The Game – “Every Movie Needs a Trailer” review

Compton, California emcee, songwriter, actor & professional attention whore The Game linking up with Mike & Keys for his 16th mixtape. Originally taken under the wing of JT the Bigga Figga. His 2002 debut mixtape You Know What It Is would catch the attention of Dr. Dre & 50 Cent. Both of whom signed Game to a joint venture to their individually respective labels Aftermath Entertainment & G-Unit Records, distributed by Interscope Records. With their help, his debut album The Documentary the following year would go on to become a West Coast essential. However, a falling out between Game & 50 just months after the album’s release would result in Game moving over to Geffen Records to complete his 5-album contract. His next 4 albums Dr.’s Advocate, LAX, The RE.D. (RE-Dedication) Album & Je5us PiecE all showed that Game didn’t need Dre or 50 to make quality music. Once fulfilling his major label obligations, he went the independent route by founding his own label Numinati Records & showcasing the artists with a compilation entitled Blood Moon: Year of the Wolf in 2014. Game then put out an overloaded yet decent sequel to his debut with The Documentary 2+2.5 the next year as well as his previous album 1992 the year after & Born 2 Rap on his 40th birthday. Hit-Boy helped him come out of “retirement” again with the more consistent Drillmatic: Heart vs. Mind, although it was DONDA levels of bloated. In preparation of The Documentary III after siding with Drake in his beef with Kendrick Lamar, I was hoping Every Movie Needs a Trailer wouldn’t carry over any of that corny “Freeway’s Revenge” energy.

After the chopped & screwed “Silver Lining” intro, the first song “Caviar x Cartier” begins with a jazz rap opener talking about how you can turn around & lose it all today whereas “Can I” passionately gives us a look at the way he writes his rhymes over a soulful instrumental. “Chrome Hearts” works in some sampling to talk about him rather being feared than loved leading into “Amerikkka’s Nightmare” addressing people praying on his downfall.

“🤡🤡” takes 2 & a half minutes to poke fun at all the cornballs who ain’t poppin’ like they thought they’d be just before the sample drill/chipmunk soul fusion “Good Enough” speaks of the thin line between fatherhood & his neighborhood. “Quarter Zips x Matcha” kinda has some jazzier undertones to the beat cautioning that this real life with him instead of some corny Druski shit while “Rotation” co-produced by Jason Martin formerly known as Problem ends the 1st half with a club-oriented pop rap joint.

To begin the 2nd act, “The Coast Guard” talks about breaking down anybody who speaks ill of the Bloods calling back to Game’s origins with the infamous street gang while “Head of State” soulfully lets the world know what he’d do if he was president. “The Assassination of Candace Owens” heads towards chipmunk soul turf instrumentally talking about how people would rather be lied to & live in a fantasy world while “Left Out” experiments with an industrial hip hop sound basically giving a middle finger to everything.

“Blood Tears” featuring Mozzy jazzily talks about keeping their experienced pain to themselves while “So Contagious” offers food for thought to digest. “Just Like Me” soulfully shouts out those who made it out the trenches similarly to him prior to O.T. Genasis ruining “Scheme” despite “New York, New York” by Kurupt being flipped. “Livin’” finishes up sampling “Ain’t It Fun”by Paramore for an outro dedicated to the west coast.

Putting aside his bullshit defense of R. Kelly & Puff Daddy a.k.a. P. Diddy or Diddy at a private birthday celebration last weekend especially with The Reckoning documentary coming out on Netflix merely a few days ago, I have to admit that Every Movie Needs a Trailer was more of a stronger listen than Drillmatic: Heart vs. Mind was a few summers previously. Obviously there’s a lot less filler on here compared The Game’s last full-length, but he only brings a couple guests on board to flow over Mike & Keys’ production mostly well.

Score: 4.5/5

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Skyzoo – “Views of a Lifetime” review

Brand new extended play & the 6th overall from Brooklyn, New York veteran Skyzoo. Emerging in the underground off the 9th Wonder produced Cloud 9: The 3 Day High, he continued to make a name for himself with a consistent discography. Highlights include The Salvation, the !llmind produced Live from the Tape Deck, A Dream Deferred, Music for My Friends, the Apollo Brown produced The Easy Truth, In Celebration of Us & my personal favorite: the Pete Rock produced Retropolitan dedicated to his home state. All the Brilliant Things built itself around gentrification & The Mind of a Saint was dedicated one of my favorite shows Snowfall, coming off the Old Soul Music-backed Keep Me Company to discuss the Views of a Lifetime.

