Atmosphere – “Word?” review

This is the 12th full-length album from renown Minneapolis, Minnesota duo Atmosphere. Coming up as a trio in the late 90’s off at their critically acclaimed debut Overcast!, they would later go on to build an independent empire with their Rhymesayers Entertainment label whether that be signing acts from Brother Ali to the late Eyedea or putting out their best bodies of work like God Loves Ugly or Sad Clown Bad Dub 9. But for the last 3 years now, Slug & Ant have been treating their fans to a new album every year starting out with Mi Vida Local. Now with the 1 year anniversary of The Day Before Halloween coming at the end of the month, Atmosphere is continuing their new tradition by dropping Word?.

“Fleetwood” is a rich boom bap opener saying he’s glad he’s not the same person as he once was whereas “Something” thunderously encourages listeners to get back up when pushed down. Evidence & Muja Messiah both come into the picture for the bass guitar-infused “Crumbs” speaking on their obsessive compulsions, but then “Woes” glisteningly details that you can’t love without misery.

Meanwhile on “Strung”, we have Musab accompanying Atmosphere on top of a melodic vocal sample expressing that they’re feeling tense just before “Clocked” is a misty declaration that time is killing us. “Sleepless” works in some keys & hi-hats as Nino Bless tags along to tackle the theme of insomnia leading into the eerie “Distances” pleads to leave him & his family alone.

“Carousel” mesmerizingly talks about wanting to protect myself from his lover’s sting while “Vanish” is a short yet vibrant & funky little freestyle. “Pressed” serves as a tribal posse cut with Anwar HighSign, Lateef the Truthspeaker & Sa-Roc being amongst the best of the 6 while the song “Skull” hauntingly details a night where he or Ant was supposed to die.

The penultimate track “Nekst” works in some acoustics & handclaps airing out someone he loved ending up betraying him, but then “Barcade” with Aesop Rock & the late MF DOOM ends the album with a complete lyrical annihilation with the Hellish beat fitting into the mix ever so flawlessly.

As much as I liked The Day Before Halloween for it’s experimentations, I think the hardcore fans are gonna dig Word? a bit more. Ant takes it back to the duo’s signature sound & Slug’s lyricism is as lighthearted as it was back in their prime almost 2 decades ago.

Score: 3.5/5

Tech N9ne – “Asin9ne” review

This is the 23rd full-length album from Kansas City icon Tech N9ne. Getting his footing in 3 decades back as a member of the groups Black Mafia as well as the 57th Street Rogue Dog Villians & Nnutthowze, his profile began to increase in the late 90’s after landing a spot on the Gang Related soundtrack & becoming among the first to join Yukmouth’s then-newly formed collective The Regime. But after having issues with Interscope Records & Universal Music Group following the release of his iconic 3rd album Anghellic, that’s when Tech decided to form his own label with the help of a man at Paradise Originals named Travis O’Guin. Together, they would call it Strange Music & solidified itself as one of if not the biggest indie label in the world. Tech has made it a tradition to drop an album every year since Everready (The Religion) back in ‘06 & given that’s been going on at Strange throughout 2021, I was very curious to hear how Asin9ne would address it all.

“The Herder” kicks the album off with Tech villainously proclaiming himself as just that with production from Wyshmaster whereas the King Iso & Seuss Mace-assisted “I Don’t Fit” has a symphonic trap vibe with the help of N4 talking about not fitting in even though they’re the shit. “Kickiter” has a bit of an EDM flare encouraging the crowds to riot leading into the spacious “Too Good” produced by Ervin Pope & featuring Lil Wayne tackles the idea of being too good for their own good.

Meanwhile on “No See Umz”, we Snow Tha Product tagging along with a poorly sung Russ hook for an anthem going at their doubters just before King Iso returns alongside Joey Cool & even former 10-time WWE world champion, 2-time WWE Intercontinental Champion and 5-time WWE tag team champion The Rock (although you can definitely tell Tech wrote his verse) with the combative “Face Off” serving as MIKE SUMMERS a.k.a. 7’s only production credit on the album with Joey referencing Reality of Wrestling (RoW) founder, 2-time WWE Hall of Famer, former 6-time WWE world champion, 14-time WWE world tag team champion, 4-time WWE United States Champion, WWE Intercontinental Champion, 6-time WCW World Television Champion, ROW Tag Team Champion & TNA World Tag Team Champion Booker T during his verse. E-40 comes into the picture for the explosive strip club anthem “Clydesdale”, but then “Still Right Here” with X-Raided serves as an emotional ballad about loyalty.

