Your Old Droog – “Space Bar” review

Your Old Droog is a 32 year old MC from Brooklyn, New York who caught my attention when he dropped his self-titled debut & many first thought he was an alter ego of Nas given that their voices are somewhat similar. Nonetheless, the cat has reached legend status at this point by proving that he was in his own lane off later projects such as Packs & It Wasn’t Even Close. He just dropped the incredibly personal TIME over the summer & with only 1 month left in the fall, Droog’s celebrating Cyber Monday by dropping his 8th full-length album.

The titular intro sets it all off with Droog on top of a drumless, atmospheric instrumental talking about living like a Saudi Prince whereas “Cosmonaut” follows it up by going into boom bap territory spitting them battle bars. “Yuri” incorporates a psychedelic rock sample with the help of Nicholas Craven speaking on making money like a Rothschild these days, but then “White Russian” has a bit of a quirky beat talking about how everyone loves him.

Meanwhile on “Bloody Mary”, we have Droog telling the story of a woman attracted to harm accompanied by a more calmer instrumental just before “Babushka IV (Zinfandel)” goes into a jazzier direction calling out anyone who think he’s mid for not understand the slang. “2001: A Space Yodyssey” has a more smokier sound to it basically saying that’s what he’d call his life & after the “Sector 7” interlude, billy woods & Lil Ugly Mane tag along for the Sadhugold-produced “Meteor Man” working in a train whistle loop keeping the battle raps going.

Nickelus F comes into the picture on the summery “Mojito” comparing their rhymes to the titular cocktail while the song “Blue Hawaiian” with Tha God Fahim weaves in a full-blown funk sample getting on their Sopranos shit. And prior to the titular outro, Fahim sticks around for the final song “Dom Perignon” making a toast sipping on the titular champagne over a classy instrumental.

TIME has quickly become my 2nd favorite Droog album behind self-titled, so my expectations were very high given that & the singles leading up to this one. That being said, I was not disappointed at all because the whole space/alcohol concept is well drawn out & it’s really great to see him continue to dive further into the abstract rabbit hole. At this rate, I feel like his next projects produced by Edan & Count Bass D are destined to be immaculate.

Score: 4/5

Stu Bangas – “Death Wish” review

This is the full-length solo debut from Boston producer Stu Bangas. For the last 15 years, the dude has become a household name in the underground realm by giving beats to an ever-growing list of veterans ranging from members of the Army of the Pharaohs collective to the late Sean Price. But since 2019, he’s been steadily grinding his ass off producing projects for the likes of Ill Bill & Recognize Ali. He just dropped the conceptual Empires with Cypress Hill percussionist Eric Bobo back on 4/20 & is now branching out on his own once more in the form of Death Wish.

After the titular intro, the first song “So What You Wanna Do?” by the Heavy Metal Kings is a dramatic boom bap opener thirsting for blood whereas “Candy From a Baby” by Vangarde takes a happier note looking back when Mr. Lif’s mom gave him his 1st boombox. “Levitate” by Apathy lividly talks about defending the throne referencing WWE Hall of Famer William Shatner & after the titular interlude, “Skull Fucker” by Starvin’ B weaves in some grim pianos telling listeners to be glad he ain’t tapping their chins.

Meanwhile on “Come Correct”, we have Tha Connection forlornly spitting that dope slanger shit just before “Dead Body” by Lord Goat & Recognize Ali wickedly quenches for blood. “Brotherhood” is a serious Watson & Holmes reunion talking about getting right, but then “Same Spot” by Juga-Naut weaves in some keys speaking on not really advancing when you know the path.

The track “Outta My Way” by Snak the Ripper & Young Sin finds the 2 aggressively advising their opposition to walk away before it’s too late & before the titular outro, the final song “Fill the Cemetery” by Celph Titled & G-Mo Skee rounds out the album with endless wig-flipping punch you in the face bars & an apprehensive instrumental.

As much as I liked Beats & Blood, I’d have to say that he really stepped it up on Death Wish. Easily one of the best producer albums that I’ve heard in a while in my opinion. His production is top notch as it usually is, but the list of MCs that he brings along for the ride is much more consistent in terms of their performances.

