Bonobo – “Distance in Static” review

Bonobo is a 50 year old downtempo producer from Brighton, East Sussex, England, United Kingdom who made his full-length studio debut at the turn of the millennium with the widely praised Animal Magic preceding him signing to the London indie label Ninja Tune. Dial ‘M’ for Monkey as well as Days to Come & Black Sands all received similar reception despite The North Borders, Migration & Fragments respectively leaving people divided. The teasers building up towards his 8th & most likely final studio LP right here made for some of his most promising material in a long time & I had to find out whether or not those expectations were met.

After the “Dawn” intro, the opening composition “Cycles” lays out the stall quite well for what’s to come cooking up a house instrumental with some live strings in the fold whereas the 2nd single “Fire on the Water” by Arooj Aftab takes a more downtempo approach singing about a fire being set in the water. The 3rd single “Drift” was conceived after he was messing with a 70’s synthesizer feeling like a cross between Trentmøller & Moby while “Talk to Me” by Nicole Miglis blends UK garage, progressive breaks & 2-step to sing about loneliness.

“Uncasually” comes through with a powerful cross between house & techno remembering a friend of Bonobo’s who had passed away a few years ago just before “Always on Your Side” by Joy Crookes reaches the halfway point singing about feeling overwhelmed by the negativity in this world. “Youth’s Fountain” by Nilüfer Yanya hooks up a prominent acoustic guitar looking to do anything because this person’s too far to save her while “Shokoufeh” interestingly builds itself around sampling an Iranian caltax performer of the same name.

Aanya Martin takes the microphone for “Can’t You See” admitting that she hasn’t been herself while “ID700” pulls out the titular Buchla modular synth for one of my favorite tracks here largely in part of the psychedelic vibes. “Me & You” samples “Mother, I Will Reveal” by Amai Ndinlule for a passable deep tech & stutter house lead single but once “Equinoctial” layers some textual Japanese vocals performed by Ichiko Aoba over an ambient instrumental, “Mercury” enlists guitarist Kanako Yamamoto for a guzheng outro ending the album the way it began.

Closing the book on the traditional sense of what a Bonobo full-length is, this new era of mini-projects including extended plays going forward kicks off with a varied collection of material that’s mostly average compared to his other stuff. I can commend the electronic, downtempo, future garage, deep tech, deep house, new age, chamber folk, progressive house, trip hop, UK garage, progressive breaks, 2-step, stutter house, ambient & techno production searching for pieces of intimacy in something transcendentally vast even if Distance in Static feels equally safe as it’s predecessors for over a decade.

Score: 3/5

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Ibibio Sound Machine – “Chopping Mountain” review

This is the 6th studio LP from London, England, United Kingdom afro-funk band Ibibio Sound Machine comprised of frontwoman Eno Williams, guitarist Alfred Bannerman, percussionist Afla Sackey, drummer Joseph Amoako, bassist Philip Ambrose, trombonist/keyboardist Tony Hayden, trumpeter/keyboardist Scott Baylis & saxophonist/keyboardist Max Grunhard. Introducing themselves a decade ago on the eponymous debut, they would show some growth on the sophomore effort Uyai & Doko Mien was merely ok. Electricity couple years ago on the contrary surpassed Uyai as the band’s crowning achievement in their discography, coming off Pull the Rope to outdo themselves with Chopping Mountain.

“Burning in Lagos” kicks things off with this 7 minute intro singing about her head being filled with circles of sleeping whereas the title track goes for a synth funk vibe to emerge from the surface after being reborn underwater like a phoenix rising. “When You Want to Dance” sings about having to synchronize if one wants to get down on the dance floors & after the 2nd single “Concept of Love” treads the synth funk waters again ponders how others interpret affection, the lead single “Return to Sender” recalls a car accident Eno was involved in.

