Big Hit & Hit-Boy – “Surf or Drown 2” review

This is the brand new collaborative album between California producer, emcee & singer/songwriter Hit-Boy & his father Big Hit. Coming up as a Polow da Don protege signing to his Interscope Records imprint Zone 4 Records with early production credits ranging from “Stronger” by Mary J. Blige to “Drop the World” by Lil Wayne & Eminem, it wasn’t until the winter following the last 2 jams where Hit-Boy would catch the attention of Ye or formerly known as Kanye West by producing his Christmas posse cut “Christmas in Harlem” & becoming an in-house producer for G.O.O.D. Music for 2 years approximately 5 months after that. It was there that he would cookup some notable bops such as “N****s in Paris” by The Throne as well as “Cold” by Ye & even “Backseat Freestyle” off Kendrick Lamar’s sophomore album albeit major label debut good kid, m.A.A.d. City. He then launched his now defunct Interscope imprint HS87 Music as his tenure under Kanye’s wing was coming to a close, continuing to build a reputation for himself by working with the likes of Beyoncé or Drake & Travis Scott for the remainder of the decade. But it’s no secret that these past few years have easily been amongst Hit-Boy’s most prolific yet considering his recent work with Big Sean, Benny the Butcher & more specifically Nas. But after demonstrating his talents on the mic this past spring by dropping his full-length debut Surf or Drown is through his newly founded EMPIRE Distribution imprint Surf Club Inc., it’s only right to celebrate Big Hit’s release from prison by dropping a sequel on Father’s Day Weekend.

The sequel to “Grindin’ My Whole Life” is an uncanny trap opener with co-production from Rogét Chahayed reminding that g’s don’t cry whereas Y.K.W.S.F. (You Know What’s So Funny?)” featuring Big Sean works in these horn sections & hi-hats calling out those who think they stressed out when they stretched out in reality. “Sunrise” pushes forwards as a warm Hit-Boy solo cut talking about seeing everything coming from the top floor leading into “Monte Carlo” pairs Big Hit with [Half-a-Mil] going for a more sample-based sound declaring to be the hosts for the evening.

“Reckless & Ratchet” gives off a vintage west coast groove to the beat so they can talk about just wanting to fuck prior to “Show Me” delves future into that with a groovy ballad dedicated to all the freaks out there. The 4th installment of the “Tony Fontana” series fuses jazz rap with trap & these g-funk synthesizers discussing their Scarface inspired lifestyle while the song “Police” weaves some organs into the fold talking about he should’ve been a cop to be above the law with a license to kill. The piano trap driven penultimate track “Wake Your Game Up” apologizes to all the women they’ve disrespected & “More 4 Me” is a boom bap flavored sendoff to the album as they talk about wanting more.

Surf or Drown is still a solid debut showcasing of Hit-Boy’s abilities on the microphone, but for him to do the sequel with Big Hit fresh out of the pen as a Father’s Day gift alongside paying homage to all the solid ones out there is truly inspiring to me. The natural father/son chemistry throughout is entertaining as Big Hit’s pen-game is on par with Hit-Boy’s as the latter continues to draw rom all sorts of different sounds on the production end.

Score: 3.5/5

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Gunna – “A Gift & A Curse” review

Gunna is a 30 year old rapper from College Park, Georgia who got his footing in back in 2013 off his debut mixtape Hard Body. He would eventually catch the attention of local phenomenon Young Thug just 3 years later & would go on to sign to his 300 Entertainment imprint YSL Records. However it wasn’t until the release of his debut EP Drip or Drown & his 4th mixtape Drip Season 3 in late 2017 & early 2018 respectively where Gunna’s profile increased significantly. Drip or Drown 2 though was a mediocre full-length debut & W.U.N.N.A. (Wealthy Unapologetic N***a Naturally Authentic) wound up being one of the best trap albums of 2020, but the 4th & final installment of the Drip Season mixtape series aged like milk. But after being released from prison this past winter, he’s returning days until summer by dropping his 3rd album.

