Napoleon da Legend – “Invincibl Rap Mislz” review

Napoleon da Legend is a 43 year old MC born in Paris, France & based in Brooklyn, New York who a lot of underground heads should be familiar with at this point considering the lengthy discography that he’s built up for himself for nearly the past decade ranging from Coup D’État & it’s sequel to Street Universe & Dragon Ball G. But coming fresh off Le Dernier Glacier last month which was disappointing considering the Sicknature-produced Colossus of GOATS & the Giallo Point-produced Buckets were his strongest bodies of work in a while, his 22nd album here fully produced by DJ D-Styles of the Beat Junkies was more than enough for me to hope Napoleon would redeem himself.

After the intro, “Blaktual News” featuring Innocent? & Josiah the Gift kicks off the album with the trio talking about standing by their word protecting it like their kids over a boom bap instrumental whereas “Food” works in some piano chords cautioning that your biggest mistake is not knowing when to shut up. “Rubiks Cube” featuring Amerigo Gazaway finds the pair surviving dark times to face the light over some more kicks & snares, but then “Supreme Haiku” takes a drumless acoustic route talking about not being the one to lie to.

Moving on from there, “Alligator Tears” featuring Aïda returns to the boom bap as the 2 MCs telling y’all to sit back as you watch them do their thing just before “Gods vs. Titans” has a more symphonic groove to it calling out those operating from a distance like a narc. “Games We Play” has a glistening boom bap beat asking if anyone wants to play a game leading into “Snake Oil” lacing some guitar passages discussing the promise of a better life.

“Distortion” starts the final leg of Invincibl Rap Mislz by expressing his desire to have the music bring it out of them instead of just bringing it to the music over a synth-heavy instrumental while the song “Table Manners” featuring Nejma Nefertiti reminds how much of a good combo they are over a dusty beat. The title track has a more nocturnal aesthetic to it sonically dissing those with arms too short to box the God on the mic & “Wu-Masters” is a cool Wu-Tang homage to end the album from the lyrics to even the RZA-inspired instrumental.

If anyone else walked away from Le Dernier Glacier disappointed like I did, then PLEASE check out this new body of work right here because it’s on par with both The Colossus of GOATS & Buckets as far as I’m concerned. DJ D-Styles’ production is more consistent than what we got from Napoleon a month ago, the features list is brief yet tighter & the French-American wordsmith delivers harder performances.

Score: 4/5

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

Highway – “Monochrome” review

This is the full-length, major label debut from Seattle up-&-comer Highway. Emerging during the 2020 COVID-19 lockdowns, he would go on to drop 4 EPs & a couple of mixtapes until Brooklyn Haitian-American record executive/manager Steven Victor jointly signed him to his Victor Victor Worldwide imprint with exclusive distribution from Geffen Records last year. So given that, it was only a matter of time until Highway properly introduced himself to a wider audience by dropping Monochrome.

“B & W (Black & White)” starts the album with an atmospheric JetsonMade instrumental saying he don’t got no type of bad bitch & likes them all whereas “Don’t Lie” tells his girl not to front because she does a lot to drive him crazy with the beat having a more roomy feel to it. “Show Goes On” keeps things in cloudier territory saying all he does is rock, but then “All U Needed” featuring Ty$ takes a more moodier route as they talk about needing passengers like their significant others.

Meanwhile, “My Shit” makes it known that nobody built like him over a more calmer instrumental just before “Let Up” is a piano trap ballad talking about not feeling any pressure whatsoever even after the fact that he’s signed now. “Wake Up Early” featuring Seddy Hendrinx aims to blow his money without any worries over some hi-hats & claps leading into “Jet” returns to a cloudier vibe talking about hopping off his flight & knowing his people straight.

“Fuck-a-Rubberband” dives into spacious turf boasting that he does a lot while “on dat shit” returns to a more synth-based sound asking if you can depend on someone you call your brother. The song “Sin City“ happens to keep the synthesizers in tact making it clear he’s focused on his own path while the penultimate track “Gotta Kno” tells his girl not to worry about anyone other than him with a chilled out beat. “And Go” ties things up with a cavernous trap closer feeling’ like a heavyweight champion in his mind.

