Stoney Point – “Stoney Point 4” review

Stoney Point is an MC/producer duo from Los Angeles, California consisting of Demrick & DJ Hoppa. One of whom came to my attention after linking up with Ca$his who was on Shady Records at the time for a collab mixtape called Homeland Security & the other for being a former in-house producer for Funk Volume up until the label tragically imploded on itself. They first teamed up as Stoney Point for a self-titled debut in 2015 followed by the 2018 sequel & the 2021 trilogy chapter. Another 3 years later, they’re continuing the tradition releasing their 4th album together almost a decade after the eponymous debut.

Starting us off, “Keep Moving” hops over a piano/boom bap instrumental to admit that a lot’s changed in Demrick’s life over the course of the last year & striving to push forward whereas the psychedelic “Golden” works in more kicks & snares to talk about doing just fine these days. “Look for the Smoke” has a jazzier flare to the beat knowing it’s time to re-up when the bag’s starting to feel light just before “Taking Chances” lavishly talks about being careful for what he wishes for reflecting on simpler days.

“Nothing Stays the Same” picks up further from there with it’s symphonic boom bap production discussing that change is always constant leading into “That’s How It Goes” featuring Kail Problems with co-production from Moo Latte fuses acoustics with kicks & snares so they can set the trends instead of following them. “What’s Left of Me” soulfully talks about being giving a duck less what they think of him after going through a lot, but then “Safety Pins & Soda Cans” jazzily admits to doing drugs as much as the common man.

“Hotbox the Room” marks an eerier approach to the beat asking who got the weed & shrooms while the piano-driven “Keep Building” talks about taking it day by day & brick by brick so you can build up to what you want in life stacking higher than the ceiling. “Forever Faded” brings the keys, kicks & snares back to stay lifted all day every day while “The Recipe” has the LP’s best feature from K.A.A.N. over a soul sample never letting the game get the best of them.

Beginning the 4th quarter, “About a Bag” instrumentally feels reminiscent to Zapp explaining that’s exactly what it’s gotta be this day in age while “MVP” refers to himself as the Most Valuable Poet” over an orchestral boom bap beat. The penultimate track “Purple Peak in the Air” has a classy trap vibe generally getting higher than a bitch up in the slot & lastly, “The Plan” ends the album doing everything he can while he’s still here.

DJ Hoppa’s just produced Kail Problems & Marley B.’s latest collab EP Shot Clock from a few weeks ago, but the 4th installment of the Stoney Point saga sure enough joins Delusions of Grandeur back from May in being another consistently great project in the Broken Complex canon this year. The production varies from boom bap to trap, jazz rap, soul music, classical, pianos & acoustics providing the soundscape for De to put a current twist to the duo’s titular lifestyle.

Score: 4/5

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Uncle Kracker – “Coffee & Beer” review

Mt. Clemens, Michigan singer/songwriter, musician, rapper & DJ Uncle Kracker dropping his 6th studio LP under his own label Sturgeon General Records. The former turntablist for WWE Hall of Famer Kid Rock’s backing band Twisted Brown Trucker until Paradime took over that spot. His full-length solo debut Double Wide, the sophomore effort No Stranger to Shame, 72 & Sunny and Happy Hour would all come out through Top Dog Records with distribution from Atlantic Records over the course of the 2000s, coming off Midnight Special to write some Coffee & Beer tunes.

“High on My Horse” awkwardly bites the rhythm of “Greatest Show on Earth” off Sweet Southern Sugar for his verses making comparisons to a cowboy even though he isn’t one whereas the title track feels reminiscent of “Me & Bobby McGee” by Janis Joplin singing about love preserving. “Reason to Drink” instrumentally goes for a country rock vibe yearning to feel the best he’s been all day after getting drunk while the title track sings about hearts growing colder & beer warming up.

We get more elements of country rock seeping throughout “Just Like That” for a romance anthem that I feel comes off as corny just before the pop country-flavored “Cruising Altitude” ends the 1st half singing about his desires of getting this woman high. “Beach Chair” kicks off the 2nd half of Coffee & Beer singing about having no job & blasting Kid Rock’s music on his way to a party all the way out in Cocomo while “Get Back Home” incorporates a banjo looking to kill time until he’s returned to his residence.

