Oakland, California emcee joMi returning a year & a half after Too Close so he can release his 3rd full-length studio LP. Introducing himself in the underground off his 2018 debut Samo followed by the 2022 sophomore effort Media Noche, he actually came onto my radar around the time Too Close dropped since he signed to Soulspazm Records around that same time & finding out 80 Empire fully producing S.U.M. (Someone Understand Me) 1 had me more intrigued since I’ve been following some of the artists they’ve worked with for quite some time.
The title track sets a somber tone to get us started equating alcoholism with the devil whereas “Run” featuring Demrick depicts the desperate urge to escape reality over a cloudy boom bap instrumental. “Mirror 2 Times” works in a guitar solo he can reflect on the painful process of self-confrontation prior to “j.o.M.i (journey of My imagination)” telling everyone the meaning of his stage name bringing an atmospheric flare to the table.
“We Didn’t Notice TBH” goes full-blown trap to talk about feeling good leading into “Down If U Are” featuring G. Cardona & Ginger Nkosi highlighting the critical moment of self-questioning during joMi’s descent into drug experimentation. “Holy Water” hooks up acoustics & claps talking about alcohol being heaven sent, but then “Chico” featuring Baby Gas returns to the boom bap reflecting on the long way they came.
Starting the final leg of the LP, the song “Bottles on the Top Shelf” goes for a nocturnal trap vibe saying that the liquor & shrooms on the top shelf since they pair well while “144K” featuring Dizzy Wright brings a chilled out approach to the table asking if you want this drank & weed. The penultimate track “No Mind” featuring ¡MAYDAY! keeps it trap advising to ignore them & finally, “Used to Love” ends the album calling out a poison disguised as a remedy.
Other than that, S.U.M. (Someone Understand Me) 1happens to be a powerful concept album that explores joMi’s own battles with alcoholism & addiction. He takes listeners on an emotional journey through the highs & lows of substance abuse, delving deeper into darkness offering a raw & immersive look into the emotional turmoil of addiction with better picked guests & improved production.
Chicago, Illinois rapper, singer/songwriter & record executive Polo G returning for his 5th LP. Rising to prominence in 2019 off his debut album Die a Legend which I personally found it to be decent, it wasn’t until the sophomore effort The GOAT the subsequent spring where I noticed some significant improvements. Hall of Fame & it’s sequel on the contrary were both released to mixed reception in 201 & is looking to redeem himself as the H.O.O.D. P.O.E.T. or He Overcame Obstacles During Pain Or Emotional Trauma.
“God’s Favorite” was a decently thunderous trap opener produced by Nick Papz & Allen Ritter starting us off letting us know that’s exactly what he’s feeling like right now whereas “No Recruits” featuring G Herbo has a stronger instrumental that Southside & Smatt Sertified cook up together going Chicago drill telling us how wicked it gets in Chiraq. “Barely Holdin’ On” with co-production from former G.O.O.D. Music in-house producer Noah Goldstein & unfortunately Dr. Luke was a emo pop rap fusion that goes over decently, but then the cloudy/trap crossover “Only Gang” featuring 42 Dugg talks about not fucking with these newer guys.
Fridayy gives “Same Me” a moodier feeling reassuring everyone that he’s still the same guy as he was when he first blew up leading into the twangy trap vibes of “Detox” talking about falling in love with the Glock & needing to do exactly that after taking in too much fake love in recent years. “Thorns” has a catchier trap flare generally needing a light for his dark soul just before “G63” featuring Offset heading for a psychedelic direction pullin’ up jumpin’ out the titular whip.
“We Uh Shoot” featuring Lil Durk fusing gangsta rap & trap together reaffirming that both of them stay carrying sticks while “Rain Fallin’” featuring The Kid Laroi stands as one of the weaker moments on the album further embracing the emo influences from earlier although Kid Laroi’s take on it still rubs off as tacky. “Distraction” picks things back up with what I thought was an incredible lead single from the acoustic trap production to Polo calling out those discrediting his talent & “No Turning Back” featuring Hunxho cavernously explains making it this far.
