Roy Wood$ – “Rolling Stone” review

Roy Wood$ is a 28 year old rapper & singer/songwriter from Brampton, Ontario, Canada whom Drake signed to OVO Sound a decade ago already. He has since gone on to release a total of 3 full-length studio LPs & 3 EPs, with the most notable of the handful being the 2015 debut EP Exis & of course the debut album Walking at Dawn the following winter. Following the sophomore effort Say Less, his output since then has been welcomed to generally mixed to negative responses across the spectrum & I wanted to go into his 4th EP open minded.

“Solo” is this mediocrely melodic trap opening talking about the way this bitch be freakin’ him whereas “She Don’t Care About My Name” feels like a throwback to his earlier stuff from the atmospheric instrumental to the heartbroken lyrics explaining that this particular romantic interest could give a fuck less of getting to know him more. “Rockstar Baby” hooks up some pianos & hi-hats to talk about his new chick being so down while “Outside” hops over a generic trap beat tryna take this woman out of the party.

The song “Hold Still” reaches the starting point of Rolling Stone’s final leg by heading for a cloudy direction instrumentally & laying these thirsty ass lyrics on top of it prior to “Bring It to the Room” hilariously ripping off The Weeknd, who Drake almost signed to OVO & fell out with him after dissing on the We Still Don’t Trust You highlight “All to Myself” this spring. “Nobody Else” featuring 03 Greedo ends the EP talking about a woman who doesn’t want anyone else loving her & Greedo going the hardest.

My opinions on some of the OVO artists’ latest output including Majid Jordan’s 4th album Good People named after the singer/producer duo’s original moniker or Naomi Sharon’s debut album Obsidian & namely PARTYNEXTDOOR’s 4th album PARTYNEXTDOOR 4 haven’t really changed, but Rolling Stone has to be the most underwhelming body of work that the camp has put out in a while. The production is generally subpar & Roy himself sounds like as if he’s uninterested for at least 60% of the time.

Score: 2/5

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Dax – “From a Man’s Perspective” review

This is sophomore full-length studio LP from St. John’s, Newfoundland & Labrador, Canada rapper Dax. Working as a janitor before blowing up after dropping the single “YourWorthIt.org” with Hopsin in the summer of 2018, this was followed up with his debut EP It’s Different Now shortly after & the I’ll Say It For You EP under the Strange Music subsidiary It Goes Up Entertainment. Pain Paints Pictures was one of the worst debuts of this decade & 3 years later, he’s returning From a Man’s Perspective.

The title track starts with a melodramatically cloudy opener talking about wanting to be with this individual for the night whereas the acoustic “Took My Heart Out” whines about not wanting to use his heart anymore & comes off as sappy than genuine. “Place of Peace” works in a guitar & some fingersnaps telling his significant other than he wants to go to her for peace while “A Real Man” talks about what this woman wants not being legitimate.

“Soldier” featuring Tom MacDonald ends the first leg with a tedious far-right propaganda joint which is odd because neither of them are from the United States just before “To Be a Man” takes a laughable shot a county rap & it’s not Darius Rucker’s fault. “Lonely Dirt Road” mixes cloud rap & pop rap escaping to a place where no one knows, but then “You’re the Problem” tries to gaslight his critics saying their dislike for his music comes from a reflection of theirselves.

The penultimate song “Diary of a Man Trying” nears the conclusion of From a Man’s Perspective talking about trying to move on GPSing all his thoughts even if they wind up leading him to places that’ll hurt him & finally, “I Hate That I Love You” ends the album by dissing the mother of his child as if he’s Eminem in the late 90s/early 2000s, who has always been an influence to Dax except that he exemplifies Em’s worst traits to a new level.

From the moment that Falling in Reverse put out Popular Monster this summer up until now, I wasn’t sure if there could be a hip hop album that could match the metalcore offering in terms of being unlistenable & Dax sure enough manages to do it with a month left in the year. The production is mediocre & his subject matter delivered From a Man’s Perspective feels trite than sincere. Tyler, The Creator’s 7th album Chromakopia does a significantly better job of providing introspection than this.

