Read the PDF is an MC/production trio consisting of mR. pOrTeR, Focus… & Dem Jointz. One of whom is Eminem’s current hypeman originally known as Kon Artis of D12 & the other 2 are known for being in-house producers for the Quincy Jones of hip hop Dr. Dre’s very own Interscope Records imprint Aftermath Entertainment. dEnAuN would eventually become an in-house producer for the label & some point, releasing their debut EP a year after their full-length studio debut By the Time You Look Up N.C. What We Doin’.
“Listen” starts with a hardcore hip hop intro with incredibly sequenced beat switches from all 3 members basically hopping over their own instrumentals dismantling their opponents whereas “It’s Too Late” finds the trio talking about how 2026’s gonna be different for them. “The Jig’s Up” wraps up Read the PDF’s inaugural EP with them taking shots at those tricking them structures similarly to the opener.
Listen, It’s Too Late. The Jig’s Up! finds each member creating their own individual sonic universes & merging them together onto a single track for a rawly authentic 3-song hip hop EP becoming a uniquely conceptual meeting of 3 visions from a group of Aftermath Entertainment in-house producers who all have their own different experiences in the past as MCs.
Hackensack, New Jersey lyricist Crimeapple tapping in with V Don for his 18th studio LP. Becoming a fan of his in the fall of 2017 with his 4th EP Sweet Dreams along with the Big Ghost Ltd. produced full-length debut Aguardiente that following spring, his profile in the underground grew exponentially from there. Discography standouts include the DJ Skizz-produced Wet Dirt, the DJ Muggs-produced Medallo, Cartagena, Breakfast in Hradec, Sin Cortar, the Preservation-produced El León, the official Aguardiente sequel Bazuko, the Mello Music Group-backed This, Is Not That produced by Apollo Brown & more recently Rose Gold. Over 3 months later & Bulletproof Chicken has arrived only a few days into September.
“Scrape the Pot” sets the tone with a drumless piano sample flexing his knack for customer service resulting in fiends coming back for more whereas “Railroad Avenue” goes for a jazzier direction talking about his neck being like an arcade. “Victor Charlie” takes a luxurious boom bap approach getting in his mafioso bag lyrically & “4.99 Special” divides itself into 2 halves with a beat-switch in the middle asking what you have to floss after getting on his dignity.
T.F. & Crime link up on the drumless “Groundhog’s Day” talking about getting money repeatedly leading into “Brazil” featuring Primo Profit returning to the boom bap to show off their strict policy of keeping their potencies high. “Wings” featuring Bruiser Wolf eerily unites the 2 to talk about needing the chicken & needing to make the pay while “Ocean Drive” finds himself hitting the district to show what the wrist do.
The title track begins the final leg of Bulletproof Chicken by stacking bread to the ceiling over an exuberant boom bap instrumental while “Clientele” goes off-the-dome for 105 seconds sampling soul music & spitting mafioso lyrics on top of it. “Fluegame” rawly talks about not being bestowed from his position in the underground & “Scooby Sweaters” caps it all off with a boom bap beat mixed with vocal harmonization in the background getting real serious with it as if he already hasn’t been.
Over 3 months since Rose Gold completed the trilogy that Wet Dirt started & Breakfast in Hradec bridged, what has already been a prolific year for V Don continues since he can now add Crimeapple to the growing list of names he’s produced for after Boldy James & Estee Nack respectively. What the New York producer cooks up here is a healthy mix between boom bap, drumless, jazz rap & chipmunk soul to back Crime’s mafiosi pen-game.
Here is the 5th studio LP from Staten Island, New York born albeit Baltimore, Maryland based emcee/producer Jamil Honesty. Getting his footing in off the strength of his debut mixtape Verses, he would go on to build a name for himself but putting out 3 EPs & a full-length debut serving as a sequel to one of the EPs that Hobgoblin produced. He would later release the Harbor Kidz’ self-titled debut, the Krazyfingaz-produced The God Honest Truth, the Machacha-produced Give Us Our Daily Bread, the final installment of the Martyr Musik trilogy & more recently Shots from the Soviet produced by Giallo Point. Almost 10 months later, JR Swiftz is getting brought in to fully produce M.E.M.O.I.R.S. (Music Evokes Memories Offering Inspiration, Radiating thru Sound).
After the “Foreword” intro, the first song “Chakra’s Cuts” refuses to worry about the future since what’s for everyone else is in the cards whereas “Follow Me” works in a boom bap instrumental to talk about being the living truth others speak of. “Real Rap” suggests that it’s carry-on if others aren’t carrying the culture & being out for legacy & wanting to be remembered as a lyrical paragon just before “‘94 Nas (The Chip Tooth Era)” featuring Jay Royale finds the 2 outclassing their competition like they’re substitutes.