Easily the weakest single of the rollout has to be “Angels in the Sky” due to it’s horrendous mixing, which is a shame because the overall theme of it comes from a good place & “Darkside” once again makes up for it this time by telling us his mental state in 2020 when both installments of the Hall of Fame series came over pianos & hi-hats. “Bad Kids” featuring Glorilla keeps the keys together swapping the hi-hats out in favor of 808s telling us who they hung around growing up while “Survival of the Fittest” featuring Future goes drill saying that’s what it’s like in the trenches.
“Father’s Day” nears the final moments of H.O.O.D. P.O.E.T. (He Overcame Obstacles During Pain Or Emotional Trauma) with Cubeatz helping Allen Ritter & Southside provide a delicate trap atmosphere serving as an open letter to Polo’s own father knowing that he’s forever here for him that is until “From the Heart” ends Polo’s return-to-form hopping over a roomy beat telling the world that from this point forward, he’s only writing songs if it comes from the heart rather than ego. I even like the reference to the greatest WWE superstar ever; Hall of Famer, 7-time world champion & 7-time tag team champion & WWE Hardcore Champion The Undertaker.
Right when people had already started assuming he had fallen off, Polo G returns to the fore with more life experience & rededicated to spitting about what he knows best: unflinching narratives of pain & pleasure, hood parables & romantic woes. The production has gradually improved from the 2 offerings from 4 years ago, most of the features nailed their contributions & Polo’s own versatility game has gradually stepped up.
Southside is a 35 year old producer, rapper & songwriter from Atlanta, Georgia notable for co-founding the 808 Mafia with Lex Luger as well as being 1/2 of the duo So Icey Boyz with Metro Boomin’ in addition to the 7 solo mixtapes of his discography. Most notably the Free Agent trilogy & both Trap Ye installments. However for Sizzle’s official full-length solo debut album Break the Silence, he’s having it backed by Epic Records.
“Switch” is a 2-part trap opener with a mostly cloudy sound until the regalia influences come up during the last minute or so flexing that he’s been going strong from the start whereas “Uber” has more of a rage-inducing vibe overall talking about moving on to for a new bitch because he “got bored as shit”. “Bape” hooks up some bells & hi-hats paying homage to one of my all-time favorite clothing brands A Bathing Ape, but then “Excite Me” goes for a grimmer atmosphere saying that the bread excites him.
Meanwhile on “Drive Thru”, we have Southside bringing a psychedelic trap flare to the table cautioning that he can make muhfuckas disappear telling it how it is with everyone on the sidelines hating just before “Hoes” goes hypertrap thanks to TM88 talking about how his new girl being little rather than a hoe. “Break a Promise” works in bells & hi-hats admitting that he promised one of his exes the world only for him to break it leading into the 2 minute “In This Bih” findin’ him stuntin’ in the spot.
“Topp” heads for a cloudier direction instrumentally from it’s titular producer suggesting those who lost their smell of money should be called COVID while the atmospheric trap joint “Broadway” lets the world know that he’s living with his heart again. The rattling “Blockstar” that Smatt Sertified laced with his monitor obviously given the title discusses his status in the hood & shit getting wicked prior to “Run a Mile” drawing from rage scene again feelin’ like people changed on him ever since his bread went up.
Starting the final leg of Break the Silence, the song “Vette Pass By” gives off a morbid flare to the beat to call most out here pussy while the 90 second “Ain’t Nothin’” talks about not seeing numbers first & that makes me happy because neither do I myself. “My Kitchen” is another 2-parter with a Hellish first half going hypertrap for the other declaring that no one knows how to fuck with him out here & finally “No Disguise” interestingly ends on some drumless chipmunk soul shit advising that you ain’t cool ‘cause you rich.
We haven’t heard from Sizzle since the Southside & ChaseTheMoney EP fully produced by the latter & I’d suggest listening to both Trap Ye tapes if you really want to hear what the 808 Mafia co-founder at his best on the mic. As for his first proper solo LP, it’s alright. His distinctly known gangster, bombastic, gritty, rambunctious & menacing trap sound compared to that of his collaborators takes a backseat sticking to regular trap additionally pulling from the rage subgenre which funny enough takes cues from Pi’erre Bourne’s production style & I prefer Pi’erre as a rapper than Southside although both are on the Mt. Rushmore of trap producers with Metro & Zaytoven.
