Tony Shhnow – “Flood” review

New surprise LP & the 9th altogether from Atlanta, Georgia plugg pioneer Tony Shhnow. Being introduced to his music after my younger brother J$zpiech showed me his 4th mixtape Black Billionaires Club & the song “Vet” off the full-length debut Da World’s Ours 3, he then continued to turn heads with his 8th mixtape Reflexions to critical acclaim & I honestly wish I covered it considering that some of his best songs are on there like “Finessin’” or “Forgive Don’t Forget”. He would return to his plugg roots on the BeatPluggz produced Plug Motivation, Love Streak showed a more sensual side to him, Shadowbanned 2 dabbled with new sounds, the self-produced #NoOneElse was a step above Out the Woods & painted an introspective Self Portrait produced by Mike & Keys last fall. Looking to end the 1st quarter of 2026 though, Flood has dropped without any further warning.

“HWYC (Intro)” hops over a horn-inflicted trap instrumental to get the tape started talking about going hard whereas “Redbone” goes for a pluggier vibe admitting that he can slow done if he wants to, but has no plans of stopping. “Look Good” featuring ManMan Savage finds the 2 decently talking about making names of themselves around their neck of the woods until “Fuck You Mean” combines some synths & pianos shouting out a bunch of local labels who paved the way for him.

Dreek Jones joins Tony for “Salt Kills Snails” produced by Earl on the Beat moderately talking about getting so high in the morning to the point where neither of them can tell if it’s real or not while “No Plans” featuring Heartless Kid admits to turning down certain artists when their music comes on because they aren’t saying anything. “Priceless” has a cloudier sound to it talking about paying the price to become a boss just before “Road Rage” featuring D.R.A.M. & YoDogg references WWE Hall of Famer Mr. T over a soul sample.

“Legend Has It” featuring Luh Tyler kicks off the 2nd half with both of them talking about dying as street celebrities if their music careers don’t pan out the way they hope while “Need Me a Milli” cautions that things will get sticky for those who dare to run on him. “Pushin’ Player” featuring Ebo Sosa brings both of them together to talk about giving their demons Hell instead of fighting them these days while “Stackin’ & Flippin’” incorporates some synth-horns making bread whilst waiting for what’s his.

Lex Luger’s beat on “Fa Nun” featuring Jose Guapo might be favorite throughout Flood, pairing to discuss that they ain’t turning up for nothing while “Seeumsayin” hops over some creepy synthesizer melodies getting on his gangsta shit lyrically. “Too Much” experiments with a jazzier approach instrumentally talking about some doing more for the goes than they should be & the outro “Spare Change” speaks of some being too weak over a woodwind.

Tony Shhnow has always been one of the most consistent artists in the entire plugg subgenre, but Flood would have to rank amongst the weaker entries of his discography although it contains slightly more highs than lows. He’s rapping his ass off & the varied production are both 2 of the biggest pros this album has going for it, except the half where he’s killing it by himself feels a lot stronger than the other half where he’s running laps around his guests.

Score: 3/5

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Kanye West – “BULLY” review

Chicago, Illinois rapper, singer/songwriter, producer, fashion designer & former G.O.O.D. Music founder Ye formerly known as Kanye West finishing his long-delayed 12th studio LP. Someone who I personally have considered a top 10 producer of all-time up until this point with 3 perfect 10s in his discography: The College Dropout, Late Registration & My Beautiful Dark Twisted Fantasy. He sadly lost touch with reality in 2025 for a 4-month manic episode amplifying the hate speech he’s been spewing since late 2022, for which he claims to be deeply mortified & has deep regret over. However, the final version of Bully is among us now that YZY SND signed a distribution deal with gamma. & removing all the YeI vocals that plagued the unfinished version of it around this time 12 months earlier.

