The Rolling Stones – “Foreign Tongues” review

The Rolling Stones are a blues rock trio from London, England, United Kingdom comprised of rhythm guitarist Ronnie Wood, lead guitarist Keith Richards & frontman Mick Jagger. A band who dropped some of the greatest rock music recorded throughout the late 60s-early 70s like Beggars Banquet, Let It Bleed, Sticky Fingers, Exile on Main St. & Some Girls. Their previous full-length Hackney Diamonds under Geffen Records made for a tolerable comeback after 2 decades & the Stones joining Capitol Records for their 24th studio LP had me intrigued since the material dates back to 2019.

“Rough & Twisted” begins with a blues rock single incorporating further elements of electric blues & boogie rock singing about flashing jewelry being a false pretense to them whereas “In the Stars” takes the pop rock route stylistically with some bluesy undertones admitting to feeling a heavy hand meddling with their plans. “Jealous Lover” goes completely smooth soul singing about a relationship going sour while “Mr. Charm” starkly reminding the world of life being as short as it is.

Meanwhile on “Divine Intervention”, we have the Stones singing about our existence being a gamble within it side just before “Ringing Hollow” brings a bit of a country twang into the fold observing all the political turmoil in the United States for a year & a half. “Never Wanna Lose You” reaches the halfway point of the full-length taking back to the pop rock style not wanting to lose the love of their lives whiles “Hit Me in the Head” has a more traditional rock flare acknowledging they won’t be here eternally.

“You Know I’m No Good” takes back to their blues rock origins reminding this woman who’s interested in them cautioning that they were trouble from the very beginning & after “Some of Us” brings a summery atmosphere to the table singing about all of us needing some love in troubling times like these, “Covered in You” continues to make it clear that they’re fed up with the rise of fascist autocracy. More specifically Tesla CEO, SpaceX founder, Neuralink founder, Twitter owner & Nazi Elon Musk.

The song “Side Effects” hits us with a powerful rock ballad singing about there being a price to pay for literally everything pondering whether if it’s the drugs fucking with their mood or not while the 6 minute “Back in Your Life” treads the Americana waters a bit singing about doing whatever it takes to for this individual to let them in their good graces once more. The closer “Beautiful Delilah” sends off the album with a passable cover of the late Chuck Berry’s track of the same name.

If I have to be serious with myself, Hackney Diamonds still remains a decent comeback for The Rolling Stones after nearly 2 decades exclude the Blue & Lonesome covers but I came away from Foreign Tongues confident that it could be the most gratifying entry in their extensive catalog since Tattoo You. The bluesy pop rock production refines what they tried to do 3 years earlier mixing elements of electric blues, boogie rock, smooth soul & hard rock for a politically charged hour.

Score: 4/5

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FATHERS – Self-Titled review

FATHERS is a jazz quartet from Los Angeles, California comprised of keyboardist Kiefer Shackelford, bassist Ben Carr, drummer Nate Smith & producer Kenny Beats. Almost everyone has an established background in the instrumental hip hop field except from Nate, whose output generally ranges from jazz fusion to jazz-funk & neo-soul. The greatest jazz label of all-time Blue Note Records have decided to bring the band on board for their eponymous full-length debut & only a couple weeks away from Kenny fully producing Rico Nasty’s upcoming 3rd album RX finally seeing the light of day later this month.

“Eye Level” sets things off with a 3 minute intro working in some synthesizers, pianos, drums & bass giving off heavy instrumental hip hop vibes whereas “Patchwork” brings alto saxophonist Nicole McCabe on board for an infectiously bright jazz track that I can imagine hearing at opulent hotel from a complimentary standpoint. The only single “Pearl” experiments with Brazilian pop-jazz & I admire the way they gave it a modern luster just before “Stub” kinda has hypnotically quirkier approach compositionally.

