Wolves in the Throne Room – “Estuary” review

Wolves in the Throne Room is a black metal trio from Olympia, Washington consisting of drummer/bassist Aaron Weaver, guitarist Kody Keyworth & frontman Nathan Weaver. Making their debut 2 decades ago with Diadem of 12 Stars, their sophomore effort 2 Hunters under Southern Lord Records received similar acclaim as did Black Cascade & Celestial Lineage. Celestite has since become the weakest of their discography despite launching their own imprint Artemisia Records, coming off Thrice Woven & Primordial Arcana to drop their 8th studio LP.

The title track comes out the gate with this 7 minute intro throwing it back to the Diadems of 12 Stars era singing about a winter God of the shore rising once again but once “Knights of Tiamat” switches things up with the most sci-fi thing these guys have ever done, tackling the subject of technology & the types of it we haven’t even seen fully realized yet, “Foretold in Reflections” ends the 1st half of Estuary taking a more self-analytical approach topically giving off a My Dying Bride vibe.

Meanwhile on “The Orca Cliffs”, we have Wolves in the Throne Room talking about their steeds growing weary as the light fades leading into “Ghosts Among the Obelisks” providing some cleanly performed vocals that comes off as a mix of doom metal & goth rock depicting someone who travels the expanse, lifeless & haunted drawing inspiration from electronic or techno music. The closer “Wretched Spirits, Land of the Night” concludes the album with possibly the darkest composition here exemplified by the riffs similar to one of the greatest black metal bands of all-time: Emperor.

Of the 4 full-lengths Wolves in the Throne Room have done since forming Artemisia, I’d have to put Estuary at the top above Primordial Arcana alongside Thrice Woven & Celestite respectively. Kody Keyworth brings a 4th dimension the Weavers have been yearning for to life conceptually set a millennium from now imagining a world where nature has reclaimed the Earth further developing the Cascadian black metal components that made Celestial Lineage so beloved.

Score: 4.5/5

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Laila! – “We’ll Never Be This Young Again” review

Brand new sophomore effort albeit major label debut from New York rapper, singer/songwriter & producer Laila!. The daughter of Yasiin Bey formerly known as Mos Def, I myself was introduced to her artistry when she had one of the best features on the single “Problem!” off of Cash Cobain’s 6th mixtape Play Cash Cobain. Her full-length studio debut Gap Year! following the debut extended play In CTRL! impressively distinguished herself from her father, signing to Warner Records for We’ll Never Be This Young Again.

The self-produced “Apartment 419” begins with this drumless orchestral loop singing about being too young to be this upset & feelin’ like she’s losin’ time whereas “Bitch I Love You” goes for an alternative R&B vibe instrumentally explaining that they can’t make her hate the person she’s addressing. “So Much, So Much” brings a bit of a psychedelic flare to the table singing about feeling fresh as fuck leading into “Around the World” explaining the reason this guy won’t ever know another lover is because of her traveling the globe with him.

Teezo Touchdown makes the only guest appearance during “Angel” to sing about their search for a messenger of God’s who they consider extraordinary just before the psychedelic alternative R&B/neo-soul single “Ms. Mango”concludes the 1st act of We’ll Never Be This Young Again telling a tale of lost love & revenge. Kicking off the 2nd half, we have Laila! questioning how one can be the “Greatest Teacher” when they can’t even take care of themselves while the electronic-tinged “Anything Could Happen” sings about what can occur in a changing world.

“Woo! Woo!” smoothly gets the album’s final act going singing about what her romantic interest says whenever she puts that lil’ thing on while “JELL-O” harmonizes over a piano instrumental for 94 seconds comparing herself to gelatin whenever she & her partner lock eyes. “Better Days” blends a guitar & some synthesizers so she can ask herself the possibly of loving this individual when she feels so sad while the title track lets her soulmate know they make everything seem like summer to her.

Presenting her unfiltered self throughout a bulk of Gap Year! detailing the chaos of adolescence & her transition into adulthood, We’ll Never Be This Young Again pretty much spends most of the time extended the latter showing the world how much she’s grown up & recapping everything that’s been going on in her life since her previous full-length came out 25 months earlier due to her having to find what she wants to say confident. Her expands the alternative R&B sound her previous LP predominantly embraced & provides her own take what growing up’s all about.

