slowthai – “U.G.L.Y. (U Gotta Love Yourself)” review

This is the 3rd album from Northampton, England, United Kingdom recording artist slowthai. Emerging during the backend of the previous decade off a couple EPs & eventually the full-length debut Nothing Great About Britain, his profile continued to grow shortly after due to his feature on BROCKHAMPTON’s 5th album GINGER the same summer as the latter & even the introspective sophomore effort TYRON backed by AWGE Records & Interscope Records, which just celebrated it’s 2-year anniversary last month. So considering that, it was only a matter of time until he finally unleashed U.G.L.Y. (U Gotta Love Yourself).

“Yum” is a chaotic EDM/hip hop crossover with slowthai aggressively admitting that he needs an intervention & been lacking motivation whereas “Selfish” really sets the tone for the whole thing from the artsy post-synth-punk instrumental to the lyrics about thinking for himself. “Sooner” has a more peppier, summery approach to it looking back on being broke & not having a pot to piss in prior to “Feel Good” has a more dance-punk/post-punk revival groove to it talking about feeling so good.

Moving on to “Never Again”, we have slowthai over some pianos & drums going in depth of walking away from his shadow & never thought of seeing it again just before the short yet raw hip hop cut “Fuck It Puppet” finds him confessing to trying to O.D. & pondering why the voices make him act impulsively. “Happy” is a catchy post-punk revival ballad about it being ok to cry, but then the title track dives into shoegaze turf pointing out that the most beautiful people do the ugliest things.

“Falling” is a vulnerable post-punk jam asking if anyone feels like they’re driftin’ away through space” while the song “Wotz Funny” goes into rapcore territory asking what the fuck’s so funny. The penultimate track “Tourniquet” weaves some keys into the fold admitting that he still can’t learn from burning bridges until “25% Club” comes through with an acoustic sendoff to the album singing about having a vacancy that only his significant other is capable of filling.

Between this & Lil Yachty’s latest album Let’s Start Here. that we just got a little over a month ago, slowthai is the 2nd hip hop artist to successfully crossover into a new genre in 2023 as of me writing this. The overall sound is more post-punk with some minor synth-punk, post-punk revival, dance-punk & UK hip hop influences with a profound message throughout of self-love.

Score: 4/5

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Macklemore – “Ben” review

Macklemore is a 39 year old rapper & singer/songwriter from Seattle, Washington emerging as a teenager off his debut mixtape Open Your Eyes before following it up 5 years later with the full-length debut The Language of My World. He went on to drop his unplanned sophomore tape before achieving success with Ryan Lewis by releasing an EP & 2 full-length albums together before going on an indefinite hiatus. The Mack went solo once again releasing his sophomore effort Gemini to unfavorable reception & is returning nearly 6 years later with his 3rd album.

“Chant” opens the album with some pianos, organs, funky bass-lines & handclaps from Budo to boast his success with a tepid hook from Tones & I whereas “No Bad Days” is a happy go lucky ballad about things always being good when that’s far from reality because life really ain’t perfect. I’m sorry to be nihilistic here, but it’s true & that’s not to say I’m against music that’ll put me in a good mood. “1984” hilariously rips off The Weeknd’s last 2 albums sonically living like it’s the titular year while “Maniac” is a mediocre indie pop rap jam about needing a break in a relationship.

Moving onto “Day You Die”, we have Macklemore asking what would you do if you knew the exact day you die continuing to fuse lol rap with indie pop as Sarah Barthel delivers one of the better hooks on the album just before “Heroes” being the reason why I’m doing this review as someone was in my inbox hyping this single up to me & I actually can’t fully blame said person because this is one of the better moments on the album with the boom bap production & DJ Premier on the turntables except the raps are just mid.

“Grime” weaves some lucky bass-lines into the fold with the constant references to hip hop’s past makes me think he’s trying to rap like he’s The Game when even Drillmatic: Heart vs. Mind is better than dude’s whole catalog while “I Need” talks about wanting 2 bad bitches & a bag of good weed over a funky trap beat. “Lost” starts off with a summery approach talking about being obsessed with our public image more than stayin’ connected to our spirit until the bluesy “Sun Comes Up” details 3 insomnia nights.