Score: 0/5

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C. Ray – “Ray Al Ghul” review

Pasco, Washington emcee, singer/songwriter & producer C. Ray releasing his 5th EP on Bandcamp without any warning. Notable for Twisted Insane signing him to Brainsick Muzik over a decade ago, he would go on to become one of the label’s biggest artists dropping a total of 8 full-length studio albums along with his last 4 EPs & a mixtape in almost 14 years. But with the 2-year anniversary of both Ray Day & Know0n3 approaching this upcoming spring, Ray Al Ghul has finally returned.

“Oblivion” begins with an apocalyptically self-produced instrumental clarifying that he doesn’t even speak without contemplating whereas “N.T.T.S. (No Time to Stop)” brings more of a general trap flare to the beat talking about how he don’t have time for slowing down. “In My Bag” works in some horns & hi-hats making way for him to get in his element for 3 & a half minutes ahead of “Here We Go” making it known not to fuck with him.

Meanwhile on “All That”, we have C. Ray expressing his dislike for everything being all cap over more trap production while “Hold Up” talks about never hanging with heroes & fighting to make it out a deep hole. “Bombay” pulls from reggae for a weed smoking anthem while “Halo” featuring Jag mixes g-funk & trap layin’ low whilst being in the clouds. “Watching” ends the EP with a hardcore boom bap heater reserving some of the hardest bars for last.

Light Born has quickly become my favorite full-length in C. Ray’s discography since he initially put it out a year & a half ago, but Ray Al Ghul maintains that high level of quality revealing itself as his best work since & his finest EP yet. His production pulls from boom bap to trap or even both g-funk & reggae music to lesser extents demonstrating his versatility as a performer with his flows & captivating lyrics.

Score: 4/5

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Siete7x – “Stucc in the Hole” review

This is the 2nd mixtape from Compton, California up-&-comer Siete7x. Breaking out in 2019 off his debut mixtape Ccut from a Blue Cloth in the summer & later the full-length debut Compton Soul Child that same winter, he returned last fall off the sophomore effort Long Live My Therapy & recently had a verse on “dodger blue” off Kendrick Lamar’s latest album GNX couple weeks ago. Keeping that same energy, he’s striking while the iron’s hot on Stucc in the Hole.

After the “3704” intro, the first song “Make It Out” starts the mixtape by hopping over a solemn trap instrumental to discuss making it out of the trenches whereas “Feelin’ Me” featuring Bino Rideaux” takes the synth-trap instrumental talking about letting him pick his girl’s brain. “Trynna Make Away” has a bit of a cloudy trap edge as he addresses needing a way just before “Dive In” featuring Kalan.FrFr produced by Blxst fuses pop rap & trap in an enjoyable fashion.

“Make It Right” brings an acoustic trap flare to the table as he does whatever he can to make it up to this woman that he’s been seeing leading into “Anybody” featuring Sietegang Yabbie talking about both of them not simply being any other dudes out here. “Tell Me What You Know” brings back a stripped-back trap vibe wanting this chick to come clean with him regarding everything she knows, but then “Keep Going” featuring Kalan.FrFr playfully talks about the checks being nonstop.

Lil Bean & Siete team up on “Auntie Baby” warns not to trust any of these lames out here since they stay cappin’ in their music while “Only 1” featuring Lefty Gunplay shows ‘em somethin’ when the beef cracks off. “Up Late” featuring AD finds them tryna touch $1M while “All My Life” featuring Wallie the Sensei talks those envying them because of the cash flow. “Who Can I?” featuring RJmrLA gets on more of a raunchier tip topically & “Real True Story” admitting it’s been hard for him to focus for a couple minutes.

Siete7x’s sophomore tape here comes off the biggest guest appearance of his career applying further pressure out in the streets of Compton telling his story along with hoping to become a leader in his community & uplift the youth. I very much appreciate the entire concept of everyone involved trying to make it out of the hole they’re stuck in, except the features take up roughly half of it with their performances being either hit or miss.

