A-F-R-O – “The Bad & the Ugly II” review

Los Angeles, California emcee/producer A-F-R-O running it back with Stu Bangas for his new mixtape. A protege of R.A. the Rugged Man after winning the Definition of a Rap Flow contest, his Duck Down Music Inc.-backed 5th EP A-F-R-O Polo produced by Marco Polo introduced himself as a promising up-&-comer within the underground. The Drawing Board alongside The Bad & the Ugly: The Goods Always Die First and Crimson Fury have all testified to his vengeful return in recent memory, preluding his upcoming 14th EP No More Patience with The Bad & the Ugly II.

A sequel to “Lost Souls” off the original Bad & the Ugly begins assuring that he still sees the finer things despite having glaucoma whereas “Pack It In” mixes sampling with kicks & snares calling back to the House of Pain single “Jump Around” in that battling him’s a sin. “Bring Ya Best Army 2” featuring One Be Lo dustily picks up where the predecessor left off last Halloween leading into “Mastermind” featuring Wordsworth talking about life ain’t a game to them.

“Use Your Brain” pushes towards the end of the 1st half advising one to think prior to stepping up to the microphone just before “Conductor” hops over an organ-inflicted boom bap instrumental to talk about conducting poetry whenever he’s in the booth. “Man of God” featuring Motion+ finds the 2 speaking being beyond blessed with their lives & having no tolerance towards disrespect while “My Saloon” talks about pouring up lyrical brew & not allowing any punk muhfuckas in his bar.

We get some pianos & a drum machine on “The Quick & The Dead” addressing the type of rappers who think they slick by busting their rhymes with speed when they’re really not while “No Regrets” featuring 4-IZE talks about living life without any remorse. “D’Amalfi” produced by Young Bangas marks the only track that Stu didn’t produce soulfully discussing being on this grind, but never thought he’d still be dreaming.

“Pandemic Posse” featuring Blaq Poet, EKYM1536, Emsee Prospekt, Horror City, Motion+ & Pulse Reaction takes up the next 6 minutes properly introducing themselves collectively while “Glistening” asks all the party people if they’re still listening to him rock the stage. “Stairway 2 Heaven” finishes with some rap rock undertones explaining that God told him to use his mind as a weapon.

The Bad & The Ugly II might be a little more heavier on the features compared to the original that came out last Halloween, but I’d certainly put it above Crimson Fury by only slight margin as much as I highly enjoyed that conceptual self produced extend extended play 5 months ago. The production almost entirely handled by Stu Bangas of course recaptures the flawlessly raw energy of The Bad & The Ugly, with A-F-R-O’s pen leveling up in terms of gruesomeness.

Score: 4/5

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A$AP Ferg – “Flip Phone Shorty: Strictly for Da Streetz” review

Another brand new studio LP from Manhattan, New York emcee & songwriter A$AP Ferg. One of the most prominent members of the A$AP Mob, his 2013 solo debut Trap Lord & the debut mixtape Ferg Forever both cemented that further although the sophomore effort A.$.A.P. (Always $trive And Prosper) received mixed responses for its more commercial heavy-sound. Still Striving & Floor Seats both marked a return to form for Ferg although Floor Seats II got divided feedback during the 2020 COVID lockdowns & Darold refined what A.$.A.P. (Always $trive And Prosper) was going for. Celebrating the Black Friday weekend however, Flip Phone Shorty: Strictly for Da Streetz has arrived in the midst of a few singles.

“Ball” drops braggadocio over a generic trap instrumental, which ironically sets the tone for the entire album until the 3rd & easily most salvageable single “Big Dawg” produced by Lex Luger talks about his hustle game being too real. “Dem Boyz” blends trap & dirty south continuing bring more charisma to the boastful lyrics but after the “Cee-Lo Voicemail” interlude, “P.O.L.O” will go down as one of the worst A$AP Ferg singles of all-time mainly because of the goofy beat.

