Lloyd Banks – “The Course of the Inevitable 2” review

This is the 5th full-length album from Queens emcee Lloyd Banks. Gaining notoriety in the 2000s for his witty punchlines along as well as being an original member of G-Unit alongside childhood friends 50 Cent & Tony Yayo, he kept himself busy for a little while after the group’s disbandment in 2015 by releasing A.O.N. 2 (All Or Nothing 2): L.I.U. (Live It Up) & Halloween Havoc 3: 4 Days of Fury just before taking on a 5-year hiatus that really lasted until he received a song placement on the soundtrack for Griselda Records’ theatrical debut Conflicted a year & a half ago & his comeback effort The Course of the Inevitable last summer. However, we’re now being treated to The Course of the Inevitable 2 after getting a couple singles recently.

“Impact” opens up the album with Lloyd calling this his get-back on top of a cold instrumental from Cartune Beatz whereas “No Reward” takes the eerie boom bap route talking about rewards only come with the struggle. Conway the Machine tags along for the appropriately titled “Menace” to lyrically obliterate their competition leading into Benny the Butcher coming into the picture for the piano-tinged “Living Proof” talking about how real ones always regroup.

Meanwhile on “Value of a Check”, we have Lloyd addressing those wylin’ for a rep over a dusty instrumental just before “Power Steering” with Jadakiss finds the 2 talking about makin’ a killin’ this time around & the beat here’s just ok.“Fell in Love” shoots for a more sensual vibe whilst excellently tackling the idea of being lovestruck even though he didn’t want to, but then “Socialize” returns to the boom bap acknowledging the fact that some people will literally do anything for survival.

“Murda 1” has a more sumptuous beat talking about how vacations will come when the rain’s gone while “Don’t Switch” reunites with Tony Yayo to call out those who be changing up on their kinfolk without holding anything back over a cloud boom bap instrumental. “Dead Roses” brings in the pianos talking about wanting his flowers while he can still smell ‘em while the song “Trapped” talks about how some doors are open for a reason of a deadpan beat. The penultimate track “Traffic” with Dave East & Vado finds the trio maliciously declaring anyone who turns their back needs to suffer while “On My Way” is an organ-laced opener talking about it’s how you get up, not how you fall.

Anyone who’s been following G-Unit for the past 2 decades should know by now that Lloyd rarely misses when he drops & The Course of the Inevitable 2 to me is a worthy sequel to the comeback album that he just dropped a little over a year ago. His punchlines are always highly entertaining to hear & not only do the features remain as consistent as the predecessor was, but the production does also.

Score: 3.5/5

Ken Carson – “X” review

This is the sophomore album from Atlanta, Georgia rapper Ken Carson. Breaking out in the SoundCloud scene & becoming a protege of Playboi Carti as one of the first artists to sign to the latter’s newly founded Opium Records, he would go on to drop a total of 5 EPs prior to his full-length debut Project X last summer. But as he & Destroy Lonely gear up to hit the road next month, Ken’s re-emerging in the form of X.

The intro kicks off the album with some Atari-like synths & rattling hi-hats letting y’all know he ain’t stupid whereas “New” works in some rage beats to show off all the shit he has now. “Gems” stays in hypertrap territory talking about his evolution from Teen X to X Man, but then “Nobody” goes into a bassier direction confession all that he really needs is the bread & nothing else.

Meanwhile on “Go”, we have Ken coming through with an energetic ballad about running all your shit up just before Destroy Lonely tags along for the rage-induced “MDMA” produced by OPM BABI & Outtatown flexing their wealth. The title track continues to bury the Teen X persona deeper into the ground over some bombastic production just before “P.D.B.M.H. (Please Don’t Blow My High)” has a more uptempo flare to it asking not to blow his high as the title suggests.

The somewhat tropical vibe of “Money Hunt” is really cool as he expresses his joy of everything in his life going up while the blobby “South Beach” lets everyone know that he’s a real one. “Goin’ Schitz” psychedelically describes a bitch feeling of ecstasy while “Same Thing” has some incredibly dancy grooves to it talking about pulling up on you & your gang.

Following that, “Freestyle 1” dismisses any kind of discussion that doesn’t involve money keeping it in hypertrap turf prior to the F1LTHY of Working on Dying-produced “Freestyle 2” perfectly picking up whether the predecessor left off talking about how you shouldn’t have fucked with his crew. “Fuk 12” is a brief yet chaotic middle finger to the feds & Destroy Lonely returns yet again for “Murda Musik”, which goes 10x rawer than “MDMA” was.