“4evaNyce” starts the 2nd half with a jazzy boom bap beat talking about being nice with for all eternity leading into “Gold Teeth & Beepers” dustily advises to speak truthfully & giving fanatics what they’ve been craving. The title track works in a piano sample to tell ghetto stories with a plot twist while “Tennis Filas” featuring Awon, Blu, Kev Brown & Griot Noy turns the jazz influences back up for a 4 minute cypher. “Summer 90’s” finishes up by reflecting on what summer felt like to him 3 decades earlier.
Similarly to how Shots from the Soviet has already cemented itself as Jamil Honesty’s finest EP, M.E.M.O.I.R.S. (Music Evokes Memories Offering Inspiration, Radiating thru Sound) has officially taken over the spot of the predecessor 10 months ago & I’d strongly recommend both if you’re still sleeping on him. JR Swiftz’ cinematic production matched with Jamil’s precise lyrics make the album feel more like a time capsule of an era that we all miss crafted with precision & soul for fans of uncompromising hip hop rooted in sincerity.
Vybz Kartel is a 49 year old DJ, singer/songwriter, entrepreneur & businessman from Kingston, Jamaica who’s widely crowned as the King of Dancehall subgenre of reggae similarly to roots reggae icon Bob Marley becoming recognized as as the symbol of the entire genre that he helped pioneer. For over 3 decades, the Adidjahiem Records founder has released over a dozen EPs & full-lengths including during his decade long prison bid for Clive “Lizard” Williams’ murder. Literally a week after A John John Masterpiece & we already have another album from the Worl’ Boss.
“They’re Outta Love, We Aren’t” opens with a tribute to his fiancée Sidem Öztürk whereas “I Know” sings about her love for the Teacha makes him feel like no other women exist to him. “You Walked Away” takes 153 seconds to address everything that happened with his ex-wife & Short Boss Muzik founder Tanesha Johnson leading into “11:45” continuing to sing about his fiancée.
Ishawna joins the Worl’ Boss on “Bad Bad Bad” blending dancehall & house so they can discuss what women truly like in men just before “Ghetto Girl Chosen” jumps over a bashment beat only for him to beat it out of order. “Can’t Leave You Alone” continues the dancehall vibes singing about praying to God that he & his lover live forever while “In Too Deep” talks about his favorite city name being toxicity.
The title track begins Heart & Soul’s final moments by promising to give the Apple of his eye the time of her life as long as she trusts him with those 2 things while “Cinderella Ballroom” sings about him continuing to be here for a long time for a fun time. “You Know G.O.A.T.” finishes up the LP with 1 last reminder of why he’s called the King of Dancehall.
I’ve already covered Spice’s last album Mirror 25 & Shenseea in the past, so it isn’t my first rodeo when discussing dancehall. Other artists whose music I’ve enjoyed in the past include the late dub pioneer Lee “Scratch” Perry, the entire extended Marley family from Stephen & Ziggy to YG, the late Peter Tosh & his son Andrew, the late Bunny Wailer, the late Gregory Isaacs, Jimmy Cliff, Buju Banton, Mavado, Popcaan, Koffee, Bounty Killer & VP Records to name a few. Heart & Soul however has to be one of the most passionate LPs Vybz Kartel has put out since being freed taking heavy inspiration from his engagement.
Brooklyn, New York veteran Chip Fu putting his debut solo EP up on all streaming platforms after making it exclusive to EVEN for a short period of time. A member of the Fu-Schnickens, he put out a solo mixtape of his own 15 years earlier called Stop Playing & the sequel roughly 32 months later. The Beginning of the Reckoning dropped exclusively on EVEN at the very beginning of the month, but has now become available on all streaming platforms regardless of whichever one you prefer to use.
After the intro, the first song “Me” produced by Blizzard opens with a soulful boom bap instrumental & Chip taking 113 seconds to kick his speedy flows into full gear whereas “Levels” keeps chopping up more vocal samples to talk about life being similar to that of an elevator. “Thousandz & Hundredz” finishes the EP with a boom bap/reggae crossover blending intricate rhyme schemes with a chopper flow.
Continuing to innovate & elevate hip hop over 3 decades deep into the game The Beginning of the Reckoning regardless of it’s brevity powerfully showcases Chip Fu’s lyrical mastery & depth in superior ways than either Stop Playing or Stop Playing 2 did making considerable improvements in the production department of things from those early tapes.
Blood Orange is a 39 year old singer/songwriter, producer, composer & director from London, England, United Kingdom releasing his full-length debut Falling Off the Lavender Bridge & sophomore effort Life’s Sweet! Nice to Meet You under the Lightspeed Champion moniker. Coastal Grooves, Cupid Deluxe, Freetown Sound & Negro Swan have all became some of the greatest alternative R&B within the last decade & has signed to RCA Records to make his 7th album his major label debut.