“Lonely Lets You Down” feels heavily influenced by Old Dominion singing about love being nothing but a dirty word while “You Should’ve Loved Me” whines over someone texting him at 2 a.m. regarding her uncertainties. After the country-tinged “Rockabye” sings about getting sleep, “Sweet 16” looks back at his rebellious youth in contrast to becoming 50 only a couple years after Bob did while the closer “Mark on Me” ends Coffee & Beer singing about covering up old tattoos.

Outside of his 15 year affiliation with Kid Rock between the mid-90s & late 2000s, Uncle Kracker’s career has panned out similarly to Bobby’s in the sense of them originally making hip hop music in the earlier stages only to go full country rock once they saw mainstream success. Coffee & Beer however dethrones Midnight Special back when I was a sophomore in high school to become the worst album he’s ever made from the tasteless production recapturing the aesthetics of his contemporaries to his unimpressive vocals.

Score: 1/5

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Action Bronson – “Johan Sebastian Bachlava the Doctor” review

New York City emcee, songwriter, chef, wrestler & television host Action Bronson enlisting Daringer & The Alchemist to produce his 8th full-length studio LP. Blowing up with release of his debut album Dr. Lecter in 2011, he then landed a joint venture with VICE Music & Atlantic Records while following up his debut with a couple EPs & mixtapes. The most notable being the Blue Chips duology, Saab Stories & my personal favorite: Rare Chandeliers. He then put out his major label debut Mr. Wonderful in 2015 & it has some of his best songs on there, but the end result would be a more glitzy mixed bag. He fulfilled his contracts by dropping Blue Chips 7000 & celebrated his freedom the next year in the form of White Bronco which were both solid, but didn’t reach the caliber of Lamb Over Rice the Thanksgiving after. Only for Dolphins though was pretty mid given that some of the production choices were questionable & Cocodrillo Turbo was a bounce back. As for Johan Sebastian Bachlava the Doctor, I went into it hoping it would be Bronson’s best album yet.

“Splash (Provocativ)” is this relaxing, jazzy opener showcasing a new fragrance from Bachlava when it’s all said & done whereas “SEGA” works in some haunting organ melodies from Uncle Al referring to himself as that muthafucka you don’t wanna rump with since he’ll moonsault off the top of a boat like WWE Hall of Famer, 6-time WWE world champion, WWE Intercontinental Champion, WWE United States Champion, WWE Tag Team Champion, WWE Hardcore Champion, IWGPヘビー級チャンピオン, the inaugural 6-time TNA World Champion, TNA X Division Champion & 2-time TNA World Tag Team Champion Kurt Angle. “Nourish a Thug” hooks up pianos as well as kicks & snares from Daringer talking about taking temperatures the old fashioned way just before “Hideo Nomo” strips the drums explaining that his horoscope told him to get more cake out here.

Meanwhile on “Salvaje”, we have Bronson over more laidback production looking to smash guitars over heads like the 2nd longest reigning WWE Intercontinental Champion & WWE Hall of Famer The Honky Tonk Man did to current AEW manager, WWE Hall of Famer & former SMW Heavyweight Champion Jake “The Snake” Roberts on top of comparing a battle to one between the late WWE Hall of Famer “Rowdy” Roddy Piper who had his last match in Juggalo Championship Wrestling (JCW) leading into Meyhem Lauren joining him for the rock-influenced “Hogan” humorously talking about bitches who look like 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.

“Citrus Wahoo” featuring Meyhem once again lecturing you for what you did wrong only to get stomped out with Bronson comparing himself to WWE Hall of Famer as well as their current Senior Vice President of Talent Development Creative & NXT Head of Creative Shawn Michaels, but then “Kompressor” featuring Larry June charmingly talks about always coming through.

“NBA Leather on NBC” featuring The Alchemist himself jumps over keys & a harmonica pairing up the New York Knicks & the Chicago Bulls while the song “Shadow Realm” pours his heart off talks about trying to take off for so long in the midst of everyone hanging from land again. “Doctor” ends the LP drumlessly comparing his life to a scene from the 1979 masterpiece Apocalypse Now.