Compared to his earlier work, you can definitely hear the growth in Highway’s artistry on Monochrome & it makes me excited to see what the future holds for him from this point on. He delves deeper into the murky, R&B-tinged hip hop style that he’s been sporting ever since he came up by refining it to & stepping up his knack for catchy songwriting even though Ty$ had the stronger feature performance than Seddy personally.

Score: 3.5/5

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

Dropout Kings – “Riot Music” review

The Dropout Kings are a trap metal outfit from Phoenix, Arizona consisting of Adam Ramey & Eddie Wellz on the mic, Chucky Guzman & Stait Flynn on guitars, Rob Sebastian on bass & finally Joe Lana Jr. on drums & percussion. They first made their mark in 2018 off their full-length debut AudioDope & gained more momentum a couple years later with their debut EP GlitchGang, which resulted in them signing to Suburban Noize Records the following spring. And as the 2-year mark of the Dropout Kings’ new label deal approaches, they’re further cementing themselves as the future of the Spade by delivering their sophomore album albeit Subnoize debut.

“Hit Like This” sets the tone for what’s to come with it’s guitar/hi-hat tinged instrumental & the angrily delivered lyrics making sure their music be hitting you unlike any other whereas “Dark Energy” truly lives up to it’s name from the explosive trap metal production to the subject matter discussing doing what they want & not giving a fuck about the industry “Fighter Jet” almost has a bit of an old school LINKIN PARK vibe instrumentally (i.e. Hybrid Theory & Meteora) declaring themselves as the flyest leading into “Pull Up” bringing back the hi-hats & guitars talking about how they can’t lose.

However, we go into more melodic territory on “Demons” as the the Dropout Kings wish everyone would just stay in their lane just before “Lights Out” comes through with an empowering ballad about failure not being an option even though I’m not head over heels for the DED feature truthfully. The title track however follows that up with a warmongering mosh pit anthem staying grounded in their trap metal roots, but then “Tofu” blends an atmospheric backdrop with some more hi-hats & guitars talking about being unable to be held back.

“No Notoriety” continues to draw inspiration from nu-metal era LINKIN PARK as far as sound goes down to the Chester Bennington-esque hook admitting that they have to find another way to right their wrongs while “Been G.O.A.T.” dives back into trap metal territory flexing their skills. The track “Vacuum Cleaner” goes straight forward rap metal bragging about getting head in their new whips while the penultimate song “Tell Me” takes a more melodic, acoustic trap route singing about wanting to hear what their lovers think of them. “Hey Uh” finishes the album with 1-last trap metal ballad about stealing the bitches of those who be cappin’.

If you wanna hear a group blend the styles of acts like City Morgue or even fellow Suburban Noize signees (həd) p.e., then you’re gonna want to give Riot Music a listen because it further exemplifies that the Dropout Kings are the future of the spade. Eddie & Adam both make the case that they’re the best MCs in metal as they reintroduce their signature sound to a wider audience.

Score: 4.5/5

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

IDK – “F65” review

This is the 3rd full-length album from Bowie, Maryland by way of Clapham, London, England, United Kingdom rapper, singer/songwriter & producer IDK. Beginning to make waves in the spring of 2014 off his first 3 mixtapes profile began to significantly increase in 2017 when he signed to Williams Street Records in order to put out a 4th tape IWasVeryBad to critical acclaim. He continued the grind by putting out a debut EP IDK & Friends as well as the full-length album Is He Real? & his 2nd EP IDK & Friends: Basketball County, but the sophomore effort USEE4YOURSELF a couple summers ago was very underwhelming. Simple. however fully produced by KAYTRANADA wound up being his strongest body of work to date & was enough to have me anticipate F65 over here.

