Chetta is a 32 year old rapper/producer from New Orleans, Louisiana who came up in the spring of 2014 off his debut mixtape Nino White. This was followed up with 18 EPs as well as 11 more tapes & a full-length debut, but gained significant attention off his G*59 Record$ debut Been Here Forever last summer & his 19th EP Falling Off only 5 months ago. However, it seems that Chetta’s returning with his 3rd album & is fully producing it again except for 1 joint this time.
“Holy:Fuck” is an unsettlingly dark trap opener making it known that he gon’ move exactly how the fuck he wants whereas “fake.com (Subscribe Now)” has a cloudier approach instrumentally talking about the fact that half of these hoes are getting fucked for free. “4am in Nola” details swerving both lanes keeps it in atmospheric trap territory asking if it’s worth snorting painkillers, but then “I’ll Get High If I Want To” gives off a bass-heavier yet cavernous vibe talking about of course being high & I as a stoner can already imagine those who get under the influence recreationally getting turnt to it.
With “2 Wrongs & a Right”, we have Chetta returning to a trillwave-inspired groove reminding that we know how it goes just before “Hot*59” gives me a dejecting atmosphere talking about being unable to fuck around. “Spoiled Rotten” comes through with more of a distorted trap edge being out on the street instead of on the clock leading into “Penthouse for My Feelings” going full-blown trap metal talking about having to watch hoes being curved like stop signs. $crim saves the wickedest beat on the whole album for the penultimate track “Blown Veins” telling a lame to get their act right until the hazy closer “Come with Me If It’s Pain You Seek” says it all topically.
At 33 projects under his belt throughout almost the span of a decade, Playboy further proves that Chetta’s progressively been stepping it up ever since the $uicideboy$ signed him their Virgin Music imprint & I’d recommend those who fuck with the boy$ as much as I do give his music a shot of they haven’t done so already. His production game as strong as it was earlier on in the year & it’s really cool to see him throw it back to his old ways a bit so new fans can familiarize themselves with his pre-G*59 material.
This is the 23rd full-length album from Detroit emcee/producer & Reel Life Productions founder Esham. Widely acknowledged as the godfather of horrorcore alongside his former Natas cohorts Mastamind & the late TNT, his run from 1989-2005 (particularly the albums KKKill the Fetus, Closed Casket & Doubelievengod?) would go on to lay out the groundwork for subsequent horrorcore acts such as the Insane Clown Posse & even Eminem. His output from Sacrificial Lambz onwards (essentially after his 2-album deal with Psychopathic Records from 02-05) has been a little hit or miss even though I love the single “S.S.M.D. (Stop Selling Me Drugs)” & Dichotomy respectively. Psyops however was creative detour for Esham as he self-produced the whole thing for the first time in a while conceptually revolving around what it was like for him living in Minneapolis, Minnesota during the George Floyd protests & a more rap rock inspired sound. But after having the honor of meeting him personally last fall & coming fresh off the 3-Headed Monster’s full-length debut Obliteration last month, East Side Hoes And Money is looking to escape Purgatory.
“Active Shooter” is a rap metal opener with the acid rap pioneer can discuss the issue of kids killing kids whereas the self-produced “Circle of Proud” goes into a more groovy trap direction talking about “white noise”. More specifically: the far-right. “Circle of Wraith” shifts gears into rap metal territory again talking about sacrificing a goat, but then the first of 2 tracks featuring Jack Frost called “Circle of Avarice” has a rawer, drearier approach instrumentally to speak on greed.
Jack makes his 2nd consecutive & final appearance on the album with “Circle of Gluttony” over a bloodcurdling beat to habitual greed just before “St. Detroit” gives off a more angelic flare musically produced by the Drunken Master to pay homage to the 313, the city where they’ll eat motherfuckers for dinner. The title track embraces a more boom bap sound detailing the place we all fear leading into the acoustic heavy “Circle of Sloth” talking about all your pieces going back in the box when you’re done with the game of life.