Lil B joins Ferg for “Fisher Price”, ending the 1st half with synthesizers & hi-hats talking about all of their bitches being on go & “Uptown Baby” could be the weakest Lex Luger track here mostly because of the pointless French Montana verse. “Focus on Me” by The Scythe pairs him & Denzel Curry over a BEAUTIFULMVN & iloveit! beat to make their blocks look like parades whenever they pop out while the lead single “Ferg Strong” proved to be better than “P.O.L.O.” & worse than “Big Dawg”.

“Young O.G.” featuring Denzel Curry reunites the pair 1 last time over the final Lex Luger instrumental of Flip Phone Shorty: Strictly for Da Streetz, looking to finish what A$AP Rocky & SpaceGhostPurpp both started after they squashed their beef this spring falling out started while “Shoot Up the Club” featuring Big Boss Vette finds the 2 getting raunchier topically. “Flip Phone Anthem” featuring エイウィッチ & Gucci Mane lastly finishes up with a tribute to the flip phone days 2 decades earlier.

Darold seemed like a step in the right direction for A$AP Ferg, but my biggest question coming away from Flip Phone Shorty: Strictly for Da Streetz is: What the Hell happened? Ferg himself & a vast majority of the guests aren’t much of an issue to me besides only a couple of them. A lot of my criticisms however are directed towards the production being more trap-oriented than Darold because aside from all 4 of Lex Luger’s contributions, it feels uneventful & maybe a little cutrate. If we actually get Don’t Be Dumb in January, it already has everything going for it to be a stronger listen.

Score: 2/5

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Esham – “The Golden Age” review

This is the 24th studio LP from Detroit emcee/producer & Reel Life Productions founder Esham. Widely acknowledged as the godfather of horrorcore alongside his former Natas cohorts Mastamind & the late TNT, his run from 1989-2005 (particularly the albums KKKill the Fetus, Closed Casket & Doubelievengod?) would go on to lay out the groundwork for subsequent horrorcore acts such as the Insane Clown Posse & even Eminem. His output from Sacrificial Lambz onwards (essentially after his 2-album deal with Psychopathic Records from 02-05) has been a little hit or miss even though I love the single “S.S.M.D. (Stop Selling Me Drugs)” & Dichotomy respectively. Psyops however was a creative detour for Esham as he self-produced the whole thing for the first time in what seemed like a while conceptually revolving around what it was like for him living in Minneapolis during the George Floyd protests & a more rap rock inspired sound. He escaped Purgatory & preluded The Golden Age by serving up his 8th EP Amuse-Bouche, ushering the new era in 17 months later.

“The Golden Hour” sets up shop talking about rappers with no hope needing to cleanse their souls & introducing me to Count Tracula whereas “Power of Love” incorporates a vintage self-produced instrumental explaining that you don’t really want war with him. “CEO Killer” talks about hating liars & thieves more than being on welfare when he was growing up leading into “30 Gucci Purses” admitting he has no regrets of the amount of cash he’s spent.

Meanwhile on “Rain Drop”, we have Esham bringing back the boom bap vibes talking about the hate coming with the way he puts it down for the city since he does it so big while “F.I.L.A. (Fall In Love Again)” blends trap & pop rap tackling themes of romance. “Run It Back” goes for a smoother approach to the beat telling his lover there ain’t no slowing down since he has a lot speed while “Sexy” experiments with hip house interpolating “I’m Too Sexy” by Right Said Fred.

“Omg” starts the 2nd half of The Golden Age returning to the boom bap thanks to Dead Heat talking about being more insane than the wicked clowns themselves while “Narcissist” keeps things in the basement instrumentally speaking to himself showing y’all what wealth really is. “Slush” meshes a piano with kicks & snares talking about his heart being way too cold while the title track flexing that his paper’s too tall to fold.

Nearing the conclusion of The Golden Age, the song “Killing Time” finds himself waiting for a sickness to take him away while “A.M.F.D. (All My Friends are Dead)” combines dubstep production with horrorcore lyricism that winds up leaving me somewhat torn about it personally. “I Miss You” talks about the voices that he was hearing in his head was the money this whole entire time & “The Truth” finishes us off with a 2 minute rock outro showing off The Unholy’s singing chops.

