Jon Connor – “Food for the Soul” review

This is the 6th full-length studio LP from Flint, Michigan emcee/producer Jon Connor. Someone who’s steadily been holding it down for the last 2 decades including The Calling, Vinnie Chase & S.O.S. trilogies along with the Best in the World series paying homage to some of Jon’s influences, Salvation, While You Were Sleeping & Unconscious State. He was even signed to Aftermath Entertainment/Interscope Records for 6 years before departing after Vehicle City wound up being shelved & has come off III: The Calling, Vinnie Chase & S.O.S. by giving Food for the Soul.

“We’re Gonna Be Okay” starts with a soulful trap opener providing optimism for everyone feeling uncertain ahead of Donald Trump’s 2nd inauguration a few weeks from now whereas “413” takes it to the basement thanks to DJ Silk talking about refusing to stop until he gets exactly what he came for. “I’m Tryin’” victoriously expands on the themes of the previous joint making it an effort & after the “Nikell for the Soul” interlude, “Everyday” featuring Daylyt finds them both over kicks & snares shouting out their people.

Jag links up with Jon on “Evolution of Amazing” bringing a trap flare back to the table as they talk about their greatness gradually evolving the way it is just before “Red Velvet” featuring Stalley links the pair together on top of this calming beat talking about leading the fakes where they at without even speaking. “Take Flight” celebrates the jealousy & hate that motivated him to step his game up leading into the jazzy “New Day” talks seeing how far we can go taking it day by day.

After the titular interlude, “The Vibes” featuring Dizzy Wright heads for a groovier boom bap direction tackling the familiar theme of love going further staying with their respective partners while “They Wonder” featuring Locksmith talks about going through everything. “Over & Over” maintains the raw beats reminding that there ain’t nothing new under the sun, but then “Double Murda” featuring Termanology shows a hardcore side to them getting ready for war referencing WWE Hall of Famer, former 6-time WWE world champion & WWE Intercontinental Champion Randy Savage.

“So Much Pressure” calls for everyone to help each other since we’re all heading rough in addition to being stuck in our ways the older that we get & after the “Nights” interlude, “The Great Design (Key Elements of Love)” talks about people taking in the time to recognize the other side of God’s greatest design of them all. “Something Dope About You” soulfully tells his romantic interest that he wants to make her smile & “Heaven on Earth” featuring MRK SX calmly talks making their own paradise.

The track “Blind Eye View” pushes further towards the final leg of Food for the Soul dabbling with trap again refusing to go backwards revealing that he doesn’t know the exact reason why that he sees the world the way that he does & the outro ties it all up in the form of this jazz rap closer advising listeners to stay in control along with acting now in regards of wanting to chase one’s dreams believing half of what you’ve seen & question half of what you’ve been told in life.

Rather than refusing to try to being anything more than what it is still rewarding listeners with something that wasn’t too hard to digest like he did on III last year, he takes everyone back musically & helps you to push forward by laying out the thought-provoking lyrics Jon Connor is known backed by a batch of infectious instrumentals & a powerful message that nourishes the soul. If he still plans on putting out 24 produced by Beats by the Pound member KLC as announced 3 years ago, I’m certain it’ll be the most essential material of his career.

Score: 3.5/5

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Lil Baby – “W.H.A.M. (Who Hard As Me?)” review

Atlanta, Georgia rapper Lil Baby returning to put out his 4th studio LP. Rising to stardom in 2018 off his debut album Harder Than Ever, his profile would gradually increase from there by following up with a collab project with Gunna entitled Drip Harder & his 4th solo mixtape Street Gossip. His sophomore effort My Turn & It’s Only Me were equally welcomed moderately & is posing the question of W.H.A.M. (Who Hard As Me?) few weeks after former AAA Reina de Reinas Campeon, CMLL Mundial Femenil Parejas Campeon, the only female TNA World Champion, TNA Knockouts World Champion & documented racist Tessa Blanchard returning at Final Resolution XIII.

