ColleGrove – “Welcome 2 ColleGrove” review

ColleGrove is a southern hip hop duo consisting of Atlanta, Georgia rapper & songwriter 2 Chainz as well as New Orleans, Louisiana emcee, singer/songwriter, record executive & entrepreneur Lil Wayne. Both of whom have known each other since Tity Boi was Weezy’s weedman, which lead to Wayne appearing on the Playaz Circle’s debut album Supply & Demand and the rest is history. They eventually formed ColleGrove in 2016 & put out a decent eponymous debut album that same year, but was credited as a 2 Chainz solo effort due to Tunechi’s issues with Cash Money Records at the time. So it makes absolute sense to me for ColleGrove to put out a sophomore effort & be properly credited as a duo.

After the titular intro, the first song “G6” starts off the 2nd LP with an underwhelming trap instrumental despite the lyrics justifiably boasting themselves as the realest ones here whereas “Big Diamonds” featuring 21 Savage picks things up from the ratchet Mannie Fresh beat to the subject matter about being big dogs. “Presha” works in some whistling & hi-hats courtesy of Bangladesh looking to apply pressure of course, but then “Long Story Short” has a more soulful flare thanks to Big K.R.I.T. admitting this life they live are gonna be the death of them.

After the “Duffel Bag Boys” interlude, the horns from Apex Martin & Mike Dean on the official theme song for the WME Group-owned TKO Group Holdings division WWE’s developmental NXT brand “Millions from Now” are pretty fun talking about not remembering certain people once they become rich leading into the mediocre “Crazy Thick” jumping over a bass-heavy instrumental talking about thick women. “Transparency” strips the drums completely in favor of synths provided by Hitmaka seeking clarity just before “Significant Other” produced by Honorable C.N.O.T.E. & 30 Roc is a 2-parter that’s pretty much ColleGrove’s equivalent to “Life is Good” by Future & Drake except better.

After the “Ladies Man” interlude, “P.P.A. (Pretty Pussy Award)” featuring Fabolous has this sweet vocal sample chop throughout as the trio tell the special women in their life exactly what they deserve while “Oprah & Gayle” featuring Benny the Butcher moves on from the romantic themes in favor of dropping nothing but bars for 5 minutes over an exuberant DJ Toomp beat. Havoc’s sampling throughout “Shame” is absolutely crazy promising to leave your homies’ brains on you that is until “Bars” ruggedly talks about the disease they have.

After the “No Fent” interlude, “Godzilla” featuring Vory asks what’s a gorilla to the titular kaiju with the hi-hats being added after Vory’s sung-verse while “Crown Snatcher” talks about being exactly that over an explosive Murda Beatz instrumental. “Can’t Believe You featuring Rick Ross tackles the theme of untrustworthiness on top of a soulful STREETRUNNER beat & after the “Never Was Lost” interlude, the Dem Jointz-lazed closer “Moonlight” profoundly asks why we don’t run away referencing Mayweather Promotions founder Floyd Mayweather.

Truthfully: I had put ColleGrove eponymous debut on one my top 10 worst albums of 2016 list and it hasn’t grown on me a little bit over the course of the past 7 years since, but Welcome 2 ColleGrove is way more cohesive than the predecessor. The production’s tighter, you get a better look at their chemistry since the original had 2 Chainz solo joints on there & the features all give solid performances along the way.

Score: 4/5

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Rich Amiri – “Ghetto Fabulous” review

This is the sophomore full-length album from Boston up-&-comer Rich Amiri of the 4ersona collective. Beginning to turn heads since the fall of 2021 off the strength of his debut EP Ethereal, he would go on to follow it up with 6 more EPs before signing to Internet Money Records & introducing himself to a wider audience this past spring on the aptly titled Evolution earlier this past spring. And with only a month left of fall to go, Amiri’s returning halfway through the 4th quarter to show off how Ghetto Fabulous he is.

“No Handouts” is a cloudy trap opener co-produced by Rio Leyva talking about bossing up becoming the man now simply tryna play it safe previously whereas “I Want Everything” expresses his desire to have it all over a cloudy backdrop with some hi-hats worked in also. “Quartermill” happens to be another atmospheric trap cut flexing that he’s got $250k on him prior to “Outta There” talking about rockin’ out the show & collect the check afterwards over a glossy trap beat from solely Rio.

