Lil Uzi Vert – “Eternal Atake” review

Lil Uzi Vert is a 25 year old rapper from Philadelphia, Pennsylvania that became a household name in the trap scene with his 2015 mixtape LUV is Rage & then Lil Uzi Vert vs. the World the following year. Since the release of his 2017 debut album LUV is Rage 2, Uzi has been entangled with a nasty legal battle with his label. But with the help of Roc Nation, he’s finally putting out his long-awaited sophomore album.

Things kick off with “Baby Pluto”, where Uzi energetically introduces a new alter ego over a trap beat from Brandon Finessin’ of Working on Dying & Bugz Ronin with some twinkling keyboards. The next song “Lo Mein” flexes referencing Tesla CEO, SpaceX founder & Neuralink founder Elon Musk over a spacious beat while the track “Silly Watch” continues to brag over a rubbery Supah Mario beat. The song “POP” awkwardly gets raunchy over a bassy Oogie Mane beat with a strange synth lead as well as a part during the final verse where the word “balenci” gets repeated to the point of annoyance, while the track “You Better Move” tells his naysayers to back up over a flawless sample of the Microsoft pinball game.

The song “Homecoming” talks about how much of a boss he is over a bouncy beat while the track “I’m Sorry” sends a message to Brittany Byrd over an atmospheric instrumental. The song “Celebration Station” triumphantly talks about where he is now over a dystopian Outtatown instrumental while the track “Bigger Than Life” talks about his success over a trap beat with a harmonious vocal sample throughout.

The song “Chrome Heart Tags” continues to talk about Brittany over a hypnotic Chief Keef instrumental while the track “Bust Me” is a catchy sex anthem. The song “Prices” shows off Uzi’s wealth over an amazing sample of Travis Scott’s “way back” while the track “Urgency” is an moody lovey dovey duet with Syd that goes better than I had anticipated.

The song “Venetia” is another wealth anthem that’s just as energetic as “Prices” while the track “Secure the Bag” asks his opponents what they really about over a psychedelic beat. The song “P2” is a pointless sequel to “XO TOUR Llif3” down to the TM88 instrumental while the penultimate track “Futsal Shuffle” showcases a new dance move over an electro-trap beat. Then there’s the closer “That Way”, which is a modern take on the classic Backstreet Boys song “I Want It That Way”.

“New Patek” was a fun trap, pop rap, cloud rap & plugg single that was left off the final version for whatever reason there may be referencing former 2-time WWE world champion, 2-time WWE United States Champion, 2-time WWE Intercontinental Champion, 8-time WWE tag team champion, 8 time WWE Cruiserweight Champion, アイアンマンヘビーメタル級チャンピオン Rey & The Crash’s inaugural Mundial Pesocompleto Campeon Rey Mysterio.

Despite not being on par with LUV is Rage or Lil Uzi Vert vs. the World, I think it delivers after the long wait. Could’ve used a couple more features & the concept kinda gets lost after a while, but Uzi sounds completely refreshed & the production is really colorful. Really glad to see him come back & rise above all the label drama the way he does on here.

Score: 3.5/5

Afu-Ra – “Urban Chemistry” review

This is the 6th full-length album from New York veteran Afu-Ra. His 2000 debut Body of the Life Force is widely considered to be an underground classic & the 2002 follow-up Life Force Radio was pretty solid to me as well. Last time we heard from Afu was in late 2018 with Mazterchef & now, he’s back with Urban Chemistry.

The album kicks off with “Unstop”, where Afu links up with Starrlight talking about how untouchable they are over a symphonic instrumental. The next song “Kiss the Pain” with Myriam Sow sees the 2 getting romantic over a buttery instrumental while the title track with Big Shug & Keny Arkana finds the 3 talking about playin’ to win over a rock-influenced beat. The song “Reign on Me” with Mann gets conscious over a boom bap beat with a bit of an early-2000’s Dr. Dre influence to it while the track “Veni Vedi Vici” with Gavlyn talks about how both of them rose to stardom over a soulful beat.

