EARTHGANG – “Ghetto Gods” review

This is the 4th full-length album from Atlanta, Georgia duo EARTHGANG. Consisting of Olu & WowGr8, the pair started out a little over a decade ago dropping 3 mixtapes along with 2 albums & an EP independently before J. Cole signed them to his Interscope Records imprint Dreamville Records in 2017. This resulted in a trilogy of EPs leading up to their major label debut Mirrorland, which revealed themselves to be one of the best artists that the label has to offer. They went on to give their Spillage Village collective some shine by dropping their 4th album Spilligion on Dreamville the next year but now, they’re back in effect with the long-awaited Ghetto Gods.

After the “GLOW” intro, the title track opens the album with the duo talking about how anyone who thinks they can fuck with them are crazy on top of a symphonic trap instrumental whereas the Future-assisted “BILLI” is pretty much their own “Life is Good” down to the way it’s structured except this is way more exciting. [J.I.D] & J. Cole tag along for the funky “WATERBOYZ” talking about getting this money & fucking the fame leading into the “HEY BOO” interlude.

Meanwhile on “AMEN”, we have EARTHGANG coming through with a decent R&B flavored slow jam just before “ALL EYES ON ME” takes a cloudier route with the help of JetsonMade talking about wanting their homies free. “LIE TO ME” follows it up with some intoxicating synth melodies asking to be true but then after the “JEANS” interlude, the duo bring Baby Tate into the picture for “BLACK PEARLS” trying to brag about their women getting new bodies & falling flat on their faces.

After the “NEEZY’S WALK” interlude, the lead single “American Horror Story” returns to funk turf expressing their desire to be free while “POWER” comes off as an passionate pro-black anthem. After the “ZAZA” skit, the song “SMOKE SUM” goes into boom bap territory to talk about blazing some trees while the penultimate track “STRONG FRIENDS” is a fiery ode to being mentally healthy. “RUN TOO” ends the album with a spacey banger talking about what a life it’s been for them.

It took them a little over 2 years to finally give Ghetto Gods to us & at the end of the day, I like it a little bit more than Mirrorland. Few songs I could’ve done without, but the whole concept of finding God in you is very well thought out & their production game is continuing to progressively improve.

Score: 4/5

Conway the Machine – “God Don’t Make Mistakes” review

This is the long-awaited Shady Records album from Buffalo emcee/entrepreneur Conway the Machine. Blowing up in late 2015 as part of the 3 OGs of Griselda Records alongside his brother Westside Gunn & their cousin Benny the Butcher, the trio have had hip hop on lock by their constant work ethic balancing quality & quality as well as vividly detailing their lives in the streets on top of boom bap production kin to that of RZA & Havoc in their music. Con’s full-length debut From King to a God was my Album of the Year for 2020 & last year, we were treated to his 8th EP If It Bleeds It Can Be Killed produced entirely by Big Ghost Ltd. & his 11th mixtape La Maquina. But in light of Conway announcing earlier this week that he’ll be amicably departing Shady & Griselda to focus on his very own label Drumwork Music Group, what better way to fulfill his contracts than to drop God Don’t Make Mistakes?

“Lock Load” starts off the album with Beanie Sigel & Conway talking about always carrying a strap on them on top of a spooky Daringer instrumental whereas “Tear Gas” with Lil Wayne & Rick Ross works in a high-pitched vocal sample calling out those who weren’t there for them when they needed them most. “Piano Love” of course brings in a dreary piano instrumental from The Alchemist talking about being the richest in Buffalo, but then “Drumwork” is pretty much “Crack in the 90s” & “Sister Abigail” on steroids.

Meanwhile on “Wild Chapters”, we have T.I. joining Conway on top of a dispirited boom bap beat from Hit-Boy talking about the story of their lives just before the Bink!-produced “Guilty” goes into soulful turf encouraging to focus on his lyricism than his appearance. “John Woo Flick” follows it up with a disgusting Griselda posse cut in the same vein as “Spurs 3” leading into the spacious boom bap banger “Stressed” pondering if anyone cares about his mental well being.

