southsidesilhouette – “Untitled” review

Here we have a brand new mixtape from Atlanta, Georgia recording artist southsidesilhouette. Emerging in the SoundCloud scene of his debut EP Metanoia & later the full-length studio LP Diafora, he continued to build his discography from there whether it be ( ︶︿︶)_╭∩╮ & ♃ or the original Hits followed by the sequel & 2009. The final chapter in the Hits trilogy would drop almost 20 months ago, coming off Dream But Don’t Sleep earlier this spring for a new untitled tape on Halloween.

“Wet ‘Em Up” begins with a bit of a rage-inducing instrumental talking about giving no fucks & dying on that hill whereas “Can’t Pipe Down” colorfully reminds us that some people don’t make it that far in this industry. “Pop Out” featuring Tezzarain finds the 2 talking about it being another day instead of a phase just before “Every Other Day” featuring Rollinthrax flexes that their pockets are full of parmesan.

Meanwhile on “New Stick”, we have southsidesilhouette over this swampy trap beat talking about his new gun coming with a kick while “Yes” asks where the safe is so he can break the bank. “Die Lit” embraces a bit of an ethereal trap vibe to the beat talking about having everything he needs while “Changes” featuring Diorvsyou & 6bill psychedelically links up to speak of doing everything by themselves.

“Face the Music” starts the last act of Untitled with a glitchy rage instrumental talking about giving ‘em the belt when it’s time while “Loading” featuring Rollinthrax reunites both of them so they can discuss trying to take this shit off the map. “IDH8ME2” nears the end with a pluggier flare responding to his detractors while “Long Time” featuring Rollinthrax soulfully talks about it taking forever for them to get where they are.

Only dropped a half hour late, but at least Untitled didn’t wind up being delayed because I actually enjoyed this mixtape more than the Dream But Don’t Sleep EP. The monotony of the latter is broken off completely by the inclusion of all 4 guests, I feel like there’s more going for the production than this past spring although I’d love to hear him work with Internet Money Records or Vanguard Music Group again & southsidesilhouette’s flows remains amongst the most unique in the modern underground trap scene.

Score: 4/5

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Offset – “Haunted by Fame” review

New surprise-EP from Atlanta, Georgia rapper Offset. Starting out as 1/3 of the Migos with Unc & Phew, he released a fantastic collaborative project with 21 Savage & Metro Boomin’ exactly 8 years ago to the very day called Without Warning only to make his solo debut Father of 4 the best of the 3 compared to QUAVO HUNCHO & The Last Rocket. Set It Off wasn’t too bad either, coming off Kiari a couple months ago so he can take up the next 25 minutes or so confesing to being Haunted by Fame.

The soul sample on “Free Pick” was an attention-grabbing way to begin suggesting not to start anything with him & it won’t be any beef whereas the title track produced by Pooh Beatz talks about the cons that come with being a celebrity. “I Heard” featuring YoungBoy Never Broke Again isn’t that much better than “Pills” off Kiari earlier this summer until the Travis Scott vibes Coupe goes for during “No Sweat” makes up for it.

“Okay, Okay” easily has Haunted by Fame’s most annoying hook & the nondescript instrumental doesn’t really make it all that much better just before “Fashion Icon” reunites with DJ Durel that goes smoothly until the Labubu bar threw me off almost a minute in. “N.A.M.E.” featuring NoCap gives me a country trap vibe protecting their energy while “Another Problem” featuring Lil Dump mediocrely talks about getting to the bands in different ways.

The song “Ya Digg” starts the final leg of the EP with Offset jumping over a beat that reminds me a little of Future’s output boasting of him pulling up looking trim while “No Regrets” disses his ex-wife Cardi B, who was the hostess of the WME Group-owned TKO Group Holdings division WWE’s SummerSlam XXXVIII almost 3 months earlier. “Headhunter” finishes with a moderate outro talking about only seeing money at the end of the tunnel.