The self-produced “King” samples “Reach for a Star” by Duke Edwards thanking Martin Luther King Jr. for him marrying Bianca Censori whereas “This a Must” goes for an industrial hip hop vibe talking about him coming for the glory during the Graduation era & the 9 Vicious adlibs were unexpected. “Father” featuring Travis Scott with co-production from Che Pope flips “Heavenly Father, You’ve Been Good” by Johnnie Frierson speaking of waking up to new versions of themselves leading into “All the Love” singing about having nothing to worry of & having YZY’s Head of Music 88-Keys sample “Fayek Alaya” by Fairuz.

North West instrumentally takes it back to the College Dropout/Late Registration days on the chipmunk soul-inspired “Punch Drunk” rapping about him having to lead to read between the lines just before “Whatever Works” flips “Don’t Wonder Why” by Cissy Houston assuring the pain & hurt he’s been through could’ve been a lot worse. “Mama’s Favorite” heavily builds itself around Ty$’s background vocals thanks to YZY SND in-house producer 1SRAEL of Working on Dying remembering his late mother Donda while “Sisters & Brothers” survives the infamous In a Perfect World sessions chopping up both “Get Involved” by Jonah Thompson & “My Loleatta (Dish Apella)” by Ellis D to discuss his antihero status.

The title track ends the 1st half sampling “Mujhe Maar Daalo” by Ashle Bhostle courtesy of The Legendary Traxster addressing all the controversy he got himself into between February & May of last year while “Highs & Lows” wasn’t as strong as the original version due to the sample not being cleared in time. “I Can’t Wait” flips “You Can’t Hurry Love” by The Supremes talking about figuring the system out & being consecutive at shutting shit down while “White Lines” samples Stevie Wonder’s cover of “They Long to Be (Close to You)” by The Carpenters admitting he belongs by himself sometimes.

“Circles” might be the only track on the album that I don’t care for & it has nothing to do with Don Toliver handling all of the vocal performances, but rather the way “Huit Octobre 1971” by Cortex is being sampled. Makes me wanna listen to one of my favorite Madvillain songs “1 Beer” instead. “Preacher Man” has to be a top 5 on the whole thing flipping “To You with Love” by The Moments talking about the plot twist being convenient when there isn’t any lies told there while the downtempo “Beauty & the Beast” was originally conceived during the Donda sessions according to Mike Dean, sampling “Don’t Have to Shop Around” by The Mad Lads singing about overcoming a few things when I’d say it’s more than a few.

The song “Damn” has a significantly minimal approach to the beat pondering whether Ye ruined things or if it’s because this is the way he is while “Last Breath” featuring Peso Pluma comes together over a sample of “Bésame Mama” by Poncho Sanchez, going full Latin to tackle the concept of toxic relationships. That said: It’s another cut on here I’d do without. “This One Here” ends the album with a reworked version of a leftover from him & James Blake’s cancelled collaborative effort War looking back at all the hot water he got himself into since 2022, clarifying with confidence that he’s healed & moved on from it all in addition to killing his ego when the argument can be made that we haven’t seen Ye’s ego in it’s final form yet.

Hype Williams’ visuals as a fan of the ブシロード-owned 新日本プロレス deserve to mentioned, adding onto his recent attendances at events put on by the サイバーファイト-owned division プロレスリング・ノア & DDTプロレスリング’s sister promotion 東京女子プロレス (TJPW). Appearances in the video include former 2-time NEVER無差別級6人タッグチャンピオン & 6-time IWGPジュニアタッグチャンピオンヨウ, former 3-time IWGPタッグチャンピオン, 7-time NEVER無差別級6人タッグチャンピオン & GHCタッグチャンピオン矢野通, AJPW世界ジュニアヘビー級チャンピオン, NWA World Jr. Heavyweight Champion, 6-time IWGPジュニアヘビー級チャンピオン, 2-time IWGPジュニアタッグチャンピオン & 2-time GHCジュニアヘビー級タッグチャンピオンタイガーマスクIV and former 5-time IWGPジュニアヘビー級チャンピオン, CMLL Arena Coliseo Parejas Campeon, 4-time IWGPジュニアタッグチャンピオン, NEVER無差別級6人タッグチャンピオン & GHCジュニアヘビー級タッグチャンピオンエル・デスペラード.

