Recognize Ali is a Ghanaian emcee who’s been shaking up the underground for the past several years now off projects like Back 2 Mecca, The Shining, I.S.L.A.M. (I Self Lord And Master) & Guerilla Dynasty. Dude’s previous effort Recognition just dropped back in August & for his 9th full-length outing, Ali has enlisted Bronze Nazareth of the Wu-Elements to produce the whole thing from front to back.
After the “Motown Connection” intro, the first actual song “God Aura” incorporates some horns as Ali spits about the champ being here whereas “Hand Count the Cake” is a dope money ode & the vocal loop was well-picked out. The orchestral-tinged “Tear Drops in the Sky” connects with his Dueling Experts cohort Verbal Kent alongside former Army of the Pharaohs member King Magnetic to rap about catching bodies while “Street Gospel” is a soulful tune about “bringing Terror to your Squad like Big Pun”.
After the “Knew Legends” skit, the song “Silver Spear Promise” seems like a homage to the iconic Jay Electronica joint “Exhibit C” from some of Ali’s rhyme schemes down to the sample of “Cross My Heart” by Billy Stewart while the gospel-tinged “Olympic Gold Medalists” taps in TriState & Willie the Kid to get on the spiritual side of things lyrically.
After the “Find It in Him” skit, the title track has a plinky piano loop throughout with lyrics about greatness whereas “How Many Times” finds Bronze hopping on the mic with Ali as the 2 pondering about a number of things on top of an elegant beat.
“Rivers in the Basement of Truth” taps in Napoleon da Legend & Lord Jessiah to spit the battle bars over a piano & some vocal harmonies while the track “How We Roll” brings in a boom bap beat with some harmonization in the background as Ali spits about being on the corner until the AM. I also like the Money Miz shoutout at the end of the first verse as well.
“Camouflage Dons” is a cool homage to the Wu-Tang Clan & the Killa Beez as Ali jumps on an instrumental that has the Wu sound alongside Dom Pachino & before the “Outro to Detroit” outro that finishes off the album, “The Grind” is a symphonic coda about his hustle.
In my opinion, this is one of the best albums that Recognize Ali has ever done. Dude continues to further demonstrate as to why he’s one of the most thought-provoking MCs to emerge from the underground in recent years & Bronze Nazareth comes correct on the production per usual.
Conway the Machine is a 39 year old MC & entrepreneur from Buffalo, New York who blew up in late 2015 as part of the 3 OGs of Griselda Records alongside his brother Westside Gunn & their cousin Benny the Butcher. Ever since the trio have rose to prominence, they’ve 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 & his sophomore effort with Big Ghost Ltd. that just came out a couple months ago If It Bleeds It Can Be Killed is a worthy sequel to No One Mourns the Wicked. But just when even thought we were getting the Shady Records-backed God Don’t Make Mistakes next, we’re getting another prelude album out of the woodwork.
“Bruiser Brody” named after the WWE Hall of Famer is a grimy opener from the boom bap production from JR Swiftz to the lyrics calling out those who pray on his downfall whereas the Bangladesh-produced “6:30 Tip Off” is a jazz-trap fusion speaking on his profit. The song “Blood Roses” is about how “I came to prove I came improved” with a spiritual beat from Cardiak, but then “Clarity” opens up on how he spares “no feelings when my pen is movin’” on top of a soulful trap instrumental from Don Cannon.
The track “KD” has a weepy trap instrumental from Murda Beatz with lyrics talks about those speaking on Conway’s legacy while “200 Pies” with 2 Chainz of course gets on that pusher shit & the bare loop that The Alchemist comes through with is hypnotic as fuck. “Sister Abigail” is a dusty boom bap tune named where The Machine recruits his new protégés Jae Skeese & 7xvethegenius for a homage to to former 3-time WWE world champion & 2-time WWE tag team champion Bray Wyatt’s signature move of the same name, but then Jae returns on the peppily-produced “Grace” to talk about how they don’t live in disguise to get their blessings.
The song “Scatterbrain” brings in J.I.D & Ludacris to get murderous on top of a frigid instrumental, but then Elcamino & Shots Almigh hop on Had to Hustle” to speak on what they had to do to get where they are now. The closer “S.E. Gang” serves as a response to those who said Conway was leaving Griselda earlier this year as he, Westside Gunn & Benny the Butcher spit that mafioso shit over a flute sample from Daringer.
