Super Famous Fun Time Guys – “I’ll Tell You When I Want to Laugh By Laughing” review

Ohio self-deprecating horrorcore duo Mr. 8 Legz & Whipstick professionally known as the Super Famous Fun Time Guys have returned with their 4th full-length LP & their 2nd under Long Live Evil. Emerging in 2018 off their debut album Our Album, they would follow it up with the Super Dudes Crooning the Tunes EP that same fall freestyling over songs like Yasiin Bey’s “Mathemathics” or even Earth, Wind & Fire’s “September”. Following their sophomore effort How Do You Fit a Cassette in a Discography? & their solo debut EPs, they became the very 1st act to sign to LLE & their 3rd album Don’t Hug Me from the Front quickly won a lot of people (including myself) over with how well it mixed horrorcore with comedy. They continued to further establish themselves in the underground by putting out a Christmas EP Holiday EP: Advent & the critically acclaimed Lost Lake Estates collaborative effort with their mentors Alla Xul Elu, they’re beginning the 2nd half of January 2024 by simply saying I’ll Tell You When I Want to Laugh By Laughing.

After the “I’m Intro Bro” intro, the first song “Laugh Now Maybe” is a spacious boom bap opener essentially serving as the title track to the album whereas “More Things Same” works in some woodwinds reminding that they’re here to piss you off 1 pussy at a time referencing former 2-time WWE Women’s Tag Team Champions Damage CTRL. “We”R”Us” sets out to ruin your day because it’s simply what they are asking if you’ve ever noticed that record-setting 3-time ROH World Champion, ROH World Tag Team Champion, ROH World Television Champion, the longest reigning NXT Champion, the inaugural NXT North American Champion, NXT Tag Team Champion, PWG World Champion & CZW World Jr. Heavyweight Champion Adam Cole and former AEW Women’s World Champion Britt Baker look alike over an plucky, eerie loop attached to these kicks & snares just before “FanDUHlism” gives off an EDM vibe instrumentally responding to those telling them to grow up & leaving blood behind as if they’re 8-time WWE tag team champions The Usos.

“Thirst Trap” gives off a bit of a synth-funk flare to the beat Uno card reversing bitches wanting to break their hearts leading into “Cumulonimbus Cerebrum” talking about how no one’s safe when they open the clouds they keep their heads with a reference to current Monday Night Raw superstar, former 6-time WWE world champion, WWE Intercontinental Champion, WWE tag team champion, inaugural ROH Hall of Famer inductee, 2-time AEW World Champion, ROH World Champion, 2-time ROH World Tag Team Champion & 5-time IWA World Champion CM Punk who later albeit unsuccessfully competed in the UFC division of the WME Group-owned TKO Group Holdings over a west coast instrumental. “We’re Waaaack” by Mighty Morphin’ Wackness shifts into dustier territory giving us a look at 4 guys who don’t know how to act right, but then “Hatemail” featuring McNastee assures the listener that everything will be ok over some piano chords.

The 2nd & final single “Charity Case” admits to getting drunk & fall asleep so they can leave the hate they’re bottling behind over some guitars while the lead single “Quirky Pop Punk Song (Existential Dread)” featuring Stray has some incredibly tight production from Billy Martin in the titular vein feeling like time is starting to wear thin. “My Friends Can Beat Up Your Friends” featuring Alla Xul Elu as well as Long Live Evil’s newest recording artist S.O.N. brings the sextet together for a boom bap-infused LLE posse cut referencing lucha libre popularized by the Lutteroth family-owned Consejo Mundial de Lucha Libre (CMLL) & it’s rival promotion in the Peña–Roldán family-owned Lucha Libre AAA Worldwide (AAA) while “1 Botched Brooks Finisher” dabbles with trap delving into their villain arcs.

