Juicy J – “Mental Trillness” review

Juicy J is a 47 year old rapper, songwriter, producer & record executive from Memphis, Tennessee who rose to stardom in the 90s as the co-founder of the seminal Three 6 Mafia alongside his Tear Da Club Up Thugs cohorts DJ Paul & the late Lord Infamous. He’s also had the most successful solo career out of everyone in the Mafia whether it be the Taylor Gang Entertainment/Columbia Records-backed Stay Trippy & Rubba Band Business: The Album or even his last full-length The Hustle Continuesunder his new MNRK Music Group imprint Trippy Music. Last year he dropped Stoner’s Night with Wiz Khalifa as well as Space Age Pimpin’ with Pi’erre Bourne over the summer & the predominantly Lex Luger-produced Crypto Business in the fall, but is surprise dropping his 6th album out of the blue.

After the “Help You Need” intro, the first song “Going Thru Sum Shit” is a dark trap opener detailing the struggles of what Da Juice Man has been dealing with as of late whereas “Gettin’” takes a more chopped & screwed route talking about all the things he’s chasing. Xavier Wulf’s verse on “No Man” is underwhelming despite the slowed down vocal loop, hi-hats & theme of not being able to trust a single soul just before “I’m Stressin’” has more tense vibe sonically opening up about his stresses.

After the “Falso Reality World” interlude, Aleza comes into the picture for the vibrant “Ain’t Cool” to discuss how motherfuckers ain’t cool with one another hence the title even though they from the same hood leading into “Drink to Escape” returning to chopped & screwed turf touching on alcoholism as a way to cope with depression. “Memphis Made It” is a more heartfelt trap ballad paying tribute to the city that raised him, but then La Chat joins him for the bluesy “Deadbeat” portraying a toxic relationship.

“Different Type” weaves in some more hi-hats & a syrupy vocal sample to talk about the new times we’re in while “Demon of Addiction” symphonically tackles the complex disease that there is in fact hope of overcoming. “No Rapper” has a more rowdier vibes calling out the phonies even though Aleza, K Carbon & Slimeroni’s performances don’t do much for me at all with all respect until “Pay Attention” makes up for it with a cloudy trap joint about schizophrenia.

After the “Mental Health Crisis”, the song “Work Out” aggressively asks where the dollas at with a boring Finesse2tymes feature attached to it while the final song “Follow Home Robbers” prior to the “Juicy’s Pain” outro brings the late Gangsta Boo into the fold which is fitting because I’m sure the album as a whole was inspired by her unfortunate passing at the beginning of the to portray themselves as such so vividly over a morbid trap beat.

Some people including myself have felt like Juicy’s last couple solo albums tackle the same subject matter as solid as they all are, but I think Mental Trillness is the most personal we’ve heard from him in a while. The production plays to the Memphis trap sound that he helped popularize when Triple 6 broke out onto the scene & as he gives everyone a look at how he’s been handling Lady Boo’s untimely death throughout the past couple months.

Score: 3.5/5

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Larry June – “The Great Escape” review

Larry June is a 31 year old MC from Vallejo, California been steadily grinding his ass off since dropping out of high school by dropping his last 8 studio efforts as well as 14 EPs & 7 mixtapes. My favorites of his ever-growing discography include the Lex Luger-produced Trap Larry, the Cardo-produced Cruise USA & it’s sequel Into the Late Night, the Harry Fraud-produced Keep Going & more recently the mobb music-influenced Jay Worthy collab effort 2 P’z in a Pod that just celebrated it’s 1-year anniversary last weekend. But coming off Spaceships on the Blade last summer, Larry’s enlisting The Alchemist to fully produce his highly anticipated 9th album.

“Turkish Cotton” is a jazzy opener to the album as Larry talks about making sure your tax is right whereas “89 Earthquake” dives into boom bap turf airing out every single person out here still looking at him as a threat. Action Bronson comes into the picture for the slick “Solid Plan” doing it all for the motherfuckin’ bankroll leading into Big Sean tagging along for the groovy “Palisades, CA” paying tribute to the titular city in the sunshine state.

Moving onto “Summer Reign”, we have Larry over a warm sample to provide a fitting anthem to ride around with the top down to as the spring weather continues to roll it’s way around the corner just before the Beat Butcha co-produced “Orange Village” enlists T3 & Young RJ of Slum Village has a more hypnotic sound to it as the trio work, live & try for a better day prior to him flexing with a fresh amount of charisma throughout the drumless “Porsches in Spanish”.

