Lil Durk – “Deep Thoughts” review

Chicago, Illinois rapper & Only the Family Entertainment founder Lil Durk finally dropping his 5th studio LP ahead of his murder-for-hire case. Rising to prominence a little over a decade ago off his debut mixtape I’m a Hitta, he would go on to follow this up with Life Ain’t No Joke & the first 2 installments of the Signed to the Streets trilogy until signing to Def Jam Recordings for his full-length debut Remember My Name & the sophomore effort Lil Durk 2X. Since then, Durk has made himself home at Alamo Records by dropping 9 more mixtapes & bounced back from the mixed reception of 7220 in the form of Almost Healed to let off a collection of Deep Thoughts.

“Shaking When I Pray” is this decent cloudy trap intro that Isaiah Valmont of Internet Money Records whipped up talking about people doing anything to go viral these days whereas “Keep on Sippin’” addresses an individual he gave everything to & yet, they still continue to trip out. “They Wanna Be You” featuring Future finds the 2 talking about kids wanting to be exactly like the both of them prior to “Soul Bleed” admits to putting others ahead of his own team as of late.

Lil Baby joins Durk on “1,000 Times” talking about people they used to hang with in the hood leaving them drowning just before “Turn Up a Notch” has one of my favorite instrumentals from Southside & Smatt Sertified clapping back at everyone who counted him out a decade ago. “Vanish Mode” produced by Chopsquad DJ addresses a bitch lying to him about loving him leading into “Monitoring Me” getting in his Chicago drill bag.

“Untouchable” ends the 1st leg by hustling whenever he gets a chance & barely holding his stance as it already is while “Notebook” gives off a laidback trap direction talking about the industry putting him in beefs. “Can’t Hide It” was a decent pop rap single that benny blanco & Cashmere Cat laced together delving into relationships, but then “Wondering Again” ponders if an ex will ever love him once more.

Hunxho appears for the mediocre “Late Checkout” still in disbelief they found love while “Think You Glowed” shuts down a hoe lying to herself that he’s glowing up. The song “Opportunist” remembers his late brother & describes the way he copes with depression while “Alhamdulillah” talks about finally being healed. “Deep Depression” with Metro Boomin’, BoogzDaBeast & FNZ all behind the boards closes the album figuring out why he’s in love with the streets since shit gets ugly.

7220 & Almost Healed were both admirably personal with the latter kinda stepping it up in the production department, which led me hoping Deep Thoughts would expand on. Unfortunately for the most part, it turned out to become the same old melodic trap/pop rap that we’ve been getting from him in recent memory. Even with the introspection he brings to the table, the production is a step down from Almost Healed & it kinda feels repetitive.

Score: 2/5

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03 Greedo – “Hella Greedy” review

Pioneering Detroit trap producer Helluva producing the 17th mixtape in Los Angeles emcee, singer/songwriter & producer 03 Greedo’s discography. Emerging under the original moniker Greedy Giddy, he went on to release a total of 14 tapes ahead of his DJ Mustard-produced debut album Still Summer in the Projects & the Kenny Beats-produced sophomore effort Netflix & Deal both receiving significant acclaim. He has since dropped 1 more LP in Load It Up as well as 5 EPs & a couple more mixtapes, the most recent being the Fucc Everybody EP from this spring. That said, I felt Hella Greedy could be Greedy’s strongest since his first EP Meet the Drummers produced by Travis Barker.

“Still in Shocc” is a Detroit trap opener flexing that he went from Steve Urkel to Stefan Urquelle like it’s Family Matters whereas “If I’m Scared” has a ghostly atmosphere to the Motor City’s unique take on trap music talking about beating the feds & even coming clean that he’ll do it again. “Still Feel Loaded” serves as a sequel to the highlight loaded off Still Summer in the Projects that’s on par with the predecessor, but then “Kill Me” spaciously shrugs off all the fake love.

Peezy joins Greedo on a successor to “Militant” off Money Changes Everything discussing their titular tendencies over a mellow Detroit trap instrumental just before “DayQuil” laughs off everyone who thought they were poppin’ turning the tables on them that they took the fake pill refusing to roll silently. “Good Girls 2” featuring Vae Vanilla happens to be a soulful follow-up to the Lil Boof song that Giddy was featured on surpassing it leading into “Went Left” featuring G Herbo pulls from drill music showing off their mob ties.

