Elcamino – “They Spit on Jesus” review

This is the 5th full-length LP from Buffalo emcee & singer Elcamino. Blowing up in 2017 off his self-titled EP with Griselda Records, his profile increasingly grew after being followed up by Walking on Watermixtape in the summer of 2018 along with dropped 2 studio albums & a few EPs the year after that. Now it’s been quite a while since I’ve last covered Camino, with the last project of his that I reviewed being his 10th EP On the 3rd Day. Since then he’s put out 4 more EPs alongside a couple additional LPs with Walk by Faith & Not by Sight and Let There Be Light. But after signing to Black Soprano Family Records not too long ago, he’s finally making his debut under Benny the Butcher’s very own MNRK Music Group imprint in the form They Spit on Jesus.

The title track featuring Fuego Base finds the 2 over a mobster-like boom bap instrumental from Ill Tone talking about how they would do the worst whereas “New Bills” featuring Benny works in some strings, kicks & snares detailing life in Buffalo for them. “Victory” featuring Inspectah Deck takes a more soulful boom bap approach getting on the celebratory side of things, but then “For the Streets” switches it up with a spacey trap banger dedicated to the hoods.

“Neva Gon’ Change” dives headfirst into chipmunk soul talking about refusing to ever switch up just before “Tap In” featuring Armani Caesar returns to a trap-based sound as both of them charismatically set out to hook you up. “Cry with Me” gives off a summery boom bap flare getting incredibly personal on the mic leading into the groovy “All I Know” talking about representing the very city that he came from.

Meanwhile, the appropriately titled minute & a half “Ballad” finds Elcamino singing over some horns that is until the delicately produced “Started from Nothing” featuring Loveboat Luciano spits about coming up not having shit. The song “80 Bills” featuring Benny the Butcher is an eerie trap cut reminding y’all that B$F be that mob while “War Ruckas featuring Havoc with Camino’s brother King Ralph & even over a soulful boom bap beat talking about bringing war. “The Best of Me” is an orchestral-tinged closer refusing to let people get to him.

I enjoyed Walk by Faith & Not by Sight and Elcamino 3, but No Weapon Formed Against Me was a significant improvement over some the other projects that he’s put out in these last 2 years so I had high expectations for They Spit on Jesus & it lived up to them. The production’s consistent, the guests are all on par & his versatility is on full display.

Score: 4/5

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Alla Xul Elu & Super Famous Fun Time Guys – “Lost Lake Estates” review

This is a brand new collaborative LP between Ohio horrorcore groups Alla Xul Elu & the Super Famous Fun Time Guys. One of them is a trio consisting of Billy Obey as well as Joey Black & Lee Carver with the other being a duo composed of Mr. 8 Legz & Whipstick, but have been taking over the wicked shit scene for the past 5 years after their chemistry has been reminiscent of the Insane Clown Posse & Twiztid before both parties fell out with one another. But after signing to S.O.N. to Long Live Evil over the summer, Xul & the Fun Time Gang are taking us through Lost Lake Estates.

After the “Inmates Run The…” intro, the first song “Rhyme Asylum” is a ghoulish boom bap opener talking about having the speakers at full blast in the padded rooms encouraging to kick it with Satan himself whereas works in a cavernous loop admitting that no amount of medicine can medicate them whatsoever. “Anthem” keeps it rolling with a grimy dedication to LLE itself leading into “Kill ‘Em with Kindness” keeps it dusty talking about what you gotta do if you’re gonna end up killing them.

“Midian” weaves more kicks & snares into the fold leaving them dead inside fiendin’ for bodies like former 3-time WWE world champion & 2-time WWE tag team champion Bray Wyatt who recently passed away just before “No Body” is a somber boom bap ballad about all 5 of these guys being nobodies referencing WWE Hall of Famer Mae Young. “Pour Another” moves forward by whipping up a fun tune dedicated to all the drinkers out there, but then “King of Quit” ends the first half of the album with pianos as well as kicks & snares talking about being pieces of shit.

Meanwhile to start the 2nd leg, “FUNeral” makes it clear that the quintet puts thе “fun” in funeral over a jazzy boom bap beat reminiscent to that of the 90s while the psychedelic “Song of the Dead” lives up to it’s name with it’s morbid subject matter. “Why You Mad?” instrumentally reminds me of RZA’s basement-like production style 3 decades ago asking why people be salty towards them referencing the current TNA Digital Media Champion Tommy Dreamer who was also a former 2-time アイアンマンヘビーメタル級チャンピオン, 2-time ECW World Heavyweight Champion, 3-time ECW World Tag Team Champion & 14-time WWE Hardcore Champion while the dreary “Hang in There” talks about there being nothing left to say.

