Homixide Gang – “Homixide Lifestyle” review

The Homixide Gang are a duo from Atlanta, Georgia consisting of Homixide Beno! & Homixide Meechie. They started turning heads a year & a half ago after dropping their debut EP Snotty World, which led to trap trailblazer/rage pioneer Playboi Carti making them the 3rd act to sign to his Interscope Records imprint Opium Records following Ken Carson & Destroy Lonely respectively. Ken showed a more mature side to himself on his sophomore effort X with Lonely revealing himself to be the most versatile Carti protégé yet in the form of HIS full-length debut No Stylist, so it was only a matter of time until Beno! & Meechie stepped up to the plate with a debut album of their own.

“Lifestyle” starts off the album with a chaotic sample-woven trap instrumental from Outtatown talking about how nobody can’t copy them whereas “Guitars” works in some synths & hi-hats to slide on the op block. Biggavelli’s verse on “Can’t Go” is a bit underwhelming despite the rage beat & lyrics about being unable to go to the club without the Drac’ leading into “Tatted”, which is a trap/rock fusion showing off the Homixide ink that they got.

Continuing with “5 Ways”, where Beno! & Meechie over some hypertrap production both speak on being the realest leading into “V-Friends” keeping things in rage turf talking about meeting a bitch from out of town that’s fucking their homie on the low. “B.B. (Big Coat Balenci)” has more of synth-trap flare to it detailing the rockstar lifestyle, but then “Lif3” surprisingly fused acoustic with trap talking about going through this pain throughout their entire lives.

Biggavelli returns with Destroy Lonely for “TF!” asking what motherfuckers are gonna say when they pull up with the blick over a rage beat with Lonely’s verse outshining Biggavelli’s while “Notice It” keeps things in hypertrap territory talking about how they really be running shit. “None 2 Some” however laced some hi-hats & synthesizers speaking on going from nobodies to where they are today while “Scale Stretcher” with Biggavelli has a wavy vibe to it talking about moving weight.

Following that, “Tripping” touches on getting to blastin’ & whackin’ in this bitch prior accompanied by a monstrous rage beat prior to Ken Carson coming through with my 2nd favorite feature on the album on “Stunt” getting on the more braggadocious side making more money than Tesla CEO, SpaceX founder, Neuralink founder & Twitter owner Elon Musk. “Drakon!” goes full blown trap metal spitting that gun talk while the song “CV” brings back the rage talking about being on drugs as of late. The penultimate track “Wings” swearing that they don’t give a fuck over an alarmingly blaring beat & the 5unna-assisted Shots Off” rounds it out with some quirky synthesizers as the trio talk about pulling up on the gang in the southside.

I’m well aware of the flack that Opium has been getting recently due to Anthony Fantano’s harsh reviews of both X & No Stylist over the summer, but Homixide Lifestyle is just as solid in my personal opinion. I’ll even say it’s right in the middle behind Lonely & above Ken’s latest efforts. With all respect to the Melon because he’s the one who actually inspired me to write reviews myself to begin with & I’ll die on that hill, Beno! & Meechie both sound 10x hungrier than they did on their debut EP whilst refining their style for a wider audience.

Score: 3.5/5

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Saipher Soze – “Velvet Hammer” review

This is the 4th full-length album from Toronto, Ontario, Canada emcee Saipher Soze. Emerging up as a part of the Brown Bag Money collective, he eventually went solo on 2017 with Godbody & then Kanibull Rising just 10 months after that. Last we heard from him was in the fall of 2020 where he dropped the super solid Eat What You Kill produced by Futurewave & Finn, but is re-emerging to let Sibbs Roc behind the boards throughout Velvet Hammer.

“Lion Paw” starts it all off with a boom bap instrumental that’s sweet to the ear as Soze admitting that he doesn’t blame anyone for dreading his bars & having a lot whereas “Rebelz” works in some synthesizers talking about being the last ones to do it. Pro Dillinger tags along for the piano-inflicted “Pray for Me” reminding that their skin is tougher than leather just before “Princeton 10” has a more jazzier flare to it talking about how the goal is to never fold.

