Pasto Flocco – “Disturbing the Peace” review

Pasto Flocco is a 17 year old rapper from Queens, New York notable for being formerly being associated with Lil Tecca. However since their falling out, he’s been seeing quite the success off his own with the Surf Gang collective dropping his first 2 albums March Madness & Dreams 2 Reality during the first leg of last year. This was followed up last winter with his debut mixtape Surf to Kill (SGBSTK) but in light of him opening up for the final show of Lucki’s most recent tour, Pasto is dropping his 3rd full-length outing in the midst of it all.

“Lieutenant” starts out the album with Pasto telling people to refer to himself as such over a mystical trap beat from Evilgiane whereas “L.A.T.O. (Laugh At The Ops)” is a spacey follow-up that J6 laced saying he’s got the world like the coronavirus. “7K on Rodeo” has a more uptempo instrumental talking about ballin’ just before the CashMoneyAP & YoungKio produced “Process” tells an unnamed person that he better be grateful that Pasto gave him a chance.

Meanwhile on “That’s Cap”, we have Pasto jumping on top of a moody trap instrumental to call a motherfucker out on his bluff leading into the woodwind-infused “NoFeds” remind listeners that he’s up next. “Emo” has a more eerie & cavernous sound saying he’s had swag since middle school, but “R2” is more of a 22Gz cut given that Pasto only handles the hook at the start & end of the cut.

“NBA80s” has a more nocturnal sound teaching listeners that cats start hating on you when they want your position while “Swisher” is a woozier cut saying his gang is looking for some for sauce. Following this, we have a gorgeous sequel to “Illiterate Luv” just before the pillowy “NBA Baby” talks about never being broke again.

“Penthouse” euphorically speaks on a feeling that he’s fallen in love with whereas “Boonk Gang” takes a bit of an electronic turn detailing the lavish lifestyle. The song “First Met Me” lusciously details a bitch he knew while the penultimate track tells us that his “Only Real Duty” is getting them racks with Harrison behind the boards. “Sandbox” then ends the album luxuriously declares that he ain’t worried about bullshit.

I think it should go without saying, but I truly believe that Pasto Flocco is much better than Tecca artistically & probably my favorite member of the Surf Gang crew. He’s a better songwriter, a more distinct vocalist & his production choices are a lot more detailed. Best believe he’ll continue to go places from hereon out

Score: 3.5/5

Stezo – “The Last Dance” review

Stezo was a 52 year old MC/producer from New Haven, Connecticut who broke out in 1989 off his full-length debut Crazy Noise. This was followed up with the Where’s the Funk At? EP & C.T. (The Lost State) but now with his unexpected death a little over a year ago, Fat Beats is dropping a 3rd & final album containing his last recordings.

After the “Main Event” intro, “Keep the Grove” with Johnny Famous is a somewhat minimal opener calling out the industry. After the “Hip Hop Eulogy 1” interlude, we get a decent remix to the 1996 joint “Where the Funk At?” just before the cinematic “Opera House” goes at those who can’t flow.

Following the “Hip Hop Eulogy 2” interlude, Ed O.G. tags along with Masta Ace & Craig G for the grim “Psychopathic Maniac” declaring themselves as such. After the “Hip Hop Eulogy 3” interlude, we got Chubb Rock & Grand Puba coming in for the jazzy boom bap banger “Check 1, 2” flexing their lyricism.

“Rapzone” with Special Ed & Tash has a more futuristic sound taking listeners down a dimension of penmanship & after the the “Hip Hop Eulogy 4” interlude, “Lucky Me” is a gorgeous declaration of how grateful he was.

After the “Hip Hop Eulogy 5” interlude, Stezo & the late Biz Markie show an immaculate chemistry on “Steve N the Biz”. He later reflects on the hard times of his life for the airy “Homeless Stevie” & then the “It’s My Turn” sequel is just alright, as much I fuck with the original. Hakim Green & Tall T help flex their prowess on “Bring the Horns” with despite it’s title is heavy on some live drumming.

After the 6th & final “Hip Hop Eulogy” interlude, the penultimate track “Ruff N Rugged” is a dusty ode to the underground & the closer “4 Stezo” is basically a Shomari song given that Stezo himself isn’t on it at all. However, it’s a touching tribute to the man.

