Babystaydown – “Forever Lasting” review

This is the latest studio LP & 4th overall from Athens, Georgia rapper Babystaydown. Somebody who already has his previous 16 EPs under his belt including PL Top Recruits, 1,350, Drugz Sex & Money and it’s sequel, 17, Genesis, his Cegular Records/Sony Music debut Hate da Way Um Livin, Saint, Pain Before Pleasure, Chief 13, Aimai, I.L.M.F. (I Love My Friends), ##Kool ##Kat & the Lost Files duology. His full-length debut Born Anew as well as the sophomore effort Art of War & I.B.S.D.W.M.P. (I Been Still Dealing With My Pain) have all continued to elevate him from an artistic standpoint, coming off the introspective Lil Yae & Soon to have his manager Whyceg fully produce Forever Lasting.

“You a Keeper” cloudily spends the first couple minutes explaining the reason he don’t be stuntin’ to his bitch whereas “Bankroll, Got It” instrumentally leans towards a more standard trap vibe so he can boast his wealth. “Some Typa Way” has a nocturnal atmosphere to the beat brushing off whatever detractors have to say of him just before “Shining” talks about staying down through the storm.

Meanwhile on “Come Back”, we have Babystaydown asking his lover when she’ll be returning to him over a plugg instrumental leading into “Test My Luck” spaciously responds to the claims that he’s changed when he’s still talking crazy & eager to step all over anyone who gets in his way. “Wanna Tell You” talks about his desires of not wanting to get in a fight with a woman when he lets her know the way he truly feels of her while “Lotta Things” admits he doesn’t think the safe after some of the shit he’s seen.

“My Reality” works in some gorgeous piano chords talking about him still shining even when he’s behind bars while “Dying Rich” expresses his hope of having a significant amount of money in the back by the time he’s gone. “Claim I Changed” once again looks put the rumors of him switching up to rest once & for all & after “I’ll Be Fine” assures everyone who’s been worrying for him, the outro “All for You” wraps up Forever Lasting talking about the reason he does this.

One of my favorite producers in past 2-3 years Whyceg solely handing the production of an entire project for the very 1st artist he signed to Cegular Records has been long overdue & not only would I argue Forever Lasting surpasses everything Babystaydown has done to become the greatest entry in his entry discography, but it makes me hope Ceg will do the same for Pradabagshawty or maybe even the newest addition to the label HittMan after the latter’s Cegular debut Revenge later this month & Degenerate respectively.

Score: 4.5/5

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2hollis – “Pirouette” review

This is the 5th studio LP from Chicago, Illinois rapper, singer/songwriter & producer 2hollis. Coming up as 1/2 of Mage Eternal & a member of OSX under his original moniker Drippysoup, he would go onto to put out a total of 7 extended plays along with a couple mixtapes & 3 full-lengths until signing to Interscope Records. It’s already been a year & a half since he made his major label debut Star pivoted towards an electronic dance music sound contrasting his previous output & he’s back once again for Pirouette.

“Spring” opens up with this EDM intro talking about his desires of doing to his romantic interest what spring does to the trees whereas “Skin” produced by Ginseng talks about his wishes of pulling time back into his arms so he could find this woman from the start. “The Lady in Red” expresses his amazement towards a female wearing all red looking like a nosebleed while the self-produced “Pressure” calls back to “eldest child” a year & a half ago.

Meanwhile on “Human After All”, we have 2hollis describing a certain type of pain that made him realize his own humanity just before “SOPHIE” remembers the late bubblegum bass/hyperpop pioneer of the same name. The 2nd single “Sex” blends electropop, dance-pop, electro house, electroclash & hyperpop to talk about intercourse with him while the lead single “Hurt” fuses electropop, hyperpop, fidget house, electro, EDM glitch hop, deconstructed club & breakbeat admits to yearning for him.

“Eyes Wide Closed” kicks off the 2nd half talking about wanting to be fucked like the other person partaking hates him while “Betrayal” talks about not wanting to take this individual’s money. “i2i” confronts someone who he can’t agree with in a single sentence tying while the 3rd & final single” Warhorse” combines digicore, rage, deconstructed club, industrial hip hop & hardwave sampling “Don’t Tell” by DJ Clap to talk about the aspects of love he considers chaotic.