Meanwhile on “Uptown Swing”, we have Daniel Son coming into the picture keeping things in jazz territory to discuss moving cautiously & leaving them with nothing leading into “Kings Gambit” solemnly returns to the boom bap warning that those who bump heads with him won’t survive. “Overkill” dives into more atmospheric turf comparing himself to a dog on a leash being let go, but then “Fly Guys” with Falcon Outlaw has a more slicker groove to it talking about how fly both of them are.

The song “Only Champions” with Philly Regs & Richie416 is a guitar/boom bap blend speaking on not looking both ways when shade is thrown while the penultimate track “Young Mowgli” has a more symphonic feel talking about being raised by the pack. “Speed Racer” with Snackz however ends the album with 1 last jazz rap cut & both MCs chasing the green.

It was only a matter of time before these guys linked up & in the end, Saipher’s first album in 2 years serves as an impressive comeback from the BBM member. Lyrically, he sounds fully recharged as he takes you through the hardships that he’s lived with Sibbs Roc’s jazzy yet boom bap production being amongst the greatest that he’s cooked up thus far. If it takes another 2 years for Soze to drop, then I wouldn’t even complain.

Score: 3.5/5

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BROCKHAMPTON – “T.M. (The Mountain)” review

BROCKHAMPTON was a hip hop “boy band” that originated in San Marcos, Texas in 2010 via the “KanyeToTheForum under the original name AliveSinceForever. But when things started to look good for them after they released the SATURATION trilogy to universal acclaim in 2017, one of their founding members Ameer Vann was kicked out midway through the following year due to sexual misconduct resulting in the boys’ next 2 albums following iridescence & GINGER were both released to moderate reception. ROADRUNNER: NEW LIGHT, NEW MACHINE however became their best post-Ameer album a year & a half ago at this point but after announcing their disbandment following their Coachella performances this past April & only a day after their de facto leader Kevin Abstract dropped his new solo effort The Family, the boys are getting back together one last time for their 7th & final album.

“F.M.G. (Fuck My Gang)” is an aggressive trap opener produced by Kiko Merley & JOBA with Dom McLennon & Matt Champion accompanying Kevin to quit being humble whereas “Animal” finds Jabari Manwa, Kevin & Matt talking about turning into beasts over a cloudy Romil Hemnani instrumental. “Listerine” though returns to trap territory as Dom & Jabari addressing a bitch that’s tripping ’cause it’s less on them prior to the playful sounding “New Shoes” with Kevin, Dom, Matt & Merlyn Wood assuring everyone that the group is still on good terms with one another even though they’re disbanding & Matt wanting a house in 大阪 or the home prefecture of former 3-time WWE women’s world champion 3-time WWE Women’s Tag Team Champion 明日華.

However on “Keep It Southern”, we have Kevin & Merlyn over a trap beat with some synths paying tribute to their Texas roots just before “Man on the Moon” dives into more melancholic territory with a cool dance break at the end for Kevin & Matt to talk about wanting to make out with their lover on the actual moon itself & the hook is probably the catchiest on the album. “Better Things” is pretty much a moody Kevin Abstract solo cut with Matt on the hook & an outro from JOBA to speak on the next chapter of their lives just before “Crucify Me” works in some live drums & pianos for Kevin & Matt express their desire to rewind & pretend that they knew what they were in for with a crazy instrumental outro pulling from jazz music.

The song “Duct Tape” has a more booming quality to the instrumental as Jabari, Matt & Kevin admitting that they don’t have anything to talk about anymore as a unit while the penultimate track “Always Something” shoots for a more melodic approach as Dom, JOBA & Kevin sing about letting motherfuckers in something they should know. But then, “GOODBYE” serves as a bittersweet EDM-influenced coda with JOBA & Matt talking about not the “best time of our lives” for granted.

I’ll never forget seeing the SATURATION artwork everywhere when that album was first released when I was 20 & it prompting me to check out their music because it was good enough to make me to stick around for the whole ride, to which I’m happy I did because this was great swan song from them. I like how they fuse elements of trap, alternative R&B, cloud rap & even neo-psychedelia with their west coast pop rap style as everyone braces themselves for the next chapter. And before I end this review, I just wanna thank BROCKHAMPTON for all the dope music they’ve given us in the last 5 years & I wish them all nothing but the best going forward.