You’ll always have that group of people who say they won’t forgive Ye or listen to his music ever again after everything he said & did the year earlier, which is absolutely more than understandable & I can’t place blame on anyone for feeling that way because of morally obvious reasons. Nevertheless: If he’s truly committed to taking accountability or receive treatment to break a destructive cycle he’s based nearly his entire career off of, then Bully’s a start because merely calling it superior to the Vultures series would be a ginormous understatement. The production’s heavily reliant on the use of samples bouncing between the styles of neo-soul, experimental hip hop, drumless, chipmunk soul, alternative R&B, art pop, industrial hip hop & urban contemporary gospel revitalizing his passion now that he’s no longer under the reign of a major label.

Score: 4/5

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Slayyyter – “WOR$T GIRL IN AMERICA” review

Slayyyter is a 29 year old rapper & singer/songwriter from Kirkwood, Missouri who began to turn heads in 2019 off her eponymous debut mixtape. She would go on to follow it up with the full-length debut Troubled Paradise which was pretty average in comparison & the sophomore effort Starfucker, the latter of which was highly praised enough for Columbia Records to sign her. Coming off a handful of revered teasers, she’s ready to make her major label debut with her 3rd album.

“Dance…” opens up with this electropop, dance-pop, French electro, acid house, electroclash, synthwave, midtempo bass & electro-disco single singing about coming to party whereas “Beat Up Chanel$” blends electropop, electroclash, witch house, futurepop, slap house, pop rap & electro house to express her desire for new personnel. “Cannibalism!” fuses alternative dance, post-punk, post-punk revival, dance-punk revival, new rave, surf rock & psychobilly asking God for a sign leading into “Old Technology” explores electroclash, electropop, electro-industrial, new rave, future house & pop rap to talk about doing drugs tonight.

Industrial hip hop, Jersey club rap, deconstructed club, hardcore hip hop, ballroom & electroclash all collide on “Crank” taking a more sexual approach to her songwriting leading into her recalling a time where a lover left her stranded at a “Gas Station” to end the 1st leg of the LP & being devastated by it because she loved this guy more than anything. “Yes Goddd” begins the 2nd half pleading to be let off with some spaces over a thunderous beat just before “Unknown Loverz” sings about a man running faster the more she chases him.

“Old Fling$” addresses an individual she saw creepin’ from the sideline trying to get to the bottom of the reason why they’re hiding from her while “I’m Actually Kinda Famous” could be my least favorite track here because I felt like there could’ve easily been another verse added to it. “$t. Loser” asks this person she’s constantly thinking of if he has her on his mind as much as she does him while “What’s it Like, To Be Liked?” makes the greatest possible use of a Starfuckerouttake turning up the sadness levels. After the “*Prayer*” interlude, the outro “Brittany Murphy.” ends with a tribute to the late King of the Hill/8 Mile star of the same name.

Self-titled & Starfucker have already become amongst the greatest electropop within the last decade, but WOR$T GIRL IN AMERICA fully realizes Slayyyter’s artistic potential & simultaneously provides a more authentic version of herself. The production masterfully brings elements of electroclash, French electro, electro-industrial, new rave, dance-pop, electro house, pop rap, acid house, synthwave, midtempo bass, electro-disco, witch house, futurepop, slap house, pop rap, alternative dance, post-punk, post-punk revival, dance-punk revival, new rave, surf rock, psychobilly, new rave, future house, industrial hip hop, Jersey club rap, deconstructed club, hardcore hip hop & ballroom to her electropop sound so she can tell the world a bit more regarding her upbringings.