Not what I was expecting from Conway, but still a dope album regardless. In comparison to him returning to a more grimier sound on If It Bleeds It Can Be Killed, I like how he continues to build off the the versatility that From King to a God brought. Whenever the time for God Don’t Make Mistakes comes, I’ll be more than ready to hear where he takes it.
This is the 2nd showcase compilation from Atlanta, Georgia record label YSL Records. Founded in 2010 by trap trailblazer Young Thug & having been distributed by 300 Entertainment since 2016, the label has built up quite a promising roster within the last 5 years. Their most notable acts being of course Gunna & Lil Keed. The crew’s first showcase compilation Slime Language came out in 2018 to mixed reviews & as the 3 year anniversary of that original project creeps up this summer, Thugger & the gang are taking another jab at it on Slime Language II.
“Slatty” is a great way to kick off the comp as Young Thug, Gunna, Yak Gotti & Lil Duke get together over a siren induced beat from Southside & Pvlace whereas “Ski” shows off the chemistry between Thugger & Gunna over a string-heavy instrumental from Wheezy & Outtatown. The duo’s dominance continues as they pair up with Travis Scott on “Diamonds Dancing” to show off their expensive lifestyles over a piano trap fusion from Turbo, but then Drake & Gunna get together for the spacious party anthem “Solid”.
Meanwhile on “Came & Saw”, we have Young Thug bringing Rowdy Rebel on for a short verse & a lengthy hook to speak on how “you can’t put dirt on someone that’s clean” on top of a Viking-esque instrumental. He later goes on to to trade bars charmingly back & forth with Gunna on the dystopian-sounding “Paid the Fine” that Cubeatz helped put together, but the Lil Baby verse at the beginning starts it off strong & YTB Trench’s finishes it off mediocrely.
“Proud of You” is clearly a remixed leftover from the Eternal Atake sessions Bugz Ronin handles that I actually enjoy, but then Thug & his brother Unfoonk hop on the country trap-flavored “Real” to talk about seeing their haters on the sideline. Karlae & Coi LeRay join forces for the cloudy R&B-tinged “I Like”, but then Lil Keed & T-Shyne manage to get Big Sean on the mystical-sounding “Warriors” to proclaim themselves as such.
“Pots & Pans” has a synth-heavy instrumental that I really enjoy & Lil Duke really shines on here, but ΠΔV comes in & delivers a flat robotic verse that throws the vibe off. The song “WokStar” goes into a more ominous direction as Strick & Skepta speak on their celebrity status, but then “Superstar” marks Young Thug’s return as he & Future talk about how everyone wants to be famous these days over an acoustic instrumental with some rubbery bass.
“Came Out” incorporates a xylophone in the production as Gunna & Keed vaunt but then YNW Melly, BSlime & FN DaDealer come together on “Really Be Slime”, which is easily the most generic song on the entire compilation. “Take It to Trial” was a fun choice for a lead single & I like it even more in the context of the album, but then “Trance” by Karlae & Yung Bleu is a super redundant sex tune even with Dez Wright behind the boards.
Sheck Wes, Yak Gotti & Yung Kayo deliver some underwhelming bars about drug/alcohol usage on top of a Taurus instrumental with a bit of a chopped & screwed influence to it during “G.F.U. (Get Fucked Up)”, but then the psychedelically-produced “Moon Man” finds Thugger & KiD CuDi getting together to compare life to a buffet. I prefer HiDoraah’s solo track “Como Te Llama” over the one she had on the first Slime Language as she melodically goes into detail about wanting to know more about her partner & the Dolly White solo cut “Reckless” is even better as she goes into a more grittier direction both lyrically & sonically for 92 seconds.
The penultimate track “That Go” by Meek Mill, T-Shyne & Young Thug is a hedonism ode with some prominent synthesizers & the album ends with a boring remix to “My City” by YTB Trench. The deluxe run makes up for it starting with “Slam the Door” by Young Thug & Gunna talking about the millions coming with a name while “Litty” by Young Thug & DaBaby proves to be less exciting even with the reference to WWE Hall of Famer, 6-time WWE world champion, WWE Intercontinental Champion, WWE United States Champion, WWE Tag Team Champion, WWE Hardcore Champion, IWGPヘビー級チャンピオン, the inaugural 6-time TNA World Champion, TNA X Division Champion & 2-time TNA World Tag Team Champion Kurt Angle.
