in his life.

Score: 4/5

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The Neighbourhood – “(((((ultraSOUND)))))” review

The Neighbourhood is an alternative rock & indie pop band from Newbury Park, California consisting of drummer/percussionist Brandon Fried, bassist Michael Margott, rhythm guitarist Jeremiah Freedman, lead guitarist Zachary Abels & frontman Jesse Rutherford. Signing to Columbia Records in 2012, they would go on to make their full-length debut the next spring with I Love You. & Wiped Out! celebrated it’s 10-year anniversary only a couple weeks ago. Hard to Imagine The Neighbourhood Ever Changing would improve from both it’s predecessors while Chip Chrome & the Monotones would moderately fulfill their Columbia contract. They have since taken a hiatus between 2022 & this summer, joining the Warner Records roster for their 5th album.

“Hula Girl” sets up their return with a bit of a homage to Oasis singing about the feeling of being removed from his peers whereas “OMG” continues by blending elements of the Wiped Out! & Hard to Imagine The Neighbourhood Ever Changing eras lyrically calling back to “You Get Me So High” & “No Grey” respectively, which is something I believe longtime fans will certainly admire. “Lovebomb” goes for a more nostalgic vibe altogether breaking the curse that all of Jesse’s previous relationships all have in common just before “Private” sings about the relationship he has with his current girlfriend Valentina Bilbao.

As for “Lil Ol’ Me”, we have The Neighbourhood continuing to pull inspiration from Oasis with a hint of Nirvana sprinkled in this time around singing about people wanting Jesse’s soul after putting a lease on it while “Planet” incorporates a bridge reminiscent of the late Michael Jackson yearning to take back a light that was stolen. “Holy Ghost” reaches the halfway point experimenting with alternative dance singing for Valentina to hold him close whenever he feels uncomfortable or wants to give up making music while “Rabbit” begins the 2nd act of (((((ultraSOUND))))) tackling themes of agony & despair.

“Tides” keeps it rolling by throwing it back to the Wiped Out! days once again depicting a relationship built around constantly fighting & asking if they can put their differences behind them while “Daisy Chain” shifts towards an indie rock direction stylistically singing about the topic of nostalgia. “Zombie” compares Jesse to the undead because of him staying up all night waiting for a woman he’s been in contact with as of late to answer his missed calls while “Mama Drama” thematically picks up where “Daddy Issues” left off a decade earlier.

The song “Crushed” winds down (((((ultraSOUND)))))‘s final 11 minutes by taking a bit of a funkier approach in terms of sound singing about self-destruction while “Mute” apologizes in advance if Jesse’s been acting weird, attributing it to his desire of wanting to disappear & things inside his head becoming increasingly loud. “Stupid Boy” concludes the band’s comeback with a sequel to “Pretty Boy” off Chip Chrome & the Monotones, except the aesthetics of I Love You. happen to be more significantly prominent with his empathy increasing & his faith in humanity decreasing.

“Start” appropriately begins the deluxe run singing about having a difficult conversation with someone while “Good Grief” continues by admitting that he’s been having difficulty trying to get over the individual he’s addressing. “Lulu” sings about creating a self defense mechanism that allows Jesse to transform himself & experience life through a different identity while “Red Flag” suggests to set him on fire before he loses it. The final bonus track “Bed” spends the last couple minutes singing about being unsure of whether he’s lonely or alone & lying to himself to make everything seem alright.

Up until this point: These guys to me personally have always been one of those acts where they’ll occasionally wow me by putting out tracks like “Prey” or “Roll Call”, but (((((ultraSOUND))))) changes everything for The Neighbourhood returning under Warner Records for what might be their strongest LP. The production has something that all fans can enjoy recapturing every style they’ve explored during their Columbia Records tenure from alternative rock to indie pop, indie rock, alternative dance & dream pop with it’s darker & moodier spin complimenting Jesse Rutherford’s intimately self-aware lyrics revolving around heartbreak, disillusionment & emotional vulnerability.