“Cape Coast” is a jazzy opener to the album about keeping it inside sometimes yet still he cries whereas “Pit Stop” admits that the last time he shed a tear was when Prince passed away 7 years ago by now with a bouncy trap instrumental attached to it. Fat Trel tags along for “Thug Tear” blends some strings & hi-hats clarifying that it’s on sight because that’s exactly what you get when you slip 10-time WWE world champion, 2-time WWE Intercontinental Champion, 5-time WWE Tag Team Champion & $7 Productions co-founder The Rock just before “Champs-Élysées” brings back the saxes & keys talking about still having to be on his hood shit when he’s on his boujee shit.

NLE Choppa’s contribution to “Salty” is underwhelming to say the least & the subject matter of making bitches bitter doesn’t really help despite the wavy trap production but after the “D.S.T.P.” interlude, “Mr. Police” works in a bare piano instrumental basically telling the feds to go fuck themselves. Jucee Froot & Saucy Santana both come into the picture for “Pinot Noir” obnoxiously sampling “My Neck, My Back (Lick It)” by Khia to deliver an mediocre ass-shaking anthem leading into “Paperchaser” talking about keeping the block hot over a reverberated beat.

“Elmina” with Tay Iwana almost as a bit of a more tropical flare to the beat making it clear that he wants to see his girl’s bodying grinding to the rhythm while “Georgetown” is a spacious boom bap ballad about being ready at anytime. “Radioactive” goes full-blown Philly club having the glocks on up with the switches & after the “Know” interlude, “Télé Couleur” fuses jazz with boom bap very well talking about his side & theirs’ never been symmetrical.

Meanwhile, “Rabbit Stew” has an intriguing dance break with a spacious instrumental discussing rather wanting to love this woman on the low while “We on Top / 850” starts off with some hi-hats & strings before later swapping out the strings with synths during the 2nd half switch-up as he & Rich the Kid talk about running shit. After the “Middle Passage” interlude, “Still Your Man” jumps on top of a bass guitar reminding that he even said at the beginning that his thoughts don’t change.

After the “St. Nicholas & 118th” interlude, the song “Up the Score” with Benny the Butcher finds both MCs calling out motherfuckers who be cooperating with the feds & that they simply tryna win out here over an orchestral beat while the penultimate track “Superwoman” is a lavish 7 minute pop rap ballad about knowing the woman of his dreams very well. “Freetown” however primarily comes off as an instrumental outro to the album with a spoken word bit at the backend of it.

Even though I still think that Simple. remains as the best thing that IDK has ever done respectfully, it’s worth noting that F65 at the end of the day will satisfy listeners for being a mature sequel to SubTRAP. The excessive amount of interludes are honestly annoying & a few performances from the features don’t quite stick the landing, but the concept of him creating a place to be free & honest where everyone is respected reminds me of the P.Y.U.N.E. concept of Tech N9ne’s 20th album Planet.

Score: 3/5

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

Atmosphere – “So Many Other Realities Exist Simultaneously” review

Atmosphere is a revered underground duo from Minneapolis, Minnesota consisting of Slug on the mic & Ant on the boards. Initially a trio from the beginning of their formation up to release of their critically acclaimed debut Overcast!, they would later go on to build an independent empire with their Rhymesayers Entertainment label whether that be signing acts from Brother Ali to the late Eyedea or putting out their best bodies of work like God Loves Ugly or Sad Clown Bad Dub 9. Last we heard from them was WORD? a year & a half ago which wasn’t a bad return to form for them considering the mixed reception The Day Before Halloween got for it’s experimentation, but are back again for album #13.

“Okay” is a cheerful opener to the album assuring that everything will work itself out in the end whereas “Eventide” dives into boom bap territory talking about someone pretending not to hear Slug & pulling it off in an insincere manner. “Sterling” has more of a rap rock flare to it this time around admits that he’s running like he’s up against the clock, but then “Dotted Lines” fuses more guitars with kicks & snares talking about being unsure as to what to say to his woman.

Meanwhile, we have Atmosphere diving into funkier turf on “In My Head” encouraging someone to wake him up & check to see if he still has a pulse leading into “Crop Circles” talking about to do whatever it takes to making the same mistakes twice over a crooning beat. “Portrait” returns to the boom bap confessing he’s trying to treat his body like a church these days, but then “It Happened Last Morning” has a more industrial sound to it discussing a panic attack he had on first avenue.

