Apathy – “King of Gods. No Second” review

This is the 8th full-length album from revered Connecticut underground MC/producer Apathy. Emerging only 2 decades back as a member of the Demigodz & the Army of the Pharaohs collectives founded by Open Mic & Vinnie Paz respectively, he was also signed to Atlantic Records at one point even though he eventually left due to creative differences. Since then The Alien Tongue has built up quite the solo discography on his own, with my favorites being Honkey Kong! as well as The Widow’s Son & even his last one Where the River Meets the Sea. But a year & a half later, Ap’s enlisting Boston’s very own Stu Bangas to produce King of Gods. No Second from top to bottom.

“The Kingdom of God” is a spine-tingling boom bap opener with Apathy dropping some imperiling hardcore bars whereas “Malediction” with Pharoahe Monch works in a rap rock instrumental talking about being at their breaking points. “Green Olives” has a more ghostly atmosphere to the production with it’s sample referring himself as the only white boy in the hood à la Han Solo just before Jadakiss tags along for the sinister “No Time to Waste” preparing to become homicidal.

Moving on from there with “Cry”, we have Ap providing a genuinely heartfelt motivational anthem advising that one doesn’t have to shed tears leading into Sick Jacken coming into the picture for “Face Down” returning to the boom bap with some trumpets talking about leaving motherfuckers on the pavement. “Disgusting” with Black Thought finds the 2 over a soul sample referring to themselves as the bullies of the block, but then the Esoteric-assisted “Draw Blood” ruggedly gets on their battle rap shit.

The song “1 Man Army” hooks in a unique vocal loop to declare himself as the villain that we were warned about while the penultimate track “MK Ultra” with Celph Titled sees the dynamic duo over a dusty beat wanting to turn bodies to beef stew. “The Devil’s Frequency” with RJ Payne however finishes the album with both MCs over an uncanny instrumental talking about the holy beast watching both of them.

As personal as Apathy’s last album was & the one before being more centered around Freemasonry, what he & Stu Bangas concoct here is a lot more rawer & only serves as yet another reminder of how consistent that The Alien Tongue has always been as it’s yet another standout in his already-impressive discography. He shows he can effortlessly shine alongside an elite class of greats & the production that Stu cooks up is extremely deadly.

Score: 4.5/5

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SZA – “S.O.S.” review

This is the highly anticipated sophomore effort from St. Louis, Missouri singer/songwriter SZA. Emerging about a decade ago in the alternative R&B scene off the strength of her first 2 EPs SEE·SZA·RUN & S, she would eventually sign to Top Dawg Entertainment in the summer of 2013 & has since made herself home with the west coast label by putting out her 3rd EP Z alongside the RCA Records distributed full-length debut CTRL. But with the 5 year anniversary of the latter passing by over the summer, she’s returning in the form of S.O.S.

The title track opens things off with a stripped back instrumental from Jay Versace sampling “Until I Found The Lord (My Soul Couldn’t Rest)” by Gabriel Hardman expressing her desire to take what’s rightfully her’s whereas “Kill Bill” has a more spacious quality to it thanks to Carter Lang singing about how mature she is. “Seek & Destroy” however has a moodier vibe calling out someone who pushed her to her capacity, but then “Low” goes into trap territory talking about keeping shit on the DL.

Meanwhile on “Love Language”, we have SZA on top of an aquatic beat asking for transparency leading into “Blind” diving into more drumless turf confessing that she can’t see the things she needs & the love she seeks. “Used” returns to a more atmospheric quality courtesy of DJ Dahi singing about feeling like it’s over & something callin’ to get closer just before the seductive” Snooze” produced by Babyface & Leon Thomas III lets her lover know just how important he is to her.

