J Tantrum – “Hidden Faces” review

After spending the last few months dropping singles, California emcee J Tantrum is now delivering his 3rd mixtape exclusively on DatPiff. The opener “Reap’N” gets braggadocious over a somewhat jazzy boom bap instrumental, but then it transitions into something more eerie halfway through. The next song “Fear the Real” is basically a message to all the Waco rappers out there & the vibraphone instrumental enhances the ominous vibe of the song as Tantrum’s delivering his aggressive bars. The track “Green Light” sees Tantrum getting vulnerable & the somber pianos enhances the stress that he’s venting out. The song “Basics” has a decent spacey trap beat, but the A.Chal hook is beautifully sung & both Tantrum’s delivery & flow is off the wall insane.

The track “The Essence” has a solid beat change from having heavy bass into something more gloomy & his bars during the first 2 verses are straight hardcore. The song “Geddit” charismatically talks about getting money over a piano-trap beat & A.Chal’s hook here reminds me of Frank Ocean for some reason. The song “Nothin’ But a Thang” gets on some gangsta shit & the Guu verse is ok, but the hook is kinda weak to me. The track “Find Out” talks about taking the crown & living like winner now over a funky bass guitar. The song “High” raps about his squad being The A-Team & fucking you up for slippin’ some vibraphones along with some heavy bass & DJ scratches.

The track “Wop” has an ominous yet abrasive beat & while I didn’t expect the A$AP Twelvyy feature at all, he definitely came through. I also like how first verse in Spanish, but the hook sounds too comatose for me. The song “Dutchboy” is basically Tantrum taunting wack rappers yet again over a druggy instrumental & the line about calling him Lamar despite not having crack under his nose is just absolutely hilarious. The track “Damn Lil Mama” sees J getting back with Guu to get on the romantic tip over a smooth instrumental & the next song “Bonnie” talks about his down bitch with a rest the soulful vocal sample in the background.

The track “Hide” is just lethal over a set of twinkling keys with a sinister bassline & the Da$h verse on the song “Not Guilty” might be my favorite feature on the entire album. The song “Izm” gets back on the gangsta tip over a jazzy instrumental & the rhyme schemes on the penultimate track “Gas Chamber” are just bananas from start to finish. The tape then closes out with “‘Bout It”, where he’s flaunting about him being real along with you being a no name & the trap beat is abrasive is Hell.

Overall, this mixtape is right behind The Come Up for J Tantrum’s best work. A couple of the features were decent & I wasn’t feeling some of the hooks, but the production hits hard for the most part & the bars are just as nastier than ever before. I personally feel that Tantrum is one of the best in the LA underground right now & this tape definitely solidifies that

Score: 4/5

CunninLynguists – “Rose Azura Njano” review

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With the release of 2 prelude EPs earlier this year, the horribly underrated Kentucky based hip hop trio CunninLynguists are coming together with their 6th full-length album. The opener “Red, White & Blues” sees MCs Deacon the Villain & Natti saying that they still think the US is alive despite all that’s going on right now over an instrumental from Kno that contains a killer guitar & some boom bap drums. The next track “Riot!” speaks on just that & while the hook is just average, the beat kinda has this churchy vibe that fits well with the descriptive lyrics. The song “Red Bird” talks about spirituality over a smooth instrumental & the sample hook is just as beautiful. The track “Violet (The Upper Room)” has a religious tone lyrically but this time, they’re talking about it over some jazzy keys & the way it’s structure it like a funeral was very creative.

The song “Gone” speaks on the evicted over a soulful boom bap beat à la 9th Wonder & the Trizz hook enhances the somber tone of it perfectly. The track “Any Way the Wind Blows” vividly tells the story of this woman who eventually commits suicide over a lush yet dreary instrumental & I absolutely love the sample that was used during the hook. The next 2 songs “Mr. Morganfield & Ms. Waters (Side A)” and “Jimi & Andre (B-Side)” really could’ve been been a single 8 minute song to me, mainly because the structuring of both individual tracks from the songwriting to the way the beat changes after each verse are very well incorporated. The track “Hustlers” intelligently talks about this woman who gets everyone floored over a smooth guitar loop & the hook fits in with the verses like a glove. The song “Oh Honey” is a creatively written love tune & while the drums are explosive as Hell, the overall vibe it gives off is just right. Lyrically, the penultimate track “No Universe Without Harmony” gets back to the topic of consciousness & the instrumental is pretty wavy yet gloomy. The album closes out with “Earth to Venus (Tiny Orange Star)”, where Deacon & Natti talking to their lovers with some spirituality references & the instrumental is just absolutely beautiful.

