Knocked Loose – “You Won’t Go Before You’re Supposed To” review

Knocked Loose is a metalcore band from Louisville, Kentucky consisting of frontman Bryan Garris, lead guitarist Isaac Hale, bassist Kevin Otten, drummer Kevin Kaine & rhythm guitarist Nicko Calderon. Breaking out a decade ago off their debut EP Pop Culture, their eponymous 2nd EP followed by their last couple full-lengths Laugh Tracks & A Different Shade of Blue all received similar acclaim. Their 4th EP in 2021 however A Tear in the Fabric of Life has become amongst the best metalcore of this decade, so it raised the stakes exponentially for the band’s 3rd album.

The head-bashing metallic hardcore opener “Thirst” screaming about being sickened by a desire for change & to remove the canvas resulting in Bryan wanting to start again whereas “Piece by Piece” works in more drop-tuned guitar riffs & constant double kick drumming to make it known that the truth is something that one can absolutely not hide from. “Suffocate” featuring Poppy mixes metalcore & mathcore as they dig until they find the root that is until “Don’t Reach for Me” swaps out the mathcore undertones with beatdown hardcore taking down someone who fucked around & found out.

“Moss Covers All” talks about a house swallowing them on top of wind & rain forcing decay pulling influences from the deathcore scene while the bloodcurdlingly haunting “Take Me Home” screaming that the dark eventually finds out in the end no matter what. “Slaughterhouse 2” featuring Motionless in White frontman Chris Motionless whom I’m familiar with after MiW opened for Twiztid on top of performing for former 2-time WWE women’s world champion, WWE Women’s Tag Team Champion & NXT Women’s Champion Rhea Ripley at WrestleMania XL last month is a sequel to a song off Scoring the End of the World that’s better than the original & “The Calm That Keeps You Awake” goes straight metalcore sacrificing peace to make all the voices stay out.

Nearing it’s conclusion, the lead single “Blinding Faith” dissonantly fuses metallic hardcore with tough guy hardcore & deathcore feeling haunted by a familiar spirit tackling the hypocrisy of the mean-spirited hivemind that sits at the center of numerous religious communities while “Sit & Mourn” couldn’t have been a better choice of a closer & one of the best songs in the band’s discography internally taking a look at what it is to lose & not know what to believe about where that loss leaves you.

I generally think of Between the Buried & Me, Code Orange, Converge or The Dillinger Escape Plan & when it comes to metalcore yet Knocked Loose has to be the fusion genre’s best band in recent memory. They hone in on a diverse, cohesive & savagely aggressive metallic hardcore record with additional beatdown hardcore & deathcore undertones summing up the massive strides they’ve taken during their decade-long tenure & asserts their boundless potential going forward, furthermore challenging themselves as songwriters & retaining the merciless intensity & unflinching honesty they’re known for.

Score: 4.5/5

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Masamoon – “B.I.D.S. (Beautifully Ignorant Disrespectful Shit)” review

Masamoon is an underground hip hop supergroup consisting of Big Left, Aztek the Barfly, Billy NoJokes & Frankie Fadeless. You may remember Big Left as an original member of La Coka Nostra or perhaps Aztek the Barfly for his 3rd album Line King beginning Middle Finger Music’s dominance in the Detroit hip hop scene. Billy NoJokes just teamed up with Admiral Atlas last spring to properly introduce themselves as the MC/producer duo Billy Atlas & Frankie’s been doing singles/features for the past few years. The group made their debut on the closer “Get It” off Big Left’s comeback effort Slaughter of the Innocents, which I have now infamously called beautifully ignorant disrespectful shit. 2 & a half years later, the group recorded an entire full-length debut LP named after my breakdown of that track.

“Call ‘Em Out” is a soulful boom bap opener dropping aggressively hardcore bars for 4 straight minutes whereas “Born Killa (You Lack Damage)” works in some kicks, snares & ominous horns from Stu Bangas talking about all 4 of them being bred to be killers. Ill Bill joins Masamoon for “52 Steak” ruggedly breaks down every studio session becoming a battle of swordplay leading into a sequel to the “Shook Me” remix that was uploaded onto their YouTube channel in the fall of 2021.

