KiD CuDi – “Man on the Moon III: The Chosen” review

KiD CuDi is a 36 year old rapper, singer/songwriter, producer & actor from Cleveland, Ohio who blew up in 2008 off his debut mixtape A KiD Named CuDi as well as his songwriting credits on his mentor Kanye West’s 4th album 808s & Heartbreak. This was followed up with his groundbreaking debut & sophomore albums Man on the Moon: The End of the Day & Man on the Moon II: The Legend of Mr. Rager the next year & the year after that respectively but then 3 years later, CuDi would leave G.O.O.D. Music amicably to form his own Republic Records imprint Wicked Awesome Records after releasing the self-produced & overlooked Indicud. However, I found Satellite Flight: The Journey to Mother Moon to be mediocre at best & who could forget when CuDi attempted to go alt-rock on the critically panned Speedin’ Bullet 2 Heaven? Luckily he would redeem himself on his previous effort Passion, Pain & Demon Slayin’ in 2016 along with the eponymous debut album from him & Kanye as the duo Kids See Ghosts a couple summers back. But after a couple of loose singles throughout this year, KiD CuDi is ready to finally close out the Man on the Moon trilogy on his 7th full-length album.

After the “Beautiful Trip” intro, the first song “Tequila Shots” talks about internal conflict over a psychedelic trap instrumental from Dot da Genius & Take a Daytrip whereas the following track “Another Day” talks about how ain’t much changed in him over a spacious beat. The song “She Knows This” gets sexual over a voluptuous FNZ instrumental while the track “Dive” talks about a sadness in him over a cavernous beat from none other than Kevin Parker.

The song “Damaged” talks about being a broken man over a befuddled instrumental while the track “Heaven on Earth” talks about living alright over a nocturnal, bass-heavy beat. The song “Show Out” with Skepta sees the 2 flexin’ over a rubbery instrumental while the track “Mr. Solo Dolo, Pt. III” talks about somethin’ twisting him over a cloudy beat from Plain Pat & WZRD.

The song “Sad People” pays tribute to everyone out there who’s depressed over a glitzy instrumental while the track “Elsie’s Baby Boy (Flashback)” looks back on his childhood over a rock-flavored beat. The song “Sept. 16th” talks about searching for love over an instrumental with some wavy synths while “The Void” talks about falling in an abyss over a downcast beat from Mike Dean & WZRD.

The track “Lovin’ Me” is a gorgeous duet with Phoebe Bridgers about self love down the euphoric instrumental while “The Pale Moonlight” talks about people who think they know him over a vibrant beat. The song “Rockstar Knights” with Trippie Redd finds the 2 talking about the luxurious lifestyles they live over a ghostly trap instrumental while the penultimate track “4 da Kidz” is a dedication to the chosen few over a fiery beat. The album ends with “Lord I Know”, where CuDi talks about being a warrior over an atmospheric instrumental.

I didn’t think this day would actually come, but I’m sure as Hell glad that it did because it’s a great finisher to the trilogy that got KiD CuDi where he is currently. You can definitely hear the Travis Scott influence but simultaneously, he does a phenomenal job at recapturing the vibes of his first 2 albums from the sounds provided by the original producers of those records to the concepts throughout.

Score: 4/5

DJ Muggs – “Winter” review

DJ Muggs is a 52 year old producer & DJ from Queens, New York who came up as part of The 7A3 alongside the Bouldin Brothers in the late 80s. The trio only put out 1 album together but as the 90s approached, Muggs started to become a household name in the west coast as the producer for Cypress Hill & the leader of the Soul Assassins. He would go on to release 2 solo albums & with the 8 year anniversary of his previous one Bass for Your Face approaches next month, Muggs is finally delivering a follow-up.

After the “Winter is Here” intro, the first song “Warning Shots” by Boldy James talks about swimming or sinking over a creepy-sounding beat whereas the next track “Olympic Stamps” by Cappadonna talks about how his crew rolls thick comes together over a rowdy instrumental. The song “Japanese Space Program” by RLX talks about wanting all the riches over an operatic beat while the track “Food on My Fork” by Rome Streetz shouts out those who think they can go toe-to-toe with him over a rock-flavored instrumental.

The song “Veneno” by Crimeapple, Eto & Meyhem Lauren sees the 3 talking about that fly shit over a minimalist beat while the penultimate track “Resume” by Hologram talks about how they wanted him dead 10 years ago over a sinister instrumental. The closer “Roll the Credits” by al.divino talks about how listeners already know what the deal is over a cinematic beat whereas the bonus cut “Winter’s Theme in DM” is an instrumental piece that you can just sit back & smoke a bowl to.

As a whole, this album is solid & I would absolutely recommend it if anyone loves Muggs as I do. He could’ve added a few more joints & stretch it out longer than just 25 minutes, but his production is still very much top notch all these decades later & the guest MCs he brings on board come correct for the most part.

