Substance810 – “Desolate Lands” review

This is the 10th full-length album from Port Huron emcee/producer Substance810. Coming up in ‘06 off his debut The Definition under his original moniker Tekneek, he’s since gone on to build up an impressive catalog for himself whether it be the sequel The Definition Of… or the Hobgoblin-produced The Hanging Gardens. He just dropped the Onaje Jordan-produced A Righteous Offering back in the fall & now 6 months later, Substance is enlisting Chuck Chan to produce Desolate Lands in it’s entirety.

The title track sets the album up by asking how many times he & Chuck gotta give listeners that raw over a calming instrumental whereas the Josiah the Gift-assisted “Substantial” throws in a pillowy boom bap beat talking about making music with substance. Pro Dillinger tags along for the soulful “Thrill of the Hunt” advising that you can’t escape them, but then Dango Forlaine & Mickey Diamond come into the picture for the dusty “Noteworthy” ripping their opposition to shreds.

Meanwhile on “Nomads”, we have King Author joining Substance810 on top of a lush drumless loop keeping the battle raps going just before “Forever Forage” works in an orchestral boom bap instrumental wanting to know who the most potent is. After the titular interlude, “Pompeii” asks what’s really left to say over a hazy beat prior to “Dead Flowers” throwing a sick guitar lead talking about wising up.

The song “Block Spill” with King Micah the Infamous & Philmore Greene finds the trio going into jazzier territory talking about how it be in the streets while the penultimate track Staircases” with Supreme Cerebral has a more orchestral sound admitting that the light at the end of the tunnel is hard to see. “Coming Home” then ends the album with a horn-laced tribute to his hometown of Port Huron.

As much as I loved Chess Pieces, I happen to dig Desolate Lands a little bit more by a small margin. Substance’s lyricism continues to get more intense with each passing project Chuck Chan’s production is a lot more eclectic this time around.

Score: 4/5

eLZhi – “Zhigeist” review

This is the 4th full-length album from Detroit veteran eLZhi. Rising to prominence as a member of Slum Village shortly after the departure of the late J Dilla about 2 decades ago, he eventually saw success of his own with his classic solo debut The Preface in the summer of ‘08 & was followed up 8 years later with Lead Poison. His last album 7 Times Down, 8 Times Up just celebrated it’s 1 year anniversary a few months back & that happens to be my 2nd favorite of his behind The Preface due to JR Swiftz’ stellar production as well as it’s resilience heavy concept. However, eLZhi is now enlisting Georgia Anne Muldrow behind the boards for Zhigeist.

After the “News from the Ship” intro, the first song “Amnesia” sets off the album with a peppy ballad advising not to forget that you’re loved whereas “Every Moment” goes into soulful territory talking about decorating every day in your own way. “King Shit (Say Word)” mixes some pianos & synthesizers to declare himself royalty leading into “Understanding”, which swaps out the synths for a funky bass-line talking about comprehending one another.

Meanwhile on “Already Gone”, we have eLZhi keeping the funk going describing himself as somewhat of a mystery just before “Strangeland” works in some keys & dusty drums to talk about being king. “Pros & Cons” comes through with a powerful dedication to all his peoples while the song “Nefertiti” goes into a more romantic direction & it’s just alright. But after the interlude, “Compassion” closes out the album fantastically by going back into a funkier route thanking listeners.

I’m always excited for new eLZhi given that he’s one of my top 5 emcees to ever come out of my hometown & he sure did deliver here. I find it intriguing the way Georgia blends elements of multiple genres in her production & together, they deliver a damn near perfect love letter to people of color.

Score: 4.5/5

Bun B – “Mo Trill” review

This is the 6th full-length album from Port Arthur veteran Bun B. Coming up as 1/2 of the iconic duo UGK a little over 3 decades back, he eventually released his solo debut Trill in 2005 & began focusing towards his solo career a few months after UGK’s self-titled double album when his cohort Pimp C passed away. He went on to release 4 more albums with the last one being Return of the Trill, but is now returning after 3 & a half years by enlisting Cory Mo to produce Mo Trill in it’s entirety.

The title track starts off the album with Lil Keke & Slim Thug joining Bun on top of a jazzy instrumental talking about being triller than they were the day prior whereas “Hesitate” with David Banner & Talib Kweli finds the trio jumping on top of a glossy beat talking about Yahweh telling them that Heaven’s waiting. Wale & 2 Chainz tag along for the soulful trap ballad “My Queen” paying tribute to the special ladies in their lives just before “This World” with Big K.R.I.T. & Trae tha Truth gets socially conscious on top of an organ & hi-hats co-produced by Zaytoven.

