Spice 1 – “Platinum O.G. 2” review

This is the 15th full-length studio LP from Hayward, California emcee Spice 1. A pioneer in the Bay Area scene, his first 6 albums with Jive Records (most notably the sophomore effort 187 He Wrote) played a big role in cementing himself in that status & has remained independent since the turn of the current millennium. Aside from the This is Thug World mixtape showcasing the talent on he’s signed to his very own label Thug World Music Group, there’s no doubt that Spice’s previous body of work Platinum O.G. released through Elder Entertainment was his best since The Last Dance nearly 2 decades prior & I didn’t expect any less from the sequel.

“Since the Day” featuring CL Smooth starts off with a sample-heavy opener taking us through an average day in the streets knowing they’ve been hard from the jump whereas “Gangsta Shit” featuring Rick Ross, Q Bosilini & WWE Hall of Famer Snoop Dogg shifts into trap territory talking about being the Gs that they are. After the “Sway Speaks Bay Area History” skit, “Projects” featuring K-Rino & Treach brings a funkier loop into the fold with hi-hats telling stories from the PJs just before the groovy “Crumbs with Bums” featuring Conway the Machine talks about rich cats who’re fake.

After the “Sway Speaks Impact” skit, “How Long” featuring Nawfside works in some organs to ask exactly how long will they mourn each other leading into the 2nd single “Deuces in the Sky” featuring MC Eiht & Worldwide serving as an anthem for all the west coast heads to throw their 2s up. “Not Easy” featuring Devin the Dude, Lee Royal & Nawfside brings back the funk a little getting twisted every day but after the “Sway Speaks Importance” skit, “Thriller” featuring Nawfside alongside Q Bosilini & Tela menacingly talks about being straight up killers.

“Come Out with Me” featuring the late Bushwick Bill & once again Q Bosilini samples “My Flame” by Bobby Caldwell to show a sensual side to all 3 of them while “Houston to the Bay” featuring Lil’ Flip & Paul Wall comes through with this trunk-knocking ode to both cities. After the “Sway Speaks Industry Influence” skit, “Real G’s 2” featuring B-Legit as well as Domino & KXNG CROOKED is a sequel to a track on O.G. Platinum that’s better than the original ahead of the party-starting “Henny Out the Bottle” featuring C-Bo, the late Hussein Fatal & Nawfside. After the “Sway Speaks Spice 1 the Legend” skit, the final song “Yesterday” featuring Fiend, Mac, Mr. Serv-On & Q Bosilini slickly closes Platinum O.G. 2 reminiscing.

Was sorta hoping that we were going to get a new body of work from him with lesser features due to the fact that I can truthfully be a little skeptical about projects overloaded with one feature after another & regardless of me still hoping for that sooner rather than later, I very much have to give Spice 1 credit for delivering a monumental collaboration joined by a constellation of amongst some of hip hop’s most elite MCs. I’d even say that I happened to enjoy the sequel more than the original LP he made his comeback with the summer before the COVID-19 pandemic. N.O. Joe & Ryan Elder’s production is a cut above the predecessor’s so the Bay Area veteran & company tell the listener stories that pulsate with the lifeblood of the streets.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Slum Village – “F.U.N.” review

Slum Village is a duo from Detroit, Michigan now consisting of T3 & Young RJ. Originally a trio with the late J Dilla & Baatin, their debut Fan-Tas-Tic Vol. 1 was bootlegged in the summer of 1997 only to be revamped & re-conceived on Fan-Tas-Tic Vol. 2 only 3 years later. Dilla left the group a year later to pursue a solo career & eLZhi filled in for him in the midst of them signing to Capitol Records for their next 2 albums Trinity (Past, Present & Future) & Detroit Deli (A Taste of Detroit). Following their eponymous full-length, Dilla & Baatin both passed away prompting RJ & even Dilla’s younger brother Illa J to join for what was set to be their final offering Villa Manifesto. What really ended up happening though was eLZhi leaving the group due to what he said was a falling out with Young RJ & interestingly, Illa J followed suit after Evolution & Yes!. After almost a decade though, T3 & RJ are getting back together for their 9th studio LP.

