Summrs – “Ghost” review

Summrs is a 23 year old rapper from Lafayette, Louisiana emerging up as a member of the Goonie-founded Slayworld collective. He presence has been known predominantly in the plugg scene by constantly dropping projects whether it be his previous EP What We Have & Fallen Raven, both of which I highly recommend listening to if you wanna get into his music. But coming fresh off Stuck in My Ways a little over 3 months ago, Rino’s keeping things rolling by dropping his 8th full-length album & his 2nd of 2023 as of me writing this.

“Devil on My Back” is a wavy trap opener making it clear that all of his homies are about business & God helps him remain catching Ws whereas “Like Woah” takes a glitchier approach courtesy of BNYX from Working on Dying describing the neat freak in his life. “Shake It” has a bit of an EDM groove to it this time around talking about a woman feeling nobody else but him prior to “Eye 4 Eye” working in some hi-hats & a ghostly loop so he can boast lyrically.

Desire is the only feature on the album making his first appearance on the lively “Rich n Turnt” showing off their wealth & how lit they are just before “Real Goat” has a bassy trap vibe to it talking about being the best at the end of the day. “Prayer” delves into how much this Brazilian baddie he bagged is like his twin with an instrumental that has a psychedelic edge to it leading into the rubbery yet horn-infused “No Really” talking about being a prodigy.

Meanwhile, “Ball 4 Ball” finds Desire returning 1 last time for an ethereal trap banger continuing to flex on the lyrical side of things until “Got Dat Moneh” delves into rage territory addressing his riches. “Free Body” returns to a hazy trap sound telling those who’ve never seen a hundred or milli’ piece that they can’t ever speak to him, but then “Like BK” makes a turn into hypertrap territory once more giving his props to another dope artist in the rage/plugg subgenres at the current moment: Bktherula.

“I’m Paid” blends some hi-hats & ghostly background vocals so dude can keeping touching on his wealth while “Nvr Losing” is a synth-trap crossover talking about not taking an L in his life ever again. “God Like” comes through with a more ultramodern beat comparing basically talking about being as untouchable as possible & “Goty” switches it up by pulling from cloud rap a bit with his goal being to have his children get $100M in their each one of their wills.

As we reach the final leg of the album, “Meet You There” had a bit of a Travis Scott influence sonically telling this girl not to call him & simply leave him alone while “Munchkin” talks about being on top of the mountain over some more synth-based production. The song “Slowflow” hooks up some hi-hats & chilling auto-tuned vocals admitting he just wanted to hit a lab rat that his homies can have back while the penultimate track “It Get Krazy” gets bombastic for nearly 2 minutes talking about how nuts shit can get. The closer though is an sincere, atmospheric tribute to the late Virgil Abloh.

Stuck in My Ways is still my favorite of the 2 albums that we’ve gotten from Summrs this year so far, but Ghost is still worth checking it to me if you’re a fan of his in any capacity because I admire how he’s been trying to elevate my flows & sound on here as well as introducing him into his creative mind on here. On top of that, I like how it’s nearly 10 minutes shorter than last time & ditches the plugg elements in order to save them for his next body of work.

Score: 3.5/5

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Jack Harlow – “Jackman” review

This is the 3rd full-length album from Louisville, Kentucky recording artist, producer & actor Jack Harlow. Breaking through when the pandemic started off the single “What’s Poppin’?”, this resulted in DJ Drama & Don Cannon signing him to their Atlantic Records imprint Generation Now Entertainment as well as them putting out a mediocre full-length debut with That’s What They All Say that same winter & who could forget the arduous listen of a sophomore effort Come Home the Kids Miss You last spring? However, hearing that he dropped Jackman out of the blue over the weekend was in fact surprising & thought it’d be more introspective given that the titular is his real first name.

“Common Ground” opens the album with a string-heavy instrumental compellingly tackling the divide & arrogance between white-suburban children & black children raised in poorer neighborhoods to my surprise referencing Microsoft 365 whereas “They Don’t Love It” works in a peppy beat talking about how no one is cut from the same thread as him when there are more skilled lyricists out there right now that you’re better off listening to. “Ambitious” looks back at his life in the last decade with a soul sample throughout that is until “Is That Ight?” talks about being minimalistic & grateful over a piano instrumental.

