yoon – “wounds” review

yoon is a 19 year old rapper from Broward County, Florida turning heads for blending emotional grit with distorted clarity in a sound that’s entirely his own. He introduced himself in the fall of 2023 by releasing a 3-track debut EP Eternal giving glimpses of what his potential looks like. It’s been 18 months since & we haven’t really heard much from him in that extended period of time, taking further steps to cement himself as an artist by putting out a 2nd EP to keep warming up for a full-length studio debut album.

My favorite song here happens to be the intro “relocate” from the Rio Leyva of Internet Money Records instrumental to the lyrics about having to move to a new place on top of not doing any favors for no hoe whereas “shouldertoleanon” goes for a piano-trap direction asking for his partner to tell him what it is & what it ain’t. “itsgonbealright” turns up the rage a little wanting his girl to tell him he loves him leading into “it’s rags, hoe” talking about the love he has for the bag & his homies lessens the hypertrap influence.

“cut cut, cut” hops over some hi-hats & bass flexing that he’s rocked out despite all the fair share of pain in his life just before “showuimtheone” fuses pop rap & trap talking about wanting to stop by this woman’s house to prove they’re a good fit. “putmyprideaside” brings a cloudier vibe to the table feeling spaced out as of late refusing to fuck hoes who listen to him while “yeah, I’m cut” talks about the cuts he has from many dark days.

The song “cauterize” kicks off the final minutes of wounds observing the irony of a bitch not wanting anything to do with him until he started making a little money & maintaining his cool even with the feeling that his detractors are plottin’ on him until “deadmanwalking” wraps up the EP by talking about having no other option than to stack his paper higher as well as his popularity steadily growing.

As opposed to Eternal offering a brief taste of yoon’s artistry, he capitalizes it with another EP that’s significantly introspective than the predecessor a year & a half ago by now. Heavily catered to the rage subgenre of trap in terms of production, the Atlanta underground performer’s personal struggles he’s endured whether it be recently or in the past all gets unpacked in a way that seems more endearing compared to his previous output & it lives up to all the hype I’ve been hearing.

Score: 4/5

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Miley Cyrus – “Something Beautiful” review

Miley Cyrus is a 32 year old singer/songwriter, actress & director from Franklin, Tennessee breaking out as the older sister of Noah Cyrus & the 2nd eldest daughter of Billy Ray Cyrus. Achieving greater success as the titular character on the The Walt Disney Company-owned Disney Channel teen sitcom Hannah Montana, her first 3 LPs Meet Miley Cyrus alongside Breakout & Can’t Be Tamed under Hollywood Records were equally met with mixed or negative reception. Same goes with The Time of Our Lives. Her debut for RCA Records during my junior year of high school Bangerz was when her music started to improve since I prefer songs like “#GetItRight” produced by The Neptunes over it’s biggest hit “Wrecking Ball”. Miley Cyrus & Her Dead Petz became a polarizing take on neo-psychedelia & psychic pop even with The Flaming Lips’ involvement, Younger Now went for a mid country pop direction aside from a DJ Premier remix of the title track, She’s Coming missed the landing with R&B & electropop and Plastic Hearts was a decent way to fulfill her RCA contract following her divorce from Liam Hemsworth of the mid A24 Films thriller Cut Bank. Moving over to Columbia Records, her debut for them Endless Summer Vacation once again divided public opinion & the high praise her 9th full-length album has been getting made me want to hear it to believe it.

“Prelude” has gotta be one of the boldest lead singles to a body of work that I’ve heard in a long time since it’s spoken word poetry over an epic post-minimalistic & progressive electronic instrumental until the title track goes full gear drawing from art rock, psychedelic soul, psychedelic rock, smooth soul, jazz-rock & experimental rock desiring something beautiful lasting eternity.

Pop rock, Europop, new wave, psychedelic pop, soft rock & big music all collide on “End of the World” suggesting that we should be making the best of our final moments if the apocalypse were to happen leading into “More to Lose” maintains a steady cross between soft rock, adult contemporary, piano rock & art pop singing about not wanting to be interrupted ore overthinking of chasing perfection.

“Easy Lover” after the first of 2 interludes was actually conceived during the Plastic Hearts sessions fusing country, rock & pop addressing the emotional addiction to a complicated relationship but after the other interlude, “Golden Burning Sun” turns up the soft rock influences employing themes of devotion. “Walk of Fame” featuring Brittany Howard is a synthpop duet singing about what it’s like for he to be at her level of international superstardom just before “Pretend You’re God” yearns to have that person in her life who’ll make her their everything.