“Welcome” by Brittney Carter is this atmospheric opener with hi-hats provided by none other than Young RJ welcoming y’all to a name that you heard about & never had the guts to touch whereas “All Live” picks up from there with a funky ass instrumental so SV can get the party started. “All Live 2” by Phat Kat works in some pianos talking about calling him Ronnie S. Truman since he be buyin’ ‘em all first that is until “To the Disco” takes a groovier route to the beat continuing to settin’ it off & describing themselves as warlords.

Moving forward, “Yeah Yeah” co-produced with Karriem Riggins brings back the funk a bit so the duo can talk about being the foundation & for everyone else to get in line leading into “Just Like You” featuring Larry June works in more disco influences instrumentally so all 3 MCs tell their significant others that they wanna be with them. The rhythmic title track boasting that the Detroit cats are at it again, but then “Request” groovily talks about giving what they need.

Cordae joins Slum Village on the mellow “So Superb” making way for everyone to boast their superiority while “Keep Dreaming” featuring Fat Ray is this funky/boom bap crossover telling everyone to open their minds & realizing they’re still dreaming. The penultimate track “Factor” soulfully talks about factoring in all the good times to spend just before “Since 92” ends the album with kicks, snares & pianos from Robert Glasper reminding that they’ve been putting it down for over 3 decades.

Putting in the perspective that it’s been 8 whole long years since we last heard Slum Village together in a full-length capacity, I figured something had to be coming down the pipe sooner than later when they teased us with the singles & even performed at a halftime show during a Detroit Pistons game during this past season even though they didn’t play the best by any means. Needless to say: It’s like they never took a break. They seem very happy to be back in the lab keeping their signature sound alive occasionally joined by a couple of their homies in the D & co-signing some new blood.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Saigon – “The Jordan Era” review

This is the 5th full-length LP from Brooklyn emcee Saigon. Breaking out in the early 2000s off his debut mixtape Da Yardfather, it wouldn’t be until 2011 when he would make his full-length debut by dropping The Greatest Story Never Told under Suburban Noize Records. The album would spawn a sequel to fulfill his contract with the Spade the following year & then a final installment on his own imprint Squid Ink Squad Records in 2014. He returned from a 6 year hiatus in 2020 by signing to Strange Music’s new subsidiary It Goes Up Entertainment & dropping the STREETRUNNER-produced EP 777: The Resurrection & fulfilling that deal on Pain, Peace & Prosperity the next spring. However, he’s linking up with Swedish producer Fredro for produce The Jordan Era after signing a new contract with Payday Records.

After the intro, the first song “G Miller” instrumentally kinda has this old school hip hop flavor to it talking about dressing like a tiger & biting like a killer whereas “Lyrical Genius” featuring Grandmaster Caz works in this danceable groove so both MCs can boast their prowesses together. “Think Twice” featuring Grand Puba has this prominent organ sample throughout only giving the listener advice 1 times, but then “1 Foot in the Door” featuring Big Daddy Kane points out that there’s something about the name Big whether it be the Kane himself or even Biggie Smalls & Big Pun.

“The Mobbery” picks up from there by rawly admitting that he wants to stick up the mob while the rugged “3 Digits” featuring Rock brings the 2 together explaining that this life all about the drugs, money, weed, women & standing out from the rest. After the interlude, Kool G Rap joins Saigon on “Make Money” menacingly discussing stacking up their chips just before “Home of the Wild” featuring Al Skratch finds the pair dustily talking about the wildest coming from New York.

One of my top 5 producers of all-time Pete Rock hops in the booth for “Get Loose” getting on some funky boom bap shit to show their recklessness, but then “Stop Poppin’ Shit!” featuring Craig G jumping over pianos mixed with kicks & snares calling to cease gun violence. “We Were Stars” menacingly talks about how things were back then while “Dangerous” featuring Sadat X returns to the boom bap bringing it hardcore lyrically.