Score: 4/5

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Vinnie Paz – “Tortured in the Name of God’s Unconditional Love” review

Vinnie Paz is a 45 year old underground veteran from Philadelphia, Pennsylvania known for being the MC of Jedi Mind Tricks & the leader of the Army of the Pharaohs collective. He put out his first 2 solo albums Season of the Assassin & God of the Serengeti in 2010 & 2012 respectively, but returned in 2016 with The Cornerstone of the Corner Store. The Pain Collector would become my favorite of his since his first 2, but as above so below & Burn Everything That Bears Your Name were both almost as great, so I had no worries going into his 7th album considering his consistency.

“Pistol Opera” is a creepy boom bap opener with some piano chords talking about respecting violence including a reference to WWE Hall of Famer, former WWE Champion, 3-time WWE Tag Team Champion, 2-time NWA National Heavyweight Champion & AJPW世界タッグチャンピオン Ted DiBiase until Method Man comes into the picture for the unsettling “Invisible Ether” produced by Stu Bangas talking about what happens when they start to flow. “Faith Healer” goes into trap territory thanks to longtime Enemy Soil Entertainment in-house producer C-Lance cautioning that shit’s all fun & game till the drum-magazines are empty, but then “Be Wise as Serpents” is a rap metal boom bap fusion with a ghostly hook & Vinnie acknowledging that motherfuckers think it’s cool to behave stupid.

Continuing from there with “Heroin on a Harpoon”, we have Geechi Suede talking about becoming rich as soon as his mom gave birth to him & Pazzy referencing the late WWE Hall of Famer Luna Vachon over a boom bap instrumental with a blaring guitar & some jazzy undertones until “Curse of Canaan” with Kurupt finds the 2 talking about keep pushing the lines & the main loop throughout sounds like video game sound effects to me. I also love the lines referencing Breaking Bad, Better Call Saul and Rick & Morty since those are some of my favorite shows. “Rambo Knife” however has some amazing vocal samples throughout speaking on cutting coke & causing panic, but then “3 Levels of Hikmah” is a triumphant jazz rap cut laced by Oh No with some incredible ad-libs talking about people shooting at him like paparazzi & a line referring to WWE superstar Mustafa Ali.

“Killpoint” returns to the boom bap with some horn sections courtesy of Vic Grimes as Vinnie & M.O.P. get malicious lyrically while the piano-trap joint “Deadman’s Hand” calling himself the most ignorant of all-time while “Winged Assassins” with Boob Bronx & Ras Kass ruthlessly compare their rhymes to black hand-grenades including a reference to former 3-time WWE Intercontinental Champion, 2-time WWE United States Champion, 5-time WWE tag team champion, 7-time WWE Hardcore Champion & NWA World Tag Team Champion Dustin Rhodes. “A War Chest & a Propaganda Machine” has a more delirious quality to it provided by DJ Muggs being straight up & telling anyone who wants smoke with him to say his name while “Gunpowder Plot” with O.T. the Real spit some drug trafficking tales.

“Slight Rebellion Off Madison” is a woodwind/boom bap hybrid talking about how his shooters don’t die while “Father Yod” by the Heavy Metal Kings & Lord Goat finds the trio over some grim piano chords to spit that gun talk. The song “Spoils of War” with Big Twins aggressively talk about stomping on motherfuckers heads when they be outside over some ominous production while the penultimate track “Loro Pianas Robes” with Thirstin Howl III discuss being the upmost & being left cut in half over a glistening boom bap beat. “Zafiro Añejo” with Boob Bronx & Recognize Ali ends the album with the 3 referring to this as beautiful architecture with a flute hanging behind them.

Ikon the Verbal Hologram has always remained consistent with his music & even though God of the Serengeti is my personal favorite album of his, I definitely think this is the most I’ve enjoyed since The Pain Collector. The production has some more trap undertones to it this time around surprisingly, but best believe Paz & nearly every feature are absolutely catching bodies with their pens the whole damn time.