After the “Queenie Keepin’ It Trill” skit, we have Devin the Dude coming in the picture for the twangy relaxation anthem “Feel Good” leading into the Benny the Butcher-assisted “Theme Song” paying tribute to all the playas out there & the guitar on here is so gnarly. “The Geto” is a pretty cool recreation of Too $hort joint of the same name down to Z-Ro’s hook while the song “Duces in the Wind” with Larry June & Le$ goes into a funkier route talking about living like a playa & moving like a boss. The penultimate track “The Streets” then reminds everyone that the hood don’t love nobody over a sorrowful instrumental & “Pot of Gold” ends it with a gospel-tinged ballad about how they can’t stand the rain.

Bun always comes correct whenever he drops a solo effort & I actually happen to take Mo Trill over that Bun B Day EP he put out the summers after Return of the Trill. Cory Mo been putting it down for H-Town for a little over 2 decades at this point, so for the Trill O.G. to let him shine for an entire album by letting him & his guests rap their asses off accompanied by some fresh southern production.

Score: 3.5/5

Babytron – “Megatron” review

This is the 6th mixtape from Detroit rapper Babytron. Coming up as a member of the trio ShittyBoyz along with his childhood friends Stanwill & TR Dee signing to Lando Bando’s own The Hip Hop Lab Records, he’s also branched out on impressive solo career for himself as well as the side groups Lewis & Clark and the Dookie Brothers. However, it seems like last year was probably his biggest year yet landing interviews ranging from No Jumper to even Rolling Stone or the release of Luka Trončić last summer prior to signing with EMPIRE Distribution later that same month & then Bin Reaper 2: The 2nd Coming back in the tail-end of October. But to follow all that success up, he’s kicking off his 2022 run with Megatron.

“Letter to Cornelius” starts out the tape mixing jazz & trap to spit braggadocio whereas “Manute Bol” works in some strings to talk about being paid similar to that of the late NBA player of the same name later referencing the greatest WWE superstar ever; soon-to-be inducted Hall of Famer, 7-time world champion, 7-time tag team champion & WWE Hardcore Champion The Undertaker. “Peachtree” goes into a cloudier direction letting muthafuckas know that no one can beat him, but then “Cobra Kai” works in a danceable groove to talk about some late night shit.

Meanwhile on “Beyond Turnt”, we have the Dog $hit Militia general continuing to flex accompanied by some strings leading into “Huge Lifestyle 2” is a mediocre sequel to a loosie that GTP Daidoe put out a little over a year back. “Area 51” has an appropriately spacious atmosphere to it talking about being an alien just before “Mr. Do the Dash” brings a weepy violin loop into the mix declaring himself as such.

“Extra Butter” has a dope ass funk sample dissing his competition while Helluva takes “Crocs & Wock” into a more electro-direction to ball. “BMF” of course flips the 50 Cent single “Wish Me Luck” paying tribute to Big Meech’s operation of the same name prior to DaBoii tagging along for the hyphy-laced “Chess Players” to talk about their reckless gangster mentalities.

Following that, “6 Star Wanted Level” comes through with some insane beat switches for each verse saying he lives a GTA life while “Mainstream Tron” has a more playful tone talking about all the success he’s been seeing as of late. “Hustle Junkie” is basically him admitting that he’s addicted to grindin’ with an exotic sample woven in while “God Tier” goes into soulful territory talking about being his own boss.

“December 1st” flips the Sue Ann Carwell joint “I’ll Give You Love” to declare himself a living legend while “Hold Up, Wait!” returns to a more symphonic sound talking about being too high & punching a clerk harder than the longest reigning 2-time WWE Universal Champion, former 3-time WWE Champion, WWE Intercontinental Champion, WWE United States Champion & WWE Tag Team Champion Roman Reigns. “RIP Virgil” experiments with disco paying homage to the late Off-White founder of the same name while “Stupid” finds Babytron displaying a decent back & forth chemistry with Glockboyz Teejaee over a violin instrumental.

The song “Jerry Rice” returns to the jazzy sounds of the opener continuing to diss anyone who thinks they can step up to him while the penultimate track “10 Toes Wherever” samples the classic Nate Dogg/Warren G banger “Nobody Does It Better” to talk about feeling cocky. “The Lost World” ends the tape with multiple beat switches from Danny G & some incredible charisma in Babytron’s verses.

If you ask me, Megatron serves as yet another reminder as of why Babytron is one of the hottest rappers in the city right now. He continues to bring some exciting new sounds into the Detroit trap scene & his pen-game (most notably the punchlines) continue to level up at an astonishing rate.