NLE Choppa comes into the picture for the subpar pop rap collab joint “Faithful” despite the message of needing to be repaired about being broken while “Tears” has a funkier groove telling the story of a woman he met when he was 14 at his parent’s house. “Sorry” has a jangly tone to it apologizing to said ex-loved while the crooning “God’s Will” is one of the better songs talking about being built for this. The penultimate track “I Know” has a more spiritual vibe passing the advice from his mother to drive slow & Morray’s hook on “Tail Lights” isn’t bad either admittedly although I’ve heard the verses about being at a fork in the road done better.

Considering how much of an embarrassment Gemini was 6 years ago, I didn’t really expect much going into Ben. Lo & behold: It’s almost as bad if not worse than Macklemore’s previous solo album. I guess it’s cool to see him expanding the pop rap sound he became famous for by pulling from indie pop & trap, but the thing is that the lyricism isn’t really that deep as he wants you to think it is when you dissect them & continues to paint himself into a corner by doing so.

Score: 1.5/5

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Wolf Windblade – “Windblade” review

This is the full-length debut from Queens emcee & professional illustrator Wolf Windblade. Emerging a decade ago off the strength of his debut EP Adofo, it wouldn’t be until this past Christmas Eve where he returned to the music scene & followed it up with his previous EP Mperfect. But in order to introduce to himself to wider audience, Swiss producer John Sarastro is being enlisted to help Wolf achieve that goal by lacing Windblade from start to finish.

“spar play wordplay” is a boom bap opener to set the album up reminding everyone that hip hop is the art of saying what you mean from your heart whereas “Urbanear EGT 2022” follows it up by taking a more drumless approach calling to protect the children. “Windblade’s Tail” tries to ensure the peace he bring balances a curse with the way of the Naga clans being air & iron just before “Hotmouf” jumps on top of a bare bass guitar to talk about being at the point now where he’s fed up with the twisted vision.

As for “Lafayette’s Trail”, things take a more mystical yet soothing approach to the beat welcoming everyone to the world of EAT & dropping timeless tape for the mutant mindless leading into the dark ambient inspired “Scythe” talking about changing the world with maniacal sentences chockfull of syllables. “Chanbara’s Recall” returns to a more drumless vibe albeit with a darker flare to it talking about N.Y. in the 70’s as well as Jersey in the following decade, but then “Wintermission Arcadia” is more of an interlude with it’s strings & spoken word delivery.

“Universal Uptop Headwind Dislocation” comes through with a more experimental sound referring to himself as simply a mantis with visceral semantics & a guillotine hand grip while “Silverfox Titan’s Vertigo Maneuvers” weaves some pianos into the fold to declare himself to be a beast on a beat who fight over meat in the wolfpack”. The song “Jing Cong Valyu” is a spacious boom bap heater telling the tale of a gender-neutral name of Chinese origin steeped in royalty & cultural innovation emerging from the Zhou dynasty while the penultimate track “Da’vid 2021” brings back the bass guitar wishing we had time for meditation. “Wind Dance” though finishes the album on a spiritual note from the woodwinds to the lyrics calling the world a perpetual knockout.

For those’ve you who’re unfamiliar with Wolf Windblade’s first couple EPs that he broke out onto the scene with, then I’m sure this debut album of his will sure to leave a lasting impression on you going into & coming away from it because . The production that John Sarasto cooks up here completely caught me off guard & I mean that in a good way considering the unorthodoxy of sounds that he has to offer with Windblade profoundly paying tribute to the past’s present future tense connectors.

Score: 4/5

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Mikahl Lawless – “Gangri-La” review

York, Pennsylvania rapper Mikahl Lawless dropping his debut album under Lyrikal Snuff Productionz. Introducing himself in the summer of 2019 off his debut EP Pen to Paper, he would go on to follow it up with Overture for the Ill & Broken Hearted as well as 13 & Kisses to Nowhere until Cody Manson made him a member of his Trife Life collective. Cody eventually introduced Mikahl to Scum, impressing The Gorefather enough to give him an LSP deal of his very own & introduce himself as part of the roster on Gangri-La.