“Art Talk” with Boldy James has a more spacious, psychedelic quality to the beat as they discuss getting it off the black top until the summery, calm “Ocean Sounds” gets into romantic pop rap territory & actually not coming off as forced as some try to do it these days. “Left No Evidence” with Evidence perfectly enough hope over some pianos, kicks & snares as they both rock the shit in their own respective ways while “What Happened to the World?” with Wiz Khalifa has a more mellow approach talking about the only thing on their minds is to get the money.

Meanwhile on “Éxito”, things take a more twangier route as Jay Worthy assists Larry in showing off just how well respected they are & not wanting to beef with anyone as they continue at trying to succeed while the song “60 Days” with Uncle Al himself finds the 2 exuberantly talking about how anything can happen in 2 months. The penultimate track “Barragán Lightning” with Curren$y & Joey Bada$$ provide a colorful anthem addressing living off life & “Margie’s Candy House” is a jazzy, soulful closer looking back on his younger days.

Of the 9 full-lengths that Larry has dropped throughout his 17 year career, The Great Escape will no doubt quickly become the strongest of them all & one that I think new fans will find to be a perfect introduction into his discography. Uncle Al’s production is more drumless yet jazzy this time around perfectly suiting the Vallejo delivers some calm bars of luxury cars as well as presidential suites & of course fresh-squeezed orange juice that’re cooler than the other side of the pooler. Amazing job, Larry!

Score: 4.5/5

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Illinformed – “Illin’ for Meds” review

London, England, United Kingdom producer Illinformed compiling a couple dozen tracks together for his official full-length solo debut. Forming multiple groups throughout the last decade like Babylon Dead or the Brothers of the Stone & the Creatures of Habit as well as being the brother of Leaf Dog & Eric the Red, he’s crossed paths with some of the local scene’s biggest underground labels from High Focus Records to Real Life Drama Records & Lost Scroll Records in addition to dropping The Mould Tape in the fall of 2015. However, he’s putting together a collection of songs for Real Life Drama where other artists are performing over his beats named after his own imprint he launched a year earlier: Illin’ for Meds.

“Rotten” by Eric the Red & Jack Jetson teams up over a raw boom bap instrumental talking about their fans fiending for new music like they’ve become addicted to crack whereas “Horror” by the Brothers of the Stone, Dirt Platoon & Ruste Juxx finds the quartet dropping off hardcore verses of their own without a hook. “Doctor” by the Creatures of Habit, Sk!nt, Smellington Piff, Verb T, Wish Master & 1Jack unites for a 3 minute UK posse cut just before “Doomed” by Babylon Dead & Jack Jetson talks about those being cursed from birth.

Bil Next, Bill Shakes & Datkid all get together during the dusty “On Peds” speaking of never making radio airwaves & fucking up ratios independently leading into “Nothin’ Else” by Gaza Glock talking about him solely doing this for the streets. “Graveyard” by Babylon Dead & Leaf Dog radiates a nostalgically vintage boom bap vibe recalling them working between the earliest hours of the morning while “On the Hunt” by Wyatt Earp ruggedly talks about him chasing for thousands of dollars that’ve yet to be made.

“Bun Dem” by Babylon Dead, BVA & Jack Jetson finds the trio joining forces so they can discuss lighting their competition ablaze while “Slippery Slope” by Sean Peng ends the 1st half maintaining the traditional boom bap sound talking about having bad dreams & trying to find his own inner peace. “Concern” by All Hail Y.T. & Chris Skillz soulfully offers wild aggression in hopes of altering the audience’s perceptions while “Scud” by Bisk, Jack Jetson & Pertrelli Purple talks about trying to escape the darkness following them.

As for “‘Till the End”, we have Left Lane Didon taking over the microphone confessing it’ll always be Doe or Die for him unless God decide to call him back home to the pearly gates while “Through Ya Door” by Crossbow T, Datkid & General ruggedly talks about people trying to bring them down although they refuse to express sadness because it’s what the detractors want. “The Omen” by Jay NiCE ominously promises to through hexes at those who dare to fuck with his clique while “I Need My Meds” by Inja, Smellington Piff & Wish Master talking about them having to be medicated individually.

