Mike D – “Thank You” review

Mike D is a 60 year old MC, musician, songwriter & producer from Manhattan, New York who blew up back in the 80s as 1/3 of the Beastie Boys alongside Ad-Rock & of course the late MCA. They would go on to drop 8 consistently praised full-lengths together preceding their disbandment towards the conclusion of my freshman year of high school following MCA’s death. Nobody in the group has ever put out any solo material until this point, so for Mike to recording a full-length studio debut under Capitol Records peaked my curiosity.

“Switch Up” combines breakbeat, experimental hip hop & experimental rock for a lead single talking about changing things every now & then whereas “What We Got” goes for a more standard east coast hip hop vibe speaking of self-doubt & having a backup plan once he retires from music. “True Colors” fuses breakbeat & neo-psychedelia for a reflection of when the Beastie Boys were younger just before “That’s Right” embraced an electro vibe talking about receiving confused looks regardless of what he does.

Continuing from there with “Secrets”, we have Mike D coming through with a 2-parter with a danceable opening & a lyrically repetitive counterpart revealing little to no secrets whatsoever leading into “I Don’t Care” taking a swampier approach instrumentally talking about being the guy to count on. “Make It Stop” speaks of our worlds being filled with drama because of everyone having their own traumatic experiences while the 4th & final single “Crypto” satirically pokes fun at greed.

“Here We Are” wraps up the final moments of Thank You talking about being lost in the dark looking for the door while “Back to Start” strips things back singing not to pass go if one’s looking to return to where they began. “It’s Time” talks about there being so much shit he wants to do despite all these things he needs to complete & the title track spends the remaining moments of Mike’s solo debut looking back at his youthful days 1 last time.

If anyone’s expecting Thank You to sound anything like what the Beastie Boys have done as a trio, then you’re probably not gonna get a kick outta this album so much but I applaud Mike D for trying something different with the help of his sons. The breakbeat, experimental hip hop, electronic dance music, experimental rock, neo-psychedelia, indietronica, electro & swamp rock production paired with his vulnerable lyrics feels like a bridge between the gap that was left when MCA passed & this new creative direction he’s following.

Score: 3.5/5

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Lancey Foux – “The Time of Our Lives” review

Lancey Foux is a 30 year old rapper, singer/songwriter, producer, model & designer from Stratford, London, England, United Kingdom who made his full-length debut Pink back in 2015. He has since dropped 6 more full-lengths along with 5 mixtapes & an EP, with both Friend or Foux & Life in Hell each being singled out as his most widely celebrated material. However now that he’s signed to RCA Records, I had a good feeling his 8th studio LP & major label debut would be a huge milestone for him.

“Reap What You Sow” begins talking about the fast life feeling slow to him as well as being out of control & being soulless whereas the rage-inducing “Seeing to It” discusses his wealth. “To the Money” featuring Finessekid finds the pair poppin’ out to see if the women they’re romantically involved with truly love them or not leading into “Lingo Bingo” treads the hypertrap waters once again talking about keeping 1 in the hat for him & holdin’ a check for him.

Bugz Ronin & Skaiwater cook up one of my favorite instrumentals on the album with “Who Do You Love?” talking about being the one this female wants while “Change Your Mind” talks about having the ability of making a chick reconsider riding for him until the wheels fall off since she can’t take her eyes off him. “Naked on a Yacht” takes the plugg route speaking of having a girl & her friend in their birthday suits on a boat while “All My Girls” talks about every single one of his hoes doing the most for him.

“Rockstar Rider” hops over a self-produced rage/jerk beat playin’ it cool whilst stacking up money once again while “All the Time” comes through with a celebratory 2-parter because he’s always catching Ws & betting this baddie she won’t wait for the sun to come up. “Wait for the Sun (Sugar)” appropriately continues from there asking his partner why she has to leave while “I Don’t Wanna Know” kicks off the 2nd leg deciding he has no interest in hearing lies.

As for “Miss the Night”, we have Lancey confessing of thinking about an ex accepting he’s been so lost ever since the breakup along with figuring out where they went wrong while “Body” combines pop rap & alternative R&B with synth-funk talking about a woman he can’t stop dealing with. The energizing “Tell ‘Em Who It Is” proclaims himself “Mr. Never Miss” for a boss bitch he takes charge for while “Therapist” talks about not needing therapy because he’s in the mirror with the truth.