Winding down the last leg of the album, the song “Today” samples “Droopy Likes Your Face” by C418 confessing his ways have been somewhat broken & praying upon a new saint until encouraging the “Heaven Speaker” to show him what heaven truly is. “My 1 & Only” takes a compositional approach for a minute & a half, feeling more like an interlude than anything while the closing track “Daisy” finishes Pirouette reflecting upon his life, his relationships & the emotions he was having when he was younger.

Of the 2 full-lengths 2hollis has put out since the Interscope deal came about, Pirouette makes some noteworthy improvements above it’s predecessor a year & a half ago. The electropop, hard dance, indietronica, rage, hyperpop dance-pop, electro house, electroclash, fidget house, electro, EDM glitch hop, deconstructed club, breakbeat, digicore, rage, industrial hip hop & hardwave production refines the EDM sounds of Star exploring the human experience of emotion along with the intensity & many shades of it mostly portrayed through the lens of love & further exploring all the building & destruction it can bring.

Score: 4/5

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Armand Hammer – “Snakes & Ladders” review

New surprise LP & the 8th overall from New York underground duo Armand Hammer. Consisting of billy woods & Elucid, they formed together a decade ago already off their only mixtape Half Measures & the debut album Race Music. The pair would go on to release an EP & 4 more full-lengths worth of abstract political hip hop, with Haram fully produced by The Alchemist becoming the most critically acclaimed within their discography. We Buy Diabetic Test Strips quickly became the greatest musical statement in Fat Possum Records’ entire discography, coming off their Rhymesayers Entertainment debut Mercy to play Snakes & Ladders.

“Deadbolts” produced by clipping. sets the tone with this experimental intro talking about the difference between alone & aloneness whereas “Send for Me” strips the drums thanks to Kenny Segal so both of them can keep dropping abstract verses. “Lock Out (Tag Out)” has Sebb Bash fusing elements of jazz rap & boom bap talking about data centers using to cool down the AI systems just before “Jet Magazine” goes at the weak rooted who don’t share the same realities they do.

Meanwhile on “Nightswim”, we have Armand Hammer over some guitars talking about a state of surveillance such as the rise of Flock cameras leading into the minute & a half “TimeTables” suggesting to either come in peace or leave in pieces. “don’t say it if it isn’t true” continues from there explaining that they don’t wanna hear anyone saying they love them if it’s out of insincerity while “Gravity” ends the 1st leg in the form of a soulful billy woods solo cut.

“Vespers” hooks up an Animoss beat with some pianos up to kick off the 2nd half talking about crying in a club called nowhere until “Dragon Teeth” comes through with a brief 2-parter putting calculations aside for oracles & a reminder of freedom & compliance being 2 separate things. “Incidentals” keeps it going speaking of keeping the keys to hearts for unimportant purposes while the experimentql “Graveside” talks about seeing y’all 6 feet below the dirt in the grave.

The song “Dogville” brings the jazzier elements back in the picture so they can describe a place where snakes move with ease while “Assembly Lines” over an industrial Preservation instrumental talking about applying for a job only to find out the interviewer was an AI chatbot. “Risk” featuring $ilkMoney finds the trio joining forces so they can break down their murderous tendencies & “if we must die” sends off Snakes & Ladders.

I thought for sure Armand Hammer would’ve waited a couple months to drop Snakes & Ladders, but I’ll still gladly take it even if I wouldn’t consider it as great as We Buy Diabetic Test Strips or both their full-lengths with Uncle Al. The abstractly conscious lyricism addressing the country’s political climate for past 21 months going on 22 is well mapped out, but there are moments where the experimentally jazzy & drumless production can feel like leftovers from previous album sessions.

Score: 3.5/5

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Twisted Teens – “The Holy Cross Tigers” review

Twisted Teens are a slacker rock/alt-country duo from New Orleans, Louisiana consisting of lap steel guitarist RJ Santos alongside frontman Caspian Hollywell. Forming in 2024 & putting out a favorably received self-titled debut shortly afterwards, they would go on to follow it up with the sophomore effort Blame the Crown as well as the EU extended play in 2025 & even their last full-length Florida Water Blues earlier this summer. However, both teasers for their 4th studio LP & Sub Pop Records debut gave me the impression of the probability of them outdoing themselves.