The settle vocal loop & claps throughout “Gang Gang Gang” enhance the atmosphere as Jack addresses his relationships with shitty people just before “Denver” making it clear that so many losing hope in those dreams with a jangly sample flip from FNZ. “No Enhancers” has one of the strongest beats on the record courtesy of DJ Dahi even though the lyrics about all natural women seem forced while the playfully produced “It Can’t Be” obnoxiously tries to put a finger on why he gets shits whether it be the color of his skin or the swag he has. The penultimate track “Blame on Me” samples “Blame” by Gray Hawken thanks to Boi-1da opening up about his upbringing & “Questions” soothingly ties it all up pondering all these questions in his mind.

Given the fact that Jack Harlow’s output in the past has been mediocre at best & unlistenable at worst, a lot of people including myself weren’t expecting much going into Jackman. But surprisingly, it could very well be his most impressive body of work to date even though I still come away from it torn. The subject matter is more personal & the production isn’t as tepid, but the album’s biggest cardinal sin is the amount of corny bars throughout although I appreciate him trying to be more lyrical.

Score: 3/5

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Homixide Gang – “Snot or Not” review

This is the sophomore full-length album from Atlanta, Georgia duo Homixide Gang. Consisting of Homixide Beno! & Homixide Meechie, they started turning heads a couple years ago after dropping their debut EP Snotty World & that 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. But coming off their major label debut Homixide Lifestyle over the fall, Beno! & Meechie are now following it up with Snot or Not.

“ADHD” is a rage-inducing opener making it clear that motherfuckers better have they cash whereas “Homixide Language” takes the trap metal route so both of them can talk about how they can’t walk or hold the strap like them. “5!RE” returns to hypertrap turf stepping into the spot with the guys cautioning not to play with the blicks they’re carrying on the side leading into the futuristically bassy “Wants & Needs” produced by tana & thr6x asking their lovers what they need.

Moving on from there with “TNT”, we have the Homixide Gang blending trap with rock once more as they discuss letting them choppers ring with their necks on froze & “C4N” is a remarkable Meechie solo cut with an synth-based instrumental from Malay Raw attached to to it talking about coming from stacking bread every single day & even Comme des Garçons. “Snot Sh!t” declares themselves as real pimps & that their opposition hasn’t seen nothing over more rage beats, but then “Dive In” has more cloudier approach thanks to Dynox talking about not playing with them.

“Uzi Work” bombastically wants to see how the Draco works & that all of their friends are dead even though this ain’t no Lil Uzi Vert type shit while the song “2 da Face” has more luxurious yet vibrant quality to the instrumental reminding that they really about that slime life. The penultimate track “Block Work” speaks on hitting & selling them bricks over more hypertrap production at the helm of Internet Money Records founder Taz Taylor & Cxdy prior to “Flight’s Booked” sending off the album with them describing life touring overseas.

Now I couldn’t tell you if the grooming allegations that recently came out towards Beno! a couple months ago are true or not, but what I can say is that I think those who liked Homixide Lifestyle as much as myself will enjoy Snot or Not almost on the same level. They’re sticking to their signature rage sound, Meechie interestingly enough outperforms Beno! on a lot of these cuts & I like how they held it down on their own as opposed to the 50/50 guest list from last time.

Score: 3/5

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Kovax – “Komplex” review

This is the 6th full-length album from Detroit emcee Kovax. Beginning to catch my interest when he opened up for the Last American Rock Stars at the release party for their MNE-backed self-titled debut, he then left me highly impressed with his previous effort Manifestor fully produced by Middle Finger Music co-founder Foul Mouth the following summer due to the eclectic range of sounds throughout from horrorcore to jazz rap & trap as well as the strong lyricism throughout. But as the 4 year anniversary of that previous body of work approaches in a couple months, Kovax is making a Komplex return.

“Posthumous” opens the album with a eerie trap anthem declaring to be back from the bottom whereas “Sights Set” takes the rap rock route thanks to Onry Ozzborn talking about taking all he needs with him to the target of his ambition. The title track has a chill boom bap approach to it admitting that he ain’t nothing like his brothers or cousins prior to “Isolation Tapes” blends some guitars, kicks & snares courtesy of DJ Los detailing his personal rigors of dealing with life during the 1st of 2 COVID lockdowns & all that came with it.

Moving forward to “Zip Zoom”, we have Kovax over a more bassier instrumental telling him to give him anything that’ll get him fucked up just before “Aura Glow” brings it back to a more boom bap sound with some keyboard melodies woven in. “Super Like” however has a peppier groove to the beat bragging that he just had to get laid, but then “Old Fashioned Blood” with Sankofa finds the pair over a dusty Marv Won instrumental spitting that hardcore shit.