After the “REC Room” skit, the song “SciCo Screwjob” cautions that shit’s similar to a deathmatch with former 4-time GCW World Champion, GCW Tag Team Champion, IWA World Champion, the inaugural 4-time CZW World Heavyweight Champion, 2-time CZW Iron Man Champion, 2-time CZW Ultraviolent Underground Champion, 5-time CZW World Tag Team Champion & BJW認定タッグチャンピオン Nick Gage mixing industrial hip hop & boom bap puking in faces like former 3-time AJPW三冠ヘビー級チャンピオン, 5-time AJPW世界タッグチャンピオン, 4-time IWGPヘビー級チャンピオン, 6-time IWGPタッグチャンピオン, NWA World’s Heavyweight Champion, GHCヘビー級チャンピオン, GHCタッグチャンピオン, WCW World Television Champion, WCW World Tag Team Champion & WWE Hall of Famer ザ・グレート・ムタ while “Underground” hooks up some kicks, snares & keys using the the term for music outside the general commercial canon as a metaphor of becoming one with the Earth. The 8-minute title track rounds it all out with a boom bap beat with blaring horns taking y’all with them on a trip to the titular location.

It was only a matter of time until these dudes came together with their own Dark Lotus-style collaborative effort because the way everyone pings off one another is certainly reminiscent to that of the 5 petals ICP & Triple Threat. The production is primarily based in the traditional boom bap sound with some industrial/jazz rap undertones with everyone skillfully spitting the wicked shit.

Score: 4.5/5

Lørd Skø – “United Palace” review

This is the sophomore full-length LP from New York up-&-comer Lørd Skø. Getting his start in the fall of 2020 off his debut EP 13th Angel, his profile would grow from there eventually hiring one of the greatest A&Rs in the industry Dante Ross as his manager & showing the world of what he’s capable of doing last summer when he put out his debut album Museum. Now that fall started a week ago, Skø’s looking to take everyone through the United Palace.

“Headcrack” is a triumphant opener cautioning to cut the attitude since he’s been the man in his section whereas “Kush & OJ” takes a jazzier approach thanks to Graymatter admitting that he’s been falling back in his old ways as of late. “Yellow Tape” works in some kicks, snares & a whimsical loop wanting his flowers by the time the sun rises in the morning just before the horn-inflicted “Riddles in the Sand” talks about catching him at east 80 degrees next destination.

Da$h joins Skø on the drumless “St. Nicholas” getting in their hardcore bag lyrically leading into the soulful “Finder’s Fee” talking about defying the odds & being able to do the impossible not once but twice. “Enterprise” continues to chop up some soul samples comparing his raps to that of watching the greatest quarterback of all-time & 7-time Super Bowl champion Tom Brady playing, but then “Mescaline Leaves” featuring Meyhem Lauren finds the 2 over more dusty boom bap production from Statik Selektah making reference to former former 2-time ECW World Heavyweight Champion, FTW Champion, ECW World Television Champion, 3 time ECW World Tag Team Champion, JCW World Juggalo Heavyweight Champion, NWA World’s Heavyweight Champion, IWGPジュニアヘビー級チャンピオン & the longest reigning XPW World Heavyweight Champion Sabu.

“James Worthy Goggles” has a heavy woodwind groove to it referencing former 14-time WWE world champion, WWE Hall of Famer, 5-time WWE Intercontinental Champion, 3-time WWE tag team champion & the WME Group-owned TKO Group Holdings division’s CCO Triple H while “500” makes a 180° from the trap beat to the flow-change so he can swerve a hoe who wanted to fuck & get paid. “Malice at the Palace” has a funk/boom bap quality to it telling y’all to catch him with a bitch that looks like Richard Pryor’s wife while “G.W.B. (Good Weed Burning) featuring Wiseboy Jeremy sees the duo jumping on top of a classy instrumental talking about actually smiling the next time they snatch chains.

The song “Firestarter” featuring LIFEOFTHOM returns to a soulful-inspired direction talking about being harder than arsenic & setting fire to their dreams before starting them but after the Kurious interlude, “Pimp Socks” closes out Skø’s sophomore effort on a bluesy boom bap note saying that he doesn’t even feel like these are the golden years of his career which is true considering the insane potential Museum showed & how much he’s grown in the last year.