“Stripped” begins with a trap instrumental demanding to put the money in the bag whereas “Snuff the Light” talks about repping Trife Life & Lyrikal Snuff until his very last breath. “Grey” goes for a boom bap vibe incorporating some pianos along the way carrying a curse until he finds his final resting place leading into “Wicked Shit” gets back in his trap bag talking about bringing that horrorcore to your speakers.

As for “Dagger”, we have Mikahl ending the 1st half of his inaugural LP cautioning that he has the temper of a maniac & lifting the clubs up whenever he steps up in that bitch while “On Go” talks about seeing it in the eyes of those who haven’t experienced real grief that they hate him. “Hollow” vents the frustration of feeling angry & fragile at not receiving the real answers he’s been looking for out of others just before “Becoming the Ghost” talks about transforming into a specter.

“Gang” featuring Cody Manson starts the final moments of Gangri-La with both of them living that Trife Life, explaining that their hearts are comprised of love along with anger & pain. “Leave the Planet” sends off the full-length calling for the demons to cleanse the Earth’s evil cancer & to be removed from the world we’re living in. The “forever juggalo” line has also stirred controversy because he used to represent the confederate flag & Insane Clown Posse had a highlight off their debut album Carnival of Carnage called “Fuck Your Rebel Flag”, but I digress.

For a half hour collection of 3 newly recorded songs & 7 tracks that’ve already been released previously as singles within the past couple years, Gangri-La welcomes Mikahl Lawless as newest member of Team Snuff with a full length debut that surpasses his earlier EPs. The production mixes old & new sounds together from boom bap to trap, wickedly holding down the mic by himself throughout a good portion of it aside from the very person who helped him secure a record deal obviously.

Score: 3.5/5

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Rome Streetz – “Wasn’t Built in a Day” review

Rome Streetz is a 36 year old MC from New York who broke out in 2016 off his debut mixtape I Been Thru Mad Shit. This was followed up by a plethora of projects, most notably the Noise Kandy tetralogy & Headcrack. But this current decade is easily his biggest one yet, as he dropped some of the best work of his career from the DJ Muggs-produced Death & the Magician or the Futurewave-produced Razor’s Edge to the Ransom-assisted collab effort Coup de Grâce & the Griselda Records deal that followed. His debut with the Buffalo powerhouse Kiss the Ring came in at the #9 spot on my Best Albums of 2022 list & is now enlisting Big Ghost Ltd. to produce his 8th album only days away from the 20-year anniversary of 小橋建太 defeating the late プロレスリング・ノア founder 三沢光晴 to end his 2nd reign as GHCヘビー級チャンピオン.

“Godspeed” is a spine-tingling piano opener with Rome talking about going from having to take a chance to doing shows internationally prior to Conway the Machine tagging along for the boom bap inflicted “Suicide” referencing former IWGPヘビー級チャンピオン as well as a 10-time WWE world champion & former UFC Heavyweight Champion Brock Lesnar. “8Balls” ruggedly sets his eyes on the Ms just before “Gem Drop” works in some keys, kicks & snares justifiably referring to himself as the finest on the mic.

Method Man comes into the picture for the dusty “P’z & Q’z” to explain the policy being putting plenty of bread in their pockets leading into “Royal Flush” weaving a harp into the fold talking about eating gluttonously & trying to stack the money higher than the pearly gates. “Lobsters in Shoreditch” returns to the boom bap as he flexes the fact that he’s a mobster prospering, but then “Dope Stampz” has a more minacious tone sonically talks about being a king & not wanting to be compared to any of these washed motherfuckers.

The penultimate track “Majisty” keeps things dusty as he declares himself as royalty while the closer “Antidote” with Plex Diamonds finds the 2 hooking listeners up with the rap that they all fiending for from the cutthroat lyricism to the raw instrumental. “U Mad Huh?” however truly ends the album with a piano-boom bap laced bonus cut performed by Chyna Streetz as she calls out those envious of being the one that people chose & it happens to be amongst her best songs yet, raising anticipation for a potential full-length debut.