Unfortunately as much as I was looking forward to this since hasn’t Offset dropped anything on Halloween since Without Warning almost a decade earlier, I came away from Haunted by Fame liking it less than the most introspective album of his career earlier this summer. I can appreciate the concept of him cautioning of the downsides that come with fame, but the production’s a lot weaker.

Score: 2.5/5

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Lloyd Banks – “Halloween Havoc VI: The 6 of Swords” review

Wouldn’t be a Halloween without the 21st mixtape from Queens, New York emcee Lloyd Banks. Gaining notoriety in the 2000s for his witty punchlines along as well as being an original member of G-Unit alongside childhood friends 50 Cent & Tony Yayo, he kept himself busy for a little while after the group’s disbandment in 2015 by releasing A.O.N. 2 (All Or Nothing 2): L.I.U. (Live It Up) & Halloween Havoc 3: 4 Days of Fury just before taking on a 5-year hiatus that really lasted until he received a song placement on the soundtrack for Griselda Records’ theatrical debut Conflicted along with the whole Course of the Inevitable album trilogy gaining renewed interest in the PLK himself. 6 months following A.O.N. 3: (All or Nothing 3): Despite My Mistakes, it was only a matter of time until we got Halloween Havoc VI: The 6 of Swords.

“Addition by Subtraction” starts with a drumless chipmunk soul instrumental from Cartune Beatz talking about cropping pictures because some people don’t belong in them whereas “Eat What You Kill” promises to make the music split people in half like he’s slicing their faces with a razor blade. “Book of Records” goes for a bit a boom bap direction talking about not slowing down because he can’t afford to do so leading into the grisly “If Time Permits” looking to get everything on the table.

As for “Haddonfield”, we have Lloyd over a chillin vocal sample providing mayhem to the masses just before “Supposed to Be” hooks up a soul flip to talk about how things are meant to unfold from his perspective. “Die Slow” experiments with trap a bit explaining that he’d rather be living fast while “Save a Spot” profoundly finishes the 1st half talking about time continuously flying away & the race again against has all been by design.

“Made a Fool of Me” works in a boom bap instrumental that Haas Almahdi cooked up with some cumbersome piano chords speaking of disloyal people & love being cancelled to some while the cloudily raw “Changed Up” talks about people switching on him. “The Eye Test” brings some organs into the fold ready to 187 microphones for the 718 while “It Ain’t Going Well” confesses he hasn’t been doing all that greatly for him as of late because another problem occurring on the daily.

Starting the final act of Halloween Havoc VI: The 6 of Swords, the song “Talk About It Lata” caution that there’s consequences for people acting gangsta out in the streets while “Father Forgive” talks about him hoping that people will appreciate this last rush. “Happy Eyes Lie People” plays with the idea of him checking outta here for good & “What’s Your Purpose?” concludes by asking for our motives because those who don’t have one don’t have anything going for them.

With all of the praise I have for Lloyd Banks’ penmanship & I can appreciate him continuing the Halloween Havoc series because of the way shit’s been going for him, I feel like he needs to switch up his production a bit. No shade towards Haas Almahdi or Cartune Beatz because they’re both good dudes, but I’m confidently sure some of the greats like The Alchemist or Hit-Boy & Conductor Williams would love to work with him.

Score: 3.5/5

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Westside Gunn – “Heels Have Eyes III” review

Buffalo, New York emcee, songwriter, entrepreneur, curator & professional wrestling promoter/booker Westside Gunn celebrating Halloween with the final chapter of the Heels Have Eyes trilogy. Proving his legend status & that he’s a force to be reckoned with all in nearly a decade whether it be running one of the hottest hip hop labels in recent memory to his first 2 full-lengths FLYGOD & Supreme Blientele. The success of the 4th Rope independent professional wrestling circuit has included 2-time RoW Heavyweight Champion Zilla Fatu becoming the inaugural 4th Rope Heavyweight Champion carrying on the legacy of his late father in former AJPW世界タッグチャンピオン, FMWハードコアタッグチームチャンピオン and 2-time WWE Intercontinental Champion Umaga as well as former 2-time WWE Cruiserweight Champion Real1 becoming the inaugural 4th Rope Flyweight Champion and even the current 4-time TNA World Tag Team Champions The Hardy Boyz becoming the inaugural 4th Rope World Tag Team Champions, following up Heels Have Eyes II with Heels Have Eyes III instead of FLYGOD is an Awesome God III.