Score: 3.5/5

King Von – “What It Means to Be King” review

King Von was a 26 year old rapper from Chicago, Illinois who came up as a Lil Durk protege. Now I wasn’t big on his mixtapes Grandson: The Mixtape or LeVon James at first, but he really blew me away once his full-length debut Welcome to O’Block came out a little over a year ago on Devil’s Night. But as soon as he finally won me over, he was tragically murdered a week later in broad daylight. So it was only a matter of time before Only the Family Entertainment put out a posthumous album albeit Von’s 2nd overall.

“Where I’m From” opens up the album with Chopsquad DJ mixing some pianos & snares as Von addresses Patoon’s death whereas “War” has a more dramatic tone sonically talking about his mob ties. G Herbo tags along for “FaceTime” to spit that gun talk on top of a rubbery bass-line & some murky choir vocals provided by Hitmaka leading into the 21 Savage-assisted “Don’t Play That” taking a more cloudier route talking about what they usually do with their day.

Meanwhile on “Straight to It”, we have Fivio Foreign assisting Von in cooking up a combative drill banger just before “Trust Nothing” with MoneyBagg Yo finds the 2 talking about bitches tripping about shit that has nothing to do with them over a thunderous trap beat with some piano chords. “Evil Twins” showcases some amazing back & forth chemistry with Lil Durk accompanied by an atmospheric backdrop, but then “Too Real” goes into a hazier direction talking about how legit he was.

“Rich Gangsta” with Tee Grizzley pretty much speaks for itself as far as the content goes even though it has one of the weaker instrumentals on the album until the synth-laced “Mad” picks things back up with Von angrily calling out those who envied him prior to his murder. “My Fault” incorporates some rich keyboard melodies as A Boogie wit da Hoodie assists Von in a decent romance ballad & the electronic undertones of “Change My Life” are a nice change of pace addressing a lover who thinks she was his wife.

Following that, “Hard to Trust” is an Asian Doll tribute that goes well down to TM88’s production until Dreezy’s verse comes in towards the backend of it while “Get Back” with Boss Top & DQFrmDaO fails at it’s attempt at a Chicago drill anthem. “Get It Done” with OMB Peezy kinda has a Detroit trap vibe to the instrumental with the pair delivering some mediocre gangsta raps while “Chase the Bag” references the WWE’s 2nd flagship program Friday Night SmackDown on the Fox Corporation’s flagship property.

The track “Go N Get Em” sees Boss Top returning for a chilling look at how murderous they can be while the final song “Grandson for President” is pretty much a remix of the classic Crime Mob single “Knuck If You Buck”. The outro “Family Dedication” though ends the album with a moving spoken word bit paying tribute to all of Von’s loved ones.

For a posthumous album, I’m actually kinda torn on it. There’s nothing really wrong with King Von’s verses or a good portion of the production, but the feature-list is just so oddly picked out with their contributions ranging from focused at best to pointless & phoned in at worst.

Score: 2.5/5

Stinkin’ Slumrok – “Stink-O-Vision” review

This is the sophomore effort from London, England, United Kingdom emcee Stinkin’ Slumrok. A member of the Cult of the Damned collective as well as 1/2 of the duos Swamp Harbour & Morrstinkin’, he would eventually sign to the London imprint Blah Records in the summer of 2015 after I had graduated from high school & make his full-length debut with Don Pong. He has since shifted his focus towards Swamp Harbour & Morrstinkin’ whilst making a handful of guest appearances, returning to his solo endeavors by turning on the Stink-O-Vision globally for all to view.

Nobodies Home hits us with a jazzy boom bap instrumental on the intro “Yeayeayea” responding to a woman saying he needs to change his ways that he’ll take it slow whereas “SAS” featuring Black Josh finds the 2 teaming up to rip it hardcore together. “Burst” takes a piano flip & throws some kicks & snares in the mix talking about now being the time to get wrecked instead of split open prior to “Botany Bay” featuring King Grubb & Lee Scott finding the trio talking about keeping it going until they hit kingdom come.

“Why Slummy?” reaches the halfway point of the album addressing the people who question him for the way he is leading into “Whodafuckisthis? leaning towards the trap side of things so Swamp Harbour can talk about people giving no fucks regarding them whatsoever. “Show Me” has a moodier boom bap sound altogether tackling themes of lust just before “Some Things” hooks up a prominent vibraphone talking about spending an entire 24 hours not doing shit.

Meanwhile on “Goblet”, we have Bang On! joining Slummy getting ready wrap up the broadcast on the Stink-O-Vision needing their paper pronto due to the fact of time waiting for nobody while “Rah Rah Rah” featuring the B-Movie Millionaires alongside Bill Shakes & King Grubb spends the full-length’s last 4 minutes or so representing the Cult each of them have memberships in over synthesizers combined with kicks & snares.

