The Bug Club – “Every Single Muscle” review

This is the 5th studio LP from Caldicot, Monmouthshire, Wales, United Kingdom duo The Bug Club. Consisting of guitarist/vocalist Sam Willmett & bassist/vocalist Tilly Harris, they emerged earlier in the decade off 3 extended plays & a couple albums preceding Sub Pop Records signing them a few years ago already. Their debut for the label On the Intricate Inner Workings of the System & the pairing previous full-length Very Human Features were both positively received, returning 12 months since the latter for Every Single Muscle.

“Miss Wales 2012” begins with this chugging garage punk intro referencing a competition both Tilly & Sam have actually won whereas “A Good Day for Dying” made for an apathetically humorous 3rd & final single. “Make It Count” finds the pair trading lines with each other over indie rock instrumentation depicting 2 lovers who have absolutely no idea what to do just before “Cut to Black” takes inspiration from both NEU! & Sparks for 90 seconds.

Meanwhile on “Full Range of Motion”, we have The Bug Club taking a page out of the Minutemen playbook for a post-punk revival tune with some occasional slacker rock undertones while “Pretty as a Magazine” bemoans the fact people don’t know what to do with their own bodies a lot similarly to what “Make It Count” did earlier. “Look Like Me” sings about each member’s own appearance while on “How Can We Be Friends” explains that both members are preoccupied with others.

The title track ends the 1st half of Every Single Muscle on some egg punk vibes singing about feeling strong in all ligaments of their bodies while “Shiny & Wet” experiments with a bit of a blues rock sound wanting to see one’s organs since apologies don’t mean shit to them. “Semi-Automatic” treads garage punk territory explaining that they only play guitars & give 0 fucks while “In My Short Life” sings about them using chart toes in times of distress.

“Watching the Omnibus” hits us with a a garage rock-tinged lead single filled with self-deprecating lyrics & after “It’s Our Manager David” shrugs off literally every single question their manager asks the band regarding what they’ve been doing with their day, the 2nd single “Yours (If You Want Me)” gives off a more introspectively tender & anxious approach singing about how neither one of them necessarily want to be adored.

The song “All My Clothes Fell Off” winds down the last moments of Every Single Muscle slowing down the pacing to build up towards a crescendo reminiscent of classic rock music while the penultimate track “3rd Best Friend” sings about an individual they loved like a close colleague. The outro “My Uncle Warren Drives a Passat” switches things up replacing the guitars with pianos singing about how if all of us were made for dying alone, then neither one of them belong here.

Looking at themselves more in a way an alien might probe a captive specimen on an intergalactic gurney instead of introspection, The Bug Club’s 3rd opus under the Sub Pop banner improves above both it’s predecessors sounding noticeably punkier than their previous output. The human form & condition are both prodded & inspected from every angle throughout the course of Every Single Muscle blending indie rock garage punk, garage rock revival, egg punk, post-punk revival & slacker rock.

Score: 4/5

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Chxrry – “U, Me & My Ego” review

Chxrry is a 29 year old singer/songwriter from Toronto, Ontario, Canada who made a wider musical introduction for herself in the fall of 2022 when she dropped her debut extended play The Other Side shortly after The Weeknd made her the First Lady of his Republic Records imprint X♥O Records. She would later follow it up 13 months later with her 2nd EP Siren & has since dropped a handful of singles building up anticipation for her full-length studio debut elevating beyond those early EPs.

“Blockstar” opens up with an intro clashing elements of industrial music & trap singing about her making this guy fall in love with her whereas the title track takes a more atmospheric approach instrumentally cautioning what’s gonna happen when she & her man tie the knot. “Hall of Fame” blends electropop, jook, synthpop, Atlanta bass & contemporary R&B to sing about being too sexy to go home while “Bible” likens this guy’s words to the gospel.

Reaching the halfway point of the album, “Call Security” comes through with an anthem dedicated to all the crazy women who’ve gone from being angels to criminals while “Boring” sings about her willingness of lowering her standards as long as her partner isn’t tedious. Cash Cobain makes the 1st of 2 guest appearances on “Badness” where he & Chxrry are detailing the possibility of finding love in the late night although Cash’s verse was the weakest of the 2.

“Bottles & Lights” featuring Mariah the Scientist winds down the last leg of U, Me & My Ego with an empowering alternative R&B duet looking back at previous relationships they were in where their exes constantly disrespected them while “Groupie” conceptually portrays the irrational obsession that hits when you begin to develop feelings for somebody. “Main Character” though ends with her breakout single fusing pop rap, contemporary R&B, trap, futuristic swag, trap soul & pluggnb.

