Majid Jordan – “Good People” review

Majid Jordan is an alternative R&B duo from Toronto, Ontario, Canada consisting of singer Majid Al Maskati & producer Jordan Ullman. Forming in 2011, it wasn’t until a couple years later when 40 signed them to OVO Sound & was featured on their mentor Drake’s hit single “Hold On, We’re Going Home”. Their 2nd EP A Place Like This stands to date as the best project in their catalog, as none of their 3 full-length LPs have been able to reach that caliber generally receiving moderate feedback. However, my curiosity got the best of me & I had to give Good People a shot.

“Tears in Your Eyes” is a smooth soul opener expressing how much he deeply needs this woman in his life whereas “Waiting for You” featuring OVO’s newest recording artist Naomi Sharon mixes alternative R&B with sophisti-pop & some smooth soul undertones as she & Majid both sing about hanging on to love. “Eyes Closed” is really the only song on here I don’t like sounding like Majid’s impersonating Michael Jackson over another smooth soul instrumental just before “Hands Tied” dabbles with new wave & synthpop a bit having an epiphany now that he & his significant other have found each other.

Meanwhile, “Slip” takes a more spacious route to the beat from Jordan as Majid comes clean with this woman to not leave him in doubt leading into the 7-minute “Violet” singing over atmospheric production about growing when their hearts are open. “The Message” goes for a stripped-back approach telling her that all he can offer her belongs to her while the breezy guitar ballad “Cyanide” confesses to this woman that he takes his shy away. The fittingly peaceful closer “Sunset” reminds that being here today & gone tomorrow truly with him it is a tough pill to swallow.

It’s seriously already been a decade since these guys made themselves at home with OVO & as someone who’s been listening to them since that Drizzy single they were featured on, this is the most I’ve enjoyed a whole album from them thus far & it’s the best thing they’ve done since A Place Like This. Jordan Ullman expands beyond the duo’s alternative R&B sound in favor of smooth soul, sophisti-pop, neo soul, new wave & synthpop as Majid Al Maskati assures everyone that solid individuals will be there for you whenever you find it.

Score: 3.5/5

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Majik Ninja Entertainment – “Songs of Samhain 4: The Liminal Space” review

Majik Ninja Entertainment is an underground hip hop label from Detroit, Michigan founded by Twiztid & their manager George Vlahakis in 2014 after departing from Psychopathic Records only 2 years before. However, they quickly built an empire or their own from bringing a few other PSY alumni along for the ride to help introduce G-Mo Skee & Alla Xul Elu to a much wider audience. The label’s first comp showing off their roster Year of the Swordhas to be my personal favorite of the 4 thus far with all respect to Songs of Samhain as well as the Attack of the Ninjas compilation & Songs of Samhain 2: Haunted Record Player. But as that time of the year comes around again, MNE’s following up on Songs of Samhain 3: Cult of Night by taking a trip through The Liminal Space.

After the “Liminal Space” intro, the first song “I’m the Night” by Twiztid is a rap rock opener produced by Fritz the Cat making the comparisons of Jamie Madrox & Monoxide to darkness whereas “All My Friends Are Dead” by Blaze Ya Dead Homie jumps over some pianos & hi-hats from Grady Finch talking about his homies no longer being here with him. “Deluded Dead” by Jamie gives off an industrial rock vibe musically discussing the mislead deceased, but then the self-produced “6 Feet Deep” by the artist formerly known as Young Wicked himself James Garcia of the Axe Murder Boyz ominously looks to bury motherfuckers.

“Highest High & Lowest Low” by Bonez Dubb, Boondox & Insane E finds the trio over a dark trap beat explaining that things have changed as they look to plateau leading into “Last House on Dead Street” is the prelude to an album that Blaze has been working on for the past 15 years when he was still on Psychopathic from the morbid instrumental to the gruesome performances. “If I Return” by Jamie & Zodiac MPrint heinously declares what would happen if they eventually make a return accompanied by a grueling beat just before “Merciful Fate” by the Eastside Ninjas goes for a ghoulish atmosphere talking about voices invading their minds.

