Madchild & Obnoxious – “Mobsters & Monsters” review

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

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

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

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

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

Score: 4.5/5

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Homixide Gang – “Homixide Lifestyle” review

The Homixide Gang are a duo from Atlanta, Georgia consisting of Homixide Beno! & Homixide Meechie. They started turning heads a year & a half ago after dropping their debut EP Snotty World, which led to trap trailblazer/rage pioneer Playboi Carti making them the 3rd act to sign to his Interscope Records imprint Opium Records following Ken Carson & Destroy Lonely respectively. Ken showed a more mature side to himself on his sophomore effort X with Lonely revealing himself to be the most versatile Carti protégé yet in the form of HIS full-length debut No Stylist, so it was only a matter of time until Beno! & Meechie stepped up to the plate with a debut album of their own.

“Lifestyle” starts off the album with a chaotic sample-woven trap instrumental from Outtatown talking about how nobody can’t copy them whereas “Guitars” works in some synths & hi-hats to slide on the op block. Biggavelli’s verse on “Can’t Go” is a bit underwhelming despite the rage beat & lyrics about being unable to go to the club without the Drac’ leading into “Tatted”, which is a trap/rock fusion showing off the Homixide ink that they got.

Continuing with “5 Ways”, where Beno! & Meechie over some hypertrap production both speak on being the realest leading into “V-Friends” keeping things in rage turf talking about meeting a bitch from out of town that’s fucking their homie on the low. “B.B. (Big Coat Balenci)” has more of synth-trap flare to it detailing the rockstar lifestyle, but then “Lif3” surprisingly fused acoustic with trap talking about going through this pain throughout their entire lives.

Biggavelli returns with Destroy Lonely for “TF!” asking what motherfuckers are gonna say when they pull up with the blick over a rage beat with Lonely’s verse outshining Biggavelli’s while “Notice It” keeps things in hypertrap territory talking about how they really be running shit. “None 2 Some” however laced some hi-hats & synthesizers speaking on going from nobodies to where they are today while “Scale Stretcher” with Biggavelli has a wavy vibe to it talking about moving weight.

Following that, “Tripping” touches on getting to blastin’ & whackin’ in this bitch prior accompanied by a monstrous rage beat prior to Ken Carson coming through with my 2nd favorite feature on the album on “Stunt” getting on the more braggadocious side making more money than Tesla CEO, SpaceX founder, Neuralink founder & Twitter owner Elon Musk. “Drakon!” goes full blown trap metal spitting that gun talk while the song “CV” brings back the rage talking about being on drugs as of late. The penultimate track “Wings” swearing that they don’t give a fuck over an alarmingly blaring beat & the 5unna-assisted Shots Off” rounds it out with some quirky synthesizers as the trio talk about pulling up on the gang in the southside.

I’m well aware of the flack that Opium has been getting recently due to Anthony Fantano’s harsh reviews of both X & No Stylist over the summer, but Homixide Lifestyle is just as solid in my personal opinion. I’ll even say it’s right in the middle behind Lonely & above Ken’s latest efforts. With all respect to the Melon because he’s the one who actually inspired me to write reviews myself to begin with & I’ll die on that hill, Beno! & Meechie both sound 10x hungrier than they did on their debut EP whilst refining their style for a wider audience.

Score: 3.5/5

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BROCKHAMPTON – “T.M. (The Mountain)” review

BROCKHAMPTON was a hip hop “boy band” that originated in San Marcos, Texas in 2010 via the “KanyeToTheForum under the original name AliveSinceForever. But when things started to look good for them after they released the SATURATION trilogy to universal acclaim in 2017, one of their founding members Ameer Vann was kicked out midway through the following year due to sexual misconduct resulting in the boys’ next 2 albums following iridescence & GINGER were both released to moderate reception. ROADRUNNER: NEW LIGHT, NEW MACHINE however became their best post-Ameer album a year & a half ago at this point but after announcing their disbandment following their Coachella performances this past April & only a day after their de facto leader Kevin Abstract dropped his new solo effort The Family, the boys are getting back together one last time for their 7th & final album.