We have FATHERS incorporating some organs for “The Leak” to kick off the 2nd half of their self-titled debut while “Tomorrow, Again” concludes the 3rd quarter bringing a more tropical flare to the table instrumentally enlisting violinist Yasmeen Al-Mazeedi to handle the strings. “Front Yard” comes through with some colorfully rich keys & drums that have a boom bap quality to them while the closer “Figure 8” brings Yasmeen back 1 last time provide a heavenly outro fusing jazz & instrumental hip hop.

I can’t deny Kenny Beats taking the risk of expanding his clientele outside of hip hop by producing Geese’s 4th album Getting Killed last fall & Weezer’s next full-length The Gold Album later this August, so it was interesting to hear him forming FATHERS with 3 other jazz-rooted instrumentalists who’ve already established themselves & I hope this is only the beginning for the band since they improvised a tastefully jazzy instrumental hip hop debut with some occasional funk influences.

Score: 4/5

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Juicy J & Project Pat – “Dem Goats” review

Memphis, Tennessee rapper, producer, songwriter, DJ & music executive Juicy J alongside his older brother & fellow rapper Project Pat linking up for a new collaborative album. Notable for being founding members of the Hypnotize Camp Posse collective, they already have a few mixtapes under their belt together from the Play Me Some Pimpin’ Mane & Cutthroat sagas to Convicted Felons along with the numbers of previously released songs they have spanning decades. For the first time in over 15 years however, Dem Goats have decided to run it back days after CM Punk ended Sami Zayn’s brief reign as WWE Champion to become a 9-time WWE world champion.

After the “On the Porch 2026” intro, “Still the Same” begins with this Memphis trap opener talking about how shit ain’t changed with either one of them whereas “Eye for an Eye” finds the siblings observing all these young artists out here killing each other. “Out of Order” talks about even the opps being solid taking it back to the Memphis vibes just before “Southern Hospitality” produced by Juicy J himself combines pianos & hi-hats saluting everyone who has bread.

“Don’t Do It” offers some advice for the youth that’ll change their lives for the better if they think of doing some bullshit while “Bank Of” featuring That Mexican O.T. brings the trio together so they can talk about their wealth. “Wasting Time” featuring Anderson .Paak soulfully encourages everyone who’s sitting on their asses to get up & make some money leading into “Blessing in Disguise” talking about some of the people he doesn’t roll with anymore.

We have the Houston brothers pretty much saying “Fuck All That” at the halfway point of Dem Goats while “Free My Dog” spends 3 minutes calling for the freedom of their homies who’re incarcerated over a dark Memphis trap sound backing them. “Never Coming Back” confesses they wish it would start to rain because they miss Juicy’s fallen Three 6 Mafia brethren Lord Infamous & Gangsta Boo while “These Streets” issuing a warning regarding moving cautiously.

“Life Be Lifing” featuring Hanumankind & produced by Metro Boomin’ talks about the whole country struggling for survival over the course of the past year & a half while “Choose Wisely” featuring Killer Mike explains the ultimatum of either kill of be killed on top of a Memphis trap beat. “Hold On” has a cloudier flare to it talk about standing by whatever they say while “Tap” featuring KARRAHBOOO lights up anyone who wants beef with them when the latter recently squashed her’s with the current WWE United States Champion Trick Williams’ manager Lil Yachty.

The song “Red Carpet Treatment” winds down the last few moments of Dem Goats talking about burying haters in the middle of the desert while “To Be Real Witcha” featuring WWE Hall of Famer Snoop Dogg links up to come clean regarding not wanting certain individuals around them & taking a night off from going to the club. The closer “Yes Lord” featuring Lecrae if anyone couldn’t tell finishes the LP combining religious imagery with trap instrumentation.

Juicy J’s archival footage from jackass #2 was recently included in jackass: Best & Last despite jackass fore❤️er holding the rights for being the best movie in the franchise, but I’m not surprised that Dem Goats absolutely clears every single tape he & Project Pat did between 2009 & 2010 as their strongest collaborative effort. Juicy J handles a bulk of the production by himself & he brings a tight list of guests to join him & Pat for a better look at their chemistry.