Meanwhile on “Gunpowder”, we have Masamoon likening their level of lyricism to that of the titular chemical explosive over a grimy ass boom bap beat that Aztek the Barfly cooked up just before “Wasabi Wolf” keeps it dusty instrumentally thanks to Pig Pen showing off their flows. “No Answers” produced by Billy NoJokes has to be one of the most cutthroat moments on the album talking about not having the answers & that neither do y’all, but then the neck-snapping “100lbs” brings that exact amount of pain & pressure staying ready for it.

“Shadow Soldiers” goes for an eerier boom bap atmosphere talking being being the shadow soldiers themselves while “Doké” incorporates a Moog synthesizer with kicks & snares asking exactly just how many operations you’ve really seen & that you can take it to the streets or the both if you have a problem with them. “The Enemy Within (Arch Nem)” brings more of a spacious boom bap vibe talking about shooting up those talking gun shit & running while “Reveal the Snakes” leaves them busted & disgusted.

Starting the LP’s last leg, “Metaphysical Fly Shit” hops on top of a guitar sample with kicks & snares woven in so they can stay in their lane while “Ready” menacingly talks about Karma being a bitch that looks pretty damn sexy. The song “Dive Bar Dojo” aptly lives up to it’s name as a banger for everyone to get drunk to while “88 Assassins” finds the 4 delivering 1 grisly verse after another for about 3 & a half minutes. The closing track “Jimmy Conway” ends the group’s debut with 1 last boom bap cut about being taking the way of the samurai.

Chances are that if you would’ve told me a decade ago when I was on the verge of graduating high school beginning to write music reviews that at least someone out there would’ve made a whole album inspired by one of my breakdowns of their songs, I would’ve never believed you. As for Masamoon’s debut, it’s one of the grimiest LPs of this year & reveals themselves as an unstoppable force in the underground. Everything about it lyrically & in terms of production choices are all embodied by its title: B.I.D.S. (Beautifully Ignorant Disrespectful Shit).

Score: 4.5/5

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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

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Kamasi Washington – “Fearless Movement” review

Los Angeles, California tenor saxophonist Kamasi Washington has returned for his 5th full-length LP & his 2nd with Young Recordings. Becoming a fan during my senior year of high school after signing to Brainfeeder Records, his 3rd album albeit his only one with the label The Epic went down as the best jazz record of the century so far proving the genre isn’t dead after all by embarking on an aptly titled 3 hour spiritual jazz experience. Kamasi’s last album Heaven & Earth was also 3 hours in length, expanding on the spiritual sounds from last time including the additional influences of jazz fusion or soul jazz & post-bop too. However after a 6-year gap, he’s making a comeback on Fearless Movement.

“Lesanu” begins with a 9 & a half minute spiritual jazz opener with horns, pianos & saxophones whereas “Asha the First” by Ras & Taj Austin of the group Coast Contraaccompanied by Thundercat on the hook fuses soul jazz & jazz rap together talking about light shining from the tree along with reassuring everyone their higher selves emitting & that nobody can run from impending doom. “Computer Love” performed by Patrice Quinn covers one of Zapp’s biggest hits & I understand given the rise in technology we’ve seen in recent memory, but then “The Visionary“ serves as a colorful 70 second instrumental breather with additional production from Terrace Martin.

D Smoke & Parliament-Funkadelic leader George Clinton link up on “Get Lit” fusing jazz rap with jazz-funk & psychedelic soul referring to themselves as children of the light in the nighttime on top of a flame not losing any light by lighting another just before “Dream State” co-produced with André 3000 gets back to the spiritual jazz fusion bag additional pulling inspiration from nu jazz, ambient music & post-minimalism. “Together” by BJ the Chicago Kid brings back the soulfully jazzy vibes from earlier singing about ruing the days his lover would gain if they didn’t break up just before the progressive lead single “The Garden Path”crosses over jazz fusion & soul jazz in a technical fashion.