The rage vibes throughout “1 Call” are pretty interesting as Amiri let’s it be known he doesn’t trust anyone just before the horn-inflicted “Illuminati” addresses the claims that some of these idiots out here have been making that he’s a part of the titular secret society. “Sticks on Ready” boasts that his whole team’s too rich ‘cause someone put on his guys accompanied by a futuristic trap instrumental, but then “Troops” acknowledges that everyone knows he ain’t a fool & I love the angelic trap vibes to the beat.

“Forza” continues the 2nd half of Ghetto Fabulous by bragging about racing just like the titular video game franchise over more horns & hi-hats while the vibrant “Codeine Crazy” produced by Taz Taylor & ReidMD from Vanguard Music Group is a dedication to the lifestyle that he’s found himself involved in since making music. “Ain’t Nothing” shows off how crazy he’s been going resurrecting the trillwave aesthetics of some of the previous joints that is until “Paper Bag Tags” goes for a playful approach showing a sensual side to Amiri.

The bassy penultimate track “What It Cost” draws near the end confessing he doesn’t know anything about old money even though he’s got a whole lot of new money these days & “Kurt Cobain” wraps it all up by hooking up a trap instrumental reminiscent to that of a retro video game breaking down the ways of him livin’ large now that his music career is taking off alongside his profile continuing to increase as a result of that.

Evolution showed a lot of growth in Amiri earlier this year & as a way of possibly ending his 2023, he’s giving everyone a glimpse into his Ghetto Fabulous lifestyle & making it as consistent as the previous body of work from him. Internet Money’s production continues to bring the best out of him as he flexes his newfound fame & fortune.

Score: 3.5/5

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Only the Family Entertainment – “Nightmares in the Trenches” review

Only the Family Entertainment is a independent hip hop label based in Chicago, Illinois founded by local drill emcee Lil Durk. They eventually grew its roster to the point where Durk started showcasing his artists on Only the Family Involved, Only the Family Involved 2, Family Over Everything & Loyal Bros all to generally mixed reviews. But as the 1-year anniversary of Loyal Bros 2 approaches next month, Only the Family is looking to tell Nightmares in the Trenches.

“Nobody’s Safe” by OTF Boonie Moe featuring Rob49 is an underwhelming way to start the compilation as they jump over an uncanny trap instrumental declaring there isn’t a single soul that’s safe once they out in the streets whereas “Eyes Red” by Lil Durk picks things up by talking about pulling his Amiris halfway down accompanied by an aquatic backdrop with hi-hats. The atmospheric trap instrumental on “Posted At” by CoKilla & THF Zoo isn’t too bad even though I can’t say the same for the performances, but then “Them Ones” by Durk bounces back once more saying there’s no way he can run out of money over a cloudy Chopsquad DJ beat.

Chief Wuk joins Durk for “I’m the Type” explaining the type of people they are going for a Detroit trap vibe this time instrumentally leading into “Last One” by Doodie Lo featuring YTB Fatt refusing to talk about their last hits over hi-hats & bells. Speaking of the Detroit trap scene, Icewear Vezzo & Durk team up on “Fuck It” going back & forth with one another very well over an eerie trap beat just before “Hood Said” by solely Durk is an acoustic trap crossover talking about history repeating itself.

The song “Whatever You Wit” by CoKilla & Deeski shifts into drill turf although the subject matter of being down with whatever you’re down with is ok while the penultimate track “It’s on Me” by Booka600 talks about guts & glory always taking you to the end over a slick instrumental. “Smurk Carter” ends the comp with 1 last Lil Durk solo cut giving me a bluesy trap feeling sonically declaring money as the root of all evil.

Other than the late King Von & of course Durk, I was never that big on the OtF roster so I didn’t really expect a whole lot going into their 6th showcase effort. However, it’s probably the most I’ve enjoyed a compilation from the Chicago label. Lil Durk’s performances are obviously the best out of what the current roster has to offer with the production primarily centered around trap with drill undertones additionally being thrown in.