“back at it” is a trap rock opener produced by Turbo talking about how he can’t be stopped now that he’s home whereas “back to the moon” has a more delicate sound to it advising those who don’t fuck with him not to do what he does. “idk no more” discusses not trusting anyone at all over a booming trap instrumental, but then “paybach” has a more cloudier quality to the beat this time around addressing those who’ve turned his back on him.

Moving on from there, “ca$h $hit” continues forward in the form of an atmospheric trap ballad dedicated to the paper leading into “fukumean” fusing these woodwinds & pianos with hi-hats confidently talking about being in good spirits at the end of the day despite everything that’s happened. “rodeo dr” returns to a more trillwave route as the lyrics are laced with braggadocio just before “bottom” talks about coming from nothing over a symphonic trap instrumental.

“p angels” explains having to swerve because they were all in his lane with some prominent hi-hats & a solemn loop while “born rich” goes for a more futuristic approach with the beat provided by Larrance Dopson of the west coast production team 1500 or Nothin’ talking about his kids being born into wealth. “go crazy” is another piano/trap crossover discussing that it’s deeper than rap while “bread & butter” was a decent pick for a single with it’s groovy trap production talking about doing whatever for money.

The song “turned your back” has a wavier feeling sonically admitting that he still hasn’t found his peace yet while the penultimate track “i was just thinking” reflects on when he was hard-headed & everything that could’ve been avoided on top of an acoustic guitar with some hi-hats of course. “alright” on the other hand ties up the album on a moodier note courtesy of Cubeatz assuring that everything will be ok when it’s all said & done.

Look: I’ll always defend Drip Season 3 & W.U.N.N.A. (Wealthy Unapologetic N***a Naturally Authentic) as the strongest bodies of work in Gunna’s catalog. That being said: I came away from A Gift & A Curse to be a mediocre comeback from YSL’s biggest signee. The production is a step down from Drip Season 4 if I’m being quite honest although I’m impressed with him not overloading 60% of it with features like he did on that previous tape & I can’t deny his confident passion.

Score: 2/5

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Big Cezze – “Cezzerland” review

Detroit, Michigan rapper Big Cezze putting out her full-length studio debut under Lando Bando’s own EMPIRE Distribution imprint The Hip Hop Lab Records. Her debut single “Bitcoin” single came in 2019 & it wasn’t until the fall of 2021 when she put out her debut EP No More Breaks & looks to make the biggest waves of her career thus far by welcoming everyone to Cezzerland the week after former CZW World Jr. Heavyweight Champion, GCW World Tag Team Champion, 3-time IWGPジュニアタッグチャンピオン, 新日本プロレス強い無差別級タッグチャンピオン, ROH World Tag Team Champion, TNA X Division Champion & 3-time TNA World Tag Team Champion Alex Shelley became the new TNA World Champion at Against All Odds XII.

“Bestfriend” sets it off by brushing off any need for an introduction over a cloudy Detroit trap instrumental & being the same kids who grew up in the hood whereas “Toxic” blasts all the hoes running their mouths for not being on shit. “Strike a Pose” featuring Stanwill finds the 2 promising to fuck the city up if a bitch puts hands on them while “Boss” talks about the kind of man that she needs in her life.

We get some Bay Area influences seeping in during the halfway point “Heavy Likes” pressing bitches again now that she’s off probation & after “Southside” featuring J1Hunnit teaming up for a danceable Detroit trap collaboration portraying themes of sex, “Scottie Pippen” produced by Danny G & Jakesand gives a nod to the greatest basketball player of all-time Michael Jordan’s right-hand man during the 90s.

“Fuck You Better” featuring Prince Jefe begins the final minutes in Cezzerland talking about being in love with a stepped while “Whole Lotta Yeah” finds herself feeling like that nobody can fuck with the youngest female in the whole Detroit sound scene over some bells & 808s. The final song “Year Ago” featuring Jazmin Re’Nae caps off the LP with both of them lighting the Motor City up in flames.