“On the Edge” by BVA, Jack Jetson & Verb T rawly cautions to not be tricked by the laidback demeanors all 3 of them possess desiring for weed smoke to come out the speakers while “Illin’” by Datkid feels like it could’ve appeared anywhere throughout the latter’s 6th album Wakmo serving his usual crud. “Bad Times” by BVA, Eric the Red, Frek 1 & Verb T brings a dirtier boom bap flare to the table talking about the 4 making a killing while “Bukowski” by Bil Next, Datkid & Jack Jetson takes a few minutes dismantling opponents who can’t rap the way they do.

Nearing the conclusion of Illin’ for Meds, the track “Watch Out” by Chris Skillz & Lisaan’dro combines elements of boom bap & orchestral music sending a message to the crowd of idiots who wind up losing teeth for running their mouths while “Valerie Blue” by Res 1 gets in his storytelling bag a bit telling the world of an encounter he had meeting a woman who goes by that very name. “Still Cruddin’” by BVA, Datkid & Pertrelli Purple talks about continuing to thieve until there’s nothing left while “What For” by Tony Broke finishes on a funkier boom bap note looking for a new fix soon as the lights go out.

Needless to say: Producer-curated LPs have become historically known for being hit or miss regarding the level of quality & Illin’ for Meds lands right in the middle between good & bad although it has slightly more highs than lows. My biggest compliment is Illinformed’s production feeling a lot grimier than his usual jazz-influenced take on boom bap, although the enormous cast of artists can come cross there being too many cooks in the kitchen & some fat could’ve been trimmed down since I don’t think it should’ve been 74 minutes.

Score. 3/5

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Illaman – “Sometimes Relax” review

Here is the official full-length debut from London, England, United Kingdom emcee Illaman. Known for being the frontman of the rap rock/grime trio PENGUSHi & Problem Child, he eventually branched out on his own in the spring of 2019 off his debut EP Give Us a Smile. He eventually made his debut under Potent Funk Records with his next extended play Ugly Days & has teamed up with Dublin, Ireland beatsmith Pitch 92 in an attempt to make Sometimes Relax the greatest solo effort of the 3.

The title track begins by talking about giving ourselves a little trust in order to do anything we desire over a moody boom bap beat whereas “Get It” embraces a funkier approach instrumentally suggesting that everyone listening goes out to take what’s theirs. “Clouds” has a more cloudier trap vibe assuring there’s always time for growth to come just before “Absolutely Tidy” featuring PAV4N finds the 2 getting aggressively teaming up to get on some fuckery.

“Trust Me” has a more upbeat boom bap sound to it talking about doing your best in life even if things don’t always make sense & we ask what it all means leading into “Self Destruct” admitting that he’s at the point where he doesn’t even know what he’s doing anymore. “Time” has a cloudier boom bap flare to it cautioning that there’s no rest for the wicked & everyone urgently needs to wake the fuck up while “Never Ever” dustily talks about not having much.

Dabbla & Dubbledge both appear on “Gods” mixing some pianos with kicks & snares so they can speak of their status amongst magic beings by all means without the need of a hook but after “Couple Shells” incorporates what I’m pretty sure sounds like a gospel sample to talk about his ability of ending careers by burying any competition, “Like Me” spends a few minutes advising those listening to sort their lives out & the idea of fixing ourselves from our shortcomings.

Rounding out 3rd, the song “Healing” talks about how funny it can be when one loses their own mind & refusing to believe that time heals all wounds when I can confirm from my own personal experiences that it’s factual while “Winner’s Circle” explains his desire of getting shit poppin’ because it’s all he has. “Lightwork” wraps things up with 1 last boom bap joint dedicated to the people who aren’t feeling exactly the greatest & wants them to know their souls are beautiful.

Give Us a Smile was alright personally & I felt that Ugly Days made room for improvements, but Sometimes Relax wipes the floor compared to both of those early EPs since it exceeds what expectations were set based off both the singles making a statement regarding the trials & tribulations of seeking closure. Illaman’s lyrics are much more honest than what we’ve heard from him already & it’s refreshing to hear his off-kilter delivery being paired with Pitch 92’s signature production style reminiscent of Jaylib’s only album Champion Sound.