The 2nd & final single “Stalks” blends alt-country, slacker rock, garage rock & punk blues for an intro where Caspian’s making tons of references to the act of attempting to gain insight into a question or situation by way of a magic ritual or practice using stems harvested from yarrows whereas the lead single “When We 1st Met” fuses slacker rock, garage rock, alt-country, cowpunk, power pop & punk blues sings about a couple doing everything together back when they initially got together.

“Be an Angel” moves forward embracing a garage rock vibe for a bittersweet look at a failed relationship while “Blue Rose” takes it back to their distinctive slacker rock sound so Caspian can sing about the relatable feeling of being replaced. “I Spend My Time Crying” takes a shot at fusing garage rock & country music admitting to holding anger towards a rowdy rider because it was easier than merely being sad prior to “Blue Flower” comes through with this minute long compositional interlude.

Meanwhile on the lo-fi “I Bring”, we have the Twisted Teens singing about buying a magic ring & giving it to someone prior to “Look in the Mirror” kickstarting the 2nd half using a lost romance as an illusion & telling an ex that they have to lie to themselves before even thinking of lying to Caspian. “Lock & Key” has a bit of a country twang to it telling the story of a man cooperating with law enforcement to help them take down a cartel while “Figure It Out” sings about hoping this woman will solve a problem without being told to do so.

“Armed with a Vision” nears closer towards the end of the album taking inspiration from Dinosaur Jr. pleading listeners to not let confusion determine the outcome of their everyday lives while “Every Flower” sings about the fact that we’re all flying in under the reaper & the time for our demise is closer than it ever was previously. “Darker the Night is the Brighter I See” concludes The Holy Cross Tigers bringing some acoustics in the picture for a creepy outro reminiscent of “Something in the Way” off Nirvana’s iconic sophomore effort Nevermind.

It hasn’t even been a few months since the Twisted Teens dropped Florida Water Blues & The Holy Cross Tigers has a real chance of comfortably joining Sunn O)))’s self-titled Sub Pop debut along with PISS’ recent debut you made me / skin on linen amongst the greatest music the Seattle indie label has to offer in 2026 with less than a couple months left. The loose breakup concept combined with the slacker rock, alt-country, garage punk, punk blues, cowpunk, garage rock & power pop production bringing every style they’ve explored full circle results in Caspian & RJ’s answer to Bob Dylan’s 15th album Blood on the Tracks.

Score: 4.5/5

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Mathematics – “Black Samson 2: The Saga Continues” review

Mathematics is a 55 year old producer, DJ & graphic designer from Queens, New York known for being the turntablist for the almighty Wu-Tang Clan as well as the creator of their iconic logo. His solo debut Love, Hell or Right arrived in 2003, which was followed by the sophomore effort The Problem & Soul of a Man respectively. Prelude to the Answer & The Answer both came out when I was 16, coming off last spring’s Black Samson, The Bastard Swordsman to make a sequel outta his 6th studio LP.

After the intro, “God Body” by AZ & Method Man kicks things off with this boom bap intro talking about always being prepared for battle whereas “Knowledge My Wisdom” by Inspectah Deck, Masta Killa & Planet Asia soulfully finds sagacity in what all 3 of them have learned in their lives. “Choices” by Hue Hef hooks up a piano-driven boom bap instrumental to talk about gambling our future while “Dominant Confidence” by Che Noir & Ransom makes up for with their consciousness.

“Brolic” by Cormega & Rome Streetz begins the 2nd half talking about the strong penmanship both of them possess while “Hustle” by Cory Gunz & Grafh boasts they made movies in the backrooms of the kitchen. The organ-woven beat on “Hennessy Pure” by Chedda Bang, Nic Waves & Skyzoo was hard even if the latter had the best verse at the start while “730” by Illa Ghee, NEMS & U-God preceding the outro ends Black Samson 2: The Saga Continues on a more hardcore note.

I still believe Black Samson, The Bastard Swordsman felt like more of a Wu group album than The Saga Continues… did almost a decade ago, but Black Samson 2: The Saga Continues much like the previously mentioned full-length would fit in Mathematics’ own solo discography since the appearances of Wu-Tang members are kept to a minimum. Putting some of the lackluster performances to the side, I can’t dismiss him further demonstrate his growth behind the boards.