“Notice Me” returns to a more trap-based sound explaining that she doesn’t need to be this dude’s lover while “Gone Girl” admits that she needs more space & security over a piano instrumental with some finger-snaps featuring co-production from Emile & Jeff Bhasker. “Smoking on My Ex Pack” goes full-blown chipmunk soul rapping about an ex of hers for 83 seconds while “Ghost in the Machine” ponders if one could distract her from all the disaster over a rich yet minimal beat.

Continuing from there with “F2F”, the guitars throughout were unexpected yet welcoming as SZA admits that she hates herself enough for the 2 of them while “Nobody Gets Me” keeps the acoustics around courtesy of benny blanco singing about being misunderstood by everyone except the person that she’s currently with. “Conceited” is a tropical trap banger acknowledging how introverted she’s always been while “Special” works in some more finger-snapping & an airy backdrop feeling like she’s a loser when I personally feel like she’s far from it considering I’ve been a fan of her music since high school.

“Too Late” has a more cloudy yet peppy tone to the instrumental as the lyrics address 2 lovers that’re dangerous for each other while “Far” talks about being unable to trust anyone & done getting fucked over with some synths & hi-hats laced together by Beat Butcha. “Shirt” comes through with an alternative R&B/trap hybrid admitting that she likes feeling lost while the Travis Scott-assisted “Open Arms” comes with a guitar-driven sequel to “Love Galore” talking about devotion.

The song “I Hate U” has some downchill/vaporwave undertones to it expressing her disscontempt for an ex in her life while the penultimate track “Good Days” is a remarkable neo-soul cut pulling from neo-psychedelia & chamber folk singing about focusing on the positives in her life. “Forgiveless” however is a boom bap closer starting off with a sample of “The Stomp” by the late Ol’ Dirty Bastard of the almighty Wu-Tang Clan & SZA calling out those disrespecting her behind her back.

Between this as well as Kendrick’s latest album Mr. Morale & the Big Steppers alongside Ab-Soul’s comeback effort Herbert dropping next weekend, 2022 has been the best year that TDE has had in quite some time. The production is more contemporary, yet her songwriting is as strong as before & her performances come off as genuinely passionate. Whether she actually quits making music or not because she’s been teasing it forever now or we get a new body of work from her at some point, anyone who loves the alternative R&B trailblazer as much as I do would consider this a welcoming return.

Score: 4/5

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xhulooo – “NVRLST” review

This is the full-length debut from Atlanta, Georgia up-&-comer xhulooo. Breaking through SoundCloud at the very beginning of 2019, he’s gone on to drop a total of 9 EPs since with the last one being the 3-track offering Xhuday this past summer. But as his popularity has only continued to grow especially after the Ronny J-produced single “Hunnaround”, all of the loosies & EPs that xhu has given us within the last 3 years have all been leading up to the commercial debut NVRLST.

“Father” is a cloudy yet bassy trap opener produced by Maajins expressing his confusion by a bitch who keeps calling him papa whereas “freezTag” has a more cloudier vibe to it talking about being in that lane. “time2getAhM” works in a plugg instrumental to chase $1M prior to Lunchbox tagging along for the delicately-produced “Peel Off” talking about not giving any fucks towards how anyone else feels & looking back on when people used to do them dirty when they were down bad.

Meanwhile on “kantHang”, we have xhulooo airing out those who want to roll with him over some hi-hats as well as piano chords & synths leading into just before “yungRichFella” returns to a cloudier sound boasting his wealth. “Hold Us / Need You” starts off a spacious beat with a fast-tempo switch-up talking about them being unable to contain them expressing his love for this woman, but then sgpwes comes into the picture for the airy “Flat” admitting they don’t even know whey they are & having too many racks on them

“Was Hannin’?” jumps on top of a hazy instrumental asking what the deal is while “Trix” references 16-time WWE world champion, 4-time WWE tag team champion & 5-time WWE United States Champion John Cena. “Mind Ur Business” with Highway finds the 2 over a heavenly trap beat encouraging everyone to not stick their noses where it don’t belong while the song “S.O.t.W. (Smoking Out the Window)” with Lil Keel hooks up a intriguing vocal sample as the pair talking about blowing gas & linking up with women they can’t give their love to. The penultimate track “1forTheBooks” ensuring how how they got this over a roomy trap instrumental & “opp pack” is a minimal closer dropping braggadocio.

