che – “Rest in Bass” review

Atlanta, Georgia recording artist che releasing his sophomore effort a month after its announcement. Starting as a member of the 4ersona collective under the original moniker murkio before settling on cheRomani+ & later abbreviating it, it wasn’t until more recently where he decided to build a solo catalog for himself by putting out the debut EP 3 over a year ago & followed it up in the form of X or the original version of his 3rd EP Closed Captions a couple summers ago. Crueger that same Halloween showed more of a Chief Keef influence & is saying Rest in Bass nearly 11 months since his highly acclaimed rage debut sayso says.

“Slam Punk” was a rage-inducing opener talking about a girl calling him “Based God” shouting out none other than Lil B whereas “Rolling Stone” turns up the hypertrap vibes talking about having the Devil on his shoulders telling him to go. “On Fleek” puts his vocal range on the forefront advising the opps to call it keeps leading into “Lip Filler” talking about being so dangerous that he could possibly die young.

Former 4-time WWE world champion, 3-time WWE United States Champion, future WWE Intercontinental Champion & 5-time WWE tag team champion Sheamus gets referenced on the 2-parter “Hood Famous” posting up with felons just before “Bossupp” incorporates another beat switch referencing both WWE Hall of Famer, former 6-time WWE world champion & WWE Intercontinental Champion Randy Savage and the inaugural 4th Rope World Tag Team Champion & current 4-time TNA World Tag Team Champion Jeff Hardy of The Hardy Boyz.

“Marceline” keeps the rage beats coming likening his girl to the character from the Discovery Global-owned Cartoon Network series Adventure Time because she only comes out during the evening leading into “Die Young” produced by gyro talking about not wanting to grow old & going out in the fast lane. “Hellraiser” by OsamaSon looks to stir up some shit & CXO going for an experimental trap direction instrumentally, but then “Dior Leopard” hits us with another 2-part song talking about relapsing on drugs.

xaviersobased continues the 2nd half of Rest in Bass joining che during “Mannequin” homaging the late great Kobe Bryant bagging 24 hoes together while “Black Swan” splits itself in half again talking about being uncancellable & turning up at Summer Smash last month. “MDMA” makes several callbacks to sayso says speaking up regarding his lifestyle of recording in the studio & doing ecstasy while “Never Too Young to Die” featuring Chuckyy talks about being on top instead of middle men.

“Eardrummer” kicks off the final leg of the LP on a cloudier note thanks to Ginseng addressing his consistency & rise to fame while the distorted “Doe Deer” talks about simultaneously being a monk & a punk. “Stagedivin’” discusses making the mosh pit at the rave even bigger dying on the hill of not fucking with pigs while “Ba$$” samples “Lemon Glow” by Beach House finishing the album by talking about doing drugs & not wanting to leave.

Starting the Christmas Day deluxe run, “King of Rock” gives the audience more bass taking about shooting at opps & arguing the rights for that very title while “Make Out with My Choppa” boasts of poppin’ 100 bottles for 100 thots kissing a firearm. “Holy Moly” talks about drugs having him moving in slow motion & never running out of bread while “Die Hard” divides itself into 2 halves homaging the iconic action film that people to this day debate whether or not it’s a Christmas movie.

“Cutthroat” talks about pulling up to a meeting high as Hell & keeping that very attitude while the self-produced “Monster” confesses to sippin’ lean like he’s sick, going beast soon as he pops some ecstasy. “Dirty Sprite” comes through with another 2-parter talking about drank once again while “Serve da Ba$$” references former IWGPヘビー級チャンピオン, 10-time WWE world champion & former UFC Heavyweight Champion in both TKO Group Holdings divisions Brock Lesnar.

We have che talking about putting in the work much like one of Rihanna’s biggest hits “Work” off her magnum opus ANTI on “RiRi” & once the distorted “Whippin’” featuring OsamaSon reunites 2 of the biggest artists in rage currently 1 last time admitting that both of them are still up in the kitchen like they’ve always been, “What’s Love?” talks about wanting to be told what genuine affection feels like & yearning for his girl to stick around with him until the evening.