“Tags at the Moma” produced by Camoflauge Monk talks about scheming for 20 cans a day over a boom bap instrumental whereas “Pardon Me” flexing that he was cut from a more Godly cloth. “The Wager” takes a drumless approach thanks to Cartune Beatz asking for the specifics of a bet & once “Sky is Like” homages one of Nas’ greatest singles ahead of Light-Years next weekend, “Devotion” talks about finishing the school of hard knocks with honors over a crooning Conductor Williams beat.

Thelonious Martin jumps behind the boards for “Love Day” incorporating a flute & a soul sample comparing himself to Gil Scott-Heron wearing a Carmelo Anthony jersey while “Hope & Pray” takes a few minutes talking about wishing nothing but the best for the person he has mind. “The Soloist” blends jazz rap & boom bap courtesy of The Other Guys suggesting he might be better off by himself while “Half Bloom” strips the drums talking about taking on more than he had to.

Picking up where Keep Me Company left off last Black Friday, this new extended play 53 weeks later deals with looking back on what was after you’ve settled into this new world of the growth Skyzoo’s last album explored & I’d actually say I’d prefer Views of a Lifetime over it’s predecessor. I feel like the production’s stronger & the 1st Generation Rich Inc. founder reflects on how his previous life has changed drastically & it got him where he is currently.

Score: 4.5/5

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Big K.R.I.T. – “Dedicated to Cadalee Biarritz” review

Here we have the 15th mixtape from Mississippi emcee/producer Big K.R.I.T., who started out by releasing a few mixtapes from the mid to late 2000s. He eventually signed to Cinematic Music Group in 2010 & his 6th mixtape K.R.I.T. Wuz Here that same year landed him a joint venture with Def Jam Recordings & a spot in the XXL Freshman Class in 2011. His first couple of full-lengths Live from the Underground & Cadillactica in 2012 & 2014 respectively continued to show his potential, but then he went on to form his own label Multi Alumni some time after. The inaugural outing under the new independent label being 4eva’s a Mighty Long Time, which is the best double disc hip hop album of the 2010s without question. Following that was the T.D.T. compilation & even K.R.I.T. Iz Here, which was an underwhelming sequel to K.R.I.T. Wuz Here given how excessively commercial it was in comparison to the rawness of the predecessor. D.R.D.D. (Digital Roses Don’t Die) wasn’t any better, so I went into Dedicated to Cadalee Biarittz hoping he’d return to form commemorating the 2-year anniversary of Regardless, It’s Still Timeless later this month.

After the “Cadalee Radio” intro, the self-produced “Old News” works in a sample & hi-hats talking about hearing at all at this point in his career whereas “Gotta Do It” blends cloud rap & dirty south looking to do things the way the playas did back then. After the “Grillz by Scotty” commercial, “Hi Def” shifts towards a pop rap vibe with a bit of a Zapp twist to it while “The Mileage” talks about crankin’ the volume in his big body.

“Not in the Whip” embraces a more aggressive approach in delivery refusing to touch base regarding politics or any petty bullshit thrown his way & after the “CJ Customs” commercial, “I-20” begins the 2nd half of the album with a hook reminiscent of Devin the Dude talking about spillin’ on the major east-west highway down south. “Elevated” brings a smoother beat to the fold speaking of his artistic altitude while “The Everliving Sub Knocker” featuring Karlous Miller talks about bass.

After the “Spokesnvogues” commercial, “So Far So Good” jazzily homages the late Roy Ayers while “Precious Metal” talks about appreciating life & rollin’ in a whip with old school candy paint bumpin’ the late DJ Screw. “In the Rain” dedicates itself to every sunbeam that wouldn’t leave him alone until Karlous Miller shines with a 44 second freestyle. “Celebrate the Line” featuring Killa Kyleon, Lil’ Keke, Paul Wall, Propain, Slim Thug & Z-Ro ends the album with a victorious Houston posse cut.