“F.M.G. (Fuck My Gang)” is an aggressive trap opener produced by Kiko Merley & JOBA with Dom McLennon & Matt Champion accompanying Kevin to quit being humble whereas “Animal” finds Jabari Manwa, Kevin & Matt talking about turning into beasts over a cloudy Romil Hemnani instrumental. “Listerine” though returns to trap territory as Dom & Jabari addressing a bitch that’s tripping ’cause it’s less on them prior to the playful sounding “New Shoes” with Kevin, Dom, Matt & Merlyn Wood assuring everyone that the group is still on good terms with one another even though they’re disbanding & Matt wanting a house in 大阪 or the home prefecture of former 3-time WWE women’s world champion 3-time WWE Women’s Tag Team Champion 明日華.

However on “Keep It Southern”, we have Kevin & Merlyn over a trap beat with some synths paying tribute to their Texas roots just before “Man on the Moon” dives into more melancholic territory with a cool dance break at the end for Kevin & Matt to talk about wanting to make out with their lover on the actual moon itself & the hook is probably the catchiest on the album. “Better Things” is pretty much a moody Kevin Abstract solo cut with Matt on the hook & an outro from JOBA to speak on the next chapter of their lives just before “Crucify Me” works in some live drums & pianos for Kevin & Matt express their desire to rewind & pretend that they knew what they were in for with a crazy instrumental outro pulling from jazz music.

The song “Duct Tape” has a more booming quality to the instrumental as Jabari, Matt & Kevin admitting that they don’t have anything to talk about anymore as a unit while the penultimate track “Always Something” shoots for a more melodic approach as Dom, JOBA & Kevin sing about letting motherfuckers in something they should know. But then, “GOODBYE” serves as a bittersweet EDM-influenced coda with JOBA & Matt talking about not the “best time of our lives” for granted.

I’ll never forget seeing the SATURATION artwork everywhere when that album was first released when I was 20 & it prompting me to check out their music because it was good enough to make me to stick around for the whole ride, to which I’m happy I did because this was great swan song from them. I like how they fuse elements of trap, alternative R&B, cloud rap & even neo-psychedelia with their west coast pop rap style as everyone braces themselves for the next chapter. And before I end this review, I just wanna thank BROCKHAMPTON for all the dope music they’ve given us in the last 5 years & I wish them all nothing but the best going forward.

Score: 4/5

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Vinnie Paz – “Tortured in the Name of God’s Unconditional Love” review

Vinnie Paz is a 45 year old underground veteran from Philadelphia, Pennsylvania known for being the MC of Jedi Mind Tricks & the leader of the Army of the Pharaohs collective. He put out his first 2 solo albums Season of the Assassin & God of the Serengeti in 2010 & 2012 respectively, but returned in 2016 with The Cornerstone of the Corner Store. The Pain Collector would become my favorite of his since his first 2, but as above so below & Burn Everything That Bears Your Name were both almost as great, so I had no worries going into his 7th album considering his consistency.

“Pistol Opera” is a creepy boom bap opener with some piano chords talking about respecting violence including a reference to WWE Hall of Famer, former WWE Champion, 3-time WWE Tag Team Champion, 2-time NWA National Heavyweight Champion & AJPW世界タッグチャンピオン Ted DiBiase until Method Man comes into the picture for the unsettling “Invisible Ether” produced by Stu Bangas talking about what happens when they start to flow. “Faith Healer” goes into trap territory thanks to longtime Enemy Soil Entertainment in-house producer C-Lance cautioning that shit’s all fun & game till the drum-magazines are empty, but then “Be Wise as Serpents” is a rap metal boom bap fusion with a ghostly hook & Vinnie acknowledging that motherfuckers think it’s cool to behave stupid.