“Tournament” orchestrally breaks down a tournament of torment that you can enter in for only 64¢ while the album’s proper closer “The Era” shows everyone what the real meaning of fortified is over kicks & snares. The bonus track “Sveriges Regenter (Sweden All-Stars)” featuring ADL, Ayo, Petter & Timbuktu truly wraps things up by thunderously showcasing amongst the nicest MCs that the Swedish hip hop scene has to offer.

Pain, Peace & Prosperity had it’s highlights although I didn’t enjoy it as much as I did 777: The Resurrection, but The Jordan Era has revealed itself to be Saigon’s best full-length in about a decade & almost matching the bar that 777 as amongst the 2 strongest efforts of his in this current decade. We’re taken on a journey through the culture from 84-98 seen through eyes of a young Saigon, complimented by guest appearances from the pioneers & production from Fredro paying homage to hip hop’s roots.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

GUTTR – “Everything is…GUTTR” review

GUTTR is a newly formed supergroup consisting of Ras Kass, RJ Payne & Havoc. All 3 of whom have been established within hip hop whether it be the waterproof MC’s debut Soul on Ice, RJ decimating anyone in the battle circuit that dared to step up against him under the original moniker Reignman or last but not least Havoc being 1/2 of the greatest duos of all-time Mobb Deep alongside the late Prodigy. Ras & RJ have worked with each other a few times previously, but got one of the East Coast’s most underrated producers as their 3rd member in time to put out a full-length debut.

“Roll Call” featuring Lil’ Fame & Method Manis a grimy way to kick off the album asking where all the real ones at in this bitch whereas “Nostalgia” incorporates a soul sample for the trio to pour one out for all the fallen soldiers we’ve lost along the way. The title track featuring Kurupt & KXNG CROOKED takes the cavernous route talking about how it’s only right for them to get the cheese but after the “RNR Ep. 1” skit, “Once Again It’s On” featuring Twista ruggedly finds everyone in their battle rap shit.

On the other hand, “Different” kinda has a jazzier flare asking not to be compared to any other artists out here while “Lo-Fi” right after the “RNR Ep. 2” skit soulfully talks about liking the atmosphere gritty. “Stop Playin’” featuring Freeway & Raekwon brings back the pianos to tell everyone to not fuck around with them but after the “RNR Ep. 3” skit, the final song “Old Soul” ends GUTTR’s debut warning that gossiping to them will leave you with your head blown clear.

The hardcore hip hop fans are really gonna find themselves gravitating towards GUTTR’s introductory album & hopefully this is only the beginning of more to come from what is recognized as hip hop’s very first unionization. Primarily due to Ras Kass & RJ Payne paying homage to Prodigy by channeling that old Mobb Deep energy, Havoc setting the musical canvas on an entire album for both lyricists to paint their bars, the guests all matching their intensity

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Ibibio Sound Machine – “Pull the Rope” review

Ibibio Sound Machine is an electronic afro-funk band from London, England, United Kingdom consisting of frontwoman Eno Williams, guitarist Alfred Bannerman, percussionist Afla Sackey, drummer Joseph Amoako, bassist Philip Ambrose, trombonist/keyboardist Tony Hayden, trumpeter/keyboardist Scott Baylis & saxophonist/keyboardist Max Grunhard. Introducing themselves a decade ago on the eponymous debut, they would show some growth on the sophomore effort Uyai & Doko Mien would go on to be just ok. Electricity couple years ago on the contrary surpassed Uyai as the band’s crowning achievement in their discography & went into the band’s 5th full-length maintaining that level of quality.

The title track starts by fusing mutant punk & electro with dance-punk & indietronica repetitively encouraging to pull the rope regardless of how eager we are to go for it whereas “Got to Be Who U Are” treads the synth-funk waters with additional elements of electro-boogie & disco not-disco singing about always being the same no matter where we are. “Fire” moves on from there cautioning not to get burned by experimenting with alternative dance a bit, but then “Them Say” futuristically lets y’all know who they are.