I’m really proud to see where Action Bronson has come in over a decade from his initial rise to the top over a decade ago to Fuck, That’s Delicious’ increasing popularity & even his brief AEW appearances in at All Out IV & Grand Slam II. Now over 13 years since his debut tape, he celebrates his mom’s born day by releasing my new favorite full-length of his. For only a half hour, we get a heart-to-heart dedication to all the Day 1s & even the newest members in Bachlava’s coalition.

Score: 4.5/5

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Akhlys – “House of the Black Geminus” review

Akhlys is a Colorado black metal duo consisting of frontman, guitarist, bassist & keyboardist Naas Alcameth alongside drummer/percussionist Eoghan. Emerging together 15 years ago off their 38 minute single track debut Supplication, I personally wouldn’t be introduced to their music until their 2015 sophomore effort The Dreaming Ia month before I graduated high school. Their take on atmospheric, dissonant black metal & dark ambient throughout was so excellently crafted to the point where it quickly became amongst the best albums in that style of extreme metal of the previous decade & Melinoë at the end of 2020 continuing to build upon the sounds of it’s predecessor conceptually revolving around nightmares. 3 & a half years later, Naas & Eoghan are back again for their 4th LP.

“The Mask of Night-Speaking” starts with an infernal 12 minute atmospheric black metal opener standing now before a great barren hearth whereas the 2nd & final single “Maze of Phobetor” screams about being the wayfarer continuing the atmo-black vibes. “Through the Abyssal Door” concludes the first half of the album by fusing dark ambient & black metal together wanting to feel the Asterion’s gaze, but then the instrumental cut “Black Geminus” puts a bigger emphasis on ambient industrial. “Sister Silence, Brother Sleep” gets back on the atmospheric black metal talking about being at 1 within the House of Dreaming behind 1,000 masks revealed & “Eye of the Daemon” concludes House of the Black Geminus inhabiting every waking shadow.

Almost a decade after their breakthrough, Akhlys displays their frightening dominance on House of the Geminus drawing from esoteric & mythical traditions where the land of dreams is placed within the darkness of the underworld through labyrinthine halls, shadowed corridors, cellars of dread & attics of epiphany as ordeal & ecstasy meet at the vertices where each beholds his own daemon. Combining intense black metal with elements of dark ambient & death industrial, Naas & Eoghan unite psychological horror, orchestrated bludgeon & eerie foreboding on a harrowing journey into pandemonic majesty resulting in their most all encompassing, destructive & diabolically grand-sounding offering of the 4 in their discography.

Score: 4.5/5

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Mr. Key – “Kez” review

London, England, United Kingdom emcee Mr. Key enlisting local producer Illinformed to handle the beats all over the latter’s sophomore effort. A member of Contact Play, he would eventually sign to High Focus Records as a solo act & drop his solo debut Yesterday’s Futures in the summer of 2015 using the sounds of wonky & glitch hop with the help of Greenwood Sharps to back his abstract pen. Both of them reunited near the end of 2019 for an EP called Green & Gold, returning after nearly 5 whole years for the more conceptual Kez.

“Escape from Bene” sets the tone with a piano-driven boom bap instrumental advising to trust them since there’s more to discover going forward whereas “Wakey Wakey” featuring Smellington Piff finds the 2 over a funkier beat talking about them both being on a high platter killing swarm. “All Right Ok” takes a mellower yet dusty approach to the beat talking about him doing well since Green & Gold leading into “He Say She Say” featuring Dirty Dike after the “What’s this Place?” skit addressing detractors.

As for “John Connor High Lyf”, we have Mr. Key over this jazzy boom bap beat talking about his life not always being the best & him not having it any other way just before “Bury Me in Bene” featuring Leaf Dog carries over the same vibes of the previous cut asking for their wishes to be buried when the time of demise comes. “Why is It?” featuring BVA comes together to ask for the reason there cornballs haven’t done a charitable act while the piano-driven “I Dunno” uses it’s title to answer various questions for 5 minutes.

“No Time” starts Kez’s final moments blending a jazzy woodwind with some kicks & snares talking about himself for 2 & a half minutes living more pleasantly than he was in his previous situation but once “Yellow Tops” hooks up a prominent vibraphone to assure fans it isn’t their fault that he can be a bit of a dickhead, the outro “Isabell Allende” featuring Jam Baxter & Ronnie Bosh wraps things up with the Contact Play brethren soulfully repping their squads.