Shifting away from the commercialized sounds of K.R.I.T. Iz Here & D.R.D.D. (Digital Roses Don’t Die), this inaugural entry in the Dedicated to Cadalee Biarittz marks Big K.R.I.T.’s return to his dirty south roots & it has me highly looking forward to the way the rest of this series will pan out. His production also takes some inspiration from the Houston hip hop scene too & he’s a lot hungrier than he was compared to when he was forcing himself to appeal to a radio market that didn’t exist.

Score: 4/5

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Infinite Coles – “Sweetface Killah” review

Infinite Coles is a 33 year old singer/songwriter & rapper from Staten Island, New York notable for being the son of one of hip hop’s greatest storytellers: Ghostface Killah from the almighty Wu-Tang Clan. He’s also the brother of both Sun God from the Theodore Unit & of course Supreme-Intelligence, putting out an alternative R&B extended play in the fall of 2021 called Destiny to moderate reception. He made headlines a few months ago when the title track to his full-length studio debut album right here dropped, which went viral because of Infinite airing out his grievances towards his father for disowning him after coming out to him over a decade ago.

After the previously mentioned breakout single, “DMs” continues by singing over a house instrumental that he’ll give the man of his eye anything he wants whereas “Boots” featuring Julz & Maleigh Zan on the remix takes the hip house/ballroom route stylistically challenging anyone who wants to go up against them. “Shoot” finds himself singing over house production again warning he’ll call his siblings if this gunman pull the trigger on him until “Thankful” goes full gospel expressing his gratitude.

“Dad & I” after the “Why’s It Important?” interlude continues to delve deep into Infinite’s relationship with Ghostface while “Body Song” sings over a bare piano getting in his gospel bag again. “Mama Song” moves on with a heartfelt tribute to Infinite’s mother & after the “Different Kind of Rain” interlude, “BGM” goes for a soulful house vibe singing about this woman with a soul like the sun. The closer “Hummingbird” sends it all off with a moody ode to his lover working it for him.

It’s a shame albeit not really that surprising to hear that Starks doesn’t want anything to do with Infinite Coles because of his sexual orientation, but the latter uses Sweetface Killah to carve a stylistic path that’s a lot different than what his father & his siblings are all known for. Its production tends to be more based around both contemporary & alternative R&B, progressive soul, pop rap, ballroom, hip hop soul, dance-pop, hardcore hip hop, house & gospel introducing the world to an alter ego that was created by the homophobia that surrounded him.

Score: 3.5/5

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Erick Sermon – “Dynamic Duos” review

Islip, New York emcee/producer Erick Sermon taking a backseat vocally for his 9th LP. A member of the duo EPMD & the trio Def Squad, it was’t until the early/mid 90s where he made his solo debut No Pressure & followed with a sophomore effort Double or Nothing under Def Jam Recordings. Following the DreamWorks Records-backed Erick Onasis as well as Music & React under J Records, he contemplated retiring in the summer of 2004 with Chilltown, New York under Universal Music Group. He fortunately made a flawed yet solid comeback over a decade later with E.S.P. (Erick Sermon’s Perception) & his last album Vernia was a great tribute to his late grandmother, but he’s ready to roll out the Dynamic Duos trilogy.

After the intro, the lead single “Look at ‘Em” by Method Man & Redman begins with them talking about their whole crews going off over a ghostly instrumental whereas “Sidewalk Executives” by M.O.P. works in a soul sample to proclaim administrative status of their home turf. “Like That” by WWE Hall of Famer Snoop Dogg takes a funkier route to spit playful romance & after the “Maya Crockett” skit, “God Mode” by Conway the Machine & The Game links up to talk about their verses being scriptures.

“How Do You Know?” by Cypress Hill goes for a boom bap vibe cautioning that nobody want the purple haze smoke from them while “How Long?” by Public Enemy brings back the funk shifting from hardcore lyricism to the politically relevant subject matter they’ve always been known for. EPMD get a song of their own with “Test Me” daring for their opposition to try them & see what happens but after the “Pimp Gators” skit, “The City” by Tha Dogg Pound represents the west coast.