Score: 4.5/5

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Juvenile – “Boiling Point” review

Juvenile is a 51 year old rapper, songwriter & actor from New Orleans, Louisiana introducing himself 3 decades ago his full-length debut Being Myself. Forming the Hot Boy$ with The B.G.’z & Turk after signing to Cash Money Records, his sophomore effort Solja Rags showed greatly improvements over it’s predecessor & 400 Degreez would become the greatest album in the label’s history even now. Tha G-Code, Project English & Juve the Great would all be received positively in their own rights, leaving Cash Money & releasing Reality Check under his own imprint UTP Records in tandem with Atlantic Records to divided feedback. Juvie’s first LP in over a decade & his 12th overall however gave me hope since Cocky & Confident, Beast Mode, Rejuvenation and The Fundamentals were all forgettable.

After the intro, the first song “Lenny Kravitz” produced by Mannie Fresh blends trap & rock to talk about being too clean to fuck with dirty hoes whereas “Drop the Location” works in some hi-hats & a chipmunk soul sample to address those who don’t want to see him at the top. “Pay Me” makes it clear to this woman throwing it back for him that he wants to be paid back in sex while “You Mad” hops over some strings from Swizz Beatz clapping back at the people who envy him.

“Juvie Beverly” combines elements of gospel & trap talking about making some changes in his life just before “Hot Boy Summer” featuring B.G., Jacquees & Trombone Shorty finds the quartet embracing a dirty south vibe dropping an anthem for their city ahead of the weather getting nicer. After the “Doze Off” interlude, “The Reunion” featuring Birdman & B.G. reunites so they can talk about the Cash Money Millionaires’ return while “The Hottest” featuring B Streezy, Roi Anthony & Young Juve opens up regarding seeing a whole lot of bodies.

Megan Thee Stallion’s appearance on the remix of “B.B.B. (Big Booty Bitch)” was far more entertaining to me than the original version of it with Genesis da Gawd kicking off the 2nd half of Boiling Point with an ode to the strip clubs while “Meph Town” issues a stern warning about methamphetamines. “Pull Up” featuring Birdman, Goodfella & Lil Bryan brings all 3 of them together for a decently cloudy pop rap cut while “Fuego” dedicates itself to the ladies, having DJ Khaled bringing back the rap rock influences.

“WYM (Whoa)” featuring Akeem Ali talks about both of them being picky with their bitches due to their own biases while “Neva Go Broke” gives off a bit of a tropical atmosphere courtesy of London on da Track declaring that he ain’t ever losing all of his money. “1 More Round” fuses trap & rock again for a carefree dedication to all the drinkers & once “He Gone” featuring Dee-1 talks about the kind of people who are gonna blow up because of their credibilities, “Yeah Yeah Yeah Yeah” boisterously ends by assuring that he only cares for results over a Timbaland instrumental.

There are some Hot Boy$ fans that’ll tell you that Juvenile is the greatest member & I can’t even argue that considering 400 Degreez’ impact, although I have a feeling most of them will feel vindicated once they find out Boiling Point surpasses both B.G. & Lil Wayne’s latest full-lengths Freedom of Speech & Tha Carter VI. Putting its flaws in terms a few of the guests performances missing the landing & some of the production aside, it’s refreshing to hear Juvie sounding this confident after continuously putting out duds.

Score: 3.5/5

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Chief Keef – “Skeletor” review

Right in front of us is the 6th studio LP from Chicago, Illinois rapper, singer/songwriter & producer Chief Keef. Rising to stardom over a decade ago off his 6th mixtape Back from the Dead & the full-length debut Finally Rich, he would go on to become a progenitor for drill music popularizing it in the Windy City inspiring the likes of Lil Uzi Vert & 21 Savage or even Billie Eilish. Other standouts in Keef’s discography include Bang 2, Almighty So, Back from the Dead 2, GloToven, 4NEM, the Mike WiLL Made-It produced Dirty Nachos & Almighty So 2. It’s already been a couple years since the latter, returning to end the first quarter of 2026 with Skeletor.