Score: 4/5

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John Legend – “Muse” review

This is the 10th studio LP from Springfield, Ohio singer/songwriter, pianist, producer & actor John Legend. Becoming the very 1st artist one of my top 10 producers of all-time Ye formerly known as Kanye West signed to G.O.O.D. Music in 2004 & released his debut Get Lifted in tandem with Columbia Records on his 26th birthday, his sophomore effort Once Again as well as Evolver & Love in the Future each have some of his best material too. Making himself home at Republic Records right after Darkness & Light came out. A Legendary Christmas alongside Bigger Love & Legend were all mediocre in their own rights, coming off My Favorite Dream to have Pharrell produce Muse.

The title track opens up with this swaggering intro singing about a woman who knows she can’t take any Ls whereas “Pray for Ya” hooks up a rubbery bassline & some horns arranged by Terrace Martin looking to ask God to help this person who can’t even help themself regardless of the money they have, presumably referring to Ye when it looks like he’s been medicated & getting help. After the “Her” introduction skit, the actual “Her” song itself passionately sings about doing anything for his wife.

“Daylight” blends contemporary R&B, dancehall & reggaetón for the lead single professing that he’s emotionally invested into the love of his life just before “Get Back” sings about this chick becoming fed up of telling people the bullshit she has to put up with & playing it off whenever something goes down. “Are You Ok?” finds John trying to figure out why this woman he’s addressing has become so infuriated & after the “Under the Bridge” introduction skit, “Under the Bridge” kicks off the 2nd half apologizing for any wrongdoing.

We have John promising his partner he’ll get things right with her “Next Time” & after the “Taps” skit, the 3rd & final single “Bodies on the Floor” featuring Clipse proclaims they’re in the middle of a war they no longer wish to fight fusing gospel & hip hop. “Doing Me” however brings back the symphonic elements that’ve heavily showcased itself across Muse singing about how he’s been focusing towards his grind & not having any patience left.

“Fireflies” winds down the album’s final act looking back at his & Pharrell’s respective upbringings honoring those in their lives who didn’t make it out of those troubling times in their youth while “Everything” sings about losing our monarchs over some bouncy bass & pianos, having nowhere to go or anywhere to be. “Sail Off” passionately wraps it all up loving this person like it’s all John has left in him in the midst of them leaving the day behind.

Mind you that I haven’t enjoyed a great deal of John Legend’s music since Love is the Future came out when I began my junior year of high school, so the teasers building up towards Muse had me hoping it would be his greatest musical statement since leaving G.O.O.D. Music to sign to Republic Records & I can gladly confirm that’s what we got. Pharrell’s production sprinkles refreshingly incorporated elements of orchestral, dancehall, reggaetón, funk, gospel, Afrobeats & hip hop music into John’s contemporary R&B style to back his smoothly commanding vocals.

Score: 4/5

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Yung Miami – “Watch Dis!” review

Yung Miami is a 32 year old rapper & songwriter from Miami, Florida who broke out as 1/2 of the City Girls. They would drop a mixtape & 3 full-lengths under Quality Control Music prior to their disbandment with JT becoming the first of the duo to go solo in 2024 when the City Cinderella mixtape preluding Club Cheetah came out although it left audiences divided. However, I was more interested in Miami’s own solo debut coming out through Uptown Records & Republic Records especially since she was always the nicest of the 2.

“Fuck Shit Up” wasn’t exactly the strongest note to open up on asking whether or not all these other bitches got the memo whereas “Fuck You” produced by London on da Track throws up middle fingers declaring she’s still the same as she was when she was in the gutter. The 3rd & final single “2008” throws it back to when Jeezy was a dominant force in the mixtape scene giving the mood motivation while “Spend Dat” featuring Davido, Kodak Black, Lil Baby, Shenseea & Vybz Kartel on the remix unites for a strip club anthem.

G Herbo & Quavo both appear during “T.M.T.C. (Take Me To Chanel)” so they can talk about their desires of shopping at the French luxury fashion house leading into Miami suggesting to “Blink Twice” if one loves being with here at the club. After an interlude, “Put Together” brings some synthesizers in the picture to talk about staying well dressed from the top of her head to her feet leading into “Dade County” featuring Rick Ross, Trick Daddy & Trina repping their home turf.

