Dizzy Wright – “Dizzyland” review

Dizzy Wright is a 31 year old MC from Flint, Michigan who actually happens to be the nephew of Layzie Bone & Flesh-n-Bone of the revered Cleveland quintet Bone Thugs-n-Harmony. He eventually broke out on his own a decade ago after signing to Funk Volume & dropping his full-length debut SmokeOut Conversations to critical acclaim. This was followed up with The Golden Age as well as State of Mind & The Growing Process by once the label dissolved, Dizzy founded Still Movin’ Records & his output since then has been hit or miss to me personally. That being said, I was very much looking forward to this 7th album of his once I found out former Funk Volume in-house producer DJ Hoppa was gonna be on the boards for the whole thing.

“Manifest” is a cloudy opener talking about writing down his goals & what he’ll die for on a whiteboard whereas “24 Hours” with Xzibit goes into boom bap territory asking listeners what they’re gonna do with their day. “Promoter” has a reggae flare to it as B-Real joins Dizzy for a weed anthem just before “Sensitive Minds” returns to glossy boom bap turf talking about coming to take what’s his.

Meanwhile on “Outlaws”, we have Dizzy over a somewhat funky beat comparing himself as such leading into Toxsikk delivering one of the weaker features during “What’s the Rush?” even though I love the solemn piano instrumental & the concept of how real ones can’t just walk away. “On the Move” with Demrick & Reezy works in a cinematic trap beat talking about collecting theirs when it’s due, but then “Let’s Talk About It” takes an upbeat route admitting that he needs to figure out what to work on & what’ll work for him.

Jon Connor comes into the picture for the dark “Ambush” sending a warning to anyone who fucks with them while the song “Escape” with Bliss n Eso is a piano ballad about using music as a form of escapism. The penultimate track “I Can’t Quit” with Omari Hardwick finds the 2 following the previous cut up by encouraging listeners to never give up & “The Ride” is a smooth closer about keeping it 10 toes down until the end.

I still maintain that Dizzy’s output in the last 7 years haven’t impressed me as much as his early work, but Dizzyland is easily the most impressive thing he’s done in a while & one of the best projects of his career. He sounds a lot more focused this time around & DJ Hoppa’s production is just what he needed given the fact that the production on his last few efforts were lacking in my personal opinion.

Score: 4/5

Vince Staples – “Ramona Park Broke My Heart” review

Vince Staples is a 28 year old rapper, singer/songwriter & actor from Compton, California who came as a close affiliate of the now defunct Odd Future collective. He would go on to release 4 mixtapes before signing a joint deal with Blacksmith Recordings & even No I.D.’s very own Def Jam Recordings imprint ARTium Recordings. My personal favorite of which being Stolen Youth, which was entirely produced by the late Mac Miller. His first major label outing Hell Can Wait was a dope little EP preluding the full-length debut Summertime ‘06, which became one of the best double disc albums of the previous decade. Vince later detailed the pitfalls that came with his success on the next EP Prima Donna, but the dude’s sophomore effort Big Fish Theory was unquestionably his most experimental work yet. But after linking up with Kenny Beats for his 3rd EP FM! & his eponymous 3rd album, Vince is looking to reach out to some outside producers for his 4th one.

“THE BEACH” kicks off the album with some organs talking about his G’s moving whereas “AYE! (FREE THE HOMIES)” follows it up with a guitar driven ballad dedicated to all his homies locked up. “DJ QUIK” takes a spacier route referencing my favorite diss track of all-time “Dollaz + Sense” in the hook just before the DJ Mustard-produced “MAGIC” works in some Bay Area influences talking about feeling like he’s floating.

After the “NAMELESS” interlude, we have Vince on top of a sample of “No Love” by Lyves for “WHEN SPARKS FLY” talking about them taking his girl away from him leading into Lil Baby tagging along for “EAST POINT PRAYER” to deliver some braggadocious trap. “SLIDE” goes into glossier territory talking about being shot at, but then “PAPERCUTS” returns to trap turf explaining that it’s all about the money.