“Freak Neek” shouts out the late Black Sabbath frontman & WWE Hall of Famer Ozzy Osbourne who tragically passed away earlier this summer although there’s a homophobic bar at the very beginning of the verse that made me raise an eyebrow while “UAV” talks about his preference of sleeping with his lover instead of taking ecstasy & cooking opps. The final bonus track “I’m Sorry” appropriately finishes one of the most beloved rage albums of 2025 apologizing for falling in love, only wanting a Mercedes.

Ditching the secondary digicore & electroclash influences of sayso says, Rest in Bass hones in deeper on the experimentally hardcore rage sound of his debut last summer perfecting in his own way that makes it feel refreshing when it began to seem that the style was getting played out & taking heavier inspiration from Playboi Carti’s sophomore effort Whole Lotta Red celebrating it’s 5-year anniversary this Christmas by having che pushing this style of trap forward.

Score: 4.5/5

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Dro Kenji – “The End of Nothing” review

Dro Kenji is a 22 year old rapper, singer/songwriter & producer from Summerville, South Carolina signing to both Internet Money Records & 10K Projects not even 365 days after he began making music. He has since put out 7 full-length studio LPs along with an EP & a mixtape, the latter of which being his most recent body of work coinciding with Valentine’s Day departing from the emo pop rap style he’s known for in favor of rage. 4 months later, he’s preluding his 8th album with his 2nd EP & the 2nd body of work from him in 2025.

“Pinnochio” kicks off The End of Nothing with a moody pop rap/trap intro wanting his bae at 2am & telling her how much she inspires him whereas “Tylenol” moodily talks about his drug addiction helping him. “Way Back in August” works in some acoustics from Census, Nico Baran & Niketaz asking why he & his ex keep crossing paths when his life’s goin’ the hardest while the woozy “Rude Girl” finds himself obsessed with that exact type of woman. Lastly, the acoustic trap closer “Unstoppable” caps off the EP by telling an ex who constantly lies to get away from him.

The stylistic departure of Love Kills left a handful of Dro Kenji’s fans divided on it but thankfully if you’re one of those people who missed hearing him over the emo rap sound he came up off of mixed with pop rap & trap, you’re most likely gonna come away from The End of Nothing looking at it is the most enjoyable thing he’s done since Wish You Were Here & it may even raise your expectations for his next album. Even if that tape was a passable experimentation from my perspective, it’s always great to hear artists get back to the basics of what got them this far in the game & he does it with ease.

Score: 3.5/5

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Aminé – “13 Months of Sunshine” review

This is the 3rd studio LP from Portland, Oregon rapper, singer/songwriter & music video director Aminé. Making his full-length debut in the summer of 2017 with the Republic Records-backed Good for You & fulfilling his contract with them releasing the sophomore effort Limbo during the 2020 COVID-19 lockdowns. KAYTRAMINÉ made their eponymous debut in the summer of 2023, now joining 10K Projects to embark on 13 Months of Sunshine coming off a handful of well-received singles.

“New Flower” produced by DJ Dahi & FNZ was a funky ass intro to get the ball rollin’ talking about success being all he wants whereas “Feels So Good” takes a rawer approach instrumentally flexing that the drank & his girl got him feeling great. “Sage Time” awkwardly admits to having depression soon as he nuts dabbling with hip house just before “I Think It’s You” tropically chooses to think about everything he’s lost.

Meanwhile on “Cool About It”, we have Aminé crossing over funk & house trying to maintain his composure with this woman he wants to sleep with leading into “History” taking a shot at alternative R&B talking about the previous run-ins he’s had with his partner. “Vacay” brings back the hip house vibes expressing his desire to get away from everything for a certain amount of time while “Familiar” blends alternative R&B, hip house, deep house, glitch pop, microhouse, chillwave & French house showing obsession for his romantic interest.

“Doing the Best I Can” gets the 2nd half of 13 Months of Sunshine going by hooking up some pianos singing that he’s trying when all of us are, but then “Temptations” soulfully talks about not knowing what he has until it’s eventually taken from him. “Be Easier on Yourself” opts for a slicker approach to the best advising not to be so hard on themselves while “Raspberry Kisses” asks for a woman to take him in now they’ve sealed the deal.