Big Ghost is amongst the most consistent producers in recent memory & Rome Streetz’ technicality is unmatched, so it shouldn’t come as a surprise that both of their worlds colliding on Wasn’t Built in a Day would wind up being as much of a match made in heaven as it is. I’ll even argue that it’s an early Album of the Year contender. 35 & a half minutes of the greatest lyricists in the game rapping circles around everyone as the production takes it back to the basement as opposed to Gucci Ghost 2’s diverse range of sounds

Score: 4.5/5

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Logic – “College Park” review

This is the 9th full-length album from Maryland rapper, singer/songwriter, producer, author & Twitch streamer Logic. Emerging just over a decade ago off the strength of the first 3 installments of the Young Sinatra mixtape series. His potential would continually be shown on his first 2 albums Under Pressure & The Incredible True Story. However, it’s no secret that the quality of his music took a nosedive from Bobby Tarantino to Supermarket or the unlikeable bitterness of Confessions of a Dangerous Mind. No Pressure however was a mature sequel to his full-length debut & I also thought the Doc D concept mixtape Planetory Destruction was decent too, but Bobby Tarantino III was pretty underwhelming. His final offering for Def Jam Recordings that dropped last summer Vinyl Days happened to be his most artistically definitive yet, already cementing my excitement for College Park.

“Cruisin’ Thru the Universe” starts off the album with some acoustics & a futuristic boom bap instrumental as Logic & RZA speak on riding through in their spaceships whereas “Wake Up” takes a more vibrant route with some kicks & snares detailing his journey. C Dot Castro tags along for the 2-part “Lightsabers” with a jazzy opener & a delicate switch-up calling out those who did this music shit for the money leading into the dusty “Clone Wars III” letting y’all know what this culture really about.

Moving on to “Redpill VI”, we have Bobby over some spacious boom bap production calling his flow non-binary & boasting that he never misses just before “Playwright” has a more drumless approach talking about balancing the life as a recording artist & a father. C Dot Castro returns alongside ADÉ, Big Lenbo & Fat Trel for the trap posse cut “Gaithersburg Freestyle” repping the titular city, but then “Insipio” has a more moodier tone to it talking about true wealth being measured in experience as opposed to gold.

Redman joins Logic on the Statik Selektah-produced “Self Medication” working in some kicks, snares & strings as the pair informing those who don’t know that now they do with Family Guy/American Dad! creator Seth MacFarlane singing the outro while “Shimmy” with Joey Bada$$ pays homage to the late Ol’ Dirty Bastard over an atmospheric beat with some piano chords resembling the ones used during “Shimmy Shimmy Ya”, which the song is of course named after & is interpolated during the hook. “Paradise II” is a jazzy/neo-soul crossover picking up where the original “Paradise” left off while “Come Down” is a triumphant trap hit expressing his desire to have it all.

Meanwhile on “Village Slum”, things returns to the boom bap with a melodic vocal loop discussing alcoholism while “Highlife” goes into more pop rap territory talking about how he feels whenever getting blowed on a daily basis. The song “38.9897 °N, 76.9378 °W” with Big Lenbo & C Dot Castro finds the trio paying homage to the place where it all began over a piano instrumental while the jazzy penultimate track “Ayo” with Bun B & Lil Keke samples “Knockin’ Down Doorz” by the late Pimp C as they talk about laying low. “Lightyear” though is an 8 & a half minute closer flipping one of my favorite Kendrick joints “Rigamortis” promising to never change.

Although I still think Vinyl Days stands as Logic’s finest body of work to date, I still think College Park is still worth the listen for anyone who wants to hear him take it back to his roots. Some lackluster feature performances here & there, but the production is on par with that of his Def Jam coda & the whole concept of taking us through a day of his life with his friends back in 2011 actually comes from a heartfelt place.