The song “Every Girl You’ve Ever Loved” featuring Naomi Campbell blends funk & pop together for another duet asking if they’re pretty enough for more than fun in the dark while “Reborn” experiments with meshing trance music & pop together for a spiritual enlightenment ode inspired after she & Greg Aldae sat at church together one day. “Give Me Love” as a closer heavily builds itself around synthesizers instrumentally singing that heaven & terror both await behind the curtain while “Secrets” starts the deluxe run by forgiving her father. The final bonus track “Lockdown” finishes with a 13 & a half minute 2-parter singing about a relationship on the lowkey.

Never thought I’d see the day where I’d actually being saying any of what you’re gonna read in this paragraph, but here we are! Regardless of Bangerz always holding a place in my heart as time goes on, I can’t say that I’ve would’ve NEVER thought I’d hear Miley surpass it in terms of cohesiveness until Something Beautiful. Inspired by Pink Floyd’s iconic 11th album The Wall, it’s heavy concept centered around healing from trauma on top of finding beauty in life’s darkest moments & reconciliation of lost time heavily dabbling with pop rock, art rock, electro-disco, dance-pop, soft rock, neo-psychedelia, spoken word, poetry, epic music, post-minimalism, progressive electronic, psychedelic soul, psychedelic rock, smooth soul, jazz-rock, experimental rock, adult contemporary, piano rock, art pop, Europop, new wave, psychedelic pop, big music, synthpop & a small dose of country blows everything she’s done out the water.

Score: 4.5/5

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PlaqueBoyMax – “5 Forever” review

West Orange, New Jersey recording artist, producer, audio engineer, media personality & streamer PlaqueBoyMax following up his Atlanta EP from last weekend with a full-length studio debut album of his own. Catching on to him at the beginning of the year after calling out DJ Akademiks for being a child groomer, he has since stayed busy by churning out 4 EPs in the quick amount of time he’s been in the spotlight. Interestingly, he’s taking the mic all by himself in light of signing with Field Trip Recordings & Capitol Records.

“Yacht” blatantly rips off Lil Uzi Vert over a run-of-the-mill trap instrumental to start the tape whereas “Layflat” has a stronger trap vibe thanks to Internet Money Records in-house producer Synthetic even if the lyrics of falling asleep on a jet in the middle of an overseas flight are average. “Tank Davis” flexes that he’s fresh to death since every fit he puts on is fly in their own rights leading into “Sevan” talking about pouring up in a club at 2 a.m. in the morning.

Meanwhile on “Swag 2”, we have Max over a rage beat showing us the way he steppin’ out his new Bentayga just before “Rockstar” talks about the lifestyle he’s living on some Travis Scott psychedelic trap shit. “Dave” makes a decent reference to one of my all-time favorite comedians & the creator of the Paramount Skydance Corporation-owned Comedy Central series Chappelle’s Show creator Dave Chappelle, but then “Yacht 2” redundantly continues the aesthetics of the intro.

“Paid For” heads for a cloudier direction showing off his wealth & wanting to see what this chick can do on the dance floor while “Pink Moscato” talks about waking up in a $1M crib & likening using the stairs in it to a workout. “SOS” asks God to help save this metaphorical ship of his from sinking while “East Coast N***a” reflects on going from New Jersey to the sunshine state over a Rio Leyva instrumental. “Casper” lastly ends the tape by talking about going ghost because a bitch was doing too much.

Starting the deluxe run, “2016” samples “Escapee” by Architecture in Helsinki talking about dropping a bunch of money on the New York streetwear brand Supreme as if they were at their peak almost a decade ago while “Yellow Lamb Truck” produced by Maajins remembers trappin’ on a Samsung whilst rockin’ all Balenciaga & getting paid to be on camera. “Swag” has a bubblier trap sound compared to the sequel talking about throwing bands in the strip club & the final bonus track wastes another Maajins beat poppin’ tags the day after getting lit at the club.

Wasn’t too surprising to hear many call the cloudy trap & rage production on this tape the best thing it has going for it because as I had already imagined, PlaqueBoyMax’s own performances leave little to be desired leaning heavily on his contemporaries such as Uzi or Travis. Not to mention I don’t find neither his flows or the subject matter on a good majority of 5 Forever to stick out all much either, staying optimistic of him possibly improving.