Marv eventually hops on the mic too on the dreary “Chet Steadman” comparing their flows to the Rookie of the Year character until longtime collaborators J Bone & Big Dude reunite throughout “Simpin’” by delivering a quirkily comedic ballad about lust. “Steve ‘54” however ends the album with a sample-based tribute to his father.

Manifestor is still my favorite album of Vax’s yet that doesn’t change the fact that Komplex is still a worthy follow-up looking into the Detroit emcee’s rapidly changing, explosive creativity as some of his best songs to date reveal themselves here. The production pulls from pop, boom bap, trap & rock focusing more on real life stories, punch lines, catchy hooks & double time cadances.

Score: 3.5/5

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Kung Fu Vampire – “Blackheart Machine” review

Kung Fu Vampire is a 36 year old MC from San Jose, California who began breakdancing 3 decades ago & taught himself how to rap & sing while playing drums & bass as a hobby. He then began to make his presence in the underground felt by releasing his full-length debut Blood Bath Beyond in the fall of 2003, which would be followed up 5 years later by signing a 2-album deal with Mad Insanity Records for the sophomore effort Dead Sexy & eventually Love Bites. The Kung Fu Vampire returned after 3 & a half years in the form of Look Alive & again a few summers afterwards with his previous full-length Come Dawn after founding his own label Ultra Violet Entertainment. The last we heard from KFV however was the self-titled debut from Double Dragon & is finally unleashing his 6th album.

“Sugar” is a futuristic opener produced by Charlie Beans making it clear that he just wants to bite something sweet whereas the title track has a more cheerful tone to it talking about how he used to be happy. “How I’m Livin’” dives into trap turf courtesy of MIKE SUMMERS a.k.a. 7 trying not to change & advising to stay up out his way, but then “Gimme Skull” takes fellatio to a whole new level down to the electro-tinged instrumental.

Continuing with “5am”, we have the Kung Fu Vampire over a dubstep beat getting wild early as fuck in the morning leading into A-Wax tagging along for the guitar-tinged “Neck & Neck” as they talk about their significant others bagging killers. “Fur Sure” boasts that he ain’t got shit to prove at this point over a robotic instrumental just before “These Days” continues to draw from dance music talking about taking what he wants & running.

“Bigger Than Rap” makes it clear that they started a trend over a clinky trap beat until “Torment” with Trizz sees the 2 joining forces for a morbid wicked shit banger. The song “Eddie Money” returns to an EDM-inspired groove needing tickets to paradise while the penultimate track “Expired” talks about nothing being left but revenge & vedetta over another dancy beat. The closer “No More Bad Days” though ties everything up to an optimistic look at brighter days ahead.

Look Alive & Come Dawn have both ranked themselves high as amongst the best bodies of work throughout KFV’s discography with Blackheart Machine joining them rather quickly. The production that Action Paxton mostly handles is rather versatile pulling from EDM to trap & rock as opposed to the heavy 80s influence throughout the predecessor as the San Jose horrorcore veteran delivers amongst his fiery performances to date with a couple dope guest verses by his side.

Score: 4/5

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Zombie Juice – “Love Without Conditions” review

Zombie Juice is a 32 year old MC from Brooklyn, New York who came up as 1/3 of the trio Flatbush ZOMBiES when he & the other 2 members all attended Midwood High together. They would go on to release a couple mixtapes & albums together throughout the previous decade all to critical acclaim, but have been focusing on solo careers since their debut EP now, more than ɘver… with Meechy Darko being the first up at bat with a full-length album of his own executive produced by Dot da Genius last summer & Isaac Blaze being up next with his solo effort.

The album kicks off with Dylvinci taking the wavy route on “Melancholy” calling depression a bitch whereas “Hikari” follows it up with a jazzy boom bap jam produced by Erick the Architect talking about the light he brings his lover illuminating her through the darkness. Curren$y tags along for the synth-heavy “Terpalation” making it clear that they always want more, but then “Hootz” works in a wavy backdrop as well as some kicks & snares courtesy of Powers Pleasant talking about waking up next to something beautiful.

Moving on to “Dizzy”, we have The Underachievers joining Zombie Juice over a spacious ballad with some hi-hats that Issa Goldhappened to lace airing out those trying to kill then leading into the 2 Dead Boyz linking up for the desponding trap joint “Dr. Miami” talking about needing a nut & not missing their exes. “Say Enough” is more piano driven hoping everyone remembers him after a long year while the tranquil “Fly” talks about being on his way. The penultimate track “Alto” with Devin the Dude psychedelically acknowledges those figuring out how they did it & “Mindful” ends the album with a thoughtful 6 minute closer with a luxurious beat.