Score: 3.5/5

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Yeat – “Aftërlyfe” review

This is the 3rd full-length album from Portland, Oregon rapper Yeat. Coming up in 2018 off his debut EP Deep Blue $trips, he would followed up with 2 mixtapes & 3 more EPs before beginning to dominate the mainstream in 2021 whether it be him dropping a total of 4 projects (2 mixtapes, an EP & a debut album) or cosigns from the likes of Drake & Earl Sweatshirt. He eventually signed to Geffen Records, who backed his sophomore effort albeit major label debut 2 Alivë a little over a year ago & then a deluxe EP Gëek Pack shortly after. But coming off “Rich Minion” & his 5th mixtape Lyfë last summer, Yeat’s picking up where he left off with the Aftërlyfe.

“No morë talk” opens things up with some farty synthesizers & hi-hats from BNYX of Working on Dying talking about riding with his demons whereas “Shmunk” embraces the rage as the only legitimate feature on the album YoungBoy Never Broke Again tags along so they can flex their mob ties. “Bëttr 0ff” admits that he could give a fuck less of what others say & has no time for the fuss over a bell-infused trap instrumental from Bugz Ronin, but then “Rav3 P4rty” has a more dance influence to it courtesy of dulio talking about being on the edge.

Meanwhile on “Nun id change”, we have Yeat over a more robotic instrumental wishing that he could feel leading into “Woa…!” talking about how he ain’t friendly nor does he leave the crib without the strap over a wavy trap beat. “Now” comes through with an experimental sound courtesy of BEAUTIFULMVN confessing he hears voices when geeking just before “Slamm” throws it back to his earlier work sonically as dude steps on his opposition.

“7 nightz” comes through with some additional synths & hi-hats estimating that he’s been fucked up under the influence for about a week while “Mëan feen” is a piano trap ballad coming around shootin’ & slidin’ all over town. “How it go” is a dedication to the lifestyle that he lives today over a vigorous instrumental while “Sum 2 do” brings back the rage beats so he can remind everyone that he’s the one shaking the game up.

Moving on to “Back up”, things take a more cavernous tone instrumentally as Yeat admits that he’s relapsed on percs while “Split” comes through with an explosive hypertrap jam that ChaseTheMoney & Internet Money Records in-house producer Synthetic put together dedicated to Bentleys & women who want to be as rich as him. The self-produced “Bad bënd (DëMON)” was actually recorded 2 years ago yet it stands as a favorite of mine in the track-listing from the intoxicating beat to the lyrics about doing whatever he wants while “Hëavyweight” declares himself as champion over some bass & hi-hats.

“Watch” has a more minimal sound this time around as he advises those to sit back & see how he does it when he drops while “Shhhh” has a booming bass-line talking about being nowhere near the same level as anyone else in the game. “Back homë” is an acoustic trap cut comparing & contrasting his life then & now while the song “Type monëy” finds him swerving over a melodic beat. The penultimate track “Dëmon tied” opens up about the Devil watching his eyes over a hazy instrumental & “Mysëlf” ends things to a tribute to being true to oneself with a beat kin to “Can’t Stop It”.

This was actually a bit different than what I normally expect to hear from Yeat, but I most certainly welcome it & am curious to hear if he continues to go down this rabbit hole later on in the year. His knack for catchy songwriting remains in tact as the production this time around is significantly more experimental than his previous efforts & the 3 alter egos that he introduces throughout each have their own uniquely distinct characteristics.

Score: 3.5/5

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Don Toliver – “Lovesick” review

Don Toliver is a 28 year old rapper from Houston, Texas who caught my attention in 2018 off his debut mixtape Donny Womack along with being featured on “Can’t Say” off his mentor Travis Scott’s last album ASTROWORLD & signed to Cactus Jack Records literally the very next day. Fast forward a year & a half later right when the COVID-19 pandemic started, his full-length debut Heaven or Hell is a bit underappreciated in my opinion & the sophomore effort Life of a Don was solid yet not as good. However, I was still looking forward to Lovesick considering the singles.

“Love Sickness” is a seductive opener produced by Cardo singing about his obsession with his new girl whereas “Let Her Go” works in some synthesizers, a rubbery bass-line & some hi-hats from James Blake & Dez Wright asking if he makes her feel special. Glorilla & Lil Durk come into the picture for the Rodeo inspired 2-parter “Leave the Club” encouraging all the baddies to buss it prior to “4 Me” blending alternative R&B with pop rap & dancehall thanks to Wheezy talking about his lover being the only woman he needs. Also as a longtime Neptunes mark, Kali Uchis killed it with the “Girls Dem Sugar” interpolation.