As much as I’ve enjoyed Greenwood Sharps’ contributions to Yesterday’s Futures and Green & Gold, hearing that Illinformed was handling all of Kez’s production gave me the impression it would surpass both of it’s predecessors. Lo & behold, Mr. Key has done it. He kaleidoscopically describes the rise of a plucky kestrel through an off-grid anarchist commune called Bene comprised of misfits, lost souls, drug dealers, new age healers & would be cult leaders after spending 5 years in Spain.

Score: 4/5

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Bizarre – “He Got a Gun 3: Art Peace” review

This is the 7th full-length solo LP from Detroit 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 or the year. The Foul Mouth-produced He Got a Gun & its sequel revitalized himself for all the doubters, so the 3rd & final installment had me anticipating it as much.

The intro featuring Max Hilli starts the trilogy chapter of the series that the idiotic kid found his passion again by coming live from the Motor City over a grimy boom bap instrumental whereas “aRT pEACE” goes drumless to get on his grown man shit for 4 minutes. “Insane Asylum” works the kicks & snares back in hitting 3 shots with 3 glocks all for G-Unit Reeboks & “Run, Duck” featuring Lokye after the “Gas Station” interlude aggressively gets in their hardcore bag lyrically.

“Ford Plant” featuring La the Darkman eerily breaks down the exact spot where you’ll catch both of them slangin’ prior to “Party in Detroit” vibrantly talks about the hoes being outside, the players playin’ & the hustlers hustlin’ at the function. “Sexyy Red” hooks up a vocal sample with more kicks & snares wanting his bitch as nasty as the titular St. Louis star just before “Who Gotta” angrily asks if anyone out there got a problem with him.

We get some atmospheric vibes throughout “Bizarre Buds” that suit the track well since he’s conceptually providing listeners with an anthem dedicated to those who like smokin’ good weed leading into the uncanny “Sheefy Mcfly” featuring Dango Forlaine bringing the pair together talking about doing whatever the fuck they want. “Dressing Room” ruggedly flexes he appeared on No Jumper to plug Lena while “Rainy Dayz” featuring J-Classic & Keen Streetz puts the hard times behind them.

“Pack the Roach” feat. Isaac Castor, Jalen Frazier & Max Hilli finds the quartet over more boom bap production nearing the conclusion of He Got a Gun 3: Art Peace to discuss being the killers that they are & “Summertime” featuring Kain Cole concludes the LP by hooking up somewhat of a psychedelic beat to ring in the summer since the 2nd half of 2024 already began earlier on in the week.

Peter S. already started off the year well by preluding this album with the Ratt Poison EP & the latest entry of the He Got a Gun trilogy reinforces everything that made both installments the best material of his career on top of further proving that Foul Mouth is a great match for him. The latter’s production incorporates elements of boom bap, drumless, jazz rap & psychedelia allowing Bizarre to passionately destroy his competition.

Score: 4.5/5

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Marsha Ambrosius – “Casablanco” review

Marsha Ambrosius is a 46 year old singer/songwriter from Liverpool, England, United Kingdom who came up as 1/2 of the duo Floetry. They would only put out 2 full-lengths before disbanding, but Dr. Dre signed Marsha to his Interscope Records imprint Aftermath Entertainment shortly after only for her to depart in 2009 without releasing a solo effort. She eventually released her debut Late Nights & Early Mornings under J Records in the spring of 2011 & returned a few summers later with the RCA Records-backed sophomore effort Friends & Lovers. The Songstress was last heard in 2018 when she put Nyla out through MNRK Music Group, but is returning to Aftermath/Interscope to let the Quincy Jones of hip hop himself Dre produce her 4th album making up for lost times.

“Smoke” starts by sampling “Yesterday” by Clifford Brown so she can take you away & preparing to bring umbrellas just in case of the weather whereas “Tunisian Nights” singing about evenings in the North African country of Tunisia putting an orchestral spin on the “Flight Time” by Donald Byrd sample. “1 Night Stand” flips “Remind Me” by Patrice Rushen so Marsha can describe a singular sexual encounter just before “Cloudy With a Chance of…Real” samples “Smilin’ Billy Suite, Pt. II” by The Heath Brothers so she can sing about loneliness.

