Cody Manson – “Psychoactive” review

Cody Manson is a 30 year old rapper from Cleveland, Ohio who’s been on my radar for a couple of years now. He recently signed with Lyrikal Snuff Productionz & in light of that, we’re being treated to the man’s full-length album.

The title track that kicks the album off speaks on his meaning of such over a trap metal beat whereas the next song “S.T.F.U. (Shut The Fuck Up)” takes aim at his competition over a trap instrumental with some chimes. The track “Bounce” with Bobby Krea sees the 2 getting raunchy over a rubbery beat while the song “Lucy” with Shadow & Ether finds the trio talking about losing their minds over a comatose instrumental.

The track “W.T.F. (What The Fuck?)” with The Fallen Angel & The Irishman sees the 3 talking shit over a bassy beat while the song “Slidin’” tells those to quit speaking on his name over an monstrous instrumental. The track “Tunnel Vision” talks about holding it down for his daughter on the way over a dingy beat while the song “Fast Life” talks about everyone that’s starving to make it over a nocturnal instrumental.

The track “Better Way” with Famz finds the 2 talking about their imperfections over a trap beat with some keys & heavy guitars while the song “Already Dead” gets murderous over a paranormal instrumental. The track “Kool-Aid” with M.M.M.F.D. sees the trio talking about how it ain’t safe referencing the late WWE Hall of Famer, former 6-time WWE world champion & WWE Intercontinental Champion Randy Savage over a symphonic beat while the song “Suicide Hotline” with G-Mo Skee finds the 2 talking about making rappers want to kill themselves over a thunderous instrumental & it’s rad as fuck that G shouted me out in the opening line.

The track “Step Back” with At-L@tto & the Seed of 6ix is a moshpit starter with a beat fittingly kin to Three 6 Mafia while the song “Spiral Down” with Razakel & Damien Quinn finds the 3 talking about watching one fall over a devilish instrumental. The album ends with “Lessons”, where Cody talks about those who said he’ll never make it over a tense beat.

I’m really happy to watch dude’s evolution because this album is living proof of Cody being a good fit for LSP. Even though the features can be hit or miss at times, his undeniably has a lot of energy & you can really tell he put a lot of heart into it.

Score: 3.5/5

Flawless2k – “Blackout” review

Flawless2k is an MC from Atlanta, Georgia who has been making music ever since getting out of the U.S. Army in 2017. He’s dropped a handful of singles since then, but it’s all been leading right up to his debut EP over here. The EP kicks off with “Hundun”, where Flawless2k talks about running up them checks over an airy trap instrumental.

The next song “Mind Set” talks about living in the fast life over a nondescript beat whereas the track “Ole School” talks about his whip over a lavish beat. The song “Blackout” is an andreline pumping moshpit starter from the Three 6 Mafia inspired production to the feature from former No Limit Records signee Fiend while the track “Drip” talks about the shit he be rocking over a rubbery beat from CashMoneyAP.

“Sauce” with Yung Ralph sees the 2 talking about chasing paper over an atmospheric instrumental while the track “Vibe” with Hil-Figer talks about kicking it with their ladies over a more smoother beat. The song “Address the Issue” with Yung Tookie Baby finds the 2 talking about testing their tempers over a spooky instrumental & then the closer “Gas Up” with Duddy Ken & Pastor Troy sees the trio talking about Challengers & Box Chevy over a beat that gives off that classic dirty south vibe.

Coming away from this EP, my thoughts on it are mixed. I dig the sound, but there are a handful of features slapped onto it who punch under their weight. I understand it too Blackout is the only project under Flawless2k’s belt so far & the first one doesn’t always hit. He definitely has room to evolve his artistic craft down the road & I wish him nothing but the best.

Score: 2.5/5

Flee Lord – “In the Name of Prodigy” review

Flee Lord is a 37 year old emcee from Queens, New York who came up under the wing of the late Prodigy of Mobb Deep. However in 2020 alone, he would reveal himself as one of the most consistent dudes in the underground by dropping a new project every month for the whole year. And to finish it off, Flee is enlisting Havoc to produce his 14th EP.

After the intro, the first song “Torch Carriers” with Ransom finds the 2 talking about keeping this grimy East Coast shit alive over an organ-inflicted boom bap instrumental whereas the next track “Infamous Bop” with Big Twins sees the 2 talking about being the hottest in the hood over an uncanny beat. The song “Major Distribution” with Busta Rhymes finds the 2 talking about moving coke over an instrumental with an alluring vocal sample while the track “All for the GOAT” with Conway the Machine sees the 2 shit-talking over some glorious horns.