Score: 4/5

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Clouds in a Headlock – “Breakfast in Phantasia” review

Clouds in a Headlock are an international psychedelic hip hop supergroup consisting of emcees Dr. Outer, Èph & GT Lovecraft as well as the production duo Runaway 45. As artists members of the ŌFFKILTR collective, they started making waves off their debut mixtape Asmattic that celebrated its 2 year anniversary earlier this month. But now after landing a deal with Fat Beats Records not too long ago, the quintet is getting ready to properly introduce themselves to a wider audience in the form of a full-length debut.

“Raw Suede” is a jazzy opener from none other than Runaway 45 with the trio advising those to bow down to them whereas “Snake Eyes” goes into funky boom bap territory talking about respecting the clique. “Phantasia” has a more vintage sound to it with the dusty beat sounding like it was made in the 90’s speaking on their being no limits just before “Another Summer” has a more glistening flare to the instrumental talking about continuing to rock on.

Meanwhile on “The Clouds”, we have Clouds in a Headlock getting more abstract lyrically accompanied by a ghostly vocal sample leading into “Rigmarole” pulling from some blues influences sonically talking about that everything that they hearing in this world is pretty wacky to them. “Artists of the Floating World” is a bit more piano-based instrumentally with some more well-structured cryptic bars, but then “Paperweight” returns to a more jazzier sound talking about holding it down.

“3D Maze” has a more soulful vibe to it assuring that they’re thriving instead of surviving & keeping it moving while the song “Midnight Gospel” comes through a vintage piano loop dedications shots to all his people on the frontline & showing y’all the way they fuckin’ do it. The organs throughout the funky “Flawless” are really sweet as the group encouraging one to give up the fire horse” while the penultimate track “Crushed Ice” blends jazz rap & with a slick bass guitar to call their telescope range limitless.

If you’re looking for a new alternative hip hop outfit to get into, then you’re gonna want to check this album out because I think what they got here is pretty interesting. The production is a bit on the more experimental side to it with the lyricism being kin to that of Company Flow or even the Souls of Mischief. Interesting to hear how much they artistically grow down the line.

Score: 4/5

Kevin Abstract – “The Family” review

This is the 4th full-length album from Corpus Christi rapper, singer/songwriter, producer & director Kevin Abstract. who made his debut in 2014 with MTV1987. He followed it up 2 years later with the fantastic American Boyfriend: A Suburban Love Story & then the following year, he rose to stardom as the de facto leader of BROCKHAMPTON. But with their 7th & final album T.M. (The Mountain) coming tomorrow, Kevin’s re-emerging on his own with The Family marketed as a group project only to fulfill their RCA Records contract.

“Take It Back” is a chipmunk soul opener with Kevin admitting that he had to wash the blue paint off to set himself free & promising the next chapter to be everything whereas “RZA” works in another pitched-vocal sample from Ciarán talks about having to be more like The Abbot himself after speaking to his mother the other day trying to give him advice. “Gold Teeth” looks back on the early days of the boy band over a crooning loop kin to “They Don’t Care About Us” by Michael Jackson just before “Big Pussy” has more of a jazzy boom bap flare to it asking to stop harassing him because the show’s over.

Meanwhile on “All That”, we have Kevin admitting that the boys’ success came with problems of becoming rich with an amazing interpolation of the theme song from the titular Nickelodeon show that I grew up watching leading into “(Back from the) Road” reflecting on the Love Your Parents tour over a jangly instrumental. “Basement” has a more experimental quality to the production acknowledges his love for the fans despite that they’d kill him if they could, but then “Southside” tells those to stop actin’ like they know him over a sample-based trap beat.

“Good Time” has a more drumless approach to it speaking on the days when the boys played their final shows in London while the syrupy sample throughout “37th” is a cool ode to their Texas roots talking about ending up on the titular street if he could fly through a Cali night. “Boyband” weaves a gospel loop into the fold à la Kanye West’s last finished full-length DONDAacknowledging that they’ve always been outside of the lines while “Any Way You Want Me” asking what if he could change for us because we have him everything over a guitar.