We have Dele Sosimi appearing on “Give Me Peace” singing about being granted freedom over laid-back instrumentation to open up the 2nd half while “Menso” embraces some makossa vibes asking in Ibibio what’s wrong using a call-&-response delivery. “Love” pleads if Eno & her partner can try being 1 over a funky beat but once “Kukuru” embraces a more tropical sound to sing about accumulation, the closing track “River Don’t Rush” ends the album wondering why people worry over things they can’t control.

Chopping Mountain could likely be the weakest entry in Ibibio Sound Machine’s discography since Doko Mien considering I enjoyed it less than Pull the Rope although I’m confident of them having the capability of making something that’ll stand the test of time like Electricity. The electro, Afro-funk, synth funk & Afrobeat production along with the prevalent themes of love, unity & resistance that’ve always defined the band remain unbothered despite there being some points where Eno Williams’ vocals don’t do much.

Score: 3/5

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Rio da Yung O.G. – “The World is Yours” review

M.I.N.E. Entertainment founder Rio da Yung O.G. straight outta Flint, Michigan back for a sophomore effort. Breaking through the local trap scene during the latter portion of the previous decade under the mentorship of Peezy signing to #Boyz Entertainment in tandem with EMPIRE Distribution, he has since put out his last 9 EPs as well as a full-length debut album & a handful of collaborative projects under his belt all over the duration of 7 years. Rio Circa 2020 was a solid EP celebrating his 30th birthday but coming off Rio Free & F.L.I.NT. (Feel Like I’m Not Through), he wants everyone to know The World is Yours.

“Be Like Me” sets the tone of what’s to come with this Flint trap intro talking about everyone else wanting to be inside of his shoes whereas “Superstar” featuring Veeze finds the pair over a Detroit tap instrumental depicting gangsta rap imagery in their own distinctive fashions. “Lemme Guess” makes a number of assumptions ranging from a woman getting sexually involved with another guy to helping a couple get rich while “Laced Blunts” featuring Trippie Redd poses the question of whether one’s slime or not.

F1LTHY of Working on Dying gets behind the boards for one of my favorite tracks here “Lost My Voice” flexing that he’s talked so much shit to there point where his voice gave out while “Canal St.” discusses having nothing but blue strips on him. “Easter Pink” featuring Rylo Rodriguez links up so they can decently talk about the lean in their cups while “100% Alcohol” vents over a woman getting drunk off some Mexican shit asking all sorts of stupid questions.

“Button Up” featuring RMC Mike reminds the world of what makes them amongst Flint’s most beloved duos spitting straight bars without the need of a hook while “Milwaukee Bucks” produced by Danny G was another highlight talking about chasing the cheese despite not being a snitch. “Finna Drop (Tour)” hits the midway point of the album remaining hood despite him leaving Flint years ago while “Rocks Off” featuring Judah Weston teams up so they can decent get sexual.

YN Jay appears on “New York Minute” running it back with F1LTHY boasting of being the wealthiest to ever come out of their city while “Work Different” warns that getting on his bad side would be stupid as fuck. “Crooked Elbow” featuring the current 2-time WWE United States Champion Trick Williams’ manager Lil Yachty & Tierra Whack finds all 3 of them getting hardcore while “Peach Nehi” over some pianos & bells talking about dudes being sweeter than licorice.

“Kinda Anxious” talks about how he smells like a scald weighing a brick while “Not the Best Liar” admits that he isn’t the greatest at lying. “Get It Back (Zoom Meeting)” chops up a vocal sample continuing to depict the gangsta lifestyle while “Who Did the Body?” featuring Monaleo talks about applying pressure. “Douchebag” makes a clear distinction of being a boss instead of someone contemptible while “Okay wit Dat” talks about never being broke as long as his phone’s functioning.

This guy’s steadily been on the most prolific run of his whole career ever since coming home a few years back & The World is Yours keeps Rio da Yung O.G.’s consistency streak alive recording a majority of it in the middle of an ongoing tour in promotion for the very album capturing his grind & artistic evolution in the middle of keeping the unfiltered style of lyricism he’s become known for as nasty as he’d prefer it to alongside a respectable cast of big names joining him.

