Esham – “Purgatory” review

This is the 23rd full-length album from Detroit emcee/producer & Reel Life Productions founder Esham. Widely acknowledged as the godfather of horrorcore alongside his former Natas cohorts Mastamind & the late TNT, his run from 1989-2005 (particularly the albums KKKill the Fetus, Closed Casket & Doubelievengod?) would go on to lay out the groundwork for subsequent horrorcore acts such as the Insane Clown Posse & even Eminem. His output from Sacrificial Lambz onwards (essentially after his 2-album deal with Psychopathic Records from 02-05) has been a little hit or miss even though I love the single “S.S.M.D. (Stop Selling Me Drugs)” & Dichotomy respectively. Psyops however was creative detour for Esham as he self-produced the whole thing for the first time in a while conceptually revolving around what it was like for him living in Minneapolis, Minnesota during the George Floyd protests & a more rap rock inspired sound. But after having the honor of meeting him personally last fall & coming fresh off the 3-Headed Monster’s full-length debut Obliteration last month, East Side Hoes And Money is looking to escape Purgatory.

“Active Shooter” is a rap metal opener with the acid rap pioneer can discuss the issue of kids killing kids whereas the self-produced “Circle of Proud” goes into a more groovy trap direction talking about “white noise”. More specifically: the far-right. “Circle of Wraith” shifts gears into rap metal territory again talking about sacrificing a goat, but then the first of 2 tracks featuring Jack Frost called “Circle of Avarice” has a rawer, drearier approach instrumentally to speak on greed.

Jack makes his 2nd consecutive & final appearance on the album with “Circle of Gluttony” over a bloodcurdling beat to habitual greed just before “St. Detroit” gives off a more angelic flare musically produced by the Drunken Master to pay homage to the 313, the city where they’ll eat motherfuckers for dinner. The title track embraces a more boom bap sound detailing the place we all fear leading into the acoustic heavy “Circle of Sloth” talking about all your pieces going back in the box when you’re done with the game of life.

“Bro” makes it clear that he don’t fuck with no rats over some twinkling keys & hi-hats while “Watch Me Do My Dace” kinda has a quirky trap appeal instrumentally telling everyone to witness him do exactly that. “Big Motion” is a synthesizer/boom bap crossover provided by the homie Dead Heat talking about rappers out here being way too dry while the glamorous trap cut “Me” featuring Mastamind getting on the more wicket side of things.

The dejecting piano chords & hi-hats on “El Sicarios” featuring Mastamind for the 2nd consecutive & final time comparing themselves to hitmen while “I Can’t Believe” is a sample-based boom bap joint talking about how wack is wack is regardless of what the streaming stats are which I agree. The song “Woke Up Quick” gives more of a synth-trap feeling doing exactly that simply because he’s from Motown while the atmospheric penultimate track “O.T.B. (Old Thing Back)” takes a trip down memory lane. “It’s a Vibe” is a fun closer celebrating that he’s still alive out here & that they gon’ ride.

Psyops being a step in the right direction for Esham as it was had me anticipating Purgatory a bit more than I’ve done so with some of his material within the last 15 years truthfully & he continues to move towards that trajectory a year & a half later. The political rap metal influences from that previous album makes it’s way here dashed with boom bap & trap detours too so the Unholy can take us through uncovering the secrets lying beyond the intermediate state after physical death for expiatory purification.

Score: 3.5/5

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3-Headed Monster – “Obliteration” review

The 3-Headed Monster is a horrorcore supergroup consisting of Esham, Violent J & Ouija Macc. One of them being the unholy godfather of the wicked shit founding Reel Life Productions, the other co-founded Psychopathic Records as 1/2 of the Insane Clown Posse whom the Boogey Man was once signed to from 2002-2005 & the other has become the hatchet’s biggest artist since Twiztid departed over a decade ago to form Majik Ninja Entertainment now continuing to gradually build Chapter 17 Records as a subsidiary of the label that runs beneath the streets as he’s been their only current artist other than the wicked clowns themselves since the pandemic. But as they head out on the road earlier this week fresh off Bloody Sunday & Detritus alongside the preparation of Purgatory next month, they’re announcing the formation of the trio & even unleashing a full-length debut.

