DJ Khaled – “God Did” review

This is the 13th full-length album from New Orleans DJ, record executive, producer & media personality DJ Khaled. Most people know him as a living meme pretty much & for the hilariously embarrassing temper tantrum he threw when IGOR outsold Father of Asahd, but many forget that that he actually came up as a tour DJ for the Terror Squad. As for his solo output, he already has a dozen LPs under his belt with Major 🔑 being the most enjoyable of the bunch & has decided to tell the world that the man upstairs believed in him when no one else would on God Did.

“No Secret” by Drake is a gospel-inspired 48 second intro talking about how he spills all his feelings unashamedly whereas the title track by JAY-Z, Lil Wayne & Rick Ross is an uplifting ballad about God believing in them when no one else would with Hov steals the show without a slightest bit of doubt. The highly anticipated “Use This Gospel, Pt. 2” by Eminem pops up on here somehow someway although I absolutely love the rock/boom bap infused production from Dr. Dre & the subject matter from Em refusing to break suits the original, but then “Big Time” by Future & Lil Baby delivers a lavish trap banger produced by TM88 talking about their statuses in the rap game.

Meanwhile on “Keep Goin’”, we have Lil Durk & 21 Savage over some horns & hi-hats to boast just before “Party All the Time” by Unc & Phew feels more like a Takeoff solo cut given that Quavo only does the hook & the painfully underwritten first verse accompanied by a weakly flipped sample of the Eddie Murphy joint of the same name from STREETRUNNER disappointingly. “Staying Alive” by Drake & Baby pretty much bastardizes the iconic single by the BGs, but then “Beautiful” by Future comes through with a sensual ode to toxic love.

“It Ain’t Safe” by Kodak Black & Nardo Wickbrings some pianos & bells together provided by Tay Keith quenching for blood while “Ley’s Pray” by Don Toliver & Travis Scott shoots for a more apocalyptic aesthetic talking about how nobody’s on their level. “Fam Good, We Good” by Gunna & Roddy Ricch basically feels like a parody of “Hot” by Young Thug down the horn-heavy beat while “Bills Paid” by the City Girls & Latto is an obnoxiously funky ode to boss bitches.

Continuing from there, “Way Past Luck” by 21 blends chipmunk soul with trap talking about going from the mud to a millionaire while “These Streets Know My Name” by Bounty Killer, Buju Banton, Capleton, Sizzla & Skillibeng is the typical dancehall cut guaranteed every time Khaled drops. The song “Juice WRLD Did” by the late Juice WRLD stands out to me as a bittersweet ode from Nick Mira of Internet Money Records’ production to the references that Juice drops throughout while the “Jadakiss Interlude” starts off with an audio clip from the obvious battle where Verzuz peaked & an aggressive beat with Kiss spitting hardcore shit. After the “Asahd & Alaam Cloth Talk” skit, “Grateful” by Vory ends the album with a full-blown gospel ballad talking about letting his blessings glow.

Everyone going into God Did should know what they’re getting themselves into at this point in my personal opinion & the reason why I say that is because how formulaic Khaled’s albums have always been. Is this an exception? Absolutely not. I can appreciate that he tried to give it more of a spiritual concept & the production even pulling from gospel music, but it’s just so unfocused & all over the goddamn place.

Score: 1.5/5

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Drego & Beno – “Sorry We Was Trapping” review

Drego & Beno are a duo from Detroit, Michigan who started to blow up in the summer of 2018 through the #GetOffRecords founders’ debut mixtape Sorry for the Get Off followed by both Meet Us Outer Space & Sorry for the Auto-Tune after signing to EMPIRE Distribution. But coming off a 3-year break they took in order to focus on further establishing themselves as solo artists, the pair are getting back together for a full-length debut a year & a half already since Drego put out his 1st solo effort Krazy Man.

The title track is a hyphy-laced opened apologizing for disappearing from the scene whereas the 5th installment of the “Slatt Season” series works in some strings & a rubbery bass-line tossing the mic back & forth with one another talking about getting the money. “Provolone” takes a more suspenseful route to spit some gangsta raps, but then “RTA” returns to a more Bay Area sound talking about running through anything with their new straps.