After another interlude, “Freak Like Me” continues the 2nd half of Watch Dis! getting raunchy over a Honorable C.N.O.T.E. instrumental while “Just Might Go” featuring Travis Scott chops up a sample to make way for both of them talking about alcohol. “Old Time Sake” embraces a bit of a pop rap vibe confronting a man who she’s well aware of him missing her while “Letter to My Mwah” following the last interlude talks about treating her pussy better.

“Baby” wraps up the last leg of the LP with a pop rap cut reminiscent of T-Pain’s earlier output turning up the horniness topically while “Ride for You” featuring Summer Walker combines trap soul & pop rap to talk about hoping their partners stay by their sides. “Chasing Sunsets” explains how she doesn’t stress about anything because of her boss lifestyle over an OG Parker beat & “Dear JT” finishes the album sampling “Missing You” by Diana Ross for an open letter to her former partner-in-rhyme.

Next weekend will already be half a decade since Yung Miami put out her solo debut single “Rap Freaks” to divisive reception & regardless of there being some moments where Watch Dis!’s production can be uninteresting at times similarly to City Cinderella’s, I’d most likely revisit Watch Dis! more of the 2 due to the way she takes it back to her dirty south origins along with her dedicating it to those who’ve ever counted her out & confidently clapping back at everyone who claimed she’s failed at everything in life.

Score: 3.5/5

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Ghostemane – “AM:FM” review

Ghostemane is a 35 year old rapper, singer/songwriter, musician & producer from West Palm Beach, Florida who’s dropped 8 full-lengths as well as a handful of mixtapes & extended plays under his belt since 2010 including N / O / I / S / E & it’s 2020 predecessor Anti-Icon despite coming up as the guitarist for a hardcore punk band called Nemesis. He has since spent the remainder of the ongoing decade up until this point taking a hiatus from making music, returning for his 9th studio LP in time for Halloween next weekend.

“Alive!” kicks things off what an intro that’s primarily compositional other than a horribly underwritten verse & chorus whereas “Deus Ex Machina” instrumentally takes more of an industrial trap route talking about feeling like a false hope. “Miazma” lyrically treads the horrorcore waters admitting he’s on the verge of losing his shit whilst turning up the bass just before “0 Day” produced by Kenny Beats blends nu metal, rap metal, trap metal & industrial hip hop to talk about now being the time to do something violent.

The self-produced “Bucketlist” combines trap, trap metal & hyphy lashing out at everyone who has a fucked up perception of him leading into “Jupiter” reaching the midway point running it back with Kenny to talk about looking for a place that he can finally call home. “Hyperdrive” begins the 2nd half dabbling with electronic dance music for a few minutes sampling Jovi Whitney during the drop while “Mean Girls” wants to know why those type of women love him the most.

“Cyberia” incorporates some jungle influences for Ghoste to talk about feeling like his own worst enemy while “Get Gone” asks if one will leave him alone if he gives them what they want. “NSFW” includes a hilarious jab at MGK when he says “I’m never gonna let go of thе machine gun & no I don’t mean the poser with the name Machine Gun” but once “Noose Knot” wickedly talks about being diseased, “A Fire in the Skye” ends AM:FM hoping his wife Skye Whitney realizes she meant everything to him.

Becoming a fan of his when N / O / I / S / E came out & performing at the 20th annual Gathering of the Juggalos prior to the 2020 COVID-19 pandemic, the Blackmage Records founder’s comeback following a lengthy hiatus with what might be the most experimental thing Ghostemane has ever made. His own production alongside each of Kenny Beats’ contributions explore beyond trap metal in favor of nu metal, rap metal, industrial hip hop, trap, hyphy, jerk & EDM to deliver a bloodthirsty half hour’s worth of lyrical performances.

Score: 3.5/5

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Darby O’Trill – “GATOR LaKE” review

Key Largo, Florida emcee Darby O’Trill dropping his 8th studio LP in preparation for Hallowicked. A close collaborator of Chapter 17/Psychopathic Records in-house producer Devereaux, their debut on wax Piecemeal received critical acclaim during the COVID-19 pandemic & signed Lyrikal Snuff Productionz & fulfilled it over 3 years ago with Gully, which is a modern day wicked shit classic. Amputate was a solid prelude to The Tomb, the latter was even better. Darby’s official C17 debut Creek became his best since Gully as did GARDeN, coming off WIL(low) to take us to GATOR LaKE.