After the intro, the first song “Fire Breathin’” opens things up with a hardcore hip hop anthem produced by Dead Heat advising to run from the 3-Headed Monster itself whereas “Crushin’” blends trap with rock & these grueling bells during the hook talking about squashing on all y’all motherfuckers. “Clownzilla” gives off a more suspenseful trap groove courtesy of Shaggytheairhead so J can himself the Godzilla of juggalos just before “Juggalos 4 Jesus” gives off a cloudier route thanks to Devereaux with Ouija heavily calling back to “24/7” off 4th album Closed Casket which is widely considered by suicidalists to be his best even though I’d put KKKill the Fetus above it personally.

“Don’t Sell Your Soul” switches things up with a jazzy boom bap ballad as Esham solely reminds the world to never sellout leading into “The Biggest” weaves these chilling horn melodies likening themselves to 30 gorillas referencing WCW original Giant González. “Leave That Dope Alone” is another Esham solo cut works in a soul sample with these kicks, snares & twinkling keys so he can get on his hustler shit à la Dead Flowerz that is until Violent J singlehandedly covers “Possum Kingdom” by The Toadies which really isn’t a surprise to me considering the Duke’s love for rock music. Especially with Zug Izland’s debut album Cracked Tiles turning 20 this year & that being one of the most underrated Psychopathic albums of all-time in my humble juggalo opinion.

Meanwhile, “Kiccin’ the Bass” dives into the wavy trap territory including a chopped & screwed samples of “What’s a Juggalo?” off their 1997 wicked shit masterpiece as well as this reviewer’s personal favorite Joker’s Card The Great Milenko & even “Dead Body Man” off my 2nd favorite Card Riddle Box for the hook so Ouija can shine with his own solo cut talking about being born as a corpse that they called a disgrace that is until “Shaggy Shit” pops up as a brief Shaggy 2 Dope interlude. The final song ends the album “Rubble” finds the 3-Headed Monster reuniting once more with monster movie soundtrack flips spitting that hardcore shit one more time & the Mike E. Clark remix of “Fire Breathin’” is most certainly on par with the original.

If you call yourself a fan of the wicked shit, then you’d know how much of a big deal this album is considering Esham’s influence on ICP & eventually ICP’s on Ouija. We knew they were going on tour together too, but the formation of 3-Headed Monster & Obliteration as their debut is as enjoyable as the Quest for the Ultimate Groove that Shaggs went on last weekend. Each member’s generationally distinctive styles are all well displayed & to hear their chemistry together is quite fascinating.

Score: 4/5

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Ouija Macc – “Detritus” review

This is the 8th mixtape from Las Vegas, Nevada emcee Ouija Macc. Breaking out in the fall of 2017 after the Insane Clown Posse signed him to Psychopathic Records shortly after putting out his debut EP Trashfire independently, Ouija has since proven himself as one of the most consistent & hard working dudes in the underground by dropping 3 full-lengths, 2 greatest hits compilations, his previous 6 mixtapes & 4 EPs all in the span of nearly 6 years. He even started his own label Chapter 17 Records & made the big homie HEXXX the first signee to PSY’s new subsidiary almost a year ago by now. The previous Ouija tape Fallen Angelic just celebrated it’s 1 year anniversary at the beginning of the month & his latest album Stalewind was a near perfect conclusion to the Element saga, but is now following up the Hideous collab album he dropped with Golden BSP only a few months ago by welcoming y’all to Detritus.

After the “Lost Transmission” intro, the first song “Freak” opens the tape with an ratchet ode for all of those who like it nasty whereas “Dypschyt” works in some bass & hi-hats courtesy of Shaggytheairhead so everyone can go dumb. “Blam Blam ‘Em” spits that gun talk over a dark Devereaux instrumental just before the uncanny trap hybrid “Deadzone” vividly details a demon coming after him for 3 days back to back to back.