Charlotte, North Carolina recording artist BigBabyGucci returning after 8 months for his 4th album. Getting his start in the summer of 2016 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 3 full-lengths & a mixtape along the way. Coming off one of his best LPs & EPs to dateWhen U Wake Up & When You Go to Sleep respectively, BBG’s looking to continue the acclaim of his last couple projects with Baby 5.
The synth-heavy “News” begins expressing his concern for the woman rockin’ his chain puttin’ on for those who didn’t make it whereas “Belong to Us” kinda takes a funkier route instrumentally talking about hoes that ain’t even his. “★★★★★ Dinner” featuring MDMA pulls inspiration from the west coast hip hop scene a bit claiming they ain’t even in their prime yet while “Dirt on It” brings the rage beats in the fold promising to make it work.
“Captain Crashout” maintains the hypertrap vibes of the previous cut flexing the nickname that his bitch gives him tryna turn her into a pornstar just before “Oxy Queen” further induces the rage talking about his chick doing oxycontin. The pluggy “Mark Zuckerberg” named after the Meta Platforms founder boasts that he grinds day ‘n’ night like KiD CuDi & having more songs than Drake, but then “Pink Sprite” turns the bass up to 11 pointing out haters tryna do it the same as him.
Moving on from there, “Temporary” goes hip house discussing a 1 night stand leading including a reference referencing the inaugural IWGPヘビー級チャンピオン, former 12-time WWE world champion, WWE tag team champion, 2-time WWE Hall of Famer & Real American Beer founder Hulk Hogan to the into the minimally produced “Stop Tryna Read on My Mind” telling a hoe he ain’t got time for to do simply that. “Phony Girl” featuring Bryant Barnes wraps up the first half of Baby 5 cooking up a rock/R&B duet telling their significant others they acting disingenuous while the chilled out “Instagram” breaks it that he doesn’t give a fuck about the titular social media app.
“I’m That Type” featuring Frais flexes the power, influence & money that they have in the Charlotte hip hop scene currently over an instrumental experimenting with Detroit trap while “Chris Tucker (Comedian)” psychedelically gets geeked as fuck leveling up his wallet to Goyard getting rich. “Local Member” pulls from the hypertrap scene once again finds him tired of people callin’ him their twin since he ain’t like them while “No Photos Please” gets on the alternative R&B tip again not wanting any pictures taken of him at the function.
Meanwhile on the acoustic “Tequila”, we have BigBabyGucci getting crossfaded in order to forget about an ex-girlfriend who he’s been thinking about latterly ahead of the dynamic 2-parter “Chanel / Solar” talking about how bad this bitch is & his life being bright. “You a Joke” hooks up synths & claps laughing off those who go get it all & choking while “These Days” moodily gets choosey nowadays.
“Slime Flow” continues the encore of Baby 5 showing the amount of respect he has for YSL Records founder & trap trailblazer Young Thug accompanied by pianos & synthesizers paying homage to Thugger’s flow telling y’all to come out & jump out the fire with a real one like him & “Pink Runtz” cloudily ends the LP admitting that he doesn’t like to smoke the titular strain of weed out in the field.
As much as I enjoyed both When U Wake Up & When You Go to Sleep, BigBabyGucci reached the same caliber he did last fall & it has me further anticipating the alternative album that he has coming out taking it a step further. His take on pop rap, alternative R&B, trap, rage, rock music & funk music culminates uniquely pulling inspiration from the likes of 2000s era Ye or formerly known as Kanye West to Marilyn Manson & even PARTYNEXTDOOR.