Most people would say that The Other Side & Siren were both average at best which I can agree with despite the introspectively sultry approach made me understand why Abel signed Chxrry earlier this decade. U, Me & My Ego on the contrary achieved my expectations of outdoing herself embracing her more toxic alter-ego over production combining influences of pop, industrial music, trap, electropop, jook, synthpop, Atlanta bass, pop rap, futuristic swag, trap soul & pluggnb with her contemporary/alternative R&B style.

Score: 3.5/5

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Mr. Y.U.G. – “UrAmerica” review

Mr. Y.U.G. is a 46 year old MC from Detroit, Michigan who would join his older brother The R.O.C. in becoming members of the Level Jumpers & The Howse respectively. He would eventually make his solo debut in the spring of 2009 with Weightin’, which he followed up with the sophomore effort Warning Shot as well as 18 Shots & Kill Flows. My favorite of his #48205Defcode came out in 2016 under Anybody Killa’s label Native World Inc. & ahead of next summer making it an entire decade since Thriller, he’s returning to music for his 7th studio LP.

“Introduce Yo Self” begins with an 85 second trap intro explaining that he’s gonna be talking on these tracks again because nobody’s paying him whereas “Keep Checking My Pockets (To Be Continued???)” gives off a more energetic vibe regardless of the uncredited feature taking up the 1st half of it. The title track goes for more of a boom bap vibe instrumentally & a hardcore approach to the lyrics just before “DOMoxic” dedicates itself to anyone who’s ever been in domestically toxic relationship over some guitars.

We have the “Eastside Shooter” freestyle ending the 1st half of Y.U.G.’s return getting on his gangsta rap shit topically over another boom bap beat while “Yesteryearz” kicks off the 2nd leg with a highlight telling us the origin story of Ragz dating back to 1989. “Yicked” continues talking about having people snitching on his name leading into “Can’t Feel My Face” embracing a jazzier sound for all the stoners out there who like to get high.

“Party Life” begins to wind down the final act of UnAmerica takes it back to the boom bap sound with an eerie twist talking about him hitting the club on a Tuesday night & once “Miss at U” featuring Carli “La Moure” hits us with what’s mainly a spoken word piece essentially recapping Mr. Y.U.G.’s entire life story additionally addressing the people who want to bring the bad side out of him out again when no one wants it, “MC Stick Faygo Flow / Knock Dat Shit Off” sends off the full-length with an interesting 2-parter.

Only a month after The Raps On Contact’s 4th album No Direction under Majik Ninja Entertainment made his return almost a decade after Digitial Voodoo excluding the 2019 extended play Monsters Ain’t Real & fellow Native World alumni Bake Lo refining himself with Spirals, The R.O.C.’s younger brother M.oney R.olls Y.oung U.known G.angsta’s own comeback could very well be a personal one considering how much heavy inspiration it takes from his autistic 4 year old son landing right behind #48205Defcode & is said to already be working on another album of his own by the end of the year called Park of Lyrics. Some criticisms I have being the feature on the 2nd track nor any of the producers being credited & the AI artwork.

Score: 3.5/5

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doPE – “no country for old men” review

doPE is a superduo consisting of Los Angeles, California musician, songwriter, author & actor John Densmore alongside Hempstead, New York emcee, songwriter & producer Chuck D. The latter of whom gained notoriety for being the frontman of the seminal political hip hop outfit Public Enemy & the other broke out as the drummer for one of rock music’s most celebrated bands: The Doors. Both members announced their formation a few months earlier & are dropping a debut album under SpitSLAM Records.

“every tick tick tick” begins with a funky rap rock intro produced by C-Doc where Chuck’s talking about ageism, sexism & racism being in the way of people living their daily lives whereas the title track discusses elders being the roof that shelters the youth. “doomsay” returns to a rap rock sound for a gritty description of the apocalypse & after a recitation of “The Bone of my Father” by Etheridge Knight, we have “i love that i don’t love” soulfully ending the 1st half speaking of The Rhyme Animal’s relevancy.

As for “people are strangers”, we have doPE suggesting not to even try at being friends with them if you only know of them while “breakthru” spends 115 seconds talking about the rise of technology over the course of their lives. “ops3ssion” does it’s job masterfully fusing Public Enemy’s politically charged lyrics with 70s rock instrumentation while “everyone dies” following a reading of “Djali II” by Kamau Daáood concludes no country for old men by providing 1 last crucial message for the younger generations listening.