“Listen Up” produced by London on da Track is this drumless intro dropping off 2 dope verses without a hook flexing that nobody can stand the way he does whereas “Dum, Dumb & Dumber” featuring Future & Young Thug gets together over a synth-trap beat from Wheezy talking about being GA certified. “F U 2x” boasts that he stealing women from lames who really ain’t players & DJ Champ going for a darker trap route instrumentally, but then “I Promise” with co-production from Southside assures that you ain’t always have to pour your heart out.

Glorilla joins Baby on “Redbone” for a decent joint dedicated to all the baddies out there except I find myself enjoying it more than “By Myself” featuring Rylo Rodriguez, which unites the CBFW Records artists together over a DY instrumental that I find myself enjoying as much as Baby’s verses & more than both Rod Wave’s hook AND the Rylo verse. “Due 4A Win” has a great concept not wanting to be compared to anyone else even if the beat’s kinda mild just before “Stiff Gang” makes up for it with it’s overall celebratory flare.

“So Sorry” takes a more serious approach making an open apology to someone that he thought was his homie & ready to see himself moving on from having that friendship coming to an end while “Stuff” featuring Travis Scott gets back on the carefree tip talking about them tryna see who colder. “Say Twin” hooks up some hi-hats & piano chords for Baby to hop over them maintaining his self-esteem while “Free Promo” wanting to know if you’re stupid or dumb.

The song “Outfit” featuring 21 Savage reaches the final moments of W.H.A.M. (Who Hard As Me?)by getting them together over this moderately cavernous trap beat breaking down their lifestyles while “Drugs Talkin’” finds Dez Wright bringing in some horns & hi-hats talking about being under the influence of both drugs & alcohol. “Streets Colder” warms up for Dominique a month from now with a DY-laced closer pointing out how colder people are becoming out here.

“99” featuring Future gets the deluxe run going with both of them comparing themselves to Juvenile in his prime 25 years ago while “Idol” cloudily talks about not fucking with anyone else since they ain’t like him in any way shape or form. “Runnin’ This Shit” heads for a symphonic trap direction dissing Gunna for being a rat not giving a fuck if Young Thug said that they’re still cool & the final bonus track “My Shawty” rounds it out with a moody pop rap joint penned about his current girlfriend.

My Turn & It’s Only Me are both underwhelming compared to Harder Than Ever in my opinion, which is my favorite in Lil Baby’s discography. W.H.A.M. (Who Hard As Me?) on the other end, I find to be a decent body of work to hold everyone off getting in his young n***a bag for 41 minutes only doing without less than half of it. Either way you want to put it, I’ll take the highs until he shows us a more personal side to himself on Dominique.

Score: 2.5/5

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The Inner Realmz – “Mass Collide” review

This is a brand new EP from California production team The Inner Realmz. Founded by Masta Cypher Devine & Goomson, they’ve been making waves in the west coast underground scene since the beginning of the current decade off their first 2 beat tapes SP 1000 and Build & Destroy followed by Low End Wizards as well as it’s sequel & Digital Chains. Goomson so happened to team up with Broke a year & a half ago for a collaborative beat tape Heavy Wreck displaying Broke’s talents behind the boards for Side A & of course Goomson on Side B except for Masta Cypher Devine doing the closer. Omnipotent masterfully selected & arranged jazz samples catching my attention this spring so with that in mind, it had me interested in where Mass Collide was gonna take it.

After the dusty “Fuck ‘Em” intro built around sampling a piano, the first track “Roughneck Reality” starts us off with a 4-minute boom bap instrumental that Goomson cooked up himself whereas “Passin’ Thru” feels like an old school beat that sounds like it was made in the early ‘90s. The keys throughout “Stress” feel every exuberant with the kicks & snares giving it a raw edge, but then “Don’t Shut Down on a Player” is ends the first half of the EP with a nostalgic vibe.