If you were coming into this album expecting some rage inducing pop rap, then you might be disappointed. However, I personally admire that xhu decided to take the artistic risk of departing from the sound that blew him up to begin with because it’s a solid debut. The production is more plugg/trap-based, the feature list is brief yet consistent & the kid himself proves that he’s a force to be reckoned with down the line.

Score: 3.5/5

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Cult of the Damned – “Cultgangrapsh!t” review

Here we have the 3rd studio LP from England, United Kingdom collective the Cult of the Damned comprised of Blah Records founder Lee Scott, BeTheGun, Sly Moon, Salar, Bill Shakes, King Grubb, Tony Broke, Black Josh, Stinkin’ Slumrok, Bisk, Sleazy F Baby, Col. Mustard, Dr. Zygote, Sam Zircon & Reklews. Introducing themselves as a unit in 2015 off an eponymous debut EP, a sequel would come in the form of their full-length debut Brick Pelican Posse Crew Gang Syndicate & the sophomore effort The Church Of mostly produced by Nobodies Home was more rawer sonically. However, they’re returning to have Drae da Skimask solely produce Cultgangrapsh!t.

“SCOTTY2COMFY” by Bisk, Lee Scott & Sniff was a psychedelic boom bap intro talking about fathering MCs & breaking boundaries whereas “PUSSY2” by Bisk, Black Josh & Sniff featuring Jack Danz hooks up a piano sample mixed with kicks & snares so they can explain that you can’t be the greatest & a bitch. “FU” by the Antiheroes & Sly Moon eeriely brings the trio together over more key-driven boom bap instrumental for a hardcore hip hop track dismissing the need of a hook leading into “Belly” by Bisk & Black Josh featuring Jehst talking about life being a mess & controlling it all the way.

Stinkin’ Slumrok gets a solo joint of his own on the psychedelically raw “SLUMMY” looking to keep it going until the daylight comes prior to “JIM BEAM” by BeTheGun & Sly Moon going for a lo-fi boom bap vibe speaking of walking down the street & talking in their sleep at night. “DINOSAURFOOD” by Bisk & Black Josh jazzily finds the pair discussing less being more unless you’re short on the drawer while “Highlighted” lets Black Josh hold the fort for 113 seconds talking about having women on his mind over prominent vibraphone flip.

“Coffee, Pt. 2” by Bisk, King Grubb & Lee Scott nears the conclusion of Cultgangrapsh!t with a sequel to a standout off Cult of the Damned 2: Brick Pelican Posse Gang Crew Syndicate making it known that there ain’t nobody like them while “Free Tony” by Bill Shakes, Lee Scott & Tony Broke references UFC middleweight Nick Diaz. “Kosher” by Bisk & the Super Sag Bros finishes the album with all 3 of them talking about stealing women & only seeing greatness whenever shutting their eyes at night.

Since its title implies that we could a sequel or 2, this inaugural entry of the Cultgangrapsh!t series could by the weakest of the 3 full-lengths that the Cult of the Damned have given us in almost a decade. That said: I still enjoy it, just not as much as their previous material collectively. Drae da Skimask’s production suits their whole style & Reklews’ engineering, but it kinda feels like a compilation considering the lack of moments where there are 5 members or more appearing simultaneously. I’d also like to hear Reklews & Sam Zircon returning to produce a Cultgangrapsh!t 2whenever the time’s right.

