The Musalini – “Pure Izm” review

This is the 6th full-length album from New York emcee The Musalini. Beginning to take the underground by storm since 2018 after dropping his debut mixtape Musalini Season, would go on to release 3 full-lengths & another tape before signing to TCF Music Group. Since then, he’s made himself home by dropping a few EPs & Return of the Oro in the early part of this decade. Last we heard from Mus was at the very beginning of 2022 when he dropped my favorite album of his yet The Don & Eye fully produced 9th Wonder to produce his 5th album from beginning to end & has decided to recruit Khrysis for Pure Izm.

“Weed & Coffee” is a jazzy talking about life being beautiful whereas “Goldie in Town” takes a more sample-based boom bap route taking about he had to straighten up. Ian Kelly & Izzy Hott tag along for the soulful yet classy “Well Done” declaring themselves as the top dogs prior to Reuben Vincent coming into the picture for the piano-driven “$200 Pasta” to talk about that’s how they do.

Meanwhile on “Transmission”, we have Mus delivering a funky prelude to the next joint “2 Step on ‘Em” with King Draft embracing a dustier sound doing just that. “Off the Nest” mixes some pianos & an angelic vocal sample talking about doing this for the culture, but then “Nutella” with Planet Asia brings back the soul loop spitting braggadocio-infused lyricism.

The song “Crab Rangoon” with O-Finesse sonically feels like something ripped from a blaxploitation flick spitting that fly shit while the penultimate track “Ghost” with Izzy Hott shoots for a more solemn tone with the beat swearing that they’ll never go back to prison. “Panamanian Brunch” with Ice Lord is a classy sendoff to the album talking about being the big dogs.

Despite that I still maintain that The Don & Eye could very well be my favorite body of work that Mus has put out yet, this is still a solid follow-up in my eyes. The features are alright, but Khrysis’ sound suits Mus just as well as his mentor’s did with the MC continuing to put his lavish lifestyle on wax.

Score: 3.5/5

@legendswill_never_die on Instagram for the best music reviews weekly!

Ouija Macc – “Stalewind” review

Ouija Macc is a 36 year old MC from Las Vegas, Nevada who started to turn heads in the fall of 2017 after the Insane Clown Posse signed him to Psychopathic Records shortly after putting out his debut EP Trashfire independently. Ouija has since proven himself as one of the most consistent & hard working dudes in the underground by dropping 2 full-lengths, 2 greatest hits compilations, 6 mixtapes & 4 EPs all in the span of 5 years. He just dropped Fallen Angelic this past spring & is now commemorating the Gathering of Dreams this weekend by delivering his 3rd album.

After the “Portal” intro, the first song “Wake Up” is blaring trap opener produced by Devereaux talking about being baptized in the gutter whereas “6 Foot Hatchet” manically promises to put a nightmare on that movie screen. “Fill the Space” works in some bells to deliver a weed smoking anthem just before “9MM Suppository” shoots for a more morbid aesthetic talking about detailing his shooter-mentality with an excellent chopped & screwed hook.

Meanwhile on “Boiler Room”, we have Gizmo accompanying Ouija to talk about stomping out their competition over a sickly trap beat leading into “Return of the Murder Go Round”, which is a catchy yet wicked sequel to “Murder Go Round” off the Wicked Clowns’ sophomore album Ringmaster down to the sample during the hook. Chapter 17 Records’ very 1st signee HEXXX comes into the picture for “Beast in Dior” to display some great back & forth chemistry with 1 another calling out those who’ve never surrounded themselves with demons over some hi-hats & retro video game-like synths, but then “Killa Like” talks about what he woke up feeling like with a bass-heavy instrumental from Billy Martin of fucking Good Charlotte with some rock undertones to it.

“Massacre” has a more frightful sound to it with co-production from DJ Chunk warning that nobody’s walking out their bitch alive on Ouija’s watch while “Mo Murda” ghoulishly talks about pulling up to a murder scene to make a scene. “F.U.R.N. (Fucked Up Right Now)” is a sweet trap/rock fusion detailing being under the influence even though F.J. Outlaw’s verse is respectfully one of the weaker features on the album with “In the Ha” serving as a cloudy sequel to “In the Haughhh!” off my favorite EP that ICP has ever put out: Beverly Kills 50187.

