Stevie Stone – “Black Lion” review

Stevie Stone is a 39 year old MC from Columbia, Missouri who first gained attention as one of the very last 2 artists to ever sign with Ruthless Records alongside Hopsin. Both of their full-length debuts New Kid Comin’ & Gazing at the Moonlight received little to no promotion, leading both artists to leave the crumbling label. Hopsin went on to form Funk Volume shortly after before closing shop in 2016 whereas Stevie signed to Strange Music in 2012. He eventually became one of the label’s biggest artists with albums like Rollin’ Stone, 2 Birds 1 Stone, Malta Bend & my personal favorite: Level Up. Then came the JL collab album Kontra-Band in 2018, which was really good too. But after Tech N9ne dropped his latest album ENTERFEAR this past spring, things over at Strange slowed down drastically due to the pandemic. However, Stevie is helping the Snake & Bat back in their groove by dropping Black Lion.

The album kicks off with “Set in Stone”, where Stevie talks about being unchangeable when it’s all said & done over an acoustic guitar. The next song “V.I.P.” serves as a club banger with a cavernous trap beat while the track “Type of Time” talks about being a threat over a MIKE SUMMERS a.k.a. 7 instrumental with a cool woodwind thrown in.“Underrated” vents about deserving more appreciation over a delicate instrumental while “The Worst for Me” details how this woman can’t leave him over a luxurious boom bap beat.

“Can’t Deny It” talks about a groupie wanting to chill with him over a smooth instrumental & while “Selfish” featuring Flawless Real Talk finds the 2 talking about why they’re so finicky over a vibrant beat with a woodwind sample. The track “No Permission” gives the listeners a proper clue of what his do’s & dont’s are over a druggy instrumental while the song “Teknique” featuring Tech N9ne gets sexual over an hyphy beat.

The track “Conquer” featuring Spaide R.I.P.P.E.R. is a decent mosh pit starter while the song “Jungle” featuring King Iso gets on the more braggadocious tip over a trap beat with a unique cricket loop throughout. “Dope Sick” talks about hard he be going over an intimidating instrumental from Wyshmaster while the track “Holiday” featuring Maez301 is an incredibly fun party anthem.

“Hennessy & Harmony” talks about being all in over a cloudy instrumental while the track “Vibe” featuring ¡MAYDAY! stoner’s tune backed by the reggae style production throughout South of 5th. “Some Days” speaks on having all these emotions bottled up over a piano-inflicted trap beat while the penultimate track “Still Standing” featuring Rittz finds the 2 talking about how far they’ve come over a melancholic instrumental. “Taste” ends the album opening up about how much fame has changed him over a chill beat.

Like I said earlier: Stevie Stone is one of the most prominent acts on Strange Music & this album is a fine example as to why even if it’s said to be his last under the local indie major. There are a couple of features that don’t really land with me, but you’re gonna get a good look at how much he’s changed throughout the years & the artist/person that he has become today.

Score: 4/5

Oh! The Horror – “Halloween 365” review

Oh! The Horror is a trio from Sacramento, California consisting of frontman Jonathon Hillhouse, rhythm guitarist Jeremy Terror & lead guitarist/producer Grady Finch. They released an EP just over a year ago called The Devil Made Me Do It & were able to gain even more exposure just a few weeks ago by becoming the very 1st act under Majik Ninja Entertainment’s new sub-label Welcome to the Underground. Of course with this new record deal, the trio had to celebrate by dropping their full-length debut.

The opener “Kill ‘Em All” get murderous over an icy instrumental backed by some heavy guitars whereas the next track “Boom!” tries to incorporate elements of EDM as they talk about how they’re not hard to find. The song “Origins” tells a story about them agreeing to a deal with Satan over a prominently rubbery trap beat while the track “Scream Queen” talks about taking dude’s bitches over a straight up nu metal throwback. The song “Leave Me Alone” talks about wanting to be set free over an beat fusing an amalgamation of different styles of while the track “Pain” with KidCrusher sees the 2 talking about fading in the darkness & the instrumentation on here is some of the best on the entire album.