“Bro” makes it clear that he don’t fuck with no rats over some twinkling keys & hi-hats while “Watch Me Do My Dace” kinda has a quirky trap appeal instrumentally telling everyone to witness him do exactly that. “Big Motion” is a synthesizer/boom bap crossover provided by the homie Dead Heat talking about rappers out here being way too dry while the glamorous trap cut “Me” featuring Mastamind getting on the more wicket side of things.
The dejecting piano chords & hi-hats on “El Sicarios” featuring Mastamind for the 2nd consecutive & final time comparing themselves to hitmen while “I Can’t Believe” is a sample-based boom bap joint talking about how wack is wack is regardless of what the streaming stats are which I agree. The song “Woke Up Quick” gives more of a synth-trap feeling doing exactly that simply because he’s from Motown while the atmospheric penultimate track “O.T.B. (Old Thing Back)” takes a trip down memory lane. “It’s a Vibe” is a fun closer celebrating that he’s still alive out here & that they gon’ ride.
Psyops being a step in the right direction for Esham as it was had me anticipating Purgatory a bit more than I’ve done so with some of his material within the last 15 years truthfully & he continues to move towards that trajectory a year & a half later. The political rap metal influences from that previous album makes it’s way here dashed with boom bap & trap detours too so the Unholy can take us through uncovering the secrets lying beyond the intermediate state after physical death for expiatory purification.
Lucki is a 27 year old rapper & occasional producer from Chicago, Illinois who began to turn heads in the summer of 2013 when he released his debut mixtape Alternative Trap to critical acclaim. He would later go on to give his fans 6 more tapes & a dozen EPs with the last one being the F1LTHY-produced Wake Up Lucki a week before my 25th birthday in December 2021 & eventually the full-length debut Flawless Like Me last fall. So when it was announced that the sophomore album was gonna start off the 2nd half of 2023 only 48 hours ago, to say I was anticipating it would be an understatement.
“Tunevert” is a top notch opener produced by YSL Records in-house producer Taurus with it’s twangy trap approach boasting that he bossed up a city girl whereas “No Bap” takes a cloudier route talking about being so geeked up. “Super Ski” works in some synthesizers & hi-hats thanks to Cxdy of Vanguard Music Group & Internet Money Records producer Rio Leyva describing his bitch as slimey that is until “Gemini Love” has more shimmery trap vibe talking about a chick who moves sloppy yet stays in shape.
The plugg beat from Cash Cobain on “2021 Vibes” was unexpected considering his sample drill roots & Lucki flows all over it well dropping lines like “Bentley’s talkin’ to myself, Ghazi said it’s sendin’ help” just before “Mubu” points out that he sealed the deal with a seal in hand over a peppily cloudy trap instrumental, but then “Almighty Tune” blends these vain horns & hi-hats boasting that he has different hoes who by different clothes.
“Str8 Syrup” has a depressing trap vibe to the beat so Luc can pour 4 to make it feel like ecstasy while “Purple Heart Ski” has these psychedelic guitar passages as well as claps & hi-hats telling the world that you can get it like him if you’re patient. “Karma a Bitch” fuses an operatic vocal sample with hi-hats & a booming bass-line admitting that he has to show the way & “Pop Star” is a standout from the futuristically spacious beat.
Veeze serves as the album’s only guest appearance on “Wholeworldslatt” joining forces with Luc to show everyone how slimey they both are & that they fit in while the song “Bby Pluto” is another favorite off the album paying homage to Future with Tay Keith & Cubeatz experimenting with rock guitars & elements of trillwave. The penultimate track “Chrome Denim” is a trap banger with synths & bells talking about still being too geeked & “New York” rounds out the album coming clean that he’s high on drugs in a S 580 as he was recording.