The song “Strangehold” by Alla Xul Elu & the House of Krazees puts the 2 generational horrorcore trios together for the first time ever cavernously spitting the wicked shit beautifully while the chaotic penultimate track “Collide” by Triple Threat talking about everything inside being a mess. “Wounded & Suffering” by Grady Finch & WackGxd ends the compilation with a decent ballad rooted in Oh! The Horror’s signature sound.

Cult of Night showed some considerable improvement over Haunted Record Player & the original Songs of Samhain so with Fright Fest coming up in a few days, the journey through The Liminal Space is once that juggalos will enjoy for future Halloween seasons. The performances are a tad more consistent as everyone displays their own artistic characteristics in their respective fashions.

Score: 3.5/5

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Verb T – “The Tower Where the Phantom Lives” review

Verb T is a 42 year old MC from London, England, United Kingdom starting out by signing to Low Life Records & briefly YNR Prorictions prior to becoming a part of The 4 Owls. However, he’s also been carving a path of his own since 2006 putting out a dozen LPs & 5 EPs throughout that span of time. But when I found out that Vic Grimes was being brought in to produce T’s lucky 13th full-length album under High Focus Records, it significantly raised my expectations to the point where The Tower Where the Phantom Lives could become my favorite solo effort of his.

“The Phantom Appeared” starts the LP fittingly by introducing us to the titular Phantom character over a dusty boom bap instrumental whereas “Tower With a View” ruggedly talks about the residential tower that this ghost resides in. “Inner Child” works in a dirty bass-line as well as kicks & snares detailing that you can’t believe in something that you pretend to be, but then “Very Superstitious” talks about this mythical feeling that T’s getting keeping it in boom bap turf.

On the other hand, “Fireworks & Flowers” hooks up these kicks & snares with vibraphones explaining the way he started & will end his career while “Forget Feelings” remains raw talking about walking with purpose. “I Guess?” is a piano/boom bap hybrid reminding everyone that you can’t make moves when you’re hands are tied while “The Invisible Fortress” describes the titular compound that happens to be unseen.

“New View” gives off a cloudy, boom bap edge to the beat visualizing a future that more secure continuing with a new story in his life while “4 Oh!” admitting that 4 decades of his life are on the horizon as he’s not ready over vibraphones, kicks & snares. “Your Heart Deserves” as a closer ties it all up by performing from a profound perspective.

As someone who’s been following this guy since my senior year of high school 8-9 years ago, The Tower Where the Phantom Lives certainly lived up to my expectations because I can firmly say that it’s the best that Verb T has sounded by himself. The conceptually has cohesively well-told & Vic Grimes couldn’t have been a better person to do the musical backings helping bring T’s story to life.

Score: 4/5

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King Iso – “iLLdren” review

This is the 6th full-length album from Nebraska emcee/producer King Iso. Coming up as a protege of San Diego chopper Twisted Insane, he would only drop first 2 albums & The Insanity Plea & Autophobia under Brainsick Muzik. Shortly after, they fell out & it prompted Iso to put out his next album DeMenTia independently in 2018. However, I was thrilled to see him sign with Strange Music the following spring & his debut on the Kansas City powerhouse World War Me has quickly become one of the label’s best albums ever. Get Well Soon & 8 P.M. Med Call both went on to be well received too, so it makes since to have Iso cap off Strange’s 2023 run by putting out iLLdren during the final weekend of the month.

After the “Welcome to iLLdren” intro, the first song “Feel” featuring Tech N9ne co-produced by Matt Phoenix works in some twangy guitar passages & hi-hats talking about how he wasn’t even a teen yet until he started puffing on that green whereas the title track talking about forming a society of outcasts over a dreary trap instrumental. “Stoned” blends a cinematic loop & hi-hats explaining that his father was never there for him, but then “CPS” featuring X-Raided gives off an eerie trap vibe talking about how murder was all they saw growing up.

