Blaze Ya Dead Homie – “Cadaver” review

Blaze Ya Dead Homie is a 44 year old MC from Mt. Clemens, Michigan who came up as a part of the duo 2 Krazy Devils. After their demise, Twiztid brought him onto the Insane Clown Posse’s radar in 1998 & signed him to Psychopathic Records. Eventually, his eponymous debut EP in 2000 & his full-length debut 1 Less G n da Hood the following year would both go on to become some of the greatest releases on the label. He would go on to release 3 more albums on Psychopathic before leaving in 2013 to form his own label Grundy Entertainment & join Majik Ninja Entertainment the year after that. Last we heard from Blaze was in 2016 when he dropped The Casket Factory but on the day of 1 Less G’s 19 year anniversary, the Astronomicon mainstay is back with his 7th full-length album.

“I’m a G” talks about being himself over a nocturnal beat from Godsynth & after the “Unplug” skit, the next song “Tore Down” with Monoxide sees the 2 partying over a lively instrumental from Fritz the Cat. The track “They Say” featuring Jelly Roll talks about being a killer on the low over a Young Wicked beat that has a creepy atmosphere to it while the song “Be My Guest” takes you through a mausoleum over an instrumental that almost had a bit of a West Coast feel.

The song “Summer Breeze” gets introspective over a uptempo beat & after the “PSA from Ya Dead Homie” skit, the track “Back Window” talks about staying the same over a boom bap beat with some keys. The song “Get It Lit” with Jamie Madrox sees the 2 taking about getting fucked up over a weary instrumental while the track “Watery Grave” talks about sending his haters to Hell over a chilling beat.

“I’m Dead” talks about being a renegade over a spacious instrumental with some sick guitar-playing during the hook while the track “Dead Man Boogie” is a Drive-By reunion talking about popping slugs over a vibrant beat with some strings. The song “Let It Out” talks about not wanting poison in his soul over an electronic instrumental while the penultimate song “God Don’t Like Ugly” with Boondox & Lex the Hex Master finds the 3 talking about hateful people over a rap metal beat. Then after the “Cursed” skit, the closer “The Light” talks about being trapped in darkness over an abrasive instrumental.

The Dead Man has never dropped anything that I disliked, so I was very excited going into this new album over here. And at the end, I’m impressed with what I’ve heard & just shows how consistent he’s been throughout his career revisiting everything that makes him who he is. He takes it back, but he’s simultaneously moving forward & bringing a more personal side to himself into the spotlight.

Score: 3.5/5

Ill Bill – “La Bella Medusa” review

Ill Bill is a 48 year old MC & occasional producer from Brooklyn, New York who rose to prominence as a member of the seminal quartet Non Phixion. He would become one of the most hard working dudes in the underground, whether it be his solo discography or his output as part of groups like La Coka Nostra & Heavy Metal Kings. Earlier this year, Bill formed the Gorilla Twins with NEMS & put out their self-titled debut. However as Halloween approaches, he’s continuing to grind by dropping his 5th full-length album.

The album kicks off with “What’s My Drug?!”, where Bill tells the story of a corrupt cop over an eerie beat from Stu Bangas. The next song “Be Afraid!” with Conway the Machine & Pharoahe Monch finds the trio coming with the battle bars over a ghostly instrumental while the track “Illest Killers” with Tech N9ne sees the 2 talking about how no one can stop either of them over a rap rock beat from Bill himself with co-production from Scott Stallone.

The song “Meдy3a” gets over a boom bap beat with some keyboards along & with occasionally dramatic vocals popping in & out but after the “Justice to the People” skit, the track “Dinner Plate” finds Bill teaming up with his Non Phixion bandmate Lord Goat along with Jay Royale & Recognize Ali to talk about some gangsta shit over a demented instrumental referencing former 3-time CWA Tag Team Champion, WCW World Heavyweight Champion, 2-time WWE United States Champion, 10-time WWE tag team champion, 2-time WCW World Television Champion, 2-time IWGPタッグチャンピオン & 2-time TNA World Tag Team Champion Scott Steiner.