The title track starts the final leg with a 2-parter refusing to put shame on his name since he was named after his grandfather while “Changer” explains he has to be at terminal 7 when his girl wants to have dinner at 7, hoping the love he has for her doesn’t change. “Arc de Triomphe”samples “Has it Come to This?” by The Streets to make this hip house/UK Garage fusion wanting to know what everyone else on & “Images” featuring 454 ends by calling days in our life moments in time.

When you take in consideration of Aminé descending from Eritrean-Ethiopian heritage, it really shouldn’t come as a surprise to many that 13 Months of Sunshine acts as an overt love letter to his African ancestry. The production shows influences of alternative R&B, hip house, deep house, glitch pop, microhouse, chillwave, French house, UK garage, speed garage & 2-step refraining from having guests join him for most of the performances to his ancestors.

Score: 4/5

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Autumn! – “Back 2 My Roots!” review

This is the 5th studio LP from Lafayette, Louisiana rapper, singer/songwriter & producer Autumn!. Gaining traction off all 22 of his previous EPs & a full-length debut on SoundCloud since 2018 prior to signing to Victor Victor Worldwide & Republic Records following the Not Much Left EP, he made his major label debut nearly 3 years ago with his sophomore effort Antagonist! as well as following it up with the last 2 installments of the Golden Child trilogy & Midnight Club. Wick delivered a sequel to Solitary last spring, You Never Was Mine in the summer & ##B4B2MR in the winter. To end the 1st quarter of 2025, it’s time for him to go Back 2 My Roots.

“Replica!” sets the tone of what’s to come excellently with the self-produced plugg instrumental talking about the only thing he copies is Margiela whereas “Brainrot!” named after a term I feel like out-of-touch people use to call dank memes rocks Balmain showing respect to the late Lil Keed. “Passenger Princess!” keeps the plugg vibes going for a love song about his glock leading into “Sunburn!” sampling “Plastic 100°C” by Sampha & shouting out Summrs only having Burberry material on his end.

As for both “Something New!” & “Laws of Power!”, we have Autumn! taking a couple ##B4B2MR highlights & placing them on the final version of the album just before “Upper Echelon!” maintains the plugg sound talking about seeing the limelight. “Louie V Everything!” featuring Summrs on the remix expresses their love for Louis Vuitton referencing the Rockstar Games-owned Grand Theft Auto V protagonist Trevor Philips, but then “1 Way 2!” throws it back to the Antagonist! sequel aesthetically.

“Still the Same 3!” continues a trilogy that began with his breakout single stuck in a place he wants to forget while “Both Ways!” talks about his hoes being bisexual. “Did It Again!” a lot like “Something New!” & “Laws of Power!” reappears after being on ##B4B2MR while “Count It Faster!” talks about stacking his racks up. “Free Promo!” flexes his brother moving in slow-mo because of the lean while “Stuck in a Loop!” admits to the way he feels at times. “When I Pray” finishes Back 2 My Roots waking up with money on his mind.

##B4B2MR promisingly had many including myself thinking that Back 2 My Roots would be a return to form for him considering the mixed reception of You Never Was Mine almost 9 months ago & I personally would tell you that it’s the most I’ve enjoyed his music since Golden Child 3! exactly 3 years to the day it dropped. It’s primarily self-produced other than a couple tracks delving back into the plugg sound that made him blow up & he’s more focused than some of his recent output.

Score: 4/5

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YoungThreat – “It Gets Greater Later” review

Here we have the 4th mixtape from up-&-coming Los Angeles, California emcee YoungThreat. Emerging in 2019 off his debut tape Chucks Laced, he wouldn’t return until the fall of 2022 with his previous tape Still in the Trenches in addition to It Was Never Going to Be Easy & the 83 Ways Out EP. Coming off his appearance on the title track off Kendrick Lamar’s surprise 6th album GNX last month however, he’s remaining confident that It Gets Greater Later by putting out a new project with only less than a week away from Christmas.

“Road Runner” starts the tape by mixing west coast hip hop & trap into 1 talking about being addicted to running the streets whereas “Headtaps” takes a calmer trap route instrumentally bustin’ scripts as if he’s looking for his meds. “Gallery” maintains the west coast trap vibes calling out those mad at him & walking out with charged up batteries just before “‘91 Premium” taking real bulky squabbling anytime anywhere over a sample & some 808s.