This is the sophomore effort from superduo ¥$ consisting of Los Angeles, California singer/songwriter, multi-instrumentalist & producer Ty$ alongside Chicago, Illinois rapper, singer/songwriter, one of my top 10 producers of all-time, fashion designer, former G.O.O.D. Music founder Ye or formerly known as Kanye West. We’ve seen them together a handful of times for nearly a decade on tracks like “Guard Down”, most specifically “Real Friends”, “Ego Death” & “Everything We Need”. However, the first installment of the Vultures trilogy came on the 20 year anniversary of my favorite Ye album The College Dropout to mixed reviews. Anthony Fantano even labeled it as “unreviewable trash” although I personally thought it had it’s highlights despite both KIDS SEE GHOSTS & Watch the Throne being significantly better. 5 months after it’s initial March date, Vultures 2 is finally here.
“Slide” is an impressive pop rap, hip house & alternative R&B crossover with additional elements of experimental hip hop that Ye, Wheezy, Fred again.., London on da Track & Leon Thomas III produced together asking Zalia & Bianca Censori if they would ride of them whereas “Time Moving Slow” turns the hip house influences up to 11 courtesy of The Legendary Traxster reflecting on past relationships although it’s gross that Ye has dominion over her.
Don Toliver, Kodak Black & Playboi Carti all join ¥$ for what could very well be the most anticipated track off the album “Field Trip” & it sure delivers with it’s alarm raising instrumental that Wheezy & Dez Wright cook up together sampling one of my favorite Portishead songs “Machine Gun” near the end getting romantic with their partners except Ye briefly using AI for his part was pointless prior to the rage-inducing “Fried” coming off a spiritual successor to “Carnival” reenlisting The Inter Milan Ultras on background vocals & Outtatown behind the boards cautioning not to fuck with them because they’re exhausted.
After the “Isabella” skit, “Promotion” featuring Future works in organs & hi-hats to talk about heartless lovemaking that is until “Husband” solely produced by Ye kinda throws it back to the 808s & Heartbreak era minus the auto-tune saying that family heals. “Lifestyle” featuring Lil Wayne samples “LOVE IS GONE” by Nico Baran of Internet Money Records talking about their significant others wanting to live the lifestyles they do just before James Blake provides “Forever” a predominantly more atmospheric & melodic tone overall singing about the possibility of hoping they can last forever with Ye unfortunately using AI again.
“Bomb” featuring Ye’s daughters Chicago & North West alongside Yuno Miles gives off a Jersey Club rap vibe to boast including a Japanese portion interestingly enough leading into “River” featuring Young Thug & it’s entrancingly spirit-lifting trap beat from Pi’erre Bourne & Digital Nas tackling false ideologies in the rap scene calling for Thug to come home. My favorite song here “5:30 / Dear Summer” assisted by E*vax feels like a legitimate College Dropout throwback other than the lazy AI ending, but then “Dead” featuring Future & Lil Durk hops over an intoxicating instrumental from ATL Jacob talking about how they can’t be playing with these diamonds & money.
Lil Baby appears on “Forever Rollin’” bringing a ghostly trap flare to the table addressing loyalty while the guitar-driven “Sky City” featuring CyHi the Prynce with BoogzDaBeast & Timbaland on co-production gets unearthed from the Yandhi sessions except it’s ruined by AI again. “My Soul” featuring Big Sean on the remix ends Vultures 2 lettingBoogz, DJ Camper, FNZ, 30 Roc & YZY SND Head of Music 88-Keys blending gospel & hip hop in the vein of DONDA so ¥$ can pay tribute to the 4,000+ prisoners in California being used to put out the wildfires that have been ravaging the state for the last 3 decades additionally dissing Adidas.
“Take Off Your Dress” starts the deluxe run sampling “Please Make It Good Again” by Talmadge Armstrong likening their partners to supermodels while “Gun to My Head” featuring KiD CuDi reunites KIDS SEE GHOSTS sampling “Blindside” by Alice Merton talking about not being too hard to find. JPEGMAFIA fresh off his superiorly better new album I Lay Down My Life for You & BoogzDaBeast flip “Super Sharp Shooter” by the Ganja Kru for “Believer” clarifying that Christians don’t like to admit that they like to sin & the hip house flavored “Drunk” by Bad Bunny, Kodak Black & Peso Pluma talks about being fucked up. “Can U Be” featuring Travis Scott ends the bonus track run with a hip house Havoc beat asking if one is afraid.