“Chrissy Snow” with Kool G Rap finds the 2 talking about drug dealing over a beat with a predominantly melancholic guitar passage while the track “Call the Coroner” of course sees La Coka Nostra getting bloodthirsty over a Finn instrumental with some gorgeous keyboards. The song “Only Built 4 Gucci Drip” with Crimeapple & Lord Goat finds the trio getting mafioso over an intimidating beat from MoSS while the track “Bora Bora Aura” with NEMS, Vinnie Paz & Tony Yayo of all people sees the 4 talking about death over an ominous boom bap instrumental. The song “Watch the City Burn” is a flawless Non Phixion reunion down to the symphonic DJ Skizz beat & then the closer “Superb Clientele” talks about his legacy over a grimy instrumental.

I personally prefer the Gorilla Twins album in comparison, but this is still a worthy addition to Bill’s ever-growing catalogue in my personal opinion. His lyricism has remained unmatched throughout time, the features are all well incorporated although it may seem like too much & it’s well produced also.

Score: 3.5/5

Trippie Redd – “Pegasus” review

This is the 3rd full-length album from Ohio superstar Trippie Redd. Blowing up a few years ago off the first 2 installments of his A Love Letter to You mixtape series, he would go on to release a solid debut album LIFE’S A TRIP in 2018 & then a subpar sophomore effort ! last summer. This followed up in November with A Love Letter to You 4 but as Halloween approaches, Trippie is finally coming through with Pegasus.

The opener “Let It Out” is a mediocre duet with Myiah Lynnae about 2 partners expressing their feelings of loving one another over a spacious beat whereas the next song “Moonlight” talks about being a helping hand to his partner over a moody instrumental. The track “Love Scars 4” tries to convince his lover to trust him over a woozy beat while “The Nether” talks about how it’s impossible for him to get this woman off his mind over a cloudy instrumental.

The song “So Stressed” with Yung LB sees the 2 telling their significant others about why they’re blessings to them over a skeletal beat while the track “Excitement” with PARTYNEXTDOOR finds the 2 singing about how their lovers make them feel over an atmospheric instrumental. The song “Mood” tries to find out why his bitch is mad at him over a cavernous beat while the title track talks about where he’s at right now over a glamorous instrumental.

The song “Weeeeee” talks about being the big dog over a psychedelic beat while the track “Personal Favorite” with Rich the Kid sees the 2 talking about how their lovers deserve the throne over a generic instrumental. The song “V-12” talks about expensive cars over a piano-inflicted trap beat while the track “Spaceships” with Young Thug finds the 2 talking about being trapped in their own heads over a dystopian-sounding instrumental.

The song “Never Change” talks about staying true to himself over angelic beat while the track “Good Morning” talks about spoiling his girlfriend over a bland instrumental. The song “No Honorable Mention” with Lil Mosey & Quavo sees the 2 talking about their wealth over a comatose beat while “I Got You” is pretty much a Busta Rhymes joint as Trippie only handles the hook & the 2 get romantic over a calming acoustic instrumental from Wheezy.

The song “Too Fly” gets braggadocious over an airy beat & much like “I Got You”, the track “Red Beam” sees Trippie once again appearing solely on the hook as Sean Kingston spits about him going to places you can’t go to over a druggy instrumental. The song “Oomp’s Revenge, Pt. 2” talks about never living unemployed again over a vibrant beat while the track “Take 1” is essentially Trippie doing his best Future impersonation.

The song “Sleepy Hollow” compares himself to Ichigo Kurosaki over a sinister beat while the track “Kid That Didd” with Future & Doe Boy finds the trio talking about his crew pullin’ up in your city over a bass-heavy instrumental. The song “Don” is an ode to the champagne brand Don Pérignon over a minimal beat while the track “Hell Rain” with Lil Wayne finds the 2 talking about them fucking up over an instrumental with a Godly feel to it. The Swae Lee dominated “TR666” talks about his 3rd eye being open over a gorgeous Scott Storch beat & then the closer “Sun God” discusses the cons of being in a relationship over a drab instrumental.