Meanwhile on “Big Bad Wolf”, we have YoungThreat aggressively discussing his lone wolf status in addition to dissing everyone out here who be actin’ like hoes & blowing shit since they ain’t make any bricks leading into “Belt 2 Ass” talking about moving as if he’s a part of the military & not rushing greatness. “Dot” admits that he felt like he hasn’t changed until the Kendrick collab while “Ina Set” talks always aiming above the neck & that resulting in headshots.

“They Woke” blends chipmunk soul & trap flexing that he rose from the concrete cement while the ominous “Can’t Let Go” talks about hittin’ blocks like they raidin’ them. “AI” wants to know why everyone can’t see his time being now while “Demon” talks about not affording to lose another gun suggesting that everyone wants to see a darker side to him. “Late Night” properly finishes It Gets Greater Later by clarifying that keeping it real is in his blood & refusing to let these rodents breathe.

Every feature on GNX had their own unique qualities to them & given that I wasn’t too big on the new Siete7x mixtape Stucc in the Hole when he initially dropped it a couple weeks ago, I happen to find myself gravitating towards It Gets Greater Later in the sense that it’s the best body of work from the up-&-comers who got their biggest breakthrough a month ago. The west coast trap production is darker than the previously mentioned tape from earlier this month & I like that YoungThreat refrained from overloading it with guests.

Score: 3.5/5

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Lelo – “When It’s Over” review

This is the 6th EP from Detroit, Michigan up-&-comer Lelo. Signing to 10K Projects earlier within the year following his first 3 EPs, he would make his presence known more widely in the local trap scene by putting out his 4th EP Nightingale not too long after landing a record deal & gained even more exposure a month later by dropping the single “No Contempt” on SoundCloud. LifeAfterDogshit just so happened to come out a month ago & exactly 30 days later, he’s picking up exactly where he left off on When It’s Over.

“Broken” starts by mixing a rubbery bass-line with hi-hats talking about his top shelf status & being in it forever whereas “Get It Together” takes the cloudy trap route instrumentally talking about trying to get everything all in order. “Manga” has a cool symphonic trap vibe advising not to compare him to anyone he’s better than while “Dresser” cautions that all the extra shit is gonna result in y’all getting lined up.

To get the other half going, “Evangelion” talks about his desires of becoming rich & not trying to come off as being too brash while “Game” speaks on racing his idols out here rather than looking up them & callin’ a fuck boy his child since he raised him. “Numbers” nears the end of the EP by talking about having hoes leading into “Real Dogshit” closing up shop pointing out some of these dudes be actin’ tough & not seeing any action.

Whenever the time comes for Lelo to put out an official full-length debut, I really do think it’s gonna elevate him to the next level because I can say with confidence that When It’s Over has to be the most enjoyable EP in his discography other than Nightingale. The production maintains the consistency of the EP that he gave us only a month ago, once more holding off on any guests to make way for him rippin’ mics by himself.

Score: 3.5/5

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Autumn! – “##B4B2MR” review

Louisiana rapper, singer/songwriter & producer Autumn! preluding Back 2 My Roots with his 22nd EP. Gaining traction off all 21 of his previous EPs & a full-length debut on SoundCloud since 2018 prior to signing to Victor Victor Worldwide & Republic Records following the Not Much Left EP, he made his major label debut nearly 2 years ago with his sophomore effort Antagonist! as well as following it up with the last 2 installments of the Golden Child trilogy & Midnight Club. Wick just delivered a sequel to Solitary in the spring & You Never Was Mine over the summer, but is surprise-dropping ##B4B2MR ahead of the main course.

“Something New!” starts with a psychedelic, self-produced plugg intro talking about not doing any 9-5s since his money be ridin’ tryna show his girl some new shit while “Laws of Power!” works in some synthesizers to talk about 10 rules that he lives by daily. “Both Ways!” heads for a cloudy trap direction instrumentally likening his hoes to Cullinan doors since they’re bisexual flexing that he’s still talkin’ hot & “Did It Again!” finishes the EP by keeping it atmospheric promising that this is only the beginning for him.