Between the 2 full-length albums under Lucki’s belt thus far, I feel like s*x m*ney dr*gs has to be a tad bit superior compared to the other & the best thing he’s done in a while. He returns to a form a bit as the production expands the style of his that came into it’s final form last fall alongside delivering better performances & keeping it at a reasonable length by including less filler cuts.
This is the official full-length debut from emcee Vega7 the Ronin. Emerging out almost a year & a half ago by enlisting Danish beatsmith Machacha to produce his debut EP The Lead Lined Wall, he would then go on to land feature placement on the 5th & final installment of Ty Farris’ historic No Cosign Just Cocaine mixtape series this past February. But to kick off the 2nd half of 2023, the Ronin himself’s bringing in Germany producer Superior to remind that Sleep’s the Cousin of death which peaked my interest given that Baladas was the first Estee Nack album I ever reviewed right when the pandemic was happening despite being a fan since high school.
“N1 (Sleep’s the Cousin)” is a glistening boom bap opener making reference to WWE Hall of Famer, former 6-time WWE world champion & WWE Intercontinental Champion Randy Savage alongside WWE Hall of Famer Gene Okerlund whereas “‘72 Dolphins” works in some organs, kicks & snares comparing his squad to the Miami Dolphins over 5 decades ago & likening himself to 5-time WWE world champion, 2-time WWE Intercontinental Champion, 2-time WWE United States Champion, 6-time WWE Tag Team Champion, PWG World Tag Team Champion, ROH World Champion & 2-time ROH World Tag Team Champion Seth Rollins married to 6-time WWE women’s world champion & WWE Women’s Tag Team Champion Becky Lynch. “Saleen” kinda has a Latin flare to the bare loop hooked up reminding when they were calling money “C.R.E.A.M.” & the guitars throughout “Enterprise” are really cool expressing his desire for his own business.
“After the “N2” interlude, “Stone Fish Venom” featuring Connecticut born/New York based emcee Cambatta finds the 2 over some bare piano chords & ghostly background vocals calling this truth serum with some intriguing back-&-forth chemistry just before “A Voice in the Wind” brings in a woodwind telling his brothers it’s us against those who show fake love leading into “Buckwheat” featuring Daniel Son joining forces over some blaring horns to throw in a line referring to former 3-time WCW World Heavyweight Champion, 2-time WWE United States Champion, 5-time WWE tag team champion & WCW World Television Champion Diamond Dallas Page.
“Body Count” concludes 2nd leg of the album with some strings & occasionally empowering guitar riffs talking about that being the only stays they check while but then after the “N3” interlude, “NightShade” featuring Lord Owen gives off a spacier feeling as both detail being lost on the road to stardom. The song “M-65 Jackets” fuses boom bap with rap rock declaring to be God’s competent son while the drumless yet climactic penultimate track “The Mutiny” dissing the cowards dishonoring their decrees. “R.E.M.” however is a crooning closer making it safe to call him a carnivore.
Considering the standout feature on “Dope Speak 4 Itself” almost 5 months ago at this point, it makes sense to see all the hype that Sleep is the Cousin has been getting lately because it’s undeniably a promising debut album. Superior’s drumless production is on par with Baladas, Vega7’s lyricism is a cut above the previous EP’s & the amount of features in comparison are similar yet more stronger here.
This is the 4th full-length album from Las Vegas, Nevada producer, rapper & fashion designer Shaggytheairhead. Peaking my interesting after producing one of my all-time favorite Ouija Macc songs “Nardwuar Glocc” back in 2018, he would back that up with 4 EPs before becoming an in-house producer for Chapter 17 Records & Psychopathic Records alongside his Mythic Mindz cohort Devereaux. Shaggy dropped his debut Wakin’ Up during the 21st annual Gathering of the Juggalos, which was the only Gathering I’ve ever been to & a weekend that I’ll never forget. As far as the actual music on Wakin’ Up, it’s my favorite of his thus far because of how much he improved his lyricism & that he dabbled with a wide range of sounds to show his influences. Following the Gathering of Dreams last summer however, he dropped a producer album called Grin to the Grave featuring a wide range of artists rapping over his production from Ouija to King Iso, Project Pat, Sir Michael Rocks & even Matt Ox. But coming off the sophomore effort Coffee this past February & even the personal Blood Sweat Tears last weekend, Shaggy’s continuing to apply pressure with Lazy & Crazy.