Continuing from there with “Heroin on a Harpoon”, we have Geechi Suede talking about becoming rich as soon as his mom gave birth to him & Pazzy referencing the late WWE Hall of Famer Luna Vachon over a boom bap instrumental with a blaring guitar & some jazzy undertones until “Curse of Canaan” with Kurupt finds the 2 talking about keep pushing the lines & the main loop throughout sounds like video game sound effects to me. I also love the lines referencing Breaking Bad, Better Call Saul and Rick & Morty since those are some of my favorite shows. “Rambo Knife” however has some amazing vocal samples throughout speaking on cutting coke & causing panic, but then “3 Levels of Hikmah” is a triumphant jazz rap cut laced by Oh No with some incredible ad-libs talking about people shooting at him like paparazzi & a line referring to WWE superstar Mustafa Ali.

“Killpoint” returns to the boom bap with some horn sections courtesy of Vic Grimes as Vinnie & M.O.P. get malicious lyrically while the piano-trap joint “Deadman’s Hand” calling himself the most ignorant of all-time while “Winged Assassins” with Boob Bronx & Ras Kass ruthlessly compare their rhymes to black hand-grenades including a reference to former 3-time WWE Intercontinental Champion, 2-time WWE United States Champion, 5-time WWE tag team champion, 7-time WWE Hardcore Champion & NWA World Tag Team Champion Dustin Rhodes. “A War Chest & a Propaganda Machine” has a more delirious quality to it provided by DJ Muggs being straight up & telling anyone who wants smoke with him to say his name while “Gunpowder Plot” with O.T. the Real spit some drug trafficking tales.

“Slight Rebellion Off Madison” is a woodwind/boom bap hybrid talking about how his shooters don’t die while “Father Yod” by the Heavy Metal Kings & Lord Goat finds the trio over some grim piano chords to spit that gun talk. The song “Spoils of War” with Big Twins aggressively talk about stomping on motherfuckers heads when they be outside over some ominous production while the penultimate track “Loro Pianas Robes” with Thirstin Howl III discuss being the upmost & being left cut in half over a glistening boom bap beat. “Zafiro Añejo” with Boob Bronx & Recognize Ali ends the album with the 3 referring to this as beautiful architecture with a flute hanging behind them.

Ikon the Verbal Hologram has always remained consistent with his music & even though God of the Serengeti is my personal favorite album of his, I definitely think this is the most I’ve enjoyed since The Pain Collector. The production has some more trap undertones to it this time around surprisingly, but best believe Paz & nearly every feature are absolutely catching bodies with their pens the whole damn time.

Score: 4/5

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Clouds in a Headlock – “Breakfast in Phantasia” review

Clouds in a Headlock are an international psychedelic hip hop supergroup consisting of emcees Dr. Outer, Èph & GT Lovecraft as well as the production duo Runaway 45. As artists members of the ŌFFKILTR collective, they started making waves off their debut mixtape Asmattic that celebrated its 2 year anniversary earlier this month. But now after landing a deal with Fat Beats Records not too long ago, the quintet is getting ready to properly introduce themselves to a wider audience in the form of a full-length debut.

“Raw Suede” is a jazzy opener from none other than Runaway 45 with the trio advising those to bow down to them whereas “Snake Eyes” goes into funky boom bap territory talking about respecting the clique. “Phantasia” has a more vintage sound to it with the dusty beat sounding like it was made in the 90’s speaking on their being no limits just before “Another Summer” has a more glistening flare to the instrumental talking about continuing to rock on.

Meanwhile on “The Clouds”, we have Clouds in a Headlock getting more abstract lyrically accompanied by a ghostly vocal sample leading into “Rigmarole” pulling from some blues influences sonically talking about that everything that they hearing in this world is pretty wacky to them. “Artists of the Floating World” is a bit more piano-based instrumentally with some more well-structured cryptic bars, but then “Paperweight” returns to a more jazzier sound talking about holding it down.