We get some synths & bells for the “Tuck & Duck” sequel basically continuing the themes of the predecessor while “Palm Angels” is Drego solo cut over some woodwinds paying tribute to the titular brand. Lil Yachty, Sada Baby & Tee Grizzley all tag along for the heinous “Wit It” talking about thuggin’ in public just before “Dope Game” shoots for a more tenser aesthetic to describe life as hustlers.

“Xelinage” is the bombastic Beno solo cut talking about having hoes on the weekend while one of the 2 biggest rappers in the city right now Babytron comes into the picture for the song “Vaxuum Seal” brings some Hi-NRG to admit they ain’t shit without such. The penultimate track “You Hip?” almost has a tropical quality to it asking listeners know what the deal is & “Bhrome Hearts” is a rich closer to the album getting materialistic.

I was genuinely curious to hear where both these dudes would go after 3 years off & I think that they gave us a worthy debut LP. Both halves never lost their step as far as their chemistry goes & the production stays true to the Detroit trap sound even though there are points where they don’t come off as repetitive like most artists in that style do.

Score: 3.5/5

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Declaime – “In the Beginning 2” review

This is the 13th full-length album from Oxnard veteran Declaime. Debuting on “WLIX” off Tha Alkaholiks’ sophomore album Coast II Coast in 1995, it wouldn’t be until 2001 when Dudley Perkins started putting out albums under his own name by dropping Andsoitisaid. But ahead of LMD’s long-awaited debut Flying High next weekend, he’s linking back up with childhood friend/longtime collaborator Madlib for a sequel to last summer’s In the Beginning.

“2MC ornot 2MC?” is an orchestral boom bap opener asking the titular question whereas “Bandwagon” takes a dustier route talking about how there’s more to him on the mic. The demo version of “WLIX” is something fresh for all the hardcore fans who’ve never heard it before & after the “Sensei Sound” interlude, “WunTwo” returns to the boom bap so he can flex his pen-game.

Meanwhile on “As I Get Wild”, we have Declaime taking a rawer route challenging anyone to step up to him lyrically just before “Temporary Rhyme Speech” comes through with a low-fi Crate Diggas Palace posse cut. “Scarce Compliments” weaves some piano embellishments into the fold talking about knowing what he’s grateful for, but then “Enjoy Your Stay” ruggedly calling God’s revelation his only source of inspiration. And prior to the outro, Wildchild tags along for the hypnotic closer “Signs” talking about how it’s all in the mind.

Although I prefer the predecessor a tad bit more, I’d still say that this whole In the Beginning series is very intriguing & are must-listens for any hardcore fan. Hearing the vintage production & cutthroat lyricism presented throughout even in 2022 continues to show how far both Declaime & Madlib have come in the last 3 decades or so. Could we get a 3rd installment next summer? Only time will tell.

Score: 3.5/5

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J.I.D – “The Forever Story” review

This is the 3rd full-length album from Atlanta, Georgia emcee J.I.D. Emerging in 2010 off his debut mixtape Cakewalk & joined the Spillage Village collective lead by the EARTHGANG around that same time frame, he dropped 2 more mixtapes as well as then an EP after that & signed to J. Cole’s very own Interscope Records imprint Dreamville Records in 2017. He has since made himself home there with The Never Story & DiCaprio 2, but is returning after 4 long years in the form of The Forever Story.

After the melodic “Galaxy” intro, the first song “Raydar” kicks off the album with a heavy bass-line & some hi-hats provided by Nonstop da Hitman talking about how “when it rains, it pours” prior to the beat switching up into more dramatic saying he’ll “steal the cattle then burn the farm”. “Dance Now” however samples “Yoel’s Niggun” by Zusha talking about making ‘em dance with his 9 whereas “Crack Sandwich” takes a more rugged route acknowledging that you can tell that he never had shit.

The EARTHGANG tags along for the KAYTRANADA/JD Beck-laced “Can’t Punk Me” reminding everything that nothing will stop them leading into Baby Tate & 21 Savage coming into the picture for the chipmunk soul/trap banger “Surround Sound” produced by DJ Scheme talking about putting the rap game on their backs & snatching crowns. “Kody Blu 31” incorporates a crooning sample in the mix encouraging listeners to swang on, but then the Lil Durk-assisted “Bruddanem” shoots for a more mellow aesthetic thanks to DJ Khalil talking about loyalty.