The song “War Chemicals” with Stranjah Miller gets back on the conscious tip over a reggae infused trap beat while the track “Body’s Jumping” with Célia Kameni is a motivational piece backed with the perfect instrumental. The song “Take Me Along” with Taïro talks about elevation over a Caribbean instrumental while the track “Therapy” with LMK gets more spiritual over a dystopian beat. The song “Be Strong” with Dave Dario speaks for itself over a somber piano instrumental while the track “Lyrics Fly” with Lord Kossity is them showing off their penmanship over a boom bap beat with sample that sounds like it was taken from a Kung Fu flick.

The song “Molecular” with Jah Mason & Rocca sees the 3 talking about how it’s a big world out there over a beat with a Latin-flavored guitar throughout while the track “Lion Science” with Sr. Wilson is another reggae cut much like “War Chemicals” except this one has a more traditional feeling to it. The song “Money Change” with Skarra Mucci is pretty much about how currency can really effect one another over a Scott Storch inspired beat while the track “Firetricity” with Sizzla talks about babylon over a tense instrumental.

The song “Rise Up” with Lyricson gets back on the inspirational vibes over a colorful instrumental & while I like how the penultimate track “Me & My Sensei” with Charly B finds the 2 talking about how they always rep hip hop from New York to Paris, the beat is just ok to me. Then there’s the closer “I Try”, where Afu talks about how we need love every day & the instrumental really enhances the emotion.

It’s a decent album overall. I understand & really like the concept of him making a project showcasing the talents of artists from all over the world, but their contributions can be hit or miss with me at times & I can say the same thing about some of the production as well.

Score: 3/5

Planet Asia – “Trust the Chain” review

This is the 19th full-length album from Fresno veteran Planet Asia. Starting off as a member of the duo Cali Agents, he would go on to have a very successful solo career & has made a lengthy yet consistent discography for himself. Including albums such as The Grand Opening, The Medicine, Pain Language, Abrasions & Anchovies. And to kick off his 2020, Rochester’s very own 38 Spesh is being enlisted to produce Trust the Chain in it’s entirety.

The album kicks off with “Body After Body”, where Asia reclaims his prowess over a triumphant beat. The next song “Resurrect Pharaohs” with The Musalini sees the 2 talking about how superior they are to their opponents over a suspenseful beat while the track “Mystery School” talks about running the game over a colorful soul sample. The song “God Degree” is filled with knowledge backed by an atmospheric beat & while the track “Passport Player” has some dope mob-bars over a boom bap beat with a luxurious piano lead, the hook is horrendous.

The song “Snake Charmer” talks about pushing drugs over a prominently icy flute lead while the track “Learned from OGs” with Elcamino & Fred the Godson sees the 3 showing love to those who came before them over a boom bap beat with an incredible orchestral loop. The song “Tec & a Mink” talks about how hard it is to be a good dude over a melancholic instrumental while the penultimate track “Juggernauts” talks about his crew shining over a victorious beat. The album finishes off with “Wintertime”, where Asia reflects on his childhood over a euphoric instrumental.

Personally, I find this to be one of Planet Asia’s best efforts yet. Could’ve been a bit longer as it only only runs for a half hour but in that short amount of time, he quickly reminds us of his place in the culture as a west coast legend with a ferocious pen-game & 38 Spesh backing him up with some very rich & grand production.

Score: 4/5

Lil Baby – “My Turn” review

Lil Baby is a rapper from Atlanta, Georgia that rose to stardom in 2018 with his debut album Harder Than Ever. This was followed up with a collab project with Gunna entitled Drip Harder & his 4th solo mixtape Street Gossip, both of which didn’t match the quality of Harder Than Ever in my opinion. But after spending the last year doing features, he’s back with his sophomore album.

The opener “Get Ugly” talks about how life can be rough over a trap beat with some synths while the next song “Heatin’ Up” seems like a boring Drip Harder leftover. The song “How” takes aim it people ridin’ his wave over a bassy Murda Beatz instrumental while the track “Grace” with 42 Dugg sees the 2 flexing over an ominous instrumental. The song “Woah” continues to show off over a dull instrumental while the track “Live Off My Closet” with Future sees the 2 talking about their fancy possessions over a beat with some haunting keyboards.

The song “Same Thing” describes a day in the life of Lil Baby over a Tay Keith beat with an awesome acoustic sample while the track “Emotionally Scarred” talks about an ex over a bland beat. The song “Commercial” with Lil Uzi Vert sees the 2 talking about not looking back over a skeletal beat while the track “Forever” finds Baby getting with Lil Wayne to remind their listeners to be themselves over a demented beat. The song “Can’t Explain” talks about acting the same despite his new lifestyle over a trap beat with a quiet piano lead while the track “No Sucker” with Moneybagg Yo is pretty much both of them bragging over an airy beat.