Looking back at how reckless he was with his words when he was younger & cringing at it because the godfather of the wicked shit has obviously gotten much older, The Golden Age thematically opens up in regards to chasing what Esham thought success looked like whether it be industry recognition or respect from his own peers. Him continuing to do his own production again brings a smile to my face since that’s where a lot of his post-Psychopathic material until lately has lacked, recalling everything from the anxiety & depression to conquering Hell.

Score: 4/5

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ILLtemper – “Paxil Rose” review

ILLtemper is a 36 year old MC from Trevose, Pennsylvania establishing himself for over a decade within the underground wicked shit scene by releasing a total of 8 EPs & 10 full-lengths. He’s also notable for being 1/2 of the Even Heathens with King Gordy, who also make up 2/5 of the Wic Kids. For his 11th album however, it marks his debut for Lyrikal Snuff Productionz only a few months after the Heathens made their LSP debut with Handful of Cancel & had me hoping it would become an important statement amongst the rest of his solo output.

After the “INTROvert” intro, the 1st song “Stayed the Same” produced by J Reno somberly begins talking about being a lost one who was never found whereas the title track compares himself to Guns N’ Roses frontman Axl Rose except he’s taking antidepressants. “The Used” by the Even Heathens hops over a bluesy boom bap instrumental talking about not ruining other people because you’re a cunt leading into “Pitch Blackness” admits to feeling like everything’s darkening around him.

Stir Crazy jumps behind the boards for the rock/boom bap crossover “Felt” taking a more heartfelt approach to the songwriting telling anyone who thinks he’s stronger than this would be sorely mistaken while “Losers” featuring Jakprogresso talks about always being failures swapping the guitars out for pianos. “Games” brings these Atari-like synthesizers with kicks & snares suggesting that Mario should stop saving the Princess while “Ain’t Right” advises to think twice prior to taking your own life.

“Unease” featuring Killator comes out the gate with a rock sample panicking like they’re looking at the current state of the stock market while “Nice Guy” talks about the nicest people dying alone over another rock/boom bap fusion. “Orange Bottles” heads for a summery trap direction talking about taking paxil anymore & after “In Your Eyes” suggests he should play hardball, “Dear Ronnie” finishes with a tearjerking open letter to himself.

It’s not something that I’ve publicly disclosed, but I personally have been taking Paxil ever since I was in grade school & hearing ILLtemper making a whole entire body of work dedicated to his experiences with it whilst likening himself as a rockstar makes his Lyrikal Snuff Productionz debut arguably the greatest solo effort of his entire discography. The production maintains the consistency of Handful of Cancel & ILLtemper conceptually takes us all on a trip into the world of mental health medications.

Score: 4/5

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Your Old Droog – “anything’s possible” review

48 hours following it’s announcement, Ukrainian-American lyricist Your Old Droog’s 10th EP is here. Breaking out through his self-titled debut, many actually first thought he was an alter ego of Nas given that their voices are somewhat similar. He eventually became a legend in his own right off later projects such as Packs as well as It Wasn’t Even Close, TIME & the Nicholas Craven-produced YOD Wave. The 4 last EPs he’s given us YOD Stewart, Yodney Dangerfield, The Yodfather & The Shining weren’t as great in my opinion yet most certainly had their highlights at the same time. Movie became a depiction of his life on wax & wants y’all to know anything‘s possible.

“Game 7” produced by Khrysis starts with a soul sample explaining that practice being the most important thing whereas “Confetti” featuring Count Bass D finds both of them talking about being willing & ready to feel the tiny pieces of streamers raining down. “No More” goes for a rap rock vibe admitting this shit doesn’t feel special anymore & after “Vanilla Fudge” flexes that not many can see him with the grammar, “Bronny” finishes by talking about having sons in the game already over a Kenny Segal instrumental.

Literally the only other time we’ve gotten to hear YOD in 2025 was his feature on “The Rose Bowl”off The High & Mighty’s reunion album Sound of Market, so it makes me happy he gave us a 12 minute extended play to hold fans off until Droogie Otis’ highly anticipated full-length debut. The production feels equally consistent as Movie’s was 17 months ago with the anything’s possible name playing a huge role conceptually.