Finally arriving almost 2 weeks from it’s initial release date earlier this month, Cezzerland invites anyone who happens to be new to Big Cezze’s music into her own world for 27 minutes pushing her artistic boundaries further than No More Breaks did. Whatever’s next for her, the production is a considerable improvement over that previous EP & the increased number of guests compliment her better than the sole appearance of Vae Vanilla merely 20 months ago.

Score: 3.5/5

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Killer Mike – “Michael” review

Killer Mike is a 48 year old MC, songwriter, actor & activist from Atlanta, Georgia who was 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. The last we heard from Mike on his own was over a decade ago when 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, but is now enlisting Chicago veteran No I.D. behind the boards all throughout his 6th album after signing a new solo deal with Loma Vista Recordings last summer.

“Down by Law” is a soulful trap opener produced by Corey Mo with Michael talking about how nobody would’ve known who he was without the praise he’s received up throughout the years whereas “Sher Tears” featuring Mozzy takes the gospel route thanks to No I.D. declaring that today’s the day you’ll find rest in your soul. “Run” featuring Young Thug was a triumphant lead single to begin the rollout for the album making it clear that the race for freedom ain’t won just before “N***a Rich” featuring 6LACK has a heavenly instrumental from Cool & Dre talking about making your own rules.

Meanwhile, the sophomore single “Talkin’ That Shit!” draws from the Memphis scene courtesy of founding Three 6 Mafia member DJ Paul with co-production from TWhy belittling those on that hoe ass shit leading into “Slummer” showing some more gospel influences with the beat reflecting on a teenage love as Jagged Edge pulls off some marvelous vocal performances. “Scientists & Engineers” featuring fellow Dungeon Family members André 3000 & Future gives off a more experimental flare instrumentally talking about living forever prior to “2 Days” displaying Don Cannon blending these organs with guitars, kicks, snares & hi-hats feeling like the world against him.

“Spaceship Views” featuring Curren$y & 2 Chainz is a spacious trap banger that da Honorable C.N.O.T.E. laced dedicated to weed with Kaash Paige dropping some “yeah” adlibs à la Travis Scott that’re just distracting & annoying, but then “Exit 9” featuring Blxst on the hook sees Beat Butcha cooking up a slicker vibe getting on the more celebratory side lyrically. “Something For the Junkies” lives up to it’s name as a morbid trap ode to substance abusers while “Motherless” fuses pop rap with conscious hip hop & neo-soul talking about his deceased mother profoundly. The penultimate track “Don’t Let the Devil” gives us a taste of what’s to come from Run the Jewels 5 as El-P produces the chipmunk soul infused 3rd single & spits the final guest verse on the entire album towards the backend of it cautioning not to let Satan pressure you while “High & Holy” finishes off on a summery note so he can talk about his life being a testimony.

In honor of the album winning 3 Grammys, I’ve decided to finally cover the 4 bonus tracks since I never got around to it in the fall. The first of which “Yes!” begins by clashing gospel & boom bap discussing that he doesn’t cap about what he puts on wax while the solemn trap jam “Maynard Vignette” featuring J.I.D & T.I. gives a glimpse of the trio refusing to slow down. “Get Some Money” has to be my favorite bonus cut here encouraging to stack chips paying homage to the greatest H-Town duo ever UGK & lastly, “Act Up” featuring Young Nudy ends the deluxe on a triumphant note advising not to fuck with them when strapped up with the sticks.

As someone who considers OutKast to be the greatest duo in hip hop history & got put onto Killer Mike through them, what he delivers throughout Michael is 110% on par with if not superior to R.A.P. (Rebellious African People) Music because he just dropped another classic over a decade later like ain’t shit. It’s essentially an audio movie or like an August Wilson play telling the story & beautiful nuances of what it was like to be him growing up in the deeply religious westside of Atlanta with the features being unparalleled.