“Take Your Halo” reveals itself as an angry response to those who’ve been talking shit on Strange Music as of late while “Knock That Noodle” speaks on the violence in KC over a cavernous beat. “Heightened” despite it’s brevity feels like something you’d hear in the trailer of a good horror movie just before the horribly produced dubstep/rap fusion that is “What Rhymes With Threat’ll Kill Ya?” by the Nnutthowze despite the subject matter of dissing all the sick fucks out there.

If you couldn’t tell by the title, “I Been Thru a Lot” delivers one of the more vulnerable moments on the entire album & “Dial It Back” has a more cloudier sound talking about how he ain’t bragging. The song “Zaza” with Oobergeek meditatively gets sensual while the penultimate track “Close Yours Eyes” is a more boom bap-tinged pleading to keep faith in him. “Special” finishes it off with a powerful, feel-good guitar ballad.

I’ve been a huge fan of Tech N9ne since my senior year of high school & his music has helped me through some dark times, but I’m kinda indifferent towards Asin9ne. He definitely proves that he can hold an album without 7 but much like ENTERFEAR, he overdid it on the features & their contributions are either hit or miss.

Score: 3/5

KanKan – “##RR” review

KanKan is a 21 year old artist & producer from Dallas, Texas who emerged in 2019 as a member of Slayworld & by landing production credits for a wide range of artists from Summrs to even Little Pimp. He’s also dropped an eponymous debut mixtape & 14 EPs in that short amount of time, but all of that has but nothing but a pre-game & is ready to prove the world what he’s really capable of on his very 1st full-length album.

“Arcteryx” kicks it all off a fun little freestyle accompanied by a minimal yet joyous instrumental whereas “Red” is a bass-heavier cut speaking on his newfound fame. “Breakin the Bank” is a cool electro/trap fusion about his wealth, but then “Not da Same” feels like a leftover from Yeat’s latest album Up 2 Më given the lack of KanKan’s presence on it.

The title track brings in some hypnotic synth melodies celebrating the paper coming in by dropping it on a black Bentley & Roxis just before “Wreck” works in a blobby bass-line talking about walking in the club with that fire. After the acoustic-tinged “Oxy” interlude, “Milan” serves as a corny love ballad with an underwhelming Joony verse at the start leading into the cloudy yet monstrous “Dissin’” goes at his naysayers.

“Under Me” continues where the previous cut left off thematically albeit with a mistier beat while “Take It to Trial” serves as an underwritten shot at studio gangsters. The song “Fuk tha Clout” with Yeat finds the 2 on top of a mind-altering instrumental saying they don’t care about the fame while the penultimate track “Russian Shit” works in some piano melodies getting on his hardcore shit & “Demon Time” is a short yet grim finisher to the album displaying his recklessness.

Overall, #RR is a pretty respectable debut album & I’m curious to hear where he goes from here in the subsequent future. A couple songs seem like they’re unfinished & not fully realized, but KanKan continues to make his mark as one of the biggest names in the plugg scene today as he vibrantly details where he’s at currently.

Score: 3.5/5

Lute – “Gold Mouf” review

Lute is a 32 year old rapper from Charlotte, North Carolina who came up almost a decade ago as a member of the short-lived Forever FC as well as his debut mixtape West1996 a little bit after their disbandment. This would catch the attention of local legend J. Cole & he would sign Lute to his Interscope Records imprint Dreamville Records the very day the label dropped their 2nd showcase compilation Revenge of the Dreamers II in December of 2015. Fast forward to his full-length debut a couple years later being a respectable sequel to his breakout tape but now, he’s enlisting Rapper Big Pooh to oversee this sophomore album of his.

“100” is a dreamy boom bap opener about keeping it real whereas “G.E.D. (Gettin’ Every Dolla)” has a bit of a lush trap instrumental speaking on making the money. “Myself” addresses being extroverted with a meditative Trox beat, but then “Be Okay” has a bit of an R&B-flare optimistically looks forward to the future in the midst of dark times.

Meanwhile on “Eye to Eye”, we have Cozz tagging along for a piano ballad about how real recognizes real just before “Changes” vibrantly details that he’ll never switch up like a lot of other cats did. “Ghetto Love” is a decent romance cut that I can do without whereas “Amen” with fucking Little Brother gets on the boom bap tip takes another whack at it doing a much better job with it’s spiritual references.