Score: 2/5

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A-F-R-O – “Crimson Fury” review

Right here is the 12th EP from Los Angeles, California emcee/producer A-F-R-O. 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. I got to cover his self-produced 9th EP The Drawing Board last spring & of course the Stu Bangas-produced The Bad & the Ugly: The Goods Always Die First surpassing it as his best material. Another spring later & Crimson Fury comes out on Bandcamp exclusively.

After a titular intro, The Cell” opens the EP with a villainously self-produced boom bap opener talking about the protagonist being trapped in a high security prison where the absolute worst occurs whereas “Brawl in Cell Block 29” keeps it in the basement instrumentally painting the image of a riot breaking out within the facility. “Shoot the Messenger” maintains a dusty vibe thanks to C-Lance talking about being ambushed right when he identifies as a free man leading into “Ricochet” featuring Percee P & Pulse Reaction bringing the trio together making their enemies sleep with the fishes.

“At All Costs” works in a jazz sample to point out the fact he sacrificed his freedom to get revenge on the very person who set him up while “The Gauntlet” featuring EYKM1536 & Motion+ over another boom bap instrumental so all 3 of them could sign up for an open challenge ready for any war when they get on their bloodsport. “No Escape” reunites with Stu Bangas evading captivity by switching uniforms safely making it out with the penitentiary exploding behind him & “Dinner with Death” marks a climactic point in the tale getting the vengeance he’s wanted.

Prominently conceptual than most of A-F-R-O’s earlier material, he portrays the role of a man named Archie who becomes incarcerated after killing the men who murdered his best friend when he was completely innocent. Once finding out another friend orchestrated the murder & framed Archie, he vows to break out of prison so he can finish the job himself & succeeding in the end. Every track ties into one another cohesively & the plot is exceptionally mapped out with the traditional boom bap sound backdropping the tale.

Score: 4/5

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LMNO – “3 Mimes & an Elephant” review

LMNO is a 51 year old MC from Long Beach, California known for being a member of the Visionaries. Making his solo debut over 2 decades ago with Leave My Name Out, he would go on to release a total of 17 more bodies of work under his own name with the most notable being the 10-disc James Kelly & the Madlib-produced 10:20. The last time I covered LMNO was when he formed the trio LMD in the fall of 2022 & put out an impressive debut called Flying High. So when I heard DJ D-Styles was fully producing the 19th LP in LMNO’s catalog, I knew it was gonna be quality considering D-Styles’ recent production run.

After an intro, the first song “A Dual with a Dual Edge” featuring Self Jupiter finds the 2 over a boom bap instrumental reflecting in coming from the bottom & jumping off the ledge before their wings began to spread whereas “Cross Examination” takes a funkier yet mellower approach not knowing what to do if he couldn’t create never tapping out. “Best to Lay Low” dabbles with rap rock preferring to sail the 7 seas instead of selling his soul leading into “Son of a Daughter” dustily talks about keeping babies out the street & never competing

“Hip Hop as Fuck” ruggedly breaks down the explanation of others either having it or not just before “Garlic Braid” was a great piano-driven single homaging the title track off Eric B. & Rakim’s sophomore effort down the hook & sample. “Bloody White Flags” deliriously suggests you find him if you want the smoke brought right to you directly while “Saved & Spent” drearily talks about giving thanks daily. “Out of Sight (Out of Mind)” featuring Blu closes the album with them flexing they daydream with night vision & their west coast underground statuses.

10:20 was easily the most I’ve enjoyed a solo effort from LMNO since After the Fact produced by Evidence over a decade ago & like I had expected, he & DJ D-Styles knock it out of the park with a follow-up halfway through the current decade that compensates the gap between the predecessor & now. D-Styles’ production similarly to Invincibl Rap Mislz & Beluga pushes the Beat Junkies sound forward with LMNO holding down the performances by himself like he did the last time we heard from him.

Score: 4.5/5

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A.M. Early Morning & Novatore – “Kingdom of Criminality II” review

This is the 2nd collaborative album between Chicago, Illinois emcees A.M. Early Morning & Novatore. Both of whom have been turning heads in the underground for a several years now, but didn’t actually connect with each other until “Looking Back” off the latter’s Embrace the Darkness II: Explorers of Experience produced by C-Lance. They teamed up on Kingdom of Criminality produced by Stu Bangas in 2021 & are back 4 years later with Johnny Slash producing the sequel.