The song “Idontcare” talks about not giving a fuck over a minimal beat with a dope retro video game sample occasionally popping in & out while the song “Boomstick!” talks about guns over a trap metal fusion. The track “Bodies” talks about having corpses in their basement over some hellish guitars while the track “Scream” starts bragging over a demented instrumental. The penultimate song “Zombie” talks about getting a blowjob over another trap metal beat & then the album finishes with the title track, where the trio talk about how they’re always gonna be freaks over an uncanny beat.

Pretty good album if you ask me. I was expecting a bit more out of the features & even though the whole rap metal shtick might come off as lame to some people, Oh! The Horror is definitely a more unique face in that style & I can definitely see them growing down the line.

Score: 3.5/5

City Morgue – “Toxic Boogaloo” review

This is the 2nd EP from New York trio City Morgue. I became a fan of theirs in 2018 because of how ZillaKami, SosMula & Thraxx uniquely fused trap with metal on their debut Hell or High Water. A sophomore effort As Good as Dead came out just this past winter & even through Thraxx hardly did the production on there, Kami & Sos were able to get the criminally underrated Mike Dean to fill in that gap. But with their tour being one of the many to get cancelled due to the COVID-19 pandemic, they’re making it up to the fans with Toxic Boogaloo.

Things start off with “THE ELECTRIC EXPERIENCE”, where the duo compare themselves to Deadshot over a bombastic beat from Powers Pleasant. The next song “HURTWORLD ‘99” talks about wanting to fuck up anyone who comes at them over a trap metal instrumental while the track “YELLOW PISS” finds ZillaKami going solo to talk about death being longer than life over a chaotic beat from Thraxx. The song “BUAKAW” talks about their haters being pussy over some hi-hats & heavy guitars while the track “YAKUZA” is an unfinished SosMula solo joint backed by a beat that sounds something out of a horror movie.

The song “CRANK” sees the duo getting back together to talk about getting into altercations carrying MACs on them & not the Mac line of Apple Inc. computers over an eerie beat while the track “YOU CAN SUCK MY DICK” is another ZillaKami solo cut about him bringing the smoke to anyone who wants it over bass-heavy instrumental. The song “ALL KILLER NO FILLER” talks about destroying shit over another trap metal beat whereas “SUPER SOAKA” is of course another SosMula solo song that’s even more half-baked than the previous one. The album finishes with “PROSTHETIC LEGS”, where the duo talk about being wardogs over an abrasive beat.

Coming from someone who enjoyed City Morgue’s last 2 albums a lot, this project is a disappointment. I think their whole style is still unique, but it just sounds like ZillaKami & SosMula rushed the shit outta it. Hopefully they take their time on the next album.

Score: 2.5/5

Flee Lord – “The People’s Champ” review

Flee Lord is a 36 year old emcee from Queens, New York & one of the hardest working people in hip hop today. Dude dropped a total of 5 projects last year & since this past February, he’s been putting one out every single month with the previous being Alter Ego Fleeigo Delgado. To kick off the 2nd half of this run, Flee is starting to bring the big guns out by enlisting the revered Pete Rock for his 10th EP.

The intro starts out with Lord talking how he’s living in the danger zone over a menacing instrumental & then the song right after “Stuck on a Grip” talks about his plan to become rich over a boom bap beat with a whimsical loop. The track “Surfin’ wit a K” talks about how he never caps over a forlorn instrumental while the song “24 Hollows” proclaims himself as a top dog over a rugged instrumental. The track “Different Options” talks about how he’s gonna always bring it home whether it be going independent or major over a ghostly instrumental while the song “Retired from the Sniffy” is a short yet killer freestyle backed by a boom bap beat with a dope ass piano loop.