“6 Foot Killa” starts things off with a minimal trap instrumental letting it be known exactly what people should be calling him whereas “Bang” takes a more grimy boom bap route talking about how he’s feeling good in this type of scenario & that we’re gonna get a heater as soon as you hear his producer tag. “Nice List” shifts gears into rugged territory thanks to Devereaux saying he’ll fuck you up if you’re talking shit leading into “Same” pulling from cloud rap & trap talking about skating.
On the other hand, “Beef 2” blends a delicately mellow loop & hi-hats together cautioning that those fuckin’ with the Mythic will get their wigs split just before “Old News” featuring Jake G gives off a more uncanny trap vibe talking about getting faded & that they ain’t ever gon’ stop. “Clock In” tries giving off a wavier approach to the beat encouraging listeners to dream big every single day, but then Devereaux hooks up these synths & hi-hats on “Alone Sometimes” so the Airhead can talk about the loneliness that he feels every now & then.
Chapter 17 Records’ newest signee Darby O’Trill & the Duke of the Wicked himself Violent J both come into the picture for “Greaper Shorts” flexing that they have 5 pairs of the titular shorts over an organ-laced trap instrumental while “Fe Fi Fo Fum” has a more occult feeling sonically talking about how he thinks people should be running from him since he’s out here killing shit. “Pause” has an icier sound to it asking if anyone feels alone or if they’re constantly getting the bone while “Sucker Stick” jumps top of some skittering hi-hats shoving exactly that in the earholes of his haters.
“Family All Around Me” has a more vibrantly aggressive tone getting rowdy as soon as he steps up in that bitch while “Sorry Not Sorry” gives off a bleaker trap sound talking about this shit being fire even though others could call it trash. The song “PBR” despite its brevity is a cool, psychedelic ode to the titular brand of beer that I personally enjoy as well while the penultimate track serves as a more synth-based sequel to the eerily raw “Street Trash” off Darby O’Trill’s 3rd album Piecemeal. Crowd” though tends to be a shimmery trap closer hoping those don’t know by now eventually will.
The C17/PSY in-house producer has been on a ROLL in 2023 by completing the trilogy that Sleepin’ In started & Wakin’ Up bridged with Coffee back in February on top of Blood Sweat Tears giving listeners a better look at who he is personally, but I went into Lazy & Crazy expecting it to be a soundtrack to his clothing brand of the same name & it’s a genuine one at that. It’s more summer oriented musically, the features a slight cut above Blood Sweat Tears’ & you can just tell the dude’s having more fun with it this time.
This is the 3rd full-length album from Philadelphia rapper & singer Lil Uzi Vert. Becoming a household name in the trap scene with their 2015 mixtape LUV is Rage & then Lil Uzi Vert vs. the World the following year, Uzi has been entangled with a nasty legal battle with Generation Now Entertainment/Atlantic Records from their debut LUV is Rage 2 until the sophomore effort Eternal Atake came out in March of 2020 to moderate reception to which they admitted themselves didn’t live up to their expectations & followed it up a week later with the far superior Lil Uzi Vert vs. the World 2 that spawned the deluxe version trend where artists would drop a “deluxe version” of their newest project that’s basically an entirely new album. Red & White last summer was a solid prelude in it’s own right, but is ending the first half of 2023 by finally unloading The Pink Tape.