“LEMONADE” is a cloudy declaration of life being bittersweet while “PLAYER WAYS” has a moodier tone talking about keeping it funky with the bitches. “MAMA’S BOY” compares his love for the game to the love he has for his own mother really well over a pillowy beat while “BANG THAT” returns with a gangbanger’s ode.

After the “SPIRIT OF MONSTER KODY” interlude, the penultimate track “ROSE STREET” mixes pop rap with trap to explain him putting his gang ties over hoes & “THE BLUES” closes out the album on a darker note encouraging the listeners to pray for him.

Every time Vince drops a project, I know I’m getting myself into some crazy concept & Ramona Park Broke My Heart lives up to if not surpasses the expectations set by self-titled this past summer. I love how he details his experiences of exploring the utility of home & how the overall sound of the album varies in comparison to his last couple efforts being heavy on Kenny Beats’ signature sound.

Score: 4/5

Paul Wall & Termanology – “Start 2 Finish” review

This is the brand new collaborative album between Paul Wall & Termanology. One hails from Houston, Texas & the other coming straight out of Boston, Massachusetts. However, both of them have been holding it down for the culture for the past 2 decades with their insane work ethics & albums like The People’s Champ or Politics as Usual. They’ve worked with one another a few times within the last couple years & are now taking their chemistry to new heights by dropping Start 2 Finish.

“No Asterisk” opens up the album with a soulful Statik Selektah instrumental talking about wanting the rings & the title whereas “Ask Permission” takes a jazzier route advising to ask them in advance prior to pulling up to either H-Town or Beantown. “Recognize My Car” dives into boom bap territory with the help of Pete Rock talking about whips just before Bun B tags along for the classy money making anthem “Thailand”.

Meanwhile on “No Favors Pt. 2”, we have Paul & Term delivering a fresh sequel to a joint off The Po-Up Poet leading into Statik KXNG & Wais P coming into the picture for the triumphant “Clubber Lang” spitting braggadocio. “How You Been?” goes into a sensual direction thanks to Dame Grease getting romantic while the song “No Tolerance” with Fly Anakin & NEMS is just a dusty, 4 minute barfest. The penultimate track “Money on My Phone” has a slower beat talking about that’s all see & “Step Outside” with Millyz ends the album with a powerful boom bap ballad encouraging to forget what it’s like living in the dark.

Coming from someone who’s been a fan of these guys for a minute, Start 2 Finish is definitely one of the best collab efforts that either one of them have ever made. I think Paul sounds great on top of traditional East Coast production & his chemistry with Termanology is improving steadily also.

Score: 4/5

Coi Leray – “Trendsetter” review

Coi Leray is a 24 year old rapper & singer/songwriter from Hackensack, New Jersey who started making musical a decade back inspired by father Benzino. Even though I found her debut mixtape Everythingcoz along with her first 2 EPs EC2 & Now or Never to be mediocre, I was curious about her full-length debut over here given that I genuinely liked a couple of the singles she dropped within the last year.

“Hollywood Dreams” is a drumless yet euphoric opener talking about doing this music shit for her whereas “Blick Blick” comes through with a pop rap cut with God awful performances from Coi & Nicki Minaj stealing the show. I would much rather listen to that than “Aye Yai Yai” with Yung Bleu though because it’s a cringey, buttery sex ballad. “Mountains” with Fivio Foreign & Young M.A.comes through with some triumphant lyricism over a somewhat psychedelic instrumental just before G Herbo tags along for the futuristic “Thief in the Night” to play Coi’s “sneaky link”.

Meanwhile on “Overthinking”, we have H.E.R. coming into the picture over an acoustic trap beat from BNYX of Working on Dying to help Coi talk about men not listening while “Clingy” almost has a West Coast groove to it with NAV awkwardly playing Coi’s counterpart much like “Thief in the Night”. That being said, “Heartbreak Kid” works in some fresh guitar riffs getting flirtatious & “TWINNEM” almost made my worst singles of 2021 list because it’s pretty much a ripoff of “Best Friend” by Saweetie & Doja Cat. “No More Parties” with Lil Durk on the other hand impressed me with it’s piano instrumental and the topic of going on to do better things.