Score: 2.5/5

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André 3000 – “New Blue Sun” review

It’s still surreal to me that I’m actually fucking saying this but this is the official solo debut album from Atlanta, Georgia emcee, singer/songwriter, producer, actor & visionary André 3000. Coming up as 1/2 of the greatest hip hop duo of all-time OutKast with Big Boiwhom he met at Lenox Square Mall when they were both 16, they were also a part of the Dungeon Family collective & released some of my favorite music EVER! This includes ATLiens, Aquemeni, Stankonia & Speakerboxxx / The Love Below. The 2nd disc of which was basically the closest thing we got to a solo album from 3 Stacks up to this point. However after what would eventually be their final album Idlewild serving as a soundtrack to the movie of the same name they would focus on their solo careers. Francis the Savannah Chitlin’ Pimp mostly notably putting out 3 full-length LPs of his own as well as an eponymous EP as Big Grams & an eponymous debut album as Big Sleepover too. André 3000 however stuck to doing features & pursuing an acting career most recently in the A24 Films comedy drama Showing Up, putting out an avant-garde jazz EP on Mother’s Day 2018 called Look Ma No Hands. So considering that, I’m not too surprised by New Blue Sun expanding on jazz music in a flute-heavy fashion because I like to consider Dré as the Prince of hip hop in the sense that he can do just about anything musically.

“I Swear I Really Wanted to Make a Rap Album, But This Is Literally The Way The Wind Blew Me This Time” is a peaceful 12 & a half minute opener to the LP that I can imagine hearing after waking up on a beautiful morning whereas “The Slang Word Pussy Rolls Off the Tongue with Far Better Ease Than the Proper Word Vagina. Do You Agree?” takes the atmospheric route instrumentally & I absolutely agree with the question. “That Night In Hawaii When I Turned Into a Panther & Started Making These Low Register Purring Tones That I Couldn’t Control…” makes me feel like I’m walking through a jungle for 10 & a half minutes in the best way possible, but then “BuyPoloDisorder’s Daughter Wears a 3000® Button Down Embroidered” sounds like he made this 13-minute piece in the midst of watching The Mandalorian or something.

To start the 2nd half of the album, “93 ‘Til Infinity & Beyoncé” is the shortest cut on the entire LP yet still absolutely euphoric from start to finish just before “Ghandi, Dalai Lama, Your Lord & Savior J.C. / Bundy, Jeffrey Dahmer & John Wayne Gacy” keeps the peaceful vibes in tact. The penultimate “Ants to You, Gods to Who?” goes for a futuristic approach sonically & “Dreams Once Buried Beneath the Dungeon Floor Slowly Sprout Into Undying Gardens” is a magical 17 minute closer.

Like I said on Twitter at the beginning of the week: I’m not even mad at 3 Stacks for doing an ambient, new age spiritual jazz album because he’s just one of those guys who can do just about anything & it makes me very happy that this day has come as a long time OutKast fan because this is way better than Look Ma No Hands over 5 years ago. His production also showcases elements of progressive electronic, tribal ambient, Andean new age & Native American new age in the most soothing ways you can imagine.

Score: 4.5/5

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Meek Mill & Rick Ross – “Too Good to Be True” review

This is a brand new collaborative full-length LP between Miami Gardens, Florida rapper & Maybach Music Group founder Rick Ross as well as his biggest signing in Philadelphia, Pennsylvania’s very own Meek Mill. Both of whom have been working each other for over a decade at this point including songs like “Ima Boss”or “2Pac Back” & “Believe It”. It’s been quite a while since we’ve heard these guys crossing paths but to celebrate the 1-year anniversary of them reuniting, they’re giving back by teaming up & it’s Too Good to Be True.

“Shaq & Kobe” featuring Damian Lillard & Shaquille O’Neal is a decent hardcore hip hop/pop rap opener to the album referencing current AEW manager, WWE Hall of Famer & former SMW Heavyweight Champion Jake “The Snake” Roberts whereas “Star Island” works in some synths & hi-hats from ATL Jacob talking about having a palace at the titular location. “Go to Hell” goes for a luxurious sound courtesy of Cool & Dre reminding that the real recognize real leading into the bombastic “800 Karats” discussing that they’re the biggest bosses.