“Flooded the Face” is a cloudy trap opener produced by Don Cannon calling back to the intros of both LUV is Rage projects refusing to pump the brakes along with clapping back at those questioning their sexuality whereas “Suicide Doors” is a trap metal banger that Brandon Finessin’ cooks up talking about feeling like The Crow & it’s a shame that Playboi Carti isn’t featured on it because I can definitely imagine him over this instrumental, but it’s still hard as fuck nonetheless! “Aye” featuring Travis Scott finds the 2 looking to go harder over some strings & hi-hats from BNYX of Working on Dying just before “Crush ‘Em” talks about smashing like road rage & being a player over an airy trap beat with co-production from Cubeatz & WondaGurl.
Moving on from there, “Amped” wants everyone to witness them go “amped” as Bugz Ronin fuses trap with rock once more leading into “x2” becoming an early favorite for me from Uzi’s infectiously pop rap performances about this shit being cray to the futuristically wobbly beat from both Cliffshayne & Ken Carson. “Died & Came Back” on the other hand has more glistening trap vibe feeling as if they’ve been resurrected, but then “Spin Again” talks about spinning bitches works in some synthesizers & booming sub-bass from Brandon Finessin’. Also note worth noting the Ice Spice reference during the verse that caused JT of the City Girls to flip on Uzi not too long ago.
“That Fiya” points out the .44 Magnum that they have on them accompanied by ZeeGoinXrazy’s electro synths & hi-hats while “I Gotta” gives off a more triumphant approach thanks to Outtatown talking about their ridiculous new whip. “Endless Fashion” featuring Nicki Minaj finds the 2 joining forces for an official song excluding the remix to “The Way Life Goes” (O.G.’s better). But in all seriousness, the actual music isn’t all great as they pretty much butcher Eiffel 65’s best song “Blue (Da Ba Dee)” almost as bad as Bebe Rexha & David Guetta did on “I’m Good (Blue)” last summer. However, the Republican doctor bar was funny even though both wings are on the same bird personally. “Mama, I’m Sorry” though is an improvement with it’s tropical trap beat & lyrics apologizing to their mother.
Meanwhile, “All Alone” vents about relationship struggles with a shoutout during the 2nd verse & Don Cannon bringing back that old playful Lil Uzi Vert vs. the World/The Perfect LUV Tape sound while “Nakamura” named after former 3-time IWGPヘビー級チャンピオン, 5-time IWGPインターコンチネンタルチャンピオン, IWGPタッグチャンピオン, 2-time NXT Champion, 2-time WWE Intercontinental Champion & 2-time WWE United States Champion 中邑 真輔 talks about becoming too focused when it comes to the cash flow sampling the titular performer’s theme. It’s also worth noting that Uzi themself have said that this will be their entrance theme for their in-ring performance at WrestleMania XL next spring.
The only single released up to this point “Jus Wanna Rock” lets Internet Money Records in-house producer Synthetic fuse Philly & Jersey Club together in a tasteful manner that will get everyone to do exactly that as they got everyone to do the first night of WrestleMania XXXIX during former 8-time WWE tag team champions The Usos’ entrance against former 2-time PWG World Tag Team Champions & ROH World Tag Team Champions Kevin Owens & Sami Zayn although the latter team walked away as 2-time WWE tag team champions that night while “Fire Alarm” delves further fusing EDM & trap talking about taking percocets.
“CS” is a cover of my all-time favorite System of a Down! song “Chop Suey” that I’ll never listen to again even though I appreciate the homage to the days of where alternative & nu metal were in their prime that is until “Werewolf” featuring Bring Me the Horizon roots itself into the band’s signature metalcore sound with Oliver Sykes assisting Uzi in talking about going deeper underground with an angelically sung hook attached to it. “Pluto to Mars” points out the fact that they could never be mistaken for a lame over a feel good trap beat while “Patience” featuring Don Toliver goes for the melodic/synth direction singing about seroquel which ironically enough I actually take to help with my insomnia.