After the “Be Me” interlude, “Lonely Fans” has a warm feeling with the production as Coi spits off the dome for a minute & a half while “Heart in a Coffin” is a dreary breakup anthem. “Paranoid” with Polo G finds the 2 delivering a twangy trap banger addressing themes of loyalty, mistrust & fame while “Box & Papers” aggressively talks about how “what’s forgiven is never forgotten”.

“Mission Impossible” with Lil Tecca sees the pair talking about their success with Chief Keef cooking up what’s easily the best beat on the album while the song “Too Far” is a touching dedication to her homie Atkins who’s locked up. The song “Mustard’s Interlude” with A Boogie wit da Hoodie has yet another acoustic trap flare to it with them trading the mic with one another very impressively while the penultimate track “Anxiety” is a rubbery display of how 2021 was for her. “BIG PURR (PRRDD)” with Pooh Shiesty ends the album with an ass kicking drill cut.

Yeah, it’s safe to say that Trendsetter is yet another run of the mill pop rap album with slightly more misses than hits. Coi is most certainly talented & most of the features came correct, but the album just feels all over the place as a whole & a lot of the production choices are very questionable in my opinion.

Score: 2/5

Fivio Foreign – “B.I.B.L.E. (Basic Instructions Before Leaving Earth)” review

Fivio Foreign is a 32 year old rapper from Brooklyn, New York who happens to be a protege of former Bad Boy signee Ma$e. He would go on to sign to the pastor’s Columbia Records imprint RichFish Records & has since dropped only 2 EPs: Pain & Love and 800 B.C.. Now truthfully, I didn’t get introduced to Fivio until I heard his verse on “Demons” off of Drake’s 6th mixtape Dark Lane Demo Tapes a couple years back & just wasn’t impressed at all. But when I heard his verse on “Off the Grid” off Kanye West’s final Def Jam album DONDA last summer, I was highly impressed & I can say the same for his recent singles. Needless to say: My anticipation for Fivio’s full-length debut was very much there. Even more so after learning he got Ye to executive produce it & Mike Dean to do all the engineering.

“On God” is a drumless duet with KayCyy talking about having each other if all else fails whereas “Through the Fire” samples the Chaka Kahn joint of the same name as he & Quavo fight their demons. “Magic City” goes into drill territory as he & Quavo talk about partying, but then “City of Gods” with Kanye follows it up with an incredibly fun dedication to the Big Apple.

Meanwhile on “What’s My Name?”, we have Fivio as well as Coi Leray & Queen Naija over a sample of “Say My Name” by Destiny’s Child for a romance ballad just before “For Nothin’” has a folkier vibe talking about having a shooter. “Hello” takes a syrupy route talking about looking for a lady like her leading into the A$AP Rocky-assisted “Confidence”, which is basically a 2 minute braggadocious banger.

Lil Yachty tags along for the apocalyptic “Slime Them” displaying an impressive back & forth chemistry with Fivio while “Feel My Struggle” works in a high pitched vocal sample detailing the hardships that he had to face. Yung Bleu’s verse on “World Watching” is one of the weakest features on the album even though Lil Tjay’s verse was decent & Fivio obviously stole the show. The Ellie Goulding sample is but after the “B.I.B.L.E. Talk” interlude, “Changed on Me” with Polo Gis a glorious shot at those who switched up on them.

Following that, “Left Side” follows it up with a boring gangsta love jam down to the redundant Blueface verse while “Love Songs” heavily samples “So Sick” by Ne-Yo & the latter actually appears on here for a sequel to the ‘06 hit. The penultimate track “Whoever” incorporates some choir vocals to deliver an open letter to anyone & finally, “Can’t Be Us” is an emotional closer talking about what makes him a man.