The song “Sum 2 Prove” lyrically needs no further explanation backed with some strings & hi-hats while the track “We Should” with Young Thug finds both of them boasting about going from broke to rich & I love the ghostly melody in the beat. The song “Catch the Sun” gets more personal over a Hit-Boy beat with a mellow guitar lead while the track “Consistent” talks about his grind over a woozy beat.

The song “Gang Signs” is essentially about reppin’ your set over a vicious DJ Paul & TWhy instrumental with a vintage Three 6 Mafia sample while the track “Hurtin’” vents about his pain over a spacious beat. The song “Forget That” with Rylo Rodriguez is them both of them trippin’ on wax over a somber beat & then the closer “Solid” continues to spit from the heart over an uneventful instrumental.

Wasn’t expecting a whole lot & walking away from it, I didn’t get much. There are a small handful of catchy bangers on here, but I find both the production & rapping to be subpar for a good portion cod it. Just another mediocre trap album.

Score: 2/5

Royce da 5’9” – “The Allegory” review

Royce da 5’9” is a Detroit veteran that most are familiar with for being 1/2 of Bad Meets Ǝvil with local sensation Eminem. However his mark as one of the city’s illest lyricists has already been made with releases such as Death is Certain, Street Hop, Success is Certain, Layers & even Royce’s last album Book of Ryan. Also can’t forget to mention his work with longtime collaborator DJ Premier as the MC/producer duo PRhyme or with the now defunct quartet of all-star wordsmiths that was once Slaughterhouse. But with Black History Month almost over, Nickel is celebrating with The Allegory.

Things kick off with “Mr. Grace”, where Royce delivers some wisdom & I love how the instrumental constantly switches from horn to string samples throughout. The next song “Dope Man” with Emanny sees the 2 discussing how drug dealers are the kings of the streets over an infectious instrumental while the track “I Don’t Age” talks about how dope he still is over a boom bap beat with the lead riff switching off between a bass-line & a piano sample. The song “Pendulum” is laced with battle bars backed with a solemn boom bap beat while the track “I Play Forever” with Grafh sees the 2 talking about falling in love with the street life over some horns.

After the “Ice Cream” interlude, the song “On the Block” sees PRhyme getting together to discuss hustling over a mesmerizing instrumental & the Oswin Benjamin verse really took me by surprise. After the “Generation is Broken” interlude, the song “Overcomer” with Westside Gunn is about how the 2 rose above their shortcomings over a prominent vocal sample & I definitely can’t forget to mention Royce’s disses towards former collaborator/Shady Records artist Yelawolf not too long after his verse starts. Is he really a “vulture pundit” in my eyes? No, not at all. That being said, I do understand Royce’s point of view on the whole thing. After the “Mrs. Grace” interlude, the song “Thou Shall” with Kid Vishisis essentially both of the Montgomery brothers talking about their accomplishments over a spooky instrumental.

The track “FUBU” with Conway the Machine sees the 2 challenging anyone who opposes them over a demented instrumental & after the “A Black Man’s Favorite Shoe” skit, the song “Upside Down” with Benny the Butcher finds both wordsmiths getting violent over a cavernous boom bap beat. After the “Perspective” skit where Eminem discusses racism in the music industry, the track “Tricked” with KXNG CROOKED is pretty much both MCs cleverly breaking down the idea of deception over a tense instrumental. After the “Black People in America”, the song “Black Savage” is empowering anthem towards African Americans with both dEnAuN & 6 July helping Royce heavily sample the afro-rock band of the same name. The bars that CyHi the Prynce & T.I. both bring to the table are dope, but White Gold’s verse was kinda pointlessly short to me.

The track “Rhinestone Doo Rag” despite being short is about how the next generation is on those listening over a soothing instrumental while the song “Young World” with G Perico & Vince Staples sees the 3 sending an important message to the youth referencing Tesla CEO, SpaceX founder & Neuralink founder Elon Musk over a funky instrumental. The penultimate track “My People Free” co-produced by S1 & Wu10 has a respectable concept, but it seems like more of an Ashley Morrell song to as she dominates a bulk of it & Royce makes very little appearance on it himself. Then there’s the closer “Hero”, where Royce pays tribute to his father over an instrumental that’s sweet to the ear.