“Free Rolleys” featuring Benny the Butcher & produced by CG after an intro from former JCW World Juggalo Heavyweight Champion Joshua Bishop begins with a boom bap instrumental & Benny dissing Freddie Gibbs whereas “Mankind” featuring Stove God Cook$ references WWE Hall of Famer, former 3-time WWE Champion, 11-time WWE tag team champion, the inaugural WWE Hardcore Champion, CWA World Tag Team Champion & TNA World Champion Mick Foley over a soulful Daringer beat.

We have Westside Gunn over a boom bap instrumental with strings during “Eddie Bauer” shouting out the titular outdoor recreation brand just before “Tito Santana” featuring Rome Streetz gives their flowers to the WWE Hall of Famer, former ECW World Heavyweight Champion, 2-time WWE Intercontinental Champion & 2-time WWE Tag Team Champion of the same name. The pianos Denny LaFlare works in during “Tiffany Blue” suit the Halloween timing & West lets off some insane rhyme schemes.

“R-Truth” salutes the former 2-time NWA World’s Heavyweight Champion, 2-time NWA World Tag Team Champion, TNA World Tag Team Champion, 2-time WWE United States Champion, 2-time WWE Hardcore Champion & 2-time WWE tag team champion who recently made his foray into country music this summer while “Babas” gives off a lo-fi boom bap vibe instrumentally referencing WWE Hall of Famer, 2-time WWE Champion & WWE Tag Team Champion Bob Backlund.

After the “Grey St.” interlude, the final song “Gus Smacker” featuring Brother Tom Sos provides a taste of what’s to come from the latter’s upcoming debut album in 2026 teaming up over this jazzy beat talking about how some people need to be using common sense & an outro from former JCW World Juggalo Heavyweight Champion Joshua Bishop is what officially ends the Heels Have Eyes trilogy tying things up the way he started it only 25 & a half minutes earlier.

The insert of the Heels Have Eyes III states that FLYGOD is an Awesome God III will be released “soon” & whether that be within the next couple months or sometime the following year, Westside Gunn carries on his tradition of celebrating Halloween concluding what he started during WrestleMania XLI weekend curating 25 & a half minutes of the mafioso rap he’s become celebrated for with the production going from boom bap to jazz rap & drumless.

Score: 4/5

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Big L – “Harlem’s Finest: Return of the King” review

Big L was a 24 year old MC from Harlem, New York known for his freestyling abilities & having some of the greatest punchlines in hip hop history. Making his debut under Columbia Records in the spring of 1995 with Lifestylez ov da Poor & Dangerous, the Children of the Corn & D.I.T.C. member would go on to start up his own label Flamboyant Entertainment & almost signed to Roc-A-Fella Records until he was murdered in 1999. The next summer, Rawkus Records would distribute The Big Picture (1974-1999) for Flamboyant & it would be equally beloved as the only LP of his lifetime to this very day. 139 & Lenox came out independently and RBC Records distributed The Danger Zone, but Mass Appeal Records is giving him a proper sendoff with his 5th & officially final album executive produced by Royce da 5’9 & the 5th entry of the Legend Has It series.

“Harlem Universal” featuring Herb McGruff produced by G Koop starts with a soulfully funky beat representing their hometown whereas the only single “U Ain’t Gotta Chance” featuring Nas finds the 2 talking about nobody standing a chance against them in lyrical battle. The first half of “R.H.N. (Real Harlem N****s)” is taken from one of my favorite Children of the Corn songs “Harlem Nights”, but then “Fred Samuel Playground” featuring Method Man shouts out the location of L’s mural over a Conductor Williams instrumental.