Score: 4/5

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Von Pea – “Putcha Weight on It” review

Brooklyn, New York emcee/producer Von Pea reuniting with The Other Guys for his 4th solo LP. Currently 1/2 of Tanya Morgan with Donwill, he would later embark on a solo career with 2007 debut mixtape Grand Vonye as well as it’s follow-up So Motivational: The Most Skullduggery of Mixtapes & the full-length debut Pea’s Gotta Have It. Right after the Duly Noted. EP was when Mighty Joe & Isaiahstarted working with Von however, producing the To: You EP along with the sophomore effort The Fiasco & the I’m Good Luv, Enjoy EP respectively. Last we heard from Von by himself was his previous album City for Sale & Duly Noted 2, running it back with The Other Guys suggesting to Putcha Weight on It.

“More Johnny” opens up with a boom bap instrumental explain it that his legendary status will continue to be spoken of even when he’s gone whereas “Roadblock” featuring Che Noir finds the pair talking about people clapping at barriers & trying to rap with Black Thought. The title track by Tanya Morgan featuring Skyzoo gives off a dusty jazz rap vibe coming in stronger than initially said while “Lights On” talking about phase 4 being the type of shit that keeps the power on.

Meanwhile on “Slide Off with Her Homie”, we have Von continuing to bring that old school boom bap style to the table telling us what he’ll do to a skeezer if she doesn’t see how dope he is until “Hains Point” heads for a jazzier direction once more spitting like they gave him some kind of bribe. “Knew It All” featuring Oddisee crosses over elements of jazz rap & boom bap responding to the people who act like they know everything just before “Love Over Like” soulfully talks about romance.

“Shown Up Me” begins Putcha Weight on It’s final moments by having the drums constantly fading in & out like ocean waves flexing that be doesn’t need more than 7 people whenever he makes an album leading into “Bway & Myrtle”talking about trying to get on during the off-season sampling an organ. “Root for the Villain” sends it all off with a funky outro remembering one of hip hop’s greatest lyricists & producers, which happen to be none other than the late MF DOOM.

The Fiasco up until this point has been my favorite Von Pea solo effort & to commemorate it’s 8-year anniversary passing yesterday, Putcha Weight on It improves from the divisive feedback I’m Good Luv, Enjoy received although I personally didn’t mind when it came 10 months succeeding the album that preceded City of Sale. He & The Other Guys liken their chemistry to the late King of Pop himself Michael Jackson & the revolutionary composer Quincy Jones linking back up after 7 whole years for a collection of jazzy boom bap hits.

Score: 4/5

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MAVI – “The Pilot” review

Here we have the 4th EP from Charlotte, North Carolina abstract lyricist MAVI. Emerging off his full-length debut Let the Sun Talk a day before his 20th birthday, he would go on to land a verse on “El Toro Combo Meal” off of Earl Sweatshirt’s 2nd EP Feet of Clay a month later as well as preluding the further well received Laughing So Hard It Hurts in the form of his previous EP End of the Earth. His 3rd album Shadowbox celebrated it’s 1-year anniversary this summer & The Pilotlooks to start the final week of November after signing to Loma Vista Recordings.

“Heavy Hand” is a lo-fi boom bap vibe to the beat talking about using his eyes because his heart’s somewhat like a blindfold whereas “Triple Nickel” featuring MIKE finds the 2 jazzily discussing pushing people far back when they see their dreams creeping up closely. “Silent Film” works in a psychedelic guitar riff getting honest regarding him never learning & not needing anyone to worry about him while “G-Annis” produced by Reuben Vincent references the current WWE Intercontinental Champion John Cena.

Kenny Mason joins MAVI on the drumless “Typewriter” warning that anyone comparing them to artists below them will have lost credibility because of it “31 Days” hooks up a vocal sample telling us he’s been sober for over a month now. “Denise Murrell” goes for a jazzier vibe once again with a flute heavy instrumental talking about his grandma calling him asking when he’s gonna stop making sad shit prior to Jay Versace incorporating some bare sampling for “Mender” telling this romantic interest that they’re gonna be together some day.