The song “1 A.M. Music” perfectly lives up to it’s title as Flee talks about what goes down after hours over a dismal beat while the track “Wu-Lords” with Raekwon finds the 2 on the gangsta tip over an instrumental. The song “Raise the Bar” with Santana Fox sees the 2 talking about how they changed the standards over some plinky keys while the penultimate track “Mac in the Engine” with Billy V & Eto finds the trio talking about being bosses over a solemn beat. The EP ends with “Bound to Take Losses”, where Havoc himself joins Flee Lord to talk about life being a gamble over a pessimistic beat.

This has unquestionably been Flee’s most prolific year yet & what a way for him to cap it all off. I could’ve done without a couple of the features, but everyone else kills it on the mid & Havoc’s production is still top-notch almost 26 years later. Curious to hear where he & DJ Muggs take it on Rammellzee in 2021.

Score: 4/5

Shah Leezy – “The Iron Sheik Tape” review

Shah Leezy is an MC from Staten Island, New York who’s been floating around for a couple of years now. So far he has a few EPs under his belt up to this point but last month, he released his 6th EP paying tribute to WWE Hall of Famer, former WWE Champion & WWE Tag Team Champion The Iron Sheik.

The opener “Theme Music” gets on the competitive side of things lyrically over a string loop whereas the next track “Who the Fuck is Shah Leezy?” is a proper introduction to the man himself with a churchy-beat. The song “Sheik’s Shadow” talks about betrayal over some snares & an orchestral sample while the penultimate track “World Stage” advises the listener to keep dreaming over a soulful beat. The EP then finishes with “The Main Event”, where Shah speaks on being the King of the Middle East over a luxurious instrumental.

I think this is Shah’s best work to date & I can only see him going up from here. He sounds hungrier than ever lyrically & I’m not sure who did the production, but the soundscapes they bring to the table all suit him pretty well.

Score: 3.5/5

Micall Parknsun – “Back in Business” review

Kilburn, North West London, England, United Kingdom emcee/producer Micall Parknsun returning for his 2nd extended play. Making his debut under Low Life Records in 2005 describing life as The Working Class Dad, his debut mixtape The Interview would be his last offering for the label & signed to YNR Productions to release the sophomore effort 1st 2nd Time Around as well as Me, Myself & Akai. I Should’ve Done This Time Ago was ok, but his Boot Records debut Practicing Tag Team Moves at the beginning of 2017 was better & he’s looking to outdo himself now that he’s Back in Business.

The self-produced title track begins with some eerie organs melodies making it his mission to have everyone listening to him whereas “Reality” produced by DJ Jazz T & Dr. Zygote takes a grittier boom bap/rap rock route talking about being too inconsiderate. “Still Living Black” featuring Napoleon da Legend hooks up a prominent flute providing conscious lyricism regarding the system & once “Message in the Music” refuses to stomach fabricated bullshit over another woodwind instrumental, “Go Get It” ends the EP talking about getting yours over a vibraphone-inflicted beat.

Practicing Tag Team Moves was a solid introduction of what could happen for Micall Parknsun after signing to Boot Records, but Back in Business ends what’s been a tumultuous year for the entire world as a whole whopping up my favorite EP of the 2 he’s given us thus far 9 months since the COVID-19 pandemic began. He produces a good 60% of it by himself & has some of the UK hip hop scene’s most notable names to do the rest, bringing only 1 guest on board as opposed to a couple & making it count so he could handle the rest of the rhymes to himself.

Score: 4/5

Eminem – “MUSIC TO BE MURDERƎD BY 2: SIDE B” review

Eminem. Slim Shady. Marshall Mathers. B-Rabbit. The white guy from D12. What can be said now about the Detroit icon that hasn’t been said already? Especially since his first 3 major label albums The Slim Shady LP, The Marshall Mathers LP & The Eminem Show are considered by many to be the holy trinity in his discography. However, things have been quite rough for Em in the last 3-4 years. Revival was unquestionably one of the worst albums of the 2010s, which he would vent his frustration with on his last 2 full-lengths Kamikaze & Music to Be Murdered By. But after many rumors, we’re being treated to a sequel to his previous album.

After the “Alfred” intro, the first song “Black Magic” is a questionable opener about this woman having his heart in chains over a glossy beat whereas the next track “Alfred’s Theme” picks things up as Eminem reaffirms his technicality over a zany, cartoonish instrumental. My favorite line was when he said “I won’t buy a designer ’cause I don’t pander”. The song “Tone Deaf” talks about those who try to cancel him along with an awkward line about “playing Fortnite with your grandma” & a dope tribute to King Von over a funky ass beat with co-production from Luis Resto while the track “Book of Rhymes” lets loose every thought he had wrestling an iPad tablet computer developed by Apple Inc. over a generic trap instrumental with co-production from Illa da Producer & a mediocre switch-up. Also of all joints, why have DJ Premier do scratching for this?