“3D Maze” has a more soulful vibe to it assuring that they’re thriving instead of surviving & keeping it moving while the song “Midnight Gospel” comes through a vintage piano loop dedications shots to all his people on the frontline & showing y’all the way they fuckin’ do it. The organs throughout the funky “Flawless” are really sweet as the group encouraging one to give up the fire horse” while the penultimate track “Crushed Ice” blends jazz rap & with a slick bass guitar to call their telescope range limitless.

If you’re looking for a new alternative hip hop outfit to get into, then you’re gonna want to check this album out because I think what they got here is pretty interesting. The production is a bit on the more experimental side to it with the lyricism being kin to that of Company Flow or even the Souls of Mischief. Interesting to hear how much they artistically grow down the line.

Score: 4/5

Saipher Soze – “Velvet Hammer” review

This is the 4th full-length album from Toronto, Ontario, Canada emcee Saipher Soze. Emerging up as a part of the Brown Bag Money collective, he eventually went solo on 2017 with Godbody & then Kanibull Rising just 10 months after that. Last we heard from him was in the fall of 2020 where he dropped the super solid Eat What You Kill produced by Futurewave & Finn, but is re-emerging to let Sibbs Roc behind the boards throughout Velvet Hammer.

“Lion Paw” starts it all off with a boom bap instrumental that’s sweet to the ear as Soze admitting that he doesn’t blame anyone for dreading his bars & having a lot whereas “Rebelz” works in some synthesizers talking about being the last ones to do it. Pro Dillinger tags along for the piano-inflicted “Pray for Me” reminding that their skin is tougher than leather just before “Princeton 10” has a more jazzier flare to it talking about how the goal is to never fold.

Meanwhile on “Uptown Swing”, we have Daniel Son coming into the picture keeping things in jazz territory to discuss moving cautiously & leaving them with nothing leading into “Kings Gambit” solemnly returns to the boom bap warning that those who bump heads with him won’t survive. “Overkill” dives into more atmospheric turf comparing himself to a dog on a leash being let go, but then “Fly Guys” with Falcon Outlaw has a more slicker groove to it talking about how fly both of them are.

The song “Only Champions” with Philly Regs & Richie416 is a guitar/boom bap blend speaking on not looking both ways when shade is thrown while the penultimate track “Young Mowgli” has a more symphonic feel talking about being raised by the pack. “Speed Racer” with Snackz however ends the album with 1 last jazz rap cut & both MCs chasing the green.

It was only a matter of time before these guys linked up & in the end, Saipher’s first album in 2 years serves as an impressive comeback from the BBM member. Lyrically, he sounds fully recharged as he takes you through the hardships that he’s lived with Sibbs Roc’s jazzy yet boom bap production being amongst the greatest that he’s cooked up thus far. If it takes another 2 years for Soze to drop, then I wouldn’t even complain.

Score: 3.5/5

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Kevin Abstract – “The Family” review

This is the 4th full-length album from Corpus Christi rapper, singer/songwriter, producer & director Kevin Abstract. who made his debut in 2014 with MTV1987. He followed it up 2 years later with the fantastic American Boyfriend: A Suburban Love Story & then the following year, he rose to stardom as the de facto leader of BROCKHAMPTON. But with their 7th & final album T.M. (The Mountain) coming tomorrow, Kevin’s re-emerging on his own with The Family marketed as a group project only to fulfill their RCA Records contract.

“Take It Back” is a chipmunk soul opener with Kevin admitting that he had to wash the blue paint off to set himself free & promising the next chapter to be everything whereas “RZA” works in another pitched-vocal sample from bearface talks about having to be more like The Abbot himself after speaking to his mother the other day trying to give him advice. “Gold Teeth” looks back on the early days of the boy band over a crooning loop kin to “They Don’t Care About Us” by Michael Jackson just before “Big Pussy” has more of a jazzy boom bap flare to it asking to stop harassing him because the show’s over.