Moving on from there, “Greedy” co-produced by DJ Khalil & Phonix luxuriously confesses she’s been hurting lately & it simply isn’t enough leading into the outstandingly sequenced 2-parter “Self Care / Wrong Right” singing about satisfying her appetite along with her lover having the good good & giving her the best sex she’s ever had. “Wet” incorporates these illustrious strings staying with her partner even during the worst conditions, but then “Thrill Her” brings a soulfully jazzy boom bap flare to the beat paying homage to the late King of Pop Michael Jackson.

“The Greatest” was another exuberant choice of a single ahead of Casablanco that Marsha herself, Dre of course, Blu2th, Dem Jointz, Focus… & Trevor Lawrence Jr. laced asking if one is scared of the love she has to give while “Best I Could Find” nears the end of the album hopping over summery guitar passages & keys talking about things becoming distant to the point where love had come far behind. “Music of My Mind” rounds out the LP fusing the symphonic & jazz elements into 1 giving flowers to some of her influences from Duran Duran to the late great J Dilla.

When you think about the fact that Marsha’s the only Aftermath artist to leave the label without releasing an official album & eventually come back to do exactly that, it was something that a lot of people including myself were surprised by although expectations remained higher than her previous material. Sure enough, this was a moment almost 2 decades in the making exemplifying her talents. It’s significantly more well-produced than her early solo stuff which is a given considering Dre’s perfectionism & Marsha lays down the most passionate songwriting & vocals of her career.

Score: 4.5/5

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Johnny Cash – “Songwriter” review

Johnny Cash was a prolific singer/songwriter, musician & actor from Kingsland, Arkansas who rose to prominence as an icon in country music & for being one of the biggest badasses that has ever roamed God’s green Earth. He put out some of the genre’s most essential music including With His Hot Blue Guitar!, Orange Blossom Special, At Folsom Prison, Man in Black, all 3 albums from The Highwaymen & my personal favorite: the Rick Rubin-produced American Recordings hexalogy. Columbia Records unearthed Out Among the Stars during my junior high of year high school after keeping it in the vaults for 3 decades & now to commemorate the 30 year anniversary of American Recordings a couple months ago, Mercury Records is releasing his 4th posthumous album that he wrote all by himself 31 years ago before American even revitalized his career with new production from Johnny’s only son John Carter Cash.

“Hello Out There” is this magical opener with Johnny singing about planet earth calling whereas “Spotlight” fuses country with country pop & baroque pop encouraging to let him feel like losing her will be alright in the end accompanied by a sick guitar solo before the final verse. “Drive On” later saw the light of day on American Recordings the following year & has been a favorite of mine off that late career masterpiece, but then I Love You Tonight” has more of a laidback country tone to it admitting that it sure has been a party & they’ve been down that road previously.

Meanwhile on “Have You Ever Been to Little Rock?”, we have Johnny over acoustics asking listeners about the titular city in his home state of Arkansas leading into “Well Alright” surprisingly revealing itself back in April as one of the best country singles of the year telling the story of a woman that he met at a laundromat. “She Sang “Sweet Baby James”” goes for a stripped back approach singing about a woman who had a heart full of love prior to “Poor Valley Girl” profoundly paying homage to his late wife June Carter Cash.

The final song “Soldier Boy” kindas has this rockabilly singing about a boy with his backpack saluting all the women out there listening for doing what they have to do, but then the 2 bonus cuts consist of a cover of “Sing It Pretty, Sue” off his 8th album The Sound of Johnny Cash & “Like a Soldier” that also appeared on American Recordings the subsequent year much like “Drive On” did. Funny enough, “Like a Soldier” happens to be up there with “Drive On” as some of the best tracks in Johnny’s vast discography.

Being the first country artist that I can legitimately say I became a fan of, my expectations for Songwriter were it to maintain the caliber of both Willie Nelson & even Beyoncé’s latest full-lengths The Border & Cowboy Carter respectively. Come to find out, I like it more than the latter 2 combined. We get 8 brand new songs that we’ve never heard before, 2 demos & a cover spruced up production-wise by John Carter for a posthumous country/americana/outlaw country offering from his father that clears a lot of the bro-country you hear today.