While I do recall Kno tweeting last November telling us to expect the CunninLynguists to bring back the Dirty Acres era, I don’t really think they disappointed. Matter of fact, I think the trio surpassed Joey Bada$$’ latest album All AmeriKKKan-BadA$$ (which I also reviewed very positively) for the most conscious hip hop release of the year. Primarily because I find the lyricism is a lot more intelligent & Kno’s production continues to get a lot more beautiful over time

Score: 4.5/5

Verb T – “Good Evening” review

Dublin, Ireland beatsmith Pitch 92 from The Mouse Outfit fully producing London, England, United Kingdom emcee Verb T’s 8th solo LP. Signing to Low Life Records & briefly YNR Productions prior to becoming a member of The 4 Owls, he would also make his debut in mid-late 2000s off Bring It Back to Basics as well as Broken Window & Verbs with a Vengeance. These would be followed by Serious Games, which later resulted in T making his High Focus Records debut with Morning Process & I Remain. Coming off The Man with the Foggy Eyes produced by Illinformed, I felt it would be exciting to hear Pitch 92 fully produce Good Evening.

“Arrived Late” begins with an organ & some kicks & snares talking about finding to the worst to define your world whereas “Getaway Car” swaps out the organ in favor of a vibraphone confessing things get eerier the more his squad travels. “Mechanical” continues the jazzy boom bap vibes talking about the understandability of living mechanically while “Possession” featuring King Kashmere speaks of this being the type of shit that sinks in slowly.

Ocean Wisdom joins T during “Lie Low” sampling “Parle Plus Blas” by Dalida sending a message to those living in fear leading into the atmospherically dusty “That Sound” talks about feeling some kind of magic in the air. “Mates Rates” featuring Black Josh, Moreone & Rye Shabby finds the quartet comparing their lyrics to gold just before the crooning “When Not To” featuring BVA & Fliptrix superiorly laughs off those snitching on themselves.

“Games” combines boom bap & funk talking about how hard it is to stay sane with everything going on in this world presently while “Sends Me Away” featuring Sparkz jazzily talks about looking for tomorrow only for it to eventually come. “Everything That You Love” turns the funkiness back up suggesting a whole tightly to everything you love me & dear to your heart while “Sugar” playfully talks about him trying to stay the same since everyone’s sweet until they begin to decay.

DRS appears on “They Say”, kicking off Good Evening’s final quarter funkily remembering the late Salford John while “Many Miles” stand happily looking back at all the things he’s done in his career. The title track featuring Confucius MC & Jehst brings the trio together advising to stay seeing what they’ve been seeing while “Break Limits” wraps it all up with a motivational outro encouraging the world not to slip & pick themselves back up.

Stretching back to the days of when Low Life Records was in it’s prime & now envisioning himself as a major part of the ever expanding High Focus Records movement, Verb T uses an outstandingly fresh batch of jazzy & funky boom bap production Pitch 92 has become known for since The Mouse Outfit was around engineered by Telemachus to pen some of the most personal songwriting of his entire career & my favorite guest appearances personally being the ones coming out of the High Focus alumni.

Score: 3.5/5

Rittz – “Last Call” review

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A little over a year after the release of his last album Top of the Line, Georgia rapper Rittz is releasing his 4th full-length album & his last with Strange Music. The album opens with “Middle of Nowhere”, where Rittz is talking about on how far he’s came over an ambitious sounding instrumental from MIKE SUMMERS a.k.a. 7. The next song “Press Rewind” sees him reflecting on his rough adolescence from getting in trouble at school to his father’s abuse towards him over a gloomy instrumental. The track “Indestructible” is an uplifting anthem about staying strong no matter what & the hook also does a great job of giving that vibe as does the instrumental. The song “Down for Mine” speaks on being just that & the rap rock instrumental from M. Stacks will make you get down to party.

The track “Shootin’ Star” gets charismatically braggadocious over a mellow instrumental & the Peso Piddy produced “Dork Rap” is an unapologetically abrasive shot at all the dork rappers out there (hence the title) along with bringing the hardcore back. The track “Crash & Burn” tells the story of his friend & his ex-girl having a kid over a wavy instrumental & the way he tells it is so vivid. The song “Reality Check” talks about getting your life together over a nice country/rap instrumental & the track “Different Breed” tells the haters that he’s like no other over a twangy guitar/trap beat from Matic Lee.