“Rabbit & Elephant” opens Kingdom of Criminality II with a hardcore rap rock intro with some solemnly jazzy horns talking about their return as a duo whereas “VHS” takes the boom bap route instrumentally cautioning the apocalyptic vibes when the pistols come out. “Gore Hounds” makes a dope reference to the Prince of hip hop André 3000 making New Blue Sun a flute-heavy solo debut while “Circle of Goats II” featuring Lord Goat turns up the horrorcore influences all the way for a sequel to a standout on the predecessor.

Jarren Benton joins A.M. & Novatore on “Battleground” fuses orchestral & boom bap individually discussing the violent nature of all 3 of themselves & after “Hyenas” hooks up a soul sample likening themselves to assassins ready to take you out with snipers, “Twisted Metal” homages the video game franchise TV adaption with it’s upcoming 2nd season on the Comcast Corporation subsidiary NBCUniversal-owned peacock with the franchise’s mascot being played by Samoa Joe of the current AEW World Trios Champions The Opps.

“King of the Jungle” featuring Chubs angrily expresses the struggle each of them had to endure in their lives to get in the positions they’re at now while “Smurfs” obviously sounds grittier & cutthroat than the Paramount Skydance Corporation’s upcoming reboot of the franchise starring Rihanna later this summer. “Nocturnal Predators” finishes up the LP with the pair describing themselves as being those who come out during the night to attack their prey.

Looking back when I first got into these dudes individually around the same time period, Kingdom of Criminality II lives up to the expectations. I had set out for it in terms of being another great underground hip hop collab effort. It’s refreshing to hear their chemistry still flowing tightly as it did 4 years previously & Johnny Slash’s production style seamlessly compliments Stu Bangas’ on the predecessor when we had originally entered the Kingdom of Criminality.

Score: 4.5/5

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Masta Killa – “Balance” review

Brooklyn, New York emcee Masta Killa of the almighty Wu-Tang Clan dropping his 5th studio LP almost a decade after his last one. Becoming the final member to branch out on his own 21 years ago this weekend, No Said Date today remains the most underrated solo debut from any swordsmen with Made in Brooklyn & Selling My Soul becoming more moderately received. Loyalty is Royalty came in the fall of 2017 following numerous delays & is finding Balance ahead of the Wu’s upcoming farewell tour this summer.

“Hip Hop Forever” is a boom bap intro that Easy Mo Bee laced talking about the culture we’ve all come to know & love living eternally due to it’s global connection whereas “Eagle Claw” featuring Cappadonna & Raekwon keeps it in the basement instrumentally seeing whose sword is the sharpest. “BK Harlem” was a dope homage to 2 of the 5 boroughs of their state regardless if I wasn’t too big on Head I.C.E.’s performance, but then “Building with the Abbott” featuring & produced by RZA takes it back to Prince Rakeem’s chipmunk soul roots speaking wisdom.

As for “City”, we have Jamel Irief telling us that he’s still here doing it for what the late Guru of Gang Starr used to call “The Planet” over 3 decades ago while “Glad to Meet You” featuring Method Man & WWE Hall of Famer Snoop Dogg charmingly links up talking about catching rides instead of feelings. “It’s Been a Long Time” feels reminiscent of “Queen” off No Said Date with its romantic content leading into “Trumpets” featuring AZ, N.O.R.E. & Uncle Murda bringing some mafioso vibes.

“King Custom” continues the 2nd leg of Balance with a weird reggae/hip hop crossover that feels off-the-cuff & Jamel slightly using a fake patois almost like Drake used to on Views almost a decade ago with the only exception of it not sounding commercialized thanks to PF Cuttin’ behind the boards. The closer “Again” featuring AB Money & Big Bub is even worse, giving me flashbacks of “Trap Phone” off of Ghostface Killah’s latest album Set the Tone (Guns & Roses).

Arguably the swordsmen with the most refined flow of the entire Clan, the wise words Jamel offers with a diverse cast of MCs by his side further proves his sword is sharper than ever giving what the world & the musical universe desperately needs. The production is vintage New York hip hop at its finest & even if a couple features punch under their weight, Killa still consistently captures a wide spectrum of moods & content in a half hour.