“When It Rains It Pours” admits he had to learn the game the hard way & being a made man while “Trying My Best” talks about attempting to find himself again when he feels dead inside. “Everything Works Out” assures all problems will eventually sort itself out when they’re all sidelined & after “A Whole Lot” talks about everything he has going for him, the outro “Porsche Poet” sends off The Time of Our Lives sampling “Soul Mates” by Q.T. Hush featuring the late Teena Marie planning this out from the get go.

Sometimes whenever an artist signs to a major label, they end up not seeing the same success of being independent because their entire style gets watered down but thankfully The Time of Our Lives simultaneously stays true to who Lancey Foux has always been & steps out of his comfort zone more than he has in the past. The captivatingly creative trap, pop rap, rage & alternative R&B production explores some new sounds & the songwriting’s some of his most honest, detailing his lived experiences & asking whether or not his 20s were enjoyable.

Score: 3.5/5

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Abi & Alan – “Before the World Blows” review

Abi & Alan are a superduo consisting of Dallas, Texas singer/songwriter, producer, DJ & actress Erykah Badualongside Beverly Hills, California producer, DJ & emcee The Alchemist. One of whom because the Queen of Neo-Soul off Baduizm & Mama’s Gun while the other is one of my top 10 producers of all-time. They haven’t worked directly with one another until now, but Badu’s independent debut following Control Freaq Records’ new distribution deal with Young Recordings coming in the form of their full-length studio debut was a more than welcoming celebration of her freedom from Motown Records.

“Echos” begins with a powerful ode to black resilience over this hypnotic instrumental backing her whereas “I Just Play a Part” featuring Creole Princess continues the atmospheric soundscapes so both of them can discuss being who others wish they were. “Crossfade” gives off a smoky neo-soul vibe singing for this guy to no longer seek love from her just before the 2nd single “Witch Doctor” blends neo-soul with psychedelic soul, progressive soul, tribal ambient & bend-skin to portray herself as a natural healer.

D.R.A.M. appears on “Valentine” describing a woman who’s attracted to a fuckboy in disguise until the lead single “Next 2 U” samples “The Realest” by Mobb Deep featuring Kool G Rap which a lot of people hated even though I didn’t seem to care because Uncle Al produced that too. “Love Me Not” lusciously comes through asking her partner if their relationship was a game to him while “Breezy” reaches the halfway point describing a lady who enjoys parting by herself.

“To the Moon / Plan C” featuring Steve Lacy after the “Abracadabra” interlude kicks off the 2nd leg with an astonishing 2-parter finding 2 lovers settling down since life will always come by quickly while “They Ain’t You” pretty much sings about sticking out amongst the other fish in the sea. “What the People Say (Apostle 1)” hops over a colorful boom bap beat dismissing whatever opinions others hold regarding her while “Hot BiBi (Apostle 2)” picks up where the previous track left off raising the pitch of her voice for a couple minutes.

Westside Gunn pops out during “No I.D.” shouting out the Chicago veteran himself, his mentee Ye formerly known as Kanye West, Pharrell, the late J Dilla, DJ Premier & Dr. Dre in case neither of them can get a hold of Uncle Al while “I Know That Man” by Earl Sweatshirt talks about desiring to be seen as good in the eyes of that which created us. “Black Box” sends off up Before the World Blows with this jazzy closer taking a spoken word approach in terms of delivery.

Originally announced last summer, Abi & Alan finally make up for the delays their debut suffered because of their initial distribution deal with EMPIRE falling apart uniting 2 of the greatest in their friends for the first time ever making some of the most potent R&B music of 2026. Alchemist’s production fuses neo-soul, hip hop, conscious hip hop, psychedelic soul, progressive soul, tribal ambient & bend-skin contemplating which parts of ourselves & our stories are worth protecting Before the World Blows.

Score: 4.5/5

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Prince – “Timeless” review

Prince was a 57 year old singer/songwriter, musician, producer, dancer, actor & filmmaker from Minneapolis, Minnesota known for pioneering the Minneapolis sound. Dirty Mind, 1999, the soundtrack to his theatrical debut Purple Rain, Around the World in a Day & Sign “☮︎” the Times under Warner Records would all become some of the 80’s most celebrated material although The Gold Experience through his own label NPG Records can certainly hang with them. This spring marked a whole decade already since his passing & his estate has dug up his 2nd posthumous solo LP albeit the 42nd in his deeply massive discography succeeding Welcome 2 America.