Continuing from there: “Go Head On” encourages not to hold back on shit over an occult bet while “Christian Mingle” continues to mix trap & rock together to talk about walking up in that bitch with a glock & a hatchet. “You’re Dead” with the Duke of Wicked himself Violent J has a futuristic yet grimy flare to quench for blood while the song “Do It Like This” talks about how he gets it done over a somber Shaggytheairhead beat. The closer “Take Me Home” comes through confessing his suicidal thoughts which is fitting considering his story of the Stillwind/Stalewind shift along with how hard these past few months have been for this reviewer personally & the bonus cut “Juggalo Radio” ends the album with an electronic/trap infused banger promoting JUGG FM.

If you’ve been following Ouija for as long as I have, then you should know how important this final element is & this conclusion to a 5-year long saga happens to be the most important album of his career yet in my personal opinion. I’ve noted that some his more recents efforts have shown that quite the artistic evolution from Ouija’s pen-game to the projection but on Stalewind, it all comes full circle so excellently.

Score: 4.5/5

@legendswill_never_die on Instagram for the best music reviews weekly!

ShittyBoyz – “Trifecta 2” review

The ShittyBoyz are a trio from Detroit, Michigan consisting of BabyTron alongside Stanwill & TR Dee. Since putting out their debut mixtape 3-Peat under Lando Bando’s own The Hip Hop Lab Records in the summer of 2019, they would take the motor city by storm & following it up with another tape & 2 full-lengths with the last one being Trifecta during the first quarter of the year. But now with the PunchGod himself Babytron landing a spot on this year’s XXL Freshman Class & his performance at the Gathering of the Juggalos this weekend along with the rap metal band Motown Rage fronted by his father Mr. Sadistic (who were also once signed to Psychopathic Records in the late 2000s), the Boyz are back in town for album #3.

“Win or Lose” is an atmospheric hyphy opener talking about how you either take Ws or Ls in life leading into Tae Retro tagging along for “Zeke & Luther” to stay on the grind over a quasi-tropical beat. “WWE” works in some hi-hats & horns to show off some clever wrestling wordplay referencing those from former 2-time TNA World Tag Team Champion, 6-time WWE Cruiserweight Champion, 3-time WWE tag team champion & former ECW World Heavyweight Champion Chavo Guerrero to former アイアンマンヘビーメタル級チャンピオン, TNA World Champion, AAA Mega Campeon, AAA Latinoamericano Campeon, AAA Mundial Cruceropeso Campeon, MLW National Openweight Champion, 6-time WWE Tag Team Champion, 3-time WWE Intercontinental Champion & ECW World Heavyweight Champion John Morrison whereas “V8’s & V12’s” has a more West Coast flare to it cautioning that you may catch them speeding.

Meanwhile on “Senzu Bean”, what’ve the ShittyBoyz over a symphonic trap instrumental calling out some shooters who said they’d pop them similar to the object in Dragon Ball Z that recoups a fighter’s strength & help them recover from incredibly from severe injuries just before “Video Games” samples a wide range of classic from San Andreas to the startup sound of a GameCube to flaunt their lifestyles. “Lion-Hearted” incorporates a muffled sample & hi-hats from Jakesand so they can ball, but then “Going Hyphy” is self-explanatory as far as sound goes except the braggadocious lyricism.

“Slam Dunk Contestants” weaves some keyboards into the fold comparing themselves to the Avengers while the TRL-assisted “Turnt Shit 2” is a decent sequel to a loosie the quartet put out couple years back. “Cheers B!tch” revives the Hi-NRG sound with a chilling switch-up during the last 50 seconds talking about having double cups while the song “Getaway” is a jazz/trap hybrid boasting yet again.

The penultimate track “Most Wanted” mixes some guitar plucks, trumpets, synths & hi-hats together confessing that they feel like they’re on the run with “GGG” finishing off the album with another Hi-NRG hit talking about punching shit online similar to that of Gennady Golovkin.

I’ve made it pretty clear that the ShittyBoyz & Babyface Ray both have Detroit in a chokehold at the moment & Trifecta 2 is just another example of that. The bars that they come up together never fail to grab me in an amusing way & with the production continuing to redefine the group by going with completely different sounds.