Gothic Luxury was such a solid way for Meech to differentiate himself as a solo act & what he does with both Flatbush AND the Beast Coast. As for Jewice, he manages to do the same thing on Love Without Conditions. The lyrics confess his experiences with abuse, homelessness & loss with the production ranging from trap to jazzy boom bap & even psychedelia. That leaves only Erick left to branch out by his lonely on an album that I hope elevates him from his early mixtapes/EPs.

Score: 3.5/5

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Micall Parknsun – “Still” review

This is the 7th studio LP from Kilburn, North West London, England, United Kingdom emcee/producer Micall Parknsun. Making his debut under Low Life Records in 2005 describing life as The Working Class Dad, his debut mixtape The Interview would be his last offering for the label & signed to YNR Productions to release the sophomore effort 1st 2nd Time Around as well as Me, Myself & Akai. I Should’ve Done This Time Ago was ok, but his Boot Records debut Practicing Tag Team Moves at the beginning of 2017 was better. Coming off the superior Back in Business EP however, we’re getting a statement regarding him Still being here.

The self-produced “Same Difference” opens up with a drumless intro clocking at 2 & a half minutes talking about him continuing to try to make change whereas “Kept Going” has a jazzier vibe instrumentally expressing his refusal of hanging it up. The title track stylistically takes the boom bap route responding to people wanting to know if he’s lost a step leading into “Same Ol’” featuring Kyza Sayso & Skriblah bringing the trio together to talk about not changing.

“Sorry 4 the Wait” incorporates some buzzing synthesizers apologizing for how long it took him to make Still just before “From King to a Gawd” featuring Joker Starr comes through with my personal favorite guest appearance, stripping the drums again to talk about their own separate elevations over some horns. “Do Dat” kicks off the 2nd half speaking of simply doing his own thing while “The Harvest” featuring Naughtz hops over a funky loop dropping boastful lyricism.

As for “In & Out (Make It Count)”, we have Micall talking about the fact that people are either determined to chase success or they’re not while “Ever Since” opulently discusses his discography evidently testifying to his legacy in the UK hip hop scene. “Back” has a gullier approach stylistically talking about his return & the drumless closer “Own It” sends off the album defining dopeness, including a spoken word outro performed by his son Josiah.

Spending the last 3 years producing for local artists including Axel Holy & Juga-Naut to name a couple, Still has noticeably lesser guest appearances Micall Parknsun’s previous full-length The Magnum Opus produced by Giallo Point although it’s exciting to hear him producing a great majority of it. Some might even find themselves disappointed with the predominantly drumless sound, but it doesn’t bother me since his passionate performances additionally make it worth your time.

Score: 4/5

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Lloyd Banks – “The Course of the Inevitable 3: Pieces of My Pain” review

Lloyd Banks is a 40 year old MC from Queens, New York City gaining notoriety in the 2000s for his witty punchlines along as well as being an original member of G-Unit alongside childhood friends 50 Cent & Tony Yayo. After the group’s silent disbandment in 2015, he kept himself busy for a little while by releasing A.O.N. 2 (All Or Nothing 2): L.I.U. (Live It Up) & Halloween Havoc 3: 4 Days of Fury just before taking on a 5-year hiatus that really lasted until he received a song placement on the soundtrack for Griselda Records’ theatrical debut Conflicted already 2 & a half years prior. He eventually made a grand return by dropping The Course of the Inevitable & a sequel, but is rounding out the trilogy in the form of his 6th full-length album.

“Pieces of My Pain” starts things off with some pianos, kicks & snares from Cartune Beatz as Lloyd asks how they supposed to change as well as having to see it 20/20 whereas “Onyx AMG” looks back when he used to be down as opposed to being on top now over a glistening boom bap instrumental. “Money Machine” keeps it raw thanks to Haas Almahdi as he watches the green grow just before the suspenseful “Cliffhanger” laced by V Don talks about how friends change & all that he has is himself.

Meanwhile on “101 Razors”, we have Method Mantagging along professing that money won’t ever change them keeping it in the basement as far as sound goes leading into “Movie Scenes” talking about being a big timer on top of a ghostly beat. “Opened Gates” weaves in a sample with some kicks & snares asking what would you do to be remembered, but then “LSD” with Vado makes it clear they ain’t showing love to anyone over a raw boom bap instrumental.