“Look at You” begins with an alternative R&B intro seeking meaning in one’s grace only to find nothing & still searching for some sort of truth whereas “Thinking Clean” sings over some skittering drums & pianos pondering if everything was taken from beneath. Sophisti-pop, bedroom pop, dream pop & jangle pop get fused on “Somewhere in Between” pleading to have the vision of an adolescent again while “The Field” blends liquid drum & bass, art pop, alt-pop & sambass comes across the feeling of the sun keeping us warm daily.
Alt-pop, art pop, bedroom pop, singer/songwriter, indietronica & alternative R&B combine on “Mind Loaded” feeling like everything means nothing to him & unable to think straight leading into “Vivid Light” finding himself in rage & not wanting to be alone because the more you hide, the smaller you become. “Countryside” collides dream pop, alt-pop & sophisti-pop singing about wanting to be taken away from the broken lights & seeking comfort in Epping Forest while “The Last of England” melancholically remembers his late mother who passed away last winter.
“Life” expresses his desire for watch somebody he cares about making it on their own & gaining waves of daisies while “Westerberg” homages “Alex Chilton” by The Replacements alongside it’s former frontman Paul Westerberg, who embarked on a successful solo career following the band’s demise almost 35 years ago. We get hints of bedroom pop on “The Train (King’s Cross)” singing about feeling as if the worst has yet to come for the first time in his life while the somewhat jazzy “Scared of It” vents over the difficulties of always looking & in out of the end suggesting one’s likelihood of being better off on their own.
Nearing the final moments of Essex Honey, we have “I Listened (Every Night)” embracing a more smoother tone becoming unable to find anything soft in between accompanied by an alternative bedroom pop instrumental & “I Can Go” featuring Mustafa finishes to the LP with both of them singing about how what you know is something that they can hold during nights that flow into lows.
Conceived during a period of grief & reflection on his upbringing in Essex intertwined with the ways music has inspired & healed him throughout his life, Blood Orange takes the world on a personal exploration of grief & his roots by stylistically emphasizing an alt-pop & bedroom pop sound with secondary sophisti-pop, dream pop, art pop, singer/songwriter, indietronica, alternative R&B, liquid drum & bass, sambass and jangle pop influences.
Merlyn Wood is a 29 year old Ghanaian-American rapper & songwriter born in Accra, Ghana, Africa & raised in Texas known for being a member of the now defunct BROCKHAMPTON collective. He also has a couple EPs under his belt with Teen Virgyn & Dirty Thunder, both of which where released to mixed reception as was Ameerlyn’s debut EP Slime in the Ice Machine under Blacksmith Recordings. Almost 23 months since Dirty Thunder, the Ol’ Dirty Bastard of the best boyband since 1 Direction is back by himself for his 3rd EP.
“Peace” was a stripped back choice of an intro singing over acoustics to ask when things are gonna get easier for him whereas “Ashes” embraces more of a pop rap/trap vibe talking about watching the crazy world we live in burn down. “Eater” pulls a bit of inspiration from rap rock for a description of those exact type of women & after “Nympho” continues to rap about lustful themes over a cloudy instrumental, “Backseat” finishes up with a trap outro getting down to business in the back of a car.
Dirty Thunder has gotta be my least favorite EP of the 3 that we have in the Merlyn Wood solo discography thus far, but Velvet’s the most versatile he’s sounded by himself since Teen Virgyn & a cut above that alongside it’s successor for his best solo material. The pop rap & cloud rap styles of that introductory EP are reincorporated fluidly except the secondary influences of wonky, alt-pop & alternative R&B are being replaced with the trap sounds of it’s follow-up along with rap rock & singer/songwriter.
London, England, United Kingdom rapper, songwriter & producer Skepta teaming up with local producer Fred again.. for his 3rd EP. A co-founder the Boy Better Know collective, a lot of people in the state including myself didn’t hop on board with him until almost a decade ago when he dropped his 4th album Konnichiwa to critical acclaim. This was followed up a couple years back with both Ignorance is Bliss & All In being welcomed to moderate reception, but the Skepta .. Fred singles had me anticipating this much more.
“Back 2 Back” fuses grime & dubstep together so he can talk about the recognition he’s gotten throughout his career whereas “London” carries over the styles of the previous track preferring to play the villain than the victim. “Last 1s Left” turns the dubstep influences up to talk about being the last of a dying breed while the soulful “21 Years” reflects on these past couple decades. “Victory Lap” co-produced by PlaqueBoyMax ends with a nod to the local community platform of the same name.