Wick’s last couple offerings Solitary 2 & You Was Never Mine were both welcomed to mixed feedback having less of a plugg emphasis to them focusing more on pop rap, trap & Chicago drill containing highlights that demonstrate his artistic range. However considering Back 2 My Roots’ title & the prominent plugg direction he goes for on this prelude, these are huge indications that Autumn!’s next body of work will mark a return to form to the sound that blew him up.

Score: 3.5/5

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Rich Amiri – “War Ready” review

Boston, Massachusetts up-&-comer Rich Amiri returning for the final month of 2024 with his 3rd full-length studio album. Beginning to turn heads since the fall of 2021 off the strength of his debut EP Ethereal, the 4ersona member would go on to follow it up with 6 more EPs before signing to Internet Money Records & introducing himself to a wider audience on the aptly titled Evolution followed by the sophomore effort Ghetto Fabulous. He landed a spot in this year’s XXL Freshman Class over the summer & is now War Ready roughly 6 months later.

“Amiri Trendsetter” featuring OsamaSon finds the pair kickin’ things off with this psychedelic trap instrumental talkin’ about people bitin’ their styles & that life can’t be any better in 2025 whereas “Oh Myy” has a bit of a rage influence living life as if it’s a movie. “Don’t Make Me” hazily suggests that he can show y’all how to move & finesse thanks to Internet Money in-house producer Synthetic & venny just before “U Want That?” flexes that he’s at Maggianos with a baddie over a siren & hi-hats courtesy of Rio Leyva.

OsamaSon & Amiri link back up on the futuristic trap joint “I’m wit It” explaining that shit’s getting gnarly in addition to showing off their new sticks & everyone else’s glitching while “Touché” works in a hypertrap beat talking about bitches tryna fuck him for his paper being outta their minds. “Count My Bandz” with co-production from Taz Taylor triumphantly clarifies that the world don’t owe you shit, but then the hypnotic “That’s It” boasts his lifestyle.

“Hunchos” ends the first half of War Ready expressing his fear of telling a bitch that he loves her because he’ll feel completely stupid if she ends up cheating on him while “Same Old Me” samples “New Person, Same Old Mistakes” by Tame Impala to talk about those thinkin’ shit’s sweet being goners. “I’m Gone” admits that he doesn’t want to choose violence & he’ll dead any beef if they bring it to him over a rage-inducing instrumental while “Stormi Daniels” likens his girl to the titular pornstar.

Meanwhile on “Keep It Cool”, we have Amiri maintaining the hypertrap vibes saying y’all better keep it cool ’cause shit could get ugly at any point while the carefree “So Easy” talks about having his way. “Gutta Gutta” promises that he won’t ever switch on his Day 1s shell shocking people & leaving them wrapped up while “G23” turns the bass up staying focused off the adderrall.

“U Like?” reaches further towards the backend of War Ready turning the distortion up a bit addressing a mischievous bitch who doesn’t love him at all & actually wants to beef him coming to the apparent realization that he doesn’t think he can save himself anymore while “Day After Day” finishes the LP with a cavernous trap cut knowing he’s been making it look like a breeze as a result of doing it from the very beginning.

Starting the deluxe run with a bang, “Heavy Steps” that Toom of Vanguard Music Group helped laced asks how you saying you have a check when you can’t even afford your rent while the intergalactic trap cut “New Celine” talks about him refusing to cop a plea deal. “Ray Charles” happens to be the final bonus track of the 3, treating a bitch as if she’s the rhythm & blues icon not seeing shit alluding to his blindness when he was still here.

Many have criticized Amiri for having a supposed “lack of authenticity” & he pretty much takes the opportunity to silence those individuals by putting out an album that reinforces why he landed a spot the 2024 XXL Freshman Class nearly 6 months ago. Although he’s been experimenting with his music for a while now, he’s trying out more new sounds on here & it results in his most eclectic offering.