For a posthumous album, I think it’s pretty respectable. I think the remixes to older joints & the interludes are a bit unnecessary, but Chris Lowe’s production is raw as Hell & the guests do a great job at complimenting Stezo rather than just being there for a paycheck.

Score: 4/5

Bread – “A Breath of Fresh Air” review

Bread is a 45 year old MC from Los Angeles, California who first emerged in 1999 as a member of the group Kaliwild. He eventually went solo a couple years back by dropping his debut EP New Bread but after signing a joint deal with SomeOthaShip Records & Fat Beats Records, he’s ready to drop a full-length debut on top of everyone’s heads.

“Let Us Begin” is a 2-minute synth-laced opener saying it’ll be as it was in the beginning once it’s all said & done whereas the peaceful “Star” with Lord Jamar & Sadat X finds the trio saying they’re happy as such. Gemini, Keak da Sneak & UR67 tag along for the shimmering “Feels So Good” talking about being happy with where they are now just before the Nottz-produced “What Love Is” goes for a moodier sound & the lyrics detail the definition of love according to Bread.

Meanwhile on “Christie”, we get a slap happy tribute to a woman whom Bread proclaims as a mistress leading into him going into a more summery vibe asking for “Worldwide Peace”. He later boasts his rapping prowess with the luscious “Cornbead” while the song “Eye 4 Eye” works in a keyboard & dusty drums to get political. The penultimate track “God’z Return” with Planet Asia has a more minimal sound telling the Devil to get the fuck out & the Big Shug-assisted closer “Nice Like That” is a jazzy tribute to the late Guru.

As solid as New Bread was, I think A Breath of Fresh Air happens to be his best work yet. He achieves his goal of showing listeners that the style of hip hop that he brings to the table is still thriving with it’s refined production & improved lyricism.

Score: 4/5

Carter-N-Newton – “The Field Report” review

Carter-N-Newton is a newly formed West Coast duo consisting of Los Angeles’ own ethemadassassin & Tacoma emcee 7 da Pantha. They first got together on “Claimed Throne” off the Dior Lansky EP Distortion that came out last thanksgiving, but have decided to band together for a full length debut with with D.R.U.G.S. & Slidebeatz both handling the production end of things throughout it’s half hour run.

After the “What Makes Wolves” intro, the first song “Trying” is a passionate opener about change whereas The American Dream” luxuriously talks about chasing legal checks. “We’re Not the Same” takes a grimier route detailing those who aren’t cut from the same cloth as them & after the “Seize the Moment” interlude, Ricky Vega tags along for the organ-laced “Push the Line” saying the wrong people are watching you.

Meanwhile on “A Better Day”, we have Tay da Crown teaming up with Carter-N-Newton to smoothly display optimism despite dark days just before “Hunger Pains” has a more mystical sound getting in their battle bag. “R.N.E. (Real N***a Energy)” is a rowdier cut bringing you just that & after the “Build” interlude, the song “Give & Go” cinematically asks if people still listen to the streets talking. The penultimate track “Getting Over” is a much more sadder cut on the album talking about life being a gamble & “Greatness” finishes things off with a chipmunk soul sample speaking on their prowesses.

If these guys are gonna continue to put out music together, then I wouldn’t mind it at all because I thought The Field Report is a pretty good listen. I appreciate that the features are kept to a minimum, it’s well-produced & I think there’s more chemistry between both MCs.

Score: 3.5/5

Confucius MC – “Somewhere” review

This is the sophomore effort from London, England, United Kingdom’s own Confucius MC. Making his full-length debut with The Highest Order produced by Keor Meteor in the spring of 2014 under the historic London underground hip hop label YNR Productions, he would go on to follow it up with his 2017 debut extended play The Artform & later form the MC/producer duo Old Paradice alongside Morriarchi. I was however intrigued upon the pairing that made The Highest Order would be reuniting for Somewhere.

After the “Welcome to Somewhere” intro, “Land of the Free” opens up with a boom bap beat talking about how sometimes things are hard to see in the titular location just before “Robots on Mars” preceding the compositional “Shadows of Yesterday” embraces a soulfully jazzier vibe instrumentally observing the crowd following the same wagon the clown borrows because they won’t listen to the return of artistry until the claps come rollin’ in.