“Landgrab” featuring Earl Sweatshirt began The Pilot’s rollout with a drumless lead single trading consciously abstract bars back-&-forth with one another while the 2nd & final single “Potluck”featuring Smino blends trap, cloud rap & neo-soul talking about detractors hating all they want. “Jammers Anonymous” featuring Niontaydeserves a mention of it’s own whether it be the plugg/Philly jerk beat or both artists nailing it with the “Landgrab” delivery for a 2nd time.

Taking control of this new sobered up version of himself in a time of constant travel as well as growing exposure to the arts/design & alienation from home, MAVI introduces himself as part of the Loma Vista roster with a 26 & a half minute EP setting the stage of what we can expect out of his 4th album 1st in Flight next year. The production explores old & new sounds for him from boom bap to jazz rap, drumless, lo-fi hop, trap, cloud rap, neo-soul, plugg & Philly jerk bringing a tight list of guests on board for less that half of it to properly celebrate his sobriety.

Score: 4.5/5

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Tezzus – “##FilthyLikeMax” review

Atlanta, Georgia rapper Tezzus making his YSL Records debut with his 8th EP. Introducing himself with his first few EPs Hard2Kill as well as Hellraiser & Everyday’s Halløween, his debut mixtape Tezzus Khrist last holiday season would significantly elevate his profile locally as did the handful of appearances he made on The XA Tape earlier this year. He’s given us the Søufside collaborative EP with Percaso, Backrooms, King Phønk, I Phønk, U Phønk and Tezzy Pendergrass until Young Thug signed him following 9 Vicious’ departure due to him & Tezzus beefing. Nonetheless, getting ##FilthyLikeMax a couple days succeeding Savior was still a welcoming surprise.

“Animal 🐕‍🦺🐍🐲” starts with an industrial hip hop intro likening himself to a beast whereas “I’m Røyal 👑🤴🏿👑” goes for a rage-inducing vibe talking about his royalty status. “Bacccarat 💁‍♀️🛍️💝” featuring Skaiwater & 1300SAINT finds the trio buying out a while Chanel store over a hypertrap instrumental but once “Krøssed Ø Gang 🚂🚫🖤” featuring billi0n & ShawtyRokk angrily refuses to argue with peasants, “Life øf a Dølla 🕊️❤️‍🔥🕊️” finishes by remembering maxon over a rage beat.

Thug continuing to shift his focus towards rebuilding YSL Records ever since Uy Scuti polarized both critics & fans alike couldn’t have been a smarter move & ##FilthyLikeMax properly introducing himself to the label over 84 hours succeeding his labelmate’s greatest body of work the previous weekend. The production is more prominently centered around the rage subgenre of trap as opposed to Tezzy Pendergrass’ blatant pop rap influence as he & all 4 guests pay tribute to maxon a week after his death.

Score: 4/5

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Daz Dillinger – “Rowtation” review

This is the 23rd solo LP & 3rd of 2025 from Long Beach, California rapper, producer & songwriter Daz Dillinger. Some of his cousins include Brandy & her brother Ray J, WWE Hall of Famer Snoop Dogg & the current AEW tbs Champion, CMLL Mundial Femenil Campeon, RPW British Women’s Champion and the new ROH Women’s World Television Champion Mercedes Moné. He eventually signed to Death Row Records & became an original in-house producer under the guidance of it’s co-founder Dr. Dre, forming Tha Dogg Pound with Kurupt not too long afterwards. Daz finally made his solo debut on ‘98 by putting out Retaliation, Revenge & Get Back on Death Row until departing rather quickly to put out 20 more albums of his own with almost 3 decades of experience in the game. Retaliation, Revenge & Get Back 2 took it back to the essence of his debut earlier this summer and Retaliation, Revenge & Get Back 3 a couple months ago found some clarity regarding his complicated history with Tha Row. In preparation for Kurupt’s upcoming 7th album said to be fully produced by DJ Battlecat though, Dilly’s gonna make sure the west coast keeps him in Rowtation.