SABA comes into the picture for “Birdsong” to talk about living how they want over an alluring vocal sample leading into the dusty, boastful “Flossin’” featuring Shady Records’ very own Westside Boogie & produced by Marco Polo. The song “Life” vulnerably details how he handled the hurdles 2020 threw at us while the penultimate track “Overnight” is a guitar ballad reminder that Rome wasn’t build in a day. “Crashing” serves as a cloudy finisher saying he’s been stuck in his ways & been in control of his own faith.

For anyone who enjoyed the West1996 duology, I think you’re gonna like Gold Mouf just as much if not even more. Big Pooh brings in a gang load of fresh faces behind the boards to demonstrate their talents, the features are well-picked & Lute’s at his most honest lyrically.

Score: 3.5/5

Wiki – “Half God” review

Wiki is a 27 year old rapper, songwriter & producer from New York City who came up a decade ago as part of the trio Ratking. Following their disbandment in 2016, he’s made a pretty successful solo career of himself with his debut No Mountains in Manhattan under XL Recordings & the sophomore effort OOFIE through his own label Wikset Enterprises. He just dropped the NAH-produced Telephonebooth back in the spring & to kick off the fall, Wiki’s bringing in Navy Blue to produce his 4th album from front to back.

“Not Today” starts off with a misty piano loop talking about how he “can’t let it end this way”, but then “Roof” works in a more calmer sample speaking on turned his roof into his private quarters. “Remarkably” takes a boom bap turn flexing his lyrical prowess leading into Navy Blue actually hopping onto the mic for the soulful “Can’t Do This Alone” to help say they gonna ride or die for the game.

Meanwhile for “Never Fall Off”, we have Wiki on top of a psychedelic guitar instrumental saying he’ll forever be on top just before “Drug Supplier” with Jesse James Solomon brings in an orchestral loop telling the story of a pusher. “Wik da God” gets back on the bravado tip over a more haunting instrumental whereas “Ego Death” brings in a hypnotic vocal sample encourage listeners to free themselves.

“The Business” charmingly follows it up by telling listeners to get with the program while “Home” starts off with the sounds of cars passing by, but transitions into something more lavish talking about being in his element. Earl Sweatshirt tags along for the harmonious “All I Need” talking about life & what comes with it, but then Remy Banks jumping on top of a slick guitar lead to talk about the world knowing them for “Gas Face”.

MIKE comes into the picture for the slick “Promised” cryptically providing introspection while the song “New Truths” is a boom bap heater talking about hip hop’s effect on him throughout his life. The penultimate track “Still Here” looks back on his youth over a dusty yet lush beat & finally, “Grape Soda” rounds it out with some vocal harmonies in the background talking about better days.

Coming from someone who’s been following Wiki for a few years at this point, I consider him to be one of those artists where he gets better with time & he further solidifies that on Half God to the point where I feel like it surpasses both it’s predecessors to become his greatest LP. Outside of a couple lackluster features, I feel like it contains some of his best songwriting to date & Navy Blue’s drumlessly jazzy production is incredibly detailed.

Score: 4/5

Lil Wayne & Rich the Kid – “Trust Fund Babies” review

This is a brand new collaborative album between Lil Wayne & Rich the Kid. One is a icon from New Orleans, Louisiana who had the rap game in a chokehold during the mid/late 2000’s & the latter being a 1-hit wonder from Atlanta, Georgia who most people remember for “New Freezer”. Only reason being because of Kendrick Lamar’s odd yet show-stealing feature on there. We’ve only heard the 2 on a couple songs together within the last couple years but with the 1-year anniversary of the Nobody’s Safe joint album with YoungBoy Never Broke Again coming next month, he & Weezy are uniting for Trust Fund Babies

“Feelin’ Like Tunechi” has a bit of a jangly instrumental to it with both of them talking about being GOATed (which only Wayne has the bragging rights for in my opinion) whereas the orchestral “Headlock” doesn’t even sound focused lyrically. Tay Keith’s hazy production on “Trust Fund” is a breath of fresh air as is the concept about going from rags to riches leading into “Admit It” works in some uptempo synths admitting being wrong & being done wrong.

Meanwhile on “Shh”, we get the reminder that money talks on top of a reversed loop just before the spacious “Big Boss” declares themselves as such. Murda Beatz’ nocturnal instrumental on “Still” is another relief as they talk about being the same reckless dudes while the song “Bleedin’” serves as a boring ode to being fucked up with the penultimate track “Buzzin’” with YG taking another jab at it albeit being slightly better. As for “Yeah Yeah”, it closes the album with annoying cadences & a spacious beat.