The sequel to Vultures finds ¥$ taking themselves below the predecessor as a whole listening experience although the sound compared to the debut goes from pop rap to hip house, alternative R&B, experimental hip hop, rage, Jersey Club rap, the chipmunk soul sound Ye helped pioneer, trap, gospel music & rap rock pretty much mixing old & new sounds together. I don’t like the use of AI in music because I feel like the way that Ye utilizes it as lazy compared to The D.O.C. & Beanie Sigel both saying they’re working on new albums using AI on their voices. It’s about how you use that technology & he doesn’t use it to elevate himself musically.
Here we have the 7th solo album from Atlanta, Georgia emcee, songwriter, actor & activist Killer Mike. Brought into the limelight due to his feature on “The Whole World” off of OutKast’s eponymous greatest his collection, he eventually signed to Columbia Records & put out the full-length debut Monster in the spring of 2003 & following it up with the I Pledge Allegiance to the Grind trilogy through his self-owned Grind Time Official Records with the exception of Grand Hustle Records helping distribute the final installment. His future Run the Jewels cohort El-P fully produced the critically acclaimed R.A.P. (Rebellious African People) Music through the [adult swim]-owned Williams Street Records alongside GTO & Grand Hustle of course returning last summer to sign a new solo deal with Loma Vista Recordings for the personal Michael that went on to win 3 Grammys. However, he’s delivering Songs for Sinners & Saints as an epilogue to the Michael era.
“Bussin’ Bricks” samples “Shout Bamalama” by Mickey Murray to talk about hustling whereas “Nobody Knows” shifts gears into sumptuous boom bap territory explaining that his transformation is still undergoing & it’s still showing itself. “Humble Me” gives off a predominant southern political hip hop vibe asking God to make him humble referencing WWE Hall of Famer Muhammad Ali & “Higher Level” returns to trap turf instrumentally refusing to give up on the mission to be taken to a new level.
Offset joins Mike for the piano-driven “Exit 9” produced by Honorable C.N.O.T.E. hoping those listening can feel their pain leading into “Lord Prepare Me” featuring Belly Gang Kushington & Jane Handcock blending gospel & trap together asking God to forgive them for their wrongs since they wanna do right. The damn-near 10 & a half minute “Slummer 4 Junkies” remixes both “Slummer” & “Something for Junkies” from Michael just before “Had to Go Get It” is another gospel/trap hybrid asking to be granted better days.
The “‘97 3-6 Freestyle” rips up an apocalyptic trap beat from DJ Paul & TWhy to shreds off-the-dome paying homage to the Three 6 Mafia during the seminal Memphis group’s Chapter 2: World Domination era & finally, “Still Talk’n That Shit” concludes the epilogue of Killer Mike’s most personal offering to date with a sequel to the highlight track “Talk’n That Shit” featuring both Key Glock & Project Pat. I should further mention “Detonator” featuring Rock D the Legend with El-P behind the boards made for Call of Duty: Black Ops 6 & later becoming the official WWE Backlash XX theme song.
Songs for Sinners & Saints thanks all of Killer Mike’s supporters for this journey he’s been for helping him see so many of his dreams come true & the support I’ve received this past year has been so beautiful & inspiring, he realized wasn’t finished with the sound & wanted to do something with the people who’ve been bringing it to life every night performing it with him. I still prefer Michael & R.A.P. (Rebellious African People) Music, but these 10 tracks still very much come from a genuine place landing itself a spot for being one of his top 5 albums.
Detroit, Michigan underground veteran Vstylez returning after 6 & a half years for his 3rd full-length LP. Being introduced to him through his feature on “Clash of the Titans” off of eLZhi’s 3rd mixtape The Leftovers, he eventually put out a debut album of his own At Oddz ‘Til I’m Even in late 2014 & the sophomore effort Thornton Melon about 4 years later. The acclaim of the latter resulted in V temporarily signing to Middle Finger Music, whom he started working on Buddy Revell for in 2021. Years of delays later, he’s finally putting it out solely through RSM Recordings much like the last couple.