“Apollo 17” has a bit of a Memphis flare sonically detailing a murder that he had been planning for weeks leading into “Clown Luv” coming through with a spiritual successor to the joint off Shaggy 2 Dope’s solo debut EP Fuck Off!. “Rich Boy Pacc” pulls some bells & hi-hats together making it clear what he be smoking on, but then “Lumberjacc” is a jazz/trap hybrid talking about punani being all he needs.

Meanwhile on “Rippin’ Out Ur Guts”, we have Ouija spitting the wicced shit over an unhinging beat while “Human Malfunction” switches it up into a cloudier sound admitting to not knowing much other than our days being numbered & cautioning to get back before your shit gets jacked. “Just Go” brings in more bells & hi-hats bragging that his foot’s on the gas with his pockets on swole while “Dream Survey” atmospherically confesses that demons stand by him as he sleeps.

“Well Wicced” is a short but macabre continuation with a bassy trap instrumental boasting that shit can’t get more wicced than this while “They Don’t Like Me” lays these hi-hats behind a killer guitar throughout getting on his emo shit a bit. “Look Bacc” bombastically tells y’all to keep the past in the past while “Way the Shit Go” brings back the guitars thanks to Billy Martin talking about how life be sometimes. And until the “Found Transmission” outro, the final song “In the End” sends off the tape with a roller coaster ride of an 8-minute closer about the world falling victim to stupidity.

Chapter 17 has quickly become one of the most dominant forces in the underground wicked shit scene within the last couple years & coming off what seemed to be their biggest yet, the CEO indicates that it’s only gonna get bigger from here because I happen to enjoy Detritus more than Hideous with all respect. The performances are more consistent & the production continues to evolve the sounds of his finest full-length that he gave us at last year’s Gathering.

Score: 4/5

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Violent J – “Bloody Sunday” review

Violent J is a 50 year old MC, producer, professional wrestler/manager, Juggalo Championship Wrestling (JCW) Commissioner & the longest reigning 2-time JCW World Juggalo Tag Team Champion from Detroit, Michigan notable for forming the Insane Clown Posse & co-founding the label that runs beneath the streets Psychopathic Records with Shaggy 2 Dope. He’s also released a few EPs & a full-length on his own within the last 3 decades, with my personal favorite of the handful being Wizard of the Hood. The last we heard from the Duke of the Wicked solo-wise was the Brother! EP on New Year’s Eve 2018, but J is making up for the 3-month delay of his sophomore solo album by giving it to the fans as a Juggalo Day treat.

The intro is an occult trap opener produced by Devereaux with J confessing he doesn’t want to be alive anymore whereas the title track gives me a more slower albeit still morbid approach to the beat thanks to Brian Kuma talking about a never ending cycle. “Clown Blood” returns to trap territory with J showing off some crazy flows as he describes the clown blood flowing through him leading into “In the Hole” blending some hi-hats & synths talking about where your soul will suffer.

Meanwhile on “Pitch Dark”, we have J over a more rugged instrumental describing total blackness just before “No Friends” is a decent guitar ballad about being friendless. “Scatterbrain 2” is a trap-flavored sequel to “Scatterbrain” which has always been one of the best songs off Eye of the Storm in my opinion & picks up where the predecessor left off wonderfully referencing both former 2-time SMW Heavyweight Champion & ECW World Tag Team Champion Tracy Smothers and WWE Hall of Famer, former WWE Intercontinental Champion, WWE United States Champion, 3-time WCW World Heavyweight Champion & WCW World Tag Team Champion Rick Rude until Mike E. Clark returns to lace “The Stiff” with his uniquely quirky sound asking if he made a friend until the end or fucked up again.

“Horrendous Ways” jacks for beats as the Duke of the Wicked asks why great lives end in the titular fashion while “Something’s in My Room” takes a turn into boom bap describing the titular being in his room staring at him. The song “The Hurter” has a more carnivalesque flare to the instrumental courtesy of Shaggytheairhead describing the titular character while the penultimate track “A Harrowing Time” is a bassy trap cut about Satan calling him. “Some Good Pussy” though ends the album with a shitty country rock ballad about a man being unhealthily obsessed with a bitch.