“I Am You” opens up with this soulfully funky intro interestingly dating back to the For You sessions pleading for his lover to stay whereas “Heaven” comes through with an Around the World in a Day outtake singing about the pearly gates coming to Earth itself. “I Wonder” was recorded around the same time as the soundtrack to Batman & the soundtrack to Graffiti Bridge respectively pondering if this woman really knows how much he loves her while “With This Tear” covers the Céline Dion track of the same name.

Kicking off the 2nd half, “Stone” keeps it funky asking who can say why he & this woman are cold with nothing left just before “Calabama” predates the n•e•w•s sessions for a disco/pop rap crossover having all the ladies clapping their hands. “The Guilty Ones” embraces a funk rock direction singing about winning people over without having to say a single word while “Bestest Friend” sends off Timeless addressing someone he once considered an extremely close ally, proclaiming every painter needs a muse.

Timeless retains the same lasting power Welcome 2 America had showcasing the extraordinary consistency, curiosity & creative ambition that defined Prince’s work throughout his life tracing his remarkable artistic evolution across nearly 4 decades from his teenage prodigy days to one of his last recorded performances. Neither Piano & a Microphone 1983 or Originals count as posthumous albums since both of those were comprised of demos, but this 2nd rare opportunity of hearing previously unheard chapters of his creative journey makes you miss him more varying between pop rock, contemporary R&B, funk rock, synth funk, dance-pop & none other than the Minneapolis sound.

Score: 3.5/5

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Majid Jordan – “2 Roads” review

Toronto, Ontario, Canada alternative R&B duo Majid Jordan consisting of singer Majid Al Maskati & producer Jordan Ullman are back for their 5th studio LP. Forming in 2011, it wasn’t until a couple years later when 40 signed them to OVO Sound & was featured on their mentor Drake’s hit single “Hold On, We’re Going Home”. Their 2nd extended play A Place Like This stood tall as the best project in their catalog until their previous full-length Good People dropped in the fall of 2023, finding them stuck between 2 Roads hours after former 2-time TNA Knockouts World Tag Team Champion Maggie Lee became the inaugural TNA Knockouts Television Champion in Brampton.

“Have I Gone Too Far?” made for a cloudy alternative R&B intro singing about a woman giving Majid a broken heart in exchange for more than love whereas “Cold” blends PBR&B with synthpop demanding an answer regarding why he feels so alone. “Strangers” moodily sings about a couple being newcomers to each other in an alternate universe “Rich Man” expresses the desire of living in a crazy world & being in this woman’s arms makes him feel wealthy.

Continuing from there, “Rather Be with You” sings about wanting to cancel his plans & become a better man with his soulmate by his side just before “See You Again” goes for a more standard alternative R&B vibe promising to do anything to see this woman smiling again. “Dream” sings about only wanting what’s best for him & his lover leading into “Best Behaviour” featuring Clementine Douglas kicking off the 2nd half with a duet depicting a couple surrounding each other.

“Things Just Feel Better” maintains an atmospheric tone singing about everything improving around Majid when his partner’s around him while “The Reason” dabbles with trap soul letting this female know she’s exactly why he popped out for the evening. “Look What You’ve Done” confronts a girl who he believes is the cause of making him lose his entire sense of self while “Island Time” sings about making love in the evening like it’s all they know although I was disappointed at Naomi Sharon doing background vocals instead of having a verse.

The song “Every Last Bit of My Love” pens an open letter to someone he’s missing more & more by the day sending her all the affection he has in his might to make her feel like he’s there with her while “Thank You” sings about the gratitude he has for this person cherishing him, realizing this relationship was eternally meant to be. The harmoniously stripped-back title track ends 2 Roads assuring the limits you can bear & how to persevere will be learned sooner rather than later.

If Good People was the album Majid Jordan needed to rival the extended play they put out prior to being signed, then 2 Roads returns to the averageness that has defined a great bulk of the material they’ve made since joining the OVO roster over a decade earlier. Jordan Ullman’s production incorporates secondary influences of synthpop along with new jack swing & soft rock into the pairing’s signature alternative R&B sound with Majid Al Maskati either relishing in infatuation or wallowing in heartache.