Both teasers that we’ve gotten these past few months confirms the speculation I had regarding Skepta doing a whole EP with Fred again.. & as I would’ve thought, it reveals itself to be the most cutting edge project he’s put out since Konnichiwa celebrating it’s 10-year anniversary next spring. Fred’s production plays well into the Boy Better Know co-founder’s grime style that he helped lay out the foundation for & simultaneously places electronic dance music as a secondary influence.
Detroit, Michigan rapper WTM Solid releasing his 6th EP. A member of the WRLD Tour Mafia, he also embarked on a solo career of his own beginning a few years back with the debut EP Originatour followed by both Matter of Time & What’s the Difference?. Bigg as well as the full-length studio debut album Imagine That at the start of this year elevated himself as an individual amongst the rest of WRLD Tour, following up Killa $eason by taking us through the day of a life of a Touropean.
“Black Eminem” opens with some horns & 808s asking if you’re with it or not so can make sure of it whereas “Better Than Yesterday” carries over the Detroit sound to talk about grabbing whatever he wants when he goes shopping. “Emote :p” has a bit of a hazier vibe instrumentally flexing that the gang never goes out of bonds just before “Aggravated <:” vents about how we haven’t seen him at his best yet.
As for “Kash Doll Skirt”, we have Solid going for a cloudier Detroit trap vibe thanks to WTM Niketech talking about having nothing left to prove at this point in his career leading into “Crucified +” advises those hitting the road for the first time to strap up from another country. “Japan in Paris” talks about running out of paper more than hoes & not letting money change you while “‘25 Finals MVP” shows love to Shai Gilgeous-Alexander.
“Support > Hate” winds the clock down regarding the 4th quarter of Touropean with a cloudy Detroit sound courtesy of WTM Miles feeling like Bruce Wayne from the Warner Bros. subsidiary DC Entertainment-owned Batman franchise whenever he logs into his bank account & “Break My Arms, Break My Legs” finishes the EP continuing to shed Blood, Sweat & Tours for this shit.
Inspired by spending the last month overseas, WTM Solid comes over 4 weeks after Money Man Miles saved the rap game & the road once he took up the Shortstop position by cooking up an EP that’s only 8 minutes longer than the last one he put out earlier this summer repping the motor city whilst living the WRLD Tour life over in Europe.
Haverstraw, New York emcee Pro Dillinger completing the Dirtwave trilogy with his 9th LP. A member of the Umbrella collective as well as 1/2 of The Steiner Brothers, he has released a total of 5 mixtapes along with his last 8 albums & even 7 EPs. Favorites include the Finn-produced debut Pray for My Prey, the Machacha-produced Dirt Don’t Hurt, his 3rd EP MOSFoul, the Sting vs. Flair collab EP with Mickey Diamond & the Steiner Brothers’ eponymous debut. Dirty Work celebrated it’s 1-year anniversary earlier this summer & the dirtiest of the Umbrella brought Sean Kelly back to handle production for Reasonable Dirt much like Forever Foul & more recently the Futurewave produced Dirtwave alongside it’s sequel becoming his most acclaimed work to date. To finish the month of August, a 3rd installment arrives with eager anticipation.
“Follow the $$$” was a drumless chipmunk soul intro talking about the battery in his back getting charged up whereas “King” by The Steiner Brothers featuring Big Trip finds the trio coming together for a luxuriously hardcore boom bap track. “Never Going Broke” chops up a vocal sample to talk about the relatable goal of not losing it all financially while “Church St.” reflects on the days of doing whatever he wanted and on the titular street.
Meanwhile on “Scarface”, we have Pro Dillinger talking about how counting money is a habit for him & not needing any friends because he has a whole lot of enemies as it already is over a boom bap instrumental leading into “Road 2 Riches” breaking down the military minded mentality he & the rest of The Umbrella has. “Fentanyl” featuring Estee Nack links the pair up so they can talk about making it to the big leagues just before “Ain’t No Killer” calls out some bluff.
“Old Lungs” featuring Daniel Son nears the end of Dirtwave 3 with a jazzy boom bap beat talking about being the same despite their respective takeovers of the underground while “Dirtmusic” removes the jazzier elements for a dedication to his fam who got it out the mud. “Bread First” closes up shop with 1 last chipmunk soul cut explaining his prioritization of money coming first.
The original Dirtwave & Dirtwave 2 have been rivaling each other for the past 10 months or so in becoming Pro Dillinger’s finest opuses of his career, but Dirtwave 3 maintains the hardcore hip hop/boom bap fusions that made both it’s predecessors so acclaimed except the production leans heavier towards the jazz rap & drumless chipmunk soul styles in comparison.
Legends Will Never Die 