Wizard of the Hood is such a classic EP & I know The Shining gets a bit of mixed reception with a lot of juggalos that I know personally, but it’s most certainly no question that Bloody Sunday stands as Violent J’s finest solo album to date. It’s a lot more darker than the previous efforts that he’s put out on his own, he sounds focused & the production is a healthy mix of both the old & new sounds throughout the 3 decades that he’s been in the game.

Score: 3.5/5

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Ouija Macc – “Stalewind” review

Ouija Macc is a 36 year old MC from Las Vegas, Nevada who started to turn heads in the fall of 2017 after the Insane Clown Posse signed him to Psychopathic Records shortly after putting out his debut EP Trashfire independently. Ouija has since proven himself as one of the most consistent & hard working dudes in the underground by dropping 2 full-lengths, 2 greatest hits compilations, 6 mixtapes & 4 EPs all in the span of 5 years. He just dropped Fallen Angelic this past spring & is now commemorating the Gathering of Dreams this weekend by delivering his 3rd album.

After the “Portal” intro, the first song “Wake Up” is blaring trap opener produced by Devereaux talking about being baptized in the gutter whereas “6 Foot Hatchet” manically promises to put a nightmare on that movie screen. “Fill the Space” works in some bells to deliver a weed smoking anthem just before “9MM Suppository” shoots for a more morbid aesthetic talking about detailing his shooter-mentality with an excellent chopped & screwed hook.

Meanwhile on “Boiler Room”, we have Gizmo accompanying Ouija to talk about stomping out their competition over a sickly trap beat leading into “Return of the Murder Go Round”, which is a catchy yet wicked sequel to “Murder Go Round” off the Wicked Clowns’ sophomore album Ringmaster down to the sample during the hook. Chapter 17 Records’ very 1st signee HEXXX comes into the picture for “Beast in Dior” to display some great back & forth chemistry with 1 another calling out those who’ve never surrounded themselves with demons over some hi-hats & retro video game-like synths, but then “Killa Like” talks about what he woke up feeling like with a bass-heavy instrumental from Billy Martin of fucking Good Charlotte with some rock undertones to it.

“Massacre” has a more frightful sound to it with co-production from DJ Chunk warning that nobody’s walking out their bitch alive on Ouija’s watch while “Mo Murda” ghoulishly talks about pulling up to a murder scene to make a scene. “F.U.R.N. (Fucked Up Right Now)” is a sweet trap/rock fusion detailing being under the influence even though F.J. Outlaw’s verse is respectfully one of the weaker features on the album with “In the Ha” serving as a cloudy sequel to “In the Haughhh!” off my favorite EP that ICP has ever put out: Beverly Kills 50187.

Continuing from there: “Go Head On” encourages not to hold back on shit over an occult bet while “Christian Mingle” continues to mix trap & rock together to talk about walking up in that bitch with a glock & a hatchet. “You’re Dead” with the Duke of Wicked himself Violent J has a futuristic yet grimy flare to quench for blood while the song “Do It Like This” talks about how he gets it done over a somber Shaggytheairhead beat. The closer “Take Me Home” comes through confessing his suicidal thoughts which is fitting considering his story of the Stillwind/Stalewind shift along with how hard these past few months have been for this reviewer personally & the bonus cut “Juggalo Radio” ends the album with an electronic/trap infused banger promoting JUGG FM.

If you’ve been following Ouija for as long as I have, then you should know how important this final element is & this conclusion to a 5-year long saga happens to be the most important album of his career yet in my personal opinion. I’ve noted that some his more recents efforts have shown that quite the artistic evolution from Ouija’s pen-game to the projection but on Stalewind, it all comes full circle so excellently.