“No Slime” by Young Thug, Don Toliver & BSlime warns that the trio might get too comfortable although they assure everything will be ok while “Mil in Vegas” by Young Thug & ΠΔV offers a glimpse of both artists’ respectively lavish lifestyles. “Explosion” by Gunna, FN da Dealer & Yak Gotti acknowledges that everyone in their city knows that’s exactly what they be dropping while “Yessirskii” by Thug’s daughter Mego talks about fashion. The final bonus track “Mack Truck” by Young Thug & Jim Jones unites the ByrdGang & YSL for a generational trap heater spittin’ that g shit.
I was hoping for Slime Language II to be a step up above the predecessor, but it’s just as mediocre. Despite the label’s roster growing & improving, there are a handful of songs that should’ve been left on the cutting room floor. If YSL ever decides to do a Slime Language III at some point down the road, I hope it’s more well-curated.
BROCKHAMPTON is a hip hop boy band that originated in San Marcos, Texas in 2010 via the “KanyeToTheForum under the original name AliveSinceForever. But when things started to look good for them after they released the SATURATION trilogy to universal acclaim in 2017, one of their founding members Ameer Vann was kicked out midway through the following year due to sexual misconduct. The boys’ next 2 albums following iridescence & GINGER were both released to moderate reception & after taking 2020 off, Kevin Abstract & the gang are returning from the shadows by dropping their 6th & allegedly penultimate album.
“BUZZCUT” is a off-the-wall opener as Kevin & Danny Brown come through with some conscious undertones through their lyrics backed by a psychedelic instrumental from Jabari Manwa. The next song “Chain On” goes into a more cloud rap direction as Kevin connects with JPEGMAFIA to speak out against police brutality whereas “Count on Me” is a summery anthem about how everything will be ok regardless of what they say & even though I think Matt Champion & A$AP Rocky both kill their verses, I can’t say the same for SoGoneSoFlexy.
The track “Bankroll” is a hazy trap banger with Merlyn Wood, Jabari & A$AP Ferg to show off their wealth while “The Light” is pretty much JOBA & Kevin venting about something being missing deep inside them over an ominous boom bap instrumental. The song “Windows” everyone reuniting with SoGoneSoFlexy to talk about how crazy they are with an icier instrumental than the previous cut & then “I’ll Take You On” finds Charlie Wilson joining Matt & bearface to cook up an gorgeous alternative R&B joint.
The instrumental on “Old News” kinda reminds me of Baby Bash’s “Suga Suga” for some odd reason as the boys tap in Baird to address the games their lovers put them through, but then Matt & JOBA get together on “What’s the Occasion?” to vent about how “a million little pieces all add up to nothing lately” on top of an acoustic/boom bap instrumental with some occasional synths. Chad Hugo laces the piano ballad “When I Ball” that sees Matt & Dom McLennon looking back on their younger days whereas the chaotically-produced “Don’t Shoot Up the Party” finds Kevin & Matt speaking against the bigotry in America. The track “Dear Lord” is a short, a capella bearface solo cut about his brother needing help & then “The Light, Pt. II” is an optimistic, almost gospel-flavored closer from Kevin & JOBA.
If anyone’s been turned off by these guys given the moderate reception of their last 2 albums, then I highly recommend giving this a shot because this is their most consistent effort since SATURATION III. I really dig how they started to incorporate more outside collaborators even though not all of them stick the landing & the boys do a great job at showing listeners what’s been going on in their world ever since GINGER came out.
Lil Tjay is a 19 year old rapper & singer/songwriter from The Bronx, New York that got his start by releasing singles on SoundCloud in 2017. This resulted in him signing to Columbia Records the following year & since then, Tjay has dropped a full-length debut as well as 3 EPs. But coming fresh off the 2020 XXL Freshman Class last summer, the kid is following it up by putting out a sophomore album.
The titular opener heavily samples “Who Gets Your Love?” by Margie Joseph as Tjay pretty much says he won’t stop until he comes out on top, but then the next song “Born 2 Be Great” is a dysphoric-sounding ballad about him not letting anyone say he ain’t shit. “Call My Phone” with 6LACK serves as a boring R&B crooner about them being unable to get these women off their mind whereas “What You Wanna Do?” opens up about being sick of playing games with his lover over an instrumental sampling “ONE MAN ARMY” by Melvoni.
The song “Hood Rich” is a piano trap banger with lyrics about his hopes of wanting to accomplish something while “Oh Well” continues to delve into the sounds of the previous cut except Tjay is spitting some gang shit. “Headshot” with Polo G & Fivio Foreign goes into a more violin/drill direction as the trio brag & get malevolent whereas “Gang Gang” piggybacks off keyboard loops as he reps his squad.