“Funky on the Track” lives up to it’s name excellently for 119 seconds blending elements of funk music & boom bap while “Misery” by Sirrealist & Vel 9 is the only cut on here with performed vocals, bringing them together talking about only seeing unhappiness & affliction. “Outra Vez” serves as the official outro hooking up a mellow backdrop with kicks & snares, but then the bonus track serves as a sequel to “Kick a Freestyle” off Chapter 1.

Masta Cypher Devine left the group a little while ago hence why he didn’t have any involvement in making these beats at all & even Goomson saves his production skills for a couple joints, but Jon Deliz alongside Mike B & Ripe143 take up a bulk of the 23 minute listening experience by showing off what they’re capable of doing as producers & keeping The Inner Realmz’ jazzy boom bap sound going strong.

Score: 3.5/5

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Tha God Fahim – “Dump Gawd: Hyperbolic Time Chamber Rap 3” review

Tha 70 Tape Legend himself Tha God Fahim getting back with Nicholas Craven for his 49th EP. Starting as an affiliate of Griselda Records as well as being 1/3 of the Dump Gawds alongside Mach-Hommy & Your Old Droog, we also can’t ignore the massive discography that he’s managed to build for himself, some of the standouts include Breaking Through tha Van Allen Belts & Dump Assassins. That said: dude has been on a CRAZY ass run in 2023 with the standouts being the Camoflauge Monk-produced Dark Shogunn Assassin, the Nature Sounds-backed Iron Bull & the Nicholas Craven-produced Dump Gawd: Shot Clock King series, the Oh No-produced Berserko, Dump Gawd: Rhyme Pays produced by Mike Shabb, Tha Supreme Hoarder of All Pristine Wealth. Supreme Dump Legend: Soul Cook Saga produced by Cookin’ Soul & Machine Gun Vocabulary produced by Cartune Beatz. We got a 2nd AND a 3rd installment of Tha Myth Who Never Quit couple months ago but coming off Dump Gawd: Hyperbolic Time Chamber Rap & the sequel, it’s time to close out the trilogy.

“The Intent of Vengeance” kicks off Hyperbolic Time Chamber Rap 3 with a soulful boom bap instrumental talking about having to get right because shit could possibly change tonight whereas “Bullet Proof Confidence” works in some keys, kicks & snares flexing that his self-assurance is indestructible. The piano sample on “Senzu” feels reminiscent to “On My Block” by Scarface to talk about him still having it lyrically just before “Not for Sale” wants to know if you’re a foe or friend to him.

Getting the other half going, “Heavy Handed” brings a soulfully dusty flare back to the table comparing his longevity to current Los Angeles Lakers player LeBron James while “Kumite” Keeps it in the basement instrumentally promising to waste y’all like it’s Grand Theft Auto. “Makankosappo” ruggedly promised to take everyone’s words regarding him & making them eat ‘em at the end leading into “A Step Further” closing it out telling everyone to be good sports watching him making half court shots.

Ending his 2024 with a bang, the Dump Gawd teases big things coming down the pipe throughout 2025 by completing another trilogy of projects with one of the greatest producers of this current decade firstly. Nicholas Craven’s production carries on the boom bap emphasis both prior installments of the Hyperbolic Time Chamber Rap series had put on themselves 6-7 weeks ago & Fahim outdoes himself from a lyrical standpoint.

Score: 4.5/5

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Chief Kamachi – “Godbody” review

Philadelphia, Pennsylvania underground veteran Chief Kamachi releasing his 6th studio LP & the first after 10 years. A member of the JuJu Mob & formerly of the Army of the Pharaohs collective, his first couple solo efforts Cult Status & Concrete Gospel came out prior to his departure after AotP’s sophomore effort Ritual of Battle & followed the latter 2 up with The Clock of Destiny as well as Rise & Rhyme and of course Radio Raheem. Couple days after Christmas, he’s back with that Godbody.

“The 4th Lecture” is this triumphantly hardcore intro talking about being from a different pedigree & refusing to compromise his integrity for celebrity status whereas “Solar Return” compares himself to a section 8 Egyptian on top of a piano-driven instrumental. “Dime Bags of Divinity” embraces a gospel boom bap sound calling himself the sun rising over the slum tomorrow ahead of “Storm the Capital” calling for us all ready to be freed.