“Light Years” talks about the easiness of dodging the truth rather than looking back at it prior to “World Stage” featuring Jehst references WWE Hall of Famer Mr. T for a jab at those dumbin’ down their respective styles. “Gazpacho Soup” after the “Sea of Life” interlude kicks off the 2nd half of Somewhere talking about goin’ round until he burns out & vanishes while “Lanterns” featuring Jehst, Sonnyjim & Verbz finds the quartet teaming up to discuss the blue marble being under critical condition.

We have Confucius over some horns confessing he feels like he’s in the middle of somewhere between “War & Peace” until King Kashmere & Lee Scott appear for “Cicada 3301” so everyone can bring it hardcore. The soulful “Solstice” talks about developing a reputation for his high blessed poetry but once “Eyes Don’t Shine” mellowly tells the story of a man selling himself out for respect, “Song for Everyone (Somewhere)” co-produced by Jehst concludes with an appealable outro.

Experiencing a sequence of life-altering events when recording Somewhere, the Confucius MC’s chemistry with Keor Meteor retains the same energy of The Highest Order whilst aiming to give the world a deeper understanding of the mental state Confucius was in when these songs were being conceived. Keor Meteor’s jazzy production Telemachus’ mixing enhances hasn’t lost a step 7 whole years later, breaking down a mindset that allows us to see beyond the reality of our situations & where our inner selves can find solace.

Score: 3.5/5

Jehry Robinson – “The Name’s Not Important” review

This is the sophomore album from New York rapper, singer/songwriter & producer Jehry Robinson. Coming up in 2016 off his self-titled mixtape then an EP the following year, his biggest breakthrough came around Christmas 2019 when he signed to Strange Music & put out his full-length debut 20/Twenty at the tail-end of that following summer. However, it looks like Jehry is already back with The Name’s Not Important & has enlisted Wyshmaster to produce the whole thing from start to finish.

“Out My Face” starts things off with Jehry & his mentor Tech N9ne telling their naysayers to leave them alone with Wyshmaster whipping up an energetic trap instrumental whereas “Scars in My Mind” is a piano ballad opening up about “we’re only holy when we hover inside”. “On Read” takes a more moodier turn airing out a woman ghosting him just before the acoustic “Everything’s on Fire” tells listeners that “you’re the only one that can be you”.

Meanwhile on “Weekend”, we get a tropical party theme leading into Krizz Kaliko & Matt Phoenix accompanying him on the bassy trap banger “Can’t Hold My Head Up” saying their lives are a mess. I think “Butterflies” has to be my favorite on the whole album with it’s boom bap production & Jehry showcasing his speedy flows, but “Take Me Home” works in some beautiful keys saying he’ll change some day.

“Cancellations” with Nani Layilaa is a harmonious cut looking back on the struggle whereas “24/8” is a short boom bap ballad saying he can’t believe he’s made it this far. “Full Moon” serves as a full-blown contemporary R&B cut that isn’t too bad, but “All These Colors” with Hi-Rez is a downtrodden trap cut talking about change.

“Full View” enlists Rose the Mermaid for a keyboard/boom bap cut saying they ain’t worried about the next man while the song “Another Round” with Justina Valentine serves as a fiery strip club banger. The penultimate track “Too Much” energetically talks about doing the most & for the closer “Living Proof”, we got Jehry & Joey Cool coming together for a summery tune hoping the good days will weigh the bad ones out.

20/Twenty is a tad bit better to me, but The Name’s Not Important is a worthy follow-up. I like how it picks up where the previous album left off introspectively delving into themes that’re more personal than the debut last summer & highlighting his lyrical prowess with Jehry once again showing that he’s one of if not the most versatile artist on Strange Music currently.