“So Much More” encourages listeners not to “let ’em tell you 1 side of the story” on top of angelic vocal loop provided by the J.U.S.T.I.C.E. League while the Jill Scott-duet “Chanel Pearls” gets on some smooth Bonnie & Clyde shit. The penultimate song “Babas” incorporates some organs talking about going from king to a god (no pun intended) & the title track finishes the album off by airing out all these questions he has with The Alchemist providing a lush musical backdrop.

Conway’s been hyping this up for a good minute now & for it to be his final Griselda project as well as the only one on Shady, we got ourselves an early album of the year contender & some of the best work of his career. The production is superb, the features are all well picked out & it’s amazing how personal he’s getting on here. I wish him all the best on his own.

Score: 4.5/5

T.F. – “Blame Kansas” review

T.F. is a 36 year old MC from Los Angeles, California who I first heard after he was featured on “Tookie Knows, Pt. II” off ScHoolboy Q’s magnum opus Blank Face LP. He then dropped his debut EP No Hooks only 7 months later, which was followed up by his full-length debut ErThangSkanless & then a 2nd EP called OktoberFest. Then after appearing on Flee Lord’s 8th EP Hand Me My Flowers produced entirely by Buckwild & put out 2 more EPs on his own, T.F. eventually signed to Lord Mobb Music & dropped his sophomore effort Skanless Summer last spring. But now after releasing Big Moon a few months back, T.F. is back in effect for his 3rd album produced by Mephux & Roc Marciano.

The title track sets off the album with a pillowy boom bap cut talking about violence coming from everyday arguments whereas “Olathe” with Conway the Machine & Roc Marciano finds the trio on top of a narcocorrido sample getting in their mafioso bag. BVNGS tags along for “Death Wish” to talk about needing to be killed if you ain’t loyal to the game on top of a despondent beat just before “Crash Bandicoot” goes into a jazzier direction saying he’s been focused lately as well as doing it for the dead ones.

After the “Intermission” interlude, we have Crimeapple coming into the picture for “Friend of God” working in a Spanish vocal loop spitting that g shit leading into the Lil Bunko-assisted “Cuban Links” taking a more climatic route as far as Marci’s production goes saying you gotta talk to God instead of them. The song “Betty Crocker” of courses gets back on the drug dealer tip over an eerie sample while the penultimate track “Long Way Home” with Zoo jumps into drumless territory talking about the rate they’re going. “Fuck the Rest” with Flee Lord then ends the album with an orchestral loop talking not fucking with anyone but his homies.

If you’ve enjoyed T.F.’s features in the past & are looking to get into his solo work, then Blame Kansas would be a great introduction in my personal opinion. There are a couple of lackluster features, but a good majority do a good job at breaking up any monotony & the dude himself sounds hungrier than ever. On top of that, both Mephux & Roc absolutely SCHOOL it behind the boards.

Score: 4/5

Truth – “For All Intents & Purposes” review

This is the 3rd full-length album from Queens emcee Truth. Coming up as 1/3 of Gods’Illa, it wouldn’t be until the year after the group’s full-length debut Believe in Gods’Illa where he would start to build up a solo discography for himself with From Ashes to Kingdom Come. He then followed it up 3 years later by dropping the sophomore effort The Fight for Survival & now with the 3 year anniversary of that coming up next month, Truth is enlisting Da Beatminerz to produce For All Intents & Purposes in it’s entirety.

After the “Power of Truth” intro, the first song “Let’s Do It” is a dusty boom bap opener encouraging those who want problems to pursue it whereas “Duck Dodge Hide” takes a more blood-curdling route talking about watching your step around him. “Where You At?” goes into a more orchestral direction getting on his Queens shit just before “Listen Up” sends a chilling warning to anyone who wants to step to him in a battle referencing WWE Hall of Famer, former WWE Champion & WWE Tag Team Champion The Iron Sheik.

Meanwhile on “Aim to Kill”, we have Truth delivering some deadly battle raps leading into “Fistory in the Making” following it up with a full-blown fight anthem. “Stomped Out” picks up where the previous cut left off topically except it works in some pretty cool horns, but then “Brutality” samples “I’m Alive” by Johnny Thunder to talk about his rapping prowess. “Attack” has some funky undertones into the production to rap circles around his opposition once more while “Take ‘Em Down” goes into bluesier turf talking about never letting up.