“Thanxiety” makes it known that you gotta stop & try to smell your own accomplishments sometimes over some synthesizers & thumping drum patterns while the 6-minute “September Fool’s Day” talks about how this is more than production & showmanship over a piano instrumental. “Talk Talk” embraces a more electro-funk sound assuring there’s nothing here to fear & to set your secrets free while “Watercolors” has a more stripped-back sound talking about feeling like he’s driven by the sacrifice to suffer from the hunger of composure.

Moving on from there, “Holding My Breath” is a soulful reggae hybrid discussing never feeling alone when I’m alone by himself while “Still Life” keeps it tranquil talking about the whole thing being pretty like a painting even though it’s all coming to an end. “After Tears” by Sa-Roc serves as an interlude with a chipmunk soul instrumental tackling a heartbreak that’s threatening to escalate while “Positive Space” talking about haunting record players.

The penultimate song “Bigger Pictures” gets ready to round out the album with an acoustic guitar accompanied by kicks & snares looking back on his life up to this point but after the “Truth & Nail” interlude, the final song “Sculpting with Fire” psychedelically blurs the lines between self-reflection and derealization. However, the outro & official closer is actually a reprise to the opener “Okay” aptly titled “Alright”.

Of the 3 albums that Slug & Ant have given us since COVID changed the world forever, there’s no doubt in my mind that So Many Other Realities Exist Simultaneously has to be my favorite of the bunch so far. The production here is more gentle in comparison to all of their previous efforts combined as they present an unnerving excavation of paranoia that can be grafted onto the general malaise of a pandemic weary society full of civil unrest.

Score: 3.5/5

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

Destroy Lonely – “If Looks Could Kill” review

Destroy Lonely is a 21 year old recording artist from Atlanta, Georgia who happens to be the son of former Disturbing tha Peace Records signee I-20. He’s released a total of 11 EPs since originally breaking out through SoundCloud in 2019 prior to Playboi Carti signing Lone to his Interscope Records imprint Opium Records to surprise drop the last tape No Stylist in light of a tour that he co-headlined with fellow label-mate Ken Carson last summer. However, he’s returning nearly 9 months later to drop a full-length debut & one that I hope would make the haters shut up considering that he’s already proven himself to be the most versatile Opium signing to date.

“how u feel?” opens the album with some guitars & hi-hats saying he feels fine other than needing a few more dollar signs whereas the title track follows it up with a cloudy emo rap ballad produced by longtime collaborator Clayco about being a fashion demon. “fly shit” returns to a more trap metal sound so he can flex a bit, but then “which one” shreds some chunkier riffs on top of some hi-hats thanks to Cade trying to figure out who loves him.

Continuing from there with “raver”, we have Lone over more trap metal production so he can go brazy leading into “came in wit” has a bit of a rage vibe to Y3rip’s beat talking about looking like he jumped out the ocean with all of his diamonds. “by the pound” has a more playful sound to it provided by TM88 even though he delivers one of the weaker performances on the album badly impersonating Future just before “all the time” confesses that he feels like he’s lost his mind & the instrumental here gives me an aquatic feeling for whatever reason.

“biggest problem” has a more spacious trap approach to it that Cxdy provides bragging that he’s riding around with some fly shit while “chris paul” talks about ballin’ out over a booming trap beat. “superstar” returns to atmospheric territory watchin’ the bodies fall from the swag he’s droppin’ while “new new” weaves some synthesizers into the fold talking about being the freshest whenever you compare him to everyone else in the trap scene right now.

Meanwhile, “right now” concludes the first leg of the album taking it returning to trap metal turf telling his girl he’ll get her whatever the fuck it is that she desires & “which way” starts the 2nd half with a ghostly trap beat admitting that he doesn’t have a clear as to which specific what that he’s going. “wagwan” blends some skittering hi-hats & a futuristic backdrop asking what’s up prior to “moment of silence” sampling “Your Skull’s Red” by Team Sleep talking about going harder than everyone else while “brazy girls” is a trap rock hybrid about his women.