B.I.B.L.E. (Basic Instructions Before Leaving Earth) isn’t the most mind-blowing debut I’ve heard all year, but it did finally win me over on Fivio because I do enjoy a good portion of what I’ve heard. The features are alright, but the Brooklyn drill sound he came up on is more refined & I admire how he’s basically putting his life experiences on wax.

Score: 3.5/5

billy woods – “Aethiopes” review

This is the 10th full-length album from Washington, D.C.’s very own billy woods. Whether it be him teaming up with Elucid as the duo Armand Hammer or his own solo output like History Will Absolve Me & Dour Candy, there’s no denying that he’s been steadily holding it down for the abstract hip hop scene for a minute. But coming off Armand Hammer’s magnum opus Haram produced entirely by The Alchemist last spring, billy is now enlisting Preservation to lace Aethiopes from top to bottom.

“Asylum” is a chilling opener with it’s piano instrumental & vivid storytelling from billy whereas “No Hard Feelings” works in a blaring instrumental talking about how he’ll “show you Slum Village”. “Wharves” throws some vibraphones in the mix describing monster cannibals just before Boldy James & Gabe ‘Nandez tag along for the dusty “Sauvage” getting on their street shit.

Meanwhile on “The Doldrums”, we have Billy on top of a settle yet dark instrumental reminding that “nothing happens ‘til it does” leading into Armand Hammer & Crown Nation teaming up for the dusty “9” to talk about the one true & livin’. Mike Ladd comes into the picture for “Christine” to somberly upset the town, but then the El-P/Breeze Brewin’ assisted “Heavy Water” providing streams of consciousness on top of a grim beat.

“Haarlem” is a decent 2-parter with Fatboi Sharif coming through with one of the weaker features on the album, but Despot’s verse on “Versailles” happens to be much better as he & billy get conscious on top of a triumphant instrumental. “Protoevangelium” with Shinehead delivers some slick production talking about “Whom the cap fits, let them wear it” while the penultimate track “Remorseless” speaks for itself over a flute-heavy beat. “Smith + Cross” then ends the album with a bare, harmonious loop talking about some being slumped & gassed in what they’ve done.

For this to be billy’s first solo outing in 3 years, I think he happened to come back with one of my favorite ones that he’s crafted so far. A couple of the features lacked, but Preservation knocks it out of the park behind the boards & billy’s abstract lyricism continues to blow wigs back.

Score: 4.5/5

Stevie Stone – “Raising the Bar” review

This is the 7th full-length album from Missouri emcee Stevie Stone. Garnering attention attention as one of the very last 2 artists to ever sign with Ruthless Records alongside Hopsin, both of their full-length debuts New Kid Comin’ & Gazing at the Moonlight received little to no promotion leading both artists to leave the crumbling label. Hopsin went on to form Funk Volume shortly after before closing shop in 2016 whereas Stevie signed to Strange Music in 2012. He eventually became one of the label’s flagship artists up until he left last spring to form his own label Ahdasee Records following his previous album Black Lion. But to celebrate the 1-year anniversary of being fully independent, Stevie is back in full-effect for Raising the Bar.

“Hostile Stone” kicks off the album with a thunderous trap banger about putting his foot on these other rappers’ necks whereas “Raise the Bar” with Flawless Real Talk, JL, Locksmith, Spaide R.I.P.P.E.R. & Statik G finds the 6 on top of a Hellish beat flexing their lyrical prowesses. “Sincerly Smokin’” comes through with a cloudy weed-smoker’s theme, but then Daun P tags along for the sensual “Sex Flex Yes” which is probably my least favorite cut on the album. Meanwhile on “M.O.T.F. (Money on the Floor)”, we have Krizz Kaliko & Sage the Gemini joining Stevie for a decent party starter just before “Don’t Be Late” takes a more melodic route talking about how “this our song”.