The song “Favorite Bitch” looks back on the days when he was young & hungry over an wavy beat while the track “Guns Blazing” with Dr. Dre finds the 2 talking about being back on their bullshit just like the old days over a grand, bassy instrumental. The song “Gnat” compares his lyrics to COVID & throws a redundant MGK jab over a mellow d.a. got that dope beat while the track “Higher” compellingly talks about not knowing where to go from here over a buzzing instrumental. I liked it when Em said “Reminds me of how an overcrowded hospital waitin’ room’ll get, what I mean it’s maybe I have more patience than I’m able to admit“. The song “These Demons” talks about how funny haters are along with a clever Insane Clown Posse reference over a quasi-tropical beat & after the “Key” skit, the track “She Loves Me” talks about this women being “Carmen Electrocute” over a triumphant instrumental from Dre.

The song “Killer” talks about money over a rubbery beat while the track “Zeus” is a “Rap God” sequel backed with a depressive instrumental from T-Minus & I don’t think he’s dissing WWE Hall of Famer Snoop Dogg like a lot of people are saying because Uncle Snoop has always had nothing but love for Em. Also the Rihanna line was dope & the opening line “She says I’m trash, but listens to Tekashi” made me cringe because let’s be real: NOBODY listens to that clown in 2020. And this is coming from someone who’s never even listened to TattleTales. After the “Thus Far” interlude, the closer “Discombobulated” takes it back to the Relapse days as Eminem is rapping in accents about being just that over over a Dr. Dre beat reminiscent to the early 2000s co-produced by Black Bethoven & S1.

We all saw this coming (especially since Aftermath Entertainment’s in-house producer Dem Jointz posted the artwork on Instagram just 2-3 days before) & to be honest, I have to put it right behind it’s predecessor that came out right at the beginning of 2020 couple months before it all went to shit. Nothing that’s gonna change my year-end lists but the production has improved whereas lyrically, Eminem is focusing less on the backlash Revival justifiably received & it also fits the whole Hitchcock theme as much as previously.

Score: 3.5/5

Boondox – “Krimson Crow” review

This is the 6th full-length album from Covington, Georgia’s very own Boondox. Coming onto the scene in the Early 2000s under the moniker Turncoat Dirty, it wouldn’t be until 2005 where the Insane Clown Posse signed him to Psychopathic Records & was reinvented into the killer scarecrow he is today. He would leave the label a decade later to form his own imprint Crimson Krow Entertainment after a decade, then reunited with Twiztid & signed to Majik Ninja Entertainment the following year. Last we heard from Boondox in a full-length capacity was in spring 2017 when he dropped The Murder but after being led up by a couple of EPs, we’re finally being treated to Krimson Crow.

The album kicks off with “Red Clay Crazy”, where Boondox teams up with Rittz to talk about having no mercy over a cacophonous beat from MIKE SUMMERS a.k.a. 7. The next song “Forgiven” ponders how shit got out of hand over a twangy instrumental whereas the track while the track “Get It In” gets murderous over a heavy trap beat from Nobe. The song “Reimagine” talks about wanting a better life over a guitar & some piano chords while “The Devil’s Strings” talks about saying a prayer for misery over a blobby beat.

The song “Born to Lose” lyrically needs no further explanation as Boondox & Blaze Ya Dead Homie rip it over a rap rock instrumental from Stir Crazy while the track “Talk to Spirits” talks about drinking over a country rap beat. The song “Red October” with Bukshot finds the duo on the horrorcore tip over a ghostly trap instrumental while the track “Wild Horses” talks about letting go his piece of mind over another country beat from Fritz the Cat. The song “Soul to Take” talks about feeling like he lost his way over a desolate piano instrumental while the track “K7-Lethal” talks about being the devil over an apocalyptic beat from C-Lance.

The song “Broken, Never Shattered” with Redd sees the 2 talking about how none of this is a mystery to them over a melancholic instrumental while the track “Over Thinking” talks about paranoia over a spooky trap beat. The song “Demons at My Door” talks about how he can’t hide from the person he’s become over a dark trap instrumental & then the album ends with “Self Destruction”, where Boondox & Jamie Madrox talk about being their own worst enemies over a bleak beat.

Boondox really outdid himself on here as much of a great MNE debut that The Murder was & now Krimson Crow has quickly surpassed he predecessor as the best full-length LP that he’s put out since departing Psychopathic. The lyrics are at it’s darkest, the production hones it all in together & the features compliment the feeling of each song well.

Score: 4/5

Heem – “Long Story Short” review

Heem is a 27 year old MC from Buffalo, New York who caught my attention earlier this year after becoming of a protege of Benny the Butcher & signing to his E1 Music imprint Black Soprano Family Records. He also made a few appearances on the label’s showcase EP that dropped over the summer but just a few more weeks until 2021, here we are with his debut mixtape.