Meanwhile on “Sistanem”, we have J.I.D over some spacious boom bap production describing the tour life leading into the romance-driven “Can’t Make U Change” that starts off with a funky instrumental from Dreamville in-house producer Elite & switches into a melodic vocal loop. “Stars” opens up with a hazy BADBADNOTGOOD beat & J.I.D talking about having his goals set with E. Jones changing it up into boom bap turf as well as a stellar Yasiin Bey verse for the outro while “Just in Time” with Lil Wayne takes a more symphonic approach talking about having the time today.

“Money” throws a guitar & some live drums courtesy of Khrysis into the mix dissing the inaugural IWGPヘビー級チャンピオン, former 12-time WWE world champion, WWE tag team champion & 2-time WWE Hall of Famer Hulk Hogan while the song “Better Days” weaves some piano chords into the chord talking about balancing the highs & lows. The closer “Lauder Too” is a futuristic sequel to a highlight off The Never Story laced by James Blake & Thundercat with the bonus cut “2007” ends the album is a 7 & a half minute epic looking back on J.I.D’s life throughout the past 15 years.

I’ve gone on record numerous times saying that J.I.D’s the future of Dreamville & if The Forever Story doesn’t further prove that, then I don’t know what to tell you because it’s a great sequel to his full-length debut & I’ll even say it’s arguably better than The Never Story. I admire that he comes through with more in-depth stories throughout, the production is incredibly dynamic & the feature list is pretty tight.

Score: 4.5/5

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Substance810 – “The Monolithic Era” review

Substance810 is an MC/producer from Port Huron, Michigan who came up in ‘06 off his debut The Definition under his original moniker Tekneek. He’s since gone on to build up an impressive catalog for himself whether it be the sequel The Definition Of… or the Hobgoblin-produced The Hanging Gardens & more recently the Chuck Chan-produced Desolate Lands this past spring. But with fall approaching, Substance has decided to recruit JQuest Beatz for his 11th album.

After the “Exordium” intro, the first song “Don’t Bite the Hand” is an eerie opener basically advising to never act ungrateful towards him prior to ethemadassassin & K. Burns tagging along for the dusty “Monolithic” talking about being indivisible. “Triumphant” works in some horns describing his rise to prominence whereas “Ancient Sand” laces an entrancing vocal loop asking if you know the traces that make a man.

Meanwhile on “Cross the Line”, we have P.U.R.E. tagging along to help Substance deliver a seething jab at those who step over their boundaries leading into “Time Zones” returning to the boom bap talking about being in another world. “Flaming Chariots” weaves a flute into the fold explaining that the loudest be the scariest in this battle, but then “Solidarity” with John Creasy, Big Trip & Josiah the Gift comes through with an impassioned Umbrella posse cut.

“Sexxx Pistol” shoots for a more foreboding aesthetic delivering some flawless wordplay using sexual & weapon metaphors while the guitar-laced “Concierge’s in Negril” getting in his storytelling bag about a shorty named Natalie. The song “Foundational” with Allah Supreme & Sunez Allah sees the trio over a rich beat talking about never starving while the penultimate track “Raw Materials” with Body Bag Ben brings back the horns displaying some cutthroat lyricism. “Precious Medals” though is a jazzy yet emotional closer talking about the old days.

Of the 2 albums that Substance has dropped this year, I think The Monolithic Era is a more personal experience than Desolate Lands was back in the spring. He lets the listeners in a journey through his mind as to how he got his name & JQuest Beatz’ sound compliments his lyrical style well in my personal opinion.

Score: 4/5

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Ty Farris – “Fluorescent Mud” review

This is the 7th full-length album from Detroit emcee Ty Farris. Coming up under the name T-Flame, he was featured on a lot of projects throughout the mid-2000’s 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 & has decided to recruit Switzerland’s very own Sebb Bash for Fluorescent Mud.