The title track gets the ball rollin’ with an eerie boom bap instrumental comparing himself to the titular antagonist from the movie 3:00 High whereas “Hustle Hard” featuring RJ Payne keeps the kicks & snares in tact to talk about both of them grinding their fuckin’ asses off. “L.L. vs. Tarantino” has one of my favorite beats on the album from DJ Rhettmatic sampling rock music ripping it hardcore lyrically paying homage to LL Cool J just before “The Wake Up” featuring Bumpy Knuckles returns to the boom bap thanks to the latter wakin’ up everyone who been sleeping on them.
“Me” hooks up chimes, kicks & snares to talk about how harder it is to do him than one might think leading into “Edgewater Park” featuring Ro Spit & the Twin Towers produced by Nottz ruggedly dedicating this one to all their homies in the streets. “Listen” has the soulful vibes Apollo Brown became known for assuring you’ll learn from experience in due time, but then grimy “Biscuit” featuring Jimmy the Icon talks about having the heaters on them.
Boog Brown, Guilty Simpson, Phat Kat & Ty Farris all join V for a remix to the Thornton Melon highlight “Detropolis” keeping the same Pete Rock instrumental for a Motown posse cut while the piano/boom bap hybrid “Stroke of a Pen” discusses confessing his thoughts through writing songs. “Wrath of the Titans” featuring Guilty Simpson, Lil’ Fame, Shabaam Sahdeeq & Skyzoo lastly ends Buddy Revell aggressively referring themselves as the titular titans.
It’s certainly been quite some time since we’ve last heard from V & he’s coming back with only a month & a half or so left of summer to make the long-awaited album he’s been working on for a few years already a step above the previous one. He himself has grown a lot since Thornton Melon both artistically & personally, the production’s raw & the guests are all well picked out. Apparently he’s got another project coming next month called Walter Sobchak, which has me anticipating it as much as this considering that it’s named after John Goodman’s character in The Big Lebowski.
Baltimore, Maryland emcee, singer, producer & visionary JPEGMAFIA releasing his 5th solo album & the first in 3 years. Breaking out 2016 with the release of his full-length debut Black Ben Carson, it wouldn’t be until the man’s next 2 albums Veteran & All My Heroes are Cornballs where he would reveal himself as one of the most creative minds in hip hop today. The 8-track EP, it’s follow-up with almost all newly recorded material, LP!, the Danny Brown collab effort Scaring the Hoes & Peggy’s production credits on ¥$’ debut album Vultures earlier this year all further solidified that so much I had nothing to worry about ahead of I Lay Down My Life for You.
“I scream this in the mirror before i interact with anyone” begins with a rap rock sound saying Peggy would be a worse version of Dillon Brooks if he was a basketball player whereas “Sin Miedo” works in elements of experimental hip hop, hardcore hip hop, rap rock, industrial hip hop, deconstructed club, ghettotech & Baltimore club telling all the big booty hoes to touch the ground. “I’ll Be Right There” gives off a gospel/boom bap flare to the beat coming back outside to take the game by surprise while the experimental “it’s dark & hell’s hot” fires shots at Drake.
Vince Staples joins JPEGMAFIA for the synth-driven “New Black History” co-produced by Flume flexing they hit the lottery earning money like current Monday Night RAW superstar, former 6-time WWE world champion, WWE Intercontinental Champion, WWE tag team champion, 2-time AEW World Champion, inaugural ROH Hall of Fame inductee, ROH World Champion, 2-time ROH World Tag Team Champion & IWA World Champion CM Punk who later albeit unsuccessfully competed in the UFC division of the WME Group-owned TKO Group Holdings & dissing Drizzy again with the line “cashing out for PDF’s & rapers” just before “don’t rely on other men” blends industrial hardcore hip hop & industrial rap rap reflecting on Peggy’s unflinching authenticity & his status as a paragon within the experimental hip hop scene. “vulgar display of power” further embraces the rap rock vibes talking about bringing the pain leading into “Exmilitary” sampling “After Laughter (Comes Tears)” by Wendy Rene paying homage to Death Grips’ debut mixtape of the same name.