Score: 3.5/5

Xtra Overdoze – “The Xodemik” review

Xtra Overdoze is a 29 year old MC from The Bronx, New York breaking out a few years ago off his first 2 mixtape W.T.F.I.X.O.? (Who the Fuck is Xtra Overdoze)? & Goody Bag. This was followed up with the full-length debut Viral Injection in March of 2019 but after 2 & a half years with much anticipation, he’s tapping in one of my favorite producers within the last decade Foul Mouth to lace his sophomore album from front to back &

After the “Beginning” intro, the first song “This is It” demonically let’s listeners know of his return whereas “66Sick Shit” takes a turn into trap territory talking his shit. “Lose Control” is a more rock centered cut encouraging the crowd to get crazy just before “The Plague” aggressively looks for the smoke.

Meanwhile on “Want It All”, we get a chaotic club banger on all fronts leading into the spooky trap cut “Runaway” saying he’s fucking a crazy bitch. “Inexorable” ruggedly depicts how ruthless he is, but “Reality” works in some creepy keyboard melodies saying everybody’s looking for something.

“Forever More” takes things into boom bap territory saying this music is so inviting whereas “What’cha Came For” is an aggressive sex cut. “Unordinary” hectically describes how this one bitch ain’t normal just before “Middle Fingers Up” is a dusty “fuck you” anthem.

Isaac Castor tags along for the EDM-inspired “Choose Death” getting murderous while the penultimate track “Horror Party” gets on that wicked shit & the trap instrumental is just off the wall. “The End is Near” finishes the album letting the world know this is for the record.

Personally, I think this is XO’s best work to date. I feel like his songwriting has stepped up tremendously in comparison to Viral Injection, but then Foul Mouth’s production is absolutely incredible in every sense of the word.

Score: 4/5

IAMGAWD – “Hell’s Angels & Heaven’s Demons” review

IAMGAWD is a 35 year old MC from Chicago, Illinois who first emerged last summer when he dropped his eponymous debut album produced entirely by Max Julien. However, I personally didn’t get put onto him until the big homie Mike Sears of the Speak Ya Clout Podcast recommended me his sophomore effort The Eternal Reflection in the spring of this year. I was very impressed with Custom Made’s production & the way IAMGAWD vividly portrayed the conditions of his hometown now, so to hear that he’s tapping in Doc da Mindbenda for a 3rd album had me excited to say the least.

The title track that opens up the album has a hypnotic vocal sample with IAMGAWD delivering some incredibly deep bars whereas “Dreadhead Zombies” takes an icy boom bap route perfectly painting a picture of his upbringings. “Gotham Gangways” melancholically toys with the concept of death just before “Blessings” is of course a more uptempo cut talking about his gratefulness.

Meanwhile on “Honor Me”, we have a more soulful instrumental as IAMGAWD asks for his flowers leading into H.H.W.N.D. (Hip Hop Will Never Die)” has a dustier beat talking about carrying the culture on. “Common Sense” works in an orchestral loop continuing to flex his prowess, but then “Do ‘Em Filthē” is a decent little 7 & a half minute posse cut.

“A Father’s Love” passionately reflects on growing up without a dad & being one himself while the song “Bulletproof Dreams” somberly reminds us we aren’t promised tomorrow. The penultimate track “Same Shit, Different Day” works in a flute with some dusty drums to tell us he ain’t what he used to be, but the closer “On My Soul” has a bit of an orchestral/jazzy vibe showcasing his hunger.

The Eternal Reflection is a tad bit better to me, but this is still an incredible follow-up nonetheless. Doc da Mindbenda cooks some of his best production to date with IAMGAWD’s lyricism becoming more & more intricate each time he drops. Whatever he does next, I’ll absolutely be on the lookout for it.

Score: 4/5

Moemaw Naedon – “River Rats” review

Moemaw Naedon is a 39 year old MC/producer from Pittsburgh, Pennsylvania who made his full-length debut in the fall of 2014 with the Latebloomer-produced Circular Signals. This was followed up with Hard Head Mush Brain & Dr. Deadhorse but just a couple months after dropping a collab EP alongside Calig Kontra entitled Cult Theatre, he’s enlisting C. Scott to produce his 3rd album from start to finish.

After the “Pittsburgh Thril” intro, the first song “Awesome Environment” is a slick boom bap opener talking about having one too many drinks whereas “Space Log” has a more synth-funk vibe advising those not to kick the mic when they spit their last bar. After the “Midnight Rapper” interlude, JM the Poet tags along for the meditative “Owls in the Sun” to say they feel like they’re just getting starting just before Dinosaur Burps takes JM’s place on the aggressive “Summer in the Muck”.