Sticking out amongst the other Cult of the Damned members for his style bridging younger & older hip hop fans alike, the follow-up to Stinkin’ Slumrok’s debut could be a cut above his debut 7 years earlier although some could dispute that opinion. Nobodies Home’s production kinda reminds of King Grubb’s debut album Droopy. in the sense that it’s experimental, except it’s catered towards the jazz rap style & Grubb’s wordplay has been swapped out in favor of Slummy getting waved & smoking weed with baby mamas despite him not having any children.

Score: 4/5

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EveryWhere – “OmniPresent” review

EveryWhere is an MC from Reno, Nevada who came up a couple years ago off his debut EP Where 2 Now, which was later followed up with So Here We Ar3 & Not Here 4 Long shortly after. Last year alone he dropped Youniverse & At Most Fear back to back but to kick off his 2022, the dude’s enlisting Ill Melley to produce his full-length debut in it’s entirety.

“Solid” starts it all off with a spacey trap banger declaring himself as such whereas “Promise” follows it up by assuring that people are gonna love him for his talents & the instrumental on here has more darker aesthetic to it. “Praises to the Most High” goes back into cloudier territory getting spiritual, but then “Just Another Day” goes into boom bap territory talking about how the struggle remains

Meanwhile on “Exhibit”, we have EveryWhere on top of some synths & hi-hats getting on that new shit leading into the atmospheric “This is What I’m Made For” talking about how making music is his purpose. “On & On & On”goes back into boom bap turf to spit some battle raps just before “Give Me My Flowers” takes it back to the trap route talking about wanting his respect.

The song “With or Without” with Fashawn finds the 2 vibrantly explaining how it’s just them in this shit & ain’t nothing else while the penultimate track “Crabs in a Barrel” comes through with a worthy sequel to “On & On & On” except it’s more trap-flavored. “Shake ‘Em Up” with VRSA finishes off the album with 1 last boom bap cut taking about aiming for the top spot.

Now if you’re looking for a new fresh face in the conscious hip hop scene, then EveryWhere is your guy because I think this is his best work right here. I really admire that he’s willing to step up & address some controversial subjects in our world today while Ill Melley’s production comes through with a great blend of boom bap & trap.

Score: 4/5

EARTHGANG – “Ghetto Gods” review

This is the 4th full-length album from Atlanta, Georgia duo EARTHGANG. Consisting of Olu & WowGr8, the pair started out a little over a decade ago dropping 3 mixtapes along with 2 albums & an EP independently before J. Cole signed them to his Interscope Records imprint Dreamville Records in 2017. This resulted in a trilogy of EPs leading up to their major label debut Mirrorland, which revealed themselves to be one of the best artists that the label has to offer. They went on to give their Spillage Village collective some shine by dropping their 4th album Spilligion on Dreamville the next year but now, they’re back in effect with the long-awaited Ghetto Gods.

After the “GLOW” intro, the title track opens the album with the duo talking about how anyone who thinks they can fuck with them are crazy on top of a symphonic trap instrumental whereas the Future-assisted “BILLI” is pretty much their own “Life is Good” down to the way it’s structured except this is way more exciting. [J.I.D] & J. Cole tag along for the funky “WATERBOYZ” talking about getting this money & fucking the fame leading into the “HEY BOO” interlude.

Meanwhile on “AMEN”, we have EARTHGANG coming through with a decent R&B flavored slow jam just before “ALL EYES ON ME” takes a cloudier route with the help of JetsonMade talking about wanting their homies free. “LIE TO ME” follows it up with some intoxicating synth melodies asking to be true but then after the “JEANS” interlude, the duo bring Baby Tate into the picture for “BLACK PEARLS” trying to brag about their women getting new bodies & falling flat on their faces.

After the “NEEZY’S WALK” interlude, the lead single “American Horror Story” returns to funk turf expressing their desire to be free while “POWER” comes off as an passionate pro-black anthem. After the “ZAZA” skit, the song “SMOKE SUM” goes into boom bap territory to talk about blazing some trees while the penultimate track “STRONG FRIENDS” is a fiery ode to being mentally healthy. “RUN TOO” ends the album with a spacey banger talking about what a life it’s been for them.

It took them a little over 2 years to finally give Ghetto Gods to us & at the end of the day, I like it a little bit more than Mirrorland. Few songs I could’ve done without, but the whole concept of finding God in you is very well thought out & their production game is continuing to progressively improve.