The album isn’t perfect, but it’s still a fantastic listen. A couple of the features were pretty weak & the interludes are pretty annoying but lyrically, this is definitely Royce’s most conscious effort to date. And for him to start getting behind the boards & self-produce damn near the whole thing, he does a pretty good job at it.

Score: 4/5

Vinnie Paz – “as above so below” review

Vinnie Paz is an underground veteran from Philadelphia, Pennsylvania known for being the MC of Jedi Mind Tricks & the leader of the Army of the Pharaohs collective. He put out his first 2 solo albums Season of the Assassin & God of the Serengeti in 2010 & 2012 respectively, but returned in 2016 with The Cornerstone of the Corner Store. Last time we heard from him solo-wise was with The Pain Collector in 2018 & with Valentine’s Day arriving, he’s back with his 5th full-length album.

It all starts with “Crime Wave Tehran”, where Pazzy talks about shooting someone over a minimalist yet intimidating instrumental from Giallo Point. The next song “Scorched Earth” with Estee Nack & Jay Royale sees the 3 spitting some vicious mobster-style lyricism over a Stu Bangas beat with some prominently harmonious vocals while the track “I’m the Chaos” reminds us of Paz’s place in this culture over a boom bap/rock fusion from Vic Grimes. The song “Mabuhay Gardens” talks about how nothing other than death is guaranteed referencing WWE Hall of Famer Captain Lou Albano over a somber beat while “The Conjuring” compares himself to that of a magician over a Bronze Nazareth beat with a relaying vocal sample.

“The Black Hand” with Demoz sees the 2 talking about murder over a cavernous beat from C-Lance supplied with a hook delivered in this weird faux-Jamaican patois while the song “Mock Up on Mu” sends a message to his competition over a suspenseful instrumental. The track “Ankle Bracelets” talks about wanting to be alone over a calming beat & a stellar hook with Queen Herawin while “The Conpleat Witch” with Nowaah the Flood finds both MCs painting some vivid street imagery over a boom bap beat with some creepy keyboards.

The song “Hannibal” is laced with gun talk over a boom ball beat with a luxurious pianos lead while the track “Silician Bull” compares himself to just that over an ominous beat. The song “Cero Miedo” gets confrontational over an eerie beat. The song “Spilled Milk” is a tear-jerking tribute to his father with a piano instrumental to enhance the emotion while the track “Vahid Moradi” with Rigz sees the 2 talking about staring into Satan’s eyes over some strings.

The song “I’ll Buy All the Uranium You’ve Got” talks about being strapped over a boom bap beat with a prominent vocal sample while the song while the track “Doomsday Machine” with Demoz & Vast Aire sees the 3 talking about how ruthless they are over an instrumental with a beautifully dark atmosphere to it. The song “Serve the Creator” with Recognize Ali sees the 2 talking about Allah over a soul sample & some horns then the closer “The Gone-Away World” gets conscious over a killer rock instrumental Vinnie made himself with co-production from Scott Stallone.

Paz’s discography has always been known for being consistently hardbody & this is no exception. A couple of the features could’ve been better to me personally, but his lyricism has gotten sharper over time & the production is as equally gritty.

Score: 4/5

Boldy James – “The Price of Tea in China” review

This is the long-awaited sophomore album from Detroit emcee Boldy James. A man who rose to fame with his Alchemist produced 2013 debut M.1.C.S. (My 1st Chemistry Set). This resulted in a contract with Nas’ independent label Mass Appeal Records, but unfortunately Boldy got locked up for a while. He eventually made his comeback a few years ago with his House of Blues mixtape & now after reuniting with the Uncle Al on his Boldface EP a couple months ago, they’re back again with The Price of Tea in China.

The album kicks off with “Carruth”, where Boldy reminisces on his past over some piano chords & a chilling vocal sample in the background. The next song “Giant Slide” gets mafiosio over a boom bap beat laced with these eerie whistling noises while the track “Surf & Turf” with Vince Staples sees the 2 talking about being overlords backed by this intoxicating instrumental. The song “Run-Ins” talks about being chased by the cops over a repetitive vocal sample that fits in flawlessly, but then it switches into a grimy ass beat leading into the track “Scrape the Bowl” with Benny the Butcher as the 2 talk about smuggling coke to their respective hometowns. The song “Pinto” talks about being rich from the drug game over a beat with these luscious string sections while the track “Slow Roll” finds Boldy flexing over an intimidating instrumental.