Score: 3.5/5

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Jerry – “Gayngsta” review

This is the 3rd studio LP from Trenton, New Jersey emcee, singer/songwriter, producer & music video director Jerry. You may know him for coming up as 1/2 of the duo MellowHype alongside Left Brain in the mid/late 2000s under the original moniker Hodgy Beats prior to helping I Smell Panties, Casey Veggies & The Jet Age of Tomorrow form the impactful albeit now defunct alternative hip hop collective Odd Future. He was also the first person in the Wolf Gang to put out a solo effort, dropping his debut mixtape The Dena Tape only 9 months after the crew put out their 1st tape as a unit The Odd Future Tape. Higashi Miyagi would go on to expand his solo discography with 2 more mixtapes & 3 EPs prior to his full-length debut Fireplace: TheNotTheOtherSide a day before my 20th birthday which to this day, I still think it’s possibly the most criminally overlooked offering that we’ve gotten since OF’s disbandment due to how much growth was shown on that album. Entitled was a solid comeback experimenting with contemporary R&B on top of a predominant west coast trap sound, coming off the singer/songwriter explorations of lovemesooner & No Receipt to get in his Gayngsta shit.

After the intro, the title track hops over a bell-woven trap beat so he can talk about being a G whereas “lose your mind” goes for a melodic approach in terms of delivery acknowledging his awareness of this woman doing her best. “slickrick” comes through with more energetic rap verses over a synth-driven instrumental talking about a swindler trying to get shit outta him just before “options” confronts a woman for calling him selfish when he helped her move out the country.

“halloween” chaotically talks about needing the pressure since he’s on the verge of exploding whole “vvs” atmospherically shows off his singing chops once again recalling a woman going away after saying the wrong thing. “pay mee” reaches the midway point of Gayngsta talking about taking whatever he wants in a robbery watching out for schemin’ bitches & double teamers while “W.W.J.D. (What Would Jesus Do?)” includes a line homaging the late, great MF DOOM & talks about running the block so long he’s reached O.G. status.

Continuing the 2nd half, “UK” experiments with a UK drill sound warning that he’ll run up in the flats of anyone disrespecting his family while “wrong” psychedelically confronts a woman who he believes is worth his time although that might not be the case. “skid row” talks about experiencing this world until he died, reaching his prime in his mid-30s & muhfuckas being straight up bums while “east orange” brings some rage vibes to the table reminding everyone of his New Jersey origins.

“heart open” winds down the last few moments of Gayngsta singing about love once more on top of this glitchy beat while “lil bop” cloudily describes a woman who gets dicked down constantly & being content with her running around the streets as long as she isn’t a thot. “n.g.c.o. (not getting cheated on)” talks about going out with a smile on his face & denying the implications of his partner being unfaithful to him while “fairy” ends the album assuring that he doesn’t have anything to worry over.

Jerry himself confirmed at the beginning of the week that he would no longer be rapping because he hasn’t felt inspired to continue making music in that vein for some time, which already seemed apparent when lovemesooner & No Receipt both came out. But unfortunately, Gayngsta doesn’t leave much of a lasting impression on me compared to Fireplace: TheNotTheOtherSide or even the untitled EPs & both installments of The Dena Tape series. Sure it’s bittersweet to hear him making 1 last hip hop offering until fully embracing the singer/songwriter in him, I was admittedly expecting more out of the production.

Score: 2.5/5

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Jhené Aiko – “Westside Whimsy” review

Jhené Aiko is a 38 year old singer/songwriter, musician & producer from Los Angeles, California who was supposed to debut in the early 2000s until Epic Records shelved her. She would eventually return in 2011 when I was in 8th grade for her debut mixtape Sailing Soul(s), which resulted in No I.D. signing her to his Def Jam Recordings imprint ARTium Recordings. She has since become the label’s most prominent artist following her debut extended play Sail Out, her full-length debut Souled Out, the sophomore effort Trip & lastly Chilombo only a week prior to the 2020 COVID-19 pandemic taking full effect.