Score: 4.5/5

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Janelle Monáe – “The Age of Pleasure” review

This is the 4th full-length album from Kansas born albeit Atlanta, Georgia based singer/songwriter, rapper & actress Janelle Monáe. Emerging as a member of the Dungeon Family collective signing to Bad Boy Entertainment in 2006, she would properly introduce herself the following the year with her debut EP Metropolis & formed her own Epic Records imprint Wondaland Records shortly after even though. Her classic big commercial debut The ArchAndroid acted as the 2nd & 3rd suites in a 7-part series that Metropolis began, with her sophomore effort The Electric Lady serving as the 4th & 5th suites. Janelle’s last album however Dirty Computer departed from the Cindi Mayweather Metropolis narrative & departed from the psychedelic sounds in favor of pulling from pop, funk, hip hop, R&B & neo soul although there are also some minor elements of electropop, space rock, pop rock, Minneapolis soul, trap, futurepop, new wave, synthpop & Latin music. But 6 years later, she’s looking to reinvent herself once more on The Age of Pleasure.

“Float” is a pop rap/contemporary R&B opener produced by Nate “Rocket Wonder with elements of both trap & dub music celebrating liberation & confidence whereas “Champagne Shit” triumphantly talks about moving your hips. After the repetitively written “Black Sugar Beach” dancehall interlude, Doechii comes into the picture for “Phenomenal” switches gears into afrobeats turf as they discuss feeling exceptional just before “Haute” talks about looking pretty & sexy over some horns.

After the French spoken word “Oooh La La” interlude performed by Grace Jones, “Lipstick Lover” fuses pop reggae & contemporary R&B with some lover’s rock & dancehall undertones admitting that she likes lipstick on her neck leading into “The Rush” featuring Amaarae takes a more atmospheric route with the instrumental talking about their types wanting to feel their legs against their thighs. “Water Slide” following the “French 75” interlude on the other hand is a catchily groovy ballad saying it’s time for her to backstroke.

Meanwhile, “Know Better” featuring CKay brings back the afrobeats discussing that no one does it better than them while the song “Paid in Pleasure” returns to a pop reggae sound talking about keeping it coming if you pay her in happiness. The penultimate track “Only Have 42 Eyes” tackles the fact that she only has eyes for 2” embracing the lover’s rock completely that is until “A Dry End” ends the album with a 2-minute stripped back acoustic joint telling her significant other to whine for her.

Now I wouldn’t put The Age of Pleasure on the same pedestal as her previous albums or her debut EP personally, but that’s not to say I enjoyed the stylistic change of pace that she brings to the table on here. She ditches the art pop influences of the predecessor in favor of pulling from afrobeats, pop reggae, dancehall, pop rap & lover’s rock as she takes on a more Afrofuturist persona celebrating her new era of liberation.

Score: 3.5/5

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Kura – “Born Seditionary” review

Kura is a 20 year old recording artist from Detroit, Michigan who originally got started under the moniker Blockboy K & even went to high school with my younger brother UnreleasedSnip during their freshman year. Not only has he gone on to drop a total of 3 EPs & a mixtape since 2018, but he’s also caught the attention of South Carolina recording artist/producer Pi’erre Bourne after signing to his Interscope Records imprint SossHouse Records a year & a half ago. Frazier Trill just dropped his sophomore album Still Trapp’n last month as did Chavo & Sharc with Chavo’s World 3 & Sharc Wave respectively, but Kura’s next in line for a full-length debut produced by his mentor only a week after J Billz made his case as the Streetz Hottest Young’n last Friday.

“Arriving” is a cloudy trap opener to the album addressing his arrival to the rap game whereas “Bapes” featuring Chavo goes into more pluggier territory as both of them encourage y’all to simply hop out of bed & do the shit that you want to achieve. “Donations” continues from there in the form of a vibrant pop rap ballad laced with braggadocio, but then “Hold It Up” fuses elements of trap & rock together so he can talk about breaking out of the box they tried to keep him in.

Meanwhile, “Bachelor” comes through with a wavier flare to the instrumental as K flexes that it’s like he loses weight every single time he goes out to shop just before “U Ain’t It” works in some horns & hi-hats so he can talk about the way he’s living these days. “Nightmares” gives off a moodier trap sound comparing his significant other to a movie scene that he can watch all day leading into “Widebody Kit” hooks up a bass-line & more hi-hats talking about making waves even though everyone thought he was a joke when he was 15.