Fabolous comes into the picture for the vulnerable “Dead Last” produced by TM88 & a hook from Vory admitting that they feel a certain way towards those who be talking behind their backs, but then the instrumental on “They Don’t Really Love You” is a bit disappointing despite the subject matter addressing fake love. “$1M Trap” has this eerie atmosphere in the background mixed with some hi-hats of course throwing a party in the penthouse just before the exuberant “Grandiose” produced by Murda Beatz flexes with 2 bad bitches in the club tryna go up.

DJ Khaled heavily samples “Tha Shiznit” throughout “Above the Law” the point where it just gets annoying on impact even though I accommodate theme of the untouchables being unable to be touched while “Fine Lines” featuring Wale talks about how our lies scar so deep to the point where we can’t uncross things & the beat here is just ok, but I’d still take it over what Khaled did on that last track. “Gold Medals” encourages not to let anyone try to tell you what your place is over a groovy instrumental from Hitmaka & BongoByTheWay while the soulful trap hybrid “Iconic” advises to Never look at pussy from a bitches point of view.

“Lyrical Eazy” hooks up some keys & hi-hats bringing hardcore bars for only a minute & a half while “Pillow Talk” reps the gang over a revitalizing beat from both Tay Keith & Cubeatz. “Millionaire Row” feathering French Montana set out for more money over a born-laced trap instrumental boasting they were poppin’ Teslas before meeting it’s CEO Elon Musk & to end the album, “In Luv with the Money” is this enjoyable Ross solo cut with Southside behind the boards dedicated to the bread.

I’ll admit I wasn’t too sure about how I was gonna feel about this album since the singles were mostly average & that I wasn’t a fan of Meek’s previous album Expensive Pain all that much from a couple years ago. Surely enough, Too Good to Be True is one of the better mainstream collaborative efforts I’ve heard in a while & a decent debut under gamma.’s new distribution deal with MMG. Although the production can be spotty at times, the chemistry’s there & the features are tight.

Score: 3/5

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Aesop Rock – “Integrated Tech Solutions” review

New York emcee/producer Aesop Rock returning for his 10th full-length LP. Universally revered for his massive vocabulary, the man has put out a handful of underground hip hop essentials throughout the decades whether it be his solo catalogue or his membership of groups like Hail Mary Mallon or Malibu Ken. As far as his solo stuff: I recommend his sophomore effort & Definitive Jux Records debut Labor Day alongside The Impossible Kid, which was his 2nd album with Rhymesayers Entertainment whom Aesop had made himself home with for over a decade at this point. But coming off the Blockhead-produced Garbology couple years ago, Aesop’s now offering Integrated Tech Solutions.

After the “ITS Way” intro, the first song & lead single “Mindful Solutionism” is a self-produced industrial nerdcore opener with elements of glitch hop & some humorously abstract consciousness on the lyrical side of things whereas “Infinity Fill Goose Down”musically feels like a bit of a throwback to his early Def Jux days from the experimental noise rap production to the lyrics about always being into something. “Living Curfew” featuring billy woods finds the 2 discussing crystals being in the handle of their hands up to the ember over a fucking crazy sample leading into a brief lesson about “Pigeonometry” with some rap rock undertones to the beat.

“Kyanite Toothpick” blends industrial hip hop with boom bap & trap to declare that he’s on that Mobius shit just before “100 Feet Tall” goes for a quirkier sound talking about not letting any fools or suckas in his circle. “Salt & Pepper Squid” displays an incredibly charismatic flow from Aesop Rock as he flexes how y’all exactly know when he’s made it, but then “Time Moves Differently Here” goes for a spacier feeling instrumentally so he can end the first leg of the album pretty much talking about gluttony.

To start the 2nd half of Integrated Tech Solutions, “Aggressive Steven” fuses rap rock with boom bap & even some soul samples telling the story of the titular character while “Bermuda” keeps it dusty bringing more kicks & snares into the picture talking about flowers being sent to him. “By the River” goes for a jazzier vibe expressing how much he likes rivers while “All City Nerve Map” looks to get out of his own nightmare by himself over a boom bap beat with a blobby loop.

Hail Mary Mallon reunites for the rap rock-infused “Forward Compatibility Engine” letting it be known that this is for the roof dogs only while the “On Failure” interlude mixes more guitar riffs with kicks & snares admitting that he was thinking of Vincent Van Gogh recently. More specifically the Landscape with Snow painting. Getting back to the music: “Solid Gold” goes for more of a hardcore approach acknowledging he’s always looking out while “Vititus” is a luxurious boom bap cut dedicated to his grandmother. “Black Snow” hypnotically ends the album boasting that he got stacks covered by the stove.