The penultimate song “Entourage” with Joe Fatal, Large Professor, Ras Kass, Tragedy Khadafi & Treach is an absolutely stellar posse cut with a haunting yet relaying vocal loop & after the “Pardon the Disruption” interlude, “The Eternal Forces” ends the album with a beautiful ode to those in his life who couldn’t be here today.

If you ask me, this is easily the best thing that Truth has put out yet & it exemplifies why he could be the illest of the Gods’illa camp. He & Da Beatminerz all take it back to the essence on here from the rugged lyrical content to the raw boom bap sound that the production duo blew up off of 3 decades ago & even the scratch hooks.

Score: 4/5

Big K.R.I.T. – “D.R.D.D. (Digital Roses Don’t Die)” review

This is the highly anticipated 5th full-length album from Mississippi emcee/producer Big K.R.I.T., who started out by releasing a few mixtapes from the mid to late 2000s. He eventually signed to GoodTalk Records in 2010 & his 6th mixtape K.R.I.T. Wuz Here that same year landed him a joint venture with Def Jam Recordings & a spot in the XXL Freshman Class in 2011. His first 2 studio albums Live from the Underground & Cadillactica in 2012 & 2014 respectively continued to show his potential, but then he went on to form his own label Multi Alumni some time after. His first outing under the new independent label was his previous album 4eva’s a Mighty Long Time in October 2017, which is the best double disc hip hop album of the 2010s without question. Following that was the T.D.T. compilation & even K.R.I.T. Iz Here, which was an underwhelming sequel to K.R.I.T. Wuz Here given how excessively commercial it was in comparison to the rawness of the predecessor. That being said, I was still excited for D.R.D.D. (Digital Roses Don’t Die) considering the fact that the singles he’s been dropping as of late haven’t been continuing to cater to a radio market that doesn’t exist.

After the “Fire” intro, the first song “Southside of the Moon” kicks off the album by talking about a woman from New York over soulful instrumental from DJ Camper whereas “Show U Right” is a spacious ode to chivalry. “Rhode Clean” takes a funkier route asking listeners if they’ve ever done such & after the “Earth” interlude, “Cum Out to Play” goes into a more sensual direction except it’s underwritten as fuck.

Meanwhile on “Just 4 You”, we have K.R.I.T. mixing R&B with trap talking about doing anything for the love of his life leading into the jazzy “So Cool” flexing how hot he is. After the “Water” interlude, “Boring” brings back the funk letting his lover know he’s aware that she loves him that way just before “Would It Matter” reinforces some jazzy undertones asking his lover if she would have a problem with him having a 9-5 & not being able to afford her a Birkin bag.

“Generational – Weighed Down” mixes some pianos & saxophones tackling fatherhood & after the “Wind”, interlude, “It’s Over Now” is an acoustic ballad detailing a breakup. The song “Wet Lashes & Shot Glasses” talks about wiping tears while drinking & smoking over a silky instrumental while the penultimate track “All the Time” comes through with some synths & bass-licks calling out those who’ve never been in love before. “More Than Roses” ends the album with a pillowy yet drumless ode to his partner.

I will say that D.R.D.D. (Digital Roses Don’t Die) is better than K.R.I.T. Iz Here was, but not by much. The production has significantly improved due to Krizzle handling a good portion of it himself & that makes me happy because I felt like him stepping away behind the boards could’ve been done a bit better on the last album, but I find this whole romance concept to be decent at best.

Score: 3/5

ShittyBoyz – “Trifecta” review

This is the sophomore album from Detroit trio ShittyBoyz. Consisting of Babytron alongside Stanwill & TR Dee, the group dropped off their debut mixtape 3-Peat under Lando Bando’s own The Hip Hop Lab Records in the summer of 2019 & quickly became one of the city’s biggest acts in recent memory. Their full-length debut New Year, Same Scams came out 7 months later & the last we heard from them as a unit was almost a year ago with their 2nd tape 4-Peat. However after taking some short time focusing on their solo careers, the founding Dog $hit Militia members are back in town in the form of Trifecta.