“goin’ up” dives into more psychedelic waters tackling his continuously rising popularity that is until “passenger” shifts gears with it’s twinkling trap production talking about switching up his swag & smokin’ on Metro Boomin’ every single day. “promo” gives me a bit of a ghostly feeling as far as the beat goes so Destroy can be able to update his swag while “worth it” makes sure every second counts over a trap instrumental with a blobby bass-line

BryceUnknwn, Zodiac & y2tnb keep it rolling on the ultramodern “redlight” keeping an FN under his seat for all the fuckboys while “make sum work” brings back the guitars & hi-hats going berserk. The song “safety” flips Team Sleep yet again except it’s “Blvd. Nights” this time spending more on his protection & well-being while the penultimate track “your eyes” gets more cavernous courtesy of ReidMD from Vanguard Music Group & Internet Money Records talking about seeing himself when looking into the eyes of his raver. “money & sex” with Ken Carson though ends the album with a hypertrap jam talking about the 2 things they love.

“too damn rich” starts the deluxe by rubbing his newfound wealth in people’s faces flipping “Lucid” by slenderbodies while “spillin’” cautioning that this shit can go many ways over a trap beat giving off retro video game feels. “check the fleet” has this grungy guitar riff & hi-hats only focusing on money while “back sippin’” brings in heavier guitar work relapsing on lean referencing the greatest WWE superstar ever; Hall of Famer, 7-time world champion, 7-time tag team champion & WWE Hardcore Champion The Undertaker. “catch a kill” is a well-structured 2 parter going brazy about his top floor status & “that’s my” concludes the run of bonus tracks with a nocturnal dedication to his ride or die.

A lot of people are probably gonna complain about the 90 minute runtime straight out the gate & I’m well aware that not everyone ends up pulling off that feat, but I think Lone has enough versatility to make it stick the landing & that’s exactly the point he has proven yet again. He continues to expand his sound by dabbling a bit more with dream pop & neo-psychedelia than he’s done in the past & his performances on a good amount of these cuts are pretty fun.

Score: 4/5

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

Conway the Machine – “Won’t He Do It” review

Conway the Machine is a 41 year old MC & entrepreneur from Buffalo, New York who blew up in late 2015 as part of the 3 OGs of Griselda Records alongside his brother Westside Gunn & their cousin Benny the Butcher. Ever since the trio have rose to prominence, they’ve had hip hop on lock by their constant work ethic balancing quality & quality as well as vividly detailing their lives in the streets on top of boom bap production kin to that of RZA & Havoc in their music. Con’s full-length debut From King to a God was my Album of the Year for 2020 & the Shady Records-backed sophomore effort God Don’t Make Mistakes is the most personal he’s ever been. But coming off Organized Grime 2 & the Big Ghost Ltd.-produced What Has Been Blessed Cannot Be Cursed, the Machine is now making up for the delays surrounding his long-awaited 3rd album by dropping it ahead of a sequel later this month supposedly.

“Quarters” lets it off with a boom bap instrumental courtesy of Khrysis talking about how everyone knows the way they rock & catch you comin’ out your bitch spot whereas “Brucifix” gets on some good ol’ Hall ‘N Nash shit with Daringer dabbling with drumless bare loops talking about how neither he or West don’t rock with any of these industry motherfuckers. “Monogram” has a more luxurious approach to it expressing his desire to sell cocaine forever just before Ransom comes into the picture for “Stab Out” to smoke everybody over some pianos, kicks & snares courtesy of JR Swiftz:

Moving on to “Flesh of My Flesh”, we have La Maquina confessing it’s still hard to fathom what over done with Daringer pulling from rock music a bit with the beat leading into “Kanye” literally gives everyone something to talk about considering Hall ‘N Nash’s stellar feature on “Keep My Spirit Alive” (the original KayCyy version all day. He should’ve never fucked with it) off DONDA a couple summers ago & both of them in the studio with Dr. Dre last August around the 1-year anniversary saying he had some convos with the my 6th favorite producer of all-time that he’ll simply keep to myself over a piano instrumental from the J.U.S.T.I.C.E. League.