“JIHAD JOE” flips “It’s Your Thing” by Cold Grits thanks to Kenny Beats dissing those who think they know him while “JPEGULTRA!” featuring Denzel Curry keeps the rock samples going getting on their hardcore shit. “either on or off drugs” soulfully talks about feelin’ like an accident while the lavish boom bap hybrid “loop it & leave it” laughs off anyone who still thinks he’s a joke. “Don’t Put Anything on the Bible” featuring Buzzy Lee psychedelically tackles religion & “i recovered from this” hops over a sample of “Funny How Time Flies (When You’re Having Fun)” by Janet Jackson to break over a bitch.
After the “I.S. 231” intro, “Protect the Cross” gets the deluxe run going by fusing rap metal, hardcore hip hop, nu metal, political hip hop & experimental hip hop calling one’s political beliefs being your gang sign in 2025 taking a couple more shots at Drake while “Jordan Rules” references former 4-time WWE Intercontinental Champion, 2-time WWE tag team champion & NXT Champion Sami Zayn. “Cult Status” is a sequel to “New Black History” keeping the same beat with all new lyrics dealin’ with known addicts while “Coke or Dope?” goes rap rock again talking about never being normal again.
The drumless title track featuring Buzzy Lee speaks from his heart that both of them want to find someone with a true connection in the midst of looking back on some of their past relationships & after “Boy You Should Know!” sampling “Body Party” by Ciara lights this bitch on fire, “Allah” cloudily flips “Pelle Coat” by Lil Durk showing a religious side to Peggy praying to the God of Islam while “What in the Hip Hop Hell?” returns to his usually aggressive & experimental style proclaiming Malcolm X didn’t die for this referencing WWE’s 2nd flagship program SmackDown followed by WWE Hall of Famer, former WWE Champion & WWE Tag Team Champion The Iron Sheik.
“Come & Get Me” samples “Weak Ass Bitch” by the Three 6 Mafia flexing that he’s too legit while the guitar-based “Bloodline” wants everyone to acknowledge him as if he’s former 6-time WWE world champion, WWE Intercontinental Champion, WWE United States Champion, WWE Tag Team Champion & the Only Tribal Chief Roman Reigns who had the honor of inducting his wiseman in former ECW owner Paul Heyman as a WWE Hall of Famer this past spring. “Hate” by FREAKY stakes his claim as being one of the best rappers alive & Kenny Beats giving it a dark trap sound while the final bonus track “Take An” concludes with an instrumental outro.
6 & a half years since I’ve been introduced to him through his sophomore effort Veteran, Peggy has always been ahead of the curve as far as modern experimental hip hop goes & I Lay Down My Life for You reaffirms that notion serving as the 4th consecutive classic in his discography already. The themes of religion are more prominent in contrast to JPEGMAFIA’s earlier material as he pushes his experimental hardcore hip hop sound beyond industrial hip hop, rap rock, boom bap, deconstructed club, ghettotech & Baltimore club with a couple stronger guests than LP!.
Kalamazoo, Michigan emcee Skitzo releasing his 8th studio LP & MonStar Entertainment debut. Introducing himself in the underground through his 2010 debut The Ghetto Democrat, he subsequently gained more exposure with The Sumerian Tablet as well as Political Avatar & Deities. The next 3 albums The Butterfly Effect, Black Wolf & Lucid Dreams further strengthened his status to the point where Flint emcee & one of the last artists Psychopathic Records put on Lyte signed Skitzo to MonStar Entertainment in the summer of 2022. I even had the pleasure of meeting him at Astronomicon 3 right before the 2020 COVID-19 pandemic, so I knew Tre-Von was gonna be the most important entry of his discography yet.
“F.A.F.O. (Fuck Around Find Out)” is a piano trap opener talking about those tryna test him whereas “Wild Things” featuring Frank Nitty works in an eerier atmosphere keeping the hi-hats in tact cautioning not to look far if you’re looking for bullshit. “Don’t Make Me” continues the trap vibes warning that they’ll act a fool if you keep pissin’ ‘em off, but then “Blqck Boy Lost” has to be one of the most personal moments addressing family issues.