Score: 3/5

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Joker Starr – “Sidenote 2” review

Brand new studio LP & the 8th overall from Slough, Berkshire, England, United Kingdom emcee/producer Joker Starr. Dropping his debut mixtape Raw Spittage in 2011, he would go on to follow it up with all 6 of his previous full-lengths as well as 3 extended plays & a beat tape. My personal favorite being G.A.W.D. (God And Wisdom Driven) mostly produced by Micall Parknsun & Gawd Status’ debut Firmamentum. Both of which came out in 2019, coming off his Boot Records debut Sidenote initially conceived when the COVID-19 pandemic was going on to drop a sequel.

“Chivalry” kicks things off with this groovy boom bap intro talking about the entire idea of gallantry whereas “Runaway” featuring Genesis Elijah finds the pair getting conscious in the midst of embracing a gospel vibe instrumentally. “Build Your Spirit” turns up the soulfulness to discuss the concept of leading into “Get the Cash Money” featuring Cosm hooking up an organ-woven boom bap beat so they talk about stacking your chips up.

Micall Parknsun gets behind the boards during the jazzy yet dusty “Let’s Go” encouraging the audience to jump around while “Chill Bro” retains the traditional boom bap sound talking about simply calming down. “London’s Chard” featuring Micall Parknsun himself eventually brings both of them mic on the mic cautioning people to stay sharp just before “B.I.G. (Black Is God)” produced by Giallo Point begins the 2nd half making a powerful ode to Afrocentrism.

“My Love” featuring Anyway tha God joins forces so they can let their exes know exactly how much they’ll miss ‘em & after “Stoic” featuring Verb T incorporates more sampling techniques to make way for them getting in their battle rap bags lyrically whether it’s been the latter holding it down for 2 decades or Joker for 17 years, “Black Messiah” featuring Micall Parknsun runs it back 1 last time although this one’s way more psychedelic than “London’s Chard” stylistically.

The tropical “Speaker Rude Boys” winds down the album’s last leg talking about running them speakers up honoring his Jamaican heritage while “Coke & Mirrors” combines elements of orchestral & rock explaining that anyone who isn’t apart of the evolution is already finished, asking if anyone wants better for themselves. Move On” spends the last couple minutes of Sidenote 2 talking about the feeling he has of wanting to breathe the success in.

I can appreciate Sidenote 2 having spots where Joker Starr’s performing by himself especially since it’s predecessor 13 months ago had Anyway tha God on half of it, but I still prefer the original Sidenote in terms of production & would consider this successor to be almost on the same level his Boot debut reached last fall. That being said: There’s no denying his passion deeply rooted in the love of the craft instead of chasing trends or forcing ideas.

Score: 3.5/5

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Hatebreed – “Fatal Paradox” review

Hatebreed is a metalcore band from Bridgeport, Connecticut consisting of drummer Matt Byrne, rhythm guitarist Frank Novinec, lead guitarist Wayne Lozinak & frontman Jamey Jasta. Making their debut in 1997 with Satisfaction’s the Death of Desire & returning in 2002 for the Universal Music Group-backed sophomore effort Perseverance, having Rob Zombie’s engineer Zeuss produce The Rise of Brutality resulted in having him stay behind the boards for Supremacy, self-titled, The Divinity of Purpose, The Concrete Confessional & their previous full-length Weight of the False Self. 6 years later & they’re getting back together for their 9th studio LP.

“Kill Count Increase” fuses metalcore, crossover thrash, groove metal & beatdown hardcore to sing about anyone getting it once they’re in the crosshairs whereas “The Carrion Choir” leans towards a thrashier vibe calling for everyone to remember who they are. “Decisions Become Destinies” maintains the thrash elements so they can sing about what happens if one follows where the hunt leads just before “Total Invincible” explains what the code demands.

The title track combines groove metal & metallic hardcore singing about cowards doing everything to keep people on their knees leading into “Still a Threat” kicking off the 2nd half speaking of being counted out by some although they’re not done until they say they are. “Sacrifice Season” featuring Obituary frontman John Tardy brings us to a place where dreams die & prayers get silenced while “Truth’s a Lion” poses the question of how many times can we be told not to believe our eyes.

“Make the Demons Obey” nears towards the conclusion of Fatal Paradox balancing the elements of metalcore & crossover thrash angrily talking about not living to please anyone or have any fear while the final song if you exclude the cover of “Poison Planet” by Corrosion of Conformity spends the remaining 7 minutes of the album at it’s core conveying the observation of there having “None Left to Save” & everyone bleeding the same.