Can’t really think of anything else to say about this album other that than, it’s just such a mess in comparison to everything he’s put out in the last. It’s way too bloated, mostly 1-dimensional, poorly produced, the features are just ok & Trippie’s painting himself in a corner with his style at this point.

Score: 1.5/5

Busta Rhymes – “E.L.E. 2 (Extinction Level Event 2): The Wrath of God” review

Busta Rhymes is a 48 year old MC from Brooklyn, New York who came up as a member of the Leaders of the New School. Becoming the stand out member of the quartet, he branched out for a very successful solo career & dropped 4 classics in a row from 1996-2000. Last we heard from Busta was in 2012 when he released the universally panned Year of the Dragon marking his only full-length for Cash Money Records but after nearly a decade, he’s back with a sequel to E.L.E. (Extinction Level Event): The Final World Front.

The intro starts off with Busta rapping about being a God over a boom bap beat from Nottz with some strings & a vibraphone, but then Rakim accompanied him as it switches up into a more atmosphere instrumental. The next song “The Purge” talks about rioting over a Swizz Beatz instrumental with some prominent sirens while the track “Strap Yourself Down” talks about challenging his opponents over a dynamic beat from the late J Dilla & Pete Rock. The song “Czar” featuring M.O.P. finds the 3 talking about being the leaders of the new shit over a symphonic instrumental from Rockwilder while the track “Outta My Mind” is a fun club banger backed by a sample of Bell Biv DeVoe’s “Poison”.

The title track gets conscious then over a monstrous instrumental whereas “Slow Flow” is a sequel to “I Remain Raw” backed by a video game-esque beat & sampling Ol’ Dirty Bastard’s “Brooklyn Zoo” for the hook. The song “Don’t Go” with Q-Tip sees the 2 getting romantic over a luxurious piano instrumental while the track “Boomp!” talks about every hood having love for him over a boom bap beat from DJ Scratch with some keys & a synthesizer.

The song “True Indeed” talks about leaving dudes dead over a DJ Premier instrumental with a suspenseful loop while the track “Master Fard Muhammad” with Rick Ross finds the 2 getting materialistic over a jazzy beat from Hi-Tek & Terrace Martin. “YUUUU” featuring Anderson .Paak sees the 2 talking about money over a snap instrumental while the track ”Oh No” takes aim at anyone fucking with his click over a wavy trap beat.

“The Don & The Boss” featuring Vybz Kartel finds the 2 talking about strippers over a triumphant instrumental while the song “Best I Can” with Rapsody sees the 2 talking parenthood over a soulful beat from none other than 9th Wonder. The track “Right Where I Belong” is a redundant sequel to “I Know What You Want” down to the Rick Rock production while “Deep Thought” gets confessional over a dreary boom bap beat from Busta himself.

After the “Young God Speaks” interlude, the track “Look Over Your Shoulder” featuring Kendrick Lamar finds the 2 talking about hip hop needing them over a sample of The Jackson 5’s “I’ll Be There” while the song “Another Me” talks about being unique over a smooth beat. The penultimate track “Freedom?” gets back on the conscious tip over a moody boom bap instrumental & then the album ends with “Satanic”, where Busta gets religious over an angelic beat.

“Blowing the Speakers” starts the deluxe run with some trap vibes thanks to Murda Beatz talking about fucking up the streets again while “Who Are You?” makes the hood fiend with Jahlil Beats. “Hope Your Dreams Come True” gives a middle finger to everyone who ain’t fucking with him while “Calm Down” featuring Eminem finds Scoop DeVille sampling “Harlem Shuffle” by Bob & Earl to battle each other.

The song “Follow the Wave” marks the reunion of the Flipmode Squad for 7 minutes of hardcore lyricism while “Blow 1,000,000 Racks” loosens up a little for a mediocre strip club anthem. The final bonus track “Hey You” featuring Trillian finishes up with the father/son duo over pianos & hi-hats to ask what one would wanna do because they gotta get to the money.