However with “Go Down”, we have Don over some spacious trap production from Hit-Boy sampling the TisaKorean cut “Backseat” asking his girl if they can fuck in the backseat of his whip just before “Time Heals All” has a shimmery quality to the beat that Allen Ritter brings to the table as he talks about wanting to see how his girl works the pole. “Leather Coat” is another 2-parter with a guitar driven trap instrumental feeling like she can’t hear him leading into the irresistibly catchy “Honeymoon” embracing synth-funk with the help of KAYTRANADA talking about how he can love her & hate her at the same time.

Cardo’s entrancing production throughout “Private Landing” is really impressive as Future & surprisingly Justin Bieber in one of his best performances I’ve heard in a while personally both hop on board to confess that they feel stuck while the cloudy “Slow Motion” expressing the desire for his girl who just wants to go dancing to tell him what she’s hoping. “Do It Right” is a pop rap/alternative R&B hybrid with some future bass undertones co-produced by Boi-1da encouraging to go back to his girl’s place, but then “If I Had” is a remarkable R&B duet with Uncle Charlie Wilson that DJ Dahi laced about keeping the love forever.

The final leg of the album begins with the 3rd installment of the “Company” trilogy wondering how she feels inside over a twangy trap beat while the song “Bus Stop” with Brent Faiyaz is a peppier vibe with Hit-Boy on the boards once again to tell his girl how much he needs & wants her to fall in love with no issues as Brent dedicates his verse to all his bitches in the drop top. The penultimate track “Cinderella” has a synth-based instrumental from Ronny J calling this a love letter & “Encouragement” is a wavy send off to the album detailing a way he’s never felt before.

“No Pole” psychedelically starts the deluxe run with Cardo & DJ Fresh linking up addressing a woman that simply don’t wanna strip anymore while “Embarrassed” featuring Travis Scott reunites the pair for melodic trap joint boasting about their sexual encounters with women, expensive jewelry & drug usage. “Geronimo” ethereally calls out everyone who hates him now always being nonbelievers from servin’ white & molly caps to sharing the stage with Justin Bieber & the final bonus track “Luckily I’m Having” featuring Teezo Touchdown throws it back to the 80s talking about women wanting to have fun like Cyndi Lauper.

Some people consider Life of a Don to be a sophomore slump even though I myself enjoyed it albeit not as much as Heaven or Hell, but Lovesick is unquestionably the most average body of work he’s offered the world so far. It’s most certainly the most conceptual we’ve ever heard him on the lyrical front & the production catering to the futuristic R&B/soul kind of sound that he was shooting for.

Score: 3/5

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Canibus – “Self Licking Ice Cream Cone” review

This is the 18th full-length album Kingston emcee Canibus. Coming up as 1/2 of the duo T.H.E.M. alongside C.I. back in ‘92, they eventually split up a few years later & Bis would blow up in ‘97 after appearing on the LL Cool J song “4, 3, 2, 1” that later resulted in a beef between both parties. He would then go on to make a lengthy yet consistent discography with albums like Rip the Jacker being breathtaking at best & then Mind Control being unlistenable at worst. Now I haven’t covered Bis’ music since Kaiju which was an impressive comeback after & 6 & a half years away, but was thrilled when Johnny Slash was enlisted behind the boards for Self Licking Ice Cream Cone.

“S.L.I.C.C. (Self Licking Ice Cream Cone)” is a haunting yet raw opener to the album with Canibus talking about how y’all can’t absorb the rhymes he records whereas “Slack Jaw Fascists” is a menacing boom bap follow-up telling y’all how he thinks y’all be moving in the rap game. “Every Right Thinking American” has a more chaotic sound to it acknowledging what they call him prior to Hus Kingpin & Rock both tagging along for “The Demi-Side” to ruggedly talk about coming correct on the mic always.