Score: 3.5/5

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Swapa – “CLRBLND” review

Swapa is a 21 year old recording artist & producer from Harlem, New York introducing himself in 2021 off his poorly received debut EP To Each It’s Own. He would gradually improve himself from there whether it be New Harmony, Bannon, Ollo, Eigen, Island or his most recent extended play as of me writing this Armageddon celebrating it’s 1-year anniversary last month. In regards to his full-length studio debut album CLRBLND, seeing a couple notable producers that I’m a fan of making some contributions to it had me intrigued & I thought I’d give it a shot.

“tap in” starts us off by introducing a new mind of swag to the world since he’s in his bag differently whereas the experimental “fully chop” talks about nobody being able to fuck with him because of his boss status. “redinyoeyes” appreciatively throws it back to the Bannon era a little for those who’re fond of that point in his career leading into the self-produced “skull” talking about the type of guy he is compared to some of these lames.

Moving on from there, “heavy metal” continues to display Swapa’s production talents assuring that he’s in it similarly to the titular genre of music just before the 808-heavy “steve kerr” talks about being richer than the Golden State Warriors’ head coach himself. “nah” stylistically feels like some new age Future shit getting fried while “sir scale” produced by Whyceg & Goxan works in more 808s talking about everything he says eventually selling.

“rigged” reaches the halfway point of the LP subtly referencing the NBA’s ongoing illegal gambling scandal involving Chauncey Billups, Damon Jones & Terry Rozier while “old habits” sticks out with one of my favorite flows throughout CLRBLND asking if one wants to die now that he gave his bitch a Glock to carry for protection. “nother level” speaks of wanting to murder their opps & throw their corpses in the river while “again” talks about it only being him & his bands in the end.

Things take a more rage-inducing vibe on “troll” considering himself a threat while “ykisshme” leans heavier towards a synth-based sound thanks to Clayco promising y’all gonna know it’s him when he pulls up. “marni” much like “old habits” shines as a moment where he shows off what he can do with his flows while the piano-heavy “why not?” talks about doing this music shit for himself. “alien” finishes Swapa’s debut with him psychedelically arriving to the function looking extraterrestrial.

Impressed with his verse on Devstacks’ sophomore effort 4SouljasOnly earlier this spring, it only made sense for me to find out if CLRBLND would be capable of topping Armageddon in addition to some of the other EPs he has under his belt that I don’t find myself going back to very often like Island for instance. Surely enough, all 5 tracks he produced by himself along with “sir scale” & “ykisshme” to name a couple all make for the finer moments over the course of Swapa’s proper introduction.

Score: 3.5/5

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Meek Mill – “Indie Pack” review

Philadelphia, Pennsylvania rapper & songwriter Meek Mill preluding his 6th album with his 8th EP. Starting out in the battle rap circuit before T.I. briefly signed him to Grand Hustle Records. Once he left, Rick Ross brought him over to Maybach Music Group & we’ve seen a handful of ups & downs in his career over the past decade. 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? Championships was seen as his most mature body of work yet despite being a tad bit bloated, fulfilling his contractual obligations for Maybach & Atlantic Records with Expensive Painto divisive reception. Coming off Heathenism & Who Decides War?, the next phase of his career is being teased via an Indie Pack only a couple days succeeding what would’ve been the 45th birthday of BJWジュニアヘビー級チャンピオン, 3-time CZW World Tag Team Champion, JCW World Juggalo Heavyweight Champion & ROH World Tag Team Champion Trent Acid.

“Save Yourself” open with a bland instrumental talking about the fact that everybody can’t be saved because all of us weren’t meant to make it whereas “How Far We Came” works in some decent sampling feeling prideful of his successes. “Free Smoke” speaks of people talking shit behind his back wanting to see him dead & “4th of July in Philly” featuring Fridayy finishes with both of them cooking up a mediocre Independent’s Day anthem.