Score: 3.5/5

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La Reezy – “Skiddle Bandana” review

This is the full-length studio debut from New Orleans, Louisiana based emcee/producer La Reezy. Introducing himself in 2023 off the Reebornmixtape, he would go on to follow it up with the debut EP We All Need Help as well as both Welcome to La Reezyana & Pardon Me, I’m Different preceding the self-produced Lareezyana Shakedown last September. The latter I would personally tell you is the greatest thing he’s made so far. Coming off Free99$ & the Leader of da Uthhowever, Skiddle Bandana’s finally arrived.

“Curly Headed Boy” begins with a 96 second self-produced intro talking about him going crazy whereas “Hot” takes a groovier vibe instrumentally flexing his increasing popularity within the past year. “Family Bizzy” was a profoundly touching choice of a single talking about his relatives leading into “Normal Struggles” embracing a summery atmosphere to the beat shrugging off problems that many of us are facing.

As for “Pretty Girl Bullshit”, we have La Reezy over a cloudier instrumental talking about all the issues that arise when it comes to gorgeous women just before “How Did You Love Me?” begins to question the sincerity of a female trying to hit on him. After the “Hold Yo Crown” interlude, “Melanate Me” continues the 2nd half taking pride in being African American while “God Forgive Me” recalls protecting a loved one who died from cancer during a robbery.

The title track winds down Skiddle Bandana’s last few moments admitting that he could go for a hug right about now while “Aight” soulfully yet moodily talks about doing simply fine these days. “Gold Chains” serves as a boisterous continuation of the black excellence themes that were explored a little bit ago & the outro “We Live” concludes the album pondering of every limitation reveals itself to be a blessing in disguise, encouraging all to open their eyes.

Out of everyone included in the 2026 XXL Freshman Class list a couple weeks ago, La Reezy undeniably stood out to me as the most talented artist of the bunch although Chris Patrick & slayr are both deserving of their spots too. Skiddle Bandana’s more conscious rather than trying to expand the pop rap sounds of Leader of da Uth, swapping out the chipmunk soul & bounce undertones in favor for elements of dirty south & neo-soul.

Score: 4/5

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Madonna – “Confessions on a Dance Floor II” review

Madonna is a 67 year old singer/songwriter, producer & actress from Bay City, Michigan who signed to Warner Records back in the early 80s. She would drop an eponymous debut, Like a Virgin, True Blue, Like a Prayer, Erotica, Bedtime Stories, Ray of Light, Music, American Life, Confessions on a Dance Floor & the underrated Hard Candy primarily produced by The Neptunes for the label prior to her initial departure. MDNA as well as Rebel Heart & Madame X all dropped under Interscope Records to mixed reception, but has returned to Warner for her 15th studio LP & a sequel to Confessions on a Dance Floor.

“I Feel So Free” opens with a progressive house, dance-pop, space disco, spoken word, Baltimore club, hi-nrg, progressive trance & acid house single co-produced by Arca detailing the way she feels whenever she’s on the dance floor prior to “Good for the Soul” reminding the world to take a breath or let your hair down every now & then. “1 Step Away” continues from there singing about EDM not being as superficial as most people would like to think while “Bring Your Love” featuring Sabrina Carpenter blends dance-pop, diva house, garage house & Chicago house dismisses any commentary from their detractors.

We have Madonna during “Danceteria” dedicating an entire track to the New York nightclub where her career began 4 decades ago while the only song I could’ve done without “Read My Lips” featuring Feid moderately combines dance-pop, nu disco & Latin house to sing about people being broken on the inside. “Everything” makes up for it with a Ray of Light throwback confronting someone for always bringing her down just before “Love Sensation” featuring Kylie Minogue on the remix sings about there being nothing she can’t do with her partner over a dance-pop/French house fusion.

“Love Without Words” gets the 2nd half going embracing a diva house sound taking us through a temple of sweat & surrender while “Bizarre” sings about the unique strangeness that comes with love, recalling Sean Penn’s marriage to her in the latter portion of the 80s. “School” conceptually takes the role of a teacher & a student hoping the latter tells her he loves her despite not knowing it while “Fragile” comes through with a powerful catharsis regarding her late brother Christopher Ciccone, whom she reconciled with prior to his death.