Moving on to the title track, where Kevin jumps on top of a peppy beat with no drums talking about those not knowing shit about him while “Prayer” is a more melodic cut with some bare synths asking God not to make him grow up because he doesn’t want to move on from this amazing chapter in his life. The song “My American Life” goes in depth of how far he’s come in the last 7 years over some acoustics while the penultimate track “The Ending”samples “Let Me Be the One” by Willie Hutch asking if this is the way we all visioned the demise. “Brockhampton” though is a symphonic closer to the album with Kevin bidding farewell to the best boy band since 1 Direction.

It’s pretty much a Kevin Abstract solo effort labeled as a BROCKHAMPTON album & I’m assuming that’s the case because of contractual reasons, but I happen to think The Family is the best thing Kevin has done since American Boyfriend only 6 years back by now. He comes from the heart as he reflects one last time on the journey he & the boys have been on together with the production pulling from chipmunk soul, drumless, jazz rap & gospel. Considering that, I think TM will be a remarkably bittersweet swan song when it drops tomorrow.

Score: 4/5

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SoFaygo – “Pink Heartz” review

This is the long-awaited full-length debut from Atlanta, Georgia up-&-comer SoFaygo. Cementing himself as one of the biggest faces in the plugg/pluggnB & rage scenes, he’s given us a dozen EPs within the last 7 years & has since signed to Travis Scott’s very own Cactus Jack Records a year & a half ago. Last we heard from him was when he dropped B4Pink & BabyJack over the summer following his placement in this year’s XXL Freshman Class, but is finally dropping Pink Heartz ahead of UTOPIA next month apparently.

“Transparency” kicks off the album with an airy yet drumless opener asking if you can feel his emotions whereas “Out” embraces a more delicate trap sound talking about working too hard. Ken Carson tags along for the rage-inducing “Hell Yeah” produced by Bakkwoods, BryceUnknwn & Trgc to keep it player, but then “Blitz V2” comes through with a cloudy sequel to “Blitz” off his 3rd EP War boasting that he doesn’t miss at all & that it gets scary that he wants to feel a blitz. himself.

Meanwhile on “Stay Awake”, we have Lil Uzi Vert coming into the picture on top of a synth-laced beat from Rafmade asking their lovers not to fall asleep on either one of them leading into the wavy “Me Too” talking about his desire to get fucked up under the influence. “Goin’ Back” returns to a cloudier vibe to drop some braggadocio just before “Another One” weaves some more synthesizers into the fold talking about how ain’t shit stopping but the cash flow.

“Slip” with Don Toliver finds the 2 calling out those who be cappin’ to their faces over a psychedelic trap instrumental while “I’ll Say” brings back the synths once more talking about having too much weed in his system. “Price” takes a more pillowy route going into detail of the cons that come with fame. “Fasho” goes into slower territory talking about already being on game while “Takeoff” with Gunna jumps on top of a rubbery trap beat from Pharrell cautioning their competition to stay in their lanes.

The song “Greed” works in some horns to acknowledge those who’re envious of them simply by looking in their eyes while the penultimate track “Marvelous” has a slower yet melodic tone to it talking about doing something excellent & being on his A-shit. “Forever” though serves as an explosive closer to the album where SoFaygo expresses his desire to live this life for eternity.

I’ve been following this dude a little bit before the Cactus Jack deal & now that Pink Heartz is finally here, I can say that it’s a full-length debut that most definitely proves to a wider audience what he’s capable of doing. It’s focused, the hunger is there & the trap production has some more plugg/rage undertones to it that I really enjoy Excited to hear where he goes from here under LaFlame’s wing.

Score: 3.5/5

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Jay Worthy – “What They Hittin’ 4” review

This is the 3rd mixtape from Vancouver, British Columbia, Canada born albeit Compton, California raised emcee Jay Worthy. Being introduced to him in 2017 after The Alchemist produced his debut EP Fantasy Island from top to bottom, he would go onto drop 5 more EPs & a fantastic collab album with Larry June back in March called 2 P’z in a Pod even though initial plans of putting it out through Griselda Records fell through for whatever reason. Dude just put out the Harry Fraud-produced You Take the Credit, We’ll Take the Check a few months back & is now enlisting DJ Muggs of Cypress Hill behind the boards for What They Hittin’ 4.