Meanwhile on “All That”, we have Kevin admitting that the boys’ success came with problems of becoming rich with an amazing interpolation of the theme song from the titular Nickelodeon show that I grew up watching leading into “(Back from the) Road” reflecting on the Love Your Parents tour over a jangly instrumental. “Basement” has a more experimental quality to the production acknowledges his love for the fans despite that they’d kill him if they could, but then “Southside” tells those to stop actin’ like they know him over a sample-based trap beat.

“Good Time” has a more drumless approach to it speaking on the days when the boys played their final shows in London while the syrupy sample throughout “37th” is a cool ode to their Texas roots talking about ending up on the titular street if he could fly through a Cali night. “Boyband” weaves a gospel loop into the fold à la Kanye West’s last finished full-length DONDAacknowledging that they’ve always been outside of the lines while “Any Way You Want Me” asking what if he could change for us because we have him everything over a guitar.

Moving on to the title track, where Kevin jumps on top of a peppy beat with no drums talking about those not knowing shit about him while “Prayer” is a more melodic cut with some bare synths asking God not to make him grow up because he doesn’t want to move on from this amazing chapter in his life. The song “My American Life” goes in depth of how far he’s come in the last 7 years over some acoustics while the penultimate track “The Ending”samples “Let Me Be the One” by Willie Hutch asking if this is the way we all visioned the demise. “Brockhampton” though is a symphonic closer to the album with Kevin bidding farewell to the best boy band since 1 Direction.

It’s pretty much a Kevin Abstract solo effort labeled as a BROCKHAMPTON album & I’m assuming that’s the case because of contractual reasons, but I happen to think The Family is the best thing Kevin has done since American Boyfriend only 6 years back by now. He comes from the heart as he reflects one last time on the journey he & the boys have been on together with the production pulling from chipmunk soul, drumless, jazz rap & gospel. Considering that, I think TM will be a remarkably bittersweet swan song when it drops tomorrow.

Score: 4/5

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Novatore – “Living in the End Times” review

Novatore is a 34 year old MC from Chicago, Illinois who originally came up as a member of the Infamous Crew. He’s also built up an impressive solo career since 2015 by dropping 4 EPs & 9 albums all in that amount of time, with the previous offering Master of Morbid Creations this past spring. But for his 10th full-length over here, Novatore’s enlisting both Johnny Slash & longtime collaborator C-Lance behind the boards for such a milestone in his ever-growing discography over 2 months since former 2-time AEW World Champion CM Punk cut a shoot promo regarding his former 2-time ROH World Tag Team Champion partner in former アイアンマンヘビーメタル級チャンピオン, IWA World Champion, JCW World Juggalo Heavyweight Champion, 2-time NWA World’s Heavyweight Champion, 2-time NWA National Heavyweight Champion & RPW British Heavyweight Champion Colt Cabana.

“Outlaws of Outer Space” opens up the album with a synth-boom bap hybrid talking about being ready for total war prior to King Magnetic tagging along for “Road Warriors” named after the WWE Hall of Famers & former 3-time WWE tag team champions welcoming you to your only future & the crooning sample throughout is flipped really well. “Audio Assault” ruggedly calls for all his enemies to fall to their knees leading into A.M. Early Morning & Nightwalker coming into the picture for “The Time Has Come” to flex their prowesses & my favorite part about the beat has to be the guitar hands down.

Continuing from there with “Terry Funk Syndrome”, we have Novatore over more synth/boom bap production referring himself to be amongst the dopest out paying homage to the WWE Hall of Famer, former 2-time ECW World Heavyweight Champion, ECW Television Champion, 2-time WWE United States Champion, WWE Tag Team Champion, NWA World’s Heavyweight Champion, former JCW World Juggalo Heavyweight Champion & 3-time WCW Hardcore Champion of the same name whereas “End Times” is just an instrumental interlude.

“The Game is Over” with Benny Holiday & iLL ZakieL finds the trio ruggedly letting everyone know they didn’t come to fuck around while the song “Mass Panic” has a more dustier quality to it talking about how we’ve been a nation of zombies. The penultimate track “Wasteland” with OutcastGawd Lord El sees the pair going back & forth with one another over a pitched-loop until “Class Act” is a piano-laced closer talking about never being afraid to fail.