The song “Illumination” is another empowerment joint over a futuristic sounding instrumental & the auto-tune on here is an awesome throwback to the late great Roger Troutman. The track “Into the Sky” is another braggadocious tune & the bass on this thing is absolutely perfect for your whip. The song “Fuck Cancer” is a diss track towards cancer & the way he uses his experiences from seeing his wife’s friend & one of his closest friends successfully beating it was very personal. The track “Lose My Cool” starts with some nice piano keys & DJ scratches, but then some hard drums are incorporated as he’s delivering his frustrated bars. The song “So Long” is an endearing eulogy to a friend who had committed suicide along with another who was murdered & to his own grandpa over a somber instrumental from The Avengerz. The track “Victory Lap” is basically his farewell to Strange over a smooth instrumental & the standard edition closer “I’m Only Human” talks about all of his mistakes over a airy trap instrumental & the strings at the beginning & end are gorgeous.

The first bonus track “Live & You Learn” is about just that & the keyboard instrumental from Mista KA reminds me A LOT of Scott Storch. The next one “Win” with Hitman Shawty & Kane sees the 3 rapping about success over a laid-back instrumental from 7 & while Hitman Shawty & Kane are the only 2 featured MCs on here, their verses were just ok to me. The 3rd bonus track “Good Life” talks about living good over an intergalactic sounding instrumental & then the 4th one “Side Note” is about the current state of hip hop a bunch of creative name-dropping over a southern-tinged beat. The penultimate bonus track “Spiraling Outta Control” then vents about his deer of the world ending (especially with Donald Trump as our current president), but the beat is pretty uncharacteristic. The album then closes out with “Happy Ending”, which is Rittz ambitiously talking about his hopes of maintaining success despite leaving Strange Music.

Given the title, Rittz is walking away from Strange with his greatest work yet. The production is on point, the lyrics are passionate & the lack of features is very refreshing as well. Can’t wait to see what he’s gonna do in the future

Score: 4/5

Masta Killa – “Loyalty is Royalty” review

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It’s been 6 long years in the making & just when it seems like it would never come out, Wu-Tang Clan member Masta Killa is finally releasing his long-awaited 4th full-length album. After a 41 second intro, we are treated to the album’s first song “Return of thee Masta Kill”. While the instrumental from Blahzay Blahzay producer/DJ PF Cuttin’ has this twangy guitar with some boom bap drums & I’m fine with the verses from both Masta Killa & fellow Wu member Cappadonna during the beginning & end respectively, bu Young Dudas’ was just average to me. The self-titled track is basically Jamel Irief romantically talking to his lady & the beautifully smooth 9th Wonder instrumental compliments the tone very well. The track “Therapy” with Method Man & Redman insightfully talks about music being therapeutic to them over a piano loop & some boom bap drums & while the song “OGs Told Me” has a great Cortex sample throughout provided by the producer Dame Grease, my biggest issue with it is that it feels more like a Boy Backs song given the fact that he dominates almost every verse except for Masta Killa’s that comes in halfway through. After a 98 second spoken word piece from the Clan’s de facto leader RZA over somber piano chords, we are then treated into the next track “Trouble”. Here, Jamel’s vividly rapping about how his criminal days began over a soulful instrumental. Then after a 1 minute skit, we are then treated to the next song “Down with Me”. For this joint, Masta Killa gets with the late Sean Price to brag about their rapping prowesses over a boom bap instrumental with some bass. The track “Tiger & the Mantice” with GZA & Inspectah Deck sounds like a vintage Wu banger from the Kung Fu film sample to the battle rap lyricism from all 3 MCs. The song “Real People” has a murderous tone lyrically & the guest verses from Prodigy & KXNG CROOKED were absolutely perfect. The track “Flex with Me” charismatically spits about the lavish life over some jungle-ish drums & the Chanel Sosa hook is pretty catchy as well. The song “Calculated” has this wailing down-tuned synthesizer throughout & despite Jamel’s verse at the end sounding ambitious, I wasn’t feeling the 2 verses from Ra Stacks & Knick Gunz that precede it all that much. Also, the hook sounds like the type of hook I’d hear on the radio. Before we get a 2 minute outro to close out the album, we get 2 last songs with “Noodles, Pts. 1 & 2”. Both of these songs should’ve been combined into 1 entire track rather than being split in 2 parts, I do like the orchestral mafioso vibe of the first half along with the seductive vibe of the other half. Personally, I think this album was worth the long wait. Sure some of the tracks have already been released for a period of time & I could’ve done without a couple of the features, but it’s well produced & Masta Killa continues to prove himself as one of the Clan’s most underrated swordsmen over time