Score: 4/5

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Danny Brown & JPEGMAFIA – “Scaring the Hoes” review

This is the brand new collaborative album between Danny Brown & JPEGMAFIA. One being an MC out of my hometown Detroit, Michigan & the other is a Baltimore-based MC, singer/songwriter & producer. Both of whom have cemented themselves as trailblazers in the experimental hip hop scene with albums like XXX & Atrocity Exhibition to All My Heroes are Cornballs & LP!. They first crossed paths when Peggy produced “3 Tearz” & delivered a remarkable impersonation of one of my idols Pharrell with his feature on “Negro Spiritual, both songs eventually wound up appearing on Danny’s previous album uknowhatimsayin¿ a few months before COVID shut the world down. But as the latter gears up to drop Quaranta on May 26 apparently, Danny & Peggy are uniting for the highly anticipated Scaring the Hoes.

“Lean Beef Patty” was a great choice for a lead single as it sets the tone of what’s to come with a glitchy hardcore hip hop opener also pulling from footwork jungle, chipmunk soul, hybrid trap & industrial music as JPEGMAFIA starts & ends his verse by dissing the Tesla CEO, Neuralink founder & SpaceX founder Elon Musk who bought Twitter almost a year ago further referencing Papa John’s founder John Schnatter’s racism, WWE Hall of Famer and former WWE Champion The Iron Sheik who recently passed away & even All Elite Wrestling (AEW) founder/current Ring of Honor (ROH) Wrestling owner Tony Khan in between until Danny Brown boasts about living in this chick’s head rent free prior to “Steppa Pig” almost having a bit of an EDM groove to it instrumentally as they discuss doing it for their legacies & calling out those who feel entitled. The title track pulls from avant-garde jazz advising that playing this will have the hoes touch they toes leading into the soulful boom bap jam “Garbage Pail Kids” belittling their opposition.

Moving on from there, we have “Fentanyl Tester” drawing from drum & bass music sampling the classic Kelis single “Milkshake” as Danny & Peggy warn y’all to hide as nobody’s safe at all leading into the triumphant yet monstrous trap banger “Burfict!” as they talk about being cliqued up & my favorite line has to be when Peggy said “cover his face, that bitch Mach-Hommy” in the middle of his verse. “Shut Yo Bitch Ass Up” brings back the glitch hop vibes as Danny does figure 8s on motherfuckers until “Muddy Waters” switches into a more trippier groove to the beat as JPEGMAFIA asks God to forgive him for slayin’.

“Orange Juice Jones” returns to a more soulful sound as both MCs take their significant others to space on autopilot just before Maryland up-&-comer redveil drops the album’s only feature on “Kingdom Hearts Key” as they air out those who think they know him referencing UFC Hall of Famer & former UFC Middleweight Champion Michael Bisping over an angelic trap beat. The gospel sample throughout “God Loves You” is well flipped as Danny & Peggy get in a raunchier bag lyrically until “Run the Jewels” delivers a 1-minute drum & bass glitch hop hybrid saying most sorry-ass bitches won’t be like the titularly acclaimed superduo.

The song “Jack Harlow Combo Meal” kicks things off with some remarkably jazzy piano chords as Danny Brown promises to run up on you, take your spot & to take your business until JPEGMAFIA telling those who want action with him ain’t into actin’ while the penultimate track “H.O.E. (Heaven On Earth)” is a gospel rap ballad dedicated to the baddest bitches in their lives. “Where Ya Get Ya Coke From?” sends off the album with a chaotically cloudy fatality as Devon Hendryx talks about being off top on your bitch like 2-time AEW TNT Champion Darby Allin until Danny calls himself a failed chemistry experiment with a clever reference to Jimi Hendrix’s debut album Are You Experienced? shortly after.

“Guess What Bitch, We Back Hoe!” is a chipmunk soul-inspired start to the deluxe run talking about being gone off that strong pack & to simply leave them alone while the song “Hermanos” gives off more of a sample-inflicted boom bap flare flexing that Scaring the Hoes in fact ended up terrifying everyone across the spectrum both women AND men accompanied by an insane instrumental outro & a reference to Bob’s Burgers on the Fox Corporation’s flagship property.

Things take a funkier direction on “Tell Me Where to Go” asking where to head when your heart exactly isn’t in it anymore & “NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO!” wraps it all up with a preachier sound refusing to turn back. After their individual solo tracks “Manic!” by JPEGMAFIA & “Child’s Play” by Danny Brown respectively, “Roaches” saves a 2-parter for the final bonus track talking about the environments that shaped them.