Score 3.5/5

@legendswill_never_die on Instagram for the best music reviews weekly!

Jay Worthy – “You Take the Credit, We’ll Take the Check” review

Jay Worthy is a 36 year old MC born in Vancouver, British Columbia, Canada & raised in Compton, California who caught my attention in 2017 after The Alchemist produced his debut EP Fantasy Island from top to bottom. He would go onto drop 5 more EPs & just put out 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, but is now reuniting with Harry Fraud for his 2nd mixtape.

“Believe” is a classy opener talking about how he did it whereas the soulful “Pacific Coast Highway” with Larry June confessing that they’re married to the hustle. “Good Lookin’” takes a funkier route as Kamaiyah tags along to talk about how you have to pay for their time just before the Conway the Machine-assisted “Helicopter Homicide” works in some lush guitar licks so both MCs can kill shit lyrically.

Meanwhile on “Tonight”, we have Harry taking back to the 80s instrumentally with Jay verbally harassing all the peons out there leading into Curren$y coming into the picture for “Editorials” talking about the rebirth of Max Julien & gunning your spot over a well-flipped sample. “Daytons” featuring Ramirez layers a harmonica on some crooning vocals expressing their desire to take trips & break hoes, but then “Almighty” returns to soulful turf talking about how he been through it.

The vibraphone/boom bap combo throughout “Stickup Kids” is a nice touch with Detroit’s very own BandGang Lonnie Bands joining Jay in recalling them knocking people down before getting involved with hip hop while “Earth Sky” with MadeinTYO talking about all their homies who’re not here with them anymore. “Monday Motivation” has a funkier flare to it providing words of wisdom going into the new week while the song “Winnipeg Winters” with A$AP 12vy brings in a harmonious loop talking about being them dudes homing t. The penultimate track “6 Figure Strolls” with $ha Hef brags that they made $100k off 1 hoe over a shimmery instrumental & to finish off the album, the sound of “St. Nick the P” is more guitar-heavy talking about being worldwide.

Anticipation for this tape was very high for me personally considering that Eat When You’re Hungry, Sleep When You’re Tired has to be one of my favorite EPs that Jay has put out & I think this is yet another example of a sequel that living up to or surpassing the expectations set by the original. Harry Fraud’s production is more varied compared to the mobb-inspired 2 P’z in a Pod, the features are fantastically consistent & Jay himself comes through with some of his hardest verses he’s ever laid.

Score: 4/5

@legendswill_never_die on Instagram for the best music reviews weekly!

Calvin Harris – “Funk Wav Bounces 2” review

Calvin Harris is a 38 year old DJ, producer & singer/songwriter from Dumfries, Scotland, United Kingdom who came in 2007 off his decent full-length debut I Created Disco. Ready for the Weekend & 18 Months both went on to receive moderate reception as well, but his 4th album Motion was easily his worst. However, the last album we got from Calvin was Funk Wav Bounces in the summer of 2017 & is widely acknowledged as his best one yet. So here we are 5 years later with a sequel & was anticipating it considering the singles leading up to it.

After the 40 second intro, the first song “New Money” is a disco/rap opener with 21 Savage flexing on the mic whereas “Potion” by Dua Lipa & Young Thug fuses contemporary R&B with dance-pop & synth funk to deliver an enticing slow jam. “Woman of the Year” by Chlöe & Coi Leray keeps the funk alive declaring themselves as such, but then “Obsessed” by Charlie Puth & Shenseea works in some cheery piano chords as they talk about missing 1 another.

“New to You” by Offset & Tinashe goes full-blown boogie confessing they want each other just before “Ready or Not” by Busta Rhymes brings back the keys to talk about taking this shit to the galaxy. “Stay with Me” by Justin Timberlake takes the nu disco route encouraging his lady to stick by him the whole night leading into the sequel which has a funky groove to it, but feels a bit redundant in the track listing.

Meanwhile on “Somebody Else”, we have these incredible bass-guitar licks as Jorja Smith & Lil Durk confess that both of them are in love with another person while “Nothing More to Say” by 6LACK is a groovy slow jam talking about getting the feeling right. The song “Live My Best Life” by Latto & WWE Hall of Famer Snoop Dogg has a more tropical aesthetic to it describing a place where the people have a good time while the penultimate track “Lean on Me” by Swae Lee is more synth-based talking about money following. “Day 1” by Pharrell & Pusha T ends the album with a warm ode to loyalty.