Jae Skeese comes into the picture for “The Chosen” sampling “Above & Below” by Charlie Steinnman displaying the strong chemistry that we got a couple months ago on their recent collab EP Pain Provided Profit prior to GooseByTheWay & Dave East sliding through for “Water to Wine”, which is an exquisite ballad that E. Jones laced for the girls that just wanna have fun. “After the “Kill Judas” interlude, “Brick Fare” acknowledges that he’s been a shooter comparing his lyricism to former 2-time UFC Heavyweight Champion Stipe Miocic alongside 2-time WWE Hall of Famer, former 16-time WWE world champion, WWE Intercontinental Champion, 6-time WWE United States Champion, 6-time WWE tag team champion & 9-time NWA World’s Heavyweight Champion Ric Flair over a spooky boom bap beat while “Brooklyn Chop House” with Benny the Butcher & Fabolous ditches the drums for a bare string instrumental talking about their progress being impossible to stifle.

The song “Tween Cross Tween” works in some kicks, snares & a flute from Graymatter saying you can play all you want as he stays grinding while the title track with 7xvethegenius comes through with a buried sample from Cozmo & G Koop talking about trying to get more cheddar even though people are envious of them. “Super Bowl” featuring Sauce Walka was the lead single to this album & ends the album with a decent trap banger produced by Juicy J dropping braggadocio.

God Don’t Make Mistakes happens to serve as the bridge to the next phase of his already decorated career that begins with Won’t He Do It & it’s a super solid look into what the future holds for him even though he never disappoints to begin with. The hooks are kinda iffy, but the production is a fine melting pot of the sounds he’s dabbled with up to this point & Con’s bars absolutely make up for it.

Score: 4/5

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

Ill Bill – “Billy” review

This is the 8th full-length album from Brooklyn underground veteran Ill Bill. Rising to prominence as a member of the seminal quartet Non Phixion, he would become one of the most hard working dudes in the underground whether it be his solo discography or his subsequent output as part of groups like La Coka Nostra & Heavy Metal Kings. Last we heard from the Cult Leader was during the COVID-19 pandemic when he formed the Gorilla Twins with NEMS & dropped their self-titled debut, following it up with his previous effort La Bella Medusa that same fall. But after 3 years in the making, the east coast MC/producer is returning in the form of Billy.

“Alpha Futura” is a 2-minute opener with a whimsical boom bap instrumental & Bill referring to himself as a supreme guillotine whereas “Hell Awaits” over a futuristically eerie instrumental from Furio with some kicks & snares talking about holding a rifle to someone’s head while holding the Bible at the same time. “Jordan 3s” speaks on chilling in the projects rocking the titular shoes over a nasty boom bap beat courtesy of Stu Bangas, but then the Boston beatsmith sticks around to helps him tell “The Ballad of Billy®” over a solemn loop attached to some more snares & kicks.

Moving on from there with “Know My Name”, we have Skam2? tagging along over an organ-laced beat with some claps cooked up by the former Old World Disorder member promising y’all gon’ know who they are once it’s all said & done leading into “Canarsie Koresh” returning to the boom bap courtesy of Lord Goat talking about keeping your weapon loaded. Immortal Technique & Sick Jacken both come into the picture for “Prophets of Doom” making it clear we could only be a second away from taking our last breaths with a cataclysmic instrumental from Farma G just before “The Mandalorian” fuses boom bap with some guitar licks calling himself the lone bounty hunter of Canarsie.

“Supreme Magnetic” by the Heavy Metal Kings & Lord Goat finds the trio over some string sections coming through with them aggressive battle raps we all know & after the “Higher Power” interlude, “Smarten Up” by the Gorilla Twins talking about all you know not being enough over a soulful Little Vic instrumental. “Once Upon a Time in Canarsie” with Lord Goat sees both Non Phixion members looking back on the days growing up where the sharks be over booming yet nocturnal beat while “Yallah Yallah” by La Coka Nostra & O.T. the Real talking about getting your face shot off.

