Hologram – “American Cheese” review

Hologram is a 36 year old MC from New York who came up as a part of The Outdoorsmen collective alongside his older brother Meyhem Lauren & Action Bronson under the original moniker Jay Steele. He’s been featured on a plethora of the latter 2’s projects in the past such as Bon Appetit……Bitch! & Gems from the Equinox, but is finally being treated to a full-length debut of his produced entirely by none other than Cypress Hill’s very own DJ Muggs.

After the intro, “No Off Season” is a hair-raising opener saying he always keeps the heat on him because he’s so cold whereas “Don’t Ride with the Drugs” enlists Action Bronson is a luxurious boom bap cut about thinking like a G. The title track is a rock-flavored cut saying the limit’s the sky but he’s gonna go higher just before the murky, self explanatory “Smoke Weed & Figure Shit Out”.

Meanwhile on “You Know My Name”, we have Hologram bragging on top of a cinematic instrumental leading into him saying if the gun ain’t on him it’s around him with the bell-heavy “Black”. He later tells his detractors their out their mind on the jazz-infused “Duck & Cover”, but then “808” is a 1-minute trap banger getting on his hustler shit.

“S.T.F.U. (Shut The Fuck Up)” works in a slowed down vocal sample for him to say he hustles for a sense of urgency & paper while “Moon Rocks” with Big Twins & Meyhem Lauren finds the trio proclaiming themselves as them front row cats over a lurid boom bap beat. Meyhem sticks around as he, Bronson & Hologram talk about wearing black on the gruesome “Colors” just before the brothers jump on the bleak “P.C.H.” by themselves to speak on smoking a couple pounds & hitting up Malibu.

The penultimate track “Traditional Bull Shark” brings in an organ & a guitar telling us he goes through life imitating art, but then “Murder at 5” finds Meyhem Lauren coming back into the picture to end the album by letting us know they’ll be counting money ‘til their hands break & I really dig the forlorn tone that the instrumental gives off.

If anyone out there is a fan of Meyhem, then you definitely gotta check out American Cheese because his lil bro Hologram proves that he can hold down an album of his own. His songwriting is at it’s best & the sounds Muggs goes for is a healthy variety ranging from boom bap to rap rock.

Score: 4/5

Dave East – “Hoffa” review

This is the sophomore album from Harlem emcee Dave East. Breaking out in 2014 off his 8th mixtape Black Rose, this resulted in the man signing a joint deal with Def Jam Recordings & even Nas’ independently owned Mass Appeal Records as well as a spot in the iconic 2016 XXL Freshman Class. However, his full-length debut Survival wouldn’t come out until 3 years later & was very disappointing in the sense that he tried appealing to a more mainstream audience that just didn’t exist. But when Westside Gunn announced that Hoffa was being produced entirely by Harry Fraud, I went into this album wondering if it was gonna be his best yet.

“The Disappearance” is a jazzy, soulful opener addressing those who’ve been asking him what’s up with the music whereas “60 for the Lawyer” is a bluesy follow-up saying he hope someone ain’t informin’ on him. “Diamonds” has a bit of a funky feel in the production & a chipmunk soul sample for Dave to say he been legit leading into him going at his competition for the bassy trap cut “Just Another Rapper”.

Meanwhile on the guitar-driven “Go Off”, we have G Herbo tagging along to snap on their nonbelievers just before the woodwind-infused “Uncle Ric” serves as a lethal prelude to his upcoming collab EP with Benny the Butcher entitled Pablo & Blanco. Things take a more atmospheric turn for him to say he’ll take a fight to pick up “The Product” prior to Jim Jones coming into the picture to talk about their accolades for the slick “Money or Power”.

“I Can Hear the Storm” is a heart-wrenching look back at his life before making it in the music industry whereas “Dolla & a Dream” brings in a glossy trap beat to talk about doing shit cats never seen. “Count It Up” with French Montana of course serves as a sumptuous ode to stacking paper leading into “The Win” featuring Cruch Calhoun embracing a celebratory tone.

The penultimate track “Yeah I Know” with the late Kiing Shooter is a piano trap ballad about not needing any further reminders of both of them being the shit & then the album ends with “Red Fox Restaurant”, where Dave East & Curren$y come together to express gratitude for where they’re at now in luxurious fashion.