“Sum’n Pretty” featuring Rob49 was an underwhelming choice of a single wasting this beat fusing Mobb & trap music in favor of underwhelming romance bars while “Tear It Off” makes up for it jumping over these 808s & luxurious pianos so he can continue the lustful themes except he’s improved on them in comparison. “Take My Time” heads for a cloudy trap direction instrumentally addressing someone who promised to hold him down while “Move” finds him moving on to someone else.

Meanwhile on “Good Taste”, we have Greedo setting off with this exuberant trap joint showing a boastful side to him while “Ketchup” aggressively talking about making money as of late. “Devil Offa Me” easily stands out as an introspective moment on the tape tryna shaking off Satan’s baggage while “Escalator Elevator” talks doing no stepping showing a Detroit trap influence again. “R.I.C.O.” featuring Maxo Kream turns the eeriness up to 11 saying real ones don’t worry of catching a racketeering cage & the closing track “Move 2” ends with a harder sequel to “Move” talking about riding for his homies.

I’ve been waiting for Giddy to drop a project on a caliber that would make it stand out unlike anything he’s done before much like Still Summer in the Projects, Netflix & Deal and Meet the Drummers all did ever since he finally came home. A year & a half later, he’s finally done it. Helluva whips up the most consistent batch of beats that Greedo’s been on top of since being released from prison & even if the features are 50/50, the Watts representative himself is the best since he’s sounded in 5 years.

Score: 4/5

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BigBabyGucci – “When You Go to Sleep” review

This is the 20th EP from Charlotte, North Carolina recording artist BigBabyGucci. Getting his start in the summer of 2016 off his debut EP ART HOE Collection, he would continue to build a name for himself by putting out 19 more EPs as well as his last few albums & a mixtape along the way. But coming off one of his best LPs to date When U Wake Up, he’s closing out his 2023 by putting out a 9-track EP clocking in at 21 & a half minutes.

“Alone at Night” is a spaciously drumless opener talking about how he doesn’t know what’s wrong with him whereas “Full of Sin” admits that he believed he could find myself inside the drugs & never did in the end over a guitar-driven instrumental. “Night Shift” gives off a bluesy trap groove trying not to take anything serious for real prior to “Murder Shit” coming through in some Marni shit & that everyone knows for a fact he’s stuntin’ taking a futuristic approach to the beat thanks to Venny.

To start the 2nd half of the EP, “Genie in a Bottle” turns into mellower territory feeling like this woman was a part of him just before “Do or Die” refuses to fumble under pressure & simply call it fake over kicks & snares mixed with pianos. “Wanted 4 Murder” boasts that he’s wanted for killing the pussy over a moodier instrumental prior to “Provide 4 U” featuring Tony Shhnow talks about providing for their lovers so they never need bringing a dreamier vibe. “Icebreaker” closes out the EP continuing to make things atmospheric telling her to break the ice.

When U Wake Up still stands as my favorite full-length of the 3 that BigBabyGucci has put out & even though this EP was clearly supposed to be the deluxe version of that new album, I think him putting it out as a separate counterpart isn’t too bad either. We have him expanding on his versatility trying out some new sounds beyond trap & pop rap with alternative R&B, his performances/songwriting match the caliber he reached couple months ago & the Tony Shhnow feature was as entertaining.

Score: 3.5/5

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Only the Family Entertainment – “Nightmares in the Trenches” review

Only the Family Entertainment is a independent hip hop label based in Chicago, Illinois founded by local drill emcee Lil Durk. They eventually grew its roster to the point where Durk started showcasing his artists on Only the Family Involved, Only the Family Involved 2, Family Over Everything & Loyal Bros all to generally mixed reviews. But as the 1-year anniversary of Loyal Bros 2 approaches next month, Only the Family is looking to tell Nightmares in the Trenches.

“Nobody’s Safe” by OTF Boonie Moe featuring Rob49 is an underwhelming way to start the compilation as they jump over an uncanny trap instrumental declaring there isn’t a single soul that’s safe once they out in the streets whereas “Eyes Red” by Lil Durk picks things up by talking about pulling his Amiris halfway down accompanied by an aquatic backdrop with hi-hats. The atmospheric trap instrumental on “Posted At” by CoKilla & THF Zoo isn’t too bad even though I can’t say the same for the performances, but then “Them Ones” by Durk bounces back once more saying there’s no way he can run out of money over a cloudy Chopsquad DJ beat.