The Homixide Gang come into the picture for the quasi-mystic “Delinquent” confessing they get high until they can’t think straight while the song “Get Rich or Die” gives off a futuristically fresh aesthetic to the instrumental talking about talking about going on vacation. The penultimate track “Turn Up” is of course a synth-laced riot starter & “The End” closes out the album with some poppy undertones calling out an ex for being unfaithful.

Project X showed a lot of room for growth in Ken & now that we got X, I think it has to be the one of the best rage albums I’ve heard all year so far right behind Fallen Raven & 2 Alivë of course. The production is a little bit better than the offering we got a few years ago & I’d actually have to say Destroy Lonely is my favorite Opium signee now that he just signed to the label a few months back, but Ken really shows some admirable maturity as well.

Score: 3.5/5

Nyce da Future – “Forever Mobbin’ review”

Nyce da Future is an MC from Queens, New York who came to my attention last spring with his Havoc-produced debut EP Future of the Streets that was pretty well received. But for his full-length debut over here, he’s enlisting Rochester’s very own Eto to produce the whole thing from top to bottom.

The titular intro is a piano-laced opener letting the world know that this is brotherly whereas “Head Shots” takes a solemn turn getting into boss mode. Reek da Villain tags along for the symphonic boom bap banger “Drillin’” to give off some murderous intentions just before the deranged “Close Range” to spit that gun talk.

Flee Lord comes into the picture for ”On God” to tug the heart strings from the subject matter to the sample-based instrumental leading into the dreary title track getting back on his gangsta shit. “Good Morning” returns to a sample-heavy sound talking about feeling blessed, but then the Big Twins-assisted “Fit for the War” perfectly lives up to it’s name from the combative bars to the cinematic beat.

Meanwhile on “Me”, we have Rob Gates joining Nyce to switch it up into trap territory talking about it doing it because of themselves while “It Ain’t Fair” marks a return to the boom bap declaring himself the hottest in Queens right now. After the “Reno Speaks” interlude, the song “Hoody Season” with Reno provides a gloomy anthem for the fall down to the dejecting instrumental while the penultimate track “Motivated” is a rich ode to his dedication. Reno returns again for the closer “Criminal Minded” for a grisly boom bap ode to the thugs.

If you enjoyed Future of the Streets as much as I did, then I highly recommend givin’ Forever Mobbin’ a listen because this is a very impressive full-length debut in my personal opinion. Couple of the features were lackluster, but it’s crazy to hear how much Eto’s production game has progressed within the last couple years & Nyce sounds just as hungry as he did 14 months prior.

Score: 4/5

Grindset – Self-Titled review

Grindset is a MC/producer duo from Detroit, Michigan consisting of Fatt Father on the mic & DJ Jewels behind the boards. Both of whom have been putting it down for the city for a little over 2 decades now & have actually worked with each other a little bit in the past, but are now forming like Voltron & delivering a self-titled debut.

“Mindset = Grindset” kicks off the album with some strings & a vocal sample to spit that organic boss talk whereas “Get ‘Em” takes a grimier route keeping them shook. “Welcome to the Eastside” goes into soulful territory describing what it’s like in titular part of Detroit, but then “Bar After Bars” flips “After Laughter (Comes Tears)” by Wendy Rene urging everyone to watch how he does it right lyrically.

Meanwhile on “I’m the One You Call”, we have Fatts over some more crooning samples calling out people who be shit-talking 1 minute & needing something the next leading into Twin Towers coming together along with Trick-Trick for the solemn “Used to Be” talking about being used. Finale comes into the picture for the rugged “Tried & True” talking logistics just before the vibrant “These Heaux” talks about not having time for such.

“I’m Not the One” shoots for a more tranquil aesthetic describing how crazy the love of his life can be while “NoMoe” atmospherically talks about not letting stress consume him any longer. The song “Son & Eye” with DJ Oreeyo marks a return to the boom bap to tag team ‘em lyrically like father, like son while the penultimate track “Go Mode” with Oba Rowland is a grim trap banger talking about the titular headspace. “Tops New Tenant” then sends off the album by declaring himself as such over a lounging instrumental.

If this is just the beginning of Grindset, then I’m very much looking forward to hearing what they have in store down the road because this is a highly impressive debut from the duo. I admire how they give off a more traditional hip hop sound & coat it with a modern texture along with the range of moods that each cut puts me in.

Score: 4.5/5

Insane Poetry – “Violent Art” review

This is the 9th full-length album from Los Angeles horrorcore pioneer Insane Poetry. Originally composed of 6 members members from 1988-2003, the named would be carried on solely by their Day 1 frontman Cyco ever since. But since 2010, he’s made himself quite at home with Lyrikal Snuff Productionz. Especially his last album Wicked Killagraphy a year & a half ago, which is already being followed up by Violent Art in light of The Generations of Snuff Tour.