A lot of people generally feel like the material Hatebreed & Zeuss have done since The Rise of Brutality has been average at best but as someone who doesn’t mind their output in the last 2 decades other than the For the Lions collection of covers they did towards the end of 2000s, I wouldn’t place Fatal Paradox above The Weight of False Self & The Divinity of Purpose because of Jamey’s commentary analyzing the world around him & his place in it along with the secondary influences of crossover thrash, groove metal, beatdown hardcore & thrash metal being incorporated.

Score: 4/5

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Ciarán – “Róisín” review

Ciarán is a 33 year old rapper, singer/songwriter & producer from Belfast, Northern Ireland, United Kingdom who originally formed a shoegaze outfit called NoWiFiii alongside HK as well as Romil Hemnani & Kevin Abstract. They would disband following their only extended play Memorial Day in 2015 & everyone would become members of the now defunct BROCKHAMPTON collective, signing with the renown London indie label Ninja Tune to make his long-awaited solo debut.

The self-produced “Crown” works in some bare orchestral arrangements singing about having this heavy burden whereas “Loom” hooks up a guitar instrumental assuring his partner that he won’t ever leave if they call him. The lead single “K-Bar” prior to the “Green Ave” interlude blends bedroom pop, alternative R&B, neo-soul, neo-psychedelia, indietronica & minimal wave expressing his desire for a youthful connection just before “Houston”combines neo-soul, psychedelic soul, bedroom pop, smooth soul & neo-psychedelia for an ode to the 713

“Chevy” brings a more nocturnal atmosphere to the table depicting a heavy type of love prior to the 124 second “Claddagh” letting Embaci handle the sole verse, singing about emotional attachment & uncertainty using the traditional Irish ring as a metaphor. “White Leather” advises to stay back if your palm gets sweaty on the weapon while the 2-parter “Galvarino” fuses neo-psychedelia, bedroom pop, indie rock, slacker rock, neo-soul, trip hop, alt-pop, indie folk & glitch pop takes inspiration from the Mapuche warrior who had his hands cut off.

The 4th & final single “RED 99” after the “Bashment” interlude mixes alternative R&B, singer/songwriter, bedroom pop, indie folk, slowcore, neo-psychedelia & neo-soul hoping for this person allow Ciarán to find the words to say for the rest of their life while “Dummy” sings about how he’ll keep lovin’ ’til it’s all l’ve got. The closing track “Waterslide” finishes the artist formerly known as bearface.’s debut with some bagpipes & a somewhat repetitive lyrical structure.

Róisín has been a long time coming for anyone who used to enjoy Ciarán’s outros almost a decade earlier when BROCKHAMPTON blew up off the SATURATION trilogy & it definitely ranks amongst the most versatile debuts I’ve heard come out of that camp in some time along with one of the eclectic listening experiences I’ve had in 2026. His bedroom pop, alternative R&B, neo-soul, neo-psychedelia, indietronica, minimal wave, indie rock, slacker rock, trip hop, psychedelic soul, smooth soul, alt-pop, indie folk, glitch pop, singer/songwriter, slowcore & hypnagogic pop production testifies to the artistic freedom he’s achieved since BH disbanded as he honors his Irish roots.

Score: 4.5/5

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Skepta – “The Fork & Knife” review

This is the 6th studio LP albeit Epic Records debut from Tottenham, London, England, United Kingdom rapper, songwriter & producer Skepta. A co-founder the Boy Better Know collective, a lot of people in the state including myself didn’t hop on board with him until a decade ago when he dropped his 4th album Konnichiwa to critical acclaim. This was followed up a couple years back with both Ignorance is Bliss & All In being welcomed to moderate reception, coming off the Fred again..-produced Skepta .. Fred extended play to drop The Fork & Knife.

The self-produced “Secrets of Patriarchy” kicks things off talking about the weight men carry on their shoulders when they’re already providing for their families whereas “Outside” featuring Novelist finds the pair advising listeners to keep their eyes on those in the background. “Cold Shower” featuring Project Pat goes for a Memphis vibe talking about falling in love with the power while “Currency” produced by F1LTHY of Working on Dying discusses turning his pain into cash.