Winding down Confessions on a Dance Floor II’s last act, “My Sins Are My Savior” featuring Stromae leans towards a more tranquil side of things in terms of sound singing in French about looking for love in unfiltered places while “Betrayal” feels like a mix of Ray of Light & Erotica, telling a story that ends in Madonna being backstabbed. “The Test” featuring Lola Leon finds the mother/daughter pairing over an alt-pop/2-step beat repairing their relationship & “L.E.S. (Lower East Side) Girl” spends the album’s final minutes remembering where she came from.

Her tenure on Interscope wasn’t all that even if MDNA along with Rebel Heart & Madame X had select moments that I still go back to now, but Confessions on a Dance Floor II marks Madonna’s return to Warner by dropping her strongest LP in 2 decades. The housier production incorporates additional elements from dance-pop, progressive house, diva house, deep house, space disco, spoken word, Baltimore club, hi-nrg, progressive trance, acid house, garage house, Chicago house, French house, nu disco, Latin house, alt-pop, 2-step & progressive breaks similarly to it’s predecessor curated like a DJ mix so the Queen of Pop can escape from all the turmoil in her life.

Score: 4.5/5

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Ken Carson – “Xperiment” review

Kicking off the 2nd half of 2026 with the 5th studio LP from Atlanta, Georgia recording artist Ken Carson. Breaking out in the SoundCloud scene & becoming a protege of local trailblazer Playboi Carti as one of the first artists to sign to the latter’s Opium Records, he would go on to drop a total of 5 EPs prior to his full-length debut Project X & coming off the mature sophomore effort X which Anthony Fantano infamously gave a 0. Coming off A Great Chaos & More Chaos however, he’s looking to Xperiment a lot more.

Former 17-time WWE world champion, WWE Intercontinental Champion, 5-time WWE United States Champion & 4-time WWE tag team champion John Cena gets referenced on the intro “wheredoistart?” produced by Four3va whereas “deaf note” featuring Playboi Carti finds the 2 detailing their lifestyles. “shadeson” was disappointing since it’s pretty much a remix of “girl” off 2hollis’ major label debut star prior to “gynecologist” making up for it whether it be the instrumental from F1THY of Working on Dying to the lyrics detailing what he’d do if he wasn’t making music.

“wrist” continues from there talking about being in kitchen serving up weight & deceiving a woman into thinking they’re locking in when Ken wants to fuck her friend leading into “edm” addressing the rumors of Xperiment & Cartunez fulfilling his ongoing contractual obligations. “truth” hops over an Art Dealer & Outtatown beat so he can drop a lengthy verse sandwiched between a chorus expressing his sincerest feelings while “outofmybody” talks about being a wireless plug.

As for “the ritual”, we have Ken setting the record straight regarding a woman acting like he’s her man when it’s false & finding a way to always prevail while the “interlude” feels more of a brief freestyle talking about others not being able to reach his high. “ghost” featuring Lil Uzi Vert speeds up the pace instrumentally so both of them can switch shit up for those moving too slowly while “drug kit” featuring Young Thug details being under the influence of drugs over a celebratory beat from DY & Tre Pounds.

“possession” continues the 2nd half of Xperiment on some more rage-inducing vibes talking about raking money in like a bunch of leaves that’ve fallen off branches while the distorted “fw00” discusses having money on his mind & the fact that he’s been setting trends for some time already. “somanybags” hops over another hypertrap instrumental to talk about being so geeked up where he can’t relax while “shopping” featuring Destroy Lonely prepares us for their collab tape trading the mic back-&-forth.

The song “amandabynes” brings some buzzing synthesizers into the picture talking about falling in love with a woman for who she is as a person & her being attracted to his timing but after “amnesia” runs it back with Art Dealer & Outtatown to confess that he forgot the times he’s seen this chick being addressed, “flamethrower” airs out his grievances towards a an ex-girlfriend whom he did so much for yet she still ended up leaving.