Score: 3.5/5

Rico Nasty – “Nightmare Vacation” review

This is the long awaited full-length debut album from Maryland’s very own Rico Nasty. Coming onto my radar a couple years ago off her Nasty mixtape, I was pretty impressed by her unique personality & her eclecticism. The last project Rico had put out prior was a phenomenal EP produced entirely by Kenny Beats last April titled Anger Management but as this turbulent year draws to a close, it’s only right for her to finally drop Nightmare Vacation.

The opener “Candy” talks about never changing the way she acts over a bombastic instrumental whereas the next song “Don’t Like Me” with Gucci Mane sees the 2 talking about haters referencing WWE Hall of Famer Mike Tyson over a cloudy beat from Buddah Bless. The track “Check Me Out” gets boastful over a piano & some hi-hats while song “iPhone” talks about relationships over a hyper pop instrumental from Dylan Brady.

“STFU” continues to brag over a blobby instrumental from Take a Daytrip while the song “Back & Forth” with Aminé finds the 2 showing off their chemistry with one another over a flute-tinged trap beat. The track “Girl Scouts” talks about pulling up with a chopper over a ghostly instrumental & a WWE reference while the song “Let It Out” vents all of her frustrations over a trap metal beat from 100 gecs.

The track “Losers” with Trippie Redd sees the 2 talking about those trying to fit in over an uptempo instrumental from Brandon Finessin’ while the song “No Debate” talks about how to make a bitch lose it. The track “Pussy Poppin’” gets raunchy over a quirky instrumental while the song “OHFR?” talks about not giving a fuck over an industrial-sounding beat.

“10 Fo” talks about leaving the last behind over a trap instrumental from F1LTHY of Working on Dying with a horn buried in the mix while the song “Own It” advises listeners to own up to themselves for everything over a rubbery beat. The penultimate track is a terrible remix to the Kenny Beats-produced “Smack a Bitch” & then the closer is actually the original “Smack a Bitch”, which I think is a brutal Asian Doll diss.

Coming away from this album, my feelings towards it are more mixed than I had anticipated & can say that Rico Nasty can do a lot better than what she goes for musically throughout the 40% of Nightmare Vacation that I don’t see myself going back to. I can commend Rico for being one of the most exciting performers in hip hop today & that absolutely applies here as do a great deal of the guests, but the production is just so hit or miss.

Score: 3/5

Marv Won – “Sooner Than Later” review

Marv Won is a 39 year old MC/producer from Detroit, Michigan who came up as a part of the world famous Fat Killahz. He’s gone on to become well respected in the battle circuit & has released a total of 3 solo albums, with the previous one being Soundtrack of Autumn in late 2016. However after this new full-length effort of his was set to drop next weekend, Marv has decided to put it out on his Bandcamp a week early.

The album kicks off with “Workin’”, where Marv talks about staying on the grind over a glistening beat. The next song “G.T.F.O.T.W. (Get The Fuck Out The Way)” talks about being beyond rappers over a grimy instrumental while the track “Twin Towers” showcases the titular duo consisting of Marv & Fatt Father over sinister boom bap beat. The song “Camp Low” talks about taking his own route over a soulful instrumental while the track “Lenny Cooke” talks about how he used to be the best kid in the class over a forlorn beat.

The song “Lay You Down” talks about living in a bucket of crabs over a gloomy instrumental while the track “Streets” talks about how you already know what it’s like in the gutter over some keys & a soul sample. The song “Clock on ‘Em” talks about putting cats under the gun over a dusty boom bap instrumental while the track “Nautica Van” talks about how that’s all he ever wanted over a lavish beat. The penultimate track “Raynathan” with Willie the Kid finds the 2 talking about those who want them to fall over a relaxing instrumental & then the closer “Rose” talks about appreciating loved ones before they’re gone over a glamorous beat.

Marv has always been one of the illest to ever come out of Detroit & this album is just a reminder of that. Dude’s production has only gotten better with time & his pen-game on here is powerfully thought-provoking.

Score: 4/5

Mooch – “Da 5th Power” review

Mooch is a 29 year old MC from Rochester, New York most notable for being a part of Da Cloth. He came onto my radar just last year when he dropped 3 solo albums & then a collab effort with Rigz but after a 4 month delay, Mooch is enlisting Thank5th for his 4th full-length album.

The album kicks off with “Puro”, where Mooch talks over being the illest over a luxurious piano instrumental. The next song “Slap” talks about fucking someone up over a gully instrumental while the track “Hard Knock” with Rigz sees the 2 talking about growing up in NY over chipmunked-vocal sample. The song “Grab da Work” talks about hustling over a grim instrumental & after the “Pandemic Coke” skit, the track “Microwave” reunites with Rigz to continue the themes of drug dealing over a soulful beat.