“Pandora’s Box” takes a more conscious approach to his songwriting experimenting with both trip hop & chillwave leading into “Revenge” sampling “That’s Not Me” so he can talk about losing his way around the time his sophomore effort Microphone Champion was being recorded. “Magic” featuring Finessekid finds the pair telling us exactly where they come from just before “Gas Me Up (Diligent)” fuses trap, cloud rap & pluggnb thanks to Cardo talking about needing a card that doesn’t decline since every day’s a party.

Meanwhile on “Melody”, we have Skepta continuing the 2nd half of the album asking this woman where he’s been all his life while “Aloe Vera” treads the Afrobeats waters thanks to Lex Luger talking about this woman’s skin being softer than the natural supplement itself. “Chippie”featuring Aya Nakamura links up for a subpar French/English zouk duet breaking down a secretive type of romance while “Broken Hearts” featuring Central C responds to those sayin’ they got game when they’re not playing it properly.

“Innocent Smile” blends breakstep, grime, britcore & big beat to make some commentary regarding anti-immigration & political deception while “Belly” featuring Bossman Birdie, Frisco, Jme, Kibo, Kruz Leone, Mayhem NODB & Queenie finishes The Fork & Knife with a 9 minute grime posse cut. However, he’s bringing together artists who represent that style past & present with only a couple of his BBK providing verses & everyone interpolating some of their own previous material for 16 bars each.

Exploring his immigrant identity & countering his early bombast with the wisdom of experience, The Fork & Knife bares it’s name in honor of one of Skepta’s mother’s favorite sayings reckoning with his position as one of the most dominant forces in the grime scene & the fact he’s the British son of Nigerian immigrants in a post-Brexit cultural landscape. The trap & UK drill undertones that be heard throughout the production reveals a different side to him in the midst of him delivering the introspective subject matter.

Score: 3.5/5

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Lil Baby – “Fresh” review

Atlanta, Georgia rapper & CBFW Records founder Lil Baby dropping his 6th LP almost 2 years after its original announcement. Rising to stardom in 2018 off his full-length debut Harder Than Ever, his profile would gradually increase from there by following up with a collab project with Gunna entitled Drip Harder & Street Gossip. His sophomore effort My Turn as well as It’s Only Me & W.H.A.M. (Who Hard As Me?) all left people divided, coming off The Leak$’ poor reception to stay Fresh.

“Top Uh It” incorporates a cheap trap instrumental with some bells talking about having 1 foot deep in the streets & 1 foot out of it whereas “Mr. Do Something” produced by Taurus experiments with the Detroit sound to discuss being the type of person who takes action. “Burnt Shit” continues from there flexing his wealth over a Wheezy beat leading into “Be the One” talking about the feeling he always had of being as popular as he is & getting everything he’s dreamed of.

30 Roc brings in the horns during “Ain’t Goin’” demanding an explanation as to why people are getting up in his business just before “From the Back” featuring Chris Brown on the remix instrumentally swaps out the brass in favor of pianos thanks to Hitmaka talking about being in love with this woman who he needs to be around when he’s drunk. “All My Partnas” featuring Rylo Rodriguez & Young Thug links up over a London on da Track beat airing out a hoe for fuckin’ their homies while “My Side” talks about puttin’ it down for his parts of the ATL.

“L.o.t.P. (Life of the Party)” made for an underwhelming kickoff to the 2nd half looking to turn up every day for a month straight while “Dead Fresh” talks about his upscale taste in fashion over a cloudy trap instrumental from Pharrell. “Your Fault” expresses hope of this chick seeing the changes he’s been trying to make interpolating “Blame U” by Odeal while “All of Us” runs it back with Wheezy to talk about him puttin’ on for everyone.

Rylo Rodriguez appears again for “In Your Head” explaining the reason their bitches are holding themselves back while “Like a Brat” talks about wanting to spoil his girl. “Televised” spends a couple minutes getting in his gangsta rap bag lyrically calling for the deaths of those who don’t want him going hard to be broadcasted & after “Rareform” talks about feeling great when the money comes, “Keep Goin’” ends the album advising not to stop over a synth-driven Metro Boomin’ beat.

Although I do believe Lil Baby made some improvements with Fresh & would place it above The Leak$, it’s not by a very wide margin. I appreciate him stepping things up within the production department considering nearly half of it was a considerable step up from both that grails tape he gave us 11 months ago & even It’s Only Me, but the choruses leave a lot to be desired & he doesn’t have that same hunger he did when he initially blew up.

Score: 2/5

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