“Bashing Heads” is a chaotic opener declaring himself as the main event & his opposition as the undercards whereas “Mental Tats” takes a morbid route talking about how this the meeting of the Gods. “Crown Us” works in some strings talking about how sometimes you lose battles before the crown comes & after “The Homie Van” interlude, “Where’s the Garbage Can?” lividly calls out anyone who wants to step up to him for being wack referencing the recently departed former アイアンマンヘビーメタルチャンピオン, TNA World Tag Team Champion, WCW World Television Champion, 2-time WWE United States Champion, 7-time WCW World Tag Team Champion, 4-time WWE Intercontinental Champion & 2-time WWE Hall of Famer Scott Hall. Meanwhile on “Deadly Dialogue”, we have Ty over a wavy instrumental talking about being prepared for such leading into Estee Nack tagging along for the tense “That Simple” telling everyone in their path to face the music.

“Con Uno” solemnly talks about being one of the greatest to ever do it & the “Destinations” interlude, “Feed the Kids” has this incredible vocal sample addressing poverty while the song “Can’t Candy Coat It” atmospherically confesses he only writes what. The penultimate track “Condominium Crack Dealers” with Planet Asia incorporates some organs getting on their hustler shit & the horn-laced “Immortalized” finishes the album by talking about his legacy.

The more that Ty drops a new project, the further that he cements himself as one of the most consistent MCs in Detroit today & Fluorescent Mud is no exception of that. Sebb Bash whips up some of his best production yet & T-Flame’s gritty yet ear-grabbing bars pretty much exemplifies the point that he made during the last joint. Can’t wait for the 5th & final installment of the No Cosign, Just Cocaine series.

Score: 4/5

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Diamond D – “The Rear View” review

Diamond D is a 54 year old MC/producer from The Bronx, New York who came up as a mentor of Jazzy Jay. He would then form the D.I.T.C. collective alongside Lord Finesse & Showbiz in ‘92 only to put out his classic full-length debut Stunts, Blunts & Hip Hop shortly after. D went on to drop 4 more albums & a couple mixtapes of his own but now that it’s been a year & a half since Gotham gave us their acclaimed self-titled effort, he’s back in effect for a 6th album.

After the Chris Rock intro, the first song “Life’s What You Make It” is a symphonic opener to the album produced by Focus… talking about never saying your word’s your bond & breaking it whereas “Live My Life” takes a groovier approach encouraging to let him glow. Westside Gunn tags along for the guitar-driven “Faithful” getting in their mafioso bag leading into the title track bringing back the strings thanks to Nottz taking about feeling so free.

Meanwhile on “Godly”, we have Diamond D over some dusty drums & pianos confessing that’s exactly how he’s feeling just before Dre comes into the picture for the classy “Neva Settle” talks about keeping their eyes up & that they gotta get it. After the “Joe Crack” interlude, “Ouuu” mixes some lavish keyboards & a crooning vocal loop reminding that nothing can stop you as long as you listen to your heart prior to the synth-laced “Smoke Sumthin’” dedicating a banger to all the chiefers out there.

“The Wrong Thing” comes through with a more smoother aesthetic getting on the more romantic side of things, but then the Posdnuos-assisted “Flying High” delivers a charming banger about being the hardest. The song “The Man’s Swift” returns to the boom bap spitting some braggadocio while the penultimate track “The Scorn” with KP laces some horns talking about wanting the chicken & there isn’t any other like them. “Inertia” however serves as a mystical finisher saying all he honors is his balls & his word.

As much as I admired The Diam Piece & it’s sequel for primarily focusing on Diamond D’s production skills, I’d still recommend giving The Rear View a shot for those who missed hearing him on the mic. A couple weak features here & there, but the production is a lot more laid back with more slower tempos & the man himself sounds rejuvenated lyrically.

Score: 4/5

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Donnie Menace – “Chainsaws & Boomsticks“ review

Donnie Menace is a 34 year old MC/producer from Stratford, Connecticut who emerged in 2008 off his debut mixtape The Threat & as the leader of the Nitebreed collective. Then came his full-length debut Wrath of a Menace a couple years later, which was followed up with his 2nd tape The Threat 2: Audio Sickness & his sophomore effort Bonded by Chaos. But considering that Russian-American horrorcore veteran Scum signed Donnie to Lyrikal Snuff Productionz & his mentor dropped S.O.S.’ debut Blame Us last weekend, it was only right for him to deliver his highly anticipated LSP debut.