“Switch” goes into a more synth-based direction so he can tackle themes of romance while “Waves” returns to cloud rap territory talking about shaking up the game every time he drops. The beat on “No Rules” is kinda trippy as he discusses living life feeling fine while the song “Born Dis Way” brings back the hi-hats & synthesizers saying everything he does is big. The penultimate track “Saving Grace” has a more peppier tone instrumentally putting all bullshit to the side prior to “PunkParty” wraps things up by pulling from plugg music 1 last time declaring that the young & rich are in the party.

Being a Detroit native myself, it makes me really happy to watch one of the best producers in the modern era like Pi’erre take a local artist like Kura under his wing & I’ll even argue that it’s better than all of those earlier projects he gave us to get to this point. Much like Streetz Hottest Young’n, we have a better look at who the Blockboy is both personally & artistically backed by production that humbly blows his previous work out of the water.

Score: 3.5/5

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Statik Selektah – “Round Trip” review

Statik Selektah is a 41 year old producer, DJ & radio personality from Boston, Massachusetts widely considered to be one of the most consistent & hard-working producers in all of hip hop for over a decade now whether it be his output as part of the producer/MC duo 1982 alongside fellow Boston native Termanology or entirely producing projects for the likes of Action Bronson & Paul Wall. Even his 9 solo albums have a chockfull of bangers on them, most notably Extended Play & #WhatGoesAround…. But as the 3 year anniversary of Statik’s last full-length outing The Balancing Act approaches in a couple of weeks, he’s making a Round Trip with the 10th.

The title track by Posdnuos is a heartbreaking boom bap opener paying tribute to the late Dave of De La Soul who tragically passed away 4 months ago of congestive heart failure whereas “Historic” by AZ & Ransom finds the pair delivering coming together for a jazz rap banger talking about this latest run. “Different League” by Benny the Butcher & 1982 gives off a spookier atmosphere making it clear they’re a different breed just before “Can’t Stop” by Stove God Cook$ & Symba is a more motivational boom bap joint talking about keeping it moving with Nina Sky on the hook.

“Unpredictable” by the greatest hip hop group of all-time Wu-Tang Clan pays homage to that old RZA sound as Ghostface Killah, Inspectah Deck, Method Man & Raekwon spit 4 lethal verses leading into “Ain’t Too Much To It” by Ab-Soul, Bun B & Conway the Machine is a somber boom bap ballad with the title saying it all conceptually. “Life & Times” by Joey Bada$$ blends these rich keys with kicks & snares talking about being perfect even though he’s not always right, but then “Droppin’ Bodies” by Millyz has to be one of my favorite songs of his yet with the smooth boom bap instrumental & lyrics displaying his cinematic lifestyle.

Meanwhile, we have Cormega & M.O.P. linking up on the warmly produced “It’s Different” with some jazzy undertones making it clear that this is business while “Lion Hearted” by Boldy James & eLZhi finds the 2 motor city wordsmiths over a more spacious boom bap beat justifiably talking about having flows like no tomorrow. “The New Joe” by NEMS is more sample-based as the Fuck Ya Lyfe general dropping some cutthroat battle raps while “1 4 Ages” by Tha God Fahim whips up a colorful instrumental so the Dump Gawd can talk about not slowing down to chase greatness.

Kota the Friend & Marco Plus hop on top of some kicks, snares & sumptuous pianos for “Right Here” making sure they have shit on lock & even though the vibraphone-inflicted boom bap production on “Limbo” is gorgeous, Russ sounds like a Great Value J. Cole even though I genuinely appreciate him discussing trying to evolve like he did on CHOMP 2.5 last month as decent as that EP was. “The Code” by Lukah, Reuben Vincent & Rome Streetz talks about living & dying by exactly that over a cozy jazz hop beat while “Got 2 Give” by redveil speaks on giving everything that he has with a catchy sample & his infectious performances.