“The gator lake visitor center” produced by none other than Devereaux cooks up this murky trap instrumental to kick things off creeping through the fog with the spirits of the swamp accompanying him whereas “Mask made from a lampshade” talks about this voice in his head getting louder over a cold trap beat from Shaggytheairhead. “I played baseball when I was a jit” goes for a trap metal vibe instrumentally talking about being the nuisance he is leading into “Irregular Puzzle Pieces” featuring Shaggytheairhead throwing it back to that 10 Bandz freshness.

As for “Doctor my dick has teeth & chewed a hole in my leg”, we have Darby over a Mobb-like beat throughout the 3rd single talking about nobody being safe from this toxic waste just before “Jezt n death” featuring Klokwerk E talks about heckles & macabre considering they’re laughing at their victims bleeding out to their deaths. “Flannel full of bullet holes” continues from there advising that it’s good to speak the unspoken sometimes while “Ranidaphobia” describes about the fear of frogs.

“Bologna flavored bong water” hits the midway point of GATOR LaKE with the 4th & final single talking about living like a scrub until the end & having no regrets while “I like your hands, may I have them?” professes that he’s fed up with this endless loneliness he’s been feeling. The lead single “Shitstorm” featuring Ouija Macc cautions not to tell them they’ll be fine when they know they won’t while the 2nd single “The trialz & tribulationz ov apeboy” talking about splitting skulls of those who fuck around.

The trap metal influences make their way back around for “Making Out with the Floor Again” asking whether or not one would be pissed off or cherish him more if anyone found him like that but after “Stop smiling you look stupid” airs his grievances towards someone he knows who he wishes the absolute worst upon over a shimmery instrumental, “Smell ya later loser!” runs it back with Devereaux talking about being near death despite looking zombified.

“Meet me at GATOR LaKE” winds down the last few moments of the album turning up the trap metal elements to find blood soaked all over his clothes once again & considering his blade to be his closest friend while the final song “The Proto cat bluez” preceding “The interview” out skit finishes GATOR LaKE at it’s core retaining the trap metal influences for a 3 minute outro talking about how the sun doesn’t shine even when the day of our demise comes around.

Anyone who’s already followed the CReEK through the GARDeN & past the WIL(low) will eventually find themselves at GATOR LaKE, which has been said to be the finest Darby O’Trill has ever sounded in his entire career & I couldn’t agree more with that sentiment as someone who’s been paying attention to him since the pandemic. The production almost entirely handled by Devereaux strengthens Darby’s distinct mix of trap metal & the wicked shit cautioning those who dares to enter the waters won’t ever leave.

Score: 4.5/5

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Anderson .Paak & Cordae – “Heavy is the Head” review

Oxnard, California rapper, singer/songwriter, producer, drummer & actor Anderson .Paak and Suitland, Maryland rapper & singer/songwriter Cordae joining forces for a new collaborative studio LP. Both of whom have already crossed paths on the widely praised singles “R.N.P (Rich N***a Problems)”& “2 10s” as well as establishing themselves individually over the years, but have finally decided to elevate their chemistry having EMPIRE Distribution & Mass Appeal Records distribute Heavy is the Crown through both artists’ own labels Apeshit Inc. & Hi Level Productions.

“58th Floor” kicks things off with the pair trading verses back-&-forth each other over a boom bap instrumental from J. Cole like they’re having a normal phone conversation whereas “Airbender” goes for a symphonic trap vibe for 88 seconds talking about running with the best or getting left behind like the rest of the losers. “I’m On” finds the pair getting boastful over a darker FNZ beat while “A Good Day” samples “Lovely Day” by Bill Withers & “It’s Like That” by Mariah Carey for a decent lead single themed around gratitude.

Meanwhile on “You’re Mine”, we have .Paak & Cordae over a funky 9th Wonder instrumental expressing their frustration regarding a woman they met at 3 who now has a child being treated poorly while “Days Go By” begins the 2nd half looking back at when they used to watch the time flying past them as kids. “Crown” treads the chipmunk soul waters thanks to Conductor Williams so both of them can talk about being musical royalty while “Days Like This” explains why the give God the praise they do.

“Karma Tax” winds down the last leg of the album explaining that having to pay inevitable the cost of predestination while “Helpless” talks about Cordae’s mom siding with an ex after a breakup & .Paak showing up to his child’s birthday party drunk. “Godfather II” wraps up Heavy is the Head with this orchestral boom bap outro Swizz Beatz cooked up spitting hardcore verses directed at anyone who wants to step up against them in a battle.