After the “I’m Outro Tho” skit, “Sote2nelF” serves as the first of 2 bonus tracks to end I’ll Tell You When I Want to Laugh by Laughing by making peace with the dark over a drearier beat & the other bonus cut “Idk Might Cry Later” ties up the greatest tag team to never set foot in the ring’s sophomore effort with Long Live Evil talking about falling into darker places masking their pain on top of some solemn acoustics.

Since first being announced at the 2nd annual Camp Xul, I was hoping that Billy Obey was gonna fully produce it because I feel like hearing Legz & Whip over his production start to finish would make for something really special one day. However, they haven’t let me down in the 3 years that I’ve been a fan of theirs & we still got a solid LP regardless. The overall sound is a melting pot of different & interesting ideas as the chemistry amongst both MCs remains humorously animated.

Score: 4/5

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Hus Kingpin – “The Supergoat” review

If I’m not mistaken, I believe this is the 8th proper full-length studio LP from New York underground veteran Hus Kingpin. In addition to being 1/2 of Tha Connection with SmooVth, he has also built up over both a dozen mixtapes & EP in his discography all in the span of over 15 years with my personal favorites being Cocaine Beach produced by Big Ghost Ltd. & the Portishead-inspired Portishus. However when it was announced that 9th Wonder was gonna fully produced The Supergoat, I had a feeling it was going to surpass both of those as his strongest album.

“Rewind” is a great kickstarter with a luxurious sample cooking up a sunrise song for those slidin’ on motherfuckers whereas “King is Born” featuring fuckin’ Rosco P. Coldchain takes the drumlessly jazzier route likening themselves to that of royalty. The title track shifts into soulful territory telling y’all how to address him, but then “Friends” gives off a spacier boom bap flare to the instrumental showing a more sensual side to Hus.

Meanwhile, “Behind the Scenes” hooks up these strings with kicks & snares spilling some behind the scenes sex on the set shit just before “Famous Poet” fuses chipmunk soul & boom bap talking about not being misunderstood amongst those in serendipity figuring he would know it. “What It Is” featuring The Musalini strips the drums once more saying everyone knows exactly what the fuck it is leading into “The Waviest” returning to an orchestral vibe boasting that he really is the waviest of them all.

“Chaos” continues the sampling of soul music by telling a real story on wax while “Already” by Tha Connection with a melodic hook from Sweata yet again displays a sensual side to Hus except he’s joined by his partner-in-rhyme SmooVth. To tie up The Supergoat the closer “Box Office” links up with Fredro Starr of Onyx for a synth-funk/hip hop hybrid getting on some big screen type of flexing.

Cocaine Beach has been my favorite LP of Hus’ for almost 7 years up to this point, but I gotta say here that The Supergoat has now dethroned it for that spot. Not just because 9th Wonder’s production masterfully goes from boom bap to drumless & chipmunk soul, but there’s less features here in comparison & they’re all unparalleled to the waviest as he drops some of my favorite performances of his yet.

Score: 4.5/5

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KiD CuDi – “INSANO” review

Cleveland rapper, singer/songwriter, producer, actor, fashion designer, model, director & filmmaker KiD CuDi really getting New Music Fridays for 2024 rolling by putting out his 9th full-length solo LP. Blowing up in 2008 off his debut mixtape A KiD Named CuDi as well as his songwriting credits on his mentor Kanye West’s 4th album 808s & Heartbreak, his profile from there would increasingly grow off his groundbreaking debut & sophomore albums Man on the Moon: The End of the Day& Man on the Moon II: The Legend of Mr. Rager. But following the self-produced & overlooked Indicud, CuDi would leave G.O.O.D. Music amicably to form his own Republic Records imprint Wicked Awesome Records. Satellite Flight: The Journey to Mother Moon though was mediocre at best & who could forget when CuDi attempted to go alt-rock on the critically panned Speedin’ Bullet 2 Heaven? Luckily he would redeem himself on his next effort Pain & Demon Slayin’in 2016 along with the self-titled album from him & Ye as the duo KIDS SEE GHOSTScouple summers later & even Man on the Moon III: The Chosen the day after my 24th birthday despite it’s blatantly heavy Travis Scott influence. At the beginning of 2022 though, Kanye announced that CuDi wouldn’t be on the unfinished DONDA 2 due to the latter’s friendship with Skete because he was dating Ye’s hobbit ex-wife at the time & ultimately resulted in a falling out between the mentor/protege duo that always brought the best out of one another. He stormed off stage at Rolling Loud later that same year because ignorant hecklers were throwing shit at him while performing & now Mike Dean announcing on Twitter that CuDi booted him off the inaugural Moon Man’s Landing festival that just went down earlier this month due to his longstanding ties as Kanye’s engineer. Shortly after, KiD CuDi would release his previous LP Entergalactic to mixed reviews although I appreciate how he took it back to his roots on there musically. But now only a month after making amends with Ye once more, CuDi’s finally going INSANO to sign off on his longstanding Republic deal.