Score: 3/5

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Alex Warren – “Wildchild” review

Alex Warren is a 25 year old singer/songwriter, YouTuber & influencer from Carlsbad, California known for co-founding the Hype House collective of TikTokers. He eventually signed to with Atlantic Records in 2022 & wouldn’t drop his double full-length studio debut You’ll Be Alright, Kid until last summer. One of the most unpleasant listening experiences I had the previous year despite the hit single “Ordinary” embodying what the Billboard charts have become, so him coming back 13 months later for a sophomore effort until the beginning of fall next month unsurprisingly doesn’t raise my expectations or had me expecting a whole lot outta it.

“Emerald Eyes” experiments with disco to kick things off singing about hopes of this woman never letting him go whereas “Same Stars” hooks up some pianos asking “How the same stars over my head are the same stars from the night that you left?”. The 3rd single “Passenger” falls flat at a pop rock, dance-pop & new wave cut describing the feeling of helplessness in a 1-sided relationship just before the final single “Rescuer” blends alt-pop & folk pop thanking this female for pulling him out of an emotional darkness.

We get hints of gospel on “Cry Wolf” singing about a fire igniting in his veins whenever he hears someone mentioning an ex-girlfriend who wound up hurting him while the 2nd single “Fine Place to Die” depicts the apocalypse mixing adult contemporary & pop soul. After the “Are You Having Fun, Alex?” skit, “I Miss You More” sings about an individual in his life who’s been away for some time & pondering the idea of fathering a girl while “Only Thing Left” assures his partner they’re out of fight instead of love.

“Fever Dream” weakly fuses pop rock, pop soul & stomp & holler for a lead single inspired by his wife while “Won’t Go Back Again” emphasizes the stomp & holler elements singing about being done with setting himself on fire for the sole purpose of keeping others up. “Last Time” has somewhat of an Americana flare to it wishing he would’ve sooner realized he’d see this person for the very last time & the title track ends Wildchild singing about not letting this cruel world take our light away.

In a way, I can actually commend Alex Warren for experimenting a lot more throughout his 2nd album than his debut did regardless of me liking it no better or worse than what he dropped 13 months earlier. The adult contemporary, pop rock, dance-pop, stomp & holler, new wave, disco, gospel, alt-pop & folk pop production’s somehow more uninteresting than You’ll Be Alright, Kid & the songwriting still doesn’t do much of captivating me despite him trying to turn up the intimacy in his music.

Score: 1/5

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Lex Walton – “Ultimate Love Forever” review

This is the 9th studio LP from Pleasant Hill, California singer/songwriter & actress Lex Walton. In almost a decade, she has dropped a total of 8 full-lengths & 4 extended plays including the Shame Music series as well as Girlfriends & most notably I Want You to Kill Me. I was however interested in learning that Ultimate Love Forever would reach the same pedestal the previously mentioned album did upon learning she had signed to the prominent Seattle, Washington indie label Sub Pop Records after her apartment had tragically burned down.

“For Thee I Sing” begins with this slacker rock intro interpolating “My Country, ’Tis of Thee” Samuel Francis Smith & discussing the US enacting fascist overreach whereas “Hipster Runoff” gives off a garage rock revival vibe critiquing Gavin McInnes. “Yr Op-Ed Won’t Get You Into Heaven Anymore” includes an insane guitar solo towards the end after downing some bourbon while “USA = Fag Nation” suggests the world would be a better place if different people got shot.

Continuing the 2nd half of Ultimate Love Forever, the song “I Wish I Was an M80” sings about alienation blending slacker rock with indietronica & power pop while the lo-fi singer/songwriter crossover “Adrian Borland Will Have His Revenge on London” confesses she was on the verge of death when writing this. The title track properly concludes Ultimate Love Forever singing about the only thing she wants being a kind of affection that would last eternally.

I Want You to Kill Me still remains the most groundbreaking statement in Lex Walton’s decade-long career, but her Sub Pop debut Ultimate Love Forever will certainly appeal to fans of Jonathan Richman’s early material with The Modern Lovers from the mid-70s to late 80s or either one of the 2 extended plays Dollhouse have put out this decade. The slacker rock, noise pop, power pop, garage rock revival, noise rock, singer/songwriter & dance-punk revival production basically providing commentary on society’s decay from the perspective of a transgender woman living in a transphobic America.