Beyond that, what else can I really say about this album other than the fact that it just sucks? Wayne’s verses are just ok by his standards, but I can’t say the same for Rich’s at all & there’s no real chemistry between them on here. On top of that, the production is astoundingly cut-rate.

Score: 1.5/5

Meek Mill – “Expensive Pain” review

Meek Mill is a 34 year old MC & songwriter from Philadelphia, Pennsylvania who started out in the battle circuit before T.I. briefly signed him to Grand Hustle Records. Once he left, Rick Ross brought him over to Maybach Music Group & has continued to make himself at home over there to this day. Throughout the last decade, we’ve seen a handful of ups & downs in his career. The critically acclaimed Dreamchasers mixtape series, his beef with Drake & who could forget where he was sentenced to 6 years in prison by a corrupt judge only to be released 5 months later? Meek’s last album Championships was seen as his most mature body of work yet despite being a tad bit bloated but after 3 years of singles & EPs, he’s finally following it up with his 5th full-length album.

“Hate on Me” kicks things off with Cardo sampling the Nas joint “Hate Me Now” as well as Meek going at his detractors whereas “Outside (100 MPH)” gets boastful over a more darker instrumental with a bassy switch up during the final verse. “On My Soul” contains a sumptuous Fuse beat with Meek talking about getting everything leading into Lil Baby & Lil Durk going back & forth with him on top of a Bulgarian sample for “Sharing Locations”. The title track has a moodier sound talking about the shit he went through with this money just before “Ride for You” serves as a boring attempt at a lovey dovey radio hit.

“Me (Fuckin’ With Me)” has a skeletal Boi-1da instrumental as Meek & A$AP Ferg saying no one’s on their level, but then Moneybagg Yo tags along for the uneventfully-produced “Hot” bragging about being those dudes. “Love Train” has a more lush sound to it with Meek venting about people switching on him while “Northside Southside” with Giggs murkily gets on their gang shit.

“We Slide” with Young Thug emotionally opens up on the struggles throughout their lives with a perfectly suiting piano instrumental from Tay Keith whereas “Tweaking” almost has a boom bap flare to it saying he’s too rich to pay hoes referencing Amazon founder Jeff Bezos. I think it’s pretty cool how “Love Money” works in some guitars talking about how he doesn’t love the paper anymore & “Blue Notes 2” with Lil Uzi Vert serves as an average sequel to the Dreamchasers 4 cut of the same name.

“Angels” is an emotional tribute to the late Lil Snupe just before finishing off the “Cold Hearted” trilogy with the hazy “Cold Hearted III”. The penultimate track “Halo” despite it’s nondescript production opens up about knowing too many angels & the 30 Roc-produced “Flamerz Flow” ends the album with a hungry freestyle.

As much of a fiery comeback Championships was, I didn’t really expect much from Expensive Pain given that most of the singles were mid. Lo & behold: That mediocrity carries it’s way onto the album. You got barely more than half of it being straight up bangers & the rest is just completely forgettable.

Score: 3/5

Summrs – “Nothing More Nothing Less” review

This is the latest full-length album from Lafayette rapper Summrs. Coming up as a member of the Goonie-founded Slayworld collective, he’s made his presence known in the plugg scene by constantly dropping projects whether it be the All Summr trilogy or his most recent EP What We Have which in my opinion would the recommended go to if you’re unfamiliar with the kid already. However only 4 months later, he continues to grind his ass off by putting out Nothing More Nothing Less.

The titular intro begins the album with Summrs & Goyxrd atmospherically looking back at going from the loser in his high school to being the man leading into the cloudy “Never Ever” addressing a person faking the funk. “Like a Band” smoothly details his exquisite life whereas “In the Name of U” glossily speaks on getting high to honor a woman named Brenda who’s no longer in his life.

“From da Heart” is quite possibly the most personal cut on the album detailing his emotional pain with a moody instrumental just before the nocturnal “Blood Always Thicker” pays tribute to his friends, family & fans. “Can’t Make This Up” has some lush synth melodies getting romantic, but then the Autumn!-produced “Da MVP” serves as a mellow victory lap.