With that being said: United Palace continues to elevate Lørd Skø to prominence within the underground because this album right here is stronger than the one he introduced us with the previous summer. Even though the feature list is more consistent, he most importantly delivers a thorough expression of classic & modern New York culture all from his perspective. Between this & Museum, it’s only the beginning.

Score: 4/5

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Armand Hammer – “We Buy Diabetic Test Strips” review

This is the 6th full-length LP from New York underground duo Armand Hammer. Consisting of Billy Woods & Elucid, they formed together a decade ago already off their only mixtape Half Measures & the debut album Race Music. The pair would go on to release an EP & 4 more albums worth of abstract political hip hop, with the last one Haram fully produced by The Alchemist becoming the most critically acclaimed within their discography. But after signing to Fat Possum Records recently, these guys are commemorating a decade as a unit in the form of We Buy Diabetic Test Strips.

“Landlines” starts off Armand Hammer’s debut with Fat Possum with JPEGMAFIA behind the boards sampling “No Sleep Tonight” by Mýa clarifying that life’s basically tomorrow’s breakfast & they’re doing ok whereas “Woke Up & Asked Siri How I’m Gonna Die” works in elements of cloud rap as well as wonky & vaportrap talking about not seeing the bottom yet. “The Flexible Unreliability of Time & Memory” goes for a more stripped back sound thanks to Child Actor refusing to believe that certainty is a circle leading into “When It Doesn’t Start With a Kiss” brings Peggy back on the boards yet again delivering a tropical boom bap 2-parter asking how it feels.

Cavalier joins billy & Elucid on “Keep a Mirror in My Pocket” to tell those who don’t know their place to get up out of their grills over some heavy vibraphones & horns from Preservation & one of my favorite Elucid lines on the entire album “I like Forrest Whitaker, Triple X my signature” just before the lead single “Trauma Mic” featuring Pink Siifu is an industrial, noise rock crossover cooked up by DJ Haram airing out all motherfuckers who don’t keep they word. “N****rdly (Blocked Call)” gives off a cavernous boom bap edge to the beat thanks to August Fanon pumping ketamine through their hearts, but then “The Gods Must Be Crazy”gets a glimpse of El-P mixing elements of glitch hop & noise rap talking about money being no good here.

“Y’all Can’t Stand Right Here” featuring Junglepussy & Moneynicca finds Messiah Musikstripping the drums with co-production from Steel Tipped Dove encouraging y’all to follow the flow paying homage to the late great MF DOOM flipping a line from “Rhymes Like Dimes” while “Total Recall” weaves some woodwinds, kicks & snares into the fold courtesy of Kenny Segal referencing “Nuclear War” by jazz visionary Sun Ra on the hook & billy woods saying there ain’t no father to his style like the late Ol’ Dirty Bastard himself. Junglepussy returns with Curly Castro for “Empire BLVD” as Willie Green whips up a ghostly boom bap groove telling y’all to watch them go down prior to Black Noi$e giving “Don’t Lose Your Job” featuring Moor Mother & Pink Siifu a mellower sonic approach talking about gas being as high as it is. billy though comes out swinging by saying “Break up weed on one phone, FaceTime on the other. Break up with me? I’m a G, I stay friends with your mother.”

The song “Supermooned” is a piano-trap hybrid that Elucid himself produced alongside DJ Haram asking if it’s ok or if it’s over while the penultimate track “Switchboard” talking about knowing that something’s coming even though they can’t see it yet over a trippy Sebb Bash instrumental. On the other hand, “The Key’s Under the Mat” closes out Armand Hammer’s official Fat Possum debut by enlisting JPEGMAFIA back on the beats once more except this one’s probably the darkest of his batch talking about how that security deposit ain’t comin’ back after all.

Despite still highly recommending Haram for anyone that isn’t caught up on these guys’ discography yet, We Buy Diabetic Test Strips legitimately happens to be a spiritual successor to Shrines & one that I find myself leaning more towards in comparison to the predecessor. billy & Elucid both examine the way people are navigating through this collapsing system with the production being cohesively gritty yet denser than some of their previous material.