Originally released as a Record Store Day exclusive last month, doPE’s full-length studio debut finally arrives streaming services a month later & would say no country for old men joins Radio Armageddon & Black Sky Over the Projects: Apartment 2025 in terms of the run Chuck D has musically been on for the past 12 months. The production impressively mixes hip hop with funk & rock, sprinkling hints of spoken word along the way to provide some social commentary many need to hear.

Score: 4/5

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fakemink – “Terrified” review

Basildon, Essex, England, United Kingdom recording artist & producer fakemink is back with his full-length studio debut. Introducing himself in 2021 off his debut EP Dog Heater, he would go on to drop 7 more extended plays in 90,900, Real Hospitality, London’s Saviour, Wild One, Furever, Disco Biscuit & Galaxy Pavillion Club until getting co-signs from music’s biggest names like André 3000 & Clipse. “Music & Me” would also become one of my favorite singles of 2025, coming off The Boy Who Cried Terrified almost 4 months earlier to serve the main course.

After the titular intro, the noisily self-produced “All Eyes on Me” talks about killing shit because it’s what he must do whereas “Playlist” gives off a more hypnotic vibe instrumentally detailing an innocent angel becoming a whore. “Creep” talks about him moving slowly & putting in work so he can spend all the money he makes while “Like a Virgin” reminds everyone that he’s been getting paid since the 9090gate phase of his career.

“51 Ttashpel Pony Ave.” after the “Jungle-Affair” interlude has a more tone in terms of lyrics sampling “Now” by Julia Wolf to talk about others making paper for his future children’s sake & other never seeing large amounts of cash in their lives while “Hard Candy” details him being allergic to broke shit. “Rewind” ends the 1st half wanting this woman to recognize that she’s his while “Essex Girls” talks about showing a woman what real affection is.

Pop rap, electropop, hip house, euro house & electro hop all collide on the single “Night, Blooming Jasmine” discussing that his objective has now become waking up daily & living his life now that he’s rich & famous while “Wrong Relief” talks about staying lit after setting himself on fire. “Kiss of Death” after the “Fire on Ice” interlude boasts that he bagged the baddest bitch alive while “Creed” talks about the pain that comes with the life he chose.

“Tell Me What You’re Missing” begins the final moments of Terrified asking his lover to let him know what she misses regarding her old life while “Forget Me Not” talks about him winning because he didn’t listen to what everyone else has told him. The final song “Rétard Angel” preceding the “Etna” outro finishes the LP advising not to let his wealth fool anything into thinking that he’s lucky when it’s the complete opposite the way he looks at it.

Taking more inspiration from 2018-2020 drill as opposed to grime music, fakemink’s debut album was conceived as this crude caricature of Los Angeles after returning home to London after a trip out to the west coast & lands behind the London’s Saviour EP for his 2nd best opus. His cloudy production includes elements of jerk, witch house, experimental hip hop & ambient music to lesser extents for a creepy California noir where models try to steal your soul & vampires drive Wraiths down Hollywood Boulevard.

Score: 4/5

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Ill Conscious – “The Premise” review

This is the 6th studio LP from Baltimore, Maryland emcee Ill Conscious. Introducing himself in 2010 off his debut mixtape The Underachiever, he would return in 2015 with the full-length debut The Essence followed by the 2018 sophomore effort The Prerequisite & Logistix. Coming off both Acres of Diamonds & The Aggregation of Marginal Gains however, I was excited to hear that Finn of the Brown Bag Money collective was gonna fully produce The Premise.

After the intro, the opening track talks about him freeing the people it’s the reign of the “Tuthmosis” over a boom bap beat with a lo-fi twist to it while “Pupils Become Rivals” keeps it dusty instrumentally explaining that the kind of people whose egos are inflated moving suicidally. “Prominent Sunz” featuring Rome C finds the 2 talking about the reason each of them stay shining while “Conductivity” jazzily talks about no one having the ability of fucking with him.

Asun Eastwood & Mandiq both appear on “Bass Drum” so they can end the 1st leg discussing their methods never changing this deep in their careers leading into “Pineapple Mimosas” talks about raising up a high glass for the culture to get the 2nd half going. “The Allegory” turns up the jazz influences again so he speak of disputing all the corny fables regarding him just before “Consortium” featured Snook da Crook talks about the battle becoming greater when the blessings are bigger.