The track “Go Crazy” proclaims himself as a progressor over a signature 808 Melo instrumental while “Irregular Love” is a minimally-produced pop rap joint about how his relationship is abnormal. The song “Move” doesn’t sound too bad given the raunchy lyrics that Saweetie & Tyga deliver alongside the stripped-back trap beat from OG Parker & G. Ry, but it didn’t need to be on this album since Tjay hardly has any presence in it.
“Slow Down” expresses a desire to get to know your lover with a cloud rap instrumental from Cassius Jay, but then “Love Hurts” is a tedious anthem about making a relationship work & the Toosii verse doesn’t help either. The song “Run It Up” with Moneybagg Yo & Offset is of course a bland, materialism tune whereas the jangly “Part of the Plan” speaks about focusing on music.
“No Cap” speaks from the heart albeit the instrumental is comatose as Hell while “Life Changed” is an airily-produced joint about moving on to better things. “Nuf Said” sounds like a short, loose freestyle backed by a spacious beat from Jahaan Sweet while “Losses” is one of Tjay’s best songs ever as the pain he expresses throughout is so powerful.
The penultimate track “Move On” sounds like it was ripped off from the BEAUTIFUL THUGGER GIRLS playbook from it’s country/trap production to the lyrics about a relationship coming to an end & finally, the closer “None of Your Love” takes shots at his exes over a synth-laced instrumental from CashMoneyAP.
I haven’t been a big fan of Tjay’s work up to this point & Destined 2 Win doesn’t really help change that because to me, it’s just another mediocre album from him. His personality definitely shines a lot more than it did on previous efforts, but the production choices are very hit or miss & a good portion of the love songs fall flat on their face.
Birmingham, West Midlands, England, United Kingdom emcee Truemendous making her full-length studio debut. Introducing herself in 2015 off her debut EP Whoremonal Moodswings, she continued to build momentum with the trilogy P.S. This Is Your Mother Calling began & bridged by P.S. This is Your Father Calling. The final chapter P.S. This is Your Aunty Calling eventually caught the attention of High Focus Records, who dropped her 5th EP Huh? right when the COVID-19 pandemic began. However, she’s ready to take the next step in her evolution & is ready to start the 2nd quarter of the year dissecting The Misdiagnosis of Chyvonne Johnson a couple months succeeding Jamie Hayter becoming a 2-time RPW British Women’s Champion.
“Cause a Scene” comes out the gate with an aggressive boom bap intro talking about her being on the verge of drumming up a disturbance within the UK hip hop scene whereas “Probably Right (Too)” pens a cavernous open letter that Telemachus cooked up to her lover suggesting his parents are right in regards of her being too good for him. “Y” featuring Kofi Stone goes for a jazzy boom bap vibe thanks to Illinformed tackling themes of heartbreak while “Worst Child” asks if one loves themselves over a rich yet dusty beat.
As for “Selfish Behavior”, we have Truemendous spending 9 minutes fusing boom bap as well as neo-soul & a hint of trap telling her partner that she’s coming with whenever he decides to leave her just before “You Don’t Wanna” gives off a cloudier trap vibe instrumentally courtesy of Wundrop so she can give some shine to the unique flow that got her a label deal 13 months earlier for 100 seconds. “You Don’t Like Me Because” takes the jazzy boom bap route with the help of Dirty Dike for a message directed at all the people who doubted her while “Free Food” moodily talks about only being somewhere she didn’t want to be because of the complimentary nourishments.
“Crying of Laughter” begins the 2nd half with an atmospheric trap beat explaining that she’s only shedding tears of amusement because she wants to cry over the very person she has in mind while she was writing this while “Spirit & Breanna” celebrates the impression of her having no competition whatsoever. “Mood Ring” incorporates some synthesizers to talk doing people wrong or right depending on how she’s feeling while the J Dilla-inspired “Browkeee” celebrates entrepreneurship.
The sequel to “Tick the Box” jumps over a quirky beat so she can keep moving intrusively while “Emmett Till” featuring Masta Ace returns to the boom bap to talk about the system being rigged in their favor. “Viral” featuring Obi Rundo gets back on the eerie trap tip dismantling the crowd who downplays their work ethics but once “Petty You, Petty Me” cohesively talks about the concept of pettiness itself, it only makes sense for “Yvonne’s Daughter” to finish the LP with an endearing tribute to her mother.