After the “Wild Cat(s)” intro, “Ghost” opens up with this moody instrumental singing about being in a loop whereas “Break” made for a decent alternative R&B single telling Big Sean to take his time upon their split after being together for a decade. I was disappointed Ab-Soul only did ad-libs instead of having a verse on “Love Bomb” although Jhené does holds it down well by herself singing about getting active until “Ceiling” freestyles over a summery boom bap beat cautioning she’s the bitch you shouldn’t do wrong.

“Nothing Nice to Say” explains the very reason she hasn’t been quiet in the midst of someone lying straight to her face just before “He Belongs” instrumentally brings a woodwind in the picture singing about a man who fits in with every woman he meets & everyone else except her. “Like, Whatever” featuring Tyga pretty much encapsulates my feelings towards the latter’s verse & the worst guest appearance here while “You” sings about having a million reasons why this dude isn’t the guy.

To bridge Westside Whimsy, we have Jhené advising “Don’t Be That Guy” taking it back to the boom bap vibes explored earlier leading into “Lullaby” going full alternative R&B again singing about how she’d rather close her eyes than leave his side. “Neighbors” featuring her new partner Larry June blends PBR&B with hip hop expressing the love at first sight they had for one another while “Mine” produced by Boi-1da & PARTYNEXTDOOR sings about feeling happy being with Larry.

“So Good” featuring Kendrick Lamar trades verses over one of the absolute smoothest beats Sounwave has ever made playing off each other perfectly while “Beach Boy” sings about needing a person who knows how to ride when the tide’s too high in the evening. “Unicorn” asks if it would be lovely if she & Larry had their own paradise likening their love to an island only they can go to while “I Don’t Mind” sings about feeling the envy of others whenever she steps inside the room.

The song “Nami’s Haiku” dedicates a brief collection of short form poetry to her daughter & eldest child Namiko Browner over a spacious alternative R&B beat while “A Living Light” takes some more stripped-back approach in terms of sound singing about dying at night only to be reborn in the morning right when the sun comes up. The closing track “Golden Coast” featuring nu jazz duo OHMA spends Westside Whimsy’s remaining minutes telling this individual shining through their darkest nights that they still have plenty of light left.

Confessing the reason it took so long for Jhené Aiko to come back was because life knocked her on her ass, Westside Whimsy still remains a solid comeback regardless of it not reaching the same pedestal Souled Out had when she has the capability of surpassing it. The neo-soul, alternative/contemporary R&B, pop rap & smooth soul production feels grounded in her west coast origins recapping everything that’s happened to her since COVID with a guest list who mostly deliver other than only 1 blatant exception.

Score: 3.5/5

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BigBabyGucci – “Temporary Fix” review

This is the 8th studio LP & from Charlotte, North Carolina recording artist BigBabyGucci. Starting almost a decade ago 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 7 full-lengths & his last 5 tapes along the way. When U Wake Up, When You Go to Sleep, Baby 5 & the heavily alternative ANTI have all become his strongest material of the 2020s although I can’t the same for Isolation 2.5 a month after the latter. Internet Explorer was a fun redemption for himself, following up And When I’m Alone as well as Serotonin & Asleep at the Wheel to drop Temporary Fix.

“Por Vida” opens up with a cloudy trap instrumental talking about being out here livin’ his life whereas “Trust Issues” expresses his refusal of trusting anyone who isn’t from his side of town & being in Miami feelin’ untouchable. “LeBron” featuring Benzeli finds the pair putting bands on the floor on some young shit over a rage beat leading into “Euphoria” admitting the Benjamins are his main focus & that he could give a fuck less about fame.

Meanwhile on “Backpainz”, we have BBG psychedelically talking about his back hurting from carrying the game just before “Paranoia” cautions against letting the drugs spill. My favorite track here would easily go to “Where in the World?” produced by Internet Money Records in-house producer Nico Baran reaching the midway point of Temporary Fix getting crossfaded so he can ask this woman where she wants to go for a night out she desperately needs.