The soulful trap vibes on “Power” are joyous & motivational looking to protect his peace leading into “Run It” featuring Majik Ninja Entertainment’s filthiest G-Mo Skee going full-blown boom bap putting the ski masks on their faces getting on their battle shit lyrically. “The God Butcher” is a rock/trap crossover paying tribute to all the homies he’s lost in the last year while the drearier “Picking Up the Pieces” discussing that you can tell when life gets messy.
“Pure Michigan” fuses soul & trap again paying homage to the state that raised him while “Pagne” brings a delicate trap flare to the table so Skitzo can talk about everyone seeing him shine. “Carousel” featuring Str8jaket keeps the same energy finding MonStar’s very first signees venting the thoughts that’ve been spinning in their heads & “Fast Lane” featuring Lil’ Polk & Lyte finishes the LP aggressively reminding that the MonStar Clique don’t play.
Coming fresh off his autobiography Water from Cactus over a year ago at this point, Skitzo’s first album in 6 years happens to be the most personal of his entire discography & the finest example of what’s to come from him through MonStar Entertainment going forward. The K-Zoo bred MC sounds rejuvenated, G-Mo alongside the rest of the MonStar roster match his energy & Mr. K.A.’s trap-heavy production has some sincerely interesting ideas.
Richmond, California emcee Juganot da Beast returning almost 2 years after the sophomore effort Lovelly’s Baby Boy for his 3rd full-length studio LP. Emerging in the fall of 2019 off the debut EP P.O.M.E. (Product of My Environment), he followed this up a year later with the debut album Pennsylvania Ave as well as the Love is Pain mixtape & the previously mentioned Lovelly’s Baby Boy. I had the pleasure of meeting Juganot myself at Astronomicon 7 a few months back & I was really flattered by him telling me how happy he was that we got to link up, so I decided to give Purgatory a listen.
“Guillotine” is a trunk-rattling opener explaining that they don’t understand exactly how different he is out here whereas “Hold Me Down” kinda gives me a dreary trap vibe instrumentally confessing that he’s been going through it for a while now. “U Ain’t Mobbin’” radiates a grim atmosphere dissin’ all the fakes who ain’t really ‘bout that gang life, but then “Not My Problem” featuring Swanky Rich cloudily talks about bitches not being something they should worry over.
We get some pianos & hi-hats woven together for “Where Jug At?” addressing those who been looking for him for a minute just before the standout “None of Y’all” featuring his cousin G-Mo Skee gets on the boom bap tip thanks to Eminem’s current hypeman mR. pOrTeR of prior D12 fame making it clear they ain’t fuckin’ with none of these muhfuckas out here. “Old School 50” keeps the kicks & snares together inspired by vintage 50 Cent flexing that his pedigree is as Beast as 14-time WWE world champion, WWE Hall of Famer, 5-time WWE Intercontinental Champion, 3-time WWE tag team champion & the WME Group-owned TKO Group Holdings division’s CCO Triple H leading into the smooth “Holla at You” getting romantic topically.
“You Can Be Touched” gives off a bit of a mobb flare to the beat telling y’all he don’t give a fuck about how many bodies you’ve dropped & that it was an epic fail attempting to even kill da Beast to begin with while the guitar-driven “Letter to My Younger Self” sends a message to Juganot of the past. “O.G.” futuristically refuses to rest with his mind on the money while the violin-laced “I’m Him” produced by Nobe discusses being on a new level. “Everybody’s a Killer” fuses g-funk & horrorcore calling out the pussies who started rapping & the jazzy “Letter to Heaven” ends promising to stay to himself.
G-Mo’s been my favorite MC to come out of the Rich for over a decade now since his verses on “Lunchtime Cypher” & “Innermost Hate” and Purgatory if anything reveals itself as the strongest body of work that Juganot da Beast has ever put his heart & soul into, which is why I hope he doesn’t quit making music after this. The production ranges from trap to boom bap, g-funk, horrorcore, jazz rap, mobb music & cloud rap backing Juganot’s most passionate lyricism to date.