“Red Wings” opens the album with a mystic trap beat from Jakesand talking about shining from out the dark whereas “Gotham City” follows it up with a more darker tone saying they don’t lane switch referencing both 14-time WWE world champion, 4-time WWE tag team champion, WWE Intercontinental Champion & WWE United States Champion Randy Orton followed by 3-time WWE world champion, 5-time WWE Intercontinental Champion, WWE United States Champion, 9-time WWE tag team champion, 3-time WWE Hardcore Champion, 3-time TNA World Champion, 2-time TNA World Tag Team Champion, ROH World Tag Team Champion, HOG Tag Team Champion, ΩCW Heavyweight Champion, ΩCW New Frontiers Champion, 2-time ΩCW Tag Team Champion & The Crash Mundial Parejas Campeon Jeff Hardy. “Big 3” takes a more vibrant route to talk about their star power just before “Soul Bleed” mixes chipmunk soul with trap continuing to flex.

Meanwhile on “Taliban Ties”, we have the ShittyBoyz picking up where the previous cut left off sonically talking about their connections to the mob leading into the flute-laced “Visa Magicians” getting back in their scamming bag. “Red Light, Green Light” is pretty much their own take on the Squid Game concept down to the sample Danny G chops up, but then the instrumental that “Sly Cooper” brings to the table of course pays homage to one of my favorite video game series growing up talking about taking computer’s from internet thugs & dissing the weirdos with no money.

“Night on Collins Ave” almost has a bit of an orchestral quality to it detailing how it is on the titular street here in Detroit while “Ghetto Elegance” returns to chipmunk soul territory to show off their wealth. “Payday” works in some catchy vocal melodies hanging in the background painting pictures of the lives they live while “TMZ” incorporates a sitar to talk about being married to the paper.

Following that, “Bill Nye” goes into a more synth-heavy direction calling out those who ain’t never chased a bag prior to “Blizzard Mode” throwing some bells in the mix talking about how nothing they achieved was luck. “Triple Dog Dare” comes in with a more entrancing tone challenging a fed after pulling up to right & TR Dee making a reference to 16-time WWE world champion, 4-time WWE tag team champion & 5-time WWE United States Champion John Cena while “Supervillain” sinisterly compares themselves to that of.

The amount of beat switches on “Time Travelin’” are completely fuckin’ insane as they let their competition know they ain’t scared of them while “Rob Dyrdek” addresses their hustle referencing UFC Hall of Famer & former UFC Light Heavyweight Champion Forrest Griffin alongside the Justice League franchise owned by the Warner Bros.-owned DC Entertainment. “NFL” of course samples the Twilight Trio’s theme tune for the titular company making a bunch of clever sports references while the song “Kung Fu” over a weepy instrumental talking about being bound to blow. The penultimate track “Pedal Pushin’” has some cloudy undertones to the beat talking about pulling up when the money calls & “On 1” ends the album with an opera sample & talking about working magic.

Between this & the new Babyface Ray album Face, I feel like this is gonna be a great year for the city as far as rising talent goes. It’s always amazing to me how each member of the trio stands out in their own way & their style remains unmatched in comparison to some Detroit trap artists painting themselves in a corner stylistically.

Score: 3.5/5

Black Josh & Milkavelli – “Swegasus” review

Runcorn, Cheshire, England, United Kingdom veteran Lee Scott solely producing Manchester emcee Black Josh & London emcee Milkavelli’s collaborative studio LP. The latter of whom was a member of the Children of the Damned & the other joined its succeeding collective the Cult of the Damned. So considering the intertwining history both of these guys have with the Blah Records founder comprising 1/2 as the B-Movie Millionaires & the Mcabre Brothers respectively, I can understand the intention behind Swegasus.

“Fisher Price” opens up with a boom bap instrumental assuming life’s a joke until we all die from laughter whereas “La La La” mellowly references Jamiroquai’s 3rd album Traveling Without Moving containing their biggest hit “Virtual Insanity”. Anyway, the song “Doin’ Bits” continues from there dippin’ to the crib in a whip that eventually flipped just before “Sherbert” dustily reaches the halfway point talking about being 6 feet in their graves with weed in their papers.

Meanwhile on “Golden”, we have Josh & Milk flowing on top of a boom bap beat with synths talking about things being far from over for either one of them musically leading into “Proper” shifts towards a west coast vibe a bit boasting their lyrical proficiency combined. “Take a Chance” shows off Lee Scott’s ear for sampling to talk about life being a fat joke other than keeping their heads to see the sun in the clouds & “Die to This” wraps up Swegasus sends it off with a boom bap outro.