The song “Spectacle” by Heltah Skeltah blends soul & funk talking about making the music world experience something incredible while “No Gimmicks” featuring 38 Spesh with Da Youngfellaz on the remix finds the quartet reminding us all that they remain authentic. Prior to the outro, “Back 2 the Party” by Salt-n-Pepa finishes with the recently inducted Rock & Roll Hall of Famers smoothly getting nostalgic over the days of block parties.

Focusing more on the production side of things, Dynamic Duos marks the 1st time since the insomnia compilation under Interscope Records almost 3 decades ago where Erick Sermon lets a list of guest performers shine on the mic although he does drop a couple verses here & there. And it’s no surprise that the inaugural entry of this series has great potential to be his greatest material honoring some of hip hop’s most iconic groups & duos.

Score: 4.5/5

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Out Of/Into – “Motion II” review

Out Of/Into is a post-bop quintet consisting of pianist Gerald Clayton, alto saxophonist Immanuel Wilkins, vibraphonist Joel Ross, drummer Kendrick Scott & bassist Matt Brewer. Forming in the winter of 2023, they would go on to introduce themselves last winter in the form of their full-length studio debut album Motion under the greatest jazz label of all-time Blue Note Records & are celebrating it’s upcoming 1-year anniversary this weekend by getting back together for an official sophomore effort succeeding Gerald’s love letter to turntablism 1s & 2s in April.

“Brothers in Arms” opens the 2nd LP with an 8 minute post-bop single having The Blue Note Quintet jamming out & everybody getting their own solos whereas “Finding Ways” gives off a laidback vibe from the prominent saxophone to the vibraphones popping up midway through or the pianos towards the backend of it. “Juno” starts with some bass licks for the first 90 seconds or so, paving way for Immanuel & Joel to trade the spotlight with one another.

Were treated to the 2nd & final single “Familiar Route” to start the other half of Out Of/Into’s sequel to their introductory full-length, taking inspiration from my favorite Herbie Hancock’s 5th album & my personal favorite during his Blue Note tenure Maiden Voyage. “The Catalyst” continues Motion II’s last act by giving off an otherworldly atmosphere until switching into something more playfully catchy & “Nacho Supreme” feels like a love letter to Blue Note output 5 decades earlier.

Developed during a 40 date tour commemorating the 85th anniversary of Blue Note Records’ formation a year earlier, the successor to Out Of/Into’s inaugural opus expands on the direction it’s predecessor traveled down 52 weeks earlier reaching farther than they did when the quintet was properly introduced last winter shaping the future of the post-bop style & jazz music altogether by continuing to embody the spirit of what the finest in the genre has done for almost a century.

Score: 4/5

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redveil – “Sankofa” review

Largo, Maryland emcee & producer redveil starting the final month of 2025 with a brand new mixtape. Emerging at the tail-end of 2019 off his debut EP Bittersweet Cry, I wouldn’t get introduced to his music until 8 months after when a short-lived Twitter beef between him & the internet’s busiest music nerd himself Anthony Fantano broke out merely days after dropping his following EP Niagara. His debut mixtape learn 2 swim celebrated his 18th birthday elevating himself artistically, coming off playing with fire to put out Sankofa.

“Time (A Dream Deferred)” breaks the door down with soulful background vocals & a passionate verse about his feet telling him to call his roots whereas “Lone Star” takes a more conscious approach lyrically over an organ-based instrumental. “History” gives off a jazzier vibe talking about being historic from the get go while “Brown Sugar” featuring Smino pulls from neo-soul to show off a flirtatious side of themselves.

Meanwhile on “Or So I”, we have redveil leaning heavier towards the jazz rap side of things talking about how he’d rather die right here instead of being surveilled just before “Pray 4 Me” chops up a soul sample cutting off his phone for the last 18 hours he has in the west coast. “Mini Me” returns to a neo-soul direction singing about not wanting to hide his true self anymore leading into the drumless chipmunk soul track “Save” desiring to preserve himself.