“Political Incorrect” continues the socially charged themes from the track before mixing dance-punk & even a hint of synth-funk in comparison leading into “Mama Say” blending electro, mutant disco & even a hint of electropop seeking to empower & uplift the women in our lives. “Let My Yes Be Yes” puts her own triumphant spin on Matthew 5:37 while the synth-driven “Touch the Ceiling” passionately talks about making it to the top when it’s all said & done. “Far Away” has this soulful, funk rock flare to it addressing those who see from a distance & “Dance in the Rain” ends on some electro-highlife shit for you to vibe out to during rainy weather.

Eno & company maintain the hope, joy & sexiness that they became known except they further honing the edge Electricity. This is done by expanding the sounds of electro, afro-funk, synth-funk, afrobeats, electro-disco, dance-punk & mutant disco carried over from the predecessor by throwing in influences of highlife, synthpop & alternative dance. The connection that the bands aim to foster has shifted venues from the sunny buoyancy of a sunlit festival to a sweat-soaked, all-night dance club & you’re still having a good time even with the atmosphere changing.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Pro Dillinger – “Reasonable Dirt” review

This is the 6th full-length LP from Haverstraw, New York emcee Pro Dillinger. A member of the Umbrella collective as well as 1/2 of The Steiner Brothers, he has released a total of 5 mixtapes along with his last 5 albums & even 7 EPs. Favorites include the Finn-produced debut Pray for My Prey, the Machacha-produced Dirt Don’t Hurt, his 3rd EP MOSFoul, the Sting vs. Flair collab EP with Mickey Diamond & The Steiner Brothers’ eponymous debut. And with Dirty Work celebrating it’s 1-year anniversary this summer, the dirtiest of the Umbrella has brought Sean Kelly back to handle production for Reasonable Dirt much like Forever Foul.

“Bad Business” begins with a grand instrumental refusing to let anyone throw him off his focus whereas the funky “We Don’t Believe You” featuring Substance810 warns all these foul muthafuckas that there ain’t no more hiding & it’ll be lit when they catch ‘em. “So Guilty” goes into a jazzier direction with the beat talking about having murder on his mind, but then “Fall for Nothing” soulfully discusses wanting it all.

Blokkito joins Pro Dillinger for “Someday” jumping on top of this harmonious sample talking about being body snatchers & that they didn’t want them succeeding while “Home Team” delivers a smoother vibe overall to the beat telling everyone that they rockin’ with the best & he’s a part of bringing back the culture. Instrumentally, the song “Last Days” has this trippy mood to it so he can talk about becoming rich & going broke twice just before “The Change” incorporates another soul flip admitting that he’s caught up in the game.

“Selling Hope” featuring Big Trip weaves some pianos into the fold refusing to back down from any smoke that heads their way along with having the city on their backs & the squad chillin’ on a boat with everyone else bitterly watching from the background prior Reasonable Dirt’s title track finishing the album over synthesizers talking about rising from the soil, his amazing lineage & pouring beer on the flowers that’re growing from the sidewalk to make them stronger.

What we have on Reasonable Dirt is Pro Dillinger & Sean Kelly making a sequel album to Forever Foul that takes everything from the predecessor & turns it up to 11. Sean’s production still has the jazzy undertones from previously except you can hear that he’s grown as a producer over the course of these past couple years, Dirtius Jackson goes harder on the mic, there are a lesser amount of guests & Futurewave killed it with the mixing.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Chetta – “Sacrifice & Sabotage” review

Here we have the 4th full-length studio LP from New Orleans, Louisiana emcee/producer Chetta. Starting out a decade ago with his debut mixtape Nino White, this was followed up with 18 EPs as well as 11 more tapes & a full-length debut, but gained significant attention off his G*59 Record$ debut Been Here Forever a couple summers back. Falling Off went on to be an equally dope prelude to the previous album Playboy, which also maintained the level of consistency as those previous projects since signing to G*59 as did Sick Bitch almost 5 months ago. That said: Expectations for Sacrifice & Sabotage raised exponentially after learning that $crim of the $uicideboy$ fully produced it.