The self-produced “Break Down” aptly sets the tone of what’s to come even if it’s said to be an outtake from the Almighty So 2 sessions whereas “The Real Chief Keef” boisterously calls for all these puny fuckboys to get their paper up. “24Hrs” works in some 808s & bells talking about being up every hour of the day just before “Video Shoot” featuring Ian proved to be an underwhelming trap single being fed up with hoes telling sob stories.

“Mark of Buddha” continues from there talking about bleaching his eyes after everything he’s seen over the course of his career leading into “Harry Potter” making vast improvements above the previous single blending hardcore hip hop, trap, the Flint sound, Chicago drill & cloud rap confessing he would’ve gone to the NFL had his music career failed. “Only for the Night” ends the 1st half going full pop rap additionally showing off his ear for sampling while “#2” hops over some synths keeping that green & blue shit on him.

G Herbo joins Keef on “Slide” to get on some Chicago drill gangsta rap shit together for 6 minutes while “Shrek & Donkey” produced by Murda Beatz energetically talks about how zooted he is. “PS5” featuring Rich the Kid finds both of them speaking of looking at Satan in his eyes while “Good” checks in on those near him making sure they’re fine. “Talking Ish” featuring Ballout was a decently cloudy trap single discussing of the gangsta lifestyle & “Doja” ends with him flying straight to the bag.

In no way would I consider Skeletor to be in the same field as Almighty So 2 & 4NEM or even Dirty Nachos, but I did enjoy a majority of what this album had to offer. His production puts a bigger emphasis on trap similarly to 4NEM, except it’s not as adventurous other than the secondary influences of Chicago drill & pop rap as opposed to the latter experimenting with subgenres like crunk. I also felt that only a couple guests stood out, which was justified by most of them getting outperformed.

Score: 3.5/5

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Yeat – “A Dangerous Lyfë & A Dangerous Love” review

Brand new double album & the 6th overall from Portland, Oregon rapper Yeat. Emerging in 2018 off his debut EP Deep Blue $trips, he’s been dominating the mainstream since 2021 whether it be him dropping a plethora of projects or receiving cosigns from the likes of Drake & Earl Sweatshirt. He eventually signed to Geffen Records, who backed his sophomore effort albeit major label debut 2 Alivë few years ago & it’s companionable deluxe EP Gëek Pack shortly after. Coming off his 5th mixtape Lyfë a few summers ago alongside Aftërlyfe & the experimental Capitol Records debut 2093, he went back to his roots to rep the Lyfestylë & came off a Dangerous Summer to describe A Dangerous Lyfë & A Dangerous Love.

“Purpose General” produced by BNYX of Working on Dying atmospherically begins the 2-disc adventure talking about paving checks after paving the way for others whereas “Face the Flame” featuring YoungBoy Never Broke Again finds the 2 teaming up so they can describe getting geeked off ecstasy, going for a more trap vibe. “Lose Control” samples “Someone Saved My Life Tonight” by Elton John talking about passing the wheel to God leading into “Griddlë” admits to falling in love with a freak.

We have BNYX bringing the bells back for “What I Want” boasting that his sales double every time he puts out new music just before “Liv Likë Dis” asks his girl why his wealth got her acting funny over an Honorable C.N.O.T.E. & Sonny Digital instrumental. “Tallër” has a more lively vibe to it courtesy of Cade talking about him trying to make his money larger than the rest while “My Way” tritely tells his partner that she has to make up her mind & take as much time as she needs.

“Let King Tonka Talk” was a disappointing single largely because of the unnecessary Kylie Jenner feature, which is a shame because I like the way Dylan Brady fuses jerk & industrial hip hop with pop rap. “Dangerous House” however picks up with a 2-parter that Shlohmo cooked up talking about keeping things hazardous around his parts while “No More Ghosts” featuring KiD CuDi ends Disc 1 with both of them fed up with everything that isn’t real.