Like I said at the beginning of this review: I wasn’t really the biggest fan of Calvin prior to Funk Wav Bounces, but I’ve been wanting a sequel every since it initially came out & it’s just as much of a solid listen as the predecessor if you ask me. The production is colorful & the performances from the guests are pretty consistent for a good portion of the album.

Score: 3.5/5

@legendswill_never_die on Instagram for the best music reviews weekly!

Zitro – “Nain Rouge” review

Zitro is a 33 year old MC from Detroit, Michigan who started making music when he was in the 7th grade. But it wasn’t until February 2020 where he would put out his full-length debut A New Beginning under Shrunken Head Entertainment & followed it up last summer with the debut EP Black Diamondz + Long Islandz following a set at the Gathering of the Juggalos, which eventually led the Insane Clown Posse signing him to Psychopathic Records a couple months later as announced the booklet of the 5th Joker’s Card in the 2nd deck Yum Yum Bedlam. So considering that the Gathering of Dreams is going down this week, it’s only fitting for Zitro to put out a sophomore album.

After the “Who or What is Nain Rogue?” intro, “The Arrival” is a bombastic trap opener threatening his opposition whereas the Bake Lo-assisted “God StatuZ” grimly finds the 2 declaring themselves as Gods. “Monster” shoots for a more demonic aesthetic talking about being a killer, but then “Thuggalo” is a sprightly ode to every single juggalo that grew up in the hood.

Meanwhile on “Becoming a Problem”, we have Zitro over a bell-infused trap beat calling out the haters who wanna be just like him just before “Here to Kill (I Ain’t Trick-R-Treatin’)” is a pop rap cut getting on his serial killer shit. “Look in My EyeZ” is a spacey trap banger talking about seeing the pain inside him just before “Long Dark Road” comes through as a favorite of mine on the album from Godsynth’s production to Zitro’s lyrics deciding whether or not to head into the light.

“Loco (Because of You)” takes a rubberier route talking about how deranged he is prior to Histio coming into the picture for “I’m Good” to chillingly describe the only way for them to cope with their depression is. “With the Tint” has a more cloudier vibe to it talking about everything being black while the keyboard-laced “Wicked Whippin’” with Tierre Diaz to get whatever’s on their minds.

The song “Nightmare Walkin’” with Geno Live & R.U.C.K.I.S.S. sees the trio over a sinister trap instrumental talking about their violent urges while the penultimate track “Move It” follows that up with an off-the-wall club banger. “Who You Want?” however ends the album with a Middle Eastern-influenced jam bringing the Demon out.

Compared to Black Diamondz + Long Islandz & A New Beginning, the amount of creative growth provided throughout Nain Rouge is pretty impressive. I really like how the production happens to be more versatile in terms of overall sound & the whole concept of Zitro being the Demon of the Strait in the living flesh is well-detailed.

Score: 3.5/5

Wiked Wood – Self-Titled review

Wiked Wood is a horrorcore duo from Atlantic City, New Jersey consisting of Cray-Z & Grave-Bait. The pair first emerged in the spring of 2013 off their full-length debut Red Carpet, which was followed on Halloween 2016 with their sophomore effort Dubs Up & then their debut EP Simulated Reality a week before Christmas couple years back. However with them making their 2nd consecutive appearance at the Gathering of the Juggalos next week, they’re dropping off an eponymous 3rd album for all of those who’re new to their music.

After the intro, the opener “Gotta Keep It Wiked” is a spooky boom bap opener produced by Devereaux to my surprise taking about remaining true to their horrorcore roots whereas “Spaceship” comes through with a Tech N9ne-inspired party anthem. “Petrified” shoots for a more futuristic approach to boast leading into the guitar-driven “Icarus” to talk about the minor character in Greek mythology not flying close to the sun with a cool “legends never die” line during the hook.