Blah Records would unfortunately drop Milkavelli only months after Swegasus came out when it was revealed he was scamming fans, making Swegasus the last time the prominent UK hip hop label would release anything that had his creative input. It’s a shame too because not only did he & Black Josh really had someone beginning to develop in terms of abstract chemistry, but Lee Scott’s lo-fi boom bap production was the most suiting musical soundscape conceivable.

Score: 3.5/5

Yeat – “2 Alivë” review

Year is a 21 year old rapper from Portland, Oregon who out in 2018 off his debut EP Deep Blue $trips. This was followed up with 2 mixtapes & 3 more EPs, but he began dominating the mainstream in 2021 whether it be him dropping a total of 4 projects (2 mixtapes, an EP & a full-length debut) or cosigns from the likes of Drake & Earl Sweatshirt. But now with “U Could Tëll” appearing on one of latest Euphoria episodes & signing to Geffen Records, we’re finally being treated to Yeat’s long-awaited sophomore album.

“Poppin’” sets off the whole thing off on a cloudy note courtesy of BenjiCold boasting whereas “Outsidë” with Young Thug finds the 2 detailing the many benefits that come alongside their position as artists referencing 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 over an upbeat Supah Mario instrumental. “Rëal 6” takes a more atmospheric yet bass-heavy route with a clever homage to Nipsey Hu$$le in the hook, but then Trgc makes “Nvr again” sound something out of a retro video game as far as production goes & talking about his drug addiction.

Meanwhile on “Luh gëek”, we have Yeat over some prominent bass getting in his shit-talking bag leading into the Gunna assisted “Rackz got 2 më” talking about money consuming them over some somber bells. “Doublë” has a more futuristic feel to it detailing being “geeked out his mind” just before “On tha timë” talks about being the big dog & the instrumental reminds me a lot of Super Mario.

“Jus better” reincorporates some bells into an electronic backdrop speaking down on his competition while “Jump” reveals itself to be a vigorous moshpit anthem. “Dnt lië” follows it up by talking about going up on the list over a quirky instrumental whereas “Rollin’” shoots for a more chilled out vibe to flex.

Continuing from there, “Taliban” comes in with a more playful sound saying he’s always a geek while “Narcoticz” brings in Yung Kayo for a synth-laced drug theme. “Call më” follows that up with a decent love ballad & “Kan’t dië” picks brings back the synthesizers to brag.

Ken Carson tags along for the triumphant “Gëek high” talking about pulling up with the team while the song “Luh m” with ‎SeptembersRich is a cool little sequel to “Insidë out”. The penultimate track “Smooktobër” finds Yeat talking about fucking up the game over a spooky beat from F1LTHY of Working on Dying & “Still countin’” ends with the album with a hedonistic trap banger that Internet Money Records in-house producer Synthetic laced detailing the rich life.

“Big tonka” with Lil Uzi Vert starts the deluxe run with a euphoric, bell-heavy ode to Lamborghinis teasing a potential collaborative tape if that actually happens while “Kant rëlax” follows it up with a hypertrap banger about how ready he is. “No commënt” takes a more vibrant direction dissing Autumn! in the hook leading into Uzi returning for the futuristic yet uncanny “3G” talking about being the only ones outer space.

Meanwhile on “Nëw turban”, we have Yeat returning to hypertrap territory reincorporating some bells to spit some braggadocio just before “Hatër” claps back at those who don’t like him over a rubbery instrumental. The song “Way back” comes through with a more anthemic ballad talking about getting the cash while the penultimate track “Luv monëy” with Lancey Foux speaks for itself accompanied by a bass-heavy beat. “Dub” finishes the EP with an electrifying instrumental talking about his wins.

To see how far this dude has come within the last year has been incredible to watch because 2 Alivë has to be his best full-length yet in my eyes. It’s not as cloudy or pluggy as his early work, but he still displays a unique take on modern trap even on a major label.