“Often, I Have These Dreams” begins by assuring God has your back “when there’s a punk motherfucker tryin’ to bring you down when they see you shinin’” accompanied by a psychedelic instrumental from Mike Zombie whereas “Keep Bouncin’” produced by Honorable C.N.O.T.E. goes for a electro-trap vibe encouraging everyone to bounce to this shit. “Get Off Me” by The Scotts talks about being fresher than everyone else over horns & hi-hats, but then “Most Ain’t Dennis” balances trap & rage thanks to BNYX of Working in Dying alongside his mentor Jean Baptiste & FNZ showing off a more carefree attitude giving a nod to his manager Dennis Cummings.

A$AP Rocky joins CuDi for the trippy “Wow” explaining that life is amazing for them these days as they put a blunt up in the air & that everything will only get better from hereon out just before “Electrowavebaby” sings over a synth-funk beat sampling “All That She Wants” by Ace of Base about if anyone’s here with no issues & wanting a superstar to come fly with him. “A Tale of a Knight” however brings listeners into his life with a vibrant ass trap instrumental that Tom Levesque of Vanguard Music Group co-produced backing him leading into the mind-altering “CuD Life” with Keyon Christ providing co-production referring himself as the king of Rager Town.

“Too Damn High” featuring Lil Yachty embraces the rage beats even further as both of them look to get fucked up while “Getcha Gone” goes for a cloudier trap groove working all night long. The Scotts link back up 1 last time for the album’s final single “At the Party” getting live over a synthwave instrumental from Pharrell whose hook admittedly could’ve been performed a little better while “Mr. Coola” hooks up an airy backdrop & hi-hats dropping braggadocio.

Meanwhile, “Freshie” gives off a murky atmosphere with the help of CuDi’s longtime collaborator & WZRD cohort Dot da Genius joined by Plain Pat saying you can’t tell him shit whenever he pops up in the room while “Tortured” asks God to help him over a quirky trap beat from WondaGurl & Cubeatz. “X & CuD” heavily flips “Orlando” by the late XXXTENTACION underwhemingly explaining that he was born to be a grinder & that he’s doing it ill while “7” featuring Lil Wayne talking about being in heavy over more cloudy trap production cooked up by Clams Casino & Take a Daytrip.

“Funky Wizard Smoke” shouts out everyone who got that swish & some bread over an incredibly groovy instrumental while the acoustic trap-flavored “Rager Boyz” featuring Young Thug gives a middle finger to the law. “Porsche Topless” was a fun choice of a lead single & I still maintain that it’s a summertime bop even though people ripped on it at first while the warm “Blue Sky” produced by CuDi himself alongside Yachty & Sadpony goes on a quest to grind. “Hit the Streetz in My Nikes” ends CuDi’s final Republic offering groovily talking about being too cold.

I know people turned their backs on CuDi when he & Kanye were beefing for the 2nd time, but I’ve always stood by both artists throughout their careers as they’ve always brought the best out of one another & I’m more than glad they squashed it again. As for INSANO, it lived up to my expectations of being superior to Entergalactic. The production is a mixture of old & new sounds, it has a stronger feature list & CuDi is giving a toast to the ones living their best life not giving a fuck about what anyone thinks or has to say.