“Museum Stabbing” is a soulfully produced opener thanks to the homie Dead Heat with Insane Poetry talking about how there’s no limits to this kind of art which I respectfully agree with to a certain extent, but then “I Wrote a Book About It” works in a misty boom bap instrumental telling the listeners what he did to leave them under the Earth or to make your jugular squirt. Donnie Menace tags along for “I Spent a Whole Summer” shoots for a more cinematic approach in terms of sound to talk about strategizing whereas the Cody Manson assisted “8 Weeks” returns to soul territory confessing they hear this woman’s voice in their head even after she’s been dead for that long.

As far as “On Demon Time” goes, we have Lex the Hex Master accompanying Cyco over a beat with some rock undertones to it to belittle their lyrical competition leading into M.M.M.F.D. spitting that wicked shit on “What’s the Body Count” returning to the boom bap. “Out the Cage” with Claas switches onto the trap lane talking about their killer instincts being let loose while the song “Who” takes a dustier route revealing himself to be the one who has everyone tuned in his art of violence. “Lay ‘Em Down” brings in some attracting piano melodies promising to body you where you stand & “Mask Down” is a soulful closer telling the wankstas that this isn’t their vacation.

LSP’s been on a ROLL this year now that Darby O’Trill dropped his Devereaux-produced 4th album Gully & even Cody Manson putting out his sophomore effort E=MC Skelter last Friday. Now that we have Violent Art, it’s an equally great follow-up to Wicked Killagraphy. I think his production choices are still continuing to improve & the performances from not only him, but every feature deliver some consistently murderous verses.

Score: 4/5

CMPND – “Eagle Court II: Long Live the Court” review

Brighton, East Sussex, England, United Kingdom trio CMPND consisting of Kemastry, Wundrop & Vitamin G back for a sophomore effort. All 3 of which are lyricists in their own right & Wundrop in particular being their in-house producer. The historic Hove underground imprint High Focus Records signed them & their debut album Eagle Court named after the residential flats these guys grew up together. It has since been demolished, reforming to make a sequel saying Long Live the Court.

“Ain’t Gonna Fold” produced by none other than Wundrop begins with this uncanny trap instrumental talking about never backing down from anything whereas “Weaintplayin” works in some strings & hi-hats cautioning that they ain’t fucking around with anybody. “Court in Session” radiates a psychedelic trap vibe assuring that they ain’t bitches begging for sympathy while “Acid Reign” asks why live life on a timer when the money winds up evaporating.

Meanwhile regarding “Nice Riot”, we have CMPND over this unsettling beat homaging the song “Riot Akt” off Gang Starr’s penultimate album The Ownerz prior to Hutch joining the 3 for “Illeagle Court II” following up the themes of it’s predecessor Hutch also made an appearance on off the original Eagle Court album. “D.I.T.D. (Down In The Dumps)” shifts in favor of an ominous atmosphere dissing rappers relying on clout while “The Culprit” talks about fucking up their lives to finish the 2nd quarter.

“Pick a Card” starts the 2nd half passionately speaking of the only thing they can do is being themselves & do what they do grippin’ mics until “Skrewed” featuring Bil Next finds the quartet getting back to the killstreak they’ve been needing for a bit. “Guaranteed Wins” dustily talks about indifference being a bigger disease than death itself than just before “Tiny Violin” featuring Datkid & PAV4N viciously boasts of their own grind.

The soulfulness of “Playinu” hits quite perfectly talking about their best their be the greatest versions of themselves doing his things daily and it’s The Truman Show while “Suh Quelle” hypnotically acknowledges a comparison between Vitamin G & Danny Brown, which I can’t argue being a Detroiter myself. “Went There” on the other hand carries forward talking about taking it to lengths others didn’t think they could when Eagle Court exists.

“Bojangles Jesus” embraces a cavernously woozy atmosphere instrumentally advising to stay clever with everything you do until the due respect comes while “Crazy Town” returns to the boom bap talking about still pursuing the dream despite it not being what it used to be because of the culture forever evolving. “Griezmann” featuring Truemendous finishes Eagle Court II: Long Live the Court with both High Focus labelmates rightfully boasting their status amongst the best around their necks of the woods.

I’d still prefer Eagle Court between the 2 full-lengths CMPND has given us so far, but the successor Long Live the Court will still satisfy fans of the group for it’s solid testament of staying true to themselves. Kemastry, Vitamin G & Wundrop pick up right where they left off 3 years earlier mixing insanity, debauchery, pain, pleasure, introspection & surrealism into a deludamolic delicacy of raucously depraved antics admirably carrying the former housing flats’ spirit gracefully.