Aesop’s output on Rhymesayers throughout these past 7 years have been his most conceptual since Labor Days & he continues to move towards that trajectory on Integrated Tech Solutions because this is the best thing he’s done for the Minnesota indie powerhouse since The Impossible Kid. We are introduced to an organization offering “lifestyle & industry-specific applications designed to curate a desired multi-experience” with his production probably being the leanest & most innovative.

Score: 4.5/5

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Larry June – “The Night Shift” review

The 10th full-length LP from Vallejo, California emcee Larry June. Steadily grinding his ass off since dropping out of high school by dropping his last 9 studio efforts as well as 14 EPs & 7 mixtapes with the highlights of his ever-growing discography including 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 Worthycollab effort 2 P’z in a Pod & more recently The Alchemist-produced The Great Escape this past spring. So when it was announced that Cardo was producing The Night Shift, I went into it knowing this was gonna be on the same level as The Great Escape.

“Clocked In” is an incredibly smooth opener to the album with the bass hitting hard & pockets on full whereas “Chops on the Blade” slickly talks about trappin’ like a motherfucker. “Ocean Cuisine” featuring 2 Chainz lavishly finds the 2 looking to make it last today just before “Love of Money” embraces a jazzier, soulful trap sound paying homage to the Bone Thugs-n-Harmony single “Foe tha Love of $” from the sample to the subject matter also.

Meanwhile, “Sweet Lady” is more of a slow jam describing a different kind of love for Larry leading into the synth-heavy “Pop Out” featuring ScHoolboy Q sees both of them coming together to drop braggadocio. “The Great Escape” featuring The Alchemist brings Larry with the man who produced his best album on the mic so they boast about being the ones over a pillowy beat, but then “Glasshouse Knockin’” draws inspiration from mobb music instrumentally talking that traphouse shit once again.

“Without You” featuring Blxst was a decent choice of a single & I can see why since it’s leaning more towards the pop rap style as they tell their significant others that they’re the ones while “GRGP” featuring Peezy & Too $hort brings the trio together for a breezy anthem getting on their pimp shit. “Stickin’ & Movin’” has a bit of a funkier flare musically admitting that it’s feeling like 2019 all over again for him while Jordan Ward’s hook on the delicately produced “Won’t Wait” has to be one of my favorites throughout the LP as Larry talks about being good on his own.

To start the final leg of the album, “Let Me Know” gives off a cloudier vibe acknowledging shit’s changed yet she ain’t ever met any other guy like him while “Made a Way” featuring Payroll Giovanni brings back the synths so they can talk about being as fly as they are. The song “Road Runnin’” gives me a futuristic feeling to the instrumental looking to get the money while “Big Fish” featuring Alemán atmospherically talks about putting rap first over the game these days. “The Good Kind” is a wavy closer getting in bag mode.

These guys have never missed in the 4-5 years of teaming up with one another & The Night Shift lived up to the expectations I had going into it continuing to churn out some of his best material to date. Cardo’s production is more rooted in mobb music & g-funk as opposed to the jazzier, drumless loops Uncle Al whipped up on that previous LP matched with equally solid performances from The Freeminded leader & nearly all the guest MCs/singers. Great job once again, Larry!

Score: 4.5/5

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The Kid Laroi – “The First Time” review

The Kid Laroi is a 20 year old rapper & singer/songwriter from Waterloo, New South Wales, Australia who emerged as a protege of the late Juice WRLD. Subsequently, he signed to Grade A Productions & Interscope Records. He eventually introduced himself to a wider audience on his debut mixtape Fuck Love receiving mixed-to-negative reviews & even going on to release not 1 but 2 deluxe EPs off it for whatever reason over the course of the COVID-19 pandemic. But for his debut full-length LP over here, Laroi has since jumped ship to Columbia Records interestingly enough.