Score: 3.5/5

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21 Savage – “american dream” review

London, England, United Kingdom born albeit Atlanta, Georgia raised rapper, songwriter & occasional producer 21 Savage back with his 4th full-length solo LP over 3 years since the previous one Savage Mode II. Appearing on the iconic 2016 XXL Freshman Class list, he continued to make a household name for himself in the current trap landscape by dropping his 2nd EP Savage Mode with Metro Boomin’ producing it in it’s entirety shortly after. Then came his full-length debut Issa Album & an incredible collab album he did with Offset called Without Warning the following year, but it wouldn’t be until the end of 2018 where 21 dropped his most mature work to date with i am > i was. Fast forward a little over a month later, he was arrested by ICE after it was revealed that he was born in the UK & stayed in the US on an expired visa to freed 10 days later. But as he gears up to release his own biopic this summer coming off Savage Mode II, he’s giving us the soundtrack 6 months early.

After the titular intro, the first song “all of me” is a spaciously trap opener sampling Rose Royce talking about becoming the person that he is today whereas “redrum” works in more hi-hats & an operatic vocal flip thanks to London on da Track getting on his murder shit. “n.h.i.e.” featuring Doja Cat comes through with a moody pop rap duet discussing playing by the rules prior to the cloudy “Sneaky” laced by Coupe talking about how it be every time he gets with his bitch.

“pop ur shit” featuring Metro Thuggin’ finds both 21 & Young Thug getting braggadocious on top of a dark Metro Boomin’ instrumental except the “It smell like gas, I think somebody pooped” line is cringe just before the sample-heavy “letter 2 my brudda” is a sequel to “letter 2 my momma”. Metro returns behind the boards with BoogzDaBeast for “dangerous” featuring Lil Durk telling all the fuck boys to stay out their way over some crooning vocals & hi-hats, but then “née-nah” featuring Travis Scott goes into orchestral turf talking about people getting them fucked up.

Meanwhile, “see the real” takes the atmospheric route with the help of OG Parker explaining his dog don’t want nothin’ out of life but to kill motherfuckers while “prove it” featuring Summer Walker finds Coupe flipping Faith Evans so both of them can deliver a pop rap/R&B duet. “should’ve wore a bonnet” featuring Brent Faiyaz keeps the trap/R&B fusions rolling as Cardo samples “I Don’t Want to Do Anything” by Mary J. Blige featuring K-Ci while “just like me” addresses “the judge for my crimes” over a soulful trap beat Metro & FNZ made.

The penultimate track “red sky” sees Honorable C.N.O.T.E. blending these strings as well as hi-hats to begin the encore of the american dream soundtrack matched with 21’s lyrics about tides risin’ up to new highs & finally, “dark days” featuring Mariah the Scientist on the hook is a profound note to end the album on being unable to stand the thought of losing all his dawgs. I also felt that Kid Hazel played his part in enhancing the overall emotion to the track too.

Although I wouldn’t put it on the same pedestal as Savage Mode II as far as 21’s full-lengths go, we still got a solid follow-up from him nevertheless in my opinion. The production expands his trap sound by additionally pulling from gangsta rap, pop rap & chipmunk soul so he can formally address the long-standing queries about the UK-born rapper’s origin story & the immigration troubles that ensued in the intervening years.

Score: 3.5/5

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Donnie Menace – “Chainsaws & Boomsticks II” review

This is the 4th full-length studio LP from Stratford, Connecticut emcee/producer Donnie Menace. Emerging in 2008 off his debut mixtape The Threat & the leader of the Nitebreed collective, he would later continue to establish himself with the full-length debut Wrath of a Menace followed by his 2nd tape The Threat 2: Audio Sickness & his sophomore effort Bonded by Chaos. However over a year & a half ago by now, Donnie’s last album & his Lyrikal Snuff Productionz debut Chainsaws & Boomsticks was met with significant acclaim compared to his previous material joining the likes of Gully & E=MC Skelter. But for his LSP sophomore effort, Donnie’s returning with a sequel to his debut for the Denver gore hop label.