To me, this is what Survival should’ve been & quite possibly Dave’s best work yet. Westside Gunn helps him stay true to his street roots rather than trying way too hard to appeal to wider audience in terms of his lyricism & the production that Harry Fraud brings to the table. Really hope Dave continues to travel further down this road.

Score: 4/5

Isaiah Rashad – “The House’s Burning” review

Isaiah Rashad is a 30 year old rapper from Chattanooga, Tennessee emerging in 2013 by signing to Top Dawg Entertainment & dropping his 2nd EP cilvia demo to universal acclaim the following year. Then came the full-length debut The Sun’s Tirade in 2016, which received as much praise. But after 4 years in the making, TDE is finally letting Zaywop put out a follow-up with the help of Warner Records.

“Darkseid” starts things out with a melancholic ballad produced by Beat Butcha about how toddlers got Purple Hearts whereas “From the Garden” with Lil Uzi Vert is an energetic trap banger about them comin’ out bustin’ referencing former 3-time WWE world champion, 5-time WWE Intercontinental Champion, WWE United States Champion, 3-time WWE Hardcore Champion, 3-time TNA World Champion, ΩCW Heavyweight Champion, 9-time WWE Tag Team Champion, ROH World Tag Team Champion, HOG Tag Team Champion, 2-time ΩCW Tag Team Champion, 2-time TNA World Tag Team Champion & The Crash Mundial Parejas Campeon Jeff Hardy. “RIP Young” beautifully samples “Cheese & Dope” by Project Pat addressing his fame & although I love the vibe of “Lay Wit Ya” (especially the “Ridin’ n’ tha Chevy” sample), the Duke Deuce verse is fucking garbage.

Meanwhile on “Claymore”, we have Zaywop & Smino coming together for a tropical tune asking their lovers if they runnin’ or exercisin’ just before “Headshots (4r da Locals)” serving as an equally excellent sequel to “4r da Squaw”. He & Amindi jump on top of a boom bap instrumental on “All Herb” saying they all hurtin’ & you can’t seem them like 16-time WWE world champion, 4-time WWE tag team champion & 5-time WWE United States Champion John Cena leading into the luscious “Hey Mista”, which is a nice lil off-the-top freestyle.

Jay Rock & Jay Worthy come into the picture to talk about smokin’ on the fumes yesterday with the slick banger “True Story” whereas “Wat U Sed” with Doechii is an atmospheric tribute to “Bunny Hop”. Zay details someone who says he ain’t got nothing to lose on the psychedelic “Don’t Shoot” while YGTUT-assisted “Chad” calls out “cats foldin’ like huns” & I really dig the guitar playing behind the snares.

“9-3” works in some keyboards & hi-hats to get a bit repetitive in terms of the lyricism, but then SZA & 6LACK come in for the Kenny Beats-produced slowjam “Score” without sounding forced or corny as fuck. The title track is a pillowy look at Zaywop’s struggles with addiction & the closer “HB2U” goes into a jazzier direction saying he did this all for his baby.

I didn’t think this day would ever come, but it goes without saying that The House is Burning is the best project that we’ve seen come out of the TDE camp since CTRL. It serves as a fantastic tribute to the dirty south in terms of the overall sound to the blatant references throughout the lyrics. I really hope we don’t have to wait another 5 years for this dude to drop.

Score: 4/5

Scum – “Dyin’ World Chroniclez 2: Red Groundz” review

This is the 13th full-length album from Russian-American horrorcore veteran Scum. Coming up as the founder of the local independent powerhouse Lyrikal Snuff Productionz, the man has literally dropped dozens of projects either on his own or with side projects like M.M.M.F.D. & the 4 Horsemen. Dude just dropped Dyin’ World Chroniclez: Grey Skiez about 5 months ago & after a couple of new singles following that, we’re being treated to the sequel Dyin’ World Chroniclez 2: Red Groundz.

After the intro, the title track works in some violins for him & King Gordy portraying their own different versions of Hell whereas “Beyond Comprehension” is a trap banger talking about how his intentions are clear. S.O.S. reunites to let people know they’ll remain underground on the frosty “My Damnation” just before trapping cats into a “Lion’s Cage” with a demented instrumental.