“Vanilla Sky” by G-Eazy has a bluesier boom bap flare to it saying it’s been a minute since he’s decided to chill having a dream of living wealthy while the song “Factory” by IDK has a groovier vibe to it telling y’all not to disrespect him with all that talk. The penultimate track “In the Pocket” by Logic goes chipmunk soul comparing his lyrics going at your dome like an 8 ball prior to “Full Circle” by the Showoff Crew ending the album talking about having their best friends in the end over another vibraphone heavy instrumental.

As someone who’s been listening to Statik since his adolescence, I have a strong feeling that Round Trip will quickly become one of my top 3 solo albums of his because I find myself really enjoying this more than his last few even though they most certainly had their highlights. The Boston veteran’s production gives off a more summer vibe to his signature jazzy boom bap sound & the guest list is incredibly tight although a couple punched under their weight.

Score: 4/5

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Tommy Evans – “Van Goth” review

This is the 4th full-length album from Leeds, West Yorkshire, England, United Kingdom emcee Tommy Evans. Breaking out with his debut EP Time Capsule & the follow-up 4 Elements, he would then go on to release his first 2 albums The Turbulent Times of & New Year’s Revolutions before taking a 16 year sabbatical from the music industry. DJ Agent M was brought in for Tommy’s comeback effort Antifragile in the midst of the COVID lockdowns & is returning 3 years later by enlisting The Cat Burglar to fully produce Van Goth.

“Crude Oil x Kool Aid” is a chilling boom bap opener finding the UK hip hop veteran talking about rising & wisening up whereas “80Eight” featuring Kali GLD gives off a spacious trap vibe essentially serving as a love letter to the year 1988 considering how historic it was to our culture. “Nadiya Hussain” has a more glamorous boom bap vibe talking about being born to get cake just before “I Still Love H.E.R.” works in a playful loop with these kicks & snares paying homage to the iconic Common single “I Used to Love H.E.R.”

Meanwhile, the vibraphones throughout “Carpe DM” are really cool as he boasts that he was born to be the greatest leading into “Nocturnes in Neon” switching it up with a hypnotic trap beat talking about not wanting to be awaken from the dream that he’s having. The song “You” returns to that old school boom bap sound once more telling us that’s exactly all he sees, but then “Change is Now” is a more mystical ballad encouraging listeners to say it out loud. “Life is Art” rounds out the album with more vibraphones, kicks & snares making comparisons between the 2.

Antifragile was a solid comeback for Tommy, but Van Goth is more of a change of pace for him & I think one that find themselves enjoying. Quite possibly my favorite album of the 2 that he’s put out in the 2020s as me of writing this. You can definitely that it’s slightly more darker in comparison to this signature soulful sound yet there are moments where he displays genuine hope, jokes & joy amidst the abstract lyricism, socio-political commentary & deep reflection.

Score: 4/5

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Bizarre – “He Got a Gun 2” review

This is the 6th full-length album from Detroit, Michigan emcee Bizarre. Emerging as an original member of the now defunct D12 led by the late Proof, he was also among the first in the crew to put out solo efforts with his 1998 debut EP Attack of the Weirdos being a hometown classic in my eyes. Fast forward 7 years later, Biz followed it up with a worthy full-length debut Hannicap Circus & has continued to put out music on his own since, with the last time we heard him being his 11th mixtape 18159 Stout during the first quarter of the year. But to commemorate the 1-year anniversary of the Foul Mouth-produced He Got a Gun last weekend, they’re reuniting for the sequel.

“Outlaw” is a boom bap opener declaring himself as such whereas “Security” works in some more kicks & snares with a chilling loop talking about pulling up to the spot with bats & guns. “Doing Drive By’s” gives off a more subdued boom bap tone so he can portray images of driving around spraying the gats prior to Rah Digga coming into the picture for “Eastern Market” hooking up these kicks & snares with some harmonious vocals hanging in the background to remind y’all that this is hip hop at it’s purest.