The intro talks about how no one living like him over a dreary instrumental from Ice Rocks whereas the next song “All Eyes on Me” talks about wanting his roses before he’s gone over a symphonic boom bap beat from the late DJ Shay. “The Realest” with Benny sees the 2 talking about keeping it 100 over a hypnotic vocal sample while the track “Mayhem” with Boldy James finds the 2 talking about how they don’t play over a lush beat.

The song “More Money More Problems” talks about risking his life for this over a comatose instrumental while the track “Menace to Society” talks about going through Hell & back over a grimy beat from TrickyTrippz. The song “Sacred Nights” gets murderous over a cinematic instrumental while the track “It Could Happen” with Benny & Rick Hyde sees the trio pondering a number of things over a boom bap beat with a piano loop.

The song “My Diary” gives the listeners a piece of him over a exuberant instrumental from DJ Green Lantern while the penultimate track “Warring Ave” talks about what it was like on his street over a deranged beat. The tape ends with “Letter to Shay”, where Heem pays tribute to DJ Shay over a churchy boom bap instrumental.

Coming away from this tape, I’m pretty impressed with it. The production leans towards that signature Griselda sound, but you get a good look at who Heem is & where he’s at now. This is only the beginning for him if you ask me.

Score: 3.5/5

Madchild – “The Little Monster LP” review

Madchild is a 45 year old MC from Vancouver, British Columbia, Canada most notable for being a part of the well regarded trio Swollen Members. He also has 5 solo albums, with the previous one being the Suburban Noize-backed Demons. However just a year & a half later, Madchild is back with his 6th full-length effort.

The album kicks off with “Narcos”, where Madchild talks about studio gangsters over a rubbery trap beat. The next song “I Was on Drugs” talks about his addiction over an instrumental with some plinky keys while the track “Silver Surfer” talks about being explosive over a grimy boom bap beat from C-Lance. The song “Pallbearer” gets on the battle bar tip over a chaotic instrumental while the track “Structural Damage” talks about having mob ties over a quirky trap beat.

The song “Demons in Human Form” talks about cops over murky instrumental while the track “Hard Headed” talks about how violent-minded he is over a gloomy beat. The song “G.F.Y. (Go Fuck Yourself)” is a middle finger anthem backed by an evil instrumental while the track “Run It Up” talks about remembering his enemies over an abrasively dark trap beat.

The song “Fucdat” talks about never folding up over a Middle Eastern-inflicted trap instrumental while the track “Pale Horse” talks about time no longer being on his side. The song “Curb Stomper” with Jimmy Donn sees the 2 talking about being out of their minds over a funereal instrumental & then the closer “Sleeping Bear” is Madchild comparing himself to such over an old school beat.

Even though dude is a veteran in the underground, this album is just average to me. Madchild is definitely spitting harder than ever before, but most of these joints are really short running at 2 minutes & the production is hit or miss. Still very much looking forward to his upcoming collab album with Obnoxious set to drop next year though.

Score: 3/5

Rigz – “Substance Abuse” review

Rigz is a 30 year old MC from Rochester, New York who came up as a member of Da Cloth. He’s put out a few EPs & mixtapes throughout the last 3 years (with the most notable being Roach Gutta Slums) but just a week after Mooch dropped his new album Da 5th Power, Rigz is enlisting Futurewave of Brown Bag Money for his full-length debut.

After the spoken word intro “Basura”, the first song “Sheridan Grapes” talks about those who’re scared of him over a demented instrumental while the track “Halfway Into da Future” with Asun Eastwood sees the 2 giving insight to loose-lipped talkers over a grim boom bap beat. The song “Dream” with Mooch finds the 2 talking about getting out of the ghetto over an instrumental that I can picture hearing in a mobster movie or something while the track “Bodies Behind Mojoes” talks about hustling over a nightly beat.

The song “Study da Champ” with Daniel Son, Mooch & Vinnie Paz is a complete barfest backed by over an eerie boom bap instrumental while the track “Balance It” trusting half of what you see & less of what you hear over a lavish beat. The song “Buckshot BB” with Rob Gates sees the 2 trading back & forth with each other over while the track “Melting Pot” talks about fucked up shit going on in the hood over forlorn boom bap beat.

The song “Picture Yourself” ponders how the listeners imagines oneself over a symphonic instrumental while the track “Top Student” with Times Change finds the 2 making a number of education references over a paranormal beat. The song “Brake Lights” talks about how that’s the last thing you gon’ see over a mournful instrumental & then the closer “Embers” gets introspective over a jazzy beat.

Rigz really outdid himself on this one & I’ll even say it’s one of the best albums that I’ve heard all year. Some of his most well-written bars ever pop up on here & Futurewave’s sound compliments him damn near perfectly.

Score: 4.5/5