“Stay the Night” begins the last leg of Sankofa with a drumless neo-soul track singing for the woman he’s in love with to spend the evening by his side while “Buzzerbeater / Black Christmas” starts off with a majestic trap instrumental prior to shifting towards jazzier territory during the last minute & a half talking about planning to take his own life since he was 13. “Glimpse of You” finishes with a tribute to his schizophrenic brother wanting to visit him for his birthday due to it being forever since they last saw each other.

Honoring his inner child as a beatsmith more so than anything else he’s ever made, Sankofacontextualizes a lot of the same feelings of anxiety & depression that’ve been interconnected between all of the projects redveil’s dropped for almost 7 years. He eventually hit a ceiling creatively by executing the styles of jazz rap, conscious hip hop, neo-soul, boom bap, drumless, trap & chipmunk soul a lot bigger than he has over the course of the decade promising a lot more exciting things in 2026.

Score: 4.5/5

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Lil Baby – “The Leak$” review

Here is the 5th mixtape from Atlanta, Georgia rapper & CBFW Records founder Lil Baby. Rising to stardom in 2018 off his debut album Harder Than Ever, his profile would gradually increase from there by following up with a collab project with Gunna entitled Drip Harder & his previous tape Street Gossip. His sophomore effort My Turn & the previous album It’s Only Me both came out to mixed reception as did W.H.A.M. (Who Hard As Me?), cancelling Dominique in favor of unearthing a collection of Leak$.

“Mrs. Trendsetter” begins with an underwhelming trap intro talking about a woman who everyone else copies while “Guaranteed” produced by Wheezy makes for one of the few tracks I’d revisit, declaring himself as a certified dripper. “Try to Love” being the 2nd single wasn’t exactly the greatest choice whether it be the generic beat or the themes tiring themes of heartbreak leading into “Nasty Girl” talking about looking for a freak bitch.

The 4th single “Real Shit” continues with another mediocre trap single representing Zone 4 of his city just before “Violation” talks about being more than a 1 hit wonder & although that may be factually correct, it doesn’t excuse the low quality output we’ve gotten from him in recent memory. “Let’s Do It” featuring Playboi Carti feels like a leftover from the Whole Lotta Red sessions & “Forever Slime” ends the 1st half talking about being the same albeit in a better form.

“Middle of the Summer” starts the 2nd leg of The Leak$ with the 5th & final single that came out a week ago admitting he hasn’t gotten much sleep because he doesn’t want his dreams to fade away while “What She Like” has to be another favorite from the cloudy Murda Beatz instrumental to the wrestling reference midway through the 1st verse, nodding to the appearances he’s been making for the Endeavor-owned TKO Group Holdings division WWE since WrestleMania XL & coinciding the news of their development brands NXT & EVOLVE’s partner promotion Total Nonstop Action (TNA) Wrestling announcing a TV deal with amc.

Lil Yachty, Lucki & the best signing throughout the CFBW roster by a mile Veeze all join Baby on the boastfully calm “Get Along” desiring to maintain their focus towards staying slimed while “Superman” contains one of the worst Young Thug features that I’ve ever heard not because he re-recorded a part at the backend of his verse that initially dissed Gunna, but because his vocals are slowed down to the point where it sounds silly.

“St. Tropez” featuring Bino Rideaux & Rylo Rodriguez hooks up a pitched vocal sample & some hi-hats bringing the trio together so they can talk about flying their lovers out to the commune in France while the 3rd single “Otha Boy” was my favorite of the 5 dissing Gunna, Offset, DJ Akademiks & YoungBoy Never Broke Again over a TM88 beat. “All on Me” featuring G Herbo finishes the tape with a lead single themed around the pressures of fame.

Initially teased this summer, Lil Baby finally drops The Leak$ to coincide with his 31st birthday & it doesn’t surprise me whatsoever that I came away from it liking it less than W.H.A.M. (Who Hard As Me?) celebrating it’s 1-year anniversary next month. As somebody who’s been following him since Harder Than Ever, I’ll take it a bit further arguing it could be the worst thing he’s ever put out. Somehow, the production is worse than the last full-length & the CEO of CBFW Records himself sounds bored ahead of his imprint’s upcoming showcase compilation.