“Days Come & Go” returns to that victorious groove declaring that their love won’t stay as time goes on while “Rehab” gives off an otherworldly vibe instrumentally talking about making sure he don’t feel no drama. “The End” featuring ベビーメタルtends to favor towards the Tokyo trio’s kawaii metal sound courtesy of コバメタル with co-production from Maaly Raw to discuss being from outer space as the secret that they’re not from this Earth was revealed on “Glock in My Purse” last summer. The song “Zoom” is a cavernous trap banger produced by Wheezy telling y’all not to call their phone while the penultimate track “Of Course” sonically has a happier mood that Oogie Mane gives off drippin’ & swaggin’. “Shardai” though sends the album off warmly staying with the bag.
We’ve waited 3 years for this day to come & I will give credit to Uzi for making Pink Tape better than Eternal Atake as a full-length album, but there are some moments that I don’t see myself going back to at all either. They take some artistic risks that come from a genuine place expanding beyond trap & pop rap in favor of rage, cloud rap, trap metal, rap rock & alt-metal with an overloaded track-listing at 86 minutes as well as 26 cuts that has more hits than misses.
This is the sophomore full-length album from Buffalo emcee Loveboat Luciano. Emerging in 2018 off his debut EP Yung 4 Eva, he would go on to expand his discography by putting out the full-length debut Probation & a sequel to the Institutionalized by the Streets mixtape before signing to Black Soprano Family Records. But coming off Fuego Base’s debut Biggest Since Camby on 4/20 & then Heem’s sophomore effort From the Cradle to the Game over a month ago, Loveboat’s stepping up to the late on Parole
The intro is a gritty boom bap opener taking y’all where he came from whereas “2nd Strike” featuring Benny the Butcher fuses these synths, hi-hats, kicks & snares together courtesy of Rick Hyde letting it be known that there’s a storm coming. The title track hooks up what sounds like a whistling kettle pot dedicating this one to all the homies that be living raw to this day just before “Exonerated” goes into a more piano-driven territory talking about having nowhere to go but the block.
“Piss Test” featuring Ricky gives off a bluesier vibe thanks to Jahlil Beats calling out those who were hating while they were counting their stacks leading into “Detainer” featuring Dave East shifting gears into crooning trap turf discussing being about their business. “Warrant” featuring Heem & Dappa angrily disses those who turned witness ratting on the gang, but then “House Arrest” brings in another trap beat encouraging everyone to get used to B$F if you aren’t by now already.
Meanwhile, “Sentencing” starts the last leg of the album by returning to the boom bap promising to not let any of the hard times change him that is until the song “Loretto” featuring Conway the Machine has a more delicate instrumental venting over these demons that they be battling. The penultimate track “PSI” featuring Che Noir takes an atmospheric approach talking about situations that done turned them into bosses & the outro is a sample/trap crossover refusing to be on some extra shit.
Probation gave B$F fans a glimpse at the hardships that Loveboat was going through when the label started blowing up & expanding it’s roster, but Parole really offers a new perspective of where he’s been at in his life since then. The production choices have improved, the feature performances are more consistent & brings his undeniably rejuvenated passion that he’s received ever since coming back home to the mic.
Shaggytheairhead is a 29 year old producer, rapper & fashion designer from Las Vegas, Nevada that caught my attention after producing one of my all-time favorite Ouija Macc songs “Nardwuar Glocc” back in 2018. He would back that up with 4 EPs before becoming an in-house producer for Chapter 17 Records & Psychopathic Records alongside his Mythic Mindz cohort Devereaux. Shaggy would drop his debut album Wakin’ Up during the 21st annual Gathering of the Juggalos, which was the only Gathering I’ve ever been to & a weekend that I’ll never forget. As far as the actual music on Wakin’ Up, it’s my favorite of his thus far because of how much he improved his lyricism & that he dabbled with a wide range of sounds to show his influences. Following the Gathering of Dreams last summer however, he dropped a producer album called Grin to the Grave featuring a wide range of artists rapping over his production from Ouija to King Iso, Project Pat, Sir Michael Rocks & even Matt Ox. But coming off the sophomore effort Coffee this past February, he’s returning with a 3rd album.