“We Don’t Die Here” is a calm jazz rap opener talking about “live & let live” along with how you’re supposed to fly if you’re eternal like him whereas “95” takes a more rugged approach declaring himself to be a westside original which accurate considering that the CPT is a here he grew up. “The Gentleman” works in a bare soul sample so Jay can show a more classy side to himself just before “In New York” has a more cheery tone to it talking about his experiences in the Big Apple.

Meanwhile on “Thuggin’ (Psychedelic Ism)”, we have Jay reflects on what happened when he hit a tab of acid on top of a drumless yet synth-heavy instrumental leading into “Sweet Lies (Kiss the Sky)” returning to the boom bap talking about how it feels good inside to be deceived & needing to take his time. T.F tags along for “The Wine Connoisseur” returning to a more jazz-influenced sound expressing their love for wine & after the “Duccky’s Home” skit, MC Eiht comes into the picture for the dusty “A-Wax & O-Dog” talking about how real shit can get.

The song “This is It” with 211 has a spacier groove to it discussing getting anything they want with only a flick of a wrist while the penguin track “I Don’t Wanna Rap” goes into a more sunnier vibe instrumentally talking about wanting to relax. “Bitch I Miss You” however ends the album with a beat that sounds exactly like “No Blood No Sweat” by Mach-Hommy to reflect on a former lover of his that he genuinely misses.

In the 5 years I’ve been following this dude, What They Hittin’ 4 has to be my favorite thing he’s ever done & would absolutely recommend it to those who weren’t feeling his performances on the previous full-length he put out a few months ago. He comes a lot harder on the mic this time around to me personally & the production that Muggs cooks up here is a lot more varied in sound in contrast to the ruggedness of let’s say Rigz’ latest album Gold for example.

Score: 4.5/5

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Novatore – “Living in the End Times” review

Novatore is a 34 year old MC from Chicago, Illinois who originally came up as a member of the Infamous Crew. He’s also built up an impressive solo career since 2015 by dropping 4 EPs & 9 albums all in that amount of time, with the previous offering Master of Morbid Creations this past spring. But for his 10th full-length over here, Novatore’s enlisting both Johnny Slash & longtime collaborator C-Lance behind the boards for such a milestone in his ever-growing discography over 2 months since former 2-time AEW World Champion CM Punk cut a shoot promo regarding his former 2-time ROH World Tag Team Champion partner in former アイアンマンヘビーメタル級チャンピオン, IWA World Champion, JCW World Juggalo Heavyweight Champion, 2-time NWA World’s Heavyweight Champion, 2-time NWA National Heavyweight Champion & RPW British Heavyweight Champion Colt Cabana.

“Outlaws of Outer Space” opens up the album with a synth-boom bap hybrid talking about being ready for total war prior to King Magnetic tagging along for “Road Warriors” named after the WWE Hall of Famers & former 3-time WWE tag team champions welcoming you to your only future & the crooning sample throughout is flipped really well. “Audio Assault” ruggedly calls for all his enemies to fall to their knees leading into A.M. Early Morning & Nightwalker coming into the picture for “The Time Has Come” to flex their prowesses & my favorite part about the beat has to be the guitar hands down.

Continuing from there with “Terry Funk Syndrome”, we have Novatore over more synth/boom bap production referring himself to be amongst the dopest out paying homage to the WWE Hall of Famer, former 2-time ECW World Heavyweight Champion, ECW Television Champion, 2-time WWE United States Champion, WWE Tag Team Champion, NWA World’s Heavyweight Champion, former JCW World Juggalo Heavyweight Champion & 3-time WCW Hardcore Champion of the same name whereas “End Times” is just an instrumental interlude.