Score: 4.5/5

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Mickey Diamond – “Capital Gains” review

Detroit, Michigan emcee Mickey Diamond linking up with Camoflauge Monk for his 9th studio LP. A member of the Umbrella collective, he emerged at the beginning of 2020 off the strength of his debut EP Bangkok Dangerous & has since gone on to turn quite a few heads in the underground by building up the impressive discography for himself with his previous 8 albums alongside 7 EPs & a mixtape. Gucci Ghost & its sequel produced by Big Ghost Ltd. on top of Ral Duke producing Oroku Saki in its entirety all became his strongest bodies of work to date. Couple months after the Sadhugold-produced Death Threat$, he’s looking to make Capital Gains.

“Nobody Moves” sets it off with this boom bap intro talking about nothing moving around his parts other than the money while the title track samples the remix of “Sleep for Dinner” by the Lords of the Underground boasting everyone knowing their names now referencing Key & Peele on the Paramount Skydance Corporation-owned Comedy Central. “Current Events” featuring Jamil Honesty finds the pair flippin’ through scriptures to get their minds right whereas “Nike Checks & New Balances” featuring Cise Greeny breaks down everything that makes their cypher complete referencing WWE Hall of Famer, former 6-time WWE world champion & WWE Intercontinental Champion Randy Savage.

Big Trip gets his own solo cut with “Carbones” encouraging y’all to walk with him to new horizons on top of his time & heart both being cold for no reason at all just before “Army Jacker Lining” featuring Substance810 discusses their game being amazingly skilled including a reference to former WWE writer, WCW booker, TNA Wrestling booker & WCW World Heavyweight Champion Vince Russo. “Anything to Get to the Doe” talks doing anything he can in order for him to make some paper, but then “Cross the Line” featuring The Steiner Brothers finds the trio dismantling their competition.

“Tats on My Belly” by Mvck Nyce is a lot like “Carbones” in that Mickey Diamond doesn’t appear on the track at all making way for another member of the Umbrella collective to show off his lyrical abilities talking about the recklessness of his whole entire style & the closing track “Stocks x Bonds” finishes Capital Gains by talking about now being his time to shine when he’s actually been doing so ever since last winter along with a bar on top of hitting heavier than Tyson Fury.

Capital Gains has now joined it’s predecessor from a couple months ago Death Threat$ in addition to Oroku Saki & both Gucci Ghost albums in continuing Mickey’s dominance of the underground by dropping off his 5th classic over a week after the fall season began. Camoflauge Monk’s production maintains the boom bap edge of Death Threat$ except he swaps out the drumless undertones of the latter in favor of jazz rap & Diamond enlists his Umbrella brethren to lay out commanding gangsta-themed lyrics rather than not having any guests last time.

Score: 4.5/5

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Maxo – “Debbie’s Son” review

This is the sophomore full-length LP from Los Angeles emcee Maxo. Emerging in 2015 off his debut EP After Hours, his profile would continuously grow following his next couple EPs Smile & most notably Lil Big Man to the point where Def Jam Recordings backed his debut Even God Has a Sense of Humor this past spring. Now that his 1-album major label deal is finished, Maxo is looking to introduce everyone to Debbie’s Son.

After the “Juanita” intro, the first song “Playdis!” featuring ZelooperZ is a cloudy opener to the album encouraging y’all to let this shit bump your speakers whereas “2 for $10” has to be one of my favorite on the LP from the groovy Beat Butcha instrumental to the lyrics feeling closer to his grave than anything else. Following that, “Another LAnd” proves to be another highlight as The Alchemist brings in an orchestral vibe to the instrumental asking to speak for a moment leading into “What Are You Looking For?” incorporates some bare drums to get on some spiritual shit.

“#3” shoots for a tropical atmosphere musically calling out someone who felt like they were too good for him just before another standout “Eyes on Me” produced by Uncle Al fuses jazz rap with contemporary R&B sometimes wishing the woman in his life had her eyes on him. The moody title track looks to take every piece of him & rearrange it while the groovy “Boomerang” talks about spitting like all he has is his word. “F.W.M. (Fuck with Me)” ends the LP by lusciously airing out why people fuck with him.

Maxo to me yet to drop an LP on the same caliber as Lil Big Man & considering that a few of the best songs he’s ever made reveal themselves here, it makes me more than hopeful of that in the future. We still get the jazzy abstract west coast hip hop from his major label-backed debut, but more contemporary R&B & lo-fi undertones in comparison.