Score: 4/5

R.A.P. Ferreira – “The Light Emitting Diamond Cutter Scriptures” review

This is the 7th full-length album from Kenosha, Wisconsin emcee/producer R.A.P. Ferreira. Coming up as 1/3 of Nom de Rap, he eventually broke out solo in 2011 off his debut mixtape I Wish My Brother Rob Was Here & followed it up with 2 more tapes before dropping his full-length debut A Toothpaste Suburb in the fall of 2014. However, it wasn’t until the Kenny Segal-produced sophomore effort So the Flies Don’t Come where Ferreira would come onto my radar. He’s dropped 3 more albums since then with the latest one being Bob’s Son: R.A.P. Ferreira in the Garden Level Cafe of the Scallops Hotel this past New Year’s Day, but is ending the year by dropping The Light Emitting Diamond Cutter Scriptures.

“contrapuntal” is a moody opener talking about another long day for lone wolf & cub whereas “brother mouzone library card” speaks on his metamorphoses accompanied by a lo-fi instrumental. “hyperion” takes a spacey boom bap route talking about fucking the antennas, but then “wedding cake 8ths” dissonantly details splitting weed on a first date with a nemesis.

Meanwhile on “humboldt park jibaritos” we have Ferreira on top of a jazzy beat talking about how it’s all about the feeling than the wording leading into the mellow “gemilut hassadim” proclaiming that art is part of being alive. ELDON tags along for “Blackmissionfigs” which once again goes a into a more lo-fi direction talking about rapping forever just before “east nashville” goes into a more cavernous direction saying he’ll never quit.

The song “Praise & Worship” has a bleak, boom bap tone to it comparing himself to Black Orpheus while the penultimate track “uptown 37” brings in a dramatic tone to the instrumental vowing to be gorgeous & homeless. As for “hot bref”, it closes out the album on a smokier note by talking about having God in him.

Even though Bob’s Son was a great tribute to the late Bob Kaufmann, I’d have to say The Light Emitting Diamond Cutter Scriptures is a little bit more consistent in comparison. It’s really cool to see him showcasing the talents of all these unknown, up-&-coming producers while attaching his poetically unique style to their beats.

Score: 4/5

Remedy – “Remedy Meets Wu-Tang” review

Remedy is a 51 year old MC/producer from Staten Island, New York who first made his mark with the song “Never Again” off the Wu-Tang Killa Beez’ debut album The Swarm in the summer of ‘98. He eventually made his full-length debut The Genuine Article in the spring of ‘01 & followed it up with Code Red about 2½ years later. The last we heard from him on his own was when It All Comes Down to This but as the 11-year anniversary of that approaches in a few weeks, he’s enlisting a star studded cast of veterans to be featured on his 4th album.

Ghostface Killah tags along for the opener “Modern Day Miracle” working in an occultist loop to verbally abuse anyone who wants to challenge them whereas “Death Defying” with Inspectah Deck finds the 2 over an operatic instrumental talking about choosing whether to kill or be killed. “Sparrow” takes a more soulful route feeling comparing himself to the titular bird leading into Ghostface returning alongside Conway the Machine for “The Pulpit” incorporating some orchestral samples talking about the street life.

Meanwhile on “Crazy 8’s”, we have 5 of the 9 current Wu-Tang Clan members joining Remedy alongside Solomon Childs & Streetlife for a cool 3-minute cypher just before RZA hops on the dusty “Supreme Intellect” getting on their Killa Bee shit. “To Say the Least” has a more suspenseful tone addressing George Floyd’s murder, but then Solomon returns with Trife Diesel for the piano-laced “Greatness: The Kila Bee Legacy” talking about witnessing such.

“The Recipe” weaves in a more funkier sound as Remedy & Method Man get flirtatious whereas “The Art Basel” with Ghostface Killah & Shyheim climactically talks about belonging in such. “Calculated Risk” lusciously sums of Rem’s life in 2 & a half minutes while the song “Killa Bee Invasion” with Cappadonna & Solomon Childs serves as a gritty homage to the collective of affiliates.

The penultimate track “Noir Story” is a full-on Killah Priest solo cut with a drumless instrumental & his lyricism on here is a reminder as to why he’s this reviewer’s 2nd favorite affiliate right behind Killa Sin in terms of lyrical skill, but sticks out like a sore thumb compared the previous cuts. “Never Again” then ends the album by mournfully paying tribute to those we’ve lost along the way.

If you’re a diehard Wu fan like I am, then you’re gonna come away from this highly impressed. It’s great to hear Remedy completely rejuvenated & he does an awesome job of paying homage to my all-time favorite hip hop group from the guests to the production.