“You’re Gonna Die Tonight” gets the ball rolling by mixing bells, a vocal sample & hi-hats asking exactly who wants to meet their demise risking their souls whereas “1 of 1” follows it up with a piano-trap banger talking about never folding since he’s locked in & they know how he be rockin’ it. “Millennium” goes full-blown rage beats to discuss feeling the exact same after poppin’ pills leading into “God, Can You Hear Me?” incorporating more keys & hi-hats into the picture explaining that he’s never scared.

The Memphis influences that G*59 is known for make their way onto “Born Under a Bad Sign” talking about always being him & not playing games at all prior to the riot-inducing “Horus” finding himself in his zone getting throwed unable to be saved because he doesn’t need anyone. $crim himself joins Chetta on the guitar-trap driven “Meet Me At My Worst” talking about being way too high for this shit, but then “Vera Wang” jumps on top of a crooning loop & hi-hats breaking down having hoes in every state.

“*Crash Out*” continues the 2nd half of Sacrifice & Sabotage by going for a creepy trap atmosphere sonically talking about drug use prior to the Memphis sound returning on “While I Burn” so he can ball on the right key & boast the fact that he’s tapped in. “KillKillKill” turns up the bass to 11 feelin’ like he could easily blow $100K while “…What a Letdown” tells a bitch that it’s on for her to hate him by now over what could possibly be the most upbeat instrumental on the entire album.

The dreary yet bouncy “Claymore” begins the last moments of the LP by talking about being tired & asking not just why they hatin’, but what they’re running from on top of it. “Missing<>Link” goes into cloudier turf asking a lil hoe what they missing so he can actually go get it next to just living out all that wishing she does & “As If Everything Wasn’t Enough” ties everything up by solemnly yet exuberantly getting all up in his bag.

36 projects overall in his discography in the span of 10 years & this most recent entry has not solely joined Been Here Forever as my one of favorite albums of Chetta’s that he’s put out since being signed, but even as one of my new favorite LPs of his whole entire discography period. $crim has evolved as a producer since Been Here Forever balancing old & new sounds together, so it’s right for him & Chetta to take themselves to a higher level than the G*59 debut.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Brother Ali – “Love & Service” review

Minneapolis, Minnesota activist & battle emcee Brother Ali teaming up with Oakland, California producer Unjust for his 8th full-length LP only 4 & a half years after the Evidence-produced Secrets & Escapes. Exploding within the underground off his 2003 sophomore effort Shadows in the Sun & of course his 2007 follow-up The Undisputed Truth, he would continue this string of acclaimed releases with Us as well as the Jake One-produced Mourning in America & Dreaming in Color and All the Beauty in This Whole Life. Can’t forget to mention Ali’s debut EP Champion turning 20 in a couple weeks & his debut mixtape Left in the Deck either. It’s been a few years since we last heard from him on his 4th EP Brother Minutester which marked his departure from Rhymesayers Entertainment after nearly 2 decades. So with Love & Service being his first album through his very own label Traveler’s Media, that & seeing some of the features nevertheless kept me interested.

After the “Chapter 1” intro, the first song “Ottomans” is a boom bap opener welcoming y’all to the extravaganza & informing everyone listening that they’re now rockin’ with a true & living master except the “mumble rap” jabs are cringe since this isn’t 2016 anymore whereas “Awaken” mixes together these woodwinds & strings talking about sleepwalking through our days. “The Collapse” calling out those who were dazzled by the warning signs flashing continuing to dance in the midst of it all collapsing over an instrumental with a summertime-flare, but then “Manik” featuring Aesop Rock & Casual brings the trio together getting in their battle rap bag for 4 minutes.