Meanwhile on “We the Onez”, we have M.M.M.F.D. jumping on top of a skeletal trap beat to talk about parents warning their children of them leading into “Wonder” continuing to delve into that sound except it has more meat on the bone & Scum pondering what’s going through his victim’s mind. “Groundhog (Fri)day(13)” is an aggressive, high-tempo anthem to murder whereas “Intrauterine Cannibalistic” with Hex Rated goes into trap metal territory talking about making cats bleed when they catch ‘em.

The song “Humpty Dumpty” speaks on cracking people’s heads over a nocturnal instrumental while the penultimate track “Keep That Shit” works in some keyboards & hi-hats to admit that he’s sick in the head. Then it rounds out with “Nevaendin’ Story”, which is Scum talking about murder being addictive accompanied by a misty beat.

Scum has been putting it down for the underground wicked shit scene for a very long time at this point & the whole Dyin’ World Chroniclez series that he’s been doing lately turning out pretty hard. In comparison to the previous installment, I think this one sounds darker & rawer in terms of production choices & pen-game.

Score: 3.5/5

Tha Dogg Pound – “DPG 4 Life” review

Tha Dogg Pound is a renown hip hop duo consisting of Long Beach emcee/producer Daz Dillinger & Philadelphia emcee Kurupt. I really shouldn’t have to say much about their 1995 full-length debut Dogg Food since it’s widely recognized as one of the last great albums that Death Row Records ever put out. They’ve gone on to release some music here & there since but just 11 years after their last album 100 Wayz, they’re reuniting for their 8th full-length album.

“Ghetto” kicks things off with a chilled out depiction of having bills to pay & them doing fine whereas “We Rollin’” goes into a funkier direction with them stuntin’. “Dissolution of Marriage” featuring October London is a calmer tune talking about a relationship that sadly results in divorce, but then “Used 2” follows it up going into a more depressive tone.

Meanwhile on “Bottom Bitch”, we get a classy theme for all the pimps out there right before WWE Hall of Famer Snoop Dogg comes into the picture for spacey sex anthem “Nice & Slow”. The highnamic trio stick around for the g-funk thug anthem “Skip Skip” prior to going back to the romance tip on the atmospheric “Baby I Want U Bac”.

“It Ain’t Nuthin’” is an auto-tune trap ballad talking about smoking in an old school Chevy while “I’m On It” with Soopafly works in some snares & squeaking synths to talk about being hustlas. The song “Let’s Roll” serves as a melodic cut talking about partying with their ladies while the penultimate track “Hood Girl” brings in some keys to talk about their taste in women. Then they put the feel-good West Coast tribute “LA Here’s to U” off of Kurupt’s 2013 sophomore mixtape Money, Bitches, Power for the closer.

We’ve had to wait a little over decade for Dillinger & Young Gotti to reunite in a full-length capacity. The end results are a bit of mixed bag for me personally. I think the lovey dovey shit sounds forced even though “Let’s Play House” is one of my all-time favorite DPG songs but when they’re on their g shit, it sounds more natural.

Score: 2.5/5

Shoestring – “Da Pandemic” review

Shoestring is a 48 year old MC from Flint, Michigan who came up in the mid-90’s as a member of the trio The Dayton Family. However, it wasn’t until 1999 when he put out his solo debut Representin’ Till the World Ends under Tommy Boy Records & then followed it up 2 years later with the Reel Life Productions-backed Cross Addicted. Shortly after, Shoestring focused on DF for the next 15 years & eventually returned on his own in own in 2016/2017 by dropping Fix My City & Black Friday respectively. But as the 2 year anniversary of The Bake Up Boy came & went last month, he’s enlisting MonStar Entertainment in-house producer Lennon Smiley for his 6th full-length album.

The album begins with “Da Bomb Weed”, which works in some piano embellishments saying that’s what he chokes on. “Fuck Pop” is a grimy yet vibrant ode to stacking bread whereas “Get Rich” continues the themes of the previous cut except it takes a more hyphy direction. “Kill You” needs no further explanation with it’s combative lyrics or it’s baleful instrumental just before “Do Do Brown” works in these guitar licks & horns to spit that nickel bag hustler shit.