The split reception of Heavy is the Head’s announcement was understandable considering Anderson .Paak hasn’t put out a solo effort in almost 7 years, but I think those who enjoy his crossovers with Cordae will get a lot out of this full-length some have been clamoring for. I love that they got some other notable names involved with the production outside of Cole who all play their own roles in maintaining the east/west coast artists’ 1 of a kind chemistry & taking it a step further in refusing to have any guests joining them.

Score: 4/5

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Che Noir – “It Takes a Village” review

This is the latest & 4th studio LP from Buffalo, New York emcee/producer Che Noir. Discovering her after 38 Spesh signed Che to TCF Music Group & fully produced her first 3 EPs, her Apollo Brown-produced full-length debut As God Intended & then her self-produced 4th EP After 12 during the 2nd half of 2020 was where her potential began to blossom exponentially. She has since followed this up with the sophomore effort Food for Thought as well as The Last Remnants, the Big Ghost Ltd.-produced Noir or Never, The Color Chocolate, The Lotus Child, the Superior-produced Seeds of Babylon, The Color Chocolate 2 & No Validation. Coming off Desired Crowns with 7xvethegenius merely 11 months ago, she’s finally putting out It Takes a Village.

After the “Unity of Thought” intro, “This Morning” kicks things off with this bright opener recalling the summer mornings riding around her city whereas “Grandma’s Cookies” embraces a drumlessly jazzier vibe instrumentally talking about her life not being for the weak. “Urban Essence” featuring The Uce & produced by Havoc admits to having issues in their lives going deeper beyond paying bills just before “A Caged Mockingbird” talks about being unable to head count the people around her she has left.

Black Thought appears on “Fame & Fiction” so they can make distinct separations between the 2 over a Mathematics beat while “Conductor’s Interlude” feels more like a 2 minute freestyle on top of a Conductor Williams instrumental. “Blood Bath” continues the 2nd half of the album maintaining the hardcore vibes lyrically leading into “My Village” bringing Nottz behind the boards to chop up a soul sample & have Che talking about hopes of making her mother proud.

“Olive Branches” featuring Jynx716 finds the pair talking about knowing 2 ways to make money & continuing to enjoy both methods while “Wasted Time” featuring Ransom gets conscious together over a soulful Conductor instrumental. “Magic” featuring Bruiser Wolf ends It Takes a Village with a chipmunk soul flare to the Chuck Strangers beat prior to a switch up distancing themselves than talking about their own issues.

Assembling a group of collaborators to match the title & its ambition, It Takes a Village will certainly rank amongst the most personal music in Che Noir’s discography although it’s not one of my favorites. The production side of things really picks up close to the midway point of it, but the themes of transitioning into motherhood gets an honest exploration from the support systems to the sacrifices & the community it takes to build a life & a career simultaneously.

Score: 3.5/5

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Sir Untre – “At Least I’m Going to Heaven” review

This is the full-length studio debut from Macon, Georgia recording artist & producer Sir Untre emerging back in 2021 off his debut extended play Beyuntre. He would go on to follow it up with Cool Shit for All Platforms as well as N****s in New York & fella’s really on the way, ATRISKFELLA. King @, before fella 2 & ATRISKFELLA 2 preceding the @ Now, Die Later mixtape. Coming off Rookie of the Year & Sabotage however, the Internet Money Records signee’s having Sony Music distribute At Least I’m Going to Heaven.

“Shrug My Shoulders” kicks things off with this terror plug intro talking about getting back on his bullshit again whereas “Imaginary Friends” works in a cloudy backdrop & some 808s flexing he’s gonna have to cop himself Chrome Heart boots now that he’s rich. “Extended Weapon” instrumentally goes for a pluggier vibe so he can spit that gangsta shit while the rage-inducing “Stone Cold” talks about exactly how cold this game can get.

Meanwhile on “My Wife”, we have Untre over a cloudier beat declaring he’ll do anything for the woman he rings up leading into “Airsoft” featuring Sk8star produced by PROJECT4PLAY finds the pair painting imagery of the gangsta lifestyle together. “Need Me a Check” featuring BabyBartier ends the 1st leg of the album talking about being owed some money over a plugg beat just before “My Purpose” brings the hypertrap elements back acknowledging some know his motives.