Although I’d personally say Master of Morbid Creations happens to be the better of the 2 albums that Novatore has dropped throughout 2022, you should be more than satisfied with what we got on Living in the End Times. The features are a little hit or miss, but the production & concept are both as strong enough as the predecessor’s to make me be able to want to listen to it again.

Score: 3.5/5

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Tony Shhnow – “Plug Motivation” review

Tony Shhnow is a 26 year old rapper from Atlanta, Georgia whom my brother J$zpiech introduced me to off the strength of his 4th mixtape Black Billionaires Club & the song “Vet” taken from the full-length debut Da World’s Ours 3. He just dropped his 8th mixtape Reflexions to critical acclaim over the summer & I honestly wish I covered it considering that some of his best songs are on there like “Finessin’” or “Forgive Don’t Forget”. So when Tony announced his 6th album right here, the interest was most definitely there & I didn’t want to make the same mistake twice.

The title track is a triumphant opener to the album produced by MexikoDro & Popstar Benny taking you through the trials & tribulations of the rich & famous whereas “5 P’s” takes a more pluggier route discussing pints, pounds, pills, pussy & power. “Trust” works in some synths to tell all the pussies to quit flexing prior to the delicately produced “A to Z” cleverly using the alphabet to describe his lifestyle referencing 14-time WWE world champion, WWE Hall of Famer, 5-time WWE Intercontinental Champion, 3-time WWE tag team champion & current WWE CCO Triple H.

As far as “Fuck da Rap Game” goes, we have Tony keeping the plugg vibes going talking about becoming a boss just before “Life n Hard Times” confesses that he’s clean as a bitch & his trap house is dirty over a dreamy beat. The Darkside Mally feature on “Shook Dem Haters Off” doesn’t do it for me even though I like Tony’s verse & the CashCache instrumental, but then “Hell’s Hot” has a more darker quality to it getting on some bitter ex-boyfriend shit.

“Everything I Should” blends some synths & keys talking about having literally every single thing he believes he should in his possession until “Paper Trail” returns to pluggier territory telling a bitch he might dip on her because “I got chips, no you can’t Frito-Lay with me” & the hook from Bear1boss just so happens to be the best feature on the entire album in my personal opinion. “Sorry!” laces some more synths apologizing for not spending time with this woman while “10 Blocks” with SB Nunkk weaves some organs into the fold talking about how much their wrists cost.

Moving on from there, the cheery atmosphere of the “Can’t Say I’m Broke” instrumental is something I really enjoy as Tony brags about his wealth while “M’s” with ManMan Savage has a more calmer sound to it talking about how that’s all they just want. “Dat’s Me” is a bassy plugg banger comparing himself to a dog on a leash while “Jugg” with Diego Money finds the 2 dropping some gangsta raps over a quirky MexikoDro beat.

“World on My Back” has a more energetic tone to it talking about having power & Darkside Mally returns once more on the aggressive “Join the Campaign” with his verse here being better than “Shook da Haters Off” showing off their big dog statuses. “Not the Same” has an entrancingly psychedelic atmosphere to the instrumental talking about being cut from a different cloth while “Don’t Know” with Seddy Hendrinx comes through with an awkwardly sensual ballad.

The song “Know Us” sees Tony over a trap beat with some horns talking about how everyone is familiar with him & his squad while the penultimate track “Mean” explains how he likes his women over a plugg instrumental. “Work Like Dis” though is an explosive closer to the album going into detail as to what happens when one decides to grind as hard as he does.

This dude‘s a pretty much a pioneer in the plugg scene so for him to return to that style on Plug Motivation will definitely appeal to any fan of his old or new. He has a unique voice, his gangsta themed bars are ear-grabbing for all the right reasons & the BeatPluggz were the perfect people to enlist behind the boards as they whip up is some of their finest batch of beats to date.