“Voices” flips another sample throughout layering more kicks & snares admitting he still hears voices in his head telling him they’ll never let him lay down while “Red Alert” with Tony Yayo & 38 Speshsomberly talks about hitting them right where it hurts. “Keys to Success” comes through with a shimmering boom bap beat telling y’all what it takes to be successful in life while “Automatic Pilot” by The Council couldn’t prelude the supergroup’s upcoming full-length debut any better.

The final leg of the album starts off with “Invisible” goes chipmunk soul acknowledging that he won’t see the ones he can count on to call whatsoever as soon as he makes it happen while the song “Daddy’s Little Girl” is a heartfelt ode to his daughter. The penultimate track “Showers” is a somber boom bap ballad talking about the love making the outcome better & “Deceitful Intentions” with Cormega is a sample based closer airing out those who be fraudulent.

The whole Course of the Inevitable trilogy has caused everyone to renew interest in Lloyd once again & I can definitely see why the final installment here is his favorite of the 3 personally. Cartune Beatz gets his shine with most of the production & the lyrics are more personal than the last 2 albums. Whether it’s a 4th Course of the Inevitable or something different, the most skilled lyricist in 50’s old crew is further revealing himself to be the most consistent.

Score: 3.5/5

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Keepaz of the Krypt – “The Astronomic Dr. Khronik” review

The Keepaz of the Krypt are a horrorcore duo consisting of Ohio emcee Kapital Z as well as Alabama professional wrestler, MC, producer, actor, graphic designer, video editor & director 1 Man Kru. The latter of whom formed the group alongside Suburban KorpsE & they dropped 3 albums in the mid-2000s with KrucifeR following it up by dropping a solo EP shortly after & eventually 2 full-lengths of his own before becoming an in-house producer for the Insane Clown Posse’s label that runs beneath the streets Psychopathic Records since the “Bewitching” intro of the critically panned Yum Yum’s Lure EP preluding the 5th Joker’s Card of the 2nd Deck Yum Yum Bedlam although he first met Violent J in 2011 when he wrestled a dark match at the Legends & Icons show that Juggalo Championship Wrestling or JCW produced at the 12th annual Gathering of the Juggalos. But after a falling out with the Duke due to $20k in unpaid royalties, the 1 Man Kru is putting the batch of beats that he had made during the Yum Yum Bedlam sessions to use by bringing The Great Zambini on board for the Krypt Keepaz’ 4th full-length outing & their first in 16 years

After the Tommy Chong intro, the title track is an aggressive trap opener properly introducing the titular character prior to “Gluttony” pulling together a chilling backdrop & some hi-hats talking about the first of the 7 deadly sins. The Psychopathic MonStar himself Lyte stops by on the shimmering trap anthem “Smoke ‘Til I Die” for a quick dedication to all the stoners out there with even a fresh ass “2nd-Hand Smoke” reference at the end of the final verse until Blaze Ya Dead Homie pops out for “Greed” with it’s carnivalesque instrumental & the lyrics about always needing more than they actually require referencing former WWE CEO Vince McMahon, who additionally self-booked himself as WWE Champion & ECW World Heavyweight Champion.

Meanwhile on “I Gotta”, we have the Keepaz of the Krypt with the demented duo Twiztid discussing everything they have such as good dope as well as more foes than friends & a ton of bands as the beat blends trap & g-funk just before “Sloth” tells the difference between those who sit on their ass all day & risk-takers over some hi-hats & icy synths. Original krypt keepa Suburban KorpsE returns accompanied by the hatchet warrior Anybody Killa with the monstrous “Dope It Up” giving advice to those who think their lives such just before “Lust” with The R.O.C. is a chime/trap hybrid about fucking.

“Envy” has a more mystic sound asking if anyone out there happens to be jealous of them while the subject matter of “Hater Killer” with Boondox & LB~Sickning calls back to the highlight closer “Death of a Hater” off Turncoat Dirty’s sophomore album Krimson Creek with the production meshing trap & g-funk yet again except with the keys thrown in. “Pride” weaves some hi-hats, strings & bells together addressing the wack MCs who can’t cope with their freshness while “Bow Down” featuring The Jokerr includes a bar referring to former 6-time WWE world champion, WWE Intercontinental Champion, WWE tag team champion, 2-time AEW World Champion, inaugural ROH Hall of Fame inductee, ROH World Champion, 2-time ROH World Tag Team Champion & 5-time IWA World Champion CM Punk. Especially with the final verse being directed towards J himself.