Meanwhile, “This is Anger” weaves some more pianos on top of kicks & snares thanks to DJ JS-1 delving into lividness prior to the Heavy Metal Kings returning alongside Kool G Rap on “Root for the Villain” to cheer on the bad guys over a morbidly raw DJ Muggs beat. “Sunday at the Tunnel” hooks up a classy sample provided by Statik Selektah paying homage to his influences in hip hop while “Leviathan” with Tragedy Khadafi talks about murder making summer colder over a grisly instrumental.

Lord Goat & Q-Unique come together for the mellow “Chubb Rock” making it clear they treat ‘em right kin to the hometown veteran of the same name with the flamethrower until Tragedy Khadafi returns alongside Ransom to deliver the crooning “Casino” overdosing on confidence. OMB Jay Dee’s verse on “Willis” has to be the weakest feature performance on the album even though it’s still cool nonetheless to see Billy give props to the Brooklyn drill scene. On top that, I love the churchy C-Lance production along with the Gorilla Twins & Rittz’ performances wanting to know exactly what the fuck they talkin’ ‘bout referencing Diff’rent Strokes.

After the “Wrong Place” interlude, the penultimate track “Time to Go” makes it clear that the grim reaper lives in every violent soul there is with a foreboding beat featuring co-production from Scott Stallone & the closer “Omega Therion” referencing the iconic Swiss extreme metal band Celtic Frost’s timeless sophomore effort To Mega Therion of course as every Bill fan should know that he’s a metalhead wrapping the album up with an eerie boom bap heater Body Bag Ben cooked up streetsweeping everybody.

Obviously given the title, I went into Billy expecting this to be a more personal effort & lo & behold: That’s what we got & one that I would say is an improvement to La Bella Medusa as dope as that album was a few Halloweens back because Bill never disappoints if we’re being honest here. Some people will complain about the 71 minute runtime, but he definitely he has the lyrical prowess & the gulliest batch of beats to pull it off as he does here.

Score: 4/5

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

Obnoxious – “Sic Audio” review

This is the long-awaited sophomore album albeit Suburban Noize Records debut from San Diego emcee Obnoxious. Getting his start in 2009 off the strength of his debut mixtape As Seen on TV, he would then follow it up 7 years later by dropping his full-length debut Jamacha. But it wasn’t until Cinco de Mayo 2020 where it was announced that Kevin Zinger had signed Obnoxious to Subnoize, where he has since formed the trio King Klick with Chucky Chuck & Johnny Richter to put out their eponymous debut EP before quietly dissolving to join forces with Madchild on the incredible collab effort Mobsters & Monsters this past winter. However as the 3 year mark of OB’s record deal approaches, he’s finally releasing Sic Audio to celebrate.

“Be Someone” is an inspiring, feel-good opener with a high-pitched vocal sample throughout talking about being on top of every other rapper out right now whereas the blaring yet dusty “American Graffiti” advises to take it easy around him. “Maniac” blends some kicks, snares & piano chords describing just how crazy he can get leading into Sick Jacken tagging along for “Legendary” talking about being anything but secondary over a Jedi Mind Tricks-inspired beat

Meanwhile on “Honor Roll”, we have Evidence working in some angelic vocals & an ominous organ for Obnoxious to talk about smoking glints 365 days a year leading into the Termanology-assisted “Chapo n Gotti” returning to the boom bap comparing themselves to the infamously titular criminals. “Starstruck” hooks up some pianos with more kicks & snares getting in his battle rap back, but then Ill Bill comes into the picture for “You Don’t Like Me” over a boom bap instrumental with an Italian sample calling your favorite rapper a bitch.