“Carbon Traces” winds down The Premise’s final act detailing that the arbitrators have all betrayed us over this calming boom bap beat while “Pressure” featuring King Magnetic & Recognize Ali saves my favorite guest appearances for last, talking about hitting trifectas with the commas. “11th Commandment” hops over an instrumental kin to Conductor Williams taking us to a higher level of consciousness while “DNA” by combining a verse & a spoken word outro.

I’ve always enjoyed this guy’s collaborations with Jay Royale because it’s like the Baltimore version of AZ & Nas to a degree, but I’m confident of discussions eventually being had regarding The Premise surpassing Acres of Diamonds to be the finest LP in Ill Conscious’ whole discography. Regardless of a couple underwhelming guest appearances, Finn’s soulfully dusty boom bap production appropriately suits the intelligent lyrical style that makes Conscious so appealing compared to other artists around his neck of the woods.

Score: 4/5

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Recognize Ali – “Mantequilla” review

Ghanan emcee Recognize Ali dropping his 20th solo LP & the 2nd of 2026. This guy has been a dominant force in the underground from his vast discography of LPs, mixtapes & EPs within the last decade or so to the stellar feature performances that he’s provided for numerous artists. Some standouts in his ever-growing catalog to me personally include the Giallo Point-produced Back 2 Mecca, the Stu Bangas-produced Guerrilla Dynasty trilogy & the Bronze Nazareth-produced Season of the 7 to only name a few. Coming off Back to M3cca & the DJ D-Styles-produced All Shall Perish, he’s having Giallo fully produce Mantequilla.

“Risky Business” begins with this aggressive boom bap instrumental explaining his deadly tendencies that come out whenever the pin’s pulled out whereas “Russian Roulette with a Loaded Tech” talks about doing his thing & leaving it at that. “Criminal Kind (Violent by Design)” discusses him being the type of person who’d break the law over this cinematically raw beat while “Defy Death” talks about leaving anyone who tries him in a hearse.

Tru Trilla’s appearance on “Danger Zone” was ok despite the eerie boom bap sound & cautionary tone to the lyrics while the drumless title track after a skit hypnotizes audiences with his maddening flow. “Mic’s I Smoke” turns up the grittiness so he can boast his proficiency while “A King’s Ladder” talks about bringing out a bazooka when the beats matter of a piano flip. “These Streets” featuring Tru Trilla finds the 2 decently looking to split the wigs of those enter their home turf while “Meet Your Maker” was an enjoyably jazzy outro.

Both albums we’ve gotten from Recognize Ali so far almost halfway through the year have been enjoyable, but I could potentially see myself leaning towards Mantequilla a bit more since he & Giallo Point always kill it whenever they together for a project. Despite neither of Tru Trilla’s guest appearances doing much for me personally, I’ll always appreciate the completely raw flavor that the Greenfield Music founder & one of my favorite UK producers always deliver.

Score: 4/5

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Struggle Mike – “Muerte” review

This is the 10th & possibly final studio LP from Buffalo, New York producer, curator, record executive & audio engineer Struggle Mike. Introducing himself at the end of 2019 off the strength of his full-length debut Great Escape followed by Next Up as well as Wall & Progress, he eventually kept his consistency going on Ties & Struggles until signing to Black Soprano Family Records as an artist after becoming an A&R of theirs. IYKYK, IYDK & Honor would all come out through the label & he’s back 24 months later for Muerte.

“Bandits” by Benny the Butcher, ItsHOLY & Moon after the “Bandidos” intro welcomes everyone to the land of the robbers over a boom bap beat to get things going whereas “Solid” by Party G the Humble works in some violins so he can talk about staying loyal. “La Commission” by Heist Da Profit, YaH-Ra & 448 Brad finds the trio linking up to get on their mafioso shit leading into “Brick James” by Fuego Base & Mark 4ord talking about the country feeling like it’s end days are nearing.

B.A.R.S. Murre & Speedie da Icon both appear on the primarily drumless “Good Boy” up until the final 45 seconds talking about well-behaved children becoming hustlers while “It’s a Lifestyle” by Jess Classic discusses the way he lives over a bare guitar loop. Eto joins B.A.R.S. Murre for “Hell”, spending a couple minutes bodying a flute instrumental from DJ Benoit just before “Anything Goes” by The Hoodies finds E-Class & Young Poppa talking about there being no restrictions.