Score: 3.5/5

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100 gecs – “Snake Eyes” review

St. Louis, Missouri hyperpop duo 100 gecs signing to Atlantic Records for their 2nd EP. Consisting of singer/songwriters & producers Dylan Brady & Laura Les, they got together in 2015 after meeting at a high school rodeo & dropped an eponymous extended play the following year to moderate reception. Their debut 1,000 gecs under Dog Show Records polarized the musical spectrum with some calling it unlistenable & others like me who appreciate it for playfully demonstrating their creativity, coming back 3 & a half years later to roll Snake Eyes.

“Hey Big Man” sets it all off with a rap rock intro reminiscent of the Beastie Boys’ full-length debut Licensed to Ill where both of them are trading bars with each other for only a couple of brief verses while the only single “Torture Me” co-produced by Skrillex fuses hyperpop, digicore hybrid trap, future bass, bubblegum bass & future riddim so Laura can repeatedly talk about an psychotic ex of hers that wants to torture her. “Runaway” finishes off by combining the hyperpop sound they’ve popularized & elements of alt-rock describing each of their desires to escape their previous lives.

If Snake Eyes proves anything, it’s that the next 100 gecs album could easily be the most accessible thing they’ve ever done & that wouldn’t necessarily surprise me now they’re on a major label. That being said: Snake Eyes feels more like a prelude to 10,000 gecs than a continuation of their previous full-length. Dylan & Laura’s hyperpop production carries over the digicore elements of the gecs’ previous output, except they’re emphasizing their alternative/rap rock influences a bit & I can see that working out in the long run if they take those styles further.

Score: 3.5/5

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Twiztid – “Glyph” review

This is the 16th full-length album from Detroit hip hop/rock duo & Astronomicon founders Twiztid. Consisting of Jamie Madrox & Monoxide, they originally started out as part of the House of Krazees alongside childhood friend The R.O.C. in 1992 before their initial disbandment 5 years later. Almost immediately after, the Insane Clown Posse took Jamie & Mono under their wings by signing them to Psychopathic Records as the demented duo they’re known as today. They would become the label’s 2nd biggest act being their mentors off projects like Mostasteless, Freek Show, Mirror Mirror, The Green Book, W.I.C.K.E.D. (Wish I Could Kill Every Day) & Abominationz. Shortly after the latter was released, Twiztid left Psychopathic to form Majik Ninja Entertainment in 2014. Since then they’ve released 6 albums & 7 EPs on their own label, my favorite of which being /ˌrevəˈlāSH⁽ᵊ⁾n/. Astronomicon has even become Metro Detroit’s top pop culture convention & I’ve gotten to meet some guests in the past such as former アイアンマンヘビーメタル級チャンピオン, GCW Tag Team Champion, TNA X Division Champion, 2-time WWE Hall of Famer, 2-time WWE Cruiserweight Champion, 5-time WWE tag team champion & XPW Television Champion X-Pac. Their full-fledged rock debut Unlikely Prescription was a bit mediocre in my opinion but ahead of the follow up Welcome to Your Funeral produced by Zeuss dropping in the new year containing more rapping & wicked shit, they’re returning to their hip hop roots on Glyph.

“Keepin’ 1” is an upbeat rap rock opener produced by Str8jaket with Jamie & Mono talking about doing fine & still being here whereas “Stab” takes the trap route thanks to the artist formerly known as Young Wicked himself James Garcia spitting the wicked shit. “Fallin N Love W Some1 Who Hates U” works in some synthesizers courtesy of Fritz the Cat with the title speaking for itself as far as subject matter goes, but then the Eastside Ninjas get together for “360” returning to the trap sound provided by Stir Crazy giving the middle finger to everyone hating on them.

Meanwhile on “Signs of a Villain”, we have Twiztid over a trap metal instrumental from Grady Finch of Oh! The Horror revealing that the red flags of an antagonist are everything you hate never changing leading into one of my favorites on the album “Never / Reboot” talking about this shit never stopping despite the beat here being a bit minimal. “Dig Another Hole” has a bit of an industrial flare to it speaking on trying not to lose control while the song “Clown” featuring Str8jaket talks about not being suckers even if their tears amuse you over a somber trap beat. The penultimate track “HD” almost has a Middle Eastern vibe to the instrumental advising to ask someone if you forgot who they are & “Guts” finishes things with a trap metal horrorcore anthem.