Inspired by Lauryn Hill’s only solo effort The Miseducation of Lauryn Hill, Truemendous’ own debut album under High Focus Records offers the underground at large a complete representation of who she is by capturing every dimension of her musically. The songwriting’s a lot more fiercely heavier than both of her earlier projects were with the production honing in on the eclectic crossovers between boom bap, neo-soul, jazz rap & trap that were heard over a year ago.
Saigon is a 43 year old MC from Brooklyn, New York who broke out in the early 2000s off his debut mixtape Da Yardfather. However, it wouldn’t be until 2011 when he would make his full-length debut by dropping The Greatest Story Never Told under Suburban Noize Records. The album would spawn a sequel to fulfill his contract with the Spade the following year & then a final installment on his own imprint Squid Ink Squad Records in 2014. He returned from a 6 year hiatus last summer by signing to Strange Music’s new subsidiary It Goes Up Entertainment & dropping the STREETRUNNER-produced EP 777: The Resurrection almost right after but here we are 7 months later with Saigon’s 4th full-length album.
After the DJ Kayslay intro, the first song “Head Blown (Vitabudz Theme)” talks about vibing until his head is gone over an instrumental that hawks back to 80s electro while the track “2 for $5” makes multiple comparisons to the titular deal over a bountiful beat. The song “My Gun” talks about being strapped at all times over a boom bap instrumental with some sirens while the track “Blessings” pays tribute to those murdered by the system from Mike Brown to Sandra Bland over a bereft beat.
The song “People Next Door” talks about the person living next to him getting laid down the night before over a cinematic instrumental while the following track is a pointless remix to “Mechanical Animals” off of The Greatest Story Never Told 3: The Troubled Times of Brian Carenard. “The D” with Jay Varcity is a gross, lovey dovey disco tune while the song “Warm Honey” is almost as painful to listen to except the production on this one is more silkier.
The track “U Do Understand That, Right?” With Axel Leon finds the 2 talking about partying all night over a jazz/trap infused beat while the song “We Don’t Need You” talks about cutting off punks in his life over a Satanic instrumental. The track “Same Ol’ Me” talks about how he hasn’t changed after all these years over an inspiriting beat while the song “U Don’t Know Me” is a catchy bop calling out those who think they know everything about him.
The track “Buss It Down” with Bam Vito is a terribly written strip club anthem backed by generic instrumental while “The Streets” talks about how it ain’t no joke in the hood over an organ-laced beat. The track “It Goes Up” with Rough finds the 2 talking about firing at their squad if they take food out their mouths over a boom bap instrumental with some choir vocals while the song “Deeper” with O.T. the Real sees the duo talking about how deep they are over an exultant beat. After the “Saigon Speaks” skit, “The Co-Op Cipher” teams up with Cassidy to get on the battle tip over a sullen instrumental. He also takes the time to announce 2 more albums coming later this year, one produced entirely by Buckwild & the other with Jahlil Beats.
Even though I prefer 777: The Resurrection, I still think this is a solid album. There are joints on here that felt out of place like the “Mechanical Animals” remix & that cringey disco joint, but Saigon can still rip up mics like it was nothing & the production is pretty tight for a good deal of it.
Rod Wave is a 22 year old rapper & singer/songwriter from St. Petersburg, Florida who broke out in 2019 off his debut album Ghetto Gospel. A sophomore effort Pray 4 Love came out last spring & it would land him a spot in the 2020 XXL Freshman Class few months later. But after working out some issues with Alamo Records
It all starts off with the title track, where Rod talks about balancing his ups & downs over some a cavernous trap beat. The next song “Gone ‘Till November” talks about not wanting to be alone over a twangy instrumental while the track “Wanna Blame Me” talks about a girl doing him wrong over a generic beat. The song “Don’t Forget” talks about coming straight from out the trenches over some acoustics & snares while the track “Tombstone” talks about thuggin’ until the end over a stripped back beat.
The song “All I Got” talks about finally living his dream over a cloudy piano instrumental while the track “Richer” with Polo G finds the 2 talking about their wealth over a summery beat. The song “Street Runner” talks about going higher over a cumbersome instrumental while the track “Pills & Billz” talks about how money can buy you drugs over a piano & some hi-hats. The song “How the Game Go” talks about playing the game the way it was taught to him over some more acoustic trap shit while the track “Shock da World” talks about how they ain’t seen nothing yet & the vocal sample on here is just gorgeous.