“knocking” brings a hypnotically futuristic sound to the table talking about someone he knew since Day 1 who’s changed so much that he doesn’t even have friends anymore while “addiction” references former WWE United States Champion & WWE tag team champion Logan Paul. “wedidit” featuring Playboi Carti concludes our Xperiment referencing current AEW performer/commentator, former 7-time WWE world champion, 11-time WWE Tag Team Champion, WWE Intercontinental Champion, WWE United States Champion & 3-time WWE Hardcore Champion Paul Wight while “Too Many Poles” talks about his stick having no switch over a Clayco beat.

Starting the deluxe run, “scrape” continues to rage looking to shake up the blocks while “swag jack” details the kind of people who steal others’ style & claim it to be their own. “off a bean” responds to those claimin’ he’s gotten cocky when he’s hustled for everything he has while “rare creature” talks about locking in differently & others including him not knowing what to do with the kind of money he makes.

“$50k” maintains the core components of hypertrap only carrying that much money on him while “roxy reynolds” featuring Destroy Lonely provides us another dosage of what we can expect out of the 00Twinz tape over a 2hollis instrumental. “005” talks about Opium being his lifestyle & after “eaters” warns of preparing to untuck the heater he’s been carrying, “9 bitches” featuring ApolloRed1 disses 9 Vicious.

OsamaSon appears on the rage-inducing “vamp city” going bananas with the clips restricting all phones & cameras while “fake news” talks about all these muhfuckas being fraudulent goons. “disturbing the peace” shouts out Ludacris’ vanity label distributed by Def Jam Recordings while the final bonus track “yvngvmp” celebrates making out of the hood & talks about having a bunch of gangstas in his camp.

Even if it’s not quite experimental as I hoped it would be, Xperiment could still debatably surpass A Great Chaos to become Ken Carson’s greatest full-length & it has me wondering whether or not Cartunez next Friday will join either of those albums in that same conversation. Excluding a small handful of songs that I felt were pointless, rage/trap production’s less watered down than More Chaos last spring & there’s a tight guest list.

Score: 3.5/5

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民謡クルセイダーズ – 『日本民謡より愛をこめて』レビュー

The Minyo Crusaders are a min’yō band from Fussa City, Tokyo, Japan consisting of guitarist 田中克海, saxophonist 大沢広一郎, percussionist 小林ムツミ, timbalero イデソノオ, trumpeter 山内ステファン, conguero Irochi, keyboardist Moe & vocalist フレディ塚本. Dropping their full-length studio debut Echoes of Japan in 2017 followed by the 2023 sophomore effort Tour of Japan, they have since signed to Blue Note Records & are making their debut for the greatest jazz label of all-time with the Crusaders’ 3rd studio LP.

“北海盆唄” begins with a rendition of a vulgar coalminer’s song originating in Hokkaido that was eventually rewritten in the 1940s containing a bit of a Latin twist to it whereas “こきりこ節” by Minyo Cumbiero comes through with a cumbia colombiana/tropicanibalismo spin on the oldest Japanese folk song. “花笠音頭” also by Minyo Cumbiero blends both ensemble’s styles again for an ode to the community dance originating in the Yamagata Prefecture while “下津井節” covers track dating back to the Edo period.

Kicking off the 2nd half, we have [朝倉さや] joining the Crusaders for the single “朝倉さや” reintroducing another cut from the Edo period except it was conceived in the Shimane Prefecture leading into another work song “木山音頭” during the construction of Imabari Castle being modernized for newer generations. “ワイド節” featuring 元ちとせ unites for a cover of the Amami Islands’ famous min’yō track synonymous with bullfighting & “伊予万才” ends From Japan with Love renditioning a humorous song written back in the 17th century.

Forming back in 2011 with the goal of making min’yō more international by incorporating rhythms from Latin as well as African & Caribbean music, the Minyo Crusaders’ debut for Blue Note Records surpasses both of it’s predecessors to become the most vibrant statement of their existence by rooting From Japan with Love in the passionate respect they’ve always had for Japanese folk & it’s ability of resonating across multiple cultures.