Chief Wuk joins Durk for “I’m the Type” explaining the type of people they are going for a Detroit trap vibe this time instrumentally leading into “Last One” by Doodie Lo featuring YTB Fatt refusing to talk about their last hits over hi-hats & bells. Speaking of the Detroit trap scene, Icewear Vezzo & Durk team up on “Fuck It” going back & forth with one another very well over an eerie trap beat just before “Hood Said” by solely Durk is an acoustic trap crossover talking about history repeating itself.

The song “Whatever You Wit” by CoKilla & Deeski shifts into drill turf although the subject matter of being down with whatever you’re down with is ok while the penultimate track “It’s on Me” by Booka600 talks about guts & glory always taking you to the end over a slick instrumental. “Smurk Carter” ends the comp with 1 last Lil Durk solo cut giving me a bluesy trap feeling sonically declaring money as the root of all evil.

Other than the late King Von & of course Durk, I was never that big on the OtF roster so I didn’t really expect a whole lot going into their 6th showcase effort. However, it’s probably the most I’ve enjoyed a compilation from the Chicago label. Lil Durk’s performances are obviously the best out of what the current roster has to offer with the production primarily centered around trap with drill undertones additionally being thrown in.

Score: 2.5/5

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BigBabyGucci – “When U Wake Up” review

This is the 3rd full-length LP from Charlotte, North Carolina recording artist BigBabyGucci. Getting his start in the summer of 2016 off his debut EP ART HOE Collection, he would continue to build a name for himself by putting out 18 more EPs as well as his last couple albums & a mixtape along the way. But coming off both his last tape Homesick & the sophomore LP Colors during the first quarter of the year, BigBabyGucci’s returning in time for Friday the 13th to drop When U Wake Up.

“Stargaze (Maniac)” is an electro hop opener à la Ye or the Nazi formerly known as Kanye West asking if he’s crazy as fuck comparing his cougar to the late WWE Hall of Famer, former WWE Champion, 2-time WWE United States Champion, 2-time WWE Intercontinental Champion, 4-time WWE Tag Team Champion, 2-time WWE Cruiserweight Champion, 2-time ECW World Television Champion & AAA Mundial Parejas Campeon Eddie Guerrero whereas “No Favors” works in some pianos & hi-hats talking about being unable to do any sort of favor for anyone. “Drug Bender” goes into psychedelic trap territory to give those who like to get a little too fucked up something to vibe to, but then “Feel This Way” triumphantly admits to everyone listening that he truthfully hasn’t felt the way he does in quite a minute.

Continuing forward, “Pecan Pie” blends these horns & hi-hats looking back on the days when he used to have to rob just to get by & make it through the struggle alive leading into “Early Bird” draws from 808s & Heartbreak for an electropop ballad about talking about how he can’t trust anyone yet he never learns. “Kapitol” weaves these pianos & hi-hats for an 85 second cut repping the titular clothing brand just before the synth-laced trap “Like I’m Famous” talking about the way this chick treats him.

“Ken Doll” goes for a bassy, atmospheric approach asking this Barbie if she genuinely hates him while the wavy “Seance” talking about he how he just had to lay someone down really badly because he was snitching to the feds. “The Brand” hooks to a somber loop & hi-hats discussing the fact that people be spending all the money they have not saving any for themselves in the end at all while “Midnite” gives off a jazzier edge to the beat interestingly talking about being high late at night.

On the other hand, “Product of a Playa” gives off a rage-inducing vibe instrumentally telling what it’s like to be an artifact of a hustler while “The Rush Before the Fall” dives back into the electro hop sound talking about being unable to miss his shot if he were to take it. “Bombay” intoxicatingly describes this chick wanting a night off while “Codeine Love” is an energizing dedication to sippin’ lean in the midst of partying out with others.

“The Madness” happens to be the last before the closer nearing the end of the album hopping on top of a cloudy ass beat talking about being so high that he’s looking over at the insanity & to close out the LP, it’s only feature Sik-K joins BBG for “Graveyard” wrapping it all up on eerie dark synth hop note providing some wicked imagery appropriately since it’s Friday the 13th & Halloween’s coming up.

I’ve been hearing about dude since this past spring when Colors & I can definitely see why people have been telling me to check him out because I enjoyed When U Wake Up as an album. He’s incredibly versatile primarily basing himself in the pop rap/trap styles with an clearly obvious Kanye influence & some rage undertones with catchy songwriting/performances.