As someone who’s been a fan of both these guys for a minute now, I had very high expectations going into Scaring the Hoes & it’s on par with LP! as amongst the greatest experimental hip hop albums of the current decade. Peggy’s ever-so experimental take on hardcore hip hop expands to industrial hip hop, glitch hop, drum & bass, jazz rap & trap as he & Detroit veteran both clash with one another excellently on the mic with dropping their respectively uniquely ear-grabbing lyricism. Rome Streetz’ latest album Wasn’t Built in a Day is my 2023 Album of the Year so far, but Scaring the Hoes is unquestionably up in the ranks too.

Score: 4.5/5

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Jae Skeese – “Abolished Uncertainties” review

This is the highly anticipated sophomore album from Buffalo emcee Jae Skeese. Getting his start off the strength of his his debut mixtape W.A.C.K. (Women, Alcohol, Cash & Kicks) in the fall of 2010, it wasn’t until a decade later where he & 7xvethegenius gained wide exposure as the very first signees to Conway the Machine’s very own EMPIRE Distribution imprint Drumwork Music Group. He & his mentor just dropped their collab EP Pain Provided Profit a couple weeks ago, so it’s only right for Jae to come off that & his classic Big Ghost Ltd.-produced 3rd EP Authenticity Check by finally dropping Abolished Uncertainties.

“RVLVR” sets things off with Jae showing you why they call him exactly just that over a soulful boom bap instrumental whereas “Million Dollar Dreamz” takes a more shrilling route thanks to Ill Tone working in some more kicks & snares talking about chasing a bag. “Bonneville” keeps it in the basement courtesy of Cartune Beatz not wanting to no excuses whatsoever, but then Freeway tags along for the rugged “Out Here” letting their presence be known.

Meanwhile on “Burner Phone”, we have Jae with a story to tell over a soul sample & snares just before La Maquina himself slides through for the classy trap hit “Symmetry” as they talk about trying to find a balance in their lives. “Lunch Table” returns to the boom bap with the help of EYEKETYSON letting y’all in on the newest page of his odyssey leading into “1 of 1” blends jazz & soul touching on his uniqueness.

The final leg of the album starts with the 3rd installment of his “EKIN” trilogy that began on Revolver Ocelot & continued on Iroquois Pliskin by jumping on top of a victorious loop with some kicks & snares talking that talk while the song “Mind Right” produced by Graymatter has a more harmonious vibe to it as he discusses on mental health. The penultimate track “Red KoolAid” comes through with some flawless saxophones as Jae talks about being made different & “Auntie Crystal” has a cloudier approach that Tony Seltzer cooked up concluding the album with a dedication to his titular aunt.

He’s come a long way since his full-length debut in Search of Symmetry & if anything, the sophomore effort Abolished Uncertainties further proves that as I would call it his best album to date between both of them as the Drumwork takeover continues. The introspective story throughout is cohesive & well-told as his artistic growth in the past decade is being put up in full center.

Score: 4/5

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Hit-Boy – “Surf or Drown” review

Hit-Boy is a 35 year old producer, MC & singer/songwriter from Fontana, California who’s been at for 2 decades after Polow da Don took him under his wing by signing him to his Interscope Records imprint Zone 4 Records. His early production credits range from “Stronger” by Mary J. Blige to “Drop the World” by Lil Wayne & Eminem, but wasn’t until the winter following the last 2 jams where he would catch the attention of Ye or formerly known as Kanye West by producing his Christmas posse cut “Christmas in Harlem” & becoming an in-house producer for G.O.O.D. Music for 2 years approximately 5 months after that. It was there that he would cookup some notable bops such as “Niggas in Paris” by The Throne as well as “Cold” by Ye & even “Backseat Freestyle” off Kendrick Lamar’s sophomore album albeit major label debut good kid, m.A.A.d. City. He then launched his now defunct Interscope imprint HS87 Music as his tenure under Kanye’s wing was coming to a close, continuing to build a reputation for himself by working with the likes of Beyoncé or Drake & Travis Scott for the remainder of the decade. But it’s no secret that these past few years have easily been amongst Hit-Boy’s most prolific yet considering his recent work with Big Sean, Benny the Butcher & more specifically Nas. So considering that & recently founding his own EMPIRE Distribution imprint Surf Club Inc., it’s only right for him to follow-up his 6 solo mixtapes in the form of his very own full-length debut.