Meanwhile on “Ice Cold”, we get Shoestring bragging about himself over a Bollywood-influenced beat leading into gruesome trap cut that is “Murderers”. The song “Timbos” gets back on the hustler shit over a glum instrumental while the penultimate track “2020” formidably talks about getting back to business after COVID fucked everything up last year. Finally there’s the closer “Coka Cola”, is a piano trap ballad ode to that powder.

If you ask me, Da Pandemic is one of the best solo efforts Shoestring has put out to date. Whether he’s by himself or with Bootleg & Backstabba, dude’s always been a seminal part of the gangsta rap subgenre & his writing on here are no different. Lennon Smiley is also becoming amongst my favorite producers out of this reviewer’s home state right now because the wide range of sounds he brings to the table is fantastic.

Score: 4/5

S.O.N. – “Grant Us Eyes” review

S.O.N. is an MC from Sharon, Pennsylvania notable for his associations with the Legion Realm & the Hivemind movement. But for his official full-length debut over here, he has enlisted Billy Obey produce the whole thing from top to bottom which immediately caught my attention given that Billy is 1/3 of what I personally believe to be the greatest horrorcore act to come up within the last decade: Alla Xul Elu.

After the “A Terrible Fate” intro, the title track is a Hellish opener speaking on dark energy surrounding him whereas “E.V.I.L. (Everything Vile Inside Legion)” takes a turn into boom bap territory repping the Legion Realm. “King of Dark Energy” proclaims himself as such on top of an occult instrumental while “Breathe” somberly depicts a dark messiah encouraging this man & woman to become a part of him.

Meanwhile after “The Descent” interlude, but “The Mouth of Madness” grotesquely depicts a place where only the strong survive just before Xul themselves tag along to embrace their sins for quasi-rap rock tinged “Amen”. He later fucks with Samaritan witchcraft on the misty “The Bridge” leading into him talking about losing his mind for the dusty “What’s That Noise?”.

Following the “Order of the Blue Rose” interlude, “Feed the Beast” takes the trap route to describe the antichrist whereas the heinous “Eye for an Eye” talks about a demon being summoned by the tears of the broken. The penultimate track “The Blessing” calls to a higher power in wicked boom bap fashion & then the closer “The Hive” talks about a beast that goes by many names accompanied by a buzzing instrumental.

I can only imagine S.O.N. going places from hereon out because I highly enjoyed what he brought to the table with Grant Us Eyes. Dude’s lyrics are amongst the darkest that you’ll hear all 2021 & of course Billy Obey knocks it out of the park on the production end of things.

Score: 4.5/5

Ransom – “Heavy’s the Head” review

This is the 3rd full-length album from Jersey City emcee Ransom. Coming up as 1/2 of the short-lived duo A-Team alongside Hitchcock, he branched out on his own following their disbandment beginning with his 2008 full-length debut Street Cinema & the Statik Selektah-produced sophomore album The Proposal. But it’s safe to say 2020 was his biggest year yet so far, dropping a total of 5 EPs produced entirely by Nicholas Craven & all of them being equally stellar. Then the dude dropped 7 last month, which is a well executed concept EP based around the 7 deadly sins. However, all of this has been leading up to Heavy is the Head produced by Big Ghost Ltd. from start to finish.

“Lord Stark” starts off the album with a 1 minute skit & then Ransom jumping over some heavy synths to see who can propel higher than him whereas “All the Kings Men” is pretty much Mickey Factz & J. Arrr tagging along to leave a piano instrumental scarred up like they said they would at the end of the first verse. “Ransom the Destroyer” works in a Viking-esque beat to proclaim himself as such referencing the inaugural IWGPヘビー級チャンピオン, former 12-time WWE world champion, WWE tag team champion & 2-time WWE Hall of Famer Hulk Hogan just before RJ Payne assists him for the symphonic battle rap cut “The Red Wedding”.

After the “King’s Intermission” interlude, “Tyranny” is a heartbreaking portrayal of how people are cold blooded while “Blackwater” is a rock-tinged barfest appetizing heads for his upcoming collab album with Rome Streetz. The penultimate song “Off With His Head” with the Heavy Metal Kings & Lou from Paradise is basically the quartet quenching for blood over a dusty instrumental & after the “King’s Landing” interlude, the closer “A King’s Ransom” has these haunting choir vocals throughout & it’s about how a fortune is granted to whoever hands him a traitor.