Score: 4/5

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Oddisee – “En Route” review

This is the 7th EP from Washington D.C. emcee/producer Oddisee. Getting introduced to him through his incredible 7th album & Mello Music Group debut The Good Fight a decade ago weeks before my high school graduation, I also happen to enjoy his work with Diamond District, the Odd Seasons mixtape series, his 4th EP Alwasta & The Good Fight’s successor The Iceberg. I happened to cover & Yet Still exactly a year ago feeling like it was a solid jazz rap EP, staying En Route for a follow-up.

“Tomorrow Can’t Be Borrowed” delivers streams of consciousness over some jazzy piano chords disputing the “borrowed time” notion whereas “A Rare Thing” works in a horn-tinged boom bap instrumental talking about it being uncommon to know love & couldn’t help but make me think of the increased hate speech on Twitter in the past few years. “Small Talk” heads for a funkier approach putting everyone’s better days of their career’s in the rear view mirror & “Natural Selection” ends by doing his thing with no one to save him.

Marking his return to Mello Music Group after putting out a couple projects independently, Oddisee’s follow-up to & Yet Still exactly 365 days later elevates it’s above the predecessor making music for whatever journey we as humans are heading in our lives today. His jazzy production compliments the reflection of physical, emotional & spiritual movements we may have all tying into each other conceptually for a soulful snapshot of motion & meaning.

Score: 4/5

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Coyote – “yoteLAndia” review

Los Angeles, California duo Coyote ending the month with their 5th studio LP. Consisting of the Morales brothers LadiesLoveGuapo & Ricky Blanco, they went on to gain traction in late 2022 off their debut album Thicker than Water noted for its witty punchlines & East coast influences. Their sophomore effort L.Aliens last summer quickly became their breakout project to the point where people were recommending to me & easily understood the appeal, eagerly waiting to hear yoteLAndia coming off their feature on the new Reason mixtape I Love You Again.

“Sea of Darkness” is a sample-driven boom bap opener talking about being in the end days whereas “Dodging Bullets” kinda has a Memphis influence instrumentally showing off how violent both siblings can get when necessary. “SLAng” featuring B-Real & Zoe Osama samples “Deep Cover” by Dr. Dre marking the debut of WWE Hall of Famer Snoop Dogg breaking down the west coast lingo until “Drop Top Down” featuring Doeman & & Paul Wall dedicates itself to those in the lowriders.

Ab-Soul teams up with Coyote on the lead single “Runnin’ All Fades” hopping over a cloudy trap instrumental with some notable switch-ups talking about a blizzard going on outside while “Face Tatts” featuring Lefty Gunplay finds the quartet over some drum breaks from Jason Martin formerly known as Problem and Mike & Keys to talk about hearing everyone caught a fade. “Goon” featuring Bizarre on the remix pulls from Latin jazz at the start prior to changing in favor of some bass-licks howling at the moon together just before “L.A. Verses Everybody” featuring Sirrealist feels like it’s their city against the world.

“Run a Muck” brings the Memphis undertones back in the fold & putting a dirtier south spin on it behaving in an disruptive, uncontrollable fashion leading into “Minor Setbacks” talking about relatively small or insignificant hindrances they’ve come across in their personal lives & their music career respectively. “Best Served Cold” featuring NEMS finds the trio over a boom bap beat discussing the way they prefer to serve revenge, but then “Who Want Problems” mercilessly asks if anyone wants beef with them.

Kruk 1 appears for “Not Done Yet” bringing a bit of a Mobb vibe to the table talking about putting it down for hip hop culture with no end in sight while “Product of Immigration” profoundly tackles their upbringings in light of the mass deportations & increased discrimination towards immigrants this year. “redruM Backwards” featuring Tash keeps it dusty thanks to DJ Lethal thirsting for blood while “Barrel of a 9” gets on the gangsta rap tip maintaining a boom bap flare.

“Strike a Pose” featuring Young Drummer Boy dabbles with a nervous sound pulling up to the spot with the main goal to leave with pretty, young women stealing them from their men while “Footang” talks about chopping bricks & to be paid if you want to try the product. The sampling of Latin music suits “Ni De Aqui Ni De Aya” perfectly so they can both get some shit off their chests & “Meet the Lambs” ends with their version of “Meet the Grahams” by Kendrick Lamar.