“Voices” featuring Redro reflects the first time he could start hearing voices in his head over some hellish guitars & hi-hats just before “Midwest Baby” featuring Snake Lucci is an acoustic trap ballad ending the Baby Blues talking about growing up in their hometown of Omaha. “T.F.O.G. (Town Full Of Ghosts)” starts the Teen Trauma section of the album morbidly reps his set while the haunting trap hybrid “Young” talks about feeling like Pac.

Meanwhile, the suspenseful piano chords mixed with the hi-hats on “Teen Suicide” detailing the leading cause of death today leading into the grunge rap “Nightmare” praying that he’ll wake up from the suffering one day. “Holes” featuring Taebo tha Truth finds the 2 taking it back & keeping it current at the same time over a rowdy trap beat while “Run Away” gives off a smoother vibe talking about running from his problems.

“P.T.P.A. (Party The Pain Away)” featuring Tinywiings goes into trillwave vibe for a fun club banger & Iso showing off plenty of charisma. Especially the “Face Off” reference during the first verse as much I still don’t like The Rock’s verse on there respectfully. “Love Me” ends the 2nd leg of the LP with a pillowy trap vibe telling y’all to prove it that you love him prior to the Adult Adversaries starting off to a heartfelt tribute to “My Kids”.

Being born with Asperger’s syndrome myself, hearing songs like “Way You Are” is absolutely inspiring hearing King Iso paying tribute to one of his children that’s on the spectrum while the piano-trap “Step Daddy” pays homage to 2 individuals that he loves so much. “Attack of the Clones” featuring C-Mob has these killer synth-organs on top of hi-hats calling out biters & “Dear Mama” ends the album with a warm tribute to his mother that he reconciled with earlier this year.

Since 2019, there is no question in my mind that this dude has become the best artist on Strange Music other than Tech himself for the way he addresses topics that aren’t covered too often in hip hop today like mental health. But in comparison to Get Well Soon, iLLdren is easily Iso’s most introspective work to date. He takes us through chapters of his entire lifetime & beyond with some eclectic trap production & tight features near-flawlessly.

Score: 4.5/5

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Domo Genesis – “What You Don’t Get?!” review

This is the 3rd full-length LP from Inglewood emcee & songwriter Domo Genesis. Starting in mid-2009 as a member of the now defunct Odd Future collective, he’s gone on to give us 2 studio albums accompanied by 4 mixtapes & 4 EPs within the last dozen years, my personal favorites of which being his debut mixtape Rolling Papers, The Alchemist-produced 3rd mixtape No Idols, the Evidence-produced debut EP Aren’t U Glad You’re U? & even Doms’ last full-length Intros, Outros & Interludes. That being said, hearing Graymatter being brought in behind the boards throughout the duration of What You Don’t Get?! undoubtedly had me interested.

“Adonis” is a drumless flute-tinged opener addressing those who wonder if Domo still got it with the pen whereas “Plank Walk” taking the smoother route instrumentally simply looking to get a gage on it. “Stankwater” gives off a nocturnal flare to the beat explaining there ain’t no other option but to get it done where he’s from leading into the calming title track explaining that everything’s what it seems.

Moving on from there, the bluesy “Details” explains that he’s seen enough not to believe bullshit since he doesn’t listen to a lot of what he hears personally just before “Rick Fox” featuring 3WaySlim finds the 2 over a jazzy beat asking if they ready or not. “This 2 Shall Pass” featuring Remy Banks soulfully keeps the money on the body & the music, but then “I See U Doing U” featuring Fly Anakin chops up another soul sample talking about being out here doing your thug thizzle.

“Gifted Creatures” continues the 2nd leg of the album admitting that he has some stories that he’ll eventually take to his grave in the future while “Halfprice” gives off a kick-back feeling to the beat explaining he always keeps his enemies close only to be certain. The heavenly aural Bend” explaining that y’all must be crazy to him while the 2-part “2 Be Continued / Taking My Time” declaring to be majestic when you see it.