“Sorry” is this airy opener produced by FNZ & BoogzDaBeast apologizing for getting stuck while high whereas “Bleed” dabbles with alt-pop & indie pop this time around tackily asking how others’ hearts mend so easily when his is still bleeding. “I Thought That I Needed You” has one of the better instrumentals throughout the LP thanks to both BNYX & F1LTHY of Working on Dying singing about a love that was lost nearly a year ago, but then “Where Do You Sleep?” mixes some synthesizers & even a soul sample with co-production from Dez Wright asking a nameless ex partner where she be staying these days.

Central C & Jung Kook both join Laroi for the contemporary R&B/pop rap hybrid “Too Much” that Emile helped cook up asking if those they’re no longer seeing would wanna kick it with them again leading into “Tear Me Apart” melodramatically apologizing for hurting this woman over some acoustics from John Cunningham. Clams Casino brings a psychedelic vibe to “Nights Like This” after the “Strangers” interlude even though I don’t care for the lyrics about him needing the love of his life with him just before “What’s the Move” featuring BabyDrill & Future brings the trio together over a soulful trap beat telling the significant others to marry them.

After another “Strangers” interlude, “Call Me Instead” featuring YoungBoy Never Broke Again goes into a piano-driven direction addressing lovers whose heart they no longer have full grasp on while “Deserve You” brings more soul samples & hi-hats together singing that this chick doesn’t deserve him whatsoever. “What Went Wrong???” gives off a more hard hitting instrumental reminiscing on a previous relationship that came to an end while “The Line” featuring future teenage murderer d4vd turns into stripped back territory as the duo take a trip down memory lane tackling the themes of past relationships.

“What Just Happened?” switches gears in flavor for an alt/pop-rock cut admitting he doesn’t know if they just crossed the line ‘cause he don’t even know what just happened while “You” is peppier joint with keys, kicks & snares talking about how they weren’t workin’ out ‘til we ended up workin’ out. “Love Again” tediously paints the image of a toxic-love hate relationship although I appreciate the folk pop instrumental while “Where Does Your Spirit Go?” is this average adult contemporary singer/songwriter jam dedicated to his late mentor.

After the “You Never Forget Your First Time…” interlude, the closer “Kids Are Growing Up”actually ends Kid Laroi’s debut album on a profoundly mature note opening up to the world on top of displaying his personal growth & vulnerability over an aquatic beat. He does this by namely addressing the loss of his uncle Wayne, dropping out of school in 9th grade & expresses gratitude to his mother for her resilience during difficult times.

“Baby I’m Back” produced by Rogét Chahayed starts the deluxe run sampling “Baby Come Back” by Player reflecting on the past year whereas “Stick with Me” further butchers “Set Adrift on Memory Bliss” by P.M. Dawn expressing his grievances over an imbalanced relationship. The synth-heavy “Pick Sides” expresses jealousy over his ex-girlfriend’s new boyfriend & questions if she still thinks about their time together while the sequel to “Nights Like This” starts out as much as the predecessor.

Lil Yachty joins Kid Laroi for the pop rap/trap cut “Hatred” opening up about their love lives while “Girls” featuring Kehlani on the remix was a cool pop rap, hip hop soul, hyphy & contemporary R&B single exploring themes of freedom & fun in relationships. “1,000 Miles” acoustically sings about his journey through recent relationships, sharing troubles he has with them & the final bonus track “Heaven” was an underwhelming finish to the deluxe mutating pop & singer/songwriter with adult contemporary & soft rock reminiscing on a journey of change.

14 with a Dream, Fuck Love & even both of the deluxe EPs that followed suit have all done very little to win me over on Kid Laroi’s music up to this point. The First Time however is a slight improvement over those previous bodies of work. Although it’s quite possibly the most well-produced I’ve heard him sound fusing alt-pop as well as folk pop & chipmunk soul into his pop rap stylings, the features are ok & I still find Laroi to be an underwhelming performer.

Score: 2/5

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Sonnyjim – “Ortolan & Armagnac” review

This is the 6th studio LP from Birmingham, West Midlands, England, United Kingdom emcee/producer Sonnyjim. Making his debut in the summer of 2011 with The Psychonaut, he would go on to drop 4 more albums as well as 14 EPs & a mixtape, most notably the No Vi$ible Means of Income duology produced by Giallo Point or the Buckwild-produced Coke Le Roc & the Illinformed-produced The Chemistry Must Be Respected. However, he’s signing to Blah Records & having its founder Lee Scott entirely producing Ortolan & Armagnac.