“Step Back” has this crooning loop throughout as OB talks about keeping it moving while “Powerful Forces” with Rakaa finds the pair on top of a flute/boom bap hybrid comparing themselves to exactly that. The title track weaves some more keys, snares & kicks talking about smoking your dead homie like ganja while the penultimate song “Ain’t Changed” is a more emotional ballad making it clear that he’s still the same guy. “Lift Off” then closes the album with a vibraphone heavy smoker’s anthem.

We went through a lot of delays to get to this point & I’m happy that the moment is finally here because you can really hear how much Obnoxious has grown artistically & personally since Jamacha. A more than welcoming Suburban Noize solo debut. He’s the best he’s ever sounded on the lyrical side of things & I really think the overall style of this album would appeal to fans of Cypress Hill, The Psycho Realm, JMT as I mentioned earlier & The Alchemist like myself. This is only the beginning for the San Diego wordsmith.

Score: 4.5/5

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

Tony Shhnow – “Love Streak” review

This is the 6th full-length album from Atlanta, Georgia rapper Tony Shhnow. Being introduced to his music after my younger brother J$zpiech showed me his 4th mixtape Black Billionaires Club & the song “Vet” off the full-length debut Da World’s Ours 3, he then continued to turn heads with his 8th mixtape Reflexions to critical acclaim last summer & I honestly wish I covered it considering that some of his best songs are on there like “Finessin’” or “Forgive Don’t Forget”. He then returned to his plugg roots on the BeatPluggz produced Plug Motivation nearly 6 months ago & is already back with Love Streak.

“If It Wasn’t for Me” is a sample drill opener acknowledging that his girl wouldn’t be in love right now had he not come back around whereas “Real Rare” has a more chilled out aesthetic to the beat talking about legitimacy being scarce this day in age. “Don’t B Affraid” hooks up an R&B loop with some hi-hats so he can tell shawty that she shouldn’t worry about a damn thing around him, but then we’re treated to a sequel to “Sometimes” off Killstreak 2 that’s superior to the predecessor from the CashCache instrumental flipping “Rain” by SWV to the lyrics about how he rides around depending the given day.

Keeping it rolling, we have the Shhnowman on “Something to Remember” telling his lover that she ain’t ever met another guy like him in the past with a slickly sensual beat & Lil Crank doing a fine job with the hook just before “Need” has a more groovy vibe to it talking about the woman he’s currently seeing the only one he needs in his life. The sequel to “Time Takes” off the original Killstreak flipping the sample smoothly declaring that only the man upstairs can judge his fate leading into the tranquil “Control Issues” featuring 3AG Pilot to discuss their expensive tastes & their bitches being thick although they slim.

“On the Street” has the hardest feature performance of the entire album from MAVI as he & Tony jump on a drumless instrumental to reference 16-time WWE world champion, 4-time WWE tag team champion & 5-time WWE United States Champion John Cena while “ILY / IH8U” has a cloudier vibe teetering between being obsessed with this girl to being unable to stand her. “Unordinary Drugs” comes through with a dope ass flip of “No Ordinary Love” by Sade describing the goods as being unusual or extraordinary while “Mixed Emotions” has a calmer approach explaining that you can feel every step he takes

Meanwhile, “Touch the Sky” is a jazzy 2-minute heater to start the final leg of Love Streak encouraging his lover to open her mind & speak to him about literally anything while the song “Friends Still” with UnoTheActivist finds the 2 dominant forces in plugg music by delivering an enticing jam asking if they still cool with the significant others in their lives. The penultimate track “Reminisce” cooks up a more peaceful sound as the Shhnowman reflects & D.R.A.M. dropping the best hook on the whole album until “No Pressure” sends things off on a pluggier note acknowledging that he’s unable to stress shit.

Plug Motivation was a more than welcoming return to Tony’s roots into the trap subgenre that he helped pioneer & given the title of this new project here, I went into it expecting a more romantic side of him & that’s exactly what we got here. A couple lackluster feature performances here & there, but I also respect the amount of R&B/soul samples throughout tying into the whole romantic concept that dude pulls off naturally as opposed to it coming off as trite & forced like some other rappers normally do.

Score: 3.5/5

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