Starting the deluxe run, “Nasty Work” kicks down the door with a boom bap instrumental talking about being shameless while the doomsday trap aesthetic ms of “Don’t Be at the Club” takes a moment to call comfortability a luxury. “California” featuring Xzibit unites for a tribute to the sunshine state while “A.M.H.S.D. (All My Homies Slang Dope)” featuring Fre$h talks about their friends moving weight.

“Fly Guys” featuring JuJu Flaco reminds me of something The Neptunes would’ve produced in the late 90s while “The Scoop” talks about the slim chances of making it out the hood because kids be flexing trigger fingers. The final bonus track “Idiocracy” properly finishes with the Morales over a drumless sample to confess they’ve been losing their optimism because of the world falling apart & adults justifying killing children.

Over 10 months since they broke out after their freestyle on The Bootleg Kev Podcast, there wasn’t any better option for LadiesLoveGuapo & Ricky Blanco to capitalize on the success of their sophomore effort last summer than welcoming everyone to yoteLAndia. You still get palatable production like the predecessor whether it be boom bap, jazz rap, Mobb, nervous or trap in addition to the Yotes telling us their story & a list of guests joining them offering different perspectives in their world.

Score: 4/5

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Rome Streetz – “Trainspotting” review

London, England, United Kingdom born & Brooklyn, New York raised lyricist Rome Streetz enlisting Conductor Williams for his 10th studio LP. Emerging in 2016 off his debut mixtape I Been Thru Mad Shit, this was followed up by a plethora of projects with the most notable being the Noise Kandy tetralogy & Headcrack. These past couple years however we’re probably his biggest ones yet, as he dropped some of the best work of his career from the DJ Muggs-produced Death & the Magician or the Futurewave-produced Razor’s Edge to the Ransom-assisted collab effort Coup de Grâce & the Griselda Records deal that followed. His debut with the Buffalo powerhouse Kiss the Ring alongside the Big Ghost Ltd.-produced Wasn’t Built in a Day both made the top 10 spots of my last couple Best Of lists & Hatton Garden Holdup produced by Daringer became a flawless spot in my top 5 of 2024 last winter. Mass Appeal Records in the midst of their upcoming 7 album series has locked in with both GxFR acts to go Trainspotting.

“Andre Agassi” sets the tone with a gully boom bap instrumental making reference to one of the greatest tennis players of all-time whereas “M*A*S*H” homages the Paramount Skydance Corporation-owned CBS sitcom of the same name holding the record for the most-watched series finale of any TV show. “Runny Nose” dustily gets in his pyrex bag talking about moving weight until “Ricky Bobby” featuring Method Man takes it’s name after the main character of the classic film Talladega Nights.

Meanwhile on “Blood in Boogers”, we have Rome running more laps around the whole game lyrically maintaining the traditional boom bap sound instrumentally while the single “Rule 4080” reiterates what A Tribe Called Quest taught everyone 3 decades ago. “Died 1,000 Times” aquatically suggests to stack more instead of spending the income quickly just before “Heartbreaker” chops up a soul sample to talk about breaking another hearts once again.

“10 Toes” featuring Jay Worthy psychedelically unites the pair to discuss their commitment to the game leading into “Connie’s Revenge” talking about putting your favorite rapper’s neck on the chopping blocks. “99 Attributes” soulfully gears up to smoke whole entire record labels comparing his bars to coke while “Joe Pesci” makes comparison to the actor & best friend of Robert De Niro in the Martin Scorsese classics Goodfellas, Casino & The Irishman.

The song “Electric Slide” works in a slickly drumless rap rock vibe talking about being in the best form he’s been at in his whole entire career & pushing the output in his discography to prove it, but then “Resource Room” finishes Trainspotting with a woozily jazzy reminding everyone that he’s been on for a grip & I can certainly confirm since I started reviewing him when Joyeria came out on my 23rd birthday 6 years ago already.

Verifying the reality of Rome being on the grasp of fully realizing his potential, Conductor directs the Trainspotting trip & it pushing him closer to a space where when spirited debates around “top 10 MCs lists” are being held. The Heartbreakers member’s production is heavily rooted in the boom bap sound with secondary influences of jazz rap, drumless & rap rock to make Rome’s distinct fashion of putting rhymes together the backdrop they couldn’t deserved more.

Score: 4.5/5

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