Score: 3.5/5

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Crimeapple – “Breakfast in Hradec” review

This is the 9th full-length album from New Jersey emcee Crimeapple. Catching my interest in the fall of 2017 with his 4th EP Sweet Dreams along with his Big Ghost Ltd. produced full-length debut Aguardiente that following spring, he profile began to grow after dropping the DJ Skizz-produced Wet Dirt & the DJ Muggs-produced Medallo the next year. His output for the next couple years would be hit or miss until Cartagena picked up right where Medallo left off & Jaguar on Palisade 2 was alright too, but I was hyped for Breakfast in Hradec given that Wet Dirt is a top 5 Crime project for me.

“In Flight” is a luxurious opener talking about making rent off someone’s uncle whereas “Penthouse Suite” works in some creepy organ melodies declaring himself as the villain. “Scissorhands” throws in a crooning vocal sample to tackle concept of “it ain’t where I’m at, it’s where I’m going” leading into the soulful “40 Days, 40 Nights” talking about coming a long way.

Meanwhile on “The Count of Monte Cristo”, we have Crime delivering a classy song to his baby just before “Rezamos” instrumentally throws it back to the 80’s talking about praying for those who’d give a kidney to be in his shoes. The song “Wonder Years” incorporates a bass-guitar reflecting on how dirty he used to be while the penultimate track “La Lluvia” is a beautifully smooth ballad about how lovely life’s been lately. “Currency Exchange” ends the album on a boom bap note detailing him landing in JFK with more racks.

Coming away from Breakfast in Hradec, I happen to like it just as much if not more than Wet Dirt. Skizz’ production is a bit more varied compared to the predecessor being more rooted into boom bap & that matched with Crime’s wordplay is what makes it not only a big improvement over Jaguar on Palisade 2, but also one of the best albums of his career.

Score: 4.5/5

Hush & Bobby J from Rockaway – “718 II 313” review

This is the brand new collaborative album between Hush & Bobby J from Rockaway. One being a Detroit veteran coming up as 1/2 of Da Ruckus & the other being a Kwamé protege who’s been gaining traction in the underground in recent years. They linked up with each other during the pandemic & are releasing 718 II 313 after 2 years in the making with Hush spitting on every cut as well as producing a good majority of it.

“People” is a rock-influenced opener with Daru Jones on the drums telling the world that they do this rap shit for us whereas “Girls” takes a more soulful route as Paradime accompanies the 2 to talk about how all they see is bitches. Trick-Trick tags along for the disco-infused “Kolm” produced by Maestro Williams of the duo Silent Riot showing their love for the 313 just before “Runnin’” takes a more melodic approach talking about having to get out of this place they’re in mentally.

Meanwhile on “Monsters Are Due on Maple Street”, we have Hush & Bobby over a piano-laced boom bap instrumental as they acknowledge that shit’s been getting crazy out here leading into Ro Spit coming into the picture for the smooth “Livin’ This Lifetime” talking about making this bread together. “The Truest” with Guilty Simpson & Marv Won finds the quartet flexing their lyrical abilities over a spacious beat with Daru back on the drums once more, but then the D.L. Jones-laced “Sometimes” is a compelling Hush solo cut talking about wishing we had more time.

“Let the Opera Sing” shoots for an appropriately operatic sound calling to be shown respect while the rugged “Oh Yeah” with Lil D finds the trio getting in their hardcore bag. The song “Capers” with The Truth brings the guitars back in to talk about getting that bread until they’re gone while the penultimate track “Posse Cut” with Kwamé, Michael Fiya & Quest MCODY is a 4 minute & 20 second barfest with a glossy instrumental. “The End” closes out the album with a love letter to Hush’s career.

These guys invited me to the studio last year so they could play 80% of the album for me as they were putting the final touches onto it & I’m telling y’all that this is one of the best projects that either one of them have made. They bring the best out of each other as far as chemistry goes, it’s incredibly well-produced & the features are all nicely handpicked.

Score: 4.5/5

Summrs – “Fallen Raven” review

Summrs is a 22 year old rapper from Lafayette, Louisiana who cam up as a member of the Goonie-founded Slayworld collective. His presence has been known predominantly in the plugg scene by constantly dropping projects whether it be the All Summr trilogy or his last EP What We Have, the latter of which in my opinion I’d recommend going to if you’re unfamiliar with the kid already. Last we heard from him was 9 months ago when he dropped Nothing More Nothing Less & after countless delays, he’s returning with his 6th full-length album.