After the “Big Hit” intro, “The Tide” fittingly enough sets off the album with Nas & Hit-Boy over a soulful beat with a trap switch-up later on displaying their tight chemistry whereas “State Champ” by Half-a-Mil & Jay305 find the trio accompanied by a cloudy yet vibrant instrumental representing Cali to the fullest. Dom Kennedy sticks around for “Corsa” admitting their hearts are still cold on top of some hi-hats & an airy backdrop leading into Curren$y being subbed into the game on the chill trap banger “Tony Fontana III” talking about how this shit is a marathon but they ain’t running a track.

Spank Nitti James takes up a bulk of “Just Ask” his verse is just ok personally although I love the hypnotically crooning trap production & the themes of asking before assuming leading into “NU.WAV” follows it up with a moody trap ballad about the way he formulates until “Slipping into Darkness”starts off with The Alchemist spitting a verse over a sample-based boom bap beat until Hit-Boy calls out those who tried to deflect him over some jazzy piano chords Uncle Al chopped up.

The song “2 Certified” goes full-blown UK drill as Avelino sets it off by helping the man behind the boards boast about their respective legitimacies in the rap game while the penultimate track “M.T.R. (Make the Rules)” is a vibrant yet chiller cut about how he simply knows the rules as opposed to making them. The album ends with a sequel to “Composure” off King’s Disease II with an aquatic yet jazzy boom bap instrumental getting more vulnerable lyrically.

Much like how The College Dropout cemented Ye’s abilities as a performer & The Life of Pi’erre 4 with Pi’erre Bourne, I think anyone who’s been fucking with Hit-Boy as long as me could tell you that’s exactly what Surf or Drown does for him. You get a good look into who one of the most consistent producers in the game today really is on the mic as he enlists a mainly consistent guest list that helps him rip his own beats to shreds ranting from boom bap to trap & even UK drill.

Score: 4/5

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Kota the Friend – “To See a Sunset” review

This is the 9th full-length album from Brooklyn emcee Kota the Friend. Breaking out in 2016 off his debut EP Palm Tree Liquor, he would go on to follow it up with 2 more EPs before dropping his debut album FOTO in 2019. Kota has since dropped 7 more under his belt, with my favorite To Kill a Sunrise fully produced by Statik Selektah celebrating it’s 2 year anniversary just last weekend. So with that in mind, he & the established Boston producer are reuniting To See a Sunset.

“High Noon” is a warm, soulful boom bap opener to the album looking back on the people praying on his decimation & Kota’s current view being tropical whereas “Real Ones” works in some bluesy guitars, strings, kicks & snares talking about life being good. “Elevator” takes a jazzier approach as he makes it clear that he ain’t got time for no dumb motherfucker prior to “Go Brooklyn” is an atmospheric boom bap cut representing his hometown.

Moving on to “Maybe So”, we have Statik bringing back the jazz as Kota talks about staying ahead of things just before “1 Life” laces some pianos so he can encourage everyone to do it right with the short time we have here. “Valleys” has a more lavish approach telling listeners everything’s gonna be ok & you’re gonna make it leading into the wavy pop rap ballad “Eye See U” addressing fakes. The penultimate track “Free Not Woke” brings back the blues guitars as Kota speaks on doing as you please & “Thank You” is an appropriate victory lap from the peppy beat to the gracious lyrics.

Truthfully, the last 3 albums that Kota’s dropped since I’ve last covered his music were all average at best respectively & To See a Sunset reveals itself to be a more than worthy sequel to what I consider to be the crown jewel of his discography. Statik’s production is as rich as it was on the predecessor except it’s jazzier as the theme turning your dream into a reality & being present with the realization that you’re living your best life is inspiring.

Score: 4.5/5

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Navy Blue – “Ways of Knowing” review

Navy Blue is a 26 year old skateboarder, MC, producer, songwriter, visual artist & model from Brooklyn, New York who came up in 2015 off his debut EP According to the Waterbearer. He has since continued to turn heads in the underground scene by dropping 9 more EPs & 6 full-lengths before signing to Def Jam Recordings about a month ago. With that in mind, it was only a matter of time until he dropped his 7th album albeit major label debut fully produced by Budgie.