To begin Disc 2, the song “2Nite” embraces a more standard trap sound once again talking about waiting at the fire & his detractors not wanting to see him catching Ws while the self-produced “Geek Luv” describes a kind of love where the sex feels like a drug. The beat on “Naked” is ok except it could be my least favorite track here because it feels like a repetitive 92 second interlude, but then “Went Wrong” decently talks about him & an ex waitin’ for their relationship to fail.

“Real Life Shit” incorporate some heavy synthesizers admitting that he’s been looking for a reason to tweak & after “My Time” instrumentally gives props to The Neptunes talking about going bigger than he can imagine since he was destined for this music shit, “2Planës” reunites with Internet Money Records in-house producer Synthetic sampling the 2023 leak “Wanna be më” flexing that he has a couple airplanes respectively carrying money & his own people.

The song “Silk Facë” brings the synths back in full effect to push closer near A Dangerous Lyfë & A Dangerous Love’s conclusion talking about feeling the same & looking to run shit up again while “Back Home” featuring Joji returning to their respective cribs because something at the function feels off to both of them. “Up From Here” ends the LP talking about going rock bottom & elevating past that point.

Originally announced nearly 2 years ago already, A Dangerous Lyfë & A Dangerous Love has since evolved into a double full-length that I’d sincerely have to put behind Lyfestylë as the 2nd weakest project Yeat has ever put out. I can appreciate him telling 2 completely different stories across the hourlong runtime, although the predominant trap production feels like he’s playing it safe & a few of the guest appearances were pointless.

Score: 3/5

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dälek – “Brilliance of a Falling Moon” review

dälek is an industrially abstract hip hop outfit from Newark, New Jersey now comprised of producer Mike Mare & none other than MC dälek himself. Their 1998 debut Negro Necro Nekros was a great introduction except the sophomore effort From Filthy Tongue of Gods & Griots and Absence are both widely considered to be their best. Abandoned Language, Gutter Tactics, Untitled, Asphalt for Eden, Endangered Philosophies & Precipice were all solid with some being better than others. My personal favorites around that time gap being Abandoned Language & Gutter Tactics. Anyways, they’re reuniting after 4 years for their 10th LP.

“Better Than” sets the tone for this new era of the pairing’s career with an industrial boom bap instrumental venting they’re frustration with everything going on nationwide since last January whereas “Knowledge | Understanding | Wisdom”goes for a noiser vibe defying the oligarchs who want to keep us stupid. “Normalized Tragedy” fuses industrial hip hop & boom bap talking about never going numb to brutality while “Expressions of Love” talks about suffering after the voices have been given to the dumb.

Kicking off the 2nd leg, “Substance” takes a jab at all these rappers whose music lacks any significance while the dustily haunting “I’m a Man” reiterates the message that African American men used to protest segregation 6 decades earlier in a modern context. “For the People” combines industrial hip hop & boom bap again talking about refusing to stop the fight until all US citizens are equal while “By The Time We Arrive in El Salvador” criticizes the maximum-security Terrorism Confinement Center where 300 Venezuelan migrants accused of being gang members were sent despite only 12 of whom being charged with crimes.

These guys have been amongst the most underappreciated industrial hip hop acts alongside The Disposable Heroes of Hiphoprisy, but dälek’s comeback nearly a decade in the making will undoubtedly be heralded as their strongest opus since Untitled. Mike Mare’s production embraces an experimental boom bap sound rather than sticking to their industrial roots & MC dälek’s lyrics are heavily inspired by what’s been happening throughout the world, more specifically the rise of fascism in America & resisting it.