“Talk to the Boomstick” is an organ/boom bap infused opener mixing the wicked shit some some braggadocio whereas “Who Slashed Ya?” is a cool lil horrorcore rendition of the classic Biggie joint “Who Shot Ya?”. “Around Here” returns to the boom bap warning that you should’ve never popped up near his parts, but then the “Theatrikill” remix with J Reno & Lex the Hex Master has the same verses & a new instrumental from Donnie himself that lives up to the O.G.

Meanwhile on “Violating”, we have Donnie over some chilling production talking about people looking at him like he’s Satan himself just before the Nitebreed comes together for the dusty “Brude” to talk about how you’re gonna find out what really happens when titans clash likening themselves to The Brood consisting of Gangrel alongside WWE Hall of Famer, former 11-time WWE world champion, 14-time WWE tag team champion, 5-time WWE Intercontinental Champion & WWE United States Champion Adam Copeland and former 2-time NWA World’s Heavyweight Champion, TNA World Champion, 4-time WWE world champion, 4-time WWE Intercontinental Champion & 9-time WWE tag team champion Christian Cage. “Do You Hear Me Now?” ruggedly calls out his detractors, but then Scum tags along for the grotesque “I’m Choppin’ ‘Em Up” talking about dismembering bodies.

“Low Life” brings back the organs & dusty drums to look back on his success thus far while “Devil in Me” with Claas & Smallz 1 goes into trap territory confessing they don’t know how much longer they can hold their stress inside them. “The Executioner” gets in his storytelling bag with a hair-raising beat while the penultimate track “I’m a Creep” by the Nitebreed is a rowdier cut confessing they can no longer deny being creeps. As for the “Luv 2 Kill” remix with Mr. Grey & M.M.M.F.D., it’s a great closer & my favorite remix of the 2 throughout the album

LSP’s been making a whole lotta noise in the underground this year & the Nitebreed leader’s debut with the label proves that he fits right in with everyone else over there. The production is a step up from his last outing, Donnie himself sounds hungrier than he’s ever been & the performances from the just about every feature that he takes with him for the ride are on par too.

Score: 4/5

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Larry June – “Spaceships on the Blade” review

This is the 8th full-length album from Vallejo emcee Larry June. Since dropping out of high school, this dude has been steadily grinding his ass off with his last 7 studio efforts along with a total 14 EPs & 7 mixtapes. My favorites of his ever-growing discography include the Lex Luger-produced Trap Larry, the Cardo-produced Cruise USA & it’s sequel Into the Late Night, the Harry Fraud-produced Keep Going & more recently the mobb music-influenced Jay Worthy collab effort 2 P’z in a Pod that came out this past spring. So considering that Jay just dropped his full-length debut a couple weeks ago, it’s only fitting for Larry to follow suit in the form of Spaceships on the Blade.

After the “Free Uncle Herm IV” intro, the first song “Private Valet” is a symphonic opener produced by Jake One to the album talking about how nobody has love for you when the sky gets cold whereas “I’m Him” takes a more spacey yet funkier route thanks to Cardo to boast. “Things You Do” has a more luscious tone to it featuring co-production from DJ Khalil telling this woman he knows she’s trying to make that move, but then the DJ Fresh-laced “Don’t Check Me” mixes some pianos & synths to advise to check a bitch before him.

The sequel to “Another Day in SF” is pretty cool from the lyrics picking up where the predecessor left off to the 80s-inspired instrumental & after the “Tools of the Game” interlude, “Corte Madera, CA” comes through with a jazzy tribute to the titular city in Marin County. 2 Chainz tags along for “Still Boomin’” to get back in their mobb shit just before “Brand New Machinery” has a more melodic flare to it over a synth-heavy beat from Chuck Inglish talking about the whip he just copped.