Moving on from there, we have Kamachi on “Sold the Soul” coming clean regarding every step he takes feeling like as if it’s the last dawn wanting to know who withdrew the light leading into “96 Fatigues hooking the kicks & snares back up to talk about freedom being a dirty flag to stand in the rear. “Earth Mecca” soulfully recalls the last time he saw this queen was when she was in the block looking up at the sky just before “Concrete Prayer Rugs” gives everyone the sound of repentance.

“Astral Prison” produced by Domingo happens to be a personal favorite of mine from the drumless keys to the lyrics clearing his name as prisoner of the stars while “Breakfast in Babylon” feasts on knowledge rather than bread tasting like ash & despair. The self-produced “Lil Kev Ain’t a Killer” tells the story of a church boy with a pure soul spending the rest of his life behind bars but prior to the titular outro, “NTB” ends by wanting to show him that you got it.

Returning after a decade away from the game, it’s only right that Kamachi returned with album that redefines the boundaries of spiritual, lyrical & raw hip hop. Godbody takes underground heads on sonic journey through the streets, the soul & the cosmos delivered with the precision & power that only Kamachi can bring sparking a whole entire movement rather than being written off as simply music.

Score: 3.5/5

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WTM Miles – “Road Music” review

Here we have the 4th EP from Detroit, Michigan rapper WTM Miles. A member of the WRLD Tour Mafia, he would properly introduce himself at the beginning of this current decade off his first couple EPs I Shoulda Been Dropped & Trapped n L.A. ahead of the full-length debut studio album Crackhouse Mafia. Miles’ previous EP Cross State Lines celebrated its 1-year anniversary this fall & is preluding the upcoming Shortstop mixtape by dropping off some Road Music.

“Shandeur Sanders” is this stellar Detroit trap opener produced by Niketech boasting that he got more bags than Michael Kors whereas “Cup Dirty” puts a morbid flare to the Motor City’s unique take on trap music talking about a woman letting him know she’s worthless by looking for a come-up. “Future Bright” has a dark Detroit trap atmospheric remaining optimistic regarding his future while “Bad Habits” featuring Homealone Drock trades the mic back-&-forth over a Carlo Anthony instrumental. “Racing to Ms” ends with a 1 more Detroit trap joint talking about being on track when it comes to getting closer making millions.

I can only assume that we’re gonna get Shortstop at some point following R.A.F.A. (Rockstars Are Fuckin’ Awesome) in a few weeks until we get to crossing that bridge, Road Music will hold off fans well enough. The production primarily bases itself around the Detroit trap sound that the group he’s a part of made a name for themselves off & giving a taste of what’s to come in the form of a gift before the year ends.

Score: 3.5/5

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Dirtcore Music – “Dirtcore” review

Dirtcore Music is an independent record label based out of Grand Rapids, Michigan founded by local rapper, singer/songwriter & producer Crossworm. The sole artist officially signed for its first 2 decades of existence until bringing Samson Samson whom he formed Bodies Below Sea Level with, Madd Maxxx, Mumm Ra, Sleep Lyrical, J Reno whom he formed Misery Coast with & Grounds all on board. Others such as Gavyn Gunn & Oblivia have spent a brief amount of time signed to Dirtcore with Gavyn’s debut EP Malevolent being a great start to his ongoing trilogy & the rest of the current roster dropping off a showcase compilation on Christmas.

“You Can Get It” by Grounds, Mumm Ra, Samson Samson & Sleep Lyrical produced by Crossworm follows the “Good Evening” intro fusing electronic & trap to -leave enemies toe-tagged whereas “Burn It All Down” by Bodies Below Sea Level industrially finds themselves in a pyromanic type of mood. “The Split” by Misery Coast & Sleep Lyrical meshes these acoustics & hi-hats to talk about this being their life’s work prior to “Kill Em All” by Madd Maxxx & Misery Coast spitting the wicked shit over a trap instrumental.