“Road to Self (K.O.)” begins the last leg of Fearless Movement in the form of a 13 & a half minute electric jazz roller coaster ride that makes you feel like you’ve taken shrooms or a tab of acid moments prior while “Interstellar Peace (The Last Stance)” seems like the perfect fit to have playing in the background of the beginning of a sci-fi movie, particularly during the opening credits sequence. “Lines in the Sand” nears the LP’s conclusion with another astral/soul jazz hybrid referring to the sand-lines keeping everyone so far from the dream & that they can’t tell them what to thing that is until “Prologue” perfectly rounds everything out incorporating nu jazz & jazzstep undertones into this 1 final spiritual jazz/jazz fusion composition full of passionate, improvisational energy.

Heaven & Earth further proved that jazz music is very much alive with it’s larger-than-life compositions full of celestial grandeur & his distinct blend of jazz, Latin, funk, classical, hip hop & soul breaking ground for the genre’s present like The Epic. Fearless Movement offers something different with it’s terrestrial rhythms & collaborations from MCs, musical icons & even Kamasi Washington’s own daughter culminating in surpassing both DOMi & JD Beck’s debut Not Tight and even André 3000’s solo debut New Blue Sun as the best jazz album of this decade as of me writing this. You still get the predominant spiritual jazz fusion that Kamasi is known with additional elements of soul jazz, jazz rap, nu jazz, psychedelic soul jazz & jazzstep.

Score: 4.5/5

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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

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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

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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

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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

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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

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Scum – “Anti-Human” review

Denver, Colorado emcee & Lyrikal Snuff Productionz founder Scum moving on from the Dyin’ World Chroniclez trilogy by releasing his 15th full-length solo LP. Starting as a member of an experimental grind/noise band called Down Syndrome about 28 years ago, his solo debut Enter the Asylum just turned 20 this past winter & has outdone himself plenty of times since. Case in point: The Gorefather, Out with the Old & recently his 3rd EP Bad Uncle fully produced by Chapter 17/Psychopathic Records in-house producer Devereaux last summer. I also found myself enjoying the previously mentioned Dyin’ World Chroniclez trilogy of course too & was certainly interested in the outcome of Anti-Human.

M.M.M.F.D. gets us started with “This Pain” morbidly talking about losing an addiction battle & doubting that heaven would let them in if they even try walking through the pearly that is until “Revenge is Cheap” grabs the ski mask & makes them bleed rather quickly over this gruesome trap instrumental. “The Past” takes the trap metal route stylistically blowing up in people’s faces similarly to that of an explosive barrel, but then “Float or Sink” featuring Big Hoodoo works in kicks & snares talking about swimming for your life.

“What U Leave Behind” has more of a cloudy trap flare to it tackling the idea of forgetting things that one may now regret as time passes by while “Bloody Mess” works in some guitars & hi-hats talking about leaving them curled up in a ball bruised & abused. The piano-heavy “When I’m Gone” featuring Madopelli presents self-mutilation at it’s finest clarifying it’s about those who’ll remember you when the hype is through as opposed to who’ll show up at your funeral just before “Unsobriety” goes trap metal again talking about being fucked up to cope with anxiety.

S.O.S reunites on “Pull Up” going for a cloudy trap vibe thanks to Fiasco Andretti advising to come through just to be murdered leading into “Cold One” featuring Lyte menacingly breaks down simply how cold both the Gorefather & the Psychopathic MonStar can be. “Guilty” wickedly talks about sitting in this motherfucker with a shotgun while “Daaamn” produced by Godsynth calls out an individual that he heard stole from those that you should never steal from in the first place & severing ties in the process.

“No More” featuring JP tha Hustler, Mista Doesha & Slyzwicked begins the final moments of Anti-Human referencing former 4-time WWE world champion, WWE United States Champion & CWA Heavyweight Champion Sid Eudy while “Heavy Lies the Crown” continues the encore of the album with a synth-trap fusion talking about too much pressure steady caving in on his skull now. “Voicemail” ends the LP getting relatable over on top of kicks & snares needing someone to talk to as soon as possible rather than leaving a voice message.

Over 2 decades of giving the underground nothing but straight-up gore hop & Anti-Human continues to make that the case for the Gorefather himself. The overall sound is predominantly trap, yet you also get hints of trap metal & even boom bap so Scum can bring some his LSP brethren & even a couple Psychopathic Records alumni keeping the underground wicked shit scene alive & thriving in the distinctive styles of all performers involved.

Score: 3.5.5

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