It’s been a longtime coming but at the end of the day, this is a great return to form for Busta & I’ll even say it’s his best since The Big Bang. There are a few filler cuts in the track listing, but I really enjoy how he spends most of the album sticking to his guns instead of trying to appeal to an audience that doesn’t exist.

Score: 4.5/5

Yak Gotti – “Gotti Outta Here” review

Yak Gotti is a 27 year old rapper from Atlanta, Georgia who I first caught wind of by hearing his feature on “Dream” off of Young Thug’s Barter 6 in 2015. He eventually put out his debut mixtape Mind of a Maniac later that year but after a stint in prison & officially signing to YSL Records at the beginning of 2020, the man is ready to drop his full-length debut.

The album starts with “Chrome Heart Wave”, where Yak Gotti talks about his newfound success over a triumphant trap beat from Wheezy. The next song “In the Coupe” talks about cruisin’ in Cali over a druggy instrumental from Taurus & Turbo while the track “Rock Solid” with Demon Child sees the 2 talking about how they never crumble over a cloudy beat. The song “Slatt Walk” talks about still being with the shit despite being wealthy now over a violin-inflicted instrumental while the track “Lemonade” with Lil Duke sees the 2 flexing over a rambunctious beat.

The song “Truly Be Missed” talks about a friend of his since 9th grade over an oddly amusing instrumental while the track “Free the Goat” with Shad da God finds the 2 talking about living large over an acoustic-trap beat. The song “Friends with Benefits” is a painfully robotic love ballad despite the futuristic production while the track “All Day” with Lil Gotit & Lil Keed sees the 3 boasting over a bassy beat.

The song “Still Spazzin’” prays to God over a lively instrumental while the track “Super Slimey” talks about being down by law over a beat that’s ripping off Pi’erre Bourne. The song “Biggest Opp” with Real Talker, Yung Mal & 5th Ward Greedy is a decent moshpit starter with a horn-inflicted beat while the penultimate track “Down Bad” talks about loyalty over another acoustic trap-beat.

The album ends with “Finally Free”, where Yak talks about getting out of prison over a keyboard-inflicted instrumental & why Thugger is credited as a featured artist on the official YouTube upload of the track when he doesn’t even appear on it? I don’t know, but it’s odd.

I was curious to hear how this album would turn out but at the end of the day, it’s just mid. Half of these songs are really catchy & fun, but the other half is just generic & boring as Hell. Hopefully his next effort is more consistent.

Score: 2.5/5

Tech N9ne – “FEAR EXODUS” review

Tech N9ne is a Kansas City, Missouri veteran who’s music I’ve covered countless times up to this point. From founding the independent powerhouse Strange Music alongside his manager Travis O’Guin to his insane work ethic & an incredibly lengthy discography, the man really has done a lot to the culture to solidify himself as one of the all-time greats. He just put out his 22nd album ENTERFEAR back in April, which was followed up by a great outtakes EP MORE FEAR just a couple months ago. However with the Halloween season approaching quickly, Tech is finishing the FEAR trilogy by releasing his 8th EP.

After the “Rally the Troops” intro, the first song “EPOD” with JL sees the 2 talking about being the illest over a woozy trap beat from MIKE SUMMERS a.k.a. 7 whereas the next track “I Think” is a fresh showcase of the current Strange Music roster over a grimy instrumental. The song “Sprocket” with Krizz Kaliko is yet another addition to Tech’s long list of club bangers backed by a vigorous beat from N4 while the track “Tech’s Mex” talks about his originality over a spacious instrumental.

The penultimate song “Becoming Too Famous“ talks about the crazy amount of press coverage he’s received recent years over a settle trap beat & after the “Exodus” skit, the closer “Making a Killin’ (I Ain’t Scared of Shit)” talks about moving on from the FEAR trilogy as he announces his upcoming 23rd album Asin9ne dropping next year over a ghostly instrumental.

Man, what a good way to segway into the next chapter of Tech’s career. He gives listeners an introspective look at where’s at currently whereas 7 & N4 both continue to prove both of their own sounds compliment Tech the best. Beyond excited to hear where he takes things next year.