After the intro, “I’m Daz Dillinger” begins by properly reintroducing himself over a self-produced g-funk beat whereas “I’m a Dogg from Tha Dogg Pound” keeps that same vibe talking about coming up from the underground. The only single “DPGC” dabbles with trap maintaining the lowest prices ever when he touches the plug while “Indictment” soulfully looks for the line between the truth & divinity.

“Snitches” nears closer towards the end of Rowtation’s first half expressing his disdain for rats leading into “Fresh Outta Jail” talking about changing his fate now that he’s home from the penitentiary teaching the young shooters how to move right. “BangBang” once again takes the trap route instrumentally to spit that gangsta shit although I personally don’t care for the auto-tuned hook just before “Smokin’ on the Best” talks about the type of weed he stays puffin’.

As for “The Streets Will Miss You”, we have Daz reminiscing over a big homie of his who passed away while “When a Gangsta Loves a Woman” talks a out knowing when a G is lovestruck. “Superstition” fuses soul & g-funk speaking of chasing shadows regularly while “West Coast Legend” talks about his legacy over some synthesizers & hi-hats. The title track happens to be the actual song excluding the outro assuring that both coasts been known the deal with him.

Confirming in a recent interview with Da Inphamus Amadeuz that he’s no longer signed to Death Row as a solo artist because of him & Snoop getting into a catalog dispute, Daz Dillinger gears up to fully produce The LOX’s upcoming 5th full-length set to drop in 2026 by taking a more introspective approach conceptually for Rowtation exemplified with the inclusion of some of his family members throughout only hours following Mark Briscoe ending Kyle Fletcher’s reign as AEW TNT Champion & of course FTR defeating Brodido to become record 3-time AEW World Tag Team Champions & Samoa Joe becoming a 2-time AEW World Champion at Full Gear VII.

Score: 4/5

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Cappo – “ITO” review

Nottingham, East Midlands, England, United Kingdom emcee/producer Cappo concluding the CAPStone trilogy with his 10th studio LP. Known for being 1/2 of Oblique Strategies & 1/3 of VVV, he also has all 9 of his previous full-lengths as well as 8 extended plays & the YNR Productions-backed Fortune Cookie mixtape under his belt over the course of his career spanning a quarter of a century. Coming off both the S.T.A.R.V.E. (Striving To Achieve Real Values Everywhere) EP & his previous album Houses however, ITO looks to complete the 15 month saga.

The self-produced title track opens up taking some instrumentally kinda has a psychedelic rock vibe to it taking about becoming a scholar reporting from a foreign ground whereas “White” takes a groovier approach to the beat building a step-by-step booklet for others to get their hands on. Sam Zircon gives “Perquod” a cavernous boom bap atmosphere that I really dig making sure weak links are broken off the chain & forgotten leading into “Red” produced by King Kashmere talking about him setting shit ablaze.

“Greene” nears the halfway point of ITO discussing how lyrics keep his mind full & his body solid over some pianos while “Frost” kicks off the 2nd half hopping over a spaciously drumless instrumental looking to leave a set of 4 walls. “Gold” embraces a higher form of lexicon over a funky Dr. Zygote beat while “X” likens himself to the late Malcolm X himself in the sense of being a dangerous force & talks about the fact that he never migrated.

The oldest AEW TNT Champion, former ROH World Tag Team Champion, ROH World 6-Man Tag Team Champion, NWA World Tag Team Champion, 3-time WWE Intercontinental Champion, 2-time WWE United States Champion, 5-time WWE tag team champion & 7-time WWE Hardcore Champion Dustin Rhodes gets referenced at the beginning of “Z” sampling “Where I’m From” by JAY-Z while the synth-laced “Berry” talks about leaving something behind when he dies. “Glaze” spends the final minutes of ITO staying committed to metronomes.

Taking the abstract themes & temporally linear narrative that respectively made S.T.A.R.V.E. (Striving To Achieve Real Values Everywhere) & Houses so impressive to me, ITO combines aspects of both it’s predecessors acting as a conceptual thread that links together each piece of the CAPStone trilogy & Cappo gives the audience their own choice of either listening to it as an introduction &/or a conclusion to this arc spanning over an entire year in addition to his ripping the series’ strongest set of production to shreds with his deep lyricism.

Score: 4/5

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