“The Medium” is a drumless opener with some pianos & choir vocals as Navy admitting that learning patience has made sense for him as of late whereas “Chosen” has a more abstract, jazzy approach to it talking about being a prodigy. “The One” seeks eternal love with a silky yet sensual beat until “To Fall in Love” takes a more tropical route instrumentally talking about fucking up a real blessing like his significant other.

Zeroh comes into the picture on “Life’s Terms” to let it be known that all it takes for them just to be in love & that simply being the way it goes just before “Phases” dives into more soulful turf talking about being unable to stay the same with gratitude & living day to day. “Kill Switch” has a more dejecting sound to it as Navy acknowledges that he ain’t self righteous leading into the Kelly Moonstone-assisted “Window to the Soul” declaring themselves as ballroom stars returning to the boom bap.

“Freehold” opens up about despising his opponents & being unable to do this shit by his lonely on top of a slow yet syrupy beat while “Embers” with Liv.e delivers some jazzy piano chords as they talk about where they wanna be in life. The song “Pillars” is wavy ode to his family while the groovy penultimate track “Look in My Eyes” talks about seeing the pain he’s lived through. “Shadow’s Shield” however comes through with a drumless closer being unable to complain & thinking that everything will be straight in the end.

Between this & Maxo’s latest Def Jam debut Even God Has a Sense of Humor that just came out last month, it seems as if one of the most iconic labels in the history of our culture is continuing to help bring the underground to the mainstream by giving these artists the push they deserve. The lyrics are more personal which is great for those who’re new to him with the batch of instrumentals that Budgie whips up being amongst his strongest to date pulling from jazz rap, drumless & chipmunk soul.

Score: 4/5

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Artur – “T.H.O.T.H. (The Harmonizing of The Hemispheres)” review

Artur is a 42 year old Polish-American recording artist & sculptor based out of Atlanta, Georgia who started to write lyrics when he was 16 after being denied entry into a club because of his Polish passport. He wound also go on to found Living Angles & #UplineCreations after diving into sculptural art and into making frequency emitting permission-slips and art installations. But as a way of properly introducing himself in the music industry, Artur is presenting a brand new style of hip hop of his own that he refers to “ascension rap” on his full-length debut.

After the “Intergrate” intro, the first song “2023” sets off the album by opting in for an open contract over some bells & hi-hats whereas “Alien Abduction (Spiritual Induction)” works in some guitar licks talking about how some will view this as an omen & to follow the directions given. “Every Day” hooks up these synths with kicks & snares encouraging that each day in your life is a new beginning just before “Starseeds Activate” talks about the time being here & now accompanied by a glistening instrumental.

“We the Bring the Magic” has a more futuristic boom bap approach as The Swim’n Bird tags along to discuss that you are in fact the mystery, the bridge, the divinity & the magic that you seek in life leading into the title track attaches some more kicks & snares to an orchestral loop talking about healing the heart. “Architects of Consciousness” is a 2-minute atmospheric trap ballad building momentum of a potential that goes back all the way to the beginnings of Atlantis, but then “The Embodiment of 9” returns to the boom bap talking about the embodiment of the awakened human being.

Meanwhile on “Moving On Up (Level Up Now)”, we have Artur leveling up with a more cloudier instrumental backing him while “The Arcturian Gate” brings in the horns as he discusses the helping hand of Arcturus that is being stretched out towards mankind. Yung Kemmo coming into the picture for the rap rock inspired “Host of Rhythm” paying homage to the great spirit while “In the Flow” returns to trap territory to deliver an invocation of the spiritualization of Earth’s humanity.

The song “Know Thyself” brings back the rock vibes as he provides an anthem touching on being honest with yourself & self-investigation with Nathaniel Yost on the hook while the penultimate track “Perfect Resonance” dives back into the basement as far as sound goes talking about aligning oneself with the soul’s original blueprint. And to finish the album off, “Mahas Saham” addresses the one & infinite mind that’s immortal.

If anyone out there is looking for a product that represents the Golden Pages of Ascension in a playful & poetic manner, then T.H.O.T.H. (The Harmonizing of The Hemispheres) is definitely the album for you & it makes me excited to see him elevate his ascension rap style even further from hereon out. The teachings spread throughout it’s 50 minute course most certainly have the power to help one through the dimensional shift & the production fits the ascendant themes quite well.

Score: 3.5/5

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