Score: 4/5

Conway the Machine – “God Don’t Make Mistakes” review

This is the long-awaited Shady Records album from Buffalo emcee/entrepreneur Conway the Machine. Blowing up in late 2015 as part of the 3 OGs of Griselda Records alongside his brother Westside Gunn & their cousin Benny the Butcher, the trio have had hip hop on lock by their constant work ethic balancing quality & quality as well as vividly detailing their lives in the streets on top of boom bap production kin to that of RZA & Havoc in their music. Con’s full-length debut From King to a God was my Album of the Year for 2020 & last year, we were treated to his 8th EP If It Bleeds It Can Be Killed produced entirely by Big Ghost Ltd. & his 11th mixtape La Maquina. But in light of Conway announcing earlier this week that he’ll be amicably departing Shady & Griselda to focus on his very own label Drumwork Music Group, what better way to fulfill his contracts than to drop God Don’t Make Mistakes?

“Lock Load” starts off the album with Beanie Sigel & Conway talking about always carrying a strap on them on top of a spooky Daringer instrumental whereas “Tear Gas” with Lil Wayne & Rick Ross works in a high-pitched vocal sample calling out those who weren’t there for them when they needed them most. “Piano Love” of course brings in a dreary piano instrumental from The Alchemist talking about being the richest in Buffalo, but then “Drumwork” is pretty much “Crack in the 90s” & “Sister Abigail” on steroids.

Meanwhile on “Wild Chapters”, we have T.I. joining Conway on top of a dispirited boom bap beat from Hit-Boy talking about the story of their lives just before the Bink!-produced “Guilty” goes into soulful turf encouraging to focus on his lyricism than his appearance. “John Woo Flick” follows it up with a disgusting Griselda posse cut in the same vein as “Spurs 3” leading into the spacious boom bap banger “Stressed” pondering if anyone cares about his mental well being.

“So Much More” encourages listeners not to “let ’em tell you 1 side of the story” on top of angelic vocal loop provided by the J.U.S.T.I.C.E. League while the Jill Scott-duet “Chanel Pearls” gets on some smooth Bonnie & Clyde shit. The penultimate song “Babas” incorporates some organs talking about going from king to a god (no pun intended) & the title track finishes the album off by airing out all these questions he has with The Alchemist providing a lush musical backdrop.

Conway’s been hyping this up for a good minute now & for it to be his final Griselda project as well as the only one on Shady, we got ourselves an early album of the year contender & some of the best work of his career. The production is superb, the features are all well picked out & it’s amazing how personal he’s getting on here. I wish him all the best on his own.

Score: 4.5/5

T.F. – “Blame Kansas” review

T.F. is a 36 year old MC from Los Angeles, California who I first heard after he was featured on “Tookie Knows, Pt. II” off ScHoolboy Q’s magnum opus Blank Face LP. He then dropped his debut EP No Hooks only 7 months later, which was followed up by his full-length debut ErThangSkanless & then a 2nd EP called OktoberFest. Then after appearing on Flee Lord’s 8th EP Hand Me My Flowers produced entirely by Buckwild & put out 2 more EPs on his own, T.F. eventually signed to Lord Mobb Music & dropped his sophomore effort Skanless Summer last spring. But now after releasing Big Moon a few months back, T.F. is back in effect for his 3rd album produced by Mephux & Roc Marciano.

The title track sets off the album with a pillowy boom bap cut talking about violence coming from everyday arguments whereas “Olathe” with Conway the Machine & Roc Marciano finds the trio on top of a narcocorrido sample getting in their mafioso bag. BVNGS tags along for “Death Wish” to talk about needing to be killed if you ain’t loyal to the game on top of a despondent beat just before “Crash Bandicoot” goes into a jazzier direction saying he’s been focused lately as well as doing it for the dead ones.

After the “Intermission” interlude, we have Crimeapple coming into the picture for “Friend of God” working in a Spanish vocal loop spitting that g shit leading into the Lil Bunko-assisted “Cuban Links” taking a more climatic route as far as Marci’s production goes saying you gotta talk to God instead of them. The song “Betty Crocker” of courses gets back on the drug dealer tip over an eerie sample while the penultimate track “Long Way Home” with Zoo jumps into drumless territory talking about the rate they’re going. “Fuck the Rest” with Flee Lord then ends the album with an orchestral loop talking not fucking with anyone but his homies.

If you’ve enjoyed T.F.’s features in the past & are looking to get into his solo work, then Blame Kansas would be a great introduction in my personal opinion. There are a couple of lackluster features, but a good majority do a good job at breaking up any monotony & the dude himself sounds hungrier than ever. On top of that, both Mephux & Roc absolutely SCHOOL it behind the boards.

Score: 4/5