Score: 4.5/5

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BVNGS – “Mary Mack” review

BVNGS is a 32 year old MC from New York City who started out at the end of 2017 off her debut EP Not Available followed up by 7 Dutches & a Sweet Tea, Brown Girls & Bubble Coats, Lula & Only Crying Because I’m Drunk. She then caught the attention of amongst the underground’s most prolific artists in recent memory Flee Lord, who signed BVNGSY to Lord Mobb Music & put out her 6th EP Laquisha in the spring of 2021. Only 4 months later, I had the privilege of meeting her at a Catch 1 show in Los Angeles that Flee was headlining & was impressed by her set. BVNGS herself has since been building up anticipation for her upcoming full-length debut studio album by releasing 4 singles & after 3 years, the moment has arrived.

After the “Channel 7” intro, the first song “‘91 Varsity” is this psychedelic trap opener referring to herself as a boss & a shooter whereas “Jester” has an uncanny boom bap quality to the beat from EYEKETYSON getting in her hardcore bag lyrically. “Stick Up” strips the drums completely promising nobody out there wants to go to war with her & after the interlude, “Get Yo Chain” mellowly taunts those she stole their ice from to come take it back from her.

“Saw” takes the laidback route instrumentally calling out all the pussies in the game while the title tracks works the kicks & snares back into the picture knowing one’s life is a lie if they’re able to survive or not. “Nights Like This” featuring AC Gudda nears the conclusion of Mary Mack going drumless warning that you’re gonna need security around them & “God Saves” officially rounds out the LP keeping the drums out showing a personal side to her.

She has quickly become one of my favorites Lord Mobb signings after being introduced to her a few years ago, but everything from the 6 EPs that BVNGS has already established herself through to Flee signing her to his label & the singles we’ve gotten from her since have all lead to this very moment & you’re certainly gonna hear more from her hereon out. The production pulls from boom bap, trap & drumless & the Big Apple much like LaQuisha further reveals herself as a threat in the underground.

Score: 3.5/5

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Moving Base O.T. – Self-Titled review

Moving Base O.T. is an east coast hip hop duo consisting of Fuego Base & O.T. the Real. The latter of whom has been making noise in the underground for the past several years now whether it be The Irishmanor Maxed Out & the other made his debut over a year ago signing to Black Soprano Family Records & becoming Hartford, Connecticut’s Biggest Since Camby. O.T. eventually signed to B$F, enlisting araabMUZIK to produce his debut for the label Zombie last fall. Fast forward 8 months later, he & Fuego are teaming up to put out their debut together.

After the “Real Sopranos” intro, the first song “Arithmetic” starts off the album jumping over a raw boom bap instrumental talking about every dummy wanting to be an earner as well as 2 rappers getting stuck 1 night & it wasn’t them whereas “Battle Scars” featuring Benny the Butcher finds the trio morbidly cautioning that those who think they’re safe are done in actuality. “Hometeam” keeps it boom bap talking about jumping bail & breaking the bond while everyone else was playing Pokémon, but then “Bodies” goes rap rock to catch 1 body after another.

“Overpass” featuring Rick Hyde tensely advises to let the junkies free since it’s already rampant out here leading into “Pirouette” featuring Allstar da Great grimily talking about a brick that’s all natural & a bitch breaking her neck after taking a sniff. “John Doe” featuring Sule brings the trio together over kicks & snares airing out dudes driving their girls’ cars like they own it themselves just before “BrownStone” aggressively tells the listener it’s either us or them & to pick a side. “Keith Sweat” ends the LP ruggedly detailing how strong the coke is.

These guys have always crossed paths with one another since obviously they’re both signed to the same label, so I wasn’t opposed to the idea of bringing both of them together throughout the duration of an entire album & hopefully Moving Base O.T.’s debut here is the first of more to come. The production is consistently centered around the traditional east coast boom bap sound, 75% of the features bring their own flavor to the table & each MC elevates one another lyrically.

Score: 4/5

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