Score: 4/5

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Nas – “King’s Disease III” review

Nas is a 49 year old MC from Queens, New York who happens to be the son of jazz cornetist/guitarist Olu Dara. His first 2 full-lengths illmatic & It Was Written are widely acknowledged as some of the greatest in hip hop history even though I also really enjoy stillmatic, The Lost Tapes, God’s Son & Life is Good. Then there was the Kanye West-produced NASIR & The Lost Tapes II, which I felt like they were fine additions to his catalogue even though the overall consensuses were polarizing. But for almost 3 years now, Nas has been working exclusively with Hit-Boy & both of them are a good fit for each other. King’s Disease earned Esco his first Grammy, but the sequel & Magic would continue to elevate their chemistry to new heights. However, Hit-Boy & my 2nd favorite MC of all-time behind The God Rakim are now looking to end the King’s Disease trilogy with his 15th album.

“Ghetto Reporter” kicks off the album with a piano sample & Nasty Nas talking about evolving from King’s Disease at some point in time whereas “Legit” samples Eddie Cain declaring to be blacker than the new Black Panther movie that just came out today. “Thun” has a more orchestral groove to it representing Queensbridge along with the best line on the entire album. Ring halfway through the verse which is “No beef or rivals, they playin’ “Ether” on TIDAL. Brothers can do anythin’ when they decide to in a Range Rover, dissectin’ bars from “Takeover”. Sometimes I text Hova like “N***a, this ain’t over” laughin’” just before “Michael & Quincy” goes into boom bap turf with a trap switch-up during the last minute comparing him & Hit-Boy to the late Michael Jackson & Quincy Jones respectively.

Continuing from there with “30”, we have Nas over a dramatic trap beat reminding everyone how many summers he’s been doing this shit as well as teasing Light-Years & responding to his falling out with Pete Rock leading into the futuristically produced “Hood2Hood” repping a lot of cities from Canarsie to Compton & even Detroit. “Recession Proof” dives into funnier territory talking about feeling like a superhero, but then “Reminisce” blends soul & boom bap together until an amazing Brooklyn drill switch-up at the end admitting that he doesn’t like to look back on the past because what he’s doin’ right now is really lit which I think needed to be said because I’ve seen some bitter & disgruntled heads complaining about Nas working with Hit-Boy over the last couple years for whatever their reasons may be.

“Serious” is less of an interlude & more of a song about serious situations everyone eventually goes through over some harps until “I’m on Fire” returns to the soulful boom bap telling everyone he still has the same flame behind him from the “Hate Me Now” video which is such a hard flex in my opinion. “WTF / SMH” starts off on a trap note talking about riders ever get cancelled until the beat switch into a drumless loop & addressing how everybody’s so quick to turn while “Once a Man, Twice a Child” gives off a more dreamy boom bap vibe basically giving his thoughts on growing old which I needed to hear since I personally became an uncle last Thursday.

Following that, “Get Light” comes through with a jazzy party anthem while the swooning boom bap jam “1st Time” talks about hoping that this is your introduction to him & I really loved the bar at the beginning of the final verse acknowledging that people used to say he was the worst beat picker ever even though I myself never really agreed with it personally. The penultimate track “Beef” finds Nas remarkably personifying rap beefs themselves further reminding everyone how great of a storyteller he is with darker atmosphere to the instrumental while “Don’t Shoot” is powerful 2-parter cautioning not to kill thе messenger. The bonus cut “‘Til My Last Breath” though ends the album is a jazzy trap banger promising to be steppin’ until he’s gone.

Earlier on in the review I mentioned the fact that some people don’t like working with Nas & Hit-Boy, but I genuinely don’t understand how anyone can dislike King’s Disease III because it’s the best of the 4 albums that they’ve done so far. The production is more versatile in sound & God’s Son is still very much rapping his motherfucking ass off on the mic all these decades later.

Score: 4.5/5

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