Score: 3.5/5

Iglooghost – “Neō Wax Bloom” review

This is the full-length studio debut from Shaftesbury, Dorset, England, United Kingdom electronic music producer Iglooghost. Dropping his debut mixtape Comet_Camping (Brkfstttt) in 2013, he would go on to follow it up with his debut extended play Twenteen & its successor Treetunnels preceding Flying Lotus signing him to Brainfeeder Records. His debut for the label Chinese Nü Yr on Devil’s Night 2015 became some of the most creative wonky music of that year, coming off Little Grids to make bigger waves with Neō Wax Bloom.

“Pale Eyes” embarks on our trip by embracing a prominently ambient composition up until the final minute of it whereas the Brazilian folk-inspired “Super Ink Burst” works in a crazy saxophone sample that I can’t get enough of. “Bug Thief” blends glitch hop, wonky, footwork jungle, IDM, halftime, bubblegum bass, UK bass, footwork, future bass, grime, EDM glitch hop & nu jazz for a complexly playful lead single just before “Sōlar Blade” culminates in the styles wonky, glitch hop, UK bass, IDM, bubblegum bass, grime, footwork, drill & bass, kawaii future bass, hybrid trap, brostep, Dariacore, footwork jungle, jazz fusion, halftime & digital fusion.

Glitch hop, bubblegum bass, UK bass, grime, wonky, hardcore breaks, drill & bass, deconstructed club, hybrid trap and future bass all collide on the single “White Gum” to end the 1st leg until “Purity Shards” kicks off the opening 99 second of the 2nd half incorporating some heavy vibraphones for this whimsical intermission. “Zen Champ” continues by going for a varied direction by hooking up some of the craziest percussion on the entire LP & samples a bird laughing while “Infinite Mint” featuring Cuushe marks one of many moments where “Gold Tea” gets flipped.

“Teal Yomi / Olivine” featuring Mr. Yote rounds out 3rd with a 2-parter where I prefer “Olivine” over “Teal Yomi” mostly because of the way he counters the latter’s hyperactivity by shifting towards a hip hop while Little Grids’ intro “Peanut Choker” reappears with it’s dense fusion of wonky, footwork, bubblegum bass, hybrid trap, dubstep & adding a guitar near the final moments of it. “Göd Grid” finally sends off with an outro that took him 3 months to complete because of it’s fast tempo & trimming it in half after being displeased with the 64 bars he removed from the final version.

I’m not sure if anything can dethrone Kamasi Washington’s 3rd album The Epic’s spot as Brainfeeder’s greatest musical statement, but Neō Wax Bloom would have to be a close 2nd. His production’s more maximalist than Chinese Nü Yr’s & eclectically explores UK bass, wonky, halftime, bubblegum bass, glitch hop, drill & bass, footwork, future bass, grime, hybrid trap, glitch pop, halftime, deconstructed club, footwork jungle, footwork jungle, IDM, EDM glitch hop, nu jazz, kawaii future bass, brostep, Dariacore, jazz fusion, digital fusion & hardcore breaks depicting primally religious themes.