Score: 3/5

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Real Psycho – Self-Titled review

Real Psycho is a superduo consisting of Los Angeles, California emcee B-Real as well as Queens, New York emcee/producer Psycho Les. One of whom is notable for being the frontman of Cypress Hill & the other being 1/2 of The Beatnuts. After only collaborating with each other a couple times in the past off songs like “Fuck ‘Em If They Listenin’” & the Robosonic-produced “High Like”, they’re getting together for an official full-length debut album.

After the titular intro, the first song “Doin’ What You Never Did” starts with a jazzy boom bap instrumental talking about never falling off whereas “Laugh 2 Da Bank” hooks up this mind-altering beat for them to talk about puttin’ in the work that they do & eventually cashin’ out. “What We Came to Do” featuring Too $hort unites the trio for them to aptly tear the party up prior to “You Might Know Us” warning your arms will get broken if you touch them.

“Put That Work In” featuring Son Doobie finds all 3 of them linking up for 4 minutes talking about showing y’all how it be done while “Excuse Me” goes for a generally old school vibe to the beat making this joint feel like it was taken straight from a mixtape. “Once in a Lifetime” has a quirkier instrumental talking about how you’ve haven’t seen this freshness previously just before “This Goes Hard” featuring Big Twins & Demrick lets off hardcore lyricism in their own unique styles.

Reaching the conclusion, “Timbos” hooks you Eric Bobo’s signature percussion flexing that he be tiptoeing around in the titular brand of boots while “Lyrical Hammers” embraces a rap rock sound reminding us that they be hanging around henchmen. “Stay Calm” brings a psychedelic boom bap flare suggesting to relax as they spark the bong & “Kitty Kat” for a closer feels underwhelming tackling the theme of sex in an uneventful manner.

For all the hardcore Cypress Hill & Beatnuts fans, I have a pretty good feeling that you’re gonna come away from Real Psycho’s debut with an enjoyable side project from both veterans. Psycho Les hasn’t lost a step with his production game attesting to The Beatnuts being underappreciated behind the boards & his chemistry with B-Real on the mic flows very well during 45 & a half minute experience.

Score: 4/5

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Pro Dillinger – “Dirtwave 2” review

This is the 8th full-length studio LP from Haverstraw, New York emcee Pro Dillinger. A member of the Umbrella collective as well as 1/2 of The Steiner Brothers, he has released a total of 5 mixtapes along with his last 7 albums & even 7 EPs. Favorites include the Finn-produced debut Pray for My Prey, the Machacha-produced Dirt Don’t Hurt, his 3rd EP MOSFoul, the Sting vs. Flair collab EP with Mickey Diamond & the Steiner Brothers’ eponymous debut. Dirty Work celebrated it’s 1-year anniversary earlier this summer & the dirtiest of the Umbrella brought Sean Kelly back to handle production for Reasonable Dirt much like Forever Foul & more recently the Futurewave produced Dirtwave becoming his most acclaimed work to date. Keeping the latter in mind, both parties are now getting back together for a sequel.

“Heavy Heart” sets the tone with this cutthroat boom bap opener talking about how everyone else can’t ball with him & the rest of his squad whereas “Play the Game” works in more kicks & snare cautioning that the smoke’s gonna bide up. “Outside” featuring Shordie brings the pair together over an uncanny instrumental telling us what it’s like where both of them come from, but then “Stay Moving” passionately advises to keep it pushing.

Eto joins Pro Dillinger on “Honourable Activities” warns that your best friend could actually be your enemy in disguise & to never snooze while “New Sneakers” returns to the boom bap figuring out where to return the shots that were sent his way. “Mind My Business” somberly addresses those skating around the noise instead of not being there for it just before “Church Socks” featuring Bub Styles & Chubby God delivers a 3-minute hardcore joint.

“Bigger Picture” properly sets the tone of Dirtwave 2’s final moments hopping over this groovy beat to talk about the game being full of pussies this day in age calling the whole block broke since they ain’t chasing paper & “Pray 2 God” wraps it up with this drumlessly cloudy loop praying to the Man Above for him to bring Pro Dillinger’s enemies back because of the battery in his back at this point in his career.