Score: 4.5/5

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Fliptrix – “Elevation” review

Here we have the 11th solo LP from South London, England, United Kingdom emcee Fliptrix. The founder of High Focus Records as well as a member of The 4 Owls, he made his debut in 2007 off Force Fed Imagery followed by Theory of Rhyme and later Third Eye of the Storm & The Road to the Interdimensional Piff Highway. Polyhymnia came out a couple years later as did Patterns of Escapism & Inexhale. Light Work was alright & Mantra #9 took a more mature approach, coming off the Leigh Brothers-produced Dragonfly to have Forest DLG a.k.a. Telemachus soundtrack his Elevation.

“Teacher” begins with them providing a ray of light during these troubling times whereas the 3rd single “Transform” takes the soulful boom bap route instrumentally providing more insight penmanship. “1 Heart” continues from there brutally observing the modern condition leading into the 4th single “Better Watch Them” jazzily leans towards conscious vibe lyrically.

As for “33 Vertebrae”, we have Flip embracing a hip house sound talking about the part of our body that helps us elevate just before “The Divine Feminine” makes a powerful statement condemning misogyny. “Energy! Energy! Energy!” featuring General Levy fuses hip hop with jungle for a captivating teaser that could be played at EDM festivals to come while the 2nd single “Floodlights” talks about rebellion.

“Who’s the Saviour?” calls for everyone listening to rise up while the 7th single “Freedom?” featuring Coops talks about the world spiraling downward in real time. “Do You Wanna See” featuring Da Flyy Hooligan dismisses those who don’t wanna see the forest like they say they’d like to while “Dangerous” by The 4 Owls featuring Babylon Dead, Coops, Cracker Jon, Dabbla, Farma G, Harry Shotta, Jman, Kemastry, King Kashmere, Ramson Badbonez, Renelle 893, Sparkz, Truemendous, Verbz & Vitamin G comes through with an outstanding High Focus posse cut.

Continuing the 2nd half, “Tears in the Eyes of Gaia” has a more emotional approach to it talking about the way perceives beauty while “Chilling” dedicating this one to all the people who’re typically calm out in public rather than wylin’ out or getting hyped. “Ups & Downs” talks about life being similar to a rollercoaster while the 8th & final single “Visionaries” featuring Frisco adamantly expresses their desire of making perfect use of their final breaths.

“Mighty” featuring Kamakaze joins forces for a grime track cautioning not to make any moves unless you’re strong enough to bare the tussle while “It Ain’t Easy But I’m Surfing” talks about staying focused & determined although it’s not a breeze to do by any means. “I Be on My Way” sends off the Elevation with Flip discussing that the pain he’s endured can be seen on his face & carving his own path for 16 years via the biggest underground UK hip hop label.

Desiring to make something completely different compared to Dragonfly, Elevation takes the maturity of it’s predecessor & Mantra #9 by delivering an album that joins the ranks of Fliptrix’ last couple except I love this one slightly more. Telemachus’ production is more experimental than the Leigh Brothers’ was & Fliptrix’ lyricism aims to lift the world to higher state of consciousness & trigger conversations regarding the state of the world in the hope of enacting positive change during everything that’s happened in these past 14 going on 15 months. There are also a few guests that he’s never worked with before & did so in attempt to sought out new energies after collaborating with all the greats in his scene.

Score: 4.5/5

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BTS – “Arirang” review

BTS is a boy band from Seoul, South Korea consisting of RM, Suga, J-Hope, Jin, Jung Kook, V & Jimin. Their full-length debut Dark & Wild under Bighit Music & the HYBE Corporation was moderately received although Wake Up & Youth both proved to be less favorable, bouncing back with Wings & dividing audiences again by dropping Face Yourself a couple years later. Love Yourself: Tear as well as Map of the Soul: 7 & BE would continue to polarize the musical spectrum, reuniting following the completion of their military service for their 9th album.