Score: 3.5/5

clipping. – “Visions of Bodies Being Burned” review

This is the brand new album from Los Angeles experimental hip hop trio clipping.. Fronted by Daveed Diggs, he joined forces with William Hutson & Jonathan Snipes to drop their midcity mixtape in 2013 & it landed them a contract with Sub Pop Records shortly after. The label granted them a full-length debut the following year but I didn’t completely hop on board with these guys until their Deathbomb Arc debut Splendor & Misery in 2016, which is a fantastic sci-fi odyssey. They returned around this time last year by dropping their magnum opus There Existed an Addiction to Blood & to celebrate it’s 1-year anniversary, Daveed & company are back with a sequel.

The intro talks about how the album will pick up where the last one left off over a dark ambient instrumental whereas the next song “Say the Name” retells the story of Clive Barker’s Candyman over an electro-industrial beat. After the “Wytchboard” interlude, the track “’96 Neve Campbell” with Cam & China pays tribute to the final girl characters in slasher films over a hyphy beat while the song “Something Underneath” talks about a monster lurking over a buzzing beat.

The track “Make Them Dead” talks about murder over a noise instrumental while the song “She Bad” gets flirtatious over a skittering beat. After the “Invocation” interlude, the track “Pain Everyday” gets paranormal over a breakcore instrumental while the song “Check the Lock” is a worthy sequel to the classic Seagram joint “Sleepin in My Nikes” with a deranged beat.

The track “Looking for Meat” with Ho99o9 sees the 2 groups talking about cannibalism over an industrial beat which & after the “Drove” interlude, the song “Eaten Alive” is a homage to the Tobe Hooper film of the same name over a hollow beat. The track “Body for the Pile” talks about murdering 3 cops over a harsh noise instrumental from Slickness & before ending off with the Yoko Ono-inspired “Secret Piece” outro, the final song “Enlacing” gets on the Lovecraftian tip over a cloudy beat.

Much like the new Alla Xul Elu album Mauxuleum that dropped the week before, I think Visions of Bodies Being Burned just goes to show how underappreciated horrorcore is in the hip hop culture. The concepts that Daveed bring to the table throughout have only leveled up in comparison to There Existed an Addiction to Blood & the trio’s production is a lot more darker as well.

Score: 4.5/5

al.divino – “Kilogram” review

al.divino is a 26 year old MC/producer from Massachusetts that I’ve been following for a couple of years now. Dude’s been steadily dropping projects since 2015, with the last one being the Futurewave-produced Kataklizm this past summer. But to continue his grind, al.divino is enlisting the West Coast veteran DJ Muggs himself to drop Kilogram exclusively on the Soul Assassins website.

The album kicks off with “Jansport”, where al.divino talks about that pusher life over a horn loop. The next track “Money on Ya Head” talks about putting hits out over a sinister beat while the song “Streets Still” tells the listener to give him his respect & talks about those who tried to count him out over a psychedelic sample. The title track gets reckless over by a grungy guitar loop while the song “Jabba Jaws” with Estee Nack sees the 2 talking about turning dudes into mince meat referencing WWE Hall of Famer, former WWE Champion & 2-time WWE United States Champion Sgt. Slaughter over spooky boom bap beat.

The track “Mr. Dynamite” gets back on the drug dealer tip over an eerie instrumental while the song “Landslide” talks about his crew be winning over a boom bap beat with some dramatic string sections. After the “Wildstyle” interlude, the track “Larry Davis” talks about how no one can fuck with him over an intimidating instrumental while the song “Oven” with RLX sees the 2 getting mafioso over a bewitching beat. The album ends with “Singapore”, where al.divino talks about his shooters over a foreboding instrumental.

As much as I highly enjoyed Kataklizm, I think al.divino really outdid himself on this new album over here. Probably his best work to date in my opinion. His presence on the mic is at it’s most ferocious & DJ Muggs’ signature sound meshes in with al.divino’s relentless lyricism very well.