The song “S.N.O.R.T.” essentially gets back on the coke tip alongside Freddie Gibbs over a gritty beat then the track “Grey October” with Evidence sees the 2 pouring their hearts out over a psychedelic instrumental. The song “Mustard” has a funereal feel to it that I really like despite being way too short while the penultimate track “Speed Demon” talks about criminal activity over a boom bap beat with some nice horn samples. Then there’s the closer “Phone Bill”, which is about going from broke to rich over a calming beat.

For a comeback album, it’s damn near perfect to the point where it almost feels like Boldy never left. His pen game is still razor sharp as it was on the debut & Alchemist continues to provide him with brilliant musical soundscapes that help bring his bars to life.

Score: 4.5/5

Lil Wayne – “Funeral” review

This is the long-awaited 13th full-length album from New Orleans veteran Lil Wayne. Who signed to Cash Money Records at the age of 9; becoming 1/2 of The B.G.’z, 1/4 of the Hot Boy$ & 1/6 of the Cash Money Millionaires. His first 3 solo albums Tha Block is Hot, Lights Out & 500 Degreez were average at best but we then found him improving in the mid 2000’s with Tha Carter, Tha Carter II, Dedication, Dedication 2, Da Drought 3 & my personal favorite Tha Carter III. He then started his own label Young Money Entertainment & followed his magnum opus up with a God awful “rock” album Rebirth along with the mediocre I Am Not a Human Being. He was able to bounce back in 2011 with Tha Carter IV, but things looked rough once again with the horrendous I Am Not a Human Being II in 2013 & then being entangled in legal issues with Cash Money from 2014-2018. Wayne eventually broke free from Birdman & was able to release Tha Carter V in 2018 to celebrate his 36th birthday. But to end the first month of 2020, Weezy is coming back with Funeral.

The title track that kicks the album off is a proper introduction as Wayne makes numerous references to death over some strings, but then it transitions into a grimy trap beat. The next song “Mahogany” gets braggadocious over a soulful trap beat from Mannie Fresh while the track “Mama Mia” continues to flex over an abrasive beat. The song “I Do It” with Big Sean & Lil Baby sees the 3 describing their work ethics over a bland instrumental while the track “Dreams” talks about his fear of losing it all over an atmospheric instrumental.

The song “Stop Playin’ with Me” speaks for itself over a weary instrumental while the track “Clap for ‘Em” is an ass-shaking anthem with a Jahlil Beats instrumental that sounds vaguely similar to T.I.’s “Ball”, on which he was featured on. The song “Bing James” with Jay Rock sees the 2 showing off over an eerie instrumental as well as a 24-second tribute to the late Kobe Bryant at the start while the track “Not Me” talks about his haters over a somewhat-cloudy StreetRunner beat. The song “Trust Nobody” has a great message about backstabbers & the guitar instrumental is pretty, but Adam Levine’s hook is just ok.

The track “Know You Know” sees ColleGrove getting together to talk about this hoe over a keyboard-inflicted trap beat while the song “Wild Dogs” talks about how much of a savage he is over a luxurious instrumental. The track “Harden” talks about how he isn’t the perfect lover over a grand instrumental while the song “I Don’t Sleep” with Takeoff sees the 2 talks about their grind & I really like the woodwinds in the production.

The track “Sights & Silencers” is an awkward love ballad with The-Dream & a buttery Mike WiLL Made-It instrumental while the song “Ball Hard” with Lil Twist sees the 2 talking about their hustle over an ominous trap beat. The track “Bastard (Satan’s Kid)” reflects about his childhood over a cavernous beat while the song “Get Outta My Head” with the late XXXTENTACION sees the 2 talking about fighting their inner demons & the instrumental has this horror-esque feel that fits in pretty great. Although Wayne’s lyricism gets more annoyingly repetitive on “Piano Trap”, I do like how it lives up to the title as he’s delivering these bars over a trap beat that later switches into a piano instrumental.