“Body to Body” gets things going with this k-pop/pop rap intro expressing the lustful desires towards their romantic interests whereas “Hooligan” talks about acting a fool again & wanting everyone to watch these beat go crazy. “Aliens” fuses trap with the k-pop & pop rap sounds thanks to Mike WiLL Made-It confidently assuring the world that this’ll be one of the biggest jams of the year just before “FYA” produced by Diplo & Flume sings about a woman willing to dance on fire.

Pluss & Mike WiLL run it back with BTS on “2.0” pulling inspiration from trap once again so they can remind everyone of how they do but after the “#29” interlude, “Swim” sings to their lovers about spending their lives watching them & how they’d only want to be beside them. Tame Impala gives “Merry Go Round” a bit a synthpop vibe realizing their lives are broken rollercoasters only they themselves can blame for it while “Normal” sings about what they would like to consider the usual

“Like Animals” continues the 2nd half of Arirang with this atmospheric pop ballad assuring the love of their lives to eat this life until their hearts are full while “they don’t know ‘bout us” combines elements of trap along with pop rap & k-pop singing about people not knowing shit regarding them. After asking “1 More Night” to stay with their partners, “Please” makes it clear to them that they’ll take another step closer when the world falls apart & the final song preceding the “Armyrang” outro ends by singing about following their loved ones “Into the Sun”

It was funny to see the “Dynamite” music video being included during season 10 of MTV’s hit series Beavis & Butt-head on Paramount+ preceding their move to Comedy Central, but I’ve never considered myself a fan of BTS’ music outside of that & Arirang achieves the expectations of becoming the most enjoyably consisting LP they’ve ever made. Their k-pop style secondarily explores the sounds of pop rap, alt-pop, trap, synthpop, pop, experimental hip hop & contemporary R&B for a reunion that offers a glimpse of new perspectives.

Score: 3.5/5

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underscores – “u” review

underscores is a 25 year old singer/songwriter & producer from San Francisco, California who dropped 6 extended plays between 2015-2020 including Trust Exercises, Grawlix, Air Freshener, Skin Purifying Treatment, We Never Got Strawberry Cake & Character Development!. Her full-length debut Fishmonger would follow as would Boneyard a.k.a. Fearmonger & the sophomore effort Wallsocket, the latter 2 being widely considered as her greatest work. Coming off the Covergirl: Originally by Sonny EP in 2024 & of course producing a few tracks for Danny Brown’s 7th album Stardust this past fall though, she’s signing to Mom + Pop Music her 3rd studio LP.

“Tell Me (U Want It)” begins with a self-produced electropop, dance-pop, hyperpop, complextro & slimepunk single that she considers “Music for my iPhone spy movie” singing about direct communication in a relationship whereas “Music”blends electropop, hybrid trap, hyperpop future bass, bubblegum bass, colour bass & pop rap sampling “Gunk” off Fishmonger singing about feeling the harmony. “Hollywood Forever” issues a clear statement that she doesn’t want to be buried in the titular cemetery while “The Peace” goes a capella to talk about not speaking unless spoken to.

The late SOPHIE & Arca are both key inspirations of “Innuendo (I Get U)” confessing to part of her hope she can understand this person she’s addressing leading into “Lovefield” hypnotically mourns a type of love that was unrewarded. “Do It” combines electropop, dance-pop, contemporary R&B, complextro & electro house singing about not committing to a relationship due to the riskiness of it but once she sensss a “Bodyfeeling” she doesn’t tell her partner of, “Wish U Well” ends the album wanting nothing the best out of a woman who moved on.

Expanding the intricately high impact world continuing to be built by its own creator, Mom + Pop introduces underscores as part of their roster by presenting the most accessible entry in her entire catalog & what I’m sure will be amongst 2026’s most lauded opuses. Her songwriting’s more emotionally charged than everything she’s done previously & the electropop production culminates many different era of career. More specifically the styles of electronic dance music, dance-pop, alt-pop, future bass, bubblegum bass, hybrid trap & hyperpop.

Score: 4.5/5

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