Pushing near the end of the LP, the penultimate track “PrettyUgly” soothingly talks about doing things that he resents even though they could never knock him off his pivot & “Until U Understand” closes out What You Don’t Get!? on a heartfelt note explaining exactly how he finds this shit to be a luxury.

Intros, Outros & Interludes still has to be my favorite LP that Doms has put out yet. That being said: I feel like anyone who enjoyed that previous album as much as I did will also come away from What You Don’t Get?! liking it too. Graymatter continuing to prove himself as a force to be reckoned with in the underground by cooking up tight production & Domo kicking it over them.

Score: 4/5

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DJ Shadow – “Action Adventure” review

DJ Shadow is a 51 year old DJ & producer from San Jose, California who came up as a member of the Quannum Projects collective. His 1996 full-length debut Endtroducing….. is a landmark in the instrumental hip hop scene & the sophomore effort The Private Press was well received too, but everything since then has been treated to moderate reception. Last we heard from Shadow was the 2-disc Our Pathetic Age, but is returning 4 years later by making a stylistic departure for his 7th LP & his 3rd under Mass Appeal Records

“Ozone Scraper” is an underwhelming choice of an opener setting the tone of what’s to come by pulling from synthwave and dancefloor drum & bass whereas “All My” draws inspiration from footwork musically although I’ve heard the late DJ Rashad do this style better on Double Cup. “Time & Space” is a longwinded IDM cut lasting at 8 & a half minutes even though it just makes me wanna listen to Aphex Twin after a while just before “Craig, Incels & Wrightson” goes back into a more synth-based groove.

Approaching near the end of the first leg of the album, “Witches vs. Warlocks” hooks up these synths & hi-hats coming off a little robotically dull leading into “A Narrow Escape” becoming one of the better tracks here going for a more energizing atmosphere this time around. “You Played Me” was the best single we got from the project drawing inspiration from synth-funk, but then “Free for All” fuses elements of wonky & rock that wind up with mixed results.

“The Prophecy” shoots for a ghoulish vibe clocking in at nearly 5 minutes while “Friend or Foe” brings the synthesizers & hi-hats back together once more with a crescendoing 2nd half. “Fleeting Youth (An Audible Life)” strips the drums completely incorporating a spacious atmosphere while the 8-minute “Reflecting Pool” feels a bit hollow to me personally. The penultimate track “Forever Changed” pushes towards near the end by giving a cloudier trap flare to the beat & “She’s Evolving” closes shop by cooking up 1 last synthwave cut.

For an album called Action Adventure, I didn’t really find it to have either of those as entertaining aspects disappointingly. There’s definitely some adventure in Shadow making a headfirst foray into electronic dance music, but it hurts me to say that it doesn’t hold a candle to previous material & could very well be the weakest thing he’s ever done. Compared to those who paved the way for EDM like Daft Punk or like I mentioned earlier Aphex Twin & DJ Rashad, his takes on synthwave alongside wonky or footwork & IDM feel very plain.

Score: 2/5

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Stu Bangas – “Death Wish II” review

Boston underground producer Stu Bangas is back again for a sophomore full-length LP solely under his own name. For over the last 15 years, the dude’s résumé is an ever-growing list of veterans ranging from members of the Army of the Pharaohs collective to the late Sean Price. But since 2019, he’s been steadily grinding his ass off producing projects for the likes of Ill Bill & Recognize Ali. However with the 2-year anniversary of his official full-length debut Death Wish approaches next month, Stu’s returning for a sequel.

After the intro, the first song “Inhumans” by Apathy couldn’t have started off the album any better with it’s to boom bap instrumental the lyrics that take everyone who’s tuning in on a trip through the underground whereas “Sus” by Ras Kass works in some twinkling chimes as well as kicks & snares to talk about hating it when people act suspect. “Of Course It’s Me” by Ty Farris happens to be synthesizer/boom bap crossover boasting that both of them be unstoppable leading into “Hooligan Music” by Da Flyy Hooligan hooks up a flute over kicks & snares providing a theme song for the hoodlums.