Score: 4.5/5

Swamp Harbour – Self-Titled review

Swamp Harbour is a duo from London, England, United Kingdom consisting of Bisk & Stinkin’ Slumrok. Both of whom are known for being members of the Cult of the Damned collective & have crossed paths with each other a handful of times over the years on tracks like “Catfish” or “Runt” to only name a couple. However after being signed to Blah Records as solo artists for quite some time, they’re ready to properly introduce themselves by joining the label & putting out an eponymous debut album entirely produced by Sam Zircon.

“No Response” featuring Jack Danz after the “Heads Roll” intro was a solid hardcore hip hop opener instrumentally reminiscent of the Wu-Tang Clan single “Can It All Be So Simple?” & after “Marsh Law” featuring HAPPYPPL references WWE Hall of Famer Mr. T talking about dumping bodies in the swamp, “Cantaloupe Island” has a jazzier vibe to the beat dismissing rappers who hit the ground as soon as shit goes down in a session.

King Grubb appears on “Pelican Beach” ruggedly talking about knowing when the Swamps call your name while “Indicity III” finishes a trilogy Morrstinkin’s debut started & Gutter City bridged. “Francs” hooks up a reversed string sample mixed with kicks & snares talking about wanting others’ money when they die & after “Wholegrain” eerily speaks of both artists finding their way up, “Zip Ties” concludes with a lo-fi boom bap outro speaking of keeping it g when shit gets deep.

Bisk & Stinkin’ Slumrok have individually spent the past several years making names for themselves whether you look at their own respective solo discographies or the appearances they’ve made on the Cult of the Damned’s self-titled EP & it’s sequel Brick Pelican Posse Crew Gang Syndicate, but Swamp Harbour’s introduction marks births exciting side project for the UK’s answer to the Army of the Pharaohs. Sam Zircon’s boom bap production is dark, the amount of guests are kept to minimum & we get a better look at the chemistry between both MCs than either of the Cult’s previous discography entries.

Score: 4/5

Alla Xul Elu – “Mauxuleum” review

This is the 4th full-length studio LP from Ohio horrorcore trio Alla Xul Elu. Starting off as a duo, Billy Obey & Joey Black started making noise in the underground by releasing their first 2 albums Head of Horns & Sci-Co in 2015. Couple years later, Lee Carver joined & they dropped their debut EP Necronomichron that same year. However it wasn’t until 2018 that the Xul made their biggest break when Twiztid signing them to their label Majik Ninja Entertainment, dropping their 3rd album The Almighty shortly after & then their 2nd EP Church of Xul last spring to universal acclaim. Fast forward to now, Xul is enlisting Slasher Dave to help take listeners a trip into the Mauxuleum.

After the “E.N.D.”, the title track that kicks the album talks about the Mauxuleum being worse than Hell over a ghostly beat whereas the next song “Blood Moon & Back” is an unexpectedly dark love tune that goes over better than you’d expect. The track “Rituals of Rot” talks about becoming undead over a spine-tingling beat while the song “Donna, the Dead” talks about the titular Donda taking her own life over a groggy instrumental.

The song “L.I.F.E. (Let It Fucking End)” talks about how going on living is a joke over an industrial beat while the track “Deathbed” talking about their desire to rest in peace for eternity over an abrasively eerie instrumental. The song “Nails” talks about failing when they try over a bass-heavy instrumental while the track “Rigor Erectus” talks about necrophilia over a dusty boom bap beat.

“Deadline” talks about purgatory over an horror movie-esque instrumental with some heavy guitars during the hook while the track “Random Axe of Violence” portrays themselves as serial killers over an intoxicating beat. The song “Mask Made Me Do It” talks about their Forever Faces over a Frankenstein-like beat fusing boom bap, metal & even trap whereas “The Harvester” that finishes the album off talks about how there’s no escaping from the titular character’s clutch over a bleak instrumental with a guitar wailing in the background.

These guys have become the greatest horrorcore act in recent memory & they really outdid themselves on this new album over here. Not only do the lyrics continue to delve deeper into more disturbing territory, but Slasher Dave really hones it & cooks up some of the best production of his entire career diverting from the traditional boom bap sound Alla Xul Elu had become known for in favor of experimenting with industrial hip hop.

Score: 4.5/5