It’s already been a decade since these guys have left Psychopathic to start MNE & the fact that they’re still putting out great material like this at the rate they do is astonishing to me because I could argue that Glyph is the 2nd best post-PSY album that Twiztid has done behind /ˌrevəˈlāSH⁽ᵊ⁾n/. Primarily because of them returning to their horrorcore roots for the first time since Mad Season & the experimentation with new sounds like trap metal within the production.

Score: 4/5

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Madchild & Obnoxious – “Mobsters & Monsters” review

This is a brand new collaborative album between Vancouver, British Columbia, Canada underground veteran Madchild as well as San Diego, California up-&-comer Obnoxious. One of whom rose to success in the late 90s/early 2000s with the trio Swollen Members & the other being one of the first new acts to join Suburban Noize Records since the label’s relaunch in the spring of 2019, forming the supergroup King Klick with Chucky Chuck & Johnny Richter. But as he gets ready to drop his sophomore album albeit Subnoize debut Sic Audio next year, Obnoxious & Madchild are joining forces for Mobsters & Monsters.

“Ambush” is a rugged trap opener with both MCs flexing their lyrical prowesses whereas “Black Out” dives into boom bap territory thanks to C-Lance getting mor intimidating with their performances. West Coast. veteran Sick Jacken tags along for the dusty yet inspiring “Work for It” to keep things in the basement as far as sound goes what you have to do if you desire the finer things in life, but then “Drop Off” advising to prepare for the worst with a gripping instrumental.

Moving on from there with “Lost Cause”, we have Madchild & Obnoxious over a unique vocal sample declaring themselves as the top dogs leading into “Fully Loaded Clip (Secret)” returning to the boom bal to spit that gun talk. Henry AZ’s verse on “Panama” is respectfully the weakest feature on the album despite the cavernous production along with the theme of receiving a package from a cartel in the titular country & counting hundreds until “Skull Mask” grimly describing having the strap in their laps.

The song “Talons” returns to trap turf to belittle anyone who wants to step up to either one of them while the headbanger of a penultimate track “No Trust” with Chapter 17/Psychopathic Records’ very own Ouija Macc finding the trio talking about being a problem & the instrumental here is absolutely electrifying in every way possible. The closer “Ugly” however truly finishes Mobsters & Monsters with a spacious beat acknowledging the fact that they’re both crazy inside the head.

Compared to the very few other projects that Suburban Noize dropped throughout 2022, this is easily my favorite of them all & it makes me ecstatic for the label’s 25th anniversary approaching in the coming year. The production has a primarily boom bap vibe that both MCs have employed with the past with some trap undertones & lyrically, Obnoxious continues to cement himself as one of the best MCs in San Diego right now & Madchild goes even harder than he did on his latest album Super Beast although I still stand on it being his best since Demons.

Score: 4.5/5

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Metro Boomin’ – “Not All Heroes Wear Capes 2: Heroes & Villains” review

This is the 2nd full-length solo album from St. Louis, Missouri producer, DJ & record executive Metro Boomin’. Gaining notoriety in the middle of the previous decade as one of the most in-demand beatsmiths in hip hop today, he’s gone on to produce some of the best trap projects of the decade in their entireties including Future’s 3rd album D.S. 2 (Dirty Sprite 2) as well as Gucci Mane’s 53rd mixtape Droptopwop and the Offset/21 Savage collab tape Without Warning. It was until after Halloween 2018 when he put out his solo debut Not All Heroes Wear Capes & with it’s 4 year anniversary passing by last month, Metro’s looking to make a trilogy out of it by dropping the sequel Heroes & Villains.