Score: 3.5/5

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Lil Durk – “Almost Healed” review

This is the 4th full-length album from Chicago, Illinois rapper Lil Durk. Rising to prominence a little over a decade ago off his debut mixtape I’m a Hitta, he would go on to follow this up with Life Ain’t No Joke & the first 2 installments of the Signed to the Streets trilogy until signing to Def Jam Recordings for his full-length debut Remember My Name & the sophomore effort Lil Durk 2X. Since then, Durk has made himself home at Alamo Records by 9 more mixtapes & is looking to bounce back from the mixed reception of 7220 due to it’s weak production yet admirably more personal subject matter in the form of Almost Healed.

After the “Therapy Session” intro, the first song “Pelle Coat” starts off the album with an mellow trap instrumental from Chopsquad DJ explaining why everyone’s scared to come outside this day in age whereas “All My Life” featuring J. Cole despite the positive message of people always trying to bring them down was a disappointing choice for a single largely due to Dr. Luke’s sanitary production. “Never Again” works in some pianos & hi-hats talking about not helping others ever again prior to “Put ‘Em on Ice” telling everyone that nobody is safe over a rich trap beat.

Chief Wuk delivers one of the weaker feature performances on “Big Dawg” as they discuss only hating it when their bitches are on lil girl shit on top of a distorted instrumental just before “Never Imagined” featuring Future makes up for it with a more colorful trap vibe talking about the way they’re living now. The beat throughout “Sad Songs” is a bit of a nonstarter for me personally addressing a pretty lil liar, but then “Before Fajr” talks about people hating him for being more famous and both Southside & Smatt Sertified’s production here has a lot more going for it this time.

“War ‘Bout It” featuring 21 Savage make it known that you can’t discuss any criminal activity that you’ve ever been involved with as Metro Boomin’ supplies more keys & hi-hats while “You Got ‘Em” talks about perc poppers not being his friends except we have one of the weakest instrumentals on the album yet again. “Grandson” featuring Kodak Black has a hazier flare sonically courtesy of both Metro & Zaytoven as they discuss the lifestyles they live while “300 Urus” making it clear there’s a reason some ain’t with him no more over an atmospheric trap beat from Wheezt

Rob49’s verses throughout “Same Side” are underwhelming compared to Durk’s although I appreciate the back-&-forth delivery as well as the morbid Lil Ju instrumental while “B12” weaves some hi-hats & quirky synth patterns talking about being fucked up off ecstasy. “At This Point We Stuck” moodily asks why everyone’s mad at him while “Cross the Globe” featuring the late Juice WRLD is an acoustic trap hybrid with both of them tackling themes of love.

“Dru Hill” is an melodramatically piano trap crossover wanting to be shown something new & what love feels like while the song “Belt2Ass” declares himself to be a rockstar from the trenches & the instrumental here has more of a symphonic flare to it. The penultimate track “Stand By Me” returns to a cleaner sound so he can desire his girl’s honesty asking if she’d stand by him if he lost it all & “Moment of Truth” closes the album with a trap/rock fusion produced by Alicia Keys talking about being out all night getting the bread.

As admirably introspective as 7220 was, the production on that previous album was lacking quite a bit & it makes me relieved that Almost Healed revealed itself to be a step in the right direction for Durk because it could possibly be the best full-length he’s ever dropped. Some of the features underperformed but most of them stick the landing, it’s more well produced for the most part & it really does feels like a therapy session on wax as the personal themes of the predecessor are expanded here.

Score: 3.5/5

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Lil Durk – “7220” review

Lil Durk is a 29 year old rapper from Chicago, Illinois who came up a little over a decade ago off his debut mixtape I’m a Hitta. This was followed up with Life Ain’t No Joke & the first 2 installments of the Signed to the Streets trilogy, the latter of which led him signing to Def Jam Recordings for his full-length debut Remember My Name & the sophomore effort Lil Durk 2X. Since then, Durk has made himself home at Alamo Records & dropped 9 more mixtapes. But now in light of his late protege King Von’s latest posthumous outing What It Means to Be King seeing the light of day last weekend, Durk is continuing to apply pressure in the form of his 3rd album.