Score: 3.5/5

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che – “Sayso Says” review

This is the full-length debut studio album from Atlanta, Georgia up-&-comer che. Starting as a member of the 4ersona collective under the original moniker murkio before settling on cheRomani+ & later abbreviating it. But it wasn’t until more recently where he decided to build a solo catalog for himself by putting out the debut EP 3 over a year ago & followed it up this past February in the form of X, which was supposed to be the original version of his 3rd EP Closed Captions over the summer which was a solid introduction to who he is artistically & personally. Crueger last Halloween showed more of a Chief Keef influence & is releasing Sayso Says with only less than a month left of summer.

“I Rot, I Rot” starts by hopping over an intergalactic trap instrumental from CXO talking about not needing any more new friends whereas “Saska, You Made It” turns the rage up celebrating his newfound success. “Pretend We’re Sleeping” encourages everyone to do their own shit working in some synths & hi-hats prior to “Get Naked” goes hypertrap again flexing his VIP status.

The message on “Enjoy Your Life” comes from a good place of heart maintaining the rage beats thanks to Ginseng telling his fans to enjoy their time here alive just before “Been There, Done That” has this bubbly hypertrap tone to the beat talking about doing it all. “Hex On My Chest, It’s Going Down” goes for a spaciously booming approach instrumentally advising to simply get through it & you’ll be ok leading into the energetic “Pissy Coffee” refuses to play games with anyone.

After the interlude, “It’s My Party & I’ll Die If I Want To” kicks off the other half of Sayso Says inducing more rage talking about not wanting peace anymore while “Don’t Tell No1” encourages people to come fuck with him over densely buzzing synth work with repetitive chord progressions & melodic synth leads. “Nunca Hacer Cocaina” incorporates a hint of digicore undertones speaking out against cocaine usage while “School Girl Sashimi” keeps the rage beats rolling talking about lust.

“Y.D.F.W.M.N.M.? (You Don’t Fuck With Me No More?)” whips up an ethereal trap banger calling out the people who switched up on him while the futuristic “Children Shouldn’t Play with Dead Things” wishes this bitch knew how he really felt. “Cut Off Your Hands” turns the bass up suggesting his girl should chop her hands off since she gives so much head & “My Favorite Color is Red” serves as a bombastic closer leaving blood everywhere.

Only a couple years in the game & I have no doubt in my mind that Sayso Says will take che to newer heights since it basically surpasses every expectation set out by his early EPs. His songwriting/performances are on par if not above Crueger’s last Halloween & I’d be reminded if I didn’t commend him for doing such an outstanding job self-producing a lot of it basing the LP’s sound primarily in the rage subgenre that he emerged out of.

Score: 4/5

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Summrs – “Nightfall” review

Lafayette, Louisiana recording artist Summrs once again preluding his upcoming 10th album Tale of da Raven with his 16th EP & the 2nd of the year following B4daRaven. Starting out as a member of the Goonie-founded Slayworld collective, his presence has been known predominantly in the plugg scene by constantly dropping projects whether it be his last EP What We Have or even the Fallen Raven LP, both of which I highly recommend listening to if you wanna get into his music. Stuck in My Ways & Ghost were cool, but Rino brought back the plugg elements that Ghost lacked on the official What We Have sequel What We Didn’t Have last September & was curious of what direction Nightfall would take.

“Bentley Mulsanne” starts the final EP ahead of the next LP boasting that he’s at the top of the food chain over a futuristic trap instrumental whereas “F.W.W.Y.N. (Fuck Wrong With Y’all N****s?)” brings a cavernous trap beat to the table talking about never catching him slip. The hollowly produced “Phantom Musik” confesses he still doin’ things wrong thinking everything was right while the vibrantly catchy “F.O.B. (Family Oriented Business)” produced by Synthetic of Internet Money Records discusses coming for his. “Marble Floors” was a great trap/regalia crossover & the outro is a rage-inducing anthem for his fans.

B4daRaven had more of a prominent pluggnb/pop rap sound with cloud rap undertones in comparison to What We Didn’t Have astoundingly returning to Rino’s plugg roots, but the overall vibe on Nightfall generally leans more toward straight forward trap in comparison although you do get hints of cloud rap along with regalia & even rage. That tells me all of these sounds are gonna come together into 1 by the time Summrs himself feels ready to tell the Tale of da Raven sooner rather than later.

Score: 3.5/5

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