Score: 4.5/5

Rapsody – “Laila’s Wisdom” review

After signing to Roc Nation last year, North Carolina MC Rapsody is delivering her sophomore full-length album & her first in 5 years. The album opens up with the title track, where Rapsody tells you not to worry about anyone tells you along with knowing your worth & the instrumental from Nottz has some great piano chords along with some boom bap drums & even choir vocals. The next song “Power” with Kendrick Lamar gets self-explanatory & their chemistry on here is just as great as it was on “Complex (A Zulu Love)” off of Kendrick’s previous album To Pimp a Butterfly. Also, I really like the Bootsy Collins sample that Rapsody’s mentor 9th Wonder uses for the instrumental. The track “Chrome (Like Ooo)” talks about ending your career if you diss her along with respecting the driver more than the ride & while the production from Ka$h & Khrysis was just ok to me, her ambition really makes up for it. Also, I found the Forest Whitaker line near the end of the first verse to be pretty funny & clever. The song “Pay Up” vividly tells the story of a money hungry woman along with the final verse being about her bum-ass boyfriend who wants to get her pregnant over a funky instrumental. The track “Ridin’” with GQ speaks on finding oneself but with a dark tone to it & the instrumental from 9th & Eric G. starts off with a spacey time, but then it nicely transitions into something more boom bap-esque for the final verse. The song “Sassy” flaunts about success over a vibrant instrumental & the charismatic tone in her voice is absolutely absolutely flawless. The track “Nobody” intelligently talks about how no one really knows anything from Biggie & 2Pac’s murderers to even minding one’s business over a smooth instrumental. Also, I think the one line during the 2nd verse about how you can’t divide hip hop at all despite not everyone liking someone in the vein of Waka Flocka Flame is absolutely true. As for the features, the Anderson .Paak hook is on point & the Black Thought verse is just as flawless as one would expect. The song “Black & Ugly” dives into beauty over a 9th Wonder instrumental with some scent guitar licks as well as some explosive boom bap drums & I really like how she incorporates her personal experiences into it. Also the hook from BJ the Chicago Kid kinda reminds me of D’Angelo for some reason, but not in a bad way at all. The track “You Should Know” sees Rapsody getting braggadocious about her skills over an menacing instrumental from 9th, but then it transitions into something more lush & we are treated with a verse from Busta Rhymes that compliments Rapsody perfectly. The song “A Rollercoaster Jam Called Love” talks about staying with her man no matter what & the way 9th constantly changes the instrumental after each verse is just fantastic. The track “U Used 2 Love Me” is basically Rapsody speaking to her ex-boyfriend & musically, it really gives me some Zapp vibes & 9th did a damn good job at it. The song “Knock on My Door” vividly talks about Rapsody’s desire to have a man over her place over some jazzy piano keys along with a soul sample in the back. The penultimate track “OooWee” was taken from Rapsody’s 3rd EP Crown that came out last November, but it still sounds great from her aggressive delivery & the Anderson .Paak hook to the guitar loop throughout. The album then closes out with “Jesus Coming”, where Rapsody creatively spits about “going home” in 3 different perspectives over a spacey instrumental & the Amber Navran hook is beautiful. If you ask me, this could very well be Rapsody’s best work yet. The production (mostly handled by 9th Wonder) is beautiful, the features fit in perfect, Rapsody’s lyricism is stronger than before & the passion that was put into it is as bright as day. I know a lot of cats are stuck on Cardi B’s latest hit single “Bodak Yellow” but if you want an actual female MC with intelligent lyrics & organic production, PLEASE give this a listen

Score: 4.5/5

Lil Peep – “Come Over When You’re Sober” review

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Almost a year after the release of his terrible breakout mixtape Hellboy, New York SoundCloud rapper Lil Peep is now delivering his debut full-length album. The album opens up with “Benz Truck (Гелик)”, where Lil Peep is pretty much singing comatosely about not letting his newfound fame change him over an ominous trap instrumental. The next track “Save That Shit” sounds underwritten, as he’s just basically copied & pasted the same lyrics about relationship issues over & over but at least the acoustic/trap fused beat is decent. The song “Awful Things” continues into the whole bad relationship topic over a psychedelic guitar with some snares, but it just sounds like he’s just yelling at me rather than pouring his heart out. Especially during the hook. Oh & as for the sole feature from Peep’s fellow GothBoiClique member Lil Tracy that pops up on here: Yeah, it doesn’t do any justice whatsoever. The track “U Said” has beat switch up during the 2nd half that’s actually not too bad, but the lyrics about popping pills to escape the pain that Lil Peep is going through just comes off as corny. Especially with the line about him wishing he didn’t have a heart so he couldn’t love his girl. The song “Better Off (Dying)” talks about how he’s not gonna make it over a spacey trap instrumental & his vocals on here are probably the most laughable on the entire project. The penultimate track “The Brightside” is a cloudy guitar-ballad where Peep realizing that his ex wasn’t the right one for him, but it’s just sappy. The closer “Problems” reflects about his ex & how she acts like he’s now to her, but he just sounds so atonal that it’s painful. Although Pitchfork recently calling him “the future of emo”, I don’t think this makes the case for it at all. In fact, this is almost as bad as Hellboy was. Sure the production has slightly improved, but the singing is just as awful & the lyrics are as equally melodramatically corny than before. I’m not saying Lil Peep isn’t depressed, he might be. I’m saying if you want an emo release in 2017 that has legitimate emotion, this is not worth your time. I’m sure the upcoming World’s a Beautiful Place & I’m No Longer Afraid to Die album Always Foreign has all of that covered for us