Before I get to my closing thoughts regarding Indie Pack, lemme just say that I’m very happy for Meek Mill getting off a major label & becoming fully independent. However, he hasn’t had a consistent body of work since Championships & this EP unfortunately continues towards the same trajectory as Expensive Pain. Clearly there’s a lot less pressure on him now that he doesn’t have to worry about appeasing record executives anymore, but his production choices are getting worse.

Score: 2/5

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ИF – “Fear” review

Gladwin, Michigan recording artist ИF dropping off his 3rd EP. Coming up 15 years ago off his debut mixtape Moments, he eventually signed to Capitol Records & made his full-length debut during my senior year of high school with Mansion. This was followed up with Therapy Session & Perception, the latter of which spawning his biggest hit “Let You Down”. Coming off The Search & Hope however, he’s decided to face Fear head-on as we reach the halfway point of November 2025.

The self-produced title track opens with him talking about his OCD being worse than ever and asking God, if this fire and his life was started by Him & after “Home” finds himself pretending this chick’s actually here leaving a voicemail and telling her to call him back, “Who I Was” featuring MGK brings 2 of the corniest artists together talking about everything they care for being burnt up in front of them.

“Gimme a Reason” talks about forgetting what the hustle & struggle was like despite the cosign from UFC fighter Michael Chandler while “Sorry” featuring James Arthur starts the final moments of Fear with both of them coming together for a pop rap crossover apologizing to exes for the way things ended with them & not trying to start any more issues than Necessary. “Washed Up” concludes the EP regressing to a more negative mindset that was seen prior to Hope.

Unfortunately as much as I really want to like ИF’s music, Fear merely faulters at an attempt to shift towards singer/songwriter with minor elements of conscious hip hop along with pop rap & folk pop. There’s not really a whole lot for me to complain about in regards to the production since it’s merely decent at best, it’s that some of the lyrics can be irritatingly corny & the flows aren’t really all that interesting to me either personally.

Score: 1.5/5

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Wale – “Everything’s a Lot” review

Wale is a 41 year old rapper & songwriter from Washington, D.C. breaking out in 2008 after signing to Interscope Records & releasing his 4th mixtape The Mixtape About Nothing. He would go on to have 9th Wonder produce Back to the Feature as a prelude to his full-length debut Attention Deficit, signing to Maybach Music Group in 2011 & making debut for the label 9 months later with his sophomore effort Ambition to moderate reception. Folarin, The Gifted, The Album About Nothing, SHiNE (Still Here Ignoring Negative Energy), Wow…That’s Crazy & Folarin II all ranged from mediocre at best to some of his most tepid material at worst. Now that he’s signed to Def Jam Recordings, I was more optimistic heading towards his 8th studio album only a month away from the current WWE Intercontinental Champion John Cena’s retirement match at Saturday Night’s Main Event XLII.

“Conundrum” hops over a chipmunk soul instrumental from STREETRUNNER asking this woman if she really loves him whereas the final single “Belly” samples “Back to Life (However Do You Want Me)” by Soul II Soul featuring Caron Wheeler to potently talk about heading deep into a dangerous situation. The 2nd single “Where to Start”flips “I’m So Into You” by SWV so he can reflect over the past to pave way for the future while the lead single “Blanco” talks about him starting to drink again.

After the “Michael Fredo” prelude, the actual “Michael Fredo” song itself works in a triumphantly boastful trap beat so he can count paper as opposed to everyone else counting favors despite the flow sounding reminiscent of Rick Ross’ at times just before “Power & Problems” talks about never being conquered. “Mirroronnabenz” produced by BNYX of Working on Dying was easily my favorite single of the 5 tackling themes of self-affirmation prior to “Watching Us” featuring Leon Thomas III sampling Goapele for a smooth pop rap ballad.

Seyi Vibez & Teni join Wale on “YSF” starting the 2nd half of his Def Jam debut experimenting with Afrobeats & it doing a lot better than he did almost a decade ago with SHiNE (Still Here Ignoring Negative Energy) considering that’s the weakest thing Wale has ever done personally, but “Tomorrow Today” continues by taking a smoother approach for a pop rap track that’s more average not wanting to bother the woman he’s seeing so late in the evening. “Big Head” featuring Odumodubvck finds the 2 talking about egotism while “City on Fire” soulfully advises to not become a casualty.