Meanwhile on “Weedabuk”, we have Canibus over some synthesizers letting it be known he don’t give a fuck what people do or so leading into The HRSMN forming like Volton for the gritty “Part 2” to deliver an lyrical onslaught verse after verse after verse after verse. “He, Who Cut Down the Hemp Tree” aggressively belittles those who don’t understand the environment while the song “4 Characters” with Ab-Soul dives into trap turf talking about introducing you to your maker. The penultimate track “Press – PussyPanic Button” returns to the boom bap to get conscious until “Loyalty (Ex Rap Villain, The BKL Dylan)” with Chris Rivers, Kool G Rap & KXNG CROOKED is gully closer about allegiance.

1 Step a Closer to Infinity was just ok to me personally & I hope I don’t come off as disrespectful by saying that, but I actually happened to come away from Self Licking Ice Cream Cone considering it to be better than Kaiju & even amongst Canibus’ best albums to date. Johnny Slash’s production is more consistent than the last one & the bars that the rapping scientist hit much harder.

Score: 4.5/5

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Fliptrix – “Mantra #9” review

This is the 9th solo LP from Brighton, East Sussex, England, United Kingdom emcee & High Focus Records founder Fliptrix. Also known for his membership of The 4 Owls, he made his debut in 2007 off Force Fed Imagery followed by Theory of Rhyme as well as 3rd Eye of the Storm & The Road to the Interdimensional Piff Highway. Out the Box & Polyhymnia both came out a couple years later as did Patterns of Escapism & Inexhale, coming off Light Work to drop Mantra #9 hoping to shake up the moderate feedback of both it’s predecessors.

“From the Source” begins with a lo-fi beat from Telemachus talking about the water drying up & hoping that it’s only for the summer whereas “Eden” produced by Illinformed takes the jazz boom bap route instrumentally so he can speak of the impression he has of the world going crazy. “So Clear” goes for a conscious vibe lyrically hooking up a sped-up vocal sample behind him prior to Leaf Dog giving “Deeper in the Forest” a soulful flare starting on a roll in the jungles.

King Kashmere joins Fliptrix during “Primordial Soup” talking about doing for this who wanna make something of themselves over this funky Pitch 92 beat just before the optimistic boom bap jam “Nothing Really Changed” breaking down the memories that’ll live in his name. “Wanna Tell You” featuring Leaf Dog finds the 2 talking about still being the illest while “OCD with the L O V E” featuring Coops & Verb T asks their partners to let the melody speak.

The title track reaches the halfway point of Mantra #9 on the most appropriate note one could possibly imagine talking about only serious games getting played when he steps inside the ring while “Get Free” jazzily begins the 3rd quarter speaking of keeping the prize in his sights. “R2D2” references the astromech droid from The Walt Disney Company subsidiary Lucafilm-owned Star Wars franchise maintaining a boom bap sound while “Gratitude” takes a smooth approach courtesy of Mr. Slipz putting his gracious side in the spotlight.

“Reckless” by The 4 Owls reunites my favorite UK boom bap group of the last decade dropping hardcore lyricism over a sample-heavy boom bap instrumental but once “SM58” featuring Onoe Caponoe & Ramson Badbonez sees the trio teaming up over a symphonic Wundrop beat for an ode to the Shure SM58 brand of microphones, “Rhyme & Reason” talks about smoking spliffs when turning corners in his car.

Wrapping up Mantra #9’s final leg, the song “Son Light” gives off a warm summer atmosphere expressing the desire he has to live for both his son & his wife while “Future Ain’t Promised” turns the jazz rap influenced all the way back talking about wanting to make his best solo work this late in his career when this has been making me more hopeful of that happening. “Veil of Reality” finishes the full-length with a mind-altering outro Bay29 made ready to make an example for the youth to follow.

Inexhale & Light Work were merely average compared to Patterns of Escapism & Polyhymnia, but Mantra #9 has gotta be the most I’ve enjoyed a Fliptrix album in roughly 7 years right when Patterns of Escapism had dropped. The subject matter’s more mature compared to anything the CEO of High Focus has done previously enhanced by the guest list comprised of the label’s biggest names past & present and the boom bap production’s a lot stronger than the last couple of offerings were.

Score: 4/5

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