Score: 4/5

A.M. Early Morning – “Nicholson” review

This is the full-length debut from Chicago, Illinois emcee A.M. Early Morning. Coming up off his debut EP The Maxi Single Project back in 2017, he would later go on to release a couple more installments making a trilogy out of it as well as 7AM 747 & Oakley. He just dropped the Nightwalker-produced Late Night Early Morning III a couple months back & now to see Johnny Slash fully producing Nicholson from front to back definitely peaked my interest given how much I enjoyed the beats of his that G-Mo Skee freestyled over when he would finish his YouTube video game streams.

“Wendy” is a brief yet gruesome intro proclaiming he’ll turn his competition to slaw whereas “Full Amount” goes into boom bap territory talking about how it’s going out once it comes in. Daniel Son & Poison Pen tag along for the sinister “This Tape” saying that the rap game is a legal hustle just before “Vibes” dolefully talks about fucking with the best.

Meanwhile on “When I Shoot”, we have Johnny Gunnz coming into the picture to earnestly help remind listeners they don’t miss leading into “Can’t Let ‘Em Breathe” fuses together some dusty drums & keyboards talking about having his foot on the rap game’s neck. “The Hammer” with Jaber & Lo Gun then finds the trio bloodthirsty on top of a unhinged instrumental, but then “Criminal Collective” ominously talks about making your own moves.

The song “No Cap” grimily calls out all the studio gangsters out there while the title track with Gavlyn almost has a bit of a dejected yet jazzy tone to the production & the 2 are comparing themselves to that of the retired actor of the same name. “Joe Pesci” then finishes it off by aggressively airs out everyone under the sun.

Coming away from Nicholson, I can say without question that it’s even better than the EP he just put out a couple months ago. He & Johnny Slash couldn’t have payed tribute to one of the greatest horror movies of all-time any better while bringing the best out of each other.

Score: 4.5/5

Stalley – “Blacklight” review

Stalley is a 39 year old MC from Massillon, Ohio who came up in 2008 off his debut mixtape Goin’ Ape. This was followed up with MadStalley: The Autobiography & Lincoln Way Nights, which led Rick Ross signing him to Maybach Music Group. However, he would only put out 4 tapes & the full-length debut Ohio under Rozay’s wing before leaving in 2017. New Wave & Another Level both came out through Real Talk Entertainment which were kinda mediocre honestly, but the Nature Sounds-backed sophomore effort Reflection of Self: The Head Trip wound up being his best since Saving Yusuf. But now in light of his deal with Mello Music Group, it’s only right for Detroit’s very own Apollo Brown to produce Stalley’s 4th album from front to back.

After the “Hidden” intro, the title track is a rich opener about everything you’re hiding behind coming to light whereas “Love Me, Love Me Not” with Skyzoo joyously follows it up by calling out those who pray on their downfall. “No Monsters” works in some piano melodies to speak on those who don’t understand where the hunger comes from leading into the psychedelic boom bap banger “We Outside” encouraging to stay on your grind.

Meanwhile on “Humble Wins”, we have Stalley taking a more orchestral turn talking about catching the Ws in silence just before the synth-heavy “Breathe” finds him not letting the pressure fuck with his focus. “Lost Angels” almost has a bit of a gospel influence to it admitting a spiritual connection with the block, but then “Catch Up” incorporates some choir vocals getting on some grown man shit.

Joell Ortiz tags along for the whimsical “Bobby Bonilla” to chase that bag while “The Realest” declares himself as such over a jazz/trap fusion. “Broad Spectrum” has a more nocturnal sound to it talking about victories coming with a price-tag while the vulnerable “Stay Low” gets on some introspective life shit. The final song “What the Hook Gon’ Be?” brings in a woodwind & live drums talking about bringing pressure to the streets, but then “Omari’s Lament” ends the album with a spoken word piece.

Even though I enjoyed Stalley’s output back in the Maybach days, I think Blacklight has surpassed all of those projects in terms of quality. He’s always shown his potential as lyricist, but it all comes full circle here & Apollo Brown’s production is top notch as to be expected.