One of my all-time favorite Maxwell songs “Pretty Wings” decently gets sampled throughout the trap soul/hip hop fusion “Fly Away” talking about wanting to escape with the woman of his life while “Corner Bottles” incorporates some synthesizers confessing to not being able to sleep at night because that’s how the love goes. “Like I” luxuriously asks a female who’s caught his eye if he can be her scripture & her script due to the infinite amount of potential they could have as a couple while “Survive” featuring Nino Paid talks about the difficulty of being faithful can be at times with Pooh Beatz behind the boards. 

“Lonely” featuring Shabooezy concludes Wale’s return with them over a rock guitar comfortingly singing of loneliness while “Ghetto Speak” starts the deluxe run with him assuring that his wraith had only begun, warning that it’s these muhfuckas’ last chance to show him the way they be moving out here. “Mission Statement” could be the best of the 3 bonus tracks from the T-Minus instrumental to the hungry 58 second verse that references Def Jam: Vendetta while “What’s the Play?” featuring Chaz French ends the extra 5 & a half minutes of material with both artists trying to figure out the move for when it gets dark outside.

With all due respect to Wale because the guy’s been on my radar ever since he was a part of the All City Chess Club during my adolescence: I always felt that Maybach Music was a weird fit for him & his output post-The Gift pretty much says it all. However, I can say that Everything’s a Lot is easily the most I’ve enjoyed Wale’s music in a while although I’m still on the fence with it a little. It’s easily the most passionate that he sounded in a minute, although some of sample choices within the production don’t do it for me as much as I enjoy all of the original source materials that’re being repurposed.

Score: 3/5

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Foul Mouth – “Everybody Goes Crazy Once” review

Foul Mouth is a 42 year old producer & MC from Detroit, Michigan coming up as 1/2 of Da Bash Brotherz with the late PHD & 1/3 of JFK with Jake Knew & King Juke. He would also form the duos Bad News Brown & Speak of the Devil with Ketch P & DJ Skyrah respectively after starting his own label Middle Finger Music in 2018, producing albums for the likes of Fatt Father & Isaac Castor to name a couple. His most notable work has been with Bizarre of prior D12 fame, whether it be his work with King Gordy as L.A.R.S. or the He Got a Gun series & the final moments of “Antichrist” off Eminem’s 13th album THE DƎATH OF SLIM SHADY (COUP DE GRÂCE). However, he’s finally to make his full-length studio debut as lyricist.

The intro breaks the door down with a gritty self-produced instrumental advising all the people ripping off Griselda to get lost whereas “Only the Right” jazzily talks about taking a break from rapping for a decade to focus on his successes producing for some of the biggest names in music. “From Above” featuring Isaac Castor & Jalen Frazier dustily boasts that nobody can ever be anything like them while “Code Red” featuring Bizarre & Fatboi Sharif eerily finds the trio staying in their hardcore bags lyrically.

“Louis Tripp” works in a drumless sample admitting that he’s been feeling lonely as of late even though he’s one of the most in-demand beatsmiths throughout the entire state leading into “Lucky Number” featuring Choke Uno, DJ Clay, Isaac Castor, J-Classic, Metasyons & Tru Klassick coming through with a 3 minute posse cut. “Discharge it to the Game” shows off Foul’s ear for sampling referencing former WWE Cruiserweight Champion, WCW World Tag Team Champion & 2-time WCW World Television Champion Disco Inferno just before the crooning “Bah Say” featuring J-Classic & Kain Cole talks about their boss mentalities.

To begin Everybody Goes Crazy Once’s final act, “Bombs Away (4XL Beefcake)” speaks of being the only attraction down river that hasn’t failed while “The Salton Sea” drumlessly talks about music being his only passion & for has-beens to blame themselves for their own downfall. “All Jokes Aside” confesses that all he ever wanted was to be normal until his soul got sucked through a portal & the title track appropriately sends things off losing it over a boom bap beat.