The track “Job Done” talks about how he’s still moving in the hood over a slow instrumental while the song “Mini Mac on the Fridge” talks about he be spitting facts over a jazzy beat. The penultimate track “Givin’ Ya my View” is essentially his opinion on the George Floyd protests with a dismal instrumental & then the EP finishes off with the outro, where Flee Lord starts bragging about where he’s at today on top of a Bollywood-influenced beat.

This guy’s been one of my favorite NY spitters for about a year now, but he really outdid himself on this one because this is his best body of work yet in my personal opinion. Lord keeps taking his pen game to a higher level & Pete Rock completely knocks it out of the ballpark on the boards.

Score: 4.5/5

Black Soprano Family Records – Self-Titled review

Black Soprano Family Records is a Buffalo, New York-based independent record label founded in 2016 by Benny the Butcher of Griselda fame. Their roster has significantly grown throughout the years with the likes of Duffel Bag Hottie, Rick Hyde, Loveboat Luciano, Joneszy & even battle rap icon RJ Payne. The label just inked a distribution deal with E1 Music a couple months back & are releasing a DJ Drama-hosted collective effort to celebrate.

The EP kicks off with “Quarantine”, where Benny the Butcher promises his homies currently locked up that he’ll be rich when they come home over a violin-inflicted boom bap beat from Chup. The next song “Grams in the Water” by Benny, Loveboat Luciano & Rick Hyde of course talks about pushing coke over a dreary instrumental while “Da Mob” finds Benny, Heem & Rick talking about the crew being impeccable over a grimy beat from DJ Shay.

The track “In Love with the Streets” by Heem & Jonesy talks about what makes the hood so special over a boom bap beat with an alluring vocal sample while the song “Rick & Fonz” is a Rick Hyde solo cut about how he can’t go broke again over some synthesizers & some twinkling keyboards. The track “Paulie & Vito” by Heem & Rick goes at those who disrespect their names while the song “Valarie” is a Heem solo joint about what it was like growing up in Buffalo over a dark beat. The closer “It’s Over” by Heem, Rick & Benny then talks about wealth over a soulful Don Cannon instrumental.

Not a bad showcase effort from the Black Soprano Family. I was expecting it to be a little bit longer than just 8 tracks & 27 minutes, but everyone on the label stands out in their own way & does a fine job of giving the listeners what they’re capable of doing.

Score: 3.5/5

M.A.V. – “Hoodlum” review

M.A.V. is an emcee that some may be familiar with as a member of Da Cloth, a group that’s been taking over the New York underground for the past year or 2 now. He just dropped an incredible collab album with Rob Gates & Big Ghost Ltd. in mid-July called The Darkness but not even a couple weeks later, M.A.V. has seen for to team up with Giallo Point for his full-length debut.

After the intro, the first song “Prepaids & Plush Planning” with Mooch sees both of them talking about the dealer life over a dark instrumental with a rapid keyboard sample whereas the next track “Face Value” pays tribute to his significant other over a laidback boom bap beat. The track “Hand in Hand” with Ty Farris & Asun Eastwood finds the 3 painting some dark imagery over a dark yet minimal instrumental while the song “Are You Not Entertained?” with Rigz sees the 2 going at their opposition over a boom bap beat with a grim synth-line.

The track “First 2 a 3rd” with King Bub Rock goes on about cooking up coke in their auntie’s houses over an airy instrumental while the song “Protocol” gets back with Rigz to speak on betrayal & death over a bloodcurdling beat. “The Lion” calls out those who’ve never been on his level over a cinematic instrumental & before a 1-minute outdo, the final song “Remember” with Rigz & Tekk9 speaks on how the work they all put in will be worth it at the end of day on top of a solemn boom bap beat.

Wasn’t expecting another album to come so quickly after The Dark Side of Nature, but I’m glad it did because this is another yet crown jewel in M.A.V.’s ever-growing discography. Giallo Point continues to be one of the best underground producers in the game today, as he provides a fantastic musical backdrop for M.A.V.’s gritty lyrics.