After an interlude during the first 45 seconds of “Big Lee & Reg”, we’re treated to a brief verse from Errol Holden, the luxurious beat that Lord Finesse cooks up on “All Alone” sticks out in being amongst my favorite throughout the LP talking about looking for a place to call his own while “Forever” featuring Mac Miller bittersweetly unites 2 greats who were taken from us way too soon. There’s also the “7 Minute Freestyle” featuring JAY-Z, which is still her in today as one of the greatest freestyles in the history of hip hop.

Joe Budden only provides a spoken word intro to kick off the “Doo-Wop ‘99 Freestyle” making way for L Corleone to flow all over a beat that gives me a bit of a Halloween atmosphere but after the “Don & Satcha” skit, the “Stretch & Bobbito ‘98 Freestyle” angrily promises to take competitors out their misery while “Grants Tomb ‘97 (JazzMobile)” featuring BVNGS & Joey Bada$$ historically pairs the trio to talk about the need to get back on a roll.

“Live @ Rock N Will ‘92” starts the final leg sampling some pianos flexing that people are hiding in protective custody because he can’t be fucked with while “How Will Make It? (I Won’t)” gets remixed from the Return of the Devil’s Son compilation. After the “Don & Sacha @ Inwood Hill Park” outro, the bonus track “Put the Mic Down” featuring Fergie Baby & the late Party Arty finishes L’s coda with them over a Showbiz & Ron Browz instrumental.

Although I can’t say I’m not too surprised that there are some moments throughout Harlem’s Finest: Return of the King that I’ve already heard because neither Big L or Biggie a.k.a. The Notorious B.I.G. had the same work ethic 2Pac had, I did enjoy this better than I thought I would. Primarily since it does the Flamboyant Entertainment CEO’s memory & legacy better than some of these compilations we’ve been getting out of his camp for the last quarter of a century, which is all I asked & could’ve hoped.

Score: 3.5/5

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Ransom – “The Reinvention” review

Here is the highly awaited 13th EP from Jersey City wordsmith Ransom. Coming up as 1/2 of the short-lived duo A-Team alongside Hitchcock, he branched out on his own in 2008 following their disbandment beginning with the full-length debut Street Cinema & the Statik Selektah-produced sophomore effort The Proposal. But it’s been safe to say these last couple years have been his biggest so far whether it be the 5 EPs that he put out produced by Nicholas Craven or 7 based around the 7 deadly sins, Heavy’s the Head produced by Big Ghost Ltd., the Rome Streetz collab album Coup de Grâce, Chaos is My Ladder, Director’s Cut 4 & Deleted Scenes 2. Lavish Misery produced by Harry Fraud was a step above Spare the Rod, Spoil the Child and MadeinTYO producing Smoke & Mirrors last summer was an exciting surprise, but The Reinvention produced by DJ Premier had me as excited The Coldest Profession almost 3 months earlier.

“Amazing Graces” begins with with a gritty piano instrumental talking about his style being so outstanding whereas “A Cut Above” works in some strings hoping that may the best man win lyrically. After the “Rap Radar” interlude, “Chaos is My Ladder” dustily welcomes anyone hoping to reach his level of lyricism while “Forgiveness” talks about going from broke to sipping champagne in Venice.

The song “Survivor’s Remorse” winds down the last few minutes of The Reinvention explaining that fake love always deceives along with the opinion of one not really trying to win if they’ve never taken a loss in their entire lives & the title track sends off the EP by advising those in attendance to prepare for his growth to he seen since they’re already stuck around to see the vengeance.

Representing a meeting of 2 master craftsmen whose fingerprints are woven into the DNA of hip-hop production & another who is recognized by peers & fans alike as one of the best pound-for-pound lyricists alive, The Reinvention showcases Ransom & DJ Premier joining forces to create a transformational musical experience that epitomizes the streetwise mentality realizing the journey’s just as important as the destination. 