“almost there” kicks it all off with an entrancing trap instrumental co-produced with his Mythic Mindz right hand man Devereaux talking about focusing on the dream whereas “grin to the grave” has a wavier approach sonically encouraging to let the haters hate & that he’ll die smiling. “life” pulls from the Memphis rap sound a bit pouring one out for all of those who couldn’t be with us today leading into “War Never Ends” working in some kicks & snares talking about intimidation catching up to him.
SPLXFFY’s feature on “so alive” is just ok although I absolutely love the warmer tone that Shaggytheairhead brings to the table both sonically & conceptually, but then “show love (give someone a hug)” picks things back up with a fun trap ballad all about spreading kindness. “out the park” almost gives me a hyphy feel except it has these icy synthesizers getting on the more boastful side lyrically just before “fam” featuring Chapter 17 Records’ newest signee Darby O’Trill gives off a rowdier edge wanting to throw hands.
“puzzle” begins the final leg of the album on a pluggier vibe realizing that he’s a dying breed while the song “i’m ok” reunites with SPLXFFY for the last time & performing better on “so alive” as this time they talk about all up in heavy thoughts over a somber trap beat. The penultimate track “she got” goes into sample-based territory confessing his love for a woman that’s like a weapon to him & “drink the pain away” is a dreary trap closer dedicated to those who like to be under the influence of alcohol until you can’t feel the pain anymore.
Wakin’ Up showed the juggalos what he was capable of on the mic & Coffee expanded on that, but he really did give it all Blood Sweat Tears on this one because I genuinely feel like it’s an album that those familiar with him must hear if you want to know more about who he is. The subject matter is more personal than his last couple albums were expanding on the versatile production ranging from Memphis rap & trap to boom bap & the art of sampling.
This is the sophomore album from Brownsville emcee Teflon. Coming up as an associate of M.O.P., he would also make his presence known during the summer of 1997 by dropping the full-length debut My Will to moderate reception & returning 9 years later in the form of the debut mixtape Bad News. However, it’s been another 17 years & Tef’s returning by offering 2 Sides to Every Storychoosing only 2 people behind the boards to handle the musical soundscapes.
After the “2 Sides” intro, the first song “Out the Gate” is a sample-infused boom bap opener produced by DJ Premier going ape shit from the start like it ain’t nothing whereas “Contraband” works in some horns as well as kicks & snares talking about how you don’t known the half of his crew. “4 tha Love” ruggedly discusses being driven by the fortune until “It Is What It Is” going into the piano boom bap direction thanks to Jazimoto advising not to say any more being all about the business.
“Life in the Feds” has a funkier groove to it detailing what it was like to be behind bars & after the “Some of the Fellas on the Block” interlude, “Know Our Way Around” featuring the Mash Out Posse pairs up Tef with Billy Danze & Lil’ Fame over a more horn-heavy beat talking about how this is exactly it’s going down. “No Fake Love” is a brass/boom bap crossover taking a shot at those fakin’ the funk, but then “Baby” brings these piano chords into the fold to spaz out.
Benny the Butcher’s verse on the track “Hostile Takeover” has to be my favorite feature on the album as he & Teflon returns to a dustier sound so both of them can get in their battle rap bag while the final song “The Thoro Side” after the “How It Was” skit features M.O.P. again 1 last time except the Preemo instrumental is so much dirtier than “Know Our Way Around”. On top of that, the concept of them flexing their lyrical prowesses is such an exciting combination. The remix to “Life in the Feds” is more horn-centered compared to the original, but it’s no better or worse by any means.
I‘ve always heard about this guy through his longtime relationship with the marxman, but was a little hesitant going into 2 Sides of Every Story considering that I’m not the biggest My Will fan myself, but I must admit that his comeback effort here surpassed my expectations a bit & that I enjoyed it more than I thought I would. His performances here sound a lot better than they did the last time we heard him by himself 26 years ago in the midst of Premier & Jazimoto playing Ying & Yang on the production side of things although Preem’s sticks out more to me personally.