“On Time” by John Legend is an incredibly symphonic opener to the album produced with & TM88 singing about how he can’t take no days off prior to a ghostly switch-up sampling Homelander from the Amazon-owned Prime Video original series The Boys as well as a spoken word outro from both Morgan Freeman & A$AP Rocky whereas “Superheroes (Heroes & Villains)” starts off with Future over some triumphant trap production spitting braggadocio until a somber beat switch as Chris Brown asking who the villain really is. “Too Many Nights” by Don Toliver & Future takes a more bassy yet moodier route with the help of Honorable C.N.O.T.E. & Allen Ritter, but then “Raindrops (Insane)” by Travis Scott embraces a cloudier vibe talking about double cupping his pain.

Meanwhile on the piano/trap-laced “Umbrella”, we have real life cousins Young Nudy & 21 Savage linking up to spit some gangsta bars leading into the appropriately hypnotic “Trance” by Cactus Slatt talking about possibly giving this bitch a chance. “Around Me” is a full-fledged Don Toliver solo cut with dance-inspired groove admitting to seeing enough whirls for 1 night just before “Metro Spider” finds Metro Thuggin’ reuniting for a ghoulish trap hit flexing Young Thug’s entrepreneur lifestyle.

“I Can’t Save You” by Don Toliver works in some hi-hats & an incredibly cinematic loop to remind the world that you can’t save a hoe while “Creepin’” by The Weeknd & 21 Savage finds the 2 joining forces for a wavy alternative R&B/pop trap ballad telling their significant others that they don’t want to know about them creepin’ on them if that happens to be the case. “Niagara Falls (Foot or 2)” by Travis & 21 however is another piano/trap hybrid showing off the extravagant way they live while “Walk ‘Em Down (Don’t Kill Civilians)” starts off with 21 over some rich chords representing destruction until a powerful beat-switch & Mustafa singing about being done for.

The penultimate track “Lock on Me” by Future & Travis Scott is a shimmering trap cut bragging that they had to switch new foreigns while the closer “Feel the Fiyaaah” by A$AP Rocky & the late Takeoff hooks up a soul sample with some hi-hats asking why they greedy like wolves. “All the Money” by Gunna however serves as a bonus cut with a flute/trap instrumental talking about exactly what he wants this time around.

Metro has always been a top tier producer in the trap subgenre of hip hop in my opinion & this is one of those instances where the sequel album is superior to the predecessor. It’s more conceptual, his sample choices are remarkably well picked & the guests all provide their unique flavor with them sounding actually enthusiastic to be on here rather than phoning it in. If Yung Metro hasn’t earned your respect by now with the evolution he’s shown here, then I don’t know what to tell you.

Score: 4/5

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Babyface Ray – “Mob” review

Babyface Ray is a 31 year old rapper, songwriter & actor from Detroit, Michigan who emerged in 2014 by joining the Team Eastside collective. He has since gone on to drop 5 mixtapes as well as 5 EPs & a well received full-length debut within the last 6-7 years before turning heads worldwide & becoming one of the 2 biggest up-&-comers in the city next to Babytron, both of whom eventually landed spots in this year’s XXL Freshman Class over the summer. But Face is looking to end 2022 the way he started it by dropping a sophomore effort.

“Waves on Every Chain” is a lavish Detroit trap opener with Face dropping some braggadocio whereas “Wonderful Wayne & Jackie Boy” with Lil Durk is an off the wall banger coming through with some more menacing lyricism. “Rap Politics” has a more futuristic quality to the instrumental as Face talks about being a hustler goin’ corporate just before “Nice Guy” has a gloomier vibe courtesy of Pooh Beatz confessing that he’s tired of always trying to be generous.

Continuing from there with “Brand New Benz”, we have Face over some rattling hi-hats & bells showing off his new ride leading into the spacious “Vonnie” getting more personal this time around lyrically. Blxst comes into the picture for the R&B/trap duet “Spend It” talking about going on shopping sprees, but then “Bitch Wyd?” weaves some incredible background vocals thanks to Sledgren throwing in a bar referring to 16-time WWE world champion, 4-time WWE tag team champion & 5-time WWE United States Champion John Cena.