Score: 4.5/5

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Heem – “Bars & Noble 3” review

Buffalo, New York emcee Heem closing the Bars & Noble trilogy with his 4th LP. Catching my attention in 2020 after becoming of a protege of Benny the Butcher & signing to Black Soprano Family Records, he also made a few appearances on the label’s showcase EP prior to dropping his debut mixtape Long Story Short & a debut EP High Art. His debut album From the Cradle to the Game came in the spring of 2023, coming off the sequel to Bars & Noble earlier this year to complete the final chapter.

The title track opens up with a boom bap instrumental talking about leaving anyone running their mouths on stretchers whereas “Bonettis” featuring Illy Foo finds the 2 discussing times getting harder trying right some wrongs. “Buffalo to Bompton” featuring Figg Newton joins forces for a moderate east coast/west coast collaboration with a bit of a small g-funk influence just before “$20 Stones” gets on his hustler shit over a sample.

“Redrum” moves forward by showing off his murderous tendencies advising that people near him better run for their lives when he pulls up to the spot while “Menace to Society 2” conceptually picks up where the Long Story Short highlight left off. “Foot Steps” featuring Z Baby finds the 2 expressing their desire to get up & grind leading into “$1 & a Dream” featuring Jamal Gasol optimistically talking about their day coming.

Jae Skeese joins Heem on the song “Graceful” starting the final leg of Bars & Noble 3 with my what could most likely by my favorite feature of the 5 in my personal opinion anyways asking to pray for them while “Family Tree” talks about his upbringings sampling soul music. “Warring Ave 2” finishes the trilogy with another sequel to a Long Story Short standout telling us more stories of him growing up in that very street of his hometown.

The original Bars & Noble was a solid dedication to all of the people in his circle who’ve been around since Day 1 & it’s sequel this spring at him at his wisest, but Bars & Noble 3 compared to it’s predecessors feels like a mix of both at times although the list of guests & some of the production doesn’t interest me all that much. By no means am I saying it’s wack, I simply prefer the earlier installments above this most recent one & that’s that.

Score: 3/5

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SosMula – “Kamp Krystl Lake” review

This is the 4th studio LP from Manhattan, New York rapper SosMula. Coming up as 1/3 of the now defunct City Morgue alongside fellow emcee ZillaKami & producer Thraxx, they’ve released 2 full-length albums & an EP together up before branching out on their own for a little bit. Sos was the first to step up to the plate by dropping 13 Songs 2 Die 2, which was a bit of a disappointment in my opinion due to the features & production. ZillaKami followed it up a month later with HIS solo debut Dogboy & the duo reunited to drop Bottom of the Barrel the month after that, both of those I found much more tolerable. 2 High 2 Die was better than it’s predecessor & the Sleez Machine EP that fall was the worst solo effort of his yet. Signing to Limosa Nostra Records & Atlantic Records following the divisive reception of his final Republic Records offering Sleez Religion, it only makes to go to Kamp Krystl Lake on Halloween.

“Killa Season” begins with a bloodcurdling trap metal intro talking about shooting his opps on camera whereas “Mr. Anderson” bombastically flexes that his stick matches the kicks in his wardrobe. A favorite of mine “Kathedral” featuring Ricky Hil & produced by Thraxx blends a shredding guitar riff & some hi-hats to get on some gangsta rap shit lyrically leading into “Aaron Hernandez” referencing the disgraced New England Patriots tight end of the same name.

Moving on from there, we get more trap metal production on “Blood of My Blood” showing a bit of a Marilyn Manson inflection in SosMula’s vocals during the hook just before “God’s Country” embraces a cloudier trap direction & pens a more nauseating chorus than earlier. The lead single “Trench Brazy” was an impressive 2-parter Lex Luger cooked up likening himself to a pimp while “House in the Trees” feels like God isn’t answering his prayers.