After the first of 2 interludes, “Y’all Clowns” by Celph Titled & Psycho Les finds the 2 getting in their hardcore bags over a quirky boom bap beat just before “Gracious” by SmooVth cooking up more synths with kicks & snares explaining that his state of mind is hurtful. “The Garden” by Timbo Kingkeeps it rugged clarifying this that different taste but after another interlude, “Feeling Brolic” by Recognize Ali & Vangarde takes the symphonic boom bap route feeling like they have a extremely muscular physique. The final “Deity” by Raze the Ratchet prior to the outro ends the album heinously calls for him rappers to face scrutiny.

Almost 2 years later & Death Wish is still one of my favorite producer curated LPs that I’ve heard in recent memory, so that was more than enough to have me anticipate hearing what Stu was gonna do with the sequel & I enjoy it as much as the predecessor. Only a couple weak guest performances like last time, but the boom bap production still hits hard & a majority of those who take the mic rip it up.

Score: 4/5

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City Girls – “R.A.W. (Real Ass Whores)” review

The City Girls are a duo from Miami, Florida consisting of Yung Miami & JT. Both of whom have put out 2 full-lengths & a mixtape under Quality Control Music throughout the past 6 years to mixed reception. JT would go on to become Lil Uzi Vert’s girlfriend with Yung Miami having a child with Southside & recently breaking up with Puff Daddy a.k.a. P. Diddy or Diddy at the beginning of 2023. Nonetheless, the singles they’ve releasing leading up to their 3rd & final LP have actually been some of their best songs ever namely the improved production choices that their previous material lacked.

After the intro, the first song “Piñata” is a industrial no melody trap opener produced by Southsidetalking about how their significant others wanna hit it whereas “Static” featuring Lil Durk works in some pianos & hi-hats thanks to Tay Keith telling dirty bitches not to worry about them at all. “No Bars” by JT fuses hyphy with crunk & mobb music kickin’ it off top solo dolo just before “Line Up” pulls from ratchet music getting raunchy of course.

“Show Me the Money” gives me a bit of a Miami bass vibe instrumentally talking about the dollars leading into the pop rap ballad “Emotions” featuring Muni Long pleading not to let them fall in love for nothing when it’s all said & done. “Fancy Ass Bitch” featuring Juicy J samples “Int’l Players Anthem (I Choose You)” by UGK & OutKast showing off how fancy both of them are, but then “Good Love”featuring Usher draws inspiration from Atlanta bass detailing being freaked in the city.

The “Drop It Like It’s Hot” sample throughout the pointlessly minute & a half “Work for It” is ok even though the braggadocious lyrics are cool while “I Need a Thug” picks things back up from the bounce undertones that 30 Roc cooks up to the “I Need Love” interpolation looking to get with thugs. “Flashy” featuring Kim Petras dabbles with nu disco describing their ostentatious lifestyles while “Wigs” is a decent ode to the amount of wigs they own.

“Face Down” finds Mike WiLL Made-It cooking up an off-the-wall beat blending hyphy & ratchet music so Miami & JT look to be slutted out while the rubbery “What You Want” produced by Hitmaka & OG Parker talking about their lovers always getting them what they want. “Tonight” goes for a futuristic approach looking to do it all night while “Survive” hooks up a soul sample & hi-hats getting more personal. To close the album however, “Fuck the D to the A” ends things with a Detroit trap instrumental from Helluva bringing it hardcore.

You know I’ve never been big into the City Girls’ past material, but I gotta say that R.A.W. (Real Ass Whores) lived up to my expectations as the most well-crafted body of work in their discography. It’s refreshing to hear their production choices being stepped up with a variety of different sounds, the feature-list is tight & both of them delivering solid performances of their own. Pretty good note to end on for them as they embark on their solo careers.