“Nom De Plume” kinda goes for more an uncanny atmosphere talking about part of dues having to be paid in order for him to even offer you this news making it rain blood & tears on any stage he rocks while “Cadillac” fuses these organs & guitar licks discussing his father-in-law’s titular yellow tinted whip. “Gauntlet” featuring Roc Marciano goes into a jazzier direction talking about both of them being on some other shit their whole entire lives pretty much leading into “Howlin’ Wolf” hopping over a brass sample to rock & moan much like the blues icon of the same name.

Quelle Chris joins Ali Newman for the spacious “Ghosts” pleading to not let them walk on their own just before the title track smoothly talks about how it’s all simply Love & Service at the end of the day. “Worthy” continues near the end of the album by affirming that every single one of us is worthy of love accompanied by a peppy beat & lastly to finish up Ali’s first full-length in nearly 5 years as of this upcoming fall, “Inside” finishes up the album by vulnerably talking about being unable to hold his tears back.

A good majority of Brother Ali‘s discography is exceptionally high in quality & although this isn’t one of my favorite projects from him, I still find it to be absolutely tolerable. Unjust provides a warm & unquantized sound chopping & flipping educational children’s movies from both the 70’s & 80’s using an ASR-10 sampler cohesively bedding Ali’s dense & poignant musings on God, death, empire & beauty in the process.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Stanwill – “4ever $hittin’” review

This is the 3rd proper solo album from Detroit, Michigan rapper Stanwill. Coming up as 1/3 of the ShittyBoyz with Babytron & TR Dee signing to Lando Bando’s own The Hip Hop Lab Records, he eventually branched out on his own during the COVID-19 pandemic off the debut EP $camwill as well as it’s successor Gifted & the debut mixtape Van Gundy. He also went Full Auto for his 3rd EP making his full-length debut with Big $hitter followed by the 4th EP Big $hitter: Lost Files & of course the sophomore Still $hittin’ celebrating it’s 1-year anniversary last weekend, it makes sense for him to clarify that he’s 4ever $hittin’.

“Neverland” start off with a bit of a psychedelic plugg vibe talking about being the weatherman whereas “Paramount” named after the Paramount Skydance Corporation works in some pianos to discuss the only thing that he’s really concerned of is the paper. “Standing Ovation” takes the spacious trap route instrumentally thanks to Danny G & Jakesand talking about playing the dirtiest game while the synthesizer infused “Live & Learn” humorously boasting that his wrist 41 & the cougar bitch he bagged being 42 providing the clique scoring 2 pointer.

Tay B joins Stan for “Be Fr” gives off a suspense-raising Detroit trap flare to the beat talking about both of them always keepin’ it 100 leading into “Cockadoodledoo” mixing 808s & pianos flexing that he can do this shit in sleep every single day of the week. “Smithereens” brings back the plugg influences that we heard at the very beginning so he can talk about those laughing at his losses cheering for his victories, but then “Sexyy Red” featuring T Bone go back on forth on a Detroit trap instrumental wanting bitches similar to the rising St. Louis trap star.

“Whack-a-Hoe” hooks up these orchestral elements with 808s saying that if the money makes the world go round, then he’s the reason that Earth’s spinning prior to Certified Trapper dropping off the worst feature throughout the entire album on “Brothers” despite the synth-trap beat & the lyricism talking about riding & dying for their brothers. “Make It Last” going for more of an electronic trap approach with the instrumental likening his squad to a marching band with the AR drum attachments while “AR in My Goose” returns to the Detroit trap sound cautioning to duck before he taps you in the head.

My favorite feature on 4ever $hittin’ is easily TR Dee on the luxurious “Simple” talking about how simple this shit really is to them prior to “Bases Loaded” in actually serves as a solid freestyle over the “They Losing Me” by Big Homie Dre Cash beat. “Chop Suey” featuring Drego contains the LP’s 2nd best guest appearance eerily talking about the barking gonna be dead if they end up biting that is until “Ahh Haa” gets back in his Detroit trap shit laughing at one of his brodies shooting an opp.