Meanwhile on “New Shit”, we have Lyte & Project Born joining Wiked Wood over a piano-laced instrumental to show their haters how they’re doing leading into Bernz & Ouija Macc tagging along for the nocturnal “Neck of the Woodz” to talk about being good with them as long as you pat your respects to them. “Spell It Wrong” works in some bells thanks to Shaggytheairhead saying they don’t need no fuckin’ C, but then “You Better Run” puts an EDM spin on the fucking Halloween theme to spit the wiked shit.

Blahzay Roze comes into the picture for the acoustic-flavored “Tomorrow” talking about scars healing & carrying on while the Androponix remix of “Paper” just seems a little pointless in my personal opinion. After the “Free Wawa Gift Card” skit, “What You Think’s Real” is a rap rock banger with both MCs gruesomely talking about certain interactions. being capable of shattering your mind while the “O.W.T.H. (Off With The Head)” remix being superior to the original. The penultimate song “See Me Shine” calls out those who wanted them to fail over a sunny beat & after the “Tom Wood Please” skit, “This is a Tribute” happens to be an odd choice for a closer as it’s an EDM-influenced juggalo ode.

I was pretty impressed with Wiked Wood’s set at last year’s Gathering, so it definitely made me curious to hear a full-length of theirs & I happen to think that it’s their most consistent body of work to date. Their lyricism has gotten better & do a solid job at refining their style for all of those who’re new to them.

Score: 3.5/5

Beyoncé – “RENAISSANCE” review

Beyoncé is a 40 year old singer/songwriter, producer, dancer, actress, businesswoman & director from Houston, Texas who rose to fame in the late-90’s as the lead singer of Destiny’s Child. She eventually began her career as a solo artist in the summer of 2003 with the slept-on Dangerously in Love, but found both B’Day & I Am…Sasha Fierce to be average at best. 4 though was her best since her full-length debut, paving the way for a self-titled effort & Lemonade to become her most critically acclaimed bodies of work yet. But as a way to cope with the COVID-19 pandemic, Bey’s returning with her 7th album & the first in a new trilogy.

The opener “I’m That Girl” sets it all off talking about how no one can fuck with her over an instrumental featuring co-production from Mike Dean & S1 flipping “Still Pimpin’” by Tommy Wright III whereas “Cozy” comes through with a more housier vibe encouraging one to be comfortable with their own skin. The intergalactic aesthetics of “Alien Superstar” makes it a highlight for my personal as she talks about being too classy, but then “Cuff It” goes into disco territory confessing that she feels like fucking shit up.

Meanwhile on “Energy”, we have Beyoncé returning to house turf thanks to Skrillex getting rebellious rightfully calling out Karens turning into terrorists leading into “Break My Soul” pulling from Euro house sampling “Show Me Love” by Robin S. telling everyone that she’s unbreakable. “Church Girl” pulls from ballroom music with the help of Tricky Stewart & No I.D. with a Clark Sisters flip to further confirm that women who regularly attend church are super freaky just before “Plastic Off the Sofa” is a contemporary R&B ballad produced with Syd of course getting on the more romantic side of things.

“Virgo’s Groove” returns to a more dance-pop sound encouraging her lover to come over while “Move” pulls from hip house & afrobeats advising everyone to get the fuck out her way. “Heated” embraces afro house to talk about fanning off while “Thique” reveals itself to be another favorite of mine from Hit-Boy’s infectious production to the lyrics about body positivity & even bragging that her bread’s getting bigger.

Following that, “All Up in Your Mind” bombastically warns to be careful what you ask for because she could comply while the song “America Has a Problem” heavily samplez the Kilo Ali cut of the same name basically declaring herself to be the Tony Montana of sex appeal. The penultimate track “Pure / Honey” is a ballroom-inspired 2 parter talking about feeling her technique & getting people stuck to her love as “Summer Renaissance” finishes the album with 1-last house banger to describe a gangster growing on her.

Truth be told: I went into Renaissance expecting it to be average at best considering my initial reaction to “Break My Soul” when it came out last month was moderate & I have to inevitably mention the new Drake album Honestly, Nevermind being a decent homage to the late Virgil Abloh. Since it’s finally here however & I got to marinate with it for a while, I definitely enjoyed it more than I thought & find it to be as great as IDK’s latest EP Simple. that just came out a couple months ago. The dance-tinged production is a sweet homage to her late uncle Johnny & her performances are incredibly empowering.