Madd Maxxx gets his own solo cut with “Zatoichi” aggressively promising to take you out over a cold blooded aboom bap instrumental from J Reno leading into the cutthroat “Landmine” by Madd Maxxx & Misery Coast talking about rollin’ with villains & henchmen. “Keep You Safe” by Grounds, Madd Maxxx & Sleep Lyrical aesthetically somewhat reminds me of 1,000 Suns/Living Things era LINKIN PARK just before “Wear Them Kicks” by Madd Maxxx after an interlude from Dirtcore’s label manager Bando suggests to slide by him if you wanna try him.

“Heavy Babies Weigh Too Much” by Grounds teases his upcoming EP Walking into Tragedy this spring with a self-produced alternative rock track that breaks down during the 2nd half of it but once “Ill” by Madd Maxxx & Samson Samson gets back in their wicked bags decimating a boom bap instrumental, Bodies Below Sea Level goes into “Killmode” for the final song on the comp with the occasional guitars reminding me of “My Last Breath” by Evanescence serving as the entrance theme of former 2-time AEW TNT Champion, AEW World Trios Champion, 2-time NWA World’s Heavyweight Champion, TNA World Champion, 6-time WWE world champion, 4-time WWE Intercontinental Champion, WWE Hardcore Champion, 9-time WWE tag team champion & The Patriarchy leader Christian Cage.

Making my holiday season a little better, all 8 artists get together to end what’s been an outstanding year for music by compiling a collection of songs that’ll get the average listener unfamiliar with Dirtcore familiarized with who everyone is from an artistic standpoint & a little bit as people. The production from the trio of in-house producers displays the Grand Rapids imprint’s prominently underground wicked shit sound & expanding beyond it for industrial music, rock music, boom bap, electronic rock & trap signaling that everything they’ve done these past few years was only the beginning.

Score: 4/5

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Redman – “Muddy Waters 2” review

Newark, New Jersey veteran Redman returning after a decade for his 9th full-length studio LP as a Christmas Eve miracle. A member of the Hit Squad, he later signed to Def Jam Recordings & saw success during the 90s & 2000s as a solo artist & later with Method Man as a duo after his first 3 albums Whut¿: Thee Album alongside Dare iz a Darkside & Muddy Waters cemented his icon status. The latter turned 28 a couple weeks ago & is returning after almost a decade for Muddy Waters 2.

After the “Welcome” intro, the first song “Da Fuck Goin’ On?” kicks the door down with a 77 second self-produced hardcore hip hop joint gettin’ on his grind whereas “Whut’s Hot” goes for a bit of a rap rock vibe instrumentally courtesy of Khrysis talkin’ about not being told what’s poppin’ & what isn’t. “Jersey” produced by Rockwilder goes for a soulful vibe representing his turf & after the “Fat Shirley” skit, “Lalala” by Method Man & Redman moves forward with a fun look at their back-&-forth chemistry although I prefer the DJ Premier remix.

“Don’t You Miss” reflects on the old days since he’s a 90s boy who never gives up & giving everyone exactly what they pay reuniting with his mentor Erick Sermon behind the boards for leading into “Ignant” talking about the fact that there ain’t nobody else around his city like him bringing his classic ignorance using the same sample as “Tearz” by the Wu-Tang Clan. After the “Uncle Quilly” skit, “Aye” takes it to the streets over a funky ass beat while “Hoodstar” brings a disco flare to the table talking about being well known in the streets.

The lead single “Don’t Wanna C Me Rich” samples “Luck of Lucien” by A Tribe Called Quest letting everyone know that he’s been doing alright for the past 9 years just before “I’m on Dat Bullshit” dabbles with trap a bit thanks to Hallway Productionz talking about those runnin’ their mouths behind his back & to get a life. After “Da Trunk” skit, “Pop da Trunk” hooks up some synthesizers & handclaps showing off his mob ties while “Gheddo Motivation” goes trap again to provide street gospel.