“Get to the Money” by Heist da Profit, Joxiel & Smoke Bulga after the “Locked Up” interlude Boons 153rd kicks off the 2nd half of Muerte talking about making some paper over a decent trap beat prior to Gunny H discussing his “Deals with God” on top of a vocal sample & mixed with hi-hats. “Violins” by Lo Profile & Rick Hyde embraces an eerier boom bap sound talking about making people go to sleep when the strings cease while “Take a Risk” by B$F Tone 066, Mike Major & Miles A aim to step out their comfort zones.

After the “Smoke Break” by D Les comes through with a quick drumless freestyle, “What’s Real?” by O.T. the Real & 067Red talks about not knowing what’s legit until it falls in the cooking bag while “Old NY” by Ockz & Spiderdagod explains that they’ve always liked being underdogs. “Southside” by Balistic Man, Chop the Father & Speedie da Icon brings everyone together to hustle until daylight while “The End” by Conway the Machine & Lefty Gunplay excluding the “Just Like That” outro finishes with an outstanding east/west coast boom bap closer.

Confirming in a recent interview that he’s fulfilled all of his contractual obligations for Black Soprano Family, this new era of Struggle Mike’s career collides some of the underground’s biggest artists as well as those who’re a part of his Mike’s own Struggle Cartel collective & a few of Steve Lobel’s clients for what could potentially be the last time we might hear from musically due to some legal issues. When he comes back, he did say he plans to capitalize on his squad over at the Struggle Compound.

Score: 3.5/5

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JPEGMAFIA – “Experimental Rap” review

Here we have the 6th solo LP from Baltimore, Maryland emcee, singer, producer & visionary JPEGMAFIA. Breaking out a decade ago with the release of his full-length debut Black Ben Carson, it wouldn’t be until the man’s next 2 albums Veteran & All My Heroes are Cornballs where he would reveal himself as one of the most creative minds in hip hop today. The 8-track EP, it’s follow-up with almost all newly recorded material, LP!, the Danny Brown collab effort Scaring the Hoes & I Lay Down My Life for You each had moments of their own despite Experimental Rap’s length worrying me.

The self-produced “babygirl” after the “投影の芸術” intro begins with this hardcore trap metal single referencing 2-time WWE Hall of Famer, 14-time WWE world champion, 5-time WWE Intercontinental Champion, 3-time WWE tag team champion & the WME Group-owned TKO Group Holdings division’s CCO Triple H whereas “Burning Hammer” references former 10-time AJPWタッグチームチャンピオン, 3-time AJPW三冠ヘビー級チャンピオン, GHCヘビー級チャンピオン, GHCハードコアチャンピオン & 2-time GHCタッグチームチャンピオン小橋建太’s finisher.

“$” combines brostep tearout, hardcore hip hop, experimental hip hop, jersey club rap, industrial hip hop, deconstructed club, hybrid trap & riddim talking about the love he has for his own wealth while “Pop this Heat” samples both “The Way” by Ariana Grande featuring the late Mac Miller & “A Little Bit of Love” by Brenda Russell to discuss the game being so soft. “Meet the Dealers” featuring DATPIFFMAFIA links up for a 2-parter about them telling who ain’t ever been to war in their lives based on how they act.

We have Peggy going at the throats of people who be running to the internet soon as shit happens to them during “headline but once “Degenerate Prayer” flips “Frankie Teardrop” by Suicide to talk about scrapping the plates if anyone who touches his paper, “Shake Your Booty” by Bunny Sigler gets sampled during “The Ghost of Emmett Till” making a reference to WWE Hall of Famer, former WWE Champion, WWE Intercontinental Champion, WWE United States Champion, 3-time WWE Tag Team Champion, 17-time WWE Hardcore Champion & current English color commentator for their Libre AAA Worldwide (AAA) subsidiary JBL.

“Since I Met Ye” chops up “Mr. Big” by 8Ball & MJG so Peggy can respond to the backlash he got after producing some tracks for ¥$’ debut album Vultures alongside it’s sequel while “¥” combines industrial hip hop, glitch hop, glitch, epic collage, hardcore hip hop & deconstructed clubhouse referencing the inaugural 2-time AEW World Trios Champions The Elite. “G.Y.B.B. (Get Your Bitch Back)” on the other hand goes for a more soulful boom bap vibe talking about being nothing like those in the streets.