Score: 4.5/5

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Ouija Macc – “Fallen Angelic” review

This is the 7th mixtape from from Las Vegas, Nevada rapper Ouija Macc. Originally breaking out in the fall of 2017 off his debut EP Trashfire, this would result in the Insane Clown Posse signed him to Psychopathic Records almost immediately & he has since proven himself as one of the most consistent & hard working dudes in the underground by dropping 2 full-length albums, 2 greatest hits compilations, 6 mixtapes & 4 EPs all in the span of 5 years. Last we heard from Ouija was back in November when he dropped PRETTY/UGLY 2 which is much superior to the predecessor but to kick off the 2nd quarter of the year, he’s preluding his upcoming 3rd album Stalewind with Fallen Angelic.

After the “Prophecy” intro, the first song “Rory Mercury” is an eerie trap opener comparing himself to the Gate character of the same name whereas “Playalo” will go down as one of the best Ouija songs ever made taking a symphonic trap route thanks to Devereaux coming through with an ode to the juggalos. “Hellcat” goes into cloudier territory talking about how we should be proud of him just before Whitney Peyton tags along for the bassy “Big Step” talking about not wanting shit.

Meanwhile on “17 Blunts”, we have Ouija on top of a hazy beat delivering theme music for the smokers leading into the pillowy trap cut “Get It Like” talking about being all in his zone. “Did It on Purpose” goes into darker territory calling out those who don’t wanna see him winning, but then “Ain’t No Fun” has a more entrancing vibe talking about how everyone wants to hate someone.

“Hatchet Up” of course comes through with yet another Psychopathic ode except this one’s more rowdier while “La Flama Blanca” returns to the cloud rap sound talking about how this is more than just two. Kid Bookie’s verse on “Moonlight” doesn’t do much for me even though I like Devereaux’s production & the whole idea of too much shit going on to be on their dicks while “Crawl” gets raunchy as fuck & will definitely get all the Lettes going wild at future shows.

Following that, “Replay” incorporates some synthesizers telling the DJ to run it back while “Brandishin’ That” with a fun ass-shaker’s dedication. The song “Swang 2” with Ricky Hil finds the 2 on some acoustic trap shit delivering a decent sequel to a joint on Waterdamage while the penultimate track “Hate Myself” keeps things in acoustic territory talking about his self-hatred being for nothing. “Roadmap” ends the tape on a grungier encouraging to follow him at your own risk.

Chapter 17 Records is definitely gonna have a big 2022 & I think Fallen Angelic is a stellar way to kick it all off. The features are a tad bit better than PRETTY/UGLY 2, Ouija’s songwriting continuously gets better at getting stuck in your head & I really hope he continues to dabble with new sounds going forward because he’s been doing it excellently as of late.

Score: 4/5

Ouija Macc – “Zodiac” review

This is the 4th EP from Las Vegas, Nevada rapper Ouija Macc. Coming up in 2017 as a protege of the Insane Clown Posse & signing him to their label Psychopathic Records, his 2018 full-length debut Gutterwater saw him putting his own spin on the SoundCloud aesthetics & has consistently been grinding since with videos as well as mixtapes like Waterdamage & Resistance: The Walk to Wasteland, he just dropped Resistance II: Hell’s Holotape back in May & now after putting out PRETTY/UGLY just a couple months ago, Ouija is teaming up with Ayshon for Zodiac.

The opener “Fucc Face” is a moshpit anthem with rambunctious instrumental while the next track “Pussy Murda” gets sexual over a skeletal beat. The song “Pew Pew” taunts his haters over a plinky instrumental while the title track talks about receiving head from a Cancer bitch over a druggy beat.The song “Vertigo” continues the shit-talking while the track “Something New” talks about how he’s been working like crazy over a beat with a dark atmosphere to it. The song “Trash Can” talks about being built as if he was a dumpster over a demented instrumental & then the closer “Can’t Even Tell” talks about those who he thought were on his side over a cloudy beat.

Even though I prefer Resistance II: Hell’s Holotape & PRETTY/UGLY, this EP is still enjoyable. It’s refreshing to hear Ouija work with a different producer again & he continues to present himself as a unique face on the Psychopathic roster.

Score: 3.5/5