After the “Where You Wander” & “Scene Before” interludes, “Hardly New Havoc” speaks on how shit ain’t really new with a moodier instrumental leading into the psychedelic “Off the Path” as Moemaw & El Da Sensei deliver a lyrical onslaught. The song “Death Shots” is a guitar ballad with the Galactic Brethren reuniting like it’s nothing & after the “Weird Places Heavy Stories” interlude, the penultimate track “Ringing Bells” takes a jazzier direction saying the reflections in puddle are to muddy to tell. “Pardon Angels” later ends the album with a beautiful instrumental piece.

Of all of Moemaw’s solo efforts, I think River Rats could very well be his best one yet. I think the number of interludes are a tad bit annoying, but his lyrics are amongst his most thoughtful & C. Scott knocks it out of the park in terms of the production.

Score: 4/5

G-Mo Skee – “The Filth Element” review

G-Mo Skee is a 30 year old MC from Richmond, California coming up as a member of the Inf Gang. He would drop 2 mixtapes Got Filth & Got Filth II: The Great Adventures of G-Mo independently before Twiztid signed him to Majik Ninja Entertainment in 2016, his full-length debut My Filthy Spirit Bomb coming out that same winter. But I personally think G’s sophomore effort Chaly & the Filth Factory is his best work so far because of it’s incredible concept & the instrumentals accompanying it (mostly handled by former Strange Music in-house producer MIKE SUMMERS a.k.a. 7). But to celebrate his 30th born day & amicably leaving MNE to do his own thing, G-Mo is back on the scene for his highly anticipated 3rd album.

“Hate to Love” kicks things off with some plinky keys going at the throats of everyone who despises him whereas “Kick Rocks” shoots for somber boom bap sound referencing 2-time WWE tag team champion Scotty 2 Hotty. “Return of the Filth” has these heinous organ harmonies with the title speaking for itself in terms of content just before the eerie Stu Bangas joint “Geeloo” explains why the culture needs him.

Meanwhile on “B.A.M.F. (Badass Muthafucka)” we have Blind Fury assisting G-Mo over a somewhat Middle Eastern-tinged instrumental to reference WWE Hall of Famer, former 6-time WWE Champion, 2-time WWE Intercontinental Champion, 2-time WWE United States Champion, 5-time WWE Tag Team Champion & NWA World Tag Team Champion Stone Cold Steve Austin leading into him proclaiming himself as the “Underdog” with a beat that sounds just like the one from “Bully” by Eminem.

I can definitely see “Smash” being a moshpit starter whenever he starts performing live again given that everything about it makes you wanna punch someone in the face while “Pinkies Up” serves as an violin-induced ode to his team. “Take 2 Puffs” is a more depressive cut saying he’s afraid of the future & might need counseling, but then the Jae Harmony-assisted “Rich City” is a cinematic tribute to their hometown.

“You Know Who” compares himself to Voldermort with some hypnotic background vocals that C-Lance throws in the mix whereas “Prolapse” is a trap banger basically saying “fuck the world” & the Half Baked tribute at the beginning is hilarious. The title track has a bit of a horror flick vibe in terms of sound with G telling y’all haven’t heard anything like this, but then Tech N9ne & Trizz aggressively come in on “Fuck It All Up” to talk about taking over the game.

The song “Brody” is easily the most heart-wrenching on the entire album with G detailing the story of his brudda’s downward spiral & the perfect beat to kick the emotions up to over 9,000 while the penultimate track “Can’t Fuck With It” has a bit of a Bay Area sound opening up about the things he doesn’t like. Lastly, the Nobe/produced closer “Flying Cars” goes back into trap territory addressing his departure from MNE & almost quitting a couple Christmases back.

A lot of people (including myself) waited 3 long years for this day to come & it was absolutely worth it. This dude exemplifies why I truly believe he’s one of the best lyricists I’ve heard in the last decade & for it being the first time mixing his own shit, he did a fantastic job.

Score: 4.5/5