“Crazy World” brings a more atmospheric approach to the table showing what he had draw down while “Massacre” has a more darker tone to it down to Face & Doe Boy talking about all the real ones in the building to stand the fuck up. The harp through “Masterpiece” is amazingly powerful as he flexes his left wrist while “Wavy Gang Immortal” with King Hendrick$ & Samuel Shabazz finds the trio over some hi-hats & eerily croooning vocals talking about learning from your favorites.

“Code + Love Me Some More” is a well sequenced 2-parter as Face gets on the more romantic side on the mic while “Spill My Cup” somberly admits that he’s been sensing hate from people that he genuinely cares about. The song “Corner Suite” is more synth-heavy sound to boast while the penultimate track “Hallelujah” with GMO Stax has a more suspenseful feel to it talking about staying in motion. “Famous” though delivers a piano/trap closer opening up on where he’s at in his life at this point.

I’ll admit that I had my bit of doubt going into this album & I personally prefer Face more, but I gotta say that I came away from Mob to be a fine sophomore effort. The features are kind of hit or miss yet one of the 2 best artists in the 313 right now above Babytron succeeds in Face’s goal to further establish himself with his more personal lyrics & the production continuing to expand on a diverse range of sounds.

Score: 3.5/5

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Ty Farris – “Pain for Ya Vein” review

Ty Farris is a veteran MC from Detroit, Michigan who came up under the name T-Flame. After landing features on a lot of projects throughout the mid-2000s, it wasn’t until the very end of the decade where he started to put out solo stuff at a prolific rate from Tyrant to Room 39. He just dropped his 3rd EP Moments of Mayhem back in March produced entirely by Italy’s very own Slim 1 & followed it up over the summer with his 7th album Fluorescent Mud produced by Sebb Bash but is looking to end the year in the form of his 8th album.

“Don’t Poke the Bear” opens the album a flute-tinged boom bap instrumental advising not to disturb him whereas the title track goes into more chipmunk soul territory talking about being designed for this shit & the fact that he remains undefeated. “Aged Wine” works in yet another vocal loop letting y’all know you catch him at a round table sipping the finest of the titular alcoholic beverages just before Asun Eastwood tags along for the raw “Black & Brown Spoons” taking you through the minds of 2 men who have nothing to lose. Continuing from there with “No Balance to Greatness”, we have Ty on top of a crooning soul sample talking about paying a steep price to be on the position that he’s in today leading into “5 Figures in the Bank Account” has a more calmer vibe to the beat thanks to Graymatter flexing his wealth.

“Fools in the Fold” is a synth/boom bap hybrid produced by Stu Bangas has talking about being married to the game like current WWE co-CEO & former WWE Women’s Champion Stephanie McMahon’s marriage to 14-time WWE world champion, WWE Hall of Famer, 5-time WWE Intercontinental Champion, 3-time WWE tag team champion & current WWE CCO Triple H making it my favorite on the album & after the “Vince McMahon Speaks” interlude appropriately enough, the song “Klitschko Fist” has a more drumless approach acknowledging the fact that he created a new wave in the 313. The penultimate track “Every Night’s a Test” flips “I Love You More & More” By Tom Brock reminiscing on the reckless times when he rides through & “Die on My Feet” is a incredibly woozy closer courtesy of Trox confessing that he’s searching his soul to find his peace.

Of the 3 projects that Ty has given us this year, you can’t really go wrong with either one because dude managed to go on a 3-peat here. The production teeters between drumless & boom bap as the hard-working Detroit veteran continues to drop the insane quotables that we all come to know & love him for. I already know that the 5th & final installment of the No Cosign, Just Cocaine series is gonna be something truly special.

Score: 4/5

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