The final leg of the album starts off with “Wrath” eerily & vividly describing what happens to those that trespass while the song “N.B.K. (Natural Born Killers)” follows it up with a morbidly raw trap heater about them, the Dark Hill Gang & G-Mo Skee describing their violent tendencies with G-Mo unsurprisingly saving the best verse for the end parodying Ice Cube on the titular song he did with Dr. Dre of the Murder Was the Case soundtrack including references to the late WWE Hall of Famer Paul Bearer along with fellow WWE Hall of Famer, former SMW Tag Team Champion, 3-time WWE world champion, 2-time WWE Intercontinental Champion, 12-time WWE tag team champion & WWE Hardcore Champion Kane references. The penultimate track “Sick in the Head” with Str8jaket gives off a more apprehensive vibe talking about how crazy they are with the 1 Man Kru dissing Violent J during his verse yet again & “Going to the Gathering” with former Dark Lotus member Marz surprisingly closes the album with a fun ode to Shangri-La on Earth.

Ever since Psychopathic & MNE severed ties with one another over 6 years ago by now, I know that there’s quite a bit of drama & toxicity within the juggalo realm with fans picking sides. However, I’ll always continue to support both sides strictly for the music as I too know what it’s like to be misunderstood & an outcast which is why I’ll always defend juggalos & could give a fuck about the drama. That being said: the loyalists on Facebook that I saw were quick to compare these guys to King Krimzon or Krimzon X or whatever the fuck moniker that talentless loser goes by now don’t know shit about the Keepaz of the Krypt because their first album in over 16 years is the best they’ve sounded. The feature list is mostly consistent, the concept of the 7 deadly sins is captivating & you can really hear how much KrucifeR’s production game has evolved since the group first emerged.

Score: 3.5/5

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Fuego Base – “Biggest Since Camby” review

This is the proper full-length debut from Hartford, Connecticut emcee Fuego Base. Getting his start a few years ago off his debut EP Tell My Momma Imma Rapper, he would continue to build up his catalog by going on to drop another EP called Tell My Momma Imma Rapper Still & the Say Dat mixtape trilogy before Buffalo’s very own Benny the Butcher signed Fuego to his ever-growing MNRK Music Group imprint Black Soprano Family Records last year. So considering this new label deal of his, dude’s making it clear that he’s the Biggest Since Camby to come out of the forgotten place of Hartford.

After the intro, the title track opens up the album by letting everyone know who’s running the city now over a dusty boom bap instrumental with some bass licks prior to Elcamino & 38 Spesh both coming into the picture for “Blocked” produced by the latter as the trio talk about the only thing on their mind being the paper & wealth over a more synth-based sound. “Heavy D” brings back the kicks & snares with a piano loop getting on his hustler shit just before the warm “Chest Pains” talks about having to get his people right.

Meanwhile with “Holding On”, we have Heem tagging along so both MCs make it clear that they stay strapped when cruising down the city with an atmospheric Rick Hyde beat leading into “Quality” with O.T. the Real returns to the boom bap orchestral style making it clear that excellence is the standard. “House Phone” fuses some kicks, snares & a crooning sample making it clear they’ve been running it for a grip until “Take a Look” dives into trap turf as Benny the Butcher, Lo Pro, Ricky & Uncle Murda discuss pushin’ weight.

“The Warehouse” with Benny & O.T. was a great choice for a single making their great escape from off the corner over some hi-hats & strings until the sequel with Benny, Camino & Heem keeping the string sections in tact swapping out the hi-hats with more kicks & snares talking about being the bosses they are. The solemnly produced “Tommy Brown” with Rick Hyde & Sheek Louch finds the trio asking where the fire in their eyes went while the penultimate track “White Lives Matter” featuring another recent Black Soprano Family signing Sule takes it back to the basement courtesy of Havoc admitting he’s too comfy in this music shit. “Ron Francis” though is a powerful closer to the album making it clear that they love the residue more than hoes.

You can most definitely hear the hunger in Fuego on his early material, but he really takes it to another level on Biggest Since Camby to the point where I can most definitely see it being the album that renews the public eye’s interest in the Connecticut hip hop scene & one to reveal him to be a welcoming addition to the ever-growing BSF roster. He sounds more focused than ever, it’s more well-produced & it’s really interesting to hear how well he gels with his fellow labelmates as well as their affiliates.

Score: 3.5/5

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