Score: 4/5

Curren$y – “Continuance” review

This is the 18th full-length album from New Orleans veteran Curren$y. Getting his start with No Limit Records as a later member of the 504 Boyz in 2002, he would then hop over to Young Money Entertainment & Cash Money Records in ‘06 before branched out a couple years later with his own label Jet Life Recordings. Since then, the man made a name for himself by dropping a handful of projects every single year with the latest being the Ski Beatz-produced 4th installment of the Pilot Talk series. However, he’s reuniting with The Alchemist for Continuance which I was actually fiendin’ for because Covert Coup & The Carrollton Heist have always been some of the standouts in Spitta’s ever-growing discography.

“Half Morning Moons” starts off the album on a spacious note telling this woman she can kick it with him as long as she can keep a secret whereas “Reese’s Cup” is a piano ballad taking aim at his competition. Boldy James tags along for the soulful “No Yacht” talking about having an acquired taste for the finer things leading into “Obsession” talking about his being infatuated by how much money he can make over a glossy boom bap beat.

Meanwhile on “Corvette Rally Stripes”, we have Havoc & Wiz Khalifa joining Spitta on top of a grim instrumental to flaunt just before the Styles P-assisted takes a more stripped back route as the 2 talk about what it all sounds like to them. “The Tonight Show” almost has this jazzy quality to proclaiming himself as a living legend, but then “Signature Move” goes into a hazier direction talking about getting everything he wants

Detroit’s very own Babyface Ray comes into the picture for the bluesy “Louis Baggage” speaking on reaching underground king status prior to “The Final Board” going full-blown rock turf talking about getting paid in full. The song “JoDeCi Tape” gets in his romantic bag over a synth-heavy beat while the penultimate track “Endurance Runners” with Larry June returning to jazz territory declaring themselves as such. “Kool & the Gang” ends the album with a touching tribute to his son.

For this to be Spitta’s way to kick off his 2022, it absolutely lived up to my expectations & I’ll even say it’s on the exact same caliber as it’s predecessors Covert Coup & The Carrollton Heist. Alchemist’s production is superb as to be expected, the features all come correct & the man himself sounds like he’s in element lyrically.

Score: 4.5/5

Elevated Focusion – “Slow & Steady” review

Elevated Focusion is a producer from Queens, New York who’s been on a roll by dropping a beat tape every week throughout February with the first being a self-titled effort on the first Friday of the month & that was followed up last Thursday with Let’s Get All Silly & Weird. Here we are at the 3rd week & we’re already being treated to his 3rd consecutive tape.

“All That Glitters Ain’t Gold” is a luxurious opener with it’s wonderful keyboard & string arrangements whereas “Hypnotic Space Groove” lives up to it’s name as the synthesizer throughout just makes you wanna light one up. “Behind Door #2” follows it up with something that sounds like a climatic moment in a sci-fi flick leading into “Earth Bound”, where these synths are laced with some drums that just thump you in the chest.

Meanwhile on “A Funky Little Collision”, we have Jonny providing the soundtrack for what I can imagine to be a futuristic party just before the style of “3rd Stone from the Pizzaria” kinda reminds me of Daft Punk’s 3rd album Human After All. “Just Here to Roll” follows this up with a more minimal yet electronic tone, but then “Force of Nature” almost has a bit of a Neptunes influence to it which I love because that’s my favorite production duo of all-time.

“Galactic Crime Syndicate” takes the boom bap route throwing in some dramatic keyboards & synth-horns while “They Call Me Pebblestone” goes full blown electro taking it back to the 80’s. “Hit Hard & Get Loose” follows it up with a singular piano note & some synths while “Victory Dance” almost has a bit of a techno flare that I really admire.

Following that, “Have Some D.M.T. on Me” does in fact sound like a drug trip as the synth melody throughout is very wavy while “The Come Down” returns to the boom bap except this instrumental is string-heavy. “Mutiny” has to be one of the weaker beats on here as it just seems a little clunky to me, but “Blood in the Streets” follows it up by paying homage to Eminem’s production back in the 2000’s.

“Collateral Damage” makes me feel like I’m playing a space mission in a Crash Bandicoot game while “The Horror” follows it up with a more atmospheric tune. The penultimate track “Another Story Told” preludes the closer with a more laidback cut & finally, “Farewell” sends the tape off with yet another Neptunes homage.

Compared to the other 2 tapes that he’s dropped prior, I think Slow & Steady has to be my favorite one thus far. The whole concept of it will draw you in from the start & my favorite thing about it has to be the wide range of influences that he draws from.