This is the full-length debut album from up-&-coming Detroit rapper Veeze. Getting his start in 2019 off the strength of his debut EP Navy Wavy, he would go on to be featured on subsequent projects ranging from the likes of Babyface Ray to even Lil Yachty or more recently Chavo. So going into Ganger, my morbid curiosity got the best of me considering the strength of his feature run & the 4-year time gap since that last EP.
The synthesizers & hi-hats on the opener “Not Drill” are all well incorporated making way for Veeze letting y’all know this the real thing whereas “OverseasBaller” gives off more of a Detroit trap vibe talking about feeling like Dirk Nowitzki. “No Sir Ski” takes the atmospheric route instrumentally encouraging to cherish life before you lose that bitch, but then “You Know I” fuses g-funk with trap talking about being fresh as Hell.
“G.O.M.D. (Get Off My Dick)” has a more sample-based groove to it with the subject matter needing no further explanation just before “Sexy Liar” returns to the Detroit trap sound talking about liking the way it sounds when his girl caps to him. “Broke Phone” featuring LUCKI has a wavier feel to it as both of them saying fuck everybody pretty much leading into “7sixers” featuring Babyface Ray & Icewear Vezzo lacing these synths & hi-hats once again talking about their pockets getting fatter as their hearts grow colder referencing Tesla CEO, SpaceX founder, Neuralink founder & Twitter owner Elon Musk.
Moving on from there, “Robert De Niro” gives off a moodier trap feel calling out someone that ain’t a made man while the “Boat” interlude featuring Lil Yachty is more of an actual song & a good one at that finding the pair hopping over a Detroit trap beat in order to flex. “Tramp Stamp” goes into spacious territory talking about a hoe fuckin’ on a famous g while “Weekend” has a calmer trap tone to it declaring that this shit ain’t for the weak.
“Kinda $” brings back a moodier backdrop & layering these hi-hats over it acknowledging that this shawty knows he’s getting all kinds of paper while “Gaig” is a fun piano trap ballad going into detail about his expensive habits. “Who Da 1” fuses this jangly guitar lead & more hi-hats making it clear that you know who the fuck it is while “Unreleased Leak” blends trap with symphonic music talking about how the gang move & what crime does.
Meanwhile, “Lick” gets heavier with the synthesizers so dude can discuss having everything on him tonight hitting exactly that while “Safe 2” goes into a more stripped back direction talking about coming a long way. The penultimate song “Gangermatic” has a hazier instrumental this time thanks to Pooh Beatz venting that the streets be getting ugly & “Tony Hawk” officially ends the album on an acoustic trap note talking about continuing to grind. The “G.O.M.D. (Get Off My Dick)” remix featuring Lil Uzi Vert however serves as a bonus track & I happen to like it more than the original as dope as it is.
“Get LUCKI” starts the deluxe run by telling a bitch to give him head over synths & hi-hats while “Rich No Duh” returns to the Detroit trap sound referring to himself as the plug. “Luv the Tour” has to be my favorite bonus track of the 5 from the synthesizer-heavy beat that Evilgiane & Harrison of the Surf Gang deliver to the boisterous lyricism while the dreamy “Rich Rockstar” responds to the question of what his money looking like. “Amusing” finishes the Ganger deluxe by laying it out that y’all better be knowing what the fuck goin’ on over upbeat 808 percussion & synthesizers.
If you’re looking for a fresh new face in the Detroit trap scene, then you’re gonna want to give Ganger a listen because Veeze is most certainly in the same ranks as Face or DaeMoney & even the ShittyBoyz as one of the best artists that the 313 has seen in recent memory. He sounds recharged after taking 4 years off & more focused making way to properly introduce himself to a wider audience. On top of that, the feature list is consistent & the production is different for someone in his style.