Score: 3.5/5

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Doja Cat – “Scarlet” review

This is the 3rd full-length album from Los Angeles, California recording artist Doja Cat. Blowing up in 2018 off her viral novelty single “MOOO!”, was followed up the next year with her debut mixtape Hot Pink which was decent as a whole despite the fact that “Say So”solidified that she wasn’t going away anytime soon. Planet Her showed some improvement compared to her previous works by delivering a pop rap/R&B concept album based around a self-originated world. However, my expectations for Scarlet were higher considering that it was confirmed to be a full-blown hip hop effort.

”Paint the Town Red” stars off the LP by pulling from snap & chipmunk soul saying what she said whereas Demons” is an underwhelming no melody trap metal/horrorcore hybrid d.a. got that dopehelped put together laced asking if bitches are shook now that her pockets are on swole. “Wet Vagina” takes a roudier approach hilariously declaring herself to be the queen of drip, but then “F.T.G. (Fuck the Girls)” comes through with a trunk-knocking instrumental from Beat Butcha charismatically giving a middle finger to the hoes hating.

Meanwhile, “Ouchies” is a 2-minute riot starter laced by London on da Track & Sean Momberger with her popping it all off referencing WWE Hall of Famer Mike Tyson just before “‘97” takes lavish route thanks to Jay Versace talking about how it looks like she genuinely doesn’t give a shit whatsoever. “Gun” moves the album forward with a cloud trap joint clarifying that she does in fact know how to use a firearm leading into the atmospheric “Go Off” flaunts the new materialism such as ice that she had recently acquired.

“Shutcho” ends the first half of the LP with a dreamier instrumental calling out those who be running their mouths nonstop while “Agora Hills” blends these hi-hats & icy synths getting on the more romantic side of things conceptually. “Can’t Wait” goes into luscious boom bap turf eager to being next to that special man in his life while “Often” gives off a funky neo-soul tone talking about this guy must do the bullshit he pulls on her quite frequently. Moving on from there, “Love Life” spaciously makes it clear that she loves when her life’s like this while “Skull & Bones” goes for a ghostly feeling sonically talking about the only thing she folds under is pressure.

“Attention” fuses jazzy boom bap with trip hop & neo-soul courtesy of Rogét Chahayed embracing herself as she disses the people who’ve disliked & hated her for her change in appearance in the public eye while ”Balut” pulls from g-funk a little bit too comparing it to takin’ candy from a baby. The “WYM” freestyle that rounds out the new best full-length album in Doja Cat’s discography finds her kicking it off the top for a couple minutes over an orchestral loop & hi-hats.

DJ Camper’s soulful beat on “Acknowledge Me” is a good way to get the deluxe rolling hating herself when you get under her skin while “Disrespectful” talks about a hustler who ain’t getting funds over piano chords, kicks & snares. “URRRGE!!!!!!!!!!” featuring A$AP Rocky draws inspiration from the Memphis scene fighting the urge to keep gettin’ rich while the playful trap cut “OkLoser” addresses a chick who left the team. “MASC” featuring Teezo Touchdown talks about being too grown for bullshit backed by a rich trap instrumental while the pop rap/trap crossover “Piss” produced by CashMoneyAP likens her diamonds to urine & “Headhigh” mellowly ends the bonus track run talking losing faith in humanity.

Doja Cat has proven before that she could rap her ass off so when it was announced that Scarlet was going to be predominantly built around that style, I knew it had to be better than Planet Her & sure enough: it is. She delivers some of her most passionate performances to date, the production is refined compared to the last LP & I like how she ditched to features to hold down the fort all by herself.

Score: 3.5/5

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Lil Tecca – “Tec” review

This is the sophomore full-length album from New York rapper, singer/songwriter, producer & Galactic Records founder Lil Tecca. Blowing up in 2018 after signing a distribution deal with Republic Records & the viral single “Ran$om”, it would later be included on his debut mixtape We Love You Tecca that same year & would receive lukewarm reception although it’s truthfully grown on me a tad bit over the course of time. His debut LP Virgo World was released during the pandemic & is widely considered to be the weakest entry in his discography. The last time we heard from Tecca was a couple summers ago when Internet Money Records founder Taz Taylor executive produced a worthy sequel to We Love You Tecca & is looking to give a listeners a closer at Tec.