“Let da Birds Out” is a hypertrap-laced opener with a blaring instrumental & lyrics warning to take down anyone who plays him whereas “Wakeup” takes a more odious route talking about wanting new shit. “So Much Cheese” comes through with some decent braggadocio even if the rage beat on here sounds like it was originally made for Yeat down to the bells, but then “Catch a Kill” works in some synth-horns & hi-hats showing a malicious side to him.

Meanwhile on “FadaPhillipe”, we have Summrs on top off a bassy instrumental continuing to flex leading into “Twin did dat” getting back in his gangsta rap back except the production is just mild to me. The beat that “Swing Ya Pole” brings to table is very similar to that of “So Much Cheese” talking about waking up to money on his mind just before “Clear da Business” brings the horns back telling a pussy to get out of his feelings.

“Calico from Mehico” laces some synthesizers boasting once more while “Don’t Mean Shit” ends Side A of the album by mixing a flute & bells confessing that drugs are killing him. “5:35am” is completely stripped back in terms of sound talking about fighting his demons daily while “Vali, CO” takes a cloudier approach saying all he wanted was the bag.

Following that, “For you” goes completely drumless as Summrs confesses his love to an unnamed woman while “Ashes” weaves some glistening pianos in talking about needing another cup. “Cuts So Deep 2” produced by Goyxrd goes full-blown plugg hoping he’ll be forgiven once he’s passed while the atmospheric “FTW” talking about people moving the fuck out his way when he’s posted up.

“Perfect Timing” has a peppier tone to the beat detailing being in love while “Soulja Rag” returns to cloudier territory talking about how it’s supposed to be. “Bonnie & Klyde 2” shoots for a wavier aesthetic wanting to wife up his girl while “NSA” is a chill way to end Side B of the album talking about how it was all supposed to be no strings attached.

The first bonus cut “Dear Mom,” reverts back to drumless turf much like “For you” dedicating it to his mother while the penultimate track “Loving u’s a Sin” is a twangy trap ballad comparing his bitch to that of the devil. “Caused Envy.” ends the album with a guitar & snares calling out someone who switched up on him all just for pussy.

As far as Summrs’ full-lengths go, I think it’s safe for me to say that Fallen Raven is my favorite thus far. To me, it really shows his range as an artist with EVOLVED 2 (Side A) dabbling with rage beats & What We Have 2 (Side B) sticking to the PluggnB sound that he as well as longtime collaborator Autumn! helped popularize.

Score: 4/5

Lupe Fiasco – “Drill Music in Zion” review

This is the 8th full-length album from Chicago, Illinois emcee Lupe Fiasco. Blowing up in 2005 after appearing on “Touch the Sky” off of Kanye West’s sophomore album Late Registration, he then went on to release 2 classic albums Food & Liquor and The Cool in 2006 & 2007 respectively. However, his output since then has been very inconsistent. His next album Lasers in 2011 is easily his worst yet, Food & Liquor 2: The Great American Rap Album in 2013 was just ok but then Tetsuo & Youth in 2015 was a near perfect return to form for him. Given that, I was excited to see what he was going to do in the future. DROGAS Light wound up being a disappointing mixed bag, but DROGAS Wave eventually made up for it. Fast forward to today, we’re being treated to Drill Music in Zion fully produced by Soundtrakk.

After the “Lion’s Deen” intro, “Ghoti” kicks off the album with some horns rapping about assassin’s creed referencing Neuralink founded by Tesla CEO, SpaceX founder & the new Twitter owner Elon Musk whereas “Autoboto” goes into a more abstract trap route defending himself in court. “Precious Things” has a little bit of a crestfallen tone to the beat as Lupe reflects on how all the stuff we love turns on us, but then “Kiosk” incorporates some pianos delivering a serious message to the type of people who like diamonds in their ears.

Meanwhile on “Ms. Mural”, we have Lupe immaculately closing out the “Mural” trilogy just like the way he started it leading into “Naomi” fusing jazz & boom bap together so we can get streams of consciousness lyrically. The title track admits that that episodes of the soul make him cold over an abstract, jazzy instrumental while the penultimate song “Seattle” is a cloudy, guitar-driven cut keeping his promise to the streets. “On Faux Nem” closes out the album wishing he was lied to by over horns & dusty drums.

Tetsuo & Youth was a great return to form for Lupe, so to say I was hyped for Drill Music in Zion would be an understatement. Needless to say: It blows Food & Liquor 2 out of the water much like DROGAS Wave did as far as sequel albums to. Soundtrakk’s production is incredibly detailed & the concept of “greed transforming each interaction into a transaction & how the profit motive corrodes our collective humanity” is very well thought out.

Score: 4.5/5