“Sakuraba” depicts himself as a former 10 pound drug dealer’s been trying to recover over a calmingly eerie beat whereas “Tommy Lee Scott” featuring Crimeapple finds the 2 kickin’ full-fledged facts together. “Lo Mein” featuring Heems & Your Old Droog strips the drums so all 3 of them can drop hardcore verses without the need of a hook leading into “Dude, Where’s My Car?” talking about building a house using his bare hands & fearing nobody.

Reaching the halfway point, we have Sonnyjim telling everyone to “Pay Attention” over a boom bap instrumental with some jazz influences leading into “Herb McGruff” featuring Beni Laylo & King Grubb bringing the trio together so they can talk about the mafioso lifestyle. “Barry McGuigan” goes off-the-top for 84 seconds over a piano-woven beat speaking of his specialization in enterprising while “Fetch My Mink” talks about doing what he wants whenever he pleases.

The title track featuring Lee Scott spends a couple minutes sharing the mic together dropping hardcore verses over a drumless loop explaining that you gotta defeat the man to become the man just before “Phonejacker” sends it all off with this psychedelically syrupy boom bap vibe instrumentally talking about people trying to call or text him for an entire week when his reasoning for not responding was because he shut his line off, eventually having to get a new number.

If you’re a fan of either of Sonnyjim’s previous output that I mentioned in the opening paragraph or the Camoflauge Monk-produced Money Green Leather Sofa & the Leaf Dog-produced How to Tame Lions to name a couple more extended plays from him that I like, you can add Ortolan & Armagnac to the same A/S tier rankings of the Birmingham artist’s discography. I wouldn’t put it above White Girl Wasted either, but an entire full-length with him over Lee Scott production wound up becoming as dope as I would’ve thought.

Score: 4/5

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Kevin Abstract – “Blanket” review

Corpus Christi rapper, singer/songwriter, producer & director Kevin Abstract back with his 5th solo LP. Making his debut in 2014 in the form of MTV1987, he followed it up 2 years later with the fantastic American Boyfriend: A Suburban Love Story & rose to stardom as the de facto leader of the now defunct BROCKHAMPTON collective the year after. Both of Kevin’s solo efforts since then ARIZONA baby & The Family were solid although I liked the latter more for it’s chipmunk soul heavy sound. However almost a year after BROCKHAMPTON’s disbandment, it seems like Kevin’s going for a new vibe on Blanket.

“When the Rope Post 2 Break” opens the album with some guitar passages from Romil Hemnani whispering to stay put whereas the title track is a mediocre indie rock cut with elements of noise pop & slacker rock which doesn’t sound bad, just feels extremely underwritten. “Running Out” draws inspiration from emo pop & even post-punk revival to not take time for anyone that this point in his life right now that is until “The Greys” comes through with an upbeat jam about not needing the rest of the party.

Meanwhile, “Voyager” goes into a synth-based direction with a bit of a Kanye influence so Kevin can admit that he feels himself growing older for the first time ever just before “Madonna” mixes bedroom pop with indie folk & indietronica singing about rewriting the past & not looking back on it from hereon out. The indie rock infused “Today I Gave Up” doesn’t really need any further explanation with the subject matter, but then “What Should I Do?” gives off a predominant indie pop flare to it talking about telling ghost stories to friends through fences.

After the “Mr. Edwards” interlude, “Scream” singing over a delicate beat to someone that he can only hear through the whispers of the trees while the catchy “Real 2 Me” apologizes for inviting himself & being spellbound by a friend. The stripped-back “Heights, Spiders & the Dark” checks his muses’ world every night to see if they’re alright making him so confused to keep all of them & “My Friend” is an acoustic closer singing that you’ll never understand the way Kevin feels about this individual.

This dude has so much talent & will easily have the biggest solo career out of everyone in the BROCKHAMPTON camp even though I just enjoyed the new Ameerlyn EP Slime in the Ice Machine from last weekend. However, Blanket is a complete stylistic departure from what we got on The Family. Romil’s production is more centered around indie rock & indie pop with elements of bedroom pop & slacker rock as Kevin has more than enough vocal chops to pull it off.

Score: 4/5

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