“Yves” is a cloudy trap opener produced by BNYX of Working on Dying asking the the fuck is you on & that his shawty knows he’s a Don whereas “H.O.E. (HVN ON EARTH)” featuring Kodak Black works in a cloudy pop rap atmosphere talking about the women in their lives behind Heaven to them. “Gist” goes into plugg territory a bit courtesy of Rio Leyva & Taz Taylor feeling like they tried to stab him in the back when all he did was count the bread, but then “500lbs” blends some synths & hi-hats talking about not trusting a single thing he’s told.

On the other hand, “Fell in Love” featuring Ken Carson finds the 2 getting boastful over some rage beats just before the title track talks about regretting but not receiving accompanied by cloudier instrumental from Taz. “Salty” has a spacey, orchestral trap quality to it that Dynox provides with Nick Mira as well as Rio & once again Taz ballin’ regardless leading into the summery “Real Discussions” looks to never take this shit for nothing.

“Dead or Alive” shows off his wealth & looks back on his upbringings over a glossy instrumental while the dancehall-inspired “Want It Bad” is soured by mediocre romance-inspired subject matter. “U Don’t Know Tec” gives off a moodier vibe dissing those try to associate themselves when it only benefits them while “Used2This” talks about switchin’ hoes like switchin’ the channel over an incredibly colorful ass beat.

To start the final leg of the LP, the piano-driven “Trippin’ on U” admits he can’t change this bitch & is unwilling to do so while “Either Way” promises to never switch sides with a somewhat afrobeats inspired sound. The penultimate track “Need Me” returns to a trillwave groove keeping his day going & “Monday to Sunday” concludes Tecca’s sophomore effort by doing this shit early every day over synths as well as hi-hats from Noah Mejia.

I’m going to have to take back my previous statement when Virgo World dropped that this guy was a 1-hit wonder because as I mentioned: We Love You Tecca has grown on me with time & the sequel was cool. That being said: Tec beat the sophomore slump allegations on here because I can truly say it’s the best full-length LP to date. The production compared to the debut 3 years before is more consistent & Tecca profoundly shows us how much he’s grown up.

Score: 3.5/5

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ShittyBoyz – “TRIF3CTA: The Finale” review

This is the 4th full-length album from Detroit trap trio the ShittyBoyz. Consisting of BabyTron alongside Stanwill & TR Dee, they emerged off their debut mixtape 3-Peat under Lando Bando’s own The Hip Hop Lab Records in the summer of 2019 taking the motor city by storm & following it up with another tape & 2 full-lengths with the last ones being Trifecta as well as the the sequel last summer shortly after BabyTron performed at the Gathering of Dreams with his father Mr. Sadistic of former Psychopathic Records rap metal outfit Motown Rage. Over a year later, the Boyz are now looking to close out the trilogy by completing the TRIF3CTA with a finale.

“Perfect 3” starts it all off with some flutes & hi-hats talking about how they really are an immaculate trio together whereas “Boomshakalaka” works in some horns tossing the mic back & forth with each other boasting that they’re the ones. “Triumphs & Trophies” is a 2-minute bell/trap crossover encouraging to let them get the drop, but then “Tronald & Stanley” if you couldn’t tell by the name finds the Dookie Brothers jumping over pianos for a minute & a half saying you can’t see them like 16-time WWE world champion, 4-time WWE tag team champion & 5-time WWE United States Champion John Cena.

Meanwhile, “50 Boyz” gives off a straight forward Detroit trap sound talking about how they be with the fuckery leading into “Fun & Games” gets on their hi-NRG shit betting the’ll put ‘em in the ground if it’s beef for that cheese. “Forever Lit” has a more suspenseful atmosphere declaring that they’ll always be up just before “Fly Life” beautifully kicks the hi-NRG back up going into detail of the fly shit they be doing.

“Mosh Pit” references former 14-time WWE world champion, WWE Hall of Famer, 5-time WWE Intercontinental Champion, 3-time WWE tag team champion & WWE’s current CCO Triple H while “Duck! Duck! Goose!” aggressively cautions not to flex on them because they’ll embarrass you in the process. The synth-laced yet Bay Area inspired “Mood Switch” that Jakesand cooked up points out that they’re still undefeated while “Ball Players” gives off a piano-driven trap vibe chockfull of basketball players wordplay including a bar about Point Grey Pictures founder Seth Rogen, who plays Allen on Invincible.

Moving on from there, “Tip Off” makes me feel like blasting this in the middle of driving downtown making it no secret that they’ve been waiting just to ball while the cloudy “WrestleMania” named after the WME Group-owned TKO Group Holdings division WWE’s marquee event makes it clear that they ain’t even gonna fight. “Game 7” gets on their back & forth shit for a minute a half over a rowdy beat calling out those in the club who ain’t throwing shit while “Juggernaut” brings back the synthesizers contemplating if this shit for them on the beach as they dancing.