“The Boomsticks Reloaded” is a grimy, 2-minute self-produced boom bap opener unloading lethal battle bars on y’all whereas “Talk to the Chainsaw” keeps the kicks & snares in tact for a follow-up to the joint “Talk to the Boomstick” off Donnie’s last album with a reference to the late WWE Hall of Famer, former 2-time ECW World Heavyweight Champion, ECW Television Champion, 2-time WWE United States Champion, WWE Tag Team Champion, NWA World’s Heavyweight Champion, the oldest JCW World Juggalo Heavyweight Champion & 3-time WCW Hardcore Champion Terry Funk. “Take ‘Em Out” featuring White Cheddar looks to take out all competition over an organ-laced boom bap instrumental just before “Omen” samples “Trouble, Heartaches & Sadness” by Ann Peebles spitting the wicked shit.

M.M.M.F.D. joins Donnie for the bloodthirsty “Let Them All Rot” setting out to bring pain & destruction leading into “Run It Back” going completely drumless bringing it hardcore lyrically. “Another Scumbag Anthem” by Nitebreed pretty much lives up to the name conceptually returning to the boom bap, but then “Watch You Suffer” shifts gears into trap territory tackling more horrorcore themes.

“Where You At?” featuring Lex the Hex Master finds the 2 east coast lyricists joining forces for a hardcore anthem assuring everyone that they ain’t going nowhere while “Catchin’ the Bullets” gives me mafioso vibes from the instrumental to the subject matter from a gangster’s perspective. “S.M.B.T.M.D. (Suck My Balls Through My Drawers)” featuring the Super Famous Fun Time Guys says it all going for an old school vibe while “Body Shop” properly ends the album if you don’t count the “Lair of the Cenobites” remix with a ghoulish boom bap joint about dead corpses.

The first Chainsaws & Boomsticks was easily the most refined body of work compared to his previous material & the sequel here is as equally enjoyable as the predecessor from a year & a half ago. The production is primarily centered around boom bap with some trap undertones & a tight guest-list on top of the lyricism going from being boastful to straight gangsta & even murderous.

Score: 4/5

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Boldy James – “Penalty of Leadership” review

This is the 8th proper full-length LP from Detroit veteran Boldy James. Breaking out in the fall of 2013 off his Alchemist produced debut M.1.C.S. (My 1st Chemistry Set). He would later go on to land a contract with Nas’ independent label Mass Appeal Records for a little while before getting locked up but once Boldy came home, Uncle Al would help get his name back out there once getting out by dropping the Boldface EP around Christmas 2019 & then the sophomore album The Price of Tea in China. This was followed up with the Sterling Toles-produced Manger on McNichols which was as equally fantastic, but the Griselda Records-backed Versace Tape EP was a tad bit disappointing given how rushed it was. Bo Jackson though would become his most critically acclaimed work to date & Super Tecmo Bo was almost as great for an EP. The last I covered Boldy’s music was in 2022 for the well regarded Fair Exchange No Robbery produced by Nicholas Craven & Mr. 10-08 produced by Futurewave respectively. However in light of teasing Penalty of Leadership with Craven over the last couple months, we’re getting it at long last to ring in the new year.

“Formal Invite” is a soulful opener to the album assuring that every wish will be granted whereas “Jack Frost” works in another high-pitched vocal sample talking about being quick to rip the tag off after money being put on your head. “Evil Genius” goes into more synth-heavy direction wishing all the bros were here with him in this moment just before “Murderous Tendencies” says it all conceptually with yet another soul flip.

Continuing from there, “No Pun Intended” shifts into chipmunk soul territory so Bo Jack can talk about feeling like Thanos prior to the lead single “Brand New Chanel Kicks” going drumless making it clear that “this drug zone shit is so for real”. “Straight As” brings back the soulful vibes boasting that he been on his game time shit, but then “Soccer Mom” shooting for a calmer approach instrumentally talking about the 227 Concreatures being the ones.