Score: 4.5/5

DJ Muggs – “Winter 2” review

DJ Muggs is a 53 year old producer & DJ from Queens, New York who came up as part of The 7A3 alongside the Bouldin Brothers in the late 80s. The trio only put out 1 album together but as the 90s approached, Muggs started to become a household name in the west coast as the producer for Cypress Hill & the leader of the Soul Assassins. He would go on to release 4 solo efforts & after dominating 2021 by fully producing projects like Death & the Magician or Cartagena, Muggs is returning for a Winter sequel given that the 1-year anniversary of that album is coming up next month.

After the “Winter 2 Theme” intro, the first song “Beaming Hi” by RLX is a symphonic opener spitting the fly lifestyle he’s living these days whereas “Absolem Reprise” by Roc Marciano takes a dusty boom bap route talking about being prone to kill it. “All White Party” by Meyhem Lauren fuses together some keyboards & punchy drums spitting that they gotta kill him to take his spot leading into RLX returning for the jazzy yet drumless “Have a Bad Day” hoping that on those who get in his face.

Meanwhile on “L.A. County”, we have T.F. coming into the picture ominously detailing his life as a Crip just before “Panoramic Sunroof” by Crimeapple keeps the boom bap vibes going detailing his mind moving as fast as the drugs he’s pushing. “God Killa” by Rigz has a bit of an Italian flare to the instrumental talking about killing motherfuckers’ egos, but then “Father Time” by Ill Bill takes a dark electronic approach expressing his desire to chop bodies up.

“More Fire” by Hologram weaves in some heavenly vocals throughout saying you can’t ruin his game while the vibraphone-heavy “Absolem Reprise, Pt. 2” by Roc Marciano perfectly picks up right where the predecessor left off lyrically. The final song “It’s Over” by RLX mixes a guitar & an organ talking about the title he earned from his gusto, but “Winter Black Ice” finishes the album off with an instrumental piece similar to the intro.

Overall, I think this is a worthy sequel to round out such a prolific year in Muggs’ career. I like how he gives a couple of the guest MCs more shine rather than just giving them 1 joint each as well as the diversity of sound throughout.

Score: 3.5/5

Jedi Mind Tricks – “The Funeral & The Raven” review

Jedi Mind Tricks is a Philadelphia trio consisting of emcee Vinnie Paz, producer Stoupe the Enemy of Mankind & turntablist DJ Kwestion. They’ve proven to be a household name in the underground for 26 years from having a hand in founding the Army of the Pharaohs collective to dropping essentials like Violent by Design & Servants in Heaven, Kings in Hell. Since putting out the underrated The Thief & The Fallen back in the summer of 2015, they’ve started getting in the habit of dropping an album once every 3 years. The trio’s previous effort The Bridge & The Abyss was a solid follow-up, but had WAY too many interludes. However with Paz coming fresh off Burn Everything That Bears Your Name over the spring, Stoupe & Kwestion are joining him for JMT’s 10th full-length album a month after the longest MLW National Openweight Champion Alexander Hammerstone became the new MLW World Heavyweight Champion.

After the intro, the first song “I’m the Wooden Door” sets the album off with an Italian sample calling out the pussies whereas “Collapse the War Engine” is a sinister theme about being cursed with the dawn. Crimeapple tags along for “The Escapist” somberly speaking on going from hopeless from focused & after the “Pathogen” interlude, the Demoz-assisted “Don’t Get Blood on My Gucci” has a more calmer tone instrumentally talking about how you don’t wanna die.

Meanwhile on “2nd Hand Smoke”, we go into a more nocturnal direction with JMT saying they put these opps in the sky referencing former 3-time AJPW三冠ヘビー級チャンピオン, AJPW世界タッグチャンピオン, 3-time IWGPヘビー級チャンピオン, IWGPタッグチャンピオン, GHCタッグチャンピオン, 3-time WCW World Heavyweight Champion & WWE United States Champion Big Van Vader just before Boob Bronx comes into the picture for “The Death of 1 Man’s a Tragedy, The Death of 10,000’s a Statistic” solemnly admitting spending their whole lives on the wrong side of the law. “Manufacturing Consent” fuses together an organ & a vocal sample to spit that democracy only works when people are informed & after the “We Tolerate the Sickness” interlude, “The Chariot” grimly talks about the most ignorant thing in this world. “Albatross” ponders why would anyone be mad at them with some keyboards sprinkled in the beat, but then Pro Dillinger joins in on the heinous “Crematorium” to quench for blood once more.