“Face It” gets the 2nd half of Temporary Fix officially underway talking about his bitch being bad & pourin’ drinks in the back of the club he couldn’t even measure over a plugg instrumental while “Oceanz” discusses splitting racks with his team & sliding with tints so dark, he can’t even see outside. “I’m Him” issues a stern warning of splitting heads open as a repercussion for speaking ill against his team while the Indicud-inspired “Tolerance” talks about getting high & doing whatever he wants every night.

The song “Blackout” feels like a cross between rage & digicore discussing him curving a bitch off ecstasy & demanding to have someone tell him which body to drop since he’s off the pill while “Goin’ Steady” talks about him staying in the kitchen along with silencing every single last person who’s been playing with his name. “Fake Rich” concludes the album in the form of 1 last digicore cut admitting to eating steak when he only came for the gravy.

So it was brought to my attention a few weeks earlier that BigBabyGucci has been having some trouble with his distributor ONErpm, but Temporary Fix gives me hope of them sorting out their issues continuing to prelude these next couple albums he has ready to go Side Effects & 1 Long Trip by taking it back to 2018 making the funnest music he possibly can without having any pressure kicking his drug addiction in favor of drinking more.

Score: 3.5/5

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Button Masher – “Super Button Masher” review

Baltimore, Maryland chiptune & jazz fusion producer Button Masher making his full-length studio debut. Since the turn of the decade, he’s dropped a total of 10 extended plays & 4 mixtapes including the Tracker Vision series. One of the most iconic names in the entire LA beat scene Flying Lotus signed him to Brainfeeder Records distributed by Ninja Tune earlier this summer & it was more than enough for me give the Super Button Masher a listen so I could get a better understanding of who he is artistically.

“Pastel Roses” beautifully sets the tone of what’s to come with this 3 minute intro blending jazz fusion & 16-bit whereas the lead single “Magic Dragon Ride” comes through with a tribute to 菊田裕樹 that feels reminiscent of the soundtrack to the iconic SNES RPG Chrono Trigger. “Tower Climb” brings saxophonist Nicole McCabe into the picture for another 16-bit/jazz fusion crossover further incorporating some wavy synth melodies & after the 2nd single “House Party” featuring Amanda Barise instrumentally treads funkier waters, “The Space Between Worlds” takes it back to the combination of jazz fusion & 16-bit reminding me of something outta the earlier Sonic the Hedgehog games.

Kicking off the 2nd half of his debut, “Dance of the Twin Bees” retains those 2 styles I had mentioned earlier for a colorful composition until “Hidden Power” hits us with a rush of synthesizers emphasizing the 16-bit side of things. The 3rd & final single “Tallinn Massage Chair” featuring nu jazz duo Sungazer was conceived after coming across a weirdly shaped massage chair at a hotel in Tallinn, Estonia when they were touring but once “EDBM” featuring drummer Dana Hawkins & bassist Evan Marien for a jazz fusion cut, the closer “Pause Menu for the Broken Hearted” finishes the Button Masher’s inaugural LP with 1 last 16-bit track.

The soundtrack to what many including myself would the greatest Mario game of all-time Super Mario World has been universally accepted as the pinnacle of 16-bit, so for FlyLo to bring an artist in that vein on board the Brainfeeder roster was an exciting move & Super Button Masher definitely encapsulates Button Masher’s growth over the years. He essentially produced a half hour’s worth of jazz fusion & 16-bit mixtures taking us back to simpler times in the midst of merging nostalgia with all he’s learned throughout his career up until this point.