Knowing this guy personally for almost a decade, Foul Mouth’s always told people that he could freestyle better than he could make beats & Everybody Goes Crazy Once certainly proves his point that I had already figured out from the moment I heard his hooks on “Savage Life” by L.A.R.S. when they dropped their debut EP Foul World after Twiztid had signed them to Majik Ninja Entertainment. I feel like there isn’t much that hasn’t been said already regarding his production which is mostly self-produced but lyrically, his pen has sharpened significantly from his days with his late Bash Brother PHD & the guests that he brings on board all maintain their own weight.

Score: 4/5

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Tee Grizzley – “Street Psalms” review

Here is the 6th studio LP from Detroit rapper & singer/songwriter Tee Grizzley. Originally a member of the quartet ASBH, it wouldn’t be until 2016 where he would blow up off his first solo single “First Day Out” & earned a contract with 300 Entertainment. His profile would continue to grow by dropping projects like his debut mixtape My Moment, the debut album Activated, his 2nd tape, Still My Moment, the Timbaland exec-produced sophomore effort Scriptures or my personal favorite: his 3rd mixtape The Smartest. Built for Whatever, Chapters of the Trenches, Half Tee, Half Beast & Tee’s Coney Islandwere generally mixed, coming off the sonically diverse Post Traumatic & declaring it’s Forever My Moment by spitting Street Psalms.

“In My Life” was a decent Detroit trap intro talking about not getting adjusted to being broke even though it took him a long time to get things right whereas “Walk” produced by Chopsquad DJ makes up for it from the the instrumental to Grizzley’s lyrics explaining that he balls late at night so he can party in the trenches. “Lou’s Deli” continues to head down that same trajectory in terms of quality explaining that he’s walking in the streets & stepping in the booth while “Seen Enough” featuring Polo G talks about being too deep in the water with the sharks.

As for “Make ‘Em See”, we have Helluva jumping behind the boards making it clear that he ain’t got no time to wait because he got a toddler & an infant when he’s not wrong there leading into “Chicken Different” suggest that this bitch changes her mind frame if she can’t handle what comes with the game. “Slow Me Down” makes it clear that he knows what it’s like to pray for something & then it ends up falling at your heels while “Voicemail” featuring [Rod Wave] talks about not getting sleep because of bitches abusing their numbers.

“Breath of Fresh Air” pushes towards the first half conclusion by assuring his girl that his emotions are safe with her & that he can’t wait to see her while “Van Nuys Aviation” recalling when people weren’t helping him when he needed it & wanting to take pictures with him now that he’s big. “Emotionally Intelligent” let the love of his life know that he’s constantly thinking of her & misses her dearly while “Trials & Tribulations” talks about the street shit being watered down to the point where they need to cut it out.

Continuing the 2nd half, I found the sampling on “Made It That Way” to be pretty interesting forcing himself to trap on days when he doesn’t even wanna do a damn thing while “In My Headphones” continues to show off some cool sample techniques talking about being quiet unless he means it. “Brain Cells” reunites with Helluva to hook some bells talking about the dumb shit he’s done lowering his intelligence while “Chase People” maintains the Detroit sound dismissing those calling even with him when he kept it going & they gave up.

“Back to Michigan” kicks off the final leg of Street Psalms with him & Helluva getting back together publicly admitting that 300 has given him a $20M offer in exchange for his penmanship while “Internet Detectives” takes a shot at that specific group of people. “Baby Teeski” pushes towards the end, talking about his family reasonably missing him & “New Chapter” finishes with a gospel influence speaking of having only God’s presence left.

Admittedly: As much as I liked Post Traumatic & Forever My Moment, I came away from Street Psalms enjoying it less than either or and it could be one of the weaker installments in Tee Grizzley’s discography. I appreciate the approach she took in terms of songwriting, although I don’t think the Detroit trap production was as enjoyable as the last couple projects that I previously had mentioned.

Score: 3/5

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