“Path of the Beam” has a bit a mystical feel instrumentally to spit that insulting shit while the song “We Bow in It’s Aura” weaves in an acoustic guitar shouts out the inaugural WWE Universal Champion, 2-time NXT Champion, 2-time WWE Intercontinental Champion, WWE United States Champion, 3-time IWGPジュニアヘビー級チャンピオン, 6-time IWGPジュニアタッグチャンピオン & RPW British Cruiserweight Champion Finn Bálor. After the “Until The World Consumes Us” interlude, the penultimate track “Abdallah Azzam Brigade” finds Demoz returning alongside Ill Bill & Recognize Ali for a vicious 5-minute barfest & “The Great Derangement” finishes it off by sadly picking apart all the lies we’ve been told.

I pretty much enjoy all the JMT albums with the exception of Violence Begets Violence being mid, but The Funeral & The Raven is a great finish to the trilogy that The Thief & The Fallen had started. I like how it has less interludes than The Bridge & The Abyss did, Stoupe’s production is still one of a kind all these years later & Paz lyrically always hits the target no matter what he’s on.

Score: 4/5

Noveliss – “Book of Changes” review

Noveliss is a 33 year old MC from Detroit, Michigan who came up as 1/4 of the now disbanded Clear Soul Forces. However since 2018, he’s built an impressive solo career for himself with 8 EPs & the full-length debut Cerebral Apex. However in light of his born day earlier this week, he’s celebrating by dropping a sophomore album produced entirely by Dixon Hill.

“Empty” sets off the album on a jazzy note clearing out his mind whereas “Feng Sheui” takes a moody boom bap route talking about a dude with a stand alone complex. “Loss for Words” works in some pianos saying he don’t know better, but then “Sincerity & Reverence” is a lo-fi banger telling the story of his younger self. Meanwhile on “Scheminonameanin”, we have Noveliss contemplating the reason of life over an airy instrumental just before “Truthsayer” smokily gets on the conscious tip.

“Escaping” goes into a more moodier direction encouraging to embrace the highs & lows while the song “Spirit Bomb” spaciously talks about finding peace in a hyperbolic chamber. The penultimate track “Cold Mountain” once again returns into a more lo-fi kind of sound delivering nonstop wisdom & “Permanent Waves” closes out the album with an uplifting beat talking about being in search of such.

I’ve been following this guy alongside the rest of Clear Soul Forces for a minute & for the 3-year wait since Cerebral Apex, it was very much well worth it. Noveliss killed it with the basing the whole concept of the album on the I-Ching & Dixon’s production style couldn’t have been a suiting match.

Score: 4/5

Zac Z – “Yeti Man Born” review

This is the 4th full-length album from UK-based MC, producer & singer/songwriter Zac Z. Breaking out in 2010 off his double disc debut Imperfections, the man would follow it up shortly after with liquid pepper before taking a decade long hiatus. He returned last summer by enlisting Deep n Beeper for Tripsville, Tennesse & is now rounding out 2021 by dropping Yeti Man Born.

The title track starts it all off with a lo-fi sound telling his lover why she should be all his whereas “Funky Pills” serves as an instrumental interlude having a more cavernous & psychedelic approach to it. “Mission from Mars” keeps things going with a cloudy beat & talking about life with him being pure bliss, but then “Sky Fall” follows it up with a more euphoric instrumental piece.

Meanwhile on “Hollow Fangs”, we have Zac staying behind the boards this time incorporating some elements of rock into this beat just before he hops back on the mic for “X-Ray Meditations” has a more settler yet funky feel talking about being free. “Energy Sparks” incorporates these turntable scratches with an angelic backdrop wanting this woman’s love leading into the “Buddha’s Smile” instrumental interlude picking up where “Hollow Fangs” left off sonically.

“Ethnic Dreams” is yet another instrumental interlude that’s perfect for smoking weed out late at night while the penultimate track “Lightning Strikes” goes back into rock territory & the dude’s singing that kicks in around the halfway mark just doesn’t do anything for me at all. To finish it off though, “Happy” ends the album with a 90 second folk ballad talking about wanting to sing for the stars & doing so much better than he did previously.

Much like Zac’s last 3 albums, Yeti Man Born sounds completely different than anything the man has done in the past & continues to succeed at doing so. It has a more enlightened vibe throughout & it’s very intriguing to hear how he has it all structured, bouncing back & forth between actual songs & beat interludes.

Score: 3.5/5