The song “Going Back to Cali” talks about hoping he never relapses over a dramatic instrumental while the track “Care Less talks about being him over a melancholic beat. The song “I Need You” talks about romance over a lush boom bap instrumental while the penultimate track “Tuesday” with Rob Gates & Rome Streetz finds the trio talking about the reckless shit they do over a ghostly beat. The album ends with “Cure”, where Mooch compares his music to an antidote over a lavish instrumental.

Dude’s one of my favorites members of Da Cloth & this new album was well worth waiting a few months for. I wish it was a bit longer, but Thank5th’s production is on point & Mooch continues to reveal himself as one of the illest lyricists that the Big Apple has to offer today.

Score: 3.5/5

Bernz – “Sorry for the Mess” review

Bernz is a 42 year old MC from Miami, Florida most notable for being a co-founder of the band ¡MAYDAY! alongside Plex Luthor in 2003. But after bringing a co-frontman & 3 other instrumentalists into the fold by the end of the decade, Kansas City icon Tech N9ne signed the group to his evergrowing independent powerhouse Strange Music in 2011 & have remained on the label since. However, it wouldn’t be until 2016 where Bernz branched out into a solo career & dropped See You on the Other Side. Fast forward 4 years later, he’s enlisting MIKE SUMMERS a.k.a. 7 to produce his sophomore effort in it’s entirety.

Things kick off with the title track, where Bernz apologizes to the listener for what they’re about to hear over a dreary instrumental. The next song “Don’t Wait on Me” then tells this woman to walk out the door over a boom bap beat with an acoustic guitar while the track “On My Way” talks about how this woman makes him feel over a jam session-like instrumental. The track “Necessity” with his ¡MAYDAY! partner in rhyme Wrekonize sees the 2 getting confessional over a piano & some explosive drums while the song “Outchea” talks about keeping things on pace over some blissful guitar melodic & some handclaps.

The song “Limited Time” with Futuristic finds the 2 talking about out of town romance over a funky ass beat while the track “Done” talks about waking up from the wrong side & still feeling good over a tropical trap instrumental. The song “Slow Dance” is a beautiful foot tapper backed by a sensual beat with some heavy drums while the track “Old Cutler Drive” looks back on his younger days as a hungry artist over a trap instrumental that kinda has a jazzy flare to it.

The song “In My Mind” opens up on being epileptic over a lugubrious beat while the track “Party in My Room” talks about sex over a fast-tempo instrumental. The song “Lie to Me” talks about not wanting to hear any hard truths over a rhythmic beat while the track “Sunny Rain” talks about what it’s like for him to love this woman over a warm instrumental.

The song “Hold On” teams back up with Wrekonize as they tell their partners not to let go of them over a calming instrumental while the track “Double Down” talks about getting back up when you’re on the ground over a psychedelic beat. The closer “Let You Down” talks about getting lost in his thoughts over an acoustic instrumental & then the bonus cut “Late Checkout” is essentially Bernz doing dumb shit in the club over a beat that I almost wanna say is a bit Latin flavored.

Strange Music has been constantly staying busy all year & if this is the last full-length album we’re getting from them until 2021, then what a damn-near perfect way to finish it off because Bernz really took it to a whole nother level on here in comparison to [i]See You on the Other Side[/i]. The lyrics are most personal yet & his chemistry with 7 is just astounding, as the production on here is incredibly versatile.

Strange Music has been constantly staying busy all year & if this is the last full-length album we’re getting from them until 2021, then what a damn-near perfect way to finish it off because Bernz really took it to a whole nother level on here in comparison to See You on the Other Side. The lyrics are most personal yet & his chemistry with 7 is just astounding, as the production on here is incredibly versatile.

Score: 4.5/5

Che Noir – “After 12” review

This is the 4th EP from rising Buffalo emcee Che Noir. Coming on my radar by extensively collaborating with 38 Spesh, she would really change things up earlier this summer by enlisting Apollo Brown for one of the illest albums of the year: As God Intended. However, Che herself has decided to start hopping on the boards & showcase her beat-making skills on the self-produced After 12.

After the “Foxy’s Intro”, the first song “Cruise Control” talks about riding through the city over a mystical beat whereas the next track “Hunger Games” with Ransom & 38 Spesh finds the trio talking about starving for greatness over a churchy instrumental. The song “Reasons” with Jynx sees the 2 talking about backstabbers over a lush soul sample while the track “Divine Knowledge” talks about thinking better when it’s harder to see over an alluring instrumental. The song “Moment in the Sun” with RJ Payne & Sa-Roc finds the 3 talking about not speaking about shit unless they know it over a piano & some vocal harmonies while the closer “Grace” talks about wanting it all over an uplifting beat.