“Project Baby” was another exciting single reusing the same beat as “Deception” by Cameron Azi from 13 months ago except I feel like Mula suits it better down to the additionally included sampling of “Pop Out” by Playboi Carti while “Spiral” angrily talking about running up to houses to put his gun in the mouths of whoever opens it. “Preacher” speaks of hooking up with the reaper & gangbangers repping his set while “Mercedez Brazy” takes a slower approach than the other singles.

The song “Blakk Bootz” winds down Kamp Krystl Lake’s final 8 minutes with an industrial trap sound talking about his preference of rockin’ an all black got while “Outlaw Squad” contains some of the goofiest vocals throughout the album comparing himself to a fugitive. “Circus Roaches” lastly ends things experimenting with a grungy rock outro talking about him trying to figure out all this shit happening recently while “Excalibur” starts the deluxe run going to war over a trap metal beat.

“Spin Class (Fitness for Opps)” cloudily promises to gauge out the eyes of those going against him while “GTA VI” references Rockstar Games’ upcoming action-adventure game of the same name. “Death from Above” talks about the sky & eyes turning red over a rap rock instrumental while “Walk ‘Em Home” boasting all his stacks are chrome. “Barbellz” featuring Ricky Hil intriguingly trades the mic back-&-forth with one another the final bonus track “M. Bison” has a bar referring to WWE Hall of Famer Mike Tyson.

None of SosMula’s solo effort have come close to Dogboy but surprisingly, Kamp Krystl Lake gives pretty good reasons as to why Ricky Hil signed him to Limosa Nostra Records & Atlantic Records ahead of 10,000 Grams. Maybe even the best Sleezy has sounded on his own ever, stylistically drawing from the trap metal sound City Morgue pioneered to cloud rap & alternative rock taking it’s themes after the iconic Friday the 13th franchise.

Score: 4/5

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Lil Gotit & Lil Keed – “Fraternal” review

Atlanta, Georgia rappers & siblings Lil Gotit & the late Lil Keed celebrating Halloween with a brand new collaborative project. The latter eventually became the most popular of the 2 in the late 2010s when Young Thug announced he has signed him to YSL Records & his younger brother would go on to put out a total of 5 full-lengths as well as a couple mixtapes under Alamo Records until his departure almost 3 years ago already. Keed unfortunately passed away in 2022 of eosinophilia & Gotit’s finally putting Fraternal together after teasing it with a couple singles throughout the entire month, making it Keed’s 2nd posthumous offering succeeding Keed Talk to ‘Em 2.

“Game Time” finds the Renders over a cloudy trap instrumental for 85 seconds talking about nobody being in their range artistically whereas “Cash Brothers” takes a few minutes to back out with each other & stack their bread. “Relapse Game” works in some strings & hi-hats so they can talk about loading up the sticks while “Red Eyes” conceived during for the Trapped in Cleveland 3 sessions has a new life of it’s breathed into it.

Tee Grizzley joins Gotit & Keed on the cloudy trap fusion “From the Heart” talking about how everything they do comes from a place of sincerity just before “Stupid Shit” produced by CashMoneyAP demands answers for all the stupidity around them recently. “How Bout You?” continues the 2nd half suggesting that people should be taking risks & trying to become rich while “Woah” lusciously getting higher than the rest thanks to Outtatown behind the boards.

“Young N***a” gets to the encore of Fraternal by digging up another outtake from the Trapped in Cleveland 3 sessions while “5 Star Residence” sticks out in being another favorite of mine personally from the Supah Mario instrumental to the Render siblings talking about the bankroll coming in all different types of colors. “Wild Life (I’m Higher)” closes Gotit & Keed’s joint effort with them reflecting on their crazy lifestyles while “What’s Up?” starts the deluxe run talking about wanting to get high.