Score: 4/5

K.A.A.N. – “All Praise is Due” review

K.A.A.N. is a 29 year old emcee from Columbia, Maryland known for his speedy flows & conscious lyricism. The man has made a lengthy yet consistent discography for himself in just 6 years with my favorites being Black Blood, Pure Intentions, Subtle Meditation & Requiem for a Dream Deferred. He just dropped Blissful Awareness back in May & exactly 2 months later, K.A.A.N. is surprise dropping his 14th album with Big Ghost Ltd. producing the whole thing.

Things kick off with “Foreword”, where K.A.A.N. talks about how life seems so slow over a luscious boom bap beat. The next song “Elevation” talks about his growth over a moody instrumental while “The Feeling” talks about having the urge that something’s wrong over a beat with some beautiful choir vocals hanging in the back. The track “Manifesto” cautions that the world will feel something that has never been felt before on top of a dreary instrumental while the song “Valley of Kings” talks about keeping his head high over a dim beat.

The track $100K & a Benz” talks about pushing it to the limit over an intoxicating beat. while the song “Sellasie” talks about how he doesn’t know where he’s going over a somewhat jazzy beat. The track “Flight” talks about trying to lead the blind over a reclining instrumental while “Apparations” is an emotional ballad from the heart. The album finishes off with “After Words”, where K.A.A.N. vents about questions that he’s been wanting answers for over a boom bap beat with a well-incorporated violin loop.

Overall, this is one of the best albums K.A.A.N. has ever made without a doubt. He comes through with some of his most captivating bars to date whereas Big Ghost Ltd.‘s production sounds unlike anything in the past & it turns out beautifully.

Score: 4/5

Logic – “No Pressure” review

Logic is a 30 year old rapper, singer/songwriter, producer & author from Rockville, Maryland who showed quite a bit of potential in the early 2010s with his Young Sinatra mixtape series. His first 2 full-lengths Under Pressure & The Incredible True Story were both solid as well but beginning with the Bobby Tarantino tape in 2016, his discography has been VERY rocky. Mostly because his lyrical topics got trite & he drowned deeper in his influences to the point where it’s distracting. Case in point: His 3rd album ΞVERYBODY in 2017 was pretty much a Dollar Store version of Kendrick Lamar’s To Pimp a Butterfly & then Bobby Tarantino II almost a year after sounded like a poor man’s Travis Scott album. However, I thought Young Sinatra IV was decent at best & MAYBE he would bounce back going forward. But somehow someway, Logic was able to drop 2 of the worst albums of last year in the span of 6 weeks with Supermarket & Confessions of a Dangerous Mind. Of course the backlash both those records justifiably received resulted in him going AWOL & since then, he’s started his own family with a second-wife & conceiving a child together. To focus on that, he’s giving us a sequel to Under Pressure as a parting gift from the music industry.

The album kicks off with the title track, where Logic gets reflective over some old school production. The next song “Hit My Line” talks about hoping God fixes all the bad stuff in the world today over a boom bap beat from longtime collaborator 6ix with some joyous keyboard melodies while the track “GP4” is a lame bastardization of OutKast’s “Elevators (Me & You)”. The song “Celebration” is an ode to his time in the music industry over a soulful No I.D. instrumental & while I like the beat switch on “Aquarius III”, the lyrics are an odd mash-up of “OCD” & “I’m Gone”.

The song “Soul Food II” is a dope revamp of the original “Soul Food” down to the beat while the track “Perfect” talks his shit over a vibrant FNZ instrumental. The song “man i is” talks about being happy with the person he’s become over a sample of Erykah Badu’s “Didn’t Cha Know?”. The song “DadBod” of course speaks on his newfound fatherhood over a delicate instrumental while the track “5 Hooks” charismatically boasts over a dynamic instrumental from Toro y Moi.