“Started From” kicks off the whole thing with a bare piano instrumental talking about his beginnings whereas “Headtaps” vulnerably opens up on starting from the bottom, but the beat is so painfully generic. “AHHH HA!”comes through with a vicious YoungBoy Never Broke Again diss down to the Southside/TM88 production, but then “Shooutout @ My Crib” mixed some pianos & snares addressing a home invasion that took place last summer.

Meanwhile on “Golden Child”, we have Durk over a cloudy Hitmaka instrumental detailing the violent gang life just before “No Interviews” talks about trying to turn up even with the beat being as comatose as it is. Future tags along for the spacey “Petty Too” to get back at their women being salty leading into “Barbarian” bringing back the keyboards talking about not letting up.

Gunna comes into the picture for the Chopsquad DJ-produced “What Happened to Virgil?” to pay their respects to the late Off-White founder while “Grow Up” starts off as a piano ballad talking about what he is wanted to be as he grew up prior to “Keep It On Speaker” switching it up into more tenser territory telling a story where the cops pulled him over because of the color of his skin.

Following that, “Smoking & Thinking” once again incorporates some keyboards venting the shit that enters his mind when smoking while “Blocklist” comes off as an arduous ballad bragging about the people he has blocked on his phone. “Difference Is” with Summer Walker feels redundant in the track-listing given that it just seems like a forced R&B duet to get radio play whereas “Federal Nightmares” on the other hand expresses some serious paranoia that he’s dealt with in the past & it’s really admirable.

The song “Love Dior Banks” does it’s job at tugging at the heartstrings telling his niece to hold her brother close while the penultimate track “Pissed Me Off” goes into drill territory paying tribute to his protégé King Von & his brother DThang. “Broadway Girls” however has to be one of the worst closers of the year, as Morgan Wallen pops in for a country trap tune describing their regrettable experiences with women.

All of that being said: I went into 7220 excited as Hell & wound up coming away from it at a crossroad. I appreciate Durk getting a lot more personal through his songwriting this time around & the lack of features further cements that, but the production is so remarkably inconsistent & it really makes me hope that he can get that situated sooner than later.

Score: 2.5/5

Lil Baby & Lil Durk – “The Voice of the Heroes” review

This is a brand new collaborative effort between Atlanta, Georgia superstar Lil Baby & Chicago, Illinois rapper Lil Durk. The pair have come together on a handful of instances throughout the last few years whether it be “How I Know” off the latter’s 2016 mixtape Just Cause Y’all Waited or even a little over a month ago with “EVERY CHANCE I GET” on the latest DJ Khaled album Khaled Khaled but given their documented history with one another, they’ve decided to take it to the next level by declaring themselves as The Voice of the Heroes.

The title track is a cloudy kickstarter to the album & even though I appreciate the message “2040” being about balling forever, the instrumental is just middle of the road. Travis Scott tags along for the synth-heavy “Hats Off” as the trio shout out those who be keeping it real whereas the Wheezy-produced “Who I Want” brings in some rich piano melodies as they talk about running trains on bitches.

Meanwhile on “Still Hood”, we have Baby & Durk reminding listeners of where they came from backed by a mellow beat from London on da Track before incorporating strings on the loyalty themed “Man of My Word”. We have Nick Papz working in some flutes for the duo as they link up with Meek Mill for the braggaodious “Still Runnin’”, but then “Medical” is easily the saddest joint on the whole thing as they’re crying for help from drug addiction & signing up for the streets instead of the Endeavor Group Holdings-owned UFC.

“How I Feel” doesn’t have much going on instrumentally despite the lyrics saying you’re not alone on feeling a certain way in certain situations while “Lying” angrily calls out wankstas on their bluff. The rapid keyboards on “Okay” are really cool as both parties talk about being stuck in their ways whereas the horn-inflicted “That’s Facts” finds them speaking their truths. The song “Please” is a more romantic cut down to the airy production from Turbo, but then Durk & Baby bring in Young Thug for the celebratory wealth anthem “Up the Side”.

They later acknowledge the fact that people look up to them on “If You Want To” & even though the guitars come in on occasion, they’re a really awesome touch. The song “Rich Off Pain” is a summery cut saying they became successful due to expressing their struggles while the penultimate track “Make It Out” expresses their desire to “rid this curse” over a dejected Murda Beatz instrumental. To round it out, “Bruised Up” is an emotional finisher pondering what they’d do if they got locked up.

A lot of mainstream collab albums this day in age tend to be hit or miss, but I think it’s safe to say The Voice of the Heroes is leagues better than Drip Harder was. Not just because the chemistry has improved, but the production choices are more refined too.