Dirtwave last month surpassed everything that the Haverstraw lyricist had done in the past & the sequel as one would’ve anticipated going into it amplifies every single thing that made the predecessor so enjoyable whether it would be Futurewave’s superb production or the Umbrella’s dirtiest MC taking it up another notch with the pen for a half hour.

Score: 4.5/5

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Trapmat Savior – “1st Coming” review

This is the official proper full-length debut studio album from Montréal, Québec, Canada emcee Trapmat Savior. Emerging a couple years ago off his solo debut EP To Riches & Peace along with DozaTrap’s eponymous debut EP, he would later follow it up in September by releasing a couple more EPs Kirby & I Could Tell only a week apart. I however was unfamiliar with his music until a few weeks ago when it was announced that both Nicholas Craven & Mike Shabb were producing 1st Coming in it’s entirety since many probably know by now that I’ve been a fan of both those guys for a few years at this point.

“Had 2” is this drumless jazzy opener that Nicholas Craven laced flexing that he’s been a top dog for quite some time now whereas “Backpacking” hops over a bare soul sample talking about keeping it real & not backstabbing him. “30 Under 30” has more of a laidback approach assuring that he can’t be stopped from the dream he’s chasing while the classy boom bap joint “Batman” talks about everything coming naturally.

Meanwhile on “Scraping”, we have Trapmat over a vocal flip admitting he’s often been thinking of a certain individual in his life that he doesn’t speak to as he used to just before the soulful “December 26th” likening the first time he saw a brick to being magic. “Same Day” hooks up a heavenly Mike Shabb beat always making it back every time he took a risk, but then “Tags” strips the drums again to get those snakes out of his grass.

“Born 2 Win” maintains a soulfully drumless sound pushing towards the conclusion of his debut talking about being destined to catch Ws steadily while the song “Fair Game” is the official closer hops over pianos boasting that he’s ahead of everyone. The bonus track “LV” finishes the LP with a spacious backdrop & 808s brushing off a bitch being mad at him because of him never having to owe.

Not gonna beat around the bush by coming clean that I has never heard of Trapmat Savior up until 1st Coming was initially announced a couple weeks ago & if you’re in that same boat, you’re gonna want to peep it. Nicholas Craven & Mike Shabb’s production during the 27 minute listening experience clears his earlier material & the Montréal emcee levels up his pen-game significantly.

Score: 4.5/5

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Chocc – “Journals to Johnny” review

Chocc is a 25 year old singer/songwriter from Los Angeles, California notable for being the daughter of Long Beach icon, Death Row Records owner & WWE Hall of Famer Snoop Dogg. She first made her appearance on wax with the “No Guns Allowed” single off her father’s 12th album Reincarnated foraying into pop reggae & after releasing 4 singles under her original moniker Cori B in the span of over a decade, she’s dropping her debut EP ahead of her dad’s 20th album Missionary produced by his mentor & Death Row co-founder Dr. Dre next weekend.

After the “Just Like You” intro, the first song “Did You Mean It” starts with a fun dance-pop opener whereas “Johnny Don’t Break My Heart” stands out as a favorite in my personal opinion stripping the drums completely going for a R&B vibe aesthetically & pulling it off. “Move” continues to show her artistic range by dabbling with a bit of pop rock while “Escape2Vegas” properly finishes the EP singing over an acoustic guitar about escaping to Las Vegas, Nevada.

The talent has always been there & I’ve noticed that myself personally when I first heard her on “No Guns Allowed” back during my sophomore year of high school, but fast-forward a decade later & her putting out a debut EP on Death Row is a welcoming introduction to her musically. The production bases itself around dance-pop, R&B, pop rock & singer/songwriter showcasing how much Chocc has grown in the last 12 years & giving a glimpse of her future in music.

Score: 3.5/5

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Crimeapple – “This, Is Not That” review

New Jersey lyricist Crimeapple enlisting Apollo Brown to produce 15th full-length album. Becoming a fan of his in the fall of 2017 with his 4th EP Sweet Dreamsalong with the Big Ghost Ltd. produced full-length debut Aguardiente that following spring, his profile in the underground grew exponentially from there. Discography standouts include the DJ Skizz-produced Wet Dirt, the DJ Muggs-produced Medallo, Cartagena, Breakfast in Hradec & Sin Cortar. El León produced by Preservation from the beginning of this year became the most I’ve enjoyed Crime’s music in a while & the official Aguardiente sequel Bazuko was a tad bit better, which raised the stakes for the Mello Music Group-backed This, Is Not That.