As for “Give ‘Em Hell”, we have the Render brothers taking a few minutes to speak of sliding with their money in their pockets while “I’m So Sorry” apologizes in advances for the possibility of sending hits at the detractors who want nothing more than to see them both lose. “Boss Man” airs out the clones stealing their drip & getting pissed because they didn’t get co-signs from either one of them while “Cat Got His Tongue” speaks of cornballs pillow talkin’ to hoes on the phone over a Taurus beat.

“Minaj” featuring Ty$ with G*59 Record$ in-house producer Dynox behind the boards brings the trio together talking about the baddies they’re dating playing their parts while “Rappin’ Shit” guides listeners through the rap game itself. “Fierce” marks the last time both performers appear on the same song with each other since the last 3 bonus tracks “Disgust Me” & “5AM” are Lil Gotit solo joints & “Baby Boy” being a Lil Keed solo song, shrugging off all competition they might have for being weirdos.

Personally, I’ve always found myself listening to Lil Keed more than Lil Gotit although I’ve enjoyed a great deal with their collaboration so I had no problem going into Fraternal. Solid way of Gotit remembering his older brother & I’m pretty sure he would be happy with it if he were still here. The production’s ok but from beyond the grave, it’s bittersweet hearing Keed with his younger sibling carrying his legacy & doing so the right way.

Score: 3.5/5

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Florence + the Machine – “Everybody Scream” review

Florence + the Machine are an art/chamber pop & indie rock band from London, England, United Kingdom, consisting of drummer Loren Humphrey, violinist/rhythm guitarist Dionne Douglas, percussionist/keyboardist Aku Orraca-Tetteh, bassist Cyrus Bayandor, harpist/percussionist Tom Monger, lead guitarist Robert Ackroyd & frontwoman Florence Welch. Making their debut in the summer of 2009 under Island Records with Lungs, their sophomore effort Ceremonials during my freshman year of high school & their final Island offering How Big, How Blue, How Beautiful shortly after my graduation would both receive similar praise as did their Republic Records debut High as Hope. It’s already been over 3 years since Dance Fever & they’re celebrating the 14 year anniversary of Ceremonials with their 6th album.

The title track gives us a taste of what’s to come from the artsy, gothic & glam rock instrumentation asking how can she retire when people are shouting for her name whereas the 2nd single “1 of the Greats” blends art rock, alternative rock, gothic rock, singer/songwriter & post-punk sings about a 2023 near-death experience she had. “Witch Dance” works in some haunting choir vocals in the background using sex as a metaphor for her almost losing her life while the final single “Sympathy Magic” sings about the costs of fame pulling from art pop, indie rock & art rock.

“Perfume & Milk” leans heavier towards a singer/songwriter direction stylistically referring to the natural process of growing & returning to Earth just before the folkier “Buckle” finishes the first half of Everybody Scream with Florence singing about carrying the weight of memory & the beauty of moving on. “Kraken” begins the 2nd act with an indie/rock crossover searching for meaning while “The Old Religion” sings about the feeling of animal instinct starting up from within herself wounded so tightly to the point that she can hardly breath.

Starting the final leg, “Drink Deep” finds herself seeking the hidden folk through bramble & briar under ash & oak nightly realizing she drank of herself while “Music by Men” sings about her knowing how to fall in love because she does it constantly with everyone she meet for 10 seconds. “You Can Have It All” embraces an art pop vibe again admitting that she was wrong about her perception of sadness her whole entire life until these past couple years while “& Love” finishes by optimistically singing that peace is coming.

Returning to the spellbinding world-building that has defined Florence Welch’s entire creative universe, Everybody Scream channels her fascination with mysticism & folk horror in the wake of a life-changing surgery she had to undergo during the Dance Fever tour when she suffered a miscarriage. It’s more singer/songwriter & art rock oriented than what’s she’s done previously, getting more than that previous LP with secondary influences of art pop, alternative rock, gothic rock, post-punk & glam rock seeping through.

Score: 4.5/5

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