Pretty solid follow-up to As God Intended if you ask me. There are a couple features that I personally could’ve done without, but Che’s production is honestly just as dope as her lyricism & I can only imagine her perfecting it as time goes on.

Score: 3.5/5

Elxtt – “Hell of a Year” review

Elxtt is a 26 year old MC from Atlanta, Georgia who’s been around for a years now. He recently came back from a hiatus after completing college & dropped a new EP this past summer called Just Tryna Rap but fast forward 5 months later, he’s already following it up with his full-length debut.

The album kicks off with “Hell of an Intro”, where Elxtt recaps 2020 over a trap beat with some somber piano chords. The next song “Who is You?” boasts over an instrumental with some rubbery bass & a woodwind while the track “Letter to the City” make numerous references to the Atlanta hip hop scene over a beat that reminds me of College Dropout-era Kanye. The song “Blood on My Jordans” talks about the streets calling him over an instrumental with a well-incorporated sample while the track “Been Ready” with Eleonor Elias is an acoustic flavored R&B ballad that’s just alright.

The song “Ball Hog” talks about being just that over a feel-good instrumental while the track “East Coast Flow” talks about being from Atlanta over a rambunctious beat. After the “Elyon’s Interlude” the song “Therapy Session” gets confessional over an alluring instrumental while the track “Let You Down” with Ice sees the 2 talking about heartbreak over a dancehall beat

The song “West Coast Flow” is a decent rendition of 2Pac’s “Hit ‘Em Up” down to the instrumental while the track “Rico Suave” talks about partying over a Latin flavored beat. The song “Underdawg” talks about being slept-on over a luxurious trap instrumental & then the album ends with “Thoughts on a Beat IV”, where Elxtt speaks what’s on his mind currently over a classy beat.

I think this is a solid album & can definitely see Ellxt only improving from here. The passion is undeniably there in his delivery & even thought I really appreciate how diverse the album ranges, a few of the joints wear it’s influences on their sleeves so hard to the point where it can be distract. Nonetheless, I’m curious to hear what this cat does from hereon out.

Score: 3.5/5

Ketch P – “Untitled” review

Ketch P is a 40 year old MC from Inkster, Michigan who started off as part of the quartet Street Justice. He eventually went solo & put out 3 mixtapes in the late 2000s, but Ketch took a hiatus in 2013 & returned last fall by dropping the fantastic comeback tape Gift Certificate under Middle Finger Music. This was followed up a couple months ago with the full-length Out of Nowhere but almost 3 months later, he’s surprise-dropping an untitled EP that he recorded with Black Milk about a decade ago.

Things start off with “Barricade ’08”, where Ketch spits about being the livest over soulful beat. “The Virus” with Guilty Simpson sees the 2 comparing their music to that of a sickness over a grimy instrumental while the song “Grind Mode” talks about hustling over a suspenseful boom bap beat. The penultimate track “Shut the Phuck Up!!” sends a message to all the haters out there over an instrumental with some beautiful background vocals talks about & then the closer “My Detroit” with eLZhi & Trick-Trick finds the trio paying tribute to their hometown over a churchy beat.

Man even though the material on here is 10 years old, it sounds like they made it earlier this year because these joints in 2020 still sound really good. Black Milk kills it on the boards as he usually does & Ketch P’s lyricism is just as raw as he is today. Looking forward to the albums he has with Bad News Brown & 2 Door Coupé.

Score: 4/5

Redrum – “The Lucifer Effect” review

This is the full-length debut from Orlando hip hop duo Redrum. Consisting of emcees Red Eye & Ranks, the pair have made some noise in the underground throughout the past few years off the strength of a couple singles & are now taking listeners through The Lucifer Effect before 2020 ends.

After the intro, the first song “Adjustment Bureau” is essentially Redrum shit-talking over an spooky instrumental while the track “On Fire” talks about how no one can defeat them over an intimidating beat. The song “Run Come” with Kali Ranks finds the trio talking about being strapped over a dusty boom bap instrumental & after the “That New Shit” skit, the track “New Thangs” with Heist-n-Flow sees the 3 talking about how everyone’s in the same lane over a climatic beat.

The song “Cold Blooded” talks about how it is in the streets over a solemn instrumental while the penultimate track “Palo Mayombe” advises listeners not to take the words they speak lightly over some weepy strings. The closer “Devil Lurks” talks about being weary where you walk over some chipmunked-vocals, but then the hidden cut “Carnival” flexes their lyrical prowesses over a demonic boom bap beat.

I’m pretty impressed with what I’ve heard on The Lucifer Effect & it has me excited to see where Redrum will take things in the future. Couple of the features were just alright, but the duo bounce off each other very well & the grimy production suits them like a glove.

Score: 3.5/5