“Early Worms Get Birds” featuring Double D might be the weakest on the album despite the boom bap production & Boldy’s lyrics declaring to be a new sheriff in town in addition to the references of former IWGPヘビー級チャンピオン as well as 10-time WWE world champion & former UFC Heavyweight Champion of both TKO Group Holdings divisions Brock Lesnar & WWE Hall of Famer Junkyard Dog while the chipmunk soul-inflicted penultimate track “Speedy Recovery” advises to sit back & take notes. “All My Tokens” closes Penalty of Leadership by jumping over guitars looking to stack his tokens up.

Fair Exchange No Robbery is one of Boldy’s strongest LPs ever, so I was more excited for this considering that it was literally the very first album that he ever recorded after being released from the hospital due to the car crash he was in & did it ever. He’s pretty much saying what’s on his mind after going through a life-threatening experience & Craven’s sample-heavy production is a step above the last one he did with the Detroit icon.

Score: 4.5/5

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Truth – “Nostalgia ThEraPy” review

Queens emcee Truth formerly of the trio Gods’Illa teaming up with Da Beatminerz for his solo debut EP. The year after the group’s full-length debut Believe in Gods’Illa however, he would start to build up a solo discography for himself with From Ashes to Kingdom Come. He then followed it up 3 years later by dropping the sophomore effort The Fight for Survival as well as For All Intents & Purposes. The latter of which was also produced by Da Beatminerz fully & was not only my personal introduction to Truth’s music, but one that I found myself enjoying more than his previous work too. So with that in mind, I was sure I was gong to enjoy Nostalgia ThEraPy as much if not more than that previous LP.

“Truth Is” really sets the tone of what‘s to come by laying battle bars down over dusty boom bap production whereas “Lock & Load” works in an eerie loop with kicks & snares aiming for the kill. “Spit It” featuring Al Skratch & Kurious finds the trio over a bloodcurdling boom bap beat encouraging to speak your thoughts just before “Here & Now” brings in the horns boasting that he’ll tear down any stage anywhere.

To start the 2nd leg of the EP, “Da Beatminerz Sound” has to be my personal favorite track off the whole thing as Truth reminds that him matched with Mr. Walt & DJ Evil D is a deadly combo on top of this raw ass instrumental that they’re known for prior to “Won By One’s Will” taking the symphonic route telling y’all to kneel down to the pharaoh. “Queens Carnivores” featuring Royal Flush begins the encore with this bluesy sample repping their stomping grounds & “Calling” ties everything up with a soulful flip by getting busy.

Even as a 9-song EP running at 27 & only 3 features, Da Beatminerz continue to bring the best out of Truth because this is another pretty impressive body of work from them. It’s like a warm dish of hip hop comfort food that just so happens to incorporate some new herbs & spices courtesy of the chefs involved, all by design as Truth continues to evolve lyrically over the traditional east coast boom bap sound.

Score: 4/5

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Mickey Diamond – “Gucci Ghost 4” review

This is the 11th full-length studio album from one of the illest Detroit emcees in the underground currently: Mickey Diamond. Emerging at the beginning of 2020 off the strength of his debut EP Bangkok Dangerous, the dude has since gone on to turn quite a few heads in the underground by building up the impressive discography for himself with his previous 9 albums alongside 7 EPs & a mixtape. But for the past year, Mickey has been consistent putting out some of the best material of his career thus far. This includes the Gucci Ghost album & it’s sequel produced by Big Ghost Ltd., the Ral Duke-produced Oroku Saki EP, the Sadhugold-produced Death Threat$ album, the Camoflauge Monk-produced Capital Gains album & more recently Gucci Ghost 3 only last weekend. But as we approach Christmas weekend, Diamond & Big Ghost are keeping the series going by unleashing a 4th installment to the Gucci Ghost saga with only a few days’ notice.