The song “Dark Place” talks about his anxiety & depression over a moody beat while the track “A2Z” is a modern take on Blackalicious’ “Alphabet Aerobics” backed by a punchy beat with some haunting keyboards. The song “Heard ‘Em Say” is a motivational anthem that actually goes over & before the spoken word outro “Obediently Yours”, the track “Amen” talks about how grateful he is for everything over a gospel-like boom bap beat.

In the past, a lot of rappers have said they’re gonna retire from making music & almost none of them actually do. But if this truly is the last Logic album, then I’m not mad at all. Easily his best since The Incredible True Story in my opinion. It’s well produced & Logic actually sounds focused this time around. Thank you, Bobby!

Score: 3.5/5

Lupe Fiasco – “House” review

This is the 2nd EP by Chicago, Illinois veteran Lupe Fiasco. Breaking out in the mid-2000s with Food & Liquor and The Cool, but the man started to become inconsistent once the 2010s came around. Lasers is easily the worst thing he ever put out and Food Liquor 2: The Great American Rap Album was mediocre, but Tetsuo & Youth was such an incredible return to form. Then came DROGAS Light in 2017, which was a SLIGHTLY better Lasers. However, it’s sequel DROGAS Wave is a lot better despite being a tad bit too long. Lupe hasn’t put out much since but to surprise everyone, he’s teaming up with a 23-year old producer named Kaelin Ellis for HOUSE.

After the Virgil Abloh spoken word intro “HOMME MADE”, we get into the first song “DINOSAURS”. Where Lupe of course details the prehistoric age over a dreamy-boom bap beat. The next track “SLEDOM” talks about career decisions over a mellow instrumental while the song “SHOES” touches down on police brutality over a boom bap beat with some horns. The EP ends with “LF95”, which is essentially Lupe spitting off top over a jazzy instrumental for 5 minutes.

This is a solid prelude to Skulls when or if it comes out at this point. Couple joints drag out longer than they needed to, but Lupe sounds focused for the most part & Kaelin Ellis could definitely get bigger from here because I really dig his sound on here quite a bit.

Score: 3.5/5

M.A.V. & Rob Gates – “The Dark Side of Nature” review

This is the surprise collaborative album between Rochester emcees M.A.V. & Rob Gates. Both of whom are members of Da Cloth along with Mooch & Rigz, who actually happened to drop their own collab effort with Big Ghost Ltd. production top to bottom late last year called The Only Way Out. Given that, it’s only right for Big Ghost to show off 2 other members of Da Cloth for a full project.

After the “Prelude” intro, the first song “Bad News” opens up about doing what needed to be done over a grimy beat with some rock influences to it whereas the next track “Bloodhounds” gets murderous over a wailing guitar. The song “Said What I Said” talks about how ugly the lives that they’ve lived are on top of an instrumental that sounds like something from a horror flick while the track “Wild Card” angrily paints themselves as mobsters over a melancholic boom bap beat.

The song “Green Light” talks about applying the lesions that they’ve learned throughout the years on top of a somber orchestral loop while the track “Tombstone” talks about engaging in criminal activity over a fuzzy boom bap beat. The song “Left for Dead” with Rigz sonically gets back on the rock side of things as the trio talk about how dudes in their hood don’t play while the track “Said Less, Did More” talks about grinding as over an elegiac piano instrumental.

The song “Authenticated” talks about how their credibility over a hypnotic beat while the penultimate track “By Myself” gives us a glimpse of what it was like for them growing up & I really love the instrumentation gets more layered as the song progresses. The album finishes off with “Smokin’ Aces”, where everyone in Da Cloth gruesomely show us what they’re capable of as a unit for almost 8 minutes.

If you loved The Only Way Out, then you’re gonna enjoy this just as much. Not only because M.A.V. & Rob Gates’ chemistry is just so unique, but Big Ghost Ltd. also continues to show why he’s one of the best producers in hip hop today.

Score: 4/5