“B.S.P. (Big Shit Poppin’)” returns into cloudy trap territory explaining that he makes this look easy, but then Daun P & Lyrikal TMG come into the picture for the gritty “Minding My Business” talking about how they don’t got time for fuckery. The penultimate track “East I-70” comes through by reflecting while driving down the titular highway & “Cold Revenge” ends the album with a piano ballad by dissing all the “friends” of his that betrayed him.

Being a fan of Stevie since my adolescence, I come away from Raising the Bar a little disappointed & torn by the final product. For this to be his 1st musical statement since leaving Strange Music, it’s overloaded with features & the production is merely passable. However, there’s no denying the husky lyricism that made him so prominent with the Snake & Bat during the previous decade.

Score: 2.5/5

Sadistik – “Bring Me Back When the World’s Cured” review

Sadistik is a 35 year old MC from Seattle, Washington who broke out in the spring of 2008 off his full-length debut The Balancing Act. However, it wasn’t until Flowers for My Father & more specifically Ultraviolet where I started listening to him regularly. Altars was ok & Haunted Gardens was slightly better but once I saw that the criminally underrated Kno of the CunninLynguists was producing Sadistik’s 6th album from front to back, I had very high expectations going into it.

“Burning Suns” is a summery boom bap opener talking about bringing him back when the world’s cured whereas “You Don’t Know” goes into atmospheric territory talking about where darkness forms. “The Earth Was Empty” takes a meditative route talking about being as empty as the planet is just before “Ghostly Key” works in a gorgeous sample talking about only seeing the negative.

Meanwhile on “Apple Valley”, we have Sadistik on top of a hypnotic flip looking back on his childhood leading into the soulful “Carnelian” making references to the man who died for our sins. Natti tags along for “Mothlight” to talk about life being too pretty to be depressed with a stellar sample for the hook “Neptune Skin” is a complete 180° somberly tackling spontaneous combustion, but then “27 Club” admits that all his heroes died at 27 over a spacey boom bap beat.

“Disappear” throws in a slowed down vocal sample to talk about being in outer space while “Where You Want Me” marks a return of the boom bap if you will talking about his woman having him where she wants him. “Rainclouds, Pt. I” with Lucy Camp finds the 2 on top of a electronic instrumental saying that rain outside isn’t unusual with “Pt. II” comes through with a glossy switch-up talking about being nocturnal.

Following that, “Blue Tree Meadow” has a chilling vocal sample addressing suicide while “Mulholland Drive” has a peppier tone talking about driving down the titular Los Angeles street. The song “Quietus” confessing his deathly instincts while the penultimate track “Godmode” delivers a spacey ballad about being a God himself. “Serpens (Trial of Lucifer)” ends the album with a cinematic declaration that he’s the bringer of the light.

If you’re a fan of both these guys, then you’re doing yourself a disservice not bumping Bring Me Back When the World’s Cured because I happen to look at it as Sadistik’s best work since Ultraviolet. Kno’s production is a lot more consistent than it’s been on the last 2 albums & Sadistik continues to show his scars through his pen.

Score: 4.5/5

Elevated Focusion – “The Sinthmeister” review

This is the 9th beat tape from Queens, New York producer Elevated Focusion. Throughout the whole year so far, the dude has been staying busy by dropping 1 tape after another whether it be Elevated Focusion or Slow & Steady. However to ring in the 2nd quarter, he’s continuing to apply pressure with The Sinthmeister.

“The Sinthtro” pretty much sets the tone for the whole project my mixing some bare strings & synthesizers whatsoever whereas “Just Your Local Weatherman” works in some actual drums & I like the electronic vibes it gives off. The drums that “Funky Brainstorm” bring to the table are more thunderous in comparison to previous cut leading into “Speedball Blast Off”, which I can imagine being played at EDM festivals to no objection.

Meanwhile on “Galaxy Gangbangin’”, we have Jonny incorporating some bare synthesizers much like the opener just before “Do the Codeine Lean” takes a more quicker route in terms of structure. “The Addicted Children of the Stars” returns to rave territory pretty well, but then “Parental Blurry Vision” is a more atmospheric cut that is just straight up pleasant to the ear.