Meanwhile, “Show in Phoenix” gives off a desponding feeling so the idiotic kid can tell everyone a crazy story that occurred in 2018 just before 3 Shooters” featuring Fat Ray & Piff James continues with a gully boom bap ballad firing shots at their opposition. “80 Shots” featuring J-Classic gives off an uncannier sound as both MCs display an fascinating back & forth chemistry with one another aggressively thirsting for blood, but then “Tube Socks” returns to the boom bap with a cloudier edge to it this time around figuring out why he even bothers at this point.

“1-800-Suicide” is a rugged dedication to all the misfits & drug addicts out there leading into “Cafe Mahogany” featuring Boog Brown, Dango Forlaine & Nick Speed finds the 4 motown lyricists over a dreary boom bap beat talking about getting blowed at night. “Blow Your Head Off” featuring NEMS hooks up a grungy instrumental with some kicks & snares talking about shooting heads off bodies while “Checkmate” featuring RJ Payne is an organ/boom bap hybrid referring to themselves as the next greats.

Moving on from there, “Sumpter” featuring Kain Cole gives off a jazzier vibe saying if you don’t know, you really don’t need to while “Piece of Shit” details his personality a bit over a boom bap beat with a catchy loop. The song “Show in Phoenix, Pt. 2” reuses the instrumental from the predecessor so Biz can expand on the story that he told earlier on the album while the penultimate track “Show Off” featuring Nature gives off a more colder sound as both of them boast on the lyrical end. The outro ties everything up with a gritty boom bap joint saying fuck a ghostwriter because he writes for the ghost.

I still maintain that He Got a Gun is on par with Attack of the Weirdos & Hannicap Circus as Bizarre’s best solo efforts, but He Got a Gun 2 could be a tad bit better than the predecessor we got last summer. He & Foul continue to expand on the hardcore lyricism & boom bap production that made their previous album so great with every feature knocking out of the park as opposed to a couple missing the landing a year ago.

Score: 4.5/5

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Dillon – “Uncut Gems” review

This is the 6th full-length album from Atlanta, Georgia based emcee, producer & engineer Dillon. Coming up under the original moniker Intellekt, he would properly introduce himself in ‘07 with his debut mixtape Uncut & enlist Paten Locke for the debut Studies in Hunger a couple years later. Dillon would go on to follow this up with a sophomore effort Food Chain alongside On Their Way & The Tails of Lobsterdamus respectively, but is looking to come off the J57-produced ‘83 Kids by unearthing some Uncut Gems with Diamond D of D.I.T.C. behind the boards.

The title track is a smooth, luscious opener as he & Diamond declare the return of the prophet & the prince picking back up where they left off whereas “Pick Up the Pace” delves into jazzier turf encouraging everyone to begin moving/working faster with an energizing hook. “Comin’ Out Swingin’” featuring eLZhi continues to being in the jazz calling themselves the undisputed heavyweight champion of the world prior to “Turn the Heat Up” blends these kicks & snares with a bass guitar so dude can apply pressure lyrically.

“Pardon Our Dust” featuring Planet Asia & Ras Kass expands on the boom bap vibes of the predecessor swapping out the bass licks in favor of some pianos talking about some adjustments that’re required to be made leading into “Just Breathe” featuring Slimkid3 goes for a more synth-based direction reminding to simply take a breath whenever you’re feeling stressed. The song “Devil in a Blue Dress” pulls together a hi-hat & some horns talking about a deal he made while the penultimate track “Overtime” gives off a more old school sound trying to be the first one in & the first one out. “Permanent Scars” though closes the album in the for of a mellow boom bap talking about the exact impression left.

Considering that Black Tie Affair wound up being my favorite Dillon EP in the fall of 2017 & of course Diamond D’s verse on “Come Up”, it only makes sense for them reunite throughout Uncut Gems as the end results quite possibly make it the Full Plate Records founder’s strongest album yet. His pen-game is a cut above ’83 Kids as the production from the Diggin’ in the Crates co-founder slickly meshes some old & new aesthetics together.

Score: 3.5/5

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