I’ve been listening to this dude for almost a decade now & I gotta say: Heavy is the Head is the best body of work that Ransom has attached his name to yet & one of the best things you’ll hear in 2021. Dude’s in his prime lyrically & Big Ghost’s production is epic as fuck! God can only imagine how his next album with Pete Rock will sound.

Score: 4.5/5

Rigz – “Wake Ups” review

This is the sophomore album from Rochester emcee Rigz. Coming up as a member of the Da Cloth, the man as released a couple EPs & mixtapes in the last 4 years prior to his critically acclaimed collab album with Mooch & Big Ghost Ltd. entitled The Only Way Out at the tail-end of 2019. Then came Rigz’ full-length debut Substance Abuse a little over 7 months ago, which was entirely produced by Futurewave & became one of my favorites of last year. However to warm fans up for his upcoming album with DJ Muggs, he’s preluding it by dropping Wake Ups.

“Coconut Water” is a dense opener saying he’ll always have his foot under your neck whereas “Wipe da Timbs Off” enlists Illanoise, Mooch & Times Change for a dramatic anthem representing their crew. Rob Gates comes into the picture on “Trophies” to work in some background vocals with the help of Chup & lyrics about proving that you actually fuck with them just before saying he’s the one who’s gonna get it for the family on the chilling “Show You”.

We have Ransom tagging along on the soulful “Da Predicament” to describe their own unpleasant situations & after the “Sobrinos” skit, Rigz jumps on top of a dreary instrumental from Giallo Point to tell the listener to “Get Urs”. The guitars on “Let Me” are pretty epic given that he’s talking about wanting to murder a deceitful person leading into Mooch coming back in the picture to talk about how they don’t know what to say because they ain’t got to say shit for the rich “Beach Chairs in Marcy”.

Meanwhile on “Misled”, we have Rigz & Times Change pondering the value of trust over a piano & a vocal sample whereas “No Mercy Rule” with M.A.V. & Symph is a killer rap rock cut with all 3 spitters talking their shit. The song “Swole Hearted” serves as a dejected depiction of how someone can get a cold heart sometimes while the penultimate track “Throw It Away” is a symphonic plea not to waste your gift. Finally, the closer “Grateful” has a soul sample & lyrics about his gratitude.

If you loved Substance Abuse as much as I did, then I don’t see why wouldn’t enjoy Wake Ups on the same caliber. Dude continues to prove himself as one of the illest lyricists in New York at the moment & Chup really hones in on the raw production. Beyond excited to hear what he has in store with Muggs.

Score: 4.5/5

Ken Carson – “Project X” review

Ken Carson is a 21 year old rapper from Atlanta, Georgia breaking out in the SoundCloud scene & becoming a protege of Playboi Carti as one of the first artists to sign to the latter’s newly founded label Opium Records after originally starting a part of the 808 Mafia. But after a total of 5 EPs under his belt, of course Ken had to bring it full circle on this debut album of his.

“Who’s Next?” kicks the album off with an accordion & hi-hats talking about passin’ hoes like tests whereas “Rock n Roll” is a spacious banger produced by Outtatown about him trippin’. “Party All Day” serves as an uptempo sequel to “Butterfly” just before addressing people switching up on the minimalist “Change”.

Meanwhile with “Run + Ran”, we have a 2-parter about feeling like Pac & stacking bands with the 2nd half being much stronger leading into the bass-heavy stripper theme “Shake”. The kid later reveals that he’s got a lot of hoes on the distorted “Hella” prior to the dramatically threatening “Clutch”.

The song “‘Till I Die” works in some more synths & snares talking about he’ll always be counting racks while the penultimate track “Burnin’ Up” addresses his increasing profile over an instrumental from Dynox of Internet Money Records with a bit of an electro flare. Then the album ends with “So What”, which vibrantly details a 1-night stand.

For those who’ve never heard of Ken, I think Project X is a solid place to start off because what he is to Opium is what Gunna was to YSL & by that I mean I think he’s gonna become the label’s biggest signee behind the founder. Some of the production choices could’ve been a little bit better to me, but I do enjoy his youthful enjoy quite a bit.

Score: 3.5/5