Score: 4/5

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Busta Rhymes – “Dillagence II” review

This is the long-delayed 12th studio LP from Brooklyn, New York emcee, songwriter, producer & actor Busta Rhymes. A member of the Leaders of the New School, he would go on to turn heads in the spring of ‘92 off the strength of his verse on “Scenario” off of A Tribe Called Quest’s flawless sophomore effort The Low End Theory. The dragon would see greater success as a solo artist with full-lengths like The Coming, When Disaster Strikes…, E.L.E. (Extinction Level Event): The Final World Front, Anarchy, Genesis & The Big Bang. However when E.L.E. 2 (Extinction Level Event 2): The Wrath of God dropped Devil’s Night 2020, it would find Busta returning to form considering the mixed to subpar reception of B.O.M.B.S. (Back On My Bullshit) & the panned Year of the Dragon backed by Cash Money Records. Blockbusta preluded by The Fuse is Lit were both treated to mixed-to-negative responses, looking to redeem himself with Dillagence II.

After the “Ma Dukes Speak Again” intro, “How the Boss Will Deliver” opens up with a ferocious 81 second freestyle preceding “Entry” featuring La Reezy joining forces over a boom bap instrumental laughing off the dummies going up against them. The lead single “Spazzz” co-produced by Black Milk & Kev Brown splits itself in 3 different sections for more hardcore penmanship while “Back Pain, Chest Pain, Head Pain” climbs another mountain in the midst of traumatizing people.

“Royalty” featuring Cie & Trillian finds the trio talking about there never being another version of either of them over a colorful boom bap beat just before the subdued “This Woman” featuring a hook from the late D’Angelo takes a more romantic approach conceptually & does it without sounding forced. “Shoo” returns to the boom bap tellin’ all these wack rappers they straight up need to get the fuck out the culture leading into the soulfully jazzy “Drugs” solely produced by Karriem Riggins likens his music to that of an addictive substance.

After the “Story of the Old Man” interlude, “Run ‘Em Down” gets the 2nd half going reminding the world who he is while “Lay Down” featuring T3 has him & Busta in their energetic hardcore bag together. “Wait 4 U” featuring Big Sean & Honey Bxby gets back on the pop rap tip although it’s one of the weaker tracks in the few exploring that style while “Kingpin (Knock Ya Head Off) featuring Anderson .Paak & Ludacris necessarily turns the aggressiveness back up.

“How You Want It” winds down the final act of Dillagence II making sure everything remains raw both lyrically & instrumentally while “Love & War” featuring Talib Kweli freestyles over “I Must Love You” by Guilty Simpson off his 2008 debut Ode to the Ghetto. The 2nd & final single “Talk Shit”featuring Lil Wayne samples “I Know You Got Soul”by Bobby Byrd featuring James Brown for a superior “Nirvana (Hello)” remix while “What We Got in Common” featuring Common preceding the “Ma Dukes & J Dilla’s Closing Word” outro wraps it all up with a 6 & a half minute closer.

Confirming the rumors of J Dilla giving Busta Rhymes over 300 beats prior to his passing, I’m happy he makes up for the excessive commercialization that made Blockbusta so disappointing & his sequel to the Dillagence mixtape would be placed above it’s predecessor for the best in the series in addition to being a step in the right direction for him like E.L.E. 2 (Extinction Level Event 2): The Wrath of God was 6 years earlier. He’s not trying too hard to appeal to a younger crowd like the previous album did, having a more consistent guest list joining him to bring their A-game over Dilla production.

Score: 4/5

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Stella Lefty – “Long Way Push” review

Stella Lefty is a 24 year old country pop singer/songwriter from Winnetka, Illinois who happens to be the daughter of Groupon co-founder & Tempus AI CEO Eric Lefkofsky. She would eventually begin exploring a music career when her debut extended play last summer Tragic, Really last summer preceding a debut single the year earlier, but the lead single to this full-length studio debut “Boston” quickly became her breakout single this past spring following “The Kill” for the Scream VII soundtrack & signing with Atlantic Records to give Long Way Push wider exposure.