“Dynomite” featuring Sheek Louch finds the pair linking up reminding everyone that both of them be movin’ while “Wave” takes a minute & half to discuss being all about real shit & shrugging off anyone who tries to be all up in his business. After the “My Weed’s Been Taken” skit, “Kush” featuring WWE Hall of Famer Snoop Dogg brings the synths back in the fold for a stoner’s ballad while “Booyaka Shot” aggressively talks about fuckboys never winning & that the G’s stay up.

Ke Turner joins Funk Doc on the Mike & Keys laced “Goofy” so they can poke fun at all the weird muhfuckas out here these days & after the “Obama Stick Up” skit, “1:00” ruggedly let’s y’all know the way shit’s going down from the cannabis king’s side of things. “Lite It Up” strips the drums for a star-studded New Jersey posse cut featuring El Da Sensei, Hakim Green, Heather B, Lady Luck, the Lords of the Underground, Naughty by Nature, Nikki D, Queen Latifah, Rah Digga & 4-time NBA Champion Shaquille O’Neal sampling “Rapper’s Delight” by the Sugarhill Gang while “Wudeytauknbout” playfully talks about having a look at all his haters.

“Why U Mad?” featuring Mr. Cream & Runt Dawg sees the trio wanting to know the exact reason for everyone walking around so pissed over a Rick Rock instrumental & after the “Soopaman Luva 7” skit, we are treated to the 7th installment of Reggie’s beloved series of tracks split into 2-parts. “Looka Here” featuring KRS-One nears the conclusion of Muddy Waters 2 with both of them assuring that everything’s in order & “Smoke wit Me” ends by addressing his legend status.

Funk Doctor Spock’s been teasing this for so long to the point where people were calling it the east coast’s answer to Dr. Dre’s mythical Detox album & now that we finally got it after 15 years, it’s his most consistent body of work since Red Gone Wild: Thee Album roughly 18 years ago this spring. I find it to be more well-produced than the commercial Reggie & Mudface were in addition to the Brick City Masher making a returning to form to the humorous hardcore approach he’s known for.

Score: 4.5/5

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SZA – “Lana” review

St. Louis singer/songwriter SZA finally releasing her 3rd studio LP. Breaking out over a decade ago in the alternative R&B scene off the strength of her first 2 EPs SEE·SZA·RUN & S, she would eventually sign to Top Dawg Entertainment in the summer of 2013 & has since made herself home with the west coast label by putting out her 3rd EP Z alongside the RCA Records distributed full-length debut CTRL. Her sophomore effort S.O.S. went more contemporary & is celebrating it’s 2-year anniversary with Lana.

“No More Hiding” produced by Michael Uzowuru is this drumless, acoustic R&B opener singing about having to build everything twice over whereas “What Do I Do” takes the moody trap soul route instrumentally thanks to benny blanco & Cashmere Cat telling her ex that called her on accident that it’s too late & their relationship won’t be the same ever again. “30 for 30” featuring Super Bowl LVI & Super Bowl LIX halftime show performer Kendrick Lamar samples “Throw Some D’s” by Rich Boy saying “fuck you” to the haters if they’re saying it first while “Diamond Boy (DTM)” strips the drums again to sing about being addicted to her new man.

Meanwhile on “BMF”, we have SZA coming through with some summertime vibes describing a young & handsome man from southwest Detroit who happens to be fly & bossy just before the atmospheric “Scorsese Baby Daddy” admits to hating being the one that’s doing the most & being addicted to the drama. “Love Me 4 Me” slickly sings about romanticize the scariest things & asking her new partner if they love her for herself, but then “Chill Baby” gives off a moody boom bap approach courtesy of Cade & Lil Yachty finding a bitter piece.

“My Turn” brings a trap soul flare back to the table giving her partner his turn to do the hurtin’ because she deserves it & still digs him even if life ain’t fair at all while “Crybaby” lusciously addresses the public’s perception of her being overly sensitive & emotionally vulnerable. “Kitchen” has some cool psychedelic guitar licks throughout breaking down the difficulty of doing the right thing sometimes & after the “Got Behind Me” interlude, “Drive” returns to a drumless edge singing about driving in the middle of the night.