Score: 3.5/5

Rod Wave – “SoulFly” review

Rod Wave is a 22 year old rapper & singer/songwriter from St. Petersburg, Florida who broke out in 2019 off his debut album Ghetto Gospel. A sophomore effort Pray 4 Love came out last spring & it would land him a spot in the 2020 XXL Freshman Class few months later. But after working out some issues with Alamo Records

It all starts off with the title track, where Rod talks about balancing his ups & downs over some a cavernous trap beat. The next song “Gone ‘Till November” talks about not wanting to be alone over a twangy instrumental while the track “Wanna Blame Me” talks about a girl doing him wrong over a generic beat. The song “Don’t Forget” talks about coming straight from out the trenches over some acoustics & snares while the track “Tombstone” talks about thuggin’ until the end over a stripped back beat.

The song “All I Got” talks about finally living his dream over a cloudy piano instrumental while the track “Richer” with Polo G finds the 2 talking about their wealth over a summery beat. The song “Street Runner” talks about going higher over a cumbersome instrumental while the track “Pills & Billz” talks about how money can buy you drugs over a piano & some hi-hats. The song “How the Game Go” talks about playing the game the way it was taught to him over some more acoustic trap shit while the track “Shock da World” talks about how they ain’t seen nothing yet & the vocal sample on here is just gorgeous.

The song “What’s Love??” explains the meaning of love to a broken heart over the same BEAUTIFUL THUGGER GIRLS-inspired production we’ve heard a million times at this point while the track “O.M.D.B. (Over My Dead Body)” talks about how he knows this woman don’t love him over an intoxicating beat. The song “Invisible Scar” talks about how he can’t save this youngin’ at the party over a formulaic instrumental while the track “Calling Me” talks about numbing the pain over some more country trap production.

The song “Sneaky Links” talks about keeping relationships secret over a weighty instrumental while the track “Believe Me” talks about having a hard time trusting his baby over a glossy beat. The song “Moving On” talks about starting anew & then the closer “Changing” talks about his newfound maturity over a piano-laced trap instrumental.

Coming away from this album, it’s a just a mixed bag for me personally. It’s really cool to hear how personal he can get through his lyrics, but it’s just the production sounds the same for a good portion of it.

Score: 2.5/5

Smokepurpp – “Psycho (Legally Insane)” review

Smokepurpp is a 23 year old rapper from Miami, Florida who broke out in 2017 alongside his childhood friend Lil Pump. Shortly after the release of his debut EP Up Now Fuck Next, he caught the attention of Houston superstar Travis Scott & dropped his critically acclaimed debut mixtape Deadstar under Cactus Jack Records in a joint venture with the Interscope Records sub-label Alamo Records. This was followed up with a 3-Pack EP a couple months later as well as the Murda Beatz-produced Bless Yo Trap tape in 2018 & the Lost Planet EP in 2019, but then Purpp would leave Cactus Jack that same year to release the full-length debut Deadstar 2. Which was below average in comparison to that debut mixtape. His sophomore album Florida Jit from last summer turned out to be mediocre, as the only saving graces of it were Ronny J’s production & a couple of the features. But to move on from a tumultuous 2020 like almost all of us are doing at this point, Purpp is coming out of the woodwork by dropping his 3rd EP.

Things start off with “Prom Queen”, where Purpp talks about being trigger happy over a trap beat sampling “After Laughter (Comes Tears)” by Wendy Rene. The next song “We Outside” with Lil Mosey finds the duo talking about poppin’ out until the sun comes up over an instrumental that has a bit of a country flare to it while the track “200 Thou” produced by Ginseng talks about walkin’ through the mall with a bunch of cash on him over a comatose beat.

The song “Rockstar” talks about his new lifestyle over an instrumental that sounds like it was copied right out of the Pi’erre Bourne playbook while the penultimate track “What You Wanna Do?” gets on the murder tip over a fittingly grisly beat. The EP ends with “Tic Tac”, where Smokepurpp talks about fucking up the trap over a trap metal instrumental.

Coming from someone who enjoyed Deadstar & Bless Yo Trap quite a bit, I really didn’t care for this EP other than a couple joints. The production choices are very questionable for a good majority of it’s 13-minute runtime & lyrically, Smokepurpp is just painting himself into a corner at this point.

Score: 1.5/5