Score: 4/5

Fatlip – “Torpor” review

Fatlip is a 53 year old MC from Los Angeles, California who came up in the late 80s as a member of The Pharcyde. He eventually branched out with a solo debut of his own The Loneliest Punk the day after Halloween in 2005 & now coming fresh off his recent collab album with Blu this past spring called Live From the End of the World, he’s enlisting Sccit & Siavash the Grouch to produce a majority of his long-awaited sophomore album right here.

After the titular intro, M.O 99 & & RBX tag along for the first song “Wake Up” to jump on top of a funky beat talking about how partying so much to the point where they couldn’t get out of bed whereas “February” takes a more acoustic route getting on a more conscious tip lyrically. Sccit comes into the picture for the trap-laced “Energy” talking about being built to last & after the “Message #1” skit, “Dust in the Wind” dives into more jazzier territory thanks to Chris “The Glove” Taylor with Krayzie Bone joining Lip spitting some life shit.

“My Bad” by The Pharcyde goes into cloudier turf confessing that frustration got them going blind & after the “Message #2” skit, Sccit & Krazyie return for “The Way” to explain how it’s supposed to be over an upbeat instrumental. “DC” brings back the synthesizers talking about still being free & after the final “Message” skit, The Pharcyde returns for the wavy penultimate track “30 Minutes Late” confessing being a half hour late for rehearsal. “Fulla Flava” though is a rich closer talking about never being a fake mobster.

Now I know The Pharcyde has been celebrating the 30 year anniversary of their iconic debut Bizarre Ride II the Pharcyde throughout 2022 & hopefully the trio puts out a new album through Rhymesayers Entertainment in the near future but if you enjoyed The Loneliest Punk like I did, then you’re gonna want to check out Torpor. Lip sounds recharged on the mic after his 17-year break from the spotlight & the production throughout is impressively slick.

Score: 3.5/5

$uicideboy$ – “Sing Me a Lullaby, My Sweet Temptation” review

This is the 3rd studio album from New Orleans duo $uicideboy$. Consisting of Ruby da Cherry & $crim, the released a plethora of projects within the last 8 years whether it be the Kill Your$elf saga & Eternal Grey or even the full-length debut I WANNA DIE IN NEW ORLEANS & the Travis Barker-produced Live Fast, Die Whenever. The boy$ recently dropped their sophomore effort Long Term Effects of Suffering last summer & are ringing in another one in the form of Sing Me a Lullaby, My Sweet Temptation.

“Genesis” kicks off the album sampling the greatest Mario game of all-time Super Mario World with Ruby & $crim talking about reinventing themselves whereas “Matte Black” takes a cloudier route to rep the ever-growing G*59 Record$ that they founded from their inception. Fucking Your Culture” shoots for a darker aesthetic to flex just before “1,000 Blunts” works in a vocal sample talking about not giving in & relapsing on drugs.

Meanwhile on “In Constant Sorrow”, have the boy$ over some jazzy production tackling their depression leading into “Escape from BABYLON” returning to cloudier territory talking about finding love in the wrong places. “Ashes of Luxury” comes through with a mellow weed-smoking anthem, but then “Resistance is Useless” flips the late Koopsta Knicca talking about stacking up addictions & the only thing that’s changed is that they cut off one of their homies.

“Eulogy” has a mystical feel to it asking to play this song at their funerals while “No Matter Which Direction I’m Going In, I Never Chase These Hoes” atmospherically opens up about troubled relationships. The song “$uicideboy$ Were Better in 2015” is a piano-laced diss towards those who preferred their music when they were on drugs while the penultimate track “Unlucky Me” is an impressive sequel to “Lucky Me” down to the SWV sample. “THE_EVIL_THAT_MEN_DO” ends the album on a boom bap note addressing trust issues & being away from the public eye.

For the people who keep complaining that the $uicideboy$ sound the same every time they put a project out together, this is another reminder for them to shut the fuck up. The production that $crim cooks up is some of his most versatile that he’s ever made with him & Ruby giving the listeners a wide range of emotions from braggadocio to heartbreak, anger & even anticipation about their reinvention.

Score: 4/5

@legendswill_never_die on Instagram for the best music reviews weekly!