“Sh!tty Pack” featuring BFB da Packman goes into a more sample-based trap direction even though BFB doesn’t do it for me not wasting bullets on their asses while “On Fire” hooks up a shimmery backdrop with hi-hats having more stripes than a referee. “Wembanyama” blends these strings, bass licks letting it be known his cousin in a suit after saying the wrong shit until “Danny & Jake” featuring GrindHard E & YSR Gramz ends the album with the latter 2 getting washed in a 3 minute cypher.

This whole trilogy has been some of the ShittyBoyz’ best material & they went on a pretty fun note to complete the TRIF3CTA. Wasn’t too big on the features personally, but the Detroit trap production never fails to interest me as do the charismatic chemistry that the trio have always had. Here’s to the next chapter of the biggest group that the local trap scene has to offer today.

Score: 3.5/5

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Ouija Macc & Trizz – “Coronella” review

This is a brand new collaborative album between west coast hip hop artists Ouija Macc & Trizz. The latter hailing from Los Angeles as a Brotha Lunch Hung protégé briefly signing to Madesicc Muziccwith the other taking the underground wicked shit scene by storm since signing to Psychopathic Records in 2017 & forming his own subsidiary of the Insane Clown Posse’s label that runs beneath the streets Chapter 17 Records over 2 years ago. Both of whom have crossed paths with each other a couple times in the past even though they’ve already made a name for themselves with stellar albums like Stalewind or Baseline Cavi. But with Ouija coming fresh off the 3-Headed Monster’s sophomore effort Rampage last week, he & Trizz are teaming up to make Coronella quite possibly the best collab project in his whole discography ahead of his upcoming 4th solo LP Darcc Planet.

The intro sets it off with an uncanny trap instrumental talking about they been down before & remain 10 toes down in spite of it all whereas “Pedigree” works in some horns & hi-hats declaring this to be a robbery with their destiny being the death of them. “Dead Presidents” gives off a murkier atmosphere acknowledging all these bitches want & Ouija taking a shot at Donald Trump just before the cloudy trap banger “Round the Way” talking about you waiting in Hell for them referencing WWE Hall of Famer, former 3-time WWE Champion, 11-time WWE tag team champion, the inaugural WWE Hardcore Champion, CWA World Tag Team Champion & TNA World Champion Mick Foley.

“Smoke Dope” gives off a nocturnal edge to the beat of course providing an anthem for all the smokers out there leading into the cavernous “International” produced by Devereaux talking about both of them being known on a global scale at this point in their careers. “Vegan Caviar” works in these rattling hi-hats promising to fuck you up, but then “Outcast” is a spacious boom bap ballad dedicated to everyone out there listening who’s been rejected by society.

Golden BSP on “Spokes” is ok despite the eerie trap production along with the subject matter of how this shit’s a game & they’re getting paid about it instead of playing about it while the cloudy “Black Card” calling out those who be frontin’ that they hard when we all know they’re not whatsoever. Brotha Lynch Hung gives one of the best feature performances throughout “The Opera” solemnly declaring that the homies will deal with any problem while “Too Many” has more of a traditional west coast sound to it talking about being surrounded by more than enough of the wrong people.

The song “Terror” featuring HEXXX mixes trap with g-funk sampling “High Powered” by RBX reminding everyone of their gangsta backgrounds & C17’s first signing spitting as hard as Brotha Lynch did a couple joints ago the penultimate track “Spiral” featuring Ricky Hil gives off an airier tone instrumental with smoking weed & drinking tequila being what they’re about. To finish Coronella, former Strange Music in-house producer MIKE SUMMERS a.k.a. 7 cooks up the psychedelic closer “I’m Outside” admitting they’re feeling like losing their minds.

2 & a half years ago by now when Ouija Macc teamed up with Baby E on We Never Forgot, it quickly became my favorite collaborative project that the hatchet’s biggest solo act had ever done even though it was a new sound for him. That being said: Ouija & Trizz have just dethroned that tape in favor of Coronella as his best collab effort & Trizz’ too. The guests are 50/50, but both MCs help bring the best out of one another as far as chemistry goes & the production is more eclectic from trap to boom bap & g-funk.

Score: 4.5/5

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