Score: 4/5

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Dizzee Rascal – “We Want Bass” review

Dizzee Rascal is a 41 year old MC, songwriter & producer from Bow, East London, England, United Kingdom who’s often considered a pioneer of the grime subgenre. His 2003 full-length debut Boy in da Corner under XL Recordings has been hailed as some of the best UK hip hop this millennium although Showtime & Maths + English were mildly received in comparison. Tongue ‘n Cheek launched his own label Big Dirtee Records formerly Dirtee Stank Recordings in tandem with Island Records, following it with The 5th as well as Raskit & E3 AF respectively. Don’t Take It Personal upon his Island departure was a modest declaration of independence & was intrigued by what his 9th studio LP had to offer almost a week after FTR, Kanji, Connor Mills, the current CMLL Mundial Femenil Campeon Persephone, Swerve Strickland alongside The New Level, The Brawling Birds, Mercedes Moné, Will Ospreay, La Parka, Kelani Jordan, Jackson Drake & Grayson Waller all respectively became the new RPW British Tag Team Champions, RPW British Women’s Champion, RPW British Heavyweight Champion, AEW tbs Champion, AEW World Trios Champions, AEW Women’s World Tag Team Champions, AEW Women’s World Champion, AEW World Champion, AAA Latinoamericano Campeon, NXT Women’s Champion, NXT North American Champion & NXT Champion.

“Foxtrot Oscar” opens up taking inspiration from electronic dance music instrumentally talking about doing whatever he wants because he’s a rockstar whereas “VIP” hooks up a rubbery bass-line so he can boast of not having to show ID when pulling up to the club. “Hit the Spot” leans towards a house vibe for a raunchier approach topically including a cringey sample of “Candy Shop” by 50 Cent until the 3rd single “So Hot” serves a weird blend of hip house, jackin’ house, Euro house & Brazilian bass sampling “Hot in Herre” by Nelly.

Continuing from there with “On Rpt”, we have more romantic lyricism over house beats containing a bit of an R&B twist to it just before the 2nd single “C U Dance” talks about wanting to watch a woman’s dance moves over a self-produced hip house instrumental. “Don’t Say a Word” further combines hip hop & house suggesting for people to listen & follow rather than merely speaking while the grime standout “Muy Bien” aggressively gets on his hardcore shit.

“All Night” began the whole rollout in the form of this uninspired lead single talking about letting the bass blast until sunrise while the 4th & final single “What U Need” treads the bassline waters promising to give his lover whatever it is she desires. “The Baddest” goes back to the hip house side of things talking about a lean-bodied woman being the best thing he’s seen all evening while “Oh Why” rattles off a list of questions he’s had for some time.

The song “Look Twice” prepares to wrap up We Want Bass speaking of a lady who’s so beautiful that Dizzee had to double check by looking at her a 2nd time while the delightfully surprising “Ridin’ Round Slow” featuring Bun B finds the pair talking about driving around in their whips slowly so all the pussies can see them. Another favorite would be the closing track “Tell Me Why” because he’s really taking these final minutes to get some serious shit off his chest.

Would’ve never imagined Dizzee Rascal making something almost as bad as The 5th if not worse since Raskit, E3 AF & Don’t Take It Personal we’re all average at best but here we are with another low point in the grime pioneer’s discography. I completely understand the hip house, bassline, UK bass, tech house, techno bass, jackin’ house, Euro house & Brazilian bass production was meant to homage the UK club scene except it all feels repetitive & the hardcore joints all outshine the sexually charged cuts.

Score: 1.5/5

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The Go – “Free Electricity” review

The Go was a garage rock revival band from Detroit, Michigan formed by frontman Bobby Harlow, guitarist/bassist John Krautner & drummer Marc Fellis. They would go on to release a total of 5 full-lengths including their 1999 debut Whatcha Doin’? under Sub Pop Records as well as the sophomore effort Supercuts& their eponymous 3rd album. Howl on the Haunted Beat You Ride & Fiesta, disbanding after the latter. A 6th studio LP however dating all the way back to 2000 has been authorized by Sub Pop & hearing they initially shelved it for being too “uncommercial” at the turn of the millennium only to dig it out of the vaults was intriguing to hear.