Score: 0.5/5

XXXTENTACION – “17” review

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If you’ve been living under a rock all year, XXXTENTACION is a reasonably polarizing Floridian rapper & this is his debut studio album. He’s been having a huge 2017 from his 2015 debut single “Look at Me!” receiving a newfound popularity to being apart of this year’s XXL Freshman Class. The album opens up with “The Explanation”, which is just a nearly 1-minute spoken word piece where X is telling us that we’re about to enter his mind & thanking us for listening. The first song “Jocelyn Flores” is a tribute to a friend that X’s with the same name who committed suicide a few months back & you can just hear how hurt he was about it over this cloudy instrumental. The next track “Depression & Obsession” sees X singing while playing an acoustic guitar & while I do like the vibe of it, the vocals & the lyrics don’t really captivate me at all. The song “Everybody Dies in Their Nightmares” has an druggy instrumental & the delivery is actually pretty nice, but the songwriting doesn’t really progress all that much. The track “Revenge” is another dedication to Jocelyn Flores except with a folky tone to it & while he does sound emotionless on here, I do like the track quite a bit. The song “Save Me” has an eerie instrumental, but the lyrics are just angsty. Also as the song goes on, his vocals go from being badly mixed to the point of inaudibility to being absolutely cringey. The next track “Dead Inside” has a decent piano throughout, but X’s singing is yet again buried in the mix & it sounds underwritten. The song “Fuck Love” is a message to X’s pregnant ex-girlfriend Geneva Ayala over a trap beat from Nick Mira & Taz Taylor of Internet Money Records while “Carry On” is self-explanatory, as X speaks about moving on despite all the bullshit he’s been through while mentioning Geneva yet again over a decent boom bap instrumental. The penultimate track “Orlando” yet again features X singing over a piano, but the songwriting is so hilariously corny. The album then closes out with “Ayala”, where X sings about making a list of regrets & Geneva (which is obvious given her last name is used as the song title) being the first on it over a dreary guitar. Although I do think there is SOME potential in XXXTENTACION, this “album” doesn’t showcase it all that well. The production is decent, but the tracks mostly feel unfinished & rushed from the songwriting to it’s 22 minute runtime. And on top of that, the depressed content just comes off as angsty rather than deep

Score: 1.5/5

Lil Dicky – “I’m Brain” review

Just 2 years after dropping his highly subpar debut Professional Rapper, Pennsylvania comedy rapper & 2016 XXL Freshman Lil Dicky is reemerging from the dark with his 1st EP. Oddly enough though, he’s releasing it under the alias Brain. The opener “On Smash” is a sex tune with a banging club instrumental, but it really doesn’t give off that vibe at all. The next track “Cocaine” talks about a party girl giving him ecstasy & while the instrumental is just ok, the song as a whole comes off as pretty stupid. The song “Whippin’ It Up” has a hard hitting trap beat, but the actual song topic itself is really generic & the lines deeper into it are absolutely mind-numbing. The track “Brainstorm” starts off with a convo between Lil Dicky & his Brain, but then we are treated with a spacey instrumental & lyrics about…well…brainstorming. And it’s so painfully corny. The penultimate song “F Slo” is about sex yet again, but it’s even worse than before. In every aspect. After a spoken word interlude, the nightmare finally ends with “How Can U Sleep?”. I really like the trap instrumental with the piano loop throughout along with the EP’s sole guest verse from The Game, but those are really the only highlights of the song & Lil Dicky doesn’t even bring in the Brain character at all on here. To be completely honest, this is one of the worst things I’ve heard this year. I will say that the production is decent, but Lil Dicky just ruins them with a bunch of dumb lines & song topics. Oh & as for the Brain character, I really cannot tolerate it’s voice. I mean there’s nothing wrong with making comedy music at all, but there’s nothing funny about this. It just comes off as corny & vapid throughout a majority of it’s 20 minute runtime

Score: 0.5/5