The song “Line ‘Em Up” gets confrontational over a Murda Beatz instrumental with an organ & a sample that gets so played out once the joint ends whereas the track “Darkside” talks about going to war over a grim instrumental. The song “Never Mind” compares himself to that of a pimp over a mellow acoustic instrumental & while the penultimate track “T.O. (Terrell Owens)” talks about selling coke over this lifeless trap beat, the O.T. Genesis feature is the most awkward part about it easily. Then the album ends with “Wayne’s World”, where Weezy talks about partying hard over a rubbery instrumental.

I thought Lil Wayne redeemed himself with Dedication 6 & Tha Carter V, but this was SUPER disappointing. He still has his passionate & witty moments on here, but it’s overloaded with filler & the production choices are pretty weak as well. If this is the way he’s going out, then I’d say it’s a mediocre one.

Score: 2/5

Whitney Peyton – “Alpha” review

Whitney Peyton is a 25 year old MC from Philadelphia, Pennsylvania who rose to prominence in the underground by releasing 3 albums, 2 mixtapes & 4 EPs all independently. She recently signed to Burbank, California powerhouse Suburban Noize Records this past fall & to ring in the new decade, she’s making her Subnoize debut with her 4th studio album.

Things kick off with “Villain”, where Whitney compares herself to a bad guy over a suspenseful instrumental. The next song “Double Up” flexes over a nocturnal trap beat while the song “Enemy” sees Whitney teaming up with her Keyed Up cohort Gina Fritz to detail a break up that she went through over a cavernous instrumental. The track “I Got It” fires back at everyone who doubted Whitney over a dark, rubbery trap beat while the song “Kick It” is intoxicating anthem about mellowing out.

The track “No Time” is a fun, vibrant club banger where was the song “Better Be” talks about how this dude shouldn’t be lying over a woozy instrumental. The track “Smile” is a beautiful positivity anthem while the song “Like You Mean It” talks about her haters over spacey trap beat. The album then finishes with “Not the Same”, where Whitney talks about her new life competition over a bass-heavy instrumental.

For years I’ve been Whitney to come through with that 1 album that’d solidify her place in the game & I think she finally did it on this one. Her lyricism has gotten better with time, the passion is there, the production is off the wall & it’s a great representation of who she is & where she’s at now. Really looking forward to see what she does with Subnoize in the future.

Score: 4/5

The Professionals – Self-Titled review

The Professionals are a hip hop duo from Oxnard, California consisting of Oh No on the mic along with his older brother Madlib on production. Both of whom have made household names for themselves in the West Coast underground in their own rights. An album together has been long overdue in my opinion & has been hinted at since 2008, but it seems like we’re finally getting it a little over a decade later.

After the “My House” intro, we get right into the first song “The Pros”. Which is a very short but gritty way for the duo to reintroduce themselves to the listener. The next track “Payday” of course talks about making money over a nondescript instrumental while the song “Give N Take” tells the story of Oh No trying to sleep with a woman at 3am over a somewhat funky instrumental with this vocal sample relaying in & out like a radio transmission. The track “Superhumans” with Chino XL & eLZhi sees the 3 comparing themselves to superheroes over a haunting instrumental while the song “Buggin'” talks about people annoying him over a somber beat.

The track “CDP Breakdown” talks about wanting to fight someone referencing the current 2-time UFC Light Heavyweight Champion Jon Jones over a grimy boom bap beat while the song “Timeless Treasure” gets conscious over a tense instrumental. The track “I Jus Wanna” talks about wanting to relax over a mellow boom bap beat while the song “Away Too Long” talks about the rap game over an extravagant instrumental.

“Make Due” is a dedication to people putting their last buck on trying to get it over a gorgeous instrumental while the song “Tired Atlas” is another politically charged cut much like “Timeless Treasure” over a hypnotic loop. The album then finishes with “Dishonored Valor”, where Oh No talks about the soldiers who went A.W.O.L. over a vintage sample.

I personally have been waiting on this album for a long time & now that we finally got it, it’s not as perfect as I’d hoped yet solid. Madlib’s production is creative always & Oh No’s rapping is sharp, but it could’ve used a couple more features in my opinion. Nonetheless, I’m still happy with the outcome of what the 2 legendary Oxnard siblings did together.

Score: 4/5