The title track fires it all up with an intro reminiscent of proto-punk bands MC5 & The Stooges pleading for his partner to let out the love she has for him whereas “Secular Century Man” takes a more lo-fi garage rock approach singing about the trials awaiting beyond a set of gates. “All Dimensions Are Loose” continues to take heavier inspiration from MC5 & The Stooges making a statement regarding freedom of expression & after “Peacock’s Angel” sings over these buzzing guitar tones about ready to blow your mind with a great time, “Pharaoh’s Tomb” reaches the halfway point with a free jazz-influenced ode to the late Pharoah Sanders.

“Into Outer Space” kicks off the 2nd half of Free Electricity on a more tranquil note pleading for this woman to brought back home leading into “Turnin’ On” fusing glam & punk rock despite the subject matter heading towards a more sexual direction. “Blood Red Sun” would easily be my least favorite song here due to the unnecessary length on top of the repetitiveness but once “Muthers of the Earth” hooks up some psychedelic guitar tones for a peaceful Mother’s Day anthem, “Golden Dawn” concludes the album we should’ve gotten after Whatcha Doin’? with 1 last garage rock jam singing about a sunflower making you feel alright.

Supercuts & self-titled were ok largely because they didn’t really explore beyond the garage rock revival style when Free Electricity was shelved, so I really felt like things would’ve looked differently had Sub Pop Records let The Go release it as originally planned because it deserves it’s spot with the likes of Whatcha Doin’? & Howl on the Haunted Beat You Ride as the top 3 most crucial offerings in their catalog. The production’s significantly jazzier compared to their debut although there are moments that have the same acid garage rock revival feeling as it’s predecessor, drawing additional inspiration from the late spiritual/free jazz icon Sun Ra.

Score: 4/5

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Bronze Nazareth – “Elysian” review

Here is the 7th solo LP from Detroit, Michigan emcee/producer & Black Day in July Productions founder Bronze Nazareth. Known for his membership with the Wisemen alongside his late brother Kevlaar 7 & eventually the Wu-Tang Clan’s in-house production team the Wu-Elements, he made his solo debut The Great Migration almost 2 decades ago & then School for the Blindman only 5 years later. Bundle Raps & Ekphrasis produced entirely by Leaf Dog & Roc Marciano respectively became his strongest output since his debut, coming off his childhood friend Apollo Brown producing Funeral for a Dream in tandem with Escapism Recordings last summer to have his sibling behind the boards 1 last time for Elysian.

After the “Elysian Invocation” intro, the opening song “Soul Stirrer” hops over a boom bap instrumental talking about being next in line whereas “Adesanya” shows some love towards UFC Hall of Famer & former UFC Middleweight Champion Israel Adesanya. “All I Could Do (Open 2)” whips up a sequel to a track off Illah Dayz’ 3rx album Ponch’e leading into “Lupus” featuring Hollywood Dots the Oncelor talks about the disease that killed the late, great J Dilla over 2 decades ago.

“Jacob’s Ladder” combines elements of soul boom bap to hit us with a flow smoother than cologne & after the “Kevlaar 2” intermission, “Bad Boys ‘04” featuring Salute da Kidd finds the pair likening themselves to the Detroit Pistons back when they won their last NBA Championship to date. “You’ve Been There” continues the 2nd half of Elysian with another soulfully dusty crossover talking about superstition not having a place within the journal inside his head.

Kevlaar 7 himself appears posthumously on “So7o” so the Cross siblings can rock the mic together 1 last time while “House of Legends” runs it back with Salute da Kidd provides an audio visitation rather than performing verses talking about feeling alive again inside. The final song “My Dead Brother Superhero” featuring Lord Jessiah preceding the “Elysian Benediction” outro ends Elysian with a soulful boom bap closer remembering his brother.

Nearly a dozen years since Kevlaar 7 passed away around Christmas 2014 of a blood disorder, his younger brother Bronze Nazareth digs up some of the final batch of beats he made giving them everything it deserved from his perspective & I don’t see how anyone who’s been down with them since the Wisemen days would be disappointed with the results of Elysian if he were here. Bronze ambiguously tackles streetology, life in the Motor City, aspirations, the wins & the losses while simultaneously making it clear K7’s sound hasn’t left.

Score: 4.5/5

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