After the titular intro, the first song “Mercy” is this rap rock opener telling everyone who wants to take a portion to take precaution & to press your luck since you wanna press buttons whereas “Superstitious” takes the boom bap route instrumentally talking his passport lookin’ like a part of a prison gang. “Wonderful Feelin’” featuring Willie the Kid works in some strings detailing the mafioso life while “Know No Better” soulfully talks about a select few needing to stay inside.

“The Problem” goes for a drumless yet crooning vibe to the beat enjoying the fruits of his labor when he started & being in the tropics these days just before “Pitiful” ominously talks from a distressing place for roughly 3 minutes. “Almanacs” featuring Sonnyjim brings the pair together over pianos with some kicks & snares addressing those who need more than help, but then “Coke with Ice” strips the drums & keeps the keys in tact to talk about the way it be crackin’.

To begin the final leg, “My Own Good” has this atmospheric boom bap approach admitting that he still rides through his old hood time to time when he really shouldn’t be while the drumless “Favoritism” talks about being around the world & not seeing any other fix like his babies. “Mis Amigos” nears the conclusion of the LP clarifying that he’s the biggest in the county & “New Dreams” ends it with a guitar comparing it to the blind leading the blind.

This, Is Not That marks the rebirth of smoke-stained bars with Crimeapple playing both poet & philosopher by flipping bilingual manteca rhymes with a chef’s precision as well as stirring up the street grime & serving it with a side of sharp wit to remind the audience that there’s still beauty to be found in the decay over Apollo Brown’s dusty yet soulful sound built as if it’s ancient architecture.

Score: 4.5/5

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Wordsworth – “2 Kings” review

This is the 6th solo LP from Brooklyn, New York emcee Wordsworth. A member of the duo Punch n Words & the trio eMC, he officially made his solo debut 2 decades ago already with Mirror Music followed by The Photo Album & the Donel Smokes-produced New Beginning. After JSOUL went on to produce his debut EP Blame It on Music & later Sam Brown doing Our World Today respectively, the next EP Undivided Attention would be an improvement over Blame It on Music & the last album The Fragility of Life was overloaded with too many features. That said, hearing that Stu Bangas was lacing 2 Kings had me anticipating it in being Wordsworth’s magnum opus.

The title track kicks the door down with a warmongering boom bap instrumental & flag-planting territories & never giving up whereas “Day 1” by Punch n Words featuring Ali Vegas menacingly talking about being prepared for when your day comes. “Embarrassed” works in a soul sample with some kicks & snares suggesting your money ain’t enough to keep your habits leading into “Yearbook” talking about some people he knew becoming career crooks.

“Start the Madness” featuring Breeze Brewin’ keeps it in the basement altogether for both MCs to come together to deliver lyrical insanity for nearly 4 minutes just before “Mother of My Kids” featuring C-Red finds the pair over a somber boom bap beat talking about finding another way to happiness. “Oh!” has a funkily raw flare throughout addressing the alliance of 2 giants while “Which One Are You?” featuring eLZhi wants to know if one is either fake or true.

To begin the final leg, “Something Strange” has a classy piano flip noticing a problem when the ID didn’t have the same name at all prior to “Solidified” confidently talks about his status in the game. “Hard Times Don’t Last” provides optimism for those struggling right now promising that it will get better, but then “God’s Mailbox” finishes the LP talking about sending letters to the Higher Power.

The history this guy has with Punch n Words & eMC alongside his first couple solo albums has proven to me that he’s very much skilled on the mic, yet 2 Kings feels like something I’ve always wanted from him. Stu Bangas’ production from the moment you press play to the final moments is perfect, the guests are all well chosen & Wordsworth himself sounds passionate on the mic.

Score: 4.5/5

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