After the “Cut the Check” intro, the first song “Gucci North Face” is a sample-based opener referring to WWE Hall of Famer, 2-time WWE Intercontinental Champion & 3-time WWE Tag Team Champion Rikishi whose nephew Jacob Fatu is the longest reigning MLW World Heavyweight Champion & a former HoG Heavyweight Champion whereas “Ice Caps” gives off a somber boom bap edge talking about being in the last days. “Maurizio’s Funeral” has this drumless soul flip declaring himself as a hitman for hire rocking luxurious attire prior to “Giverny Frames” bringing back the kicks & snares so he can get on his mobster shit to round out the first half of the album referencing 10-time WWE world champion, 2-time WWE Intercontinental Champion, 5-time WWE Tag Team Champion, United Football League (UFL) co-founder & $7 Productions co-founder The Rock.

After the “Gucci Boycott” interlude, “Yachts n Boycotts” starts the 2nd leg of the LP by jumping over a suspensefully dark boom bap instrumental asking to be forgiven for his sins along with reminding that there’s a thin line between family & friends just before “Godzilla Mac 10s” keeps it raw talking about being a certified killa. “Murder for Hire” morbidly gets in his outlaw bag leading into “The Last Supper” featuring Big Trip, Bori Rock, Shaykh Hanif, Snotty & Ty Farris closing out Gucci Ghost 4 in the form an 8-minute posse cut with my favorite verses going to Diamond as well as Big Trip, Snotty & T-Flame. I also loved the line Ty had regarding Dana White, who is now the CEO & President of the UFC after WME Group merged Zuffa with the WWE to form TKO Group Holdings this fall.

You know since the first Gucci Ghost came out at the beginning of December last year & then 2 followed only 3 weeks later, I should’ve figured that a 4th installment was on the horizon at some point & I actually happen to love it as much as the predecessor that we got only the previous weekend. Big Ghost Ltd.‘s production is predominantly in that boom bap style with more drumless undertones, Mickey still remains as one of the sharpest lyricists in the Umbrella collective & I love how there’s more features except they all pop up in the backend of it.

Score: 4.5/5

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Big Hit – “The Truth’s in My Eyes” review

Big Hit is a 52 year old rapper from Los Angeles, California notable for being the father of one of hip hop’s most in-demand producers that we’ve seen in recent memory: Hit-Boy. He was found guilty & convicted of a hit & run resulting in great bodily injury almost a decade ago, unlawfully being sentenced to 12 years & 4 months in prison including a 5-year GBI enhancement connected to Count 1. This February, his petition for a writ of habeas corpus was granted & became a free man few weeks ahead of his son’s 36th birthday. Hit would have his father join forces by making Surf or Drown 2 a collab effort tailored for Father’s Day Weekend & now only less than a couple weeks until Christmas, they’re keeping it rolling except Hit-Boy is fully producing his dad’s official full-length solo debut album.

The title track is a symphonic opener to the album talking about keeping it gangsta so I ain’t got shit to hide whereas “Red Lotion” featuring Jay Worthy & RJ finds the trio boasting that they’re flamed up & burning forever on top of a drumless soul sample. “Load ‘Em Up” featuring the Baby Stone Gorillas sets out to load it the sticks, spin the block, load ‘em up & pull off in the Lotus truck leading into “Take Some Off of That” going into trap turf with co-production from Rogét Chahayed calling out those who ain’t cut from the same cloth as him.

“Extra Clips” gives off a smoother edge to the instrumental describing the way he lived in the streets proclaiming the LA County Sheriffs to be worse than the feds just before “Wigglin’” featuring Mozzy shifts gears by lacing a chill backdrop with hi-hats & even a g-funk beat switch during the end of it as both of them admitting they’re trappin’ again, but then “Broke the Mold” luxuriously disses all the copycats out here these days.