“Lean In, Kiss Me” sets the tone with this bland country pop intro singing for her lover to make out with here whereas “Whiskey” as somebody who enjoys the alcoholic beverage feels heavily reminiscent of Taylor Swift’s earliest material 2 decades ago to the point where it gets annoying. “Thinking ‘Bout You” delivers a middle of the road singer/songwriter track singing about getting intimate with her partner while “Ain’t Something I Do” goes country pop again confessing she’s falling for someone.

“Forever Guy” shifts away from country pop in favor of singer/songwriter again asking why she cries over a man who wasn’t meant to be in her life forever & once “Something to Lose” featuring Vincent Mason unites for an underwhelming lovey dovey country pop/pop rock duet, “Good at Leaving” emphasizes the country pop elements singing about being a product of too many heartbreaks.

The singer/songwriter-tinged “Summer You Were Mine” suggests they call it a fling for a reason after a relationship went cold with the seasons wishing things never changed between them while “Feel Better” asks herself when she’ll get out of this rut she’s in, which I can respectfully answer by saying if she makes any artistic evolution down the road. This derivatively uneventful debut at last finished with “Why Wouldn’t We?”, where Stella gives us 1 last Taylor Swift-esque country pop song making corny comparisons like being the laugh to my jokes or the lighter to your smokes.

Former commentator/in-ring performer for the WME Group-owned TKO Group Holdings division WWE, analyst for ESPN’s College GameDay, host of The Pat McAfee Show also on ESPN & former Indianapolis Colts punter Pat McAfee still holds the bragging rights of having the absolute worst country album of 2026 when The Diary of a Polarizing Figure came out the week earlier & if I had to pick a close 2nd, Stella Lefty already reserved her spot with Long Way Push. The production’s obviously more country pop & singer/songwriter influenced than the bro-country subgenre McAfee embraced, yet there isn’t really anything special to me regarding her vocals & songwriting. Blatant industry plant/nepo baby ordeal on Atlantic’s part.

Score: 1/5

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Devil’s Trident – Self-Titled review

Devil’s Trident is a supergroup consisting of Lyrikal Snuff Productionz founder Scum from Denver, Colorado as well as Los Angeles, California horrorcore pioneer Insane Poetry & Albuquerque, New Mexico recording artist Smallz 1. All 3 of whom have a history with each other from M.M.M.F.D. to S.O.S., so it was only a matter of time they made their eponymous debut to coincide with the LSP roster performing at the 26th annual Gathering of the Juggalos this weekend coinciding Juggalo Championship Wrestling (JCW)’s 19th annual Bloodymania pay-per-view event later tonight.

“Hard Check” opens up with a synth-driven boom bap beat talking about motherfuckers not knowing shit whereas “Bend the Knee” gives off a g-funk vibe instrumentally demanding the respect they deserve. “Real Nice” finds the trio bloodcurdlingly getting on their Snuff shit promising they’ll carve ya ass up just before “Buried” continues talking about not socializing unless it’s with fans after performances & representing Team Snuff.

The rap rock-tinged “We Are” continues the 2nd half of the LP having all 3 members of Devil’s Trident hellishly proclaiming themselves to be sinners prior to “Omnicide” talking about the destruction of human life as we know it over a string-woven beat. “Bad Seed” shifts towards a trap direction thanks to Gibby Stites discussing the very origin of bad fruit leading into the title track blending horrorcore lyricism with the g-funk sound once again hoping to replace the crucifix.

“Fresh Meat” winds down the last few moments of DT’s self-titled debut talking about the corpses of those who were recently murdered incorporating some distinct bongos & handclaps while “It Could Be You” impressively displays everyone speeding up their flows treading the trap waters once again including more synths. “Killing Spree 2026” appropriately concludes the album with a sequel to when all 3 of them appeared on Butcher Brothaz & one that feels like a full circle moment.

Making a proper introduction on “Devil’s Trident” off M.M.M.F.D.’s most recent album Horrorcore the previous year, it shouldn’t come as a surprise to anyone familiar with the Gore Hop imprint that this day would come & what better than the eve of The Outbreak becoming 2-time JCW World Juggalo Tag Team Champions in addition to a both factions who’ve previously held those very same tag titles the Juggalo World Order (jWo) facing Luciano Family Enterprises in Gore Games.

Score: 3.5/5

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