Meanwhile on “I’ll Make Time”, we have Larry over more sensual production acknowledging this chick wants to get to know him more while “For Tonight” refines the romance vibes of the last cut from Syd’s hook to the verses & instrumental. “In My Pockets” weaves the synthesizers back in to talk about the bread while the Curren$y-assisted “5.0 Chronicles” has a more syrupy feel to it delivering a late night cruiser’s anthem.

“Breakfast in Monoco” is a string-laced prelude to Larry’s upcoming album with The Alchemist spitting that fly shit while “Larry’s Diner” goes full-blown drumless thanks to Sean House delivering some vivid storytelling. “Organic Adjustments” dives into funkier turf talking about wanting to be with this chick even when he’s on the road while the song “Spaceships & Orange Juice” is atmospheric trap ballad rightfully flexing that he’s been doing numbers.

The penultimate track “Extra of Um” with one of the 2 hottest artists in Detroit right now Babyface Ray amalgamates some pianos, synths & even a couple strings so the pair can talk about have extras of everything pretty much with the Turbo-produced “Appreciate It All” ending the album with a genuine open letter to the public expressing his gratitude.

Although I don’t think it’s as great as Into the Late Night, I’m not gonna sit here & deny that I enjoyed a good portion of what I heard throughout Spaceships on the Blade. The overall sound of the album is admirably diverse, the feature list is pretty consistent & Larry is stepping up his pen-game tremendously. At this rate, his album with Uncle Al could be a future classic.

Score: 3.5/5

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Tink – “Pillow Talk” review

Tink is a 27 year old rapper & singer/songwriter from Chicago, Illinois who blew up in the spring in 2012 off her debut mixtape Winter’s Diary. She would then proceed to drop 4 more tapes prior to signing a joint deal with Mosley Music Group & Epic Records in the fall of 2014, where she only put out 2 mixtapes prior to leaving in late February of 2018 due to Industry Rule #4080 unfortunately. Since starting her own label Winter’s Diary Records with distribution from EMPIRE, she’s given us her 8th mixtape Voicemails as well as a couple EPs & full-lengths. But much like Heat of the Moment that dropped last summer, Tink’s bringing Hitmaka back into the fold to executive producer her 3rd album.

“Going Bad” is a soothing trap opener about her calling her man when she gets lonely whereas “Switch” works in some guitars & finger-snaps asking who he fuckin’ on the side. “Opposite” shoots for a moodier aesthetic talking about how it feels when he plays his games on her, but then Cardiak, Hitmaka & Wu10 flip the 702 joint “Get It Together” for “Goofy” describing how the dick got her feeling.

Meanwhile on “Cater”, we have 2 Chainztagging along for an enticing duet talking about being made for each other pretty much leading into the slow jam “Throwback” expressing that she wants to love her man like a C4. Muni Long comes into the picture for “Mine” to deliver a weakly modernized version of the Brandy/Monica hit “The Boy is Mine” just before “25 Reasons” fuses a guitar with the sounds of a bed squeaking explaining why she loves this dude so much.

“Cum See Me” is an atmospheric ballad with an underwhelming Toosii verse at the backend of it about dreaming of one another while “Oooh Triflin” has a groovier vibe to it pondering how a fuck boy got her feeling some type of way & the Fabolous verse makes up for the staleness of the feature the last cut had to offer. “Balance” goes into woozier territory explaining that’s exactly what she needs while “Drunk Text’n” with Layton Greene is a tedious duet about texting each other fucked up off D’ussé.

Following that, the Russ-assisted “News” has to be my least favorite duet of them all despite the decent trap production primarily because of just how awkward the chemistry is while the song “Ghetto Luv” with G Herbo picks it back up with it’s rich instrumental & the lyrics about just that. The penultimate track “Cum’n 2” brings back the acoustics explaining that her heart ain’t meant for breaking with “I Choose Me” ends the album by talking about drinking wine & that ain’t nothin’ worth more than her peace over a stripped back beat.

Tink has always been writing songs touching on romance, so it was really a matter of time before she made a whole R&B album embracing a sexier side to her & it’s really not a bad listen although it certainly has it’s flaws. Wasn’t really feeling a good majority of the features, but she sounds very confident on the mic & Hitmaka’s production yet again proves to be a solid fit for her mostly.

Score: 3/5

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