Reaching the final moments of Lana, “Another Life” hooks up some synthesizers knowing that she & her partner could ride down asking him if he would still love her in an alternate reality wanting to be by his side & the lead single “Saturn” finishes the S.O.S. follow-up that’s been in the making ever since the predecessor initially came out a couple winters ago blending neo-soul, alternative R&B trip hop, psychedelic pop & psychedelic soul explaining her confusion of this world.

Don Toliver joins SZA on the contemporary/psychedelic folk-inspired “Joni” to start the deluxe run of Lana sampling “Angeles” by Elliott Smith written from the perspective of Joni Mitchell while “Take You Down” asks her lover if he you mean all the shit he said the other day & if he was just talkin’ or tryna swing her way. The final bonus track “PSA” takes it back to her alternative R&B roots singing that she doesn’t want anyone calling her anything other than #1.

Hitting a healthier mental state than when she recorded her past 2 albums, Lana only a month after her upcoming Grand National Tour co-headliner Kendrick surprise-dropped GNX feels more ready to move on & let go as opposed to being overly burdened by past hurt. Finding solace in meditation & yoga, her growing sense of inner peace reflected on the most personal body of work that the generational talent of an alternative R&B singer has ever crafted giving the world a look at where stands presently expanding on S.O.S.’ contemporary sound in favor of trap soul, neo-soul, alternative R&B, bedroom pop, contemporary folk & psychedelic folk.

Score: 4.5/5

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Twisted Insane – “Napalm” review

This is the 18th studio LP from San Diego, California chopper as well as horrorcore veteran & Brainsick Muzik founder Twisted Insane. Writing his first rhyme at the age of 12, he would go on to put out 5 mixtapes & a couple full-lengths until he was featured on the Tech N9ne single “Worldwide Choppers”. The Root of All Evil & The Insane Asylum further elevated his status in the underground, maintaining a consistent schedule since dropping 13 more albums in the process. Halfway Gone a couple months ago wound up becoming the most personal entry in his discography & has surprise-dropped a Napalm.

After the “Initiation High” intro, the first song “The Concoction” starts by hopping over a ghoulish trap instrumental showing off his chopper skills for almost 4 minutes & wanting everyone to quit the tough guy act whereas “Fear” works in some prominent bells mixed with hi-hats spittin’ like 2Pac ahead of his recent cancer diagnosis. “Please” goes for an atmosphere of vibe to the beat talking about missing him with that bullshit leading into “Up” flexing Brainsick’s rise in popularity.

“Do Somethin’” embraces a Memphis sound so he can fight to the death just before “Yeet” brings a slower trap flare to the table talking about blood being on his chucks & the heater showing no peace whatsoever. The title track brings the bells back in the equation wanting everyone to watch out for the shooter comparing his raps to the incendiary mixture of a gelling agent & a volatile petrochemical, but then “Lift” morbidly talks about the time to go beast being now.

After the “Cat Got Ya Tongue” skit, “No Peace” begins Napalm’s final leg speeding up his flows naturally again hoping to strike the frontlines one day & cops only sticking their guns in his face while “Sicks Feet Deep” gets in his horrorcore bag talking about catching bodies. “Body in the Trunk” continues to display Twisted Insane’s murderous tendencies leaving corpses in the back of his car & “When I Come” rounds it out shrugs off anyone who’s faster than him by assuring they’re not on his level lyrically.

Coming off the deepest & darkest body of work that he’s ever made, Napalm makes a statement that the Brainsick Muzik founder refuses to stay complacent revealing the next level of work ethic & music in light of opening set at the 6th annual Nightmare Before X-Mas show at Catch 1 tomorrow. The overall sound is prominently trap heavy a lot like the San Diego lyricist’s recent output has been except rather than continuing the personal concept of Halfway Gone, he’s letting off rapid fire bars around the gangsta lifestyle & occasional themes of horror.

Score: 4/5

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