“The Game is Over” with Benny Holiday & iLL ZakieL finds the trio ruggedly letting everyone know they didn’t come to fuck around while the song “Mass Panic” has a more dustier quality to it talking about how we’ve been a nation of zombies. The penultimate track “Wasteland” with OutcastGawd Lord El sees the pair going back & forth with one another over a pitched-loop until “Class Act” is a piano-laced closer talking about never being afraid to fail.

Although I’d personally say Master of Morbid Creations happens to be the better of the 2 albums that Novatore has dropped throughout 2022, you should be more than satisfied with what we got on Living in the End Times. The features are a little hit or miss, but the production & concept are both as strong enough as the predecessor’s to make me be able to want to listen to it again.

Score: 3.5/5

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Tony Shhnow – “Plug Motivation” review

Tony Shhnow is a 26 year old rapper from Atlanta, Georgia whom my brother J$zpiech introduced me to off the strength of his 4th mixtape Black Billionaires Club & the song “Vet” taken from the full-length debut Da World’s Ours 3. He just dropped his 8th mixtape Reflexions to critical acclaim over the summer & I honestly wish I covered it considering that some of his best songs are on there like “Finessin’” or “Forgive Don’t Forget”. So when Tony announced his 6th album right here, the interest was most definitely there & I didn’t want to make the same mistake twice.

The title track is a triumphant opener to the album produced by MexikoDro & Popstar Benny taking you through the trials & tribulations of the rich & famous whereas “5 P’s” takes a more pluggier route discussing pints, pounds, pills, pussy & power. “Trust” works in some synths to tell all the pussies to quit flexing prior to the delicately produced “A to Z” cleverly using the alphabet to describe his lifestyle referencing 14-time WWE world champion, WWE Hall of Famer, 5-time WWE Intercontinental Champion, 3-time WWE tag team champion & current WWE CCO Triple H.

As far as “Fuck da Rap Game” goes, we have Tony keeping the plugg vibes going talking about becoming a boss just before “Life n Hard Times” confesses that he’s clean as a bitch & his trap house is dirty over a dreamy beat. The Darkside Mally feature on “Shook Dem Haters Off” doesn’t do it for me even though I like Tony’s verse & the CashCache instrumental, but then “Hell’s Hot” has a more darker quality to it getting on some bitter ex-boyfriend shit.

“Everything I Should” blends some synths & keys talking about having literally every single thing he believes he should in his possession until “Paper Trail” returns to pluggier territory telling a bitch he might dip on her because “I got chips, no you can’t Frito-Lay with me” & the hook from Bear1boss just so happens to be the best feature on the entire album in my personal opinion. “Sorry!” laces some more synths apologizing for not spending time with this woman while “10 Blocks” with SB Nunkk weaves some organs into the fold talking about how much their wrists cost.

Moving on from there, the cheery atmosphere of the “Can’t Say I’m Broke” instrumental is something I really enjoy as Tony brags about his wealth while “M’s” with ManMan Savage has a more calmer sound to it talking about how that’s all they just want. “Dat’s Me” is a bassy plugg banger comparing himself to a dog on a leash while “Jugg” with Diego Money finds the 2 dropping some gangsta raps over a quirky MexikoDro beat.

“World on My Back” has a more energetic tone to it talking about having power & Darkside Mally returns once more on the aggressive “Join the Campaign” with his verse here being better than “Shook da Haters Off” showing off their big dog statuses. “Not the Same” has an entrancingly psychedelic atmosphere to the instrumental talking about being cut from a different cloth while “Don’t Know” with Seddy Hendrinx comes through with an awkwardly sensual ballad.

The song “Know Us” sees Tony over a trap beat with some horns talking about how everyone is familiar with him & his squad while the penultimate track “Mean” explains how he likes his women over a plugg instrumental. “Work Like Dis” though is an explosive closer to the album going into detail as to what happens when one decides to grind as hard as he does.

This dude‘s a pretty much a pioneer in the plugg scene so for him to return to that style on Plug Motivation will definitely appeal to any fan of his old or new. He has a unique voice, his gangsta themed bars are ear-grabbing for all the right reasons & the BeatPluggz were the perfect people to enlist behind the boards as they whip up is some of their finest batch of beats to date.

Score: 4/5

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