“March of the Martians” fuses together these phenomenal vocal chops with some drums & strings while “Moshin’ with Marvin” has a bit of a boom bap quality to it & it’s futuristic as Hell. “The Martian’s Reprise” is a fresh little sequel to the “March of the Martians” that I mentioned just seconds ago while “Lost in a K Hole” kinda reminds me of a Sonic the Hedgehog game.

Following that, “Brace Yourself” comes through with a more entrancing tone to it while “The Downward Space Jam” has some insane guitar passages during the 2nd half. “The Martian’s Final Surprise” is a short yet stripped back conclusion to the Martian trilogy while the song “Phasers on Kill” sounds straight chilling to the bone. The penultimate track “Operation Exploration” returns to electronic territory once more & “Follow the Map to the Stars” ends the tape with 1 last EDM bop.

Each tape that Jonny has dropped so far has it’s own different catch to it & The Sinthmeister is no exception to that. In fact, it’s one of my favorites that he’s made so far. I really like how he continues to show his range behind the boards by crafting a whole project mixing electronic & hip hop.

Score: 4/5

Lunar C – “Most High” review

Lunar C is a 33 year old MC from Bradford, West Yorkshire, England, United Kingdom making his debut in 2010 with The Lunar CD. He would go on to drop 3 more full-lengths as well as 4 mixtapes & a couple of EPs, also becoming 1/2 of Off World Vehicle & 1/6 of the Fly Tippers. However, he’s signed to Blah Records & is ready to make his debut for the popular London imprint in the form of his 6th studio album with Jack Chard from Nobodies Home & Jack Danz behind the boards.

After the into, the first song “Rasputin” begins with him talking about moving backwards ever since his parents went 2 on a bastard whereas “Contact High” featuring the Antiheroes finds the trio linking up to speak of smoking weed & making the same mistakes daily. “Kill the Rich” talks about there being no need to talk to him if it ain’t a G or more prior to “In the House” yearning for him to stay inside with his girl for a whole entire day.

“Cursed” nears the end of the 1st half talking about being sent to do their devil’s work just before “Troubled Mind” featuring Black Josh & Stinkin’ Slumrok dismantling rappers who sound dishonest to them & only taking their bitches if they’re down for it. The title track gets the 3rd quarter talking about praising God & being stoned to the point where he can’t make up his own mind while “Any Given Wednesday” featuring Jehst discusses not bragging of their greatness because they’re better than that.

Jack Danz joins Lunar C on the mic for “Never Lose” referencing WWE CBO & former WWE Women’s Champion Stephanie McMahon but after “Hit Me Up” tells the people who need anything from him to call him anytime they want unless you don’t offer him shit, “Y.M.S.R.I.T.B. (Your Mom Smokes Rollies In The Bath)” featuring Lee Scott brings the pair together so they can talk about sitting on their own throne in the clouds & smacking people harder than Joe Jackson for moving incorrectly.

“Nate Diazepam” featuring Lefty & P Solja nears the Most High’s conclusion with the trio can get in their Fly Tipper bags & refusing to sell out for “Proud” talks about taking pride in who he is despite him changing your life for the worst if you let him. “Switch Up” however spends the last couple minutes of the LP dropping a whole entire verse describing the bud in his joint to be fruitier than Lil Uzi Vert on top of doing this for his comrades, compadres & for himself to help through the dark days.

Blah Records warned us in advanced that his fan would be wondering why one of the biggest UK hip hop labels in recent memory hadn’t bring them on board their roster sooner & they weren’t kidding considering Most High makes a huge leap in quality compared to all of his independent material. Jack Chard & Jack Danz’ production covers a lot of different ground stylistically & C brings a mix of Tipper Gang brethren & Blah labelmates to help recapture his signature blend of cutthroat humor & abstract bars.

Score: 3.5/5

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