Score: 4/5

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Nduduzo Makhathini – “The Myth We Choose” review

Nduduzo Makhathini is a 42 year old pianist & philosopher from Umgungundlovu, Pietermaritzburg, KwaZulu-Natal, South Africa who dropped his first 7 studio LPs through his own imprint Gundu Entertainment prior to the greatest jazz label of all-time Blue Note Records signing him for Modes of Communication: Letters From the Underworlds as well as In the Spirit of Ntu & uNomkhubulwane. All of which have elevated his spiritual afro-jazz sound & went into his 11th album expecting him to do the same.

“Kuzodlula” by Robin Fassie kicks things off with a vocal jazz intro encouraging everyone to relax for the reason of everything eventually passing whereas “Imvunge KaNtu” recruits bassist Dalisu Ndlazi & drummer Lukmil Pérez for a hard bop tribute to the Bantu philosophy. “Kwamabili” lets Lukmil take a backseat so Nduduzo & Dalisu can instrumentally shine together for a few minutes just before the 4th & final single “Unembeza” combines elements of gospel & South African music.

The 3rd single “Liyoze Line Nangakith” has flautist Shabaka Hutchings joining the pianist & bassist for a hymn to the blessings that accompany rain while “What People Say” by Nduduzo’s wife Omagugu takes the vocal jazz route once more mediating on the creation of myths. “Primordial Egg” enlists Ayanda Sikade on the cymbals for a rubato jam complimenting the keys & bass leading into “Ekuqaleni” reaching the halfway point with a composition themed around the Zulu creation using synths & a vocoder.

Muneyi takes the microphone for “Ḽiṅwalo ḽa Mubebi” embracing a vocal jazz vibe again describing fatherly love while “Umbono” brings guitarist Keenan Ahrends on board so Nduduzo himself can sing about our 6th senses. “Tethered” by Thando Zide succeeding the “Ḽiṅwalo ḽa Mubebi” reprise experiments with neo-soul pitting the inevitability of love against the inability to gauge our emotional entanglement when somebody’s deeply in love.

“Ongaphesheya” gets the 4th quarter of The Myth We Choose going by having these calming piano chords predominantly taking the spotlight with some bass licks from Dalisu backing them but after Black Coffee’s stunning remix of “What People Say” that I’d consider equal to the original & the “Kuzodlula” reprise, “Zimthilili” sends off the album by bringing Ayanda Sikade back on drums so Nduduzo can vocally perform 1 last time singing about love over hypnotically rich instrumentation.

All 3 of Nduduzo Makhathini’s previous full-lengths that he’s dropped under Blue Note Records over the course of this decade have individually elevated his spiritual jazz sound & although I’d consider In the Spirit of Ntu to be his magnum opus, The Myth We Choose wouldn’t be too far behind for a close 2nd. He’s challenging the world to examine our individual background taking further inspiration from afro-jazz, spiritual jazz, cape jazz, vocal jazz, hard bop & neo-soul with the help of his son Thingo even if I could’ve done without a couple of the reprises.

Score: 4/5

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Wrekonize – “Edited for Reality” review

Here we have the long-awaited 5th studio LP from Miami, Florida emcee/producer Wrekonize. Starting out in the battle circuit, he eventually put out a total of 3 mixtapes throughout the 2000s until coming out with his full-length debut A Soiree for Skeptics in 2010. However, the following year when he signed to Strange Music as a solo artist & as a member of the group ¡MAYDAY! the following year. His 2013 sophomore effort The War Withinwould go onto receive critical acclaim & was followed up in 2017 with Into the Further. This fall will be 6 years since Pressure Point & he’s enlisted MIKE SUMMERS a.k.a. 7 to produce Edited for Reality.

After the “Ángel de la Guarda” intro, “Alpha (The Beginning)” made for a tense opener talking about him having to change his state of mind whereas “Ain’t Backing Down” encouraging people to find him if they’re looking for a fight. “Free Way” had a more laidback sound to it talking about living life freely prior to “Can’t Stay, I’m Gone” featuring Lex Bratcher joining forces so they can cavernously talk about their refusal of standing still.