Meanwhile on “First 48”, we have Summrs entrancingly getting in his gangsta back & “Back 2 da Basics” comes through with a killer off-the-top freestyle lasting a couple minutes. The penultimate track “I’m Ready” speaks on keeping the Draco with him at all times over some synths & hi-hats while “Where We Left Off / Real Me” is a well sequenced 2-parter that finishes the album talking to his lover.

Coming away from Nothing Less Nothing More, it’s probably my favorite album of his thus far & I’m curious to hear how Evolved II is gonna sound in a couple weeks. He puts his own unique spin on the plugg sound by continuing to infuse elements of R&B as shown on What We Have, but I would love a project from him produced entirely by Autumn! because they’re the plugg equivalent to Future & Metro Boomin’.

Blizzard – “Duel with Death” review

Blizzard is a 29 year old artist from Detroit, Michigan notable for co-founding the Yung Fam Mafia back in 2007 & more recently becoming an in-house producer for Middle Finger Music a little while after it’s inception. But to celebrate his born day, he’s treating fans to a full-length debut showcasing his production skills & bringing along a promising lineup of local MCs.

After the “Tao of Death” intro, the title track by Aztec the Barfly & Kid Vishis starts the album off with some angry battle bars on top of dusty drums & a haunting soul sample whereas “Flying Guillotine” by J-Classic & Ty Farris eerily proclaims themselves as the last of a dying breed. “Barrage of Tigers” by the Twin Towers vaingloriously stomps at their opposition’s necks leading into an operatic instrumental being worked in on “8 Gates” for Big Herk, Hatch Wiseguy & P.L. to talk their shit.

Meanwhile on “Lotus Leaf”, we have Blizzard taking things into a jazzier direction as A-Minus & Finale to talk about letting the hate in their hearts go just before the piano-tinged “Drunken Boxing” by Bang Belushi & Vstylez speaks on holding it down for their city. “Konichi Death Squad” by C.R.I.M. & Miz Korona brings in some horns to quench for blood, but then “Pray 4 Death” by Spoda uncannily gets on his ignorant shit.

The song “Praying Mantis” by 2 Door Coupé has a bit of a chipmunk soul flare reminding everyone that Middle Finger Music is taking over the game while the penultimate track “Slummz” by Guilty Simpson briefly but powerfully details what it’s like in his hood. “Like Water” by Isaac Castor & even Blizzard himself then finishes the album off on some spacey boom bap shit saying this ain’t for amateurs.

Of all the producer album that I’ve heard this year, I think Duel with Death could very well be the best one of them all. I love that Blizzard demonstrates his versatility behind the boards & how he brought in everyone from the OGs to the newcomers to let them do what they do best on the mic.

Score: 4/5

Dark Lo – “Extreme Measures” review

Dark Lo is a 39 year old MC from Philadelphia, Pennsylvania who broke out in the winter of 2013 off his debut mixtape SK Tales. He’s gone on to release a handful of projects since, most notably the V Don-produced debut album Timeless back in 2018 & more recently his 3rd EP Borrowed Time over the spring produced entirely by Harry Fraud. But after dropping his 3rd album Charlie Pope back in July & being sentenced to 7½ years in prison a few weeks later due to witness tampering, he’s managing to drop his 4th full-length outing behind bars produced entirely by Havoc.

“Mob Tales” is a cinematic opener with the lit getting in that mafioso bag whereas “Lost Innocence” mournfully looks back on his past. I almost wanna say “Zombie Land” has a bit of a futuristic sound in the production with him & Hav talking about gunning cats down in broad daylight leading into Styles P tagging along for the combative yet alluring title track.

Meanwhile on “Greatest Ever”, we have Dark Lo proclaiming himself as such on top of an heinous instrumental just before the murderous “Reports” going into boom bap territory. “Make It Home” with Vado is easily the saddest cut on the entire album detailing their homies who got smoked, but then “Force of Life” brings in a hypnotic sample talking his shit.

The song “Dirty Work” has a cinematic organ loop taking shots at lukewarm MCs while the penultimate track “Captivating” brings in a cavernous beat to proclaim himself as such. “Strong Minded” ends the album by dramatically telling the story of Dark Lo’s homeboy getting murked when he was in the pen.

As much as I love Timeless & Borrowed Time, I think it’s safe to say that Extreme Measures is the best thing that this dude has done yet. He brings his A-game lyrically & Havoc’s production on here is just nasty from front to back. Whenever his next project drops, I’m definitely curious to see where he takes it.

Score: 4/5