Big Hit’s son joins his dad on the mic for the booming lead single “A$AP Chauncey” looking to run it up while “Boo Bop” works in these strings & later keys accompanied by hi-hats dropping braggadocio on the lyrical front. “Shoppin’ Monster” featuring WWE Hall of Famer Snoop Dogg fuses elements of trap & g-funk so both of them can celebrate while the highlight “Man, I’m Rollin’” gives off a jazzier flare thanks to The Alchemist rockin’ shit that’s fresh off the showroom floor.

“Breaking the Ice” featuring Half-a-Mil & J. Stone weaves together pianos chords with kicks & snares so everyone can handle business while “The Pain is Deep” gives off a g-funk vibe once more admitting that if this is heaven, then he doesn’t even wanna see hell. “Inspiration” featuring Figg Newton & Killa Twan is a decent trap cut dedicated to everyone catching cases while “Speaking in Codes” featuring Benny the Butcher does that general sound significantly better advising that the sharks gotta learn to finesse around.

The penultimate track “Stay On” featuring Big Tray Deee formerly of the LBC Crew & Tha Eastsidaz finds the 2 joining forces over a funky boom bap beat as both of them make it known that they’ve paid their debts to society after spending time behind bars prior to “G’z Don’t Cry” closes out Big Hit’s debut LP that’s been almost a decade in the making by soulfully admitting that the titular rule is in fact a lie.

Now for those of you who just got into Big Hit this spring when he came home & put out Surf or Drown 2 with his son the next month for Father’s Day, there’s no way that you’re not gonna walk away from The Truth’s in My Eyes liking it more since you get a better look of who he is artistically & personally. Even though a few guests fall flat, the overall sound impressively ranges from boom bap to trap & g-funk on top of Big Hit’s passionate performances.

Score: 3.5/5

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(həd) p.e. – “Detox” review

(həd) p.e. is a g-punk outfit from Huntington Beach, California masterminded by Jahred Gomes. From their first 2 albums under Jive to their first stint on Suburban Noize in the mid-2000s, these guys have truly been making a name for themselves for over 25 years whether that be their eclectic sound or the more political lyrics on some of their recent output. They returned to Subnoize in 2019 for their 11th album Stampede even though it wasn’t generally received that well by both critics & fans alike, but the Broke sequel Class of 2020 returned to their roots & the subsequent EP Sandmine wound up being angrier. However to come off the Califas Worldwide compilation & their covers album 70s Hits from the Pit, M.C.U.D. & company are ending Suburban Noize’s 25 year anniversary by detoxing their 13th full-length LP of all original material.

“No Way Out” is a skull-smashing trap metal opener to the album declaring that they’re back in black whereas the title track returns to their g-punk roots singing that he knows just what you want. “Waiting” gives off a bit of a rap rock vibe addressing someone who’s no good for him, but then “Too Late” goes into a straight-up nu metal direction talking about how you need to count your blessings. Moving on from there, “This Dream” takes it back to the g-punk sound that they created reminding that the dream they have isn’t for everyone just before “Compromise” fuse elements of reggae, punk rock & hip hop refusing to give & take. “Rat Race” embraces works in another trap metal beat so M.C.U.D. can paint the image of a nightmare leading into the rap rock “Going Nowhere” promising they ain’t leaving anytime soon. “Pour My Wine” draws near the end of the album with a rap metal groove encouraging to light the blunt up & fill up his cup or glass with wine prior to “PCH” closes the album for a funky rap rock dedication to those doing time as we all know that life’s too short & time is continuing to fly by.

Class of 2020 to me wasn’t that bad of a sequel to Broke, but the way Detox pays homage to their g-punk origins by capturing the frenetic energy & signature elements of their distinctive sound is more than enough to satisfy anyone who obviously loves these guys. Ulrich Wild’s masterful mix & master seamlessly melds raw aggression, hip-hop influences & hardcore vibes to deliver a sonically cohesive experience. If this is how the 25 year anniversary of Suburban Noize Records ends, it’s a pretty ass-kicking high note.

Score: 4.5/5

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