“Gender Fluid” continues the 2nd half of At Least I’m Going to Heaven talking about people wanting to count him in after sleeping on him for so long over these buzzing synthesizers while “Hardhead” lets off shots because he’s fed up with all the bullshit. “T.Y.S.A.H. (Take Yo Scary Ass Home)” sends some advice towards those lying about having guns & money when they really don’t while “Backseat With That Carbon” featuring BabyBartier & unitus links up for a Internet Money posse cut.

The song “Mummy” was said to be Untre’s least favorite here & I can understand why since I feel like the rage beat he’s rapping over can come off a bit messy, but “I Told ‘Em” aggressively moves forward talking about getting mad anytime someone gets in his lane to the point where he shoves them completely out of his way. “Fully in My Pants” sends off At Least I’m Going to Heaven on a cloudier note admitting he can’t dance because of the firearm in his pockets.

All 4 of the We All We Needed performers held their own weight on that LP a couple months ago & At Least I’m Going to Heaven gives Sir Untre his proper time to shine with the most fully realized entry in his catalog. There’s more consistency to the terror plugg, cloud rap, rage & plugg production than his labelmate BabyBartier’s major label debut Nightmare on Rodeo earlier this year & there’s more of an emphasis surrounding gangsta rap lyricism.

Score: 3.5/5

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406ahmad – “Life of Ahmad 3” review

This is the 3rd studio LP from Kuwait producer 406ahmad. Releasing his full-length debut Life of Ahmad & the sequel in 2024, he would go on to follow it up with the Life of Ahmad 2.5 & 40.6FM® ‎#Tuned Back In extended plays respectively prior to becoming one of trap music’s most in-demand producers after working with the likes of Diorvsyou& most notably 9 Vicious. Coming off B4LOA3 a couple weeks ago, the final chapter of the Life of Ahmad trilogy has been uploaded onto his SoundCloud page.

“Love in the Air” by 9 Vicious kicks things off wanting to get to know this female over a regalia instrumental asking for her name & number whereas “Church Chicken” by Nosaint continues to blend these lush orchestral arrangements with trap percussion talking about feeling like O.J. Simpson despite feeling like the latter’s guilty of his crimes. “So in Love” by 9 Vicious samples “look, dont touch” by revivle throwing shots at YSL Recordstowards the end claiming he’s richer than the whole roster while “Pray for Me” by NDO D talks about too many people nowadays fakin’ shit.

Dragnutz handles the performances for the 2-parter “& 1 / 100 Sum” talking about everybody tryna get something outta him now that he’s gaining popularity & moving fast while “Whore” by 9 Vicious wasting a flip of “Pissy Pamper” by Young Nudy featuring Playboi Carti on Lil Trey’s horny lyrics. “Production Deal” by 9 Vicious oddly disses Nosaint when they’ve collated a few times already while “Don’t Got the Answers” by 1oneam cloudily talks about hopping inside a phantom.

“My Dog Ate My Homework” by Protect begins the Life of Ahmad 3’s other half flowing over this calming trap beat explaining that he can’t bitch because everything’s perfect timing to him while “Only Time” by 9 Vicious luxuriously talks about a hoe who solely hits up his line whenever she gets faded. “Lawyer” by Nosaint hooks up these hi-hats & gorgeous piano chords bragging his legal practitioner’s Jewish ethnicity while “Ms. Zombie” by BabyBartier talks about no one doing what he can over a plugg instrumental.

9 Vicious makes his final appearances during “Flaat” & “Everything Written”, where he spends 84 seconds ruining a sample of “Long Ride” by Young Nudy rambling about labels munchin’ on his dick until the latter embraces a smoother pop rap direction admitting he’s been cheating on the woman he’s addressing. “Real” by Lil Tyh & Yungzayy talks about being more authentic than everyone who stays cappin’ & the “Different Fashion” outro by Lil Tyh concludes the album spitting decent romance bars.

If you didn’t know already: 406ahmad played a HUGE role in helping 9 Vicious blow up considering his ear for sampling often carries the latter’s performances & the fact Ahmad’s produced a great deal of 9’s discography. However, I did enjoy Life of Ahmad 3 more than the 3 EPs or other 2 albums he’s done in the past couple years even if I’m somewhat torn by the final results because I’d love to hear him expand his resume including more artists he hasn’t worked with who’d compliment his sounds going forward.