Score: 1.5/5

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Jay NiCE & Tha God Fahim – “Dump Gawd: Hyperbolic Time Chamber Rap 22” review

This is the 7th collaborative EP from Atlanta, Georgia emcee Jay NiCE & the local Dump Gawd himself Tha God Fahim. Both of whom have worked with each other countless times in the past several years, teaming up for the collab album Strictly 4 My D.U.M.P.E.R.Z. during the spring of 2018 & the Bloodspiller extended play 3 years ago. Dump Gawd: Hyperbolic Time Chamber Rap 12 produced by Nicholas Craven became their greatest joint offering yet, locking back in for the 17th as well as the 18th & 20th chapters. Coming off the 21st earlier today, they’re giving us another one when we least expected it.

“Powerful Blast” come straight out the gate with a euphorically drumless instrumental from Craven talking about learning from the scholars in addition to getting their defense up & after “Soul” jazzily talks about the very thing they’re floating over sonics with, “Statement of the Day” works in some lavish piano chords & a chipmunk soul sample recalling when they had to survive the darkest of clouds.

To begin the 2nd half of Dump Gawd: Hyperbolic Time Chamber Rap 22, “The Price is Right” takes a funkier approach to the beat talking about how y’all gotta be built for the type shit they on while “Your On Ya Own” blends jazz rap & boom bap flexing they have enough rhymes to go against mankind. “Assassin’s Hitlist” produced by Tha God Fahim himself finishes with blissful sampling to talk about not wanting to lose time, hence why they build.

It’s a bit jazzier than Dump Gawd: Hyperbolic Time Chamber Rap 21 was, but I didn’t enjoy this as much as the last couple installments of the endless saga & the previous one literally came out an hour earlier although it’s still very much a tight collection of hardcore hip hop tracks with influences of boom bap as well as chipmunk soul & drumless. Goes back to what I said in my review of the previous EP: None of the Jay NiCE & Tha God Fahim collab EPs we’ve gotten are bad, I just prefer some more than others.

Score: 3.5/5

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Jay NiCE & Tha God Fahim – “Dump Gawd: Hyperbolic Time Chamber Rap 21” review

Starting the final month of 2025 by diving into the first of 2 new collaborative EPs from Atlanta, Georgia emcee Jay NiCE & the local Dump Gawd himself Tha God Fahim. Both of whom have worked with each other countless times in the past several years, teaming up for the collab album Strictly 4 My D.U.M.P.E.R.Z. during the spring of 2018 & the Bloodspiller extended play 3 years ago. Dump Gawd: Hyperbolic Time Chamber Rap 12 produced by Nicholas Craven became their greatest joint offering yet, coming off the 17th as well as thr 18th & 20th chapters going back-to-back with not 1 but 2 installments.

“Cultivating” begins with a soul sample referencing the greatest basketball player of all-time Michael Jordan alongside 2-time WWE Hall of Famer, former 16-time WWE world champion, WWE Intercontinental Champion, 6-time WWE United States Champion, 6-time WWE tag team champion & 9-time NWA World’s Heavyweight Champion Ric Flair whereas “Deathtouched” likens their verses to The Jackson 5 & The Beatles combined.

We get some more chipmunk soul vibes on “I Kno What to Do” talking about nobody having the ability to dump like him regardless of how talented they are & once the drumlessly soulful “Let ‘Em Know” explains that the Dump Gawd remains destructive even in bunches, “Lucrative Offers” takes the boom bap route incorporating sampling into the fold so they can talk about meeting their competitors in the middle of the battlefield.

“Major League” gets the last few minutes of Dump Gawd: Hyperbolic Time Chamber Rap 21 rollin’ with both MCs looking for payback on those from way back who hate seeing their money coming in haystacks & “Operation” sends it all off in the form of a crooning boom bap outro expanding on the topic of the cash flow, clarifying that it’s an everyday operation that requires patience & persistency.

Season 2 of the Dump Gawd: Hyperbolic Time Chamber Rap saga has mostly been collaborative efforts with Jay NiCE & I want to let it be known that none of them are wack by any means, but I prefer some more than others if that makes any sense. And the 1st of 2 new entries that we’ve gotten 12 hours apart from one another via YouTube could be my favorite, focusing less around the drumless elements than the predecessor did last month & swapping out the conscious lyricism in favor of slight boom bap influences.

Score: 4/5

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