“Snowfall” instrumentally shifts towards a predominant trap vibe confessing that his heart’s been getting colder by the second leading into “No Words” talking about being speechless at all the evil things this person he’s addressing has done. “You Should Get Slapped” by ¡MAYDAY! featuring Stunnaman02 & 1 Ton finds everybody enjoying the sun & staying out the way of bullshit just before “Cinder Blocks” featuring Stevie Stone talks about bracing for the fall when they land.

Continuing the 2nd half of Edited for Reality, we have Wrek taking a more melodic approach on “If Anything” singing that he’ll be there for this person whenever they need him while “For Peace” talks about not finding tranquility if one doesn’t actively seek for it. “Line in the Sand” lividly airs out his frustrations of potentially dying at the hands of a coward while “Twisted” hops over a boom bap beat talking about the state of the world.

“Planet Worth” winds down the last several minutes of the album speaking of living for the moment as a nobody on a rock full of superstars while the penultimate song “No One Else (Be Myself)” talks about wanting to be himself instead of another because he could give a fuck less what they have. The closing track “Perfection 2026” wraps up Edited for Reality explaining the realization that he’s come to regarding nobody completing the path of gaining perfection.

Containing every single he’s dropped since forming ¡MAYDAY! Music distributed by It Goes Up Entertainment & Strange Music with his ¡MAYDAY! bandmates a few years earlier, Edited for Reality egins this new chapter of Wrekonize’s career with a full-length that I’d have to put on the same pedestal as The War Within & Pressure Point. I could’ve done without a couple guests, but the chemistry between 7’s production & Wrek’s penmanship hasn’t changed.

Score: 4/5

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Red Bag – “Could This Be?” review

Red Bag is an independent hip hop artist from Long Beach, California whose music puts a he world in the shoes of his lived experiences built for the ones still in it from the lens of a cinematically raw point-of-view. For his full-length studio debut however, fellow Rich Mind$ collective brethren Cynematic has been enlisted behind the boards for the inaugural half of a 2-part series that he calls The Message recalling the roads he once walked that many are walking to this very day.

“Winter Stone” begins with a 90 second drumless intro talking about letting his mind drift when he smokes weed whereas “Blanc de Blancs” goes for a jazzier vibe instrumentally asking if anyone can rip microphones better than him. “Gourmet Chops” finds himself getting boastful over a soulful beat leading into “Fresh Water” talking about him doing this for the ones he’s lost.

Terry joins Red Bag on “Fools Rush” continuing to drop braggadocio over a lo-fi boom bap instrumental reminding me of Domo Genesis during the Odd Future era just before “Parallax” talks about his refusal to fake shit because of the way he came up. “Broken” moves on from there admitting to be more gentle with himself going forward while “XTC” reaches the halfway point of Could This Be? with a compositional approach not even an entire minute long.

“In Due Time” kicks off the 2nd half of the album with a 63 second freestyle talking about his capability of making an entire crowd listen whenever he takes the microphone while “Deja Vu” speaking of his purpose of being destined for this shit & overcoming any obstacles. “Came to Age” spends a minute & half honoring the legacy of my 2nd favorite producer of all-time J Dilla behind the Quincy Jones of hip hop Dr. Dre himself prior to Terry returning for the title track.

To wrap up Could This Be?’s final act, “Stripes” talks about staying a student of the game when you’re constantly holding yourself back while “Burning” treads the lo-fi boom bap waters discussing how the legacy you leave behind going forward is the one that rally counts. “Twist” talks about recruiting new members for his crew to replace the older ones & the outro “Full Circle” sends it all off reaching the point of being past all the bullshit in his life.

Catering his music to the people across the world who’re experiencing his past presently, Red Bag looks to make a wider introduction to the west coast underground by presenting the world this inaugural half of this saga split into 2 completely different sections & Could This Be? marks a personal debut for the west coast artist in general. The production Cynematic brings to the table is a mix of drumless, boom bap, jazz rap & lo-fi hip hop reminding us all he overcame his obstacles by pushing forward.

Score: 3.5/5

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