2-time WWE Hall of Famer, former 16-time WWE world champion, WWE Intercontinental Champion, 6-time WWE United States Champion, 6-time WWE tag team champion & 9-time NWA World’s Heavyweight Champion Ric Flair gets referenced on “Tsar Bomba” to end the 1st half while “Mask On” talks about robbing people. “Lights” after the “His Will” interlude however references WWE Hall of Famer, former SMW Tag Team Champion, 3-time WWE world champion, 2-time WWE Intercontinental Champion, 12-time WWE tag team champion & WWE Hardcore Champion Kane.

“New Era” gives off a more laidback atmosphere talking about people wanting to dismiss him for coming to the game with a plan while “War Over Land” after the “1 Day It’ll All Be Over” interlude fuses conscious hip hop, urban contemporary gospel, glam rock, rap rock & drumless explains how possessive he can be. “Bridges on Fire” soulfully talks about him trying to make it through the night while “No Strippers in Heaven” includes a bar referring to the inaugural 4th Rope World Tag Team Champions & current 2-time HoG Tag Team Champions The Hardy Boyz.

After the “內戰” interlude, “Chat” experiments with a pluggier sound even though the “free Derek Chauvin” line when the hook comes around doesn’t sit with me right & the final song “The 1st Amendment” preceding the “You will always lose money chasing women, but you will never lose women chasing money” outro spends Experimental Rap’s final minutes talking about Turning Point USA co-founder Charlie Kirk being killed last fall.

Being a fan of JPEGMAFIA for almost 8 & a half years already, it’s been disappointing to see him go from giving us classics like Veteran & All My Heroes are Cornballs to beefing with artists that I’ve been a fan of longer than him like Armand Hammer or Earl Sweatshirt & Freddie Gibbs. That said: I’m sure it would surprise people to hear me say I’m more on the fence with Experimental Rap than a lot of his previous output. His experimentally industrial hip hop taking additional inspiration from riddim, brostep, glitch hop, rap rock, rap metal & deconstructed club is tastefully mixed even if the hardcore lyricism can be repetitive.

Score: 3/5

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Babylon Dead – “Death Upon Dem” review

England, United Kingdom boom bap, political hip hop & ragga duo Babylon Dead consisting of Bristol emcee Jman alongside London producer Illinformed reuniting for their 3rd LP. These guys initially got together for The Mould Tape’s outro “Gettin’ Mouldly” & signed to the Glastonbury, Somerset imprint Real Life Drama Records for their full-length debut 2000 B.D. near the end of 2017. Last we heard from them was the 2020 sophomore effort Book of the Dead, returning once more for Death Upon Dem almost a week after the Slater Dojo & Leyton Buzzard respectively became the new RPW British Tag Team Champions & RPW British Cruiserweight Champion.

“Crash & Burn” begins with this cold blooded boom bap beat talking about destroying the whole system whereas “Real Badman” goes for a jazzier vibe instrumentally explaining that the legitimate are the ones busting shots. “How Yuh Mean” works in some vibraphones so Jman talk about the authorities wanting his people incarcerated leading into Illinformed embracing a darker boom bap sound so they can figure out who they’re trying to “Flex On”.

As for “Out Here”, we have Wyatt Earp appearing to diss the government along with them talking about burning up some weed because they’re struggling to breathe outside while “Bare Burial” after the “Covered in Blood” interlude nears the halfway point of Death Upon Dem on some ghostly boom bap vibes putting us inside the shoes of a mortician. “Buss a Shot” turns up the grittiness talking about shooting at corrupt officers while “Run” almost has this horrorcore quality to it surprisingly.

“Chant Down” after the “Seen” interlude winds down the last moments of the album promising that the revolution will in fact be televised this time while “Gully” rawly blends the sounds of ragga & boom bap for a hardcore hip hop anthem. “Redrum” has a ghostly yet dusty tone to it so they can quench for blood while “Anarchy & Chaos” sends it all off with an empowering rap rock outro suiting for a rebellion asking how high to raise the death toll.

It’s no secret that the world’s been in absolute shambles for the past 16 months, so Jman & Illinformed felt that it was only right for both of them to recapture the politically-charged boom bap/ragga fusions that Babylon Dead became known for in a time where we needed Death Upon Dem now more than ever for the people. Almost a decade since their debut, the subject matter they’ve always tackled directly over Illinformed’s jazzy boom bap production still feels relevant as it did 9 years ago except they only have 1 feature rather than a few.

Score: 4.5/5

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