Score: 3.5/5

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H.A.R.D. – “Prosper” review

Hardcore super-duo H.A.R.D. returning for their 3rd full-length LP. Consisting of Joell Ortiz & KXNG CROOKED, both of whom have had notorious label issues at the start of their careers, but would go on to see success as members of the supergroup Slaughterhouse along with Royce da 5’9” & Joe Budden from the late 2000s up until the mid-2010s. The quartet had quietly disbanded in 2016 after Joe’s retirement from making music even though it wasn’t confirmed until 2 years later, but the other 3 members have been keeping themselves busy ever since. H.A.R.D. introduced themselves a couple months after the pandemic hit with an incredible eponymous debut EP along with 2 full-lengths last year: The Rise & Fall of Slaughterhouse and Harbor City. But coming off JFKLAX, they’re now looking to Prosper.

“The Tale of 2 Cities” is a groovy boom bap opener talking about coming from Brooklyn & Long Beach respectively whereas “Still” smoothly makes it known that both parties are out here grinding. “Dodgers 2” works in a sample, kicks & snares for a sequel to “Dodgers” off their latest EP just before & “War Outside” blends these strings with hi-hats to describing the harsh realities of the streets.

Moving on from there, “Sunroof” hooks up this alluring vocal chops from The Heatmakerz explaining why be so calm in the booth leading into the soulful title track as Crook & Yaowa come from a more introspective side of things looking live on & live long. “Wife Her (Snipe Her)” groovily gets romantic promising that no man could compete with them while “W.I.F.E.” blends these jazzy horns & crooning samples talking about having no one to grow with ‘cause they don’t know shit.

“Black Tie Affair” continues to push towards the end of the Housing Authority Rap District’s 3rd album returning to the boom bap boasting their top dog mentalities sipping champagne & lighting a cigar up until the soulful “No More” ends the album no longer staying humble paying homage to “Back in the Day” by Ahmed during the hook.

Harbor City & JFKLAX are still both enjoyable projects, but I know both of these guys can put out another body of work that’s on par with self-titled or Rise & Fall of Slaughterhouse because they continue to show it a year & a half later. They’re both veterans & still have chemistry that’s no question, I just think they need more consistent production much like how Signature was better than Autograph itself.

Score: 3.5/5

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Slump6s – “Exodus” review

Sophomore full-length LP from 18 year old Rochester up-&-comer Slump6s. Ever since the pandemic, he’s built a name for himself in the rage/drill scenes by releasing a total of 10 EPs & a debut album up to this point. However, he’s returning over a year later after Genesis by taking us through his Exodus.

The intro is a futuristic trap opener dropping braggadocio whereas “Habits” featuring Dvertigo finds the 2 keeps things cloudy so both of them can talk about how every day is a new mannerism to them. “Sex” takes a more atmospheric approach instrumentally from CXO & che struggling with the problem of too many hoes to pick from as far as the one he wants to smash, but then the riot-inducing “Often” talks about falling in love with the crosshairs & hanging with the dogs.

“Solid” blends these finger snaps & a UFO-like backdrop keeping it exactly that just before “Tags” hooks up these synths & hi-hats to talk about how he didn’t come this far for no reason. “YSL” wavily detailing a chick that wants all of him & debating on whether or not he should go for the kill leading into quasi-quirky “Frontline” talking about turning up in the AM.

Meanwhile, “Karma” spaciously acknowledges that destiny be watching everything he does prior to “Nicki” shooting for a playful sound comparing this hoe that he with to Nicki Minaj herself. “Flu” featuring OsamaSon is a favorite of mine as both of them energetically boast while the cavernous “Issey” talking about going global.

“Gotchu” nears the end of the LP by singing with heavy auto-tune over an electronic beat & the closer “Amore” rounds out the album by vigorously talking about being the king of the hill. The booming bonus cut “$$$” however truly saves things for last telling a bitch straight up that she doesn’t have a clue of exactly what the fuck he’s been on.

Genesis & even some of the features that I’ve heard Slump on up to this point have shown me that there is in fact potential in him even though that & his EPs are more moderately received compared to his debut tape Origin, but I think we get a look from him on a new level with this sophomore effort. The production’s better & he’s displaying his versatility more.

Score: 3.5/5

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