“Nonstop” kinda has this chill mood to the instrumental refusing to stop since time is money after while the west coast flavored “Los Santos Customs” makes reference of the Grand Theft Auto V & Grand Theft Auto Online vehicle customization & repair shop of the same name. “Crunch Time” couldn’t of been a better choice of a climactic closing track to the album talking about chillin’ with a bitch that don’t know English for so long to the point now where he speaks in Spanish to the plug.

This last handful of solo projects we’ve gotten from Stanwill over the course of these past 3 years have been more moderate compared to Van Gundy, but there’s no debate from my point of view that 4ever $hittin’ is the most that I’ve enjoyed a solo project from him since $camwill when the world was on lockdown. Although only a couple features stood out, I love that he tries out some new sounds albeit primarily sticking to the Detroit trap wheelhouse.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

PARTYNEXTDOOR – “PARTYNEXTDOOR 4” review

PARTYNEXTDOOR is a 30 year old singer/songwriter, rapper & producer from Toronto, Ontario, Canada becoming the first artist that Drake signed to OVO Sound in the spring of 2013 & released a well-received eponymous debut EP few months later. His full-length debut PARTYNEXTDOOR 2 nearly 13 months later took everything from self-titled to another level & Colours that winter was noticeably more contemporary. PARTYNEXTDOOR 3 received generally mixed responses in comparison to it’s both predecessors until Colours 2 showed a bit of improvement, but 7 Days ended up missing harder than P3 did. PND’s next EP Partypack became another redeeming moment much like Colours 2 & keeping in mind that the last album Partymobile easily stands as his worst, PARTYNEXTDOOR 4 gave me some optimism that it would outdo his last couple LPs.

“C o n t r o l” gets started with this atmospheric trap soul/alternative R&B crossover with Cardiak behind the boards talking about wanting to sex up this woman whereas “L o s e M y M i n d” ruins the timeless DMX song “Party Up (Up in Here)” gratingly discussing 2 women driving him to the point of insanity. “S t u c k I n M y W a y s” takes a groovier route instrumentally thanks to Alex Lustig & 40 so PARTYNEXTDOOR can talk about never wanting to change just before “C h e e r s” brings this futuristic trap soul vibe to the table dedicating this one to all the lovers that like to turn up by consuming alcohol.

Drawing near the end of P4’s first half, “M a k e I t T o T h e M o r n i n g” spaciously sings about not wanting to fight with his romantic interest wanting them to last until the sunrise while the moody “N o C h i l l” produced by Nonstop da Hitman telling the star of the show that she been acting reckless ever since he got her some ice. “H e r O l d F r i e n d s”produced by OG Parker & G. Ry was an ok trap soul/alternative R&B single talking about sleeping with girl’s old friends but after the “R e t r e a t” skit, “F o r C e r t a i n” sounds like a boring dancehall track running off from VIEWS/More Life.

“S o r r y, B u t I’ m O u t s i d e” works in luscious synths & hi-hats singing that he has someone waiting for him inside playing with their emotions while “R e a l W o m a n” is another alternative R&B/trap soul fusion showing off this model he’s dating who’s taller than him. After the “M o t h e r’ s P r a y e r” skit, “F a m i l y” stands as the most heartfelt moment on the album talking about that he misses his family & the self-produced “R e s e n t m e n t” closes shop with some downtempo undertones needing respect.

The reason both P3 & Partymobile weren’t was well received as PARTYNEXTDOOR’s first couple LPs is because of the fact that he confirmed he wasn’t using everything he learned artistically on them & cheating on the quality of the art, which P4 does the complete opposite of as the best album he’s put out in almost a decade. He cooks up 46 minutes worth of amongst the most focused alternative R&B/trap soul in his discography from a “me & her” perspective that the intimacy for the prime PND listening experience requires.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!