The song “What’s Love??” explains the meaning of love to a broken heart over the same BEAUTIFUL THUGGER GIRLS-inspired production we’ve heard a million times at this point while the track “O.M.D.B. (Over My Dead Body)” talks about how he knows this woman don’t love him over an intoxicating beat. The song “Invisible Scar” talks about how he can’t save this youngin’ at the party over a formulaic instrumental while the track “Calling Me” talks about numbing the pain over some more country trap production.
The song “Sneaky Links” talks about keeping relationships secret over a weighty instrumental while the track “Believe Me” talks about having a hard time trusting his baby over a glossy beat. The song “Moving On” talks about starting anew & then the closer “Changing” talks about his newfound maturity over a piano-laced trap instrumental.
Coming away from this album, it’s a just a mixed bag for me personally. It’s really cool to hear how personal he can get through his lyrics, but it’s just the production sounds the same for a good portion of it.
YBN Nahmir is a 21 year old rapper from Birmingham, Alabama most notable for being the de facto leader of the now defunct YBN collective. We all know Cordae has proven to be the most successful member of the crew given how well The Lost Boy & it wasn’t until earlier this month that Almighty Jay dropped his painfully boring debut EP Battling My Spirit. However, Nahmir is the last one stepping to plate & is dropping his long-delayed debut album.
“Still (Family)” is actually a good way to kick off the album as Nahmir speaks on doing this rap shit for his family with a guitar & harmonious vocal harmonies backing him. However, the next song “Regardless” sounds like he’s vocally riffing for 2 minutes despite the tranquilizing trap beat whereas the rowdy “Politics” links up with DaBoii & G Herbo to take shots at people talking shit on the internet. The “Opp Stoppa” remix with 21 Savage is better than the original, even though it’s weird how Nahmir puts the OG version of it as the closer later on.
“Get It Crackin’” samples “Chaos” by TekraBeats as Nahmir goes on about nothing & then “Fast Car Music (Stain)” serves as a half-baked ode to Lamborghinis. The track “Prison” is pretty much a 2-minute, abrasive self-defense anthem & then “Lamb Truck” is an underwritten cut about wetting up those who cross him with an aquatic beat. The twangy, bass-heavy “Fast Car Ending” is another short & off-the-cuff freestyle that could’ve easily been left on the cutting room floor, but then “Wake Up” goes into a more orchestral direction as he talks about getting his dick sucked in the morning.
“Belgium” is a 2-minute diatribe about how Nahmir been “thuggin’ since a youngin’” over a skeletal piano instrumental while the cumbersomely-produced “Make a Wish” literally says in the hook that he’ll kill the children of his enemies. The electronic-tinged “Homework” opens up about the snakes in his life & even though the classy instrumental on “Streets” is ok, it once again sounds like a barely written song. The soul/trap fusion “WooWAM” goes on about wanting bitches at his mansion, but then “Soul Train” is even worse with it’s funk-influenced production & the gross lyrics about giving his girl everything.
The rubbery, Hitmaka-produced “2-Seater” with G-Eazy & Offset continues to go on about their love for luxury cars over a rubbery instrumental from Hitmaka while “Ca$hland” is a money anthem with a hyphy beat along as well as stellar features from E-40 & Too $hort. The final song on the album (excluding the original “Opp Stoppa” like I mentioned earlier) “Over Now” is a touching sequel to the opening cut.
I said it in my review for Battling My Spirit a few weeks ago & I’ll say it again right now: this is just another reminder that Cordae carried the whole YBN crew. I’ll even say this is even worse than the latest Almighty Jay EP. It didn’t need to be 20 tracks long, the songwriting is vapid, his performances don’t have any “oomph” to them & the production is uneventful.
Armand Hammer is duo from New York City consisting of Billy Woods & Elucid. Forming together in 2013 off their only mixtape Half Measures & the debut album Race Music, the pair would go on to release an EP & 3 more full-lengths worth of abstract political hip hop. Their previous effort Shrines just came out this past summer & not even a year later, Billy & Elucid have tapped on The Alchemist for their 5th full-length album.
The album kicks off with “Sir Benni Miles”, where Armand Hammer gets cryptic over a grimy instrumental with a couple of vocal samples laced in. The next song “Roaches Don’t Fly” talks about how “you don’t have to be here if you don’t wanna” over a synth-heavy beat with some occasional guitar passages while the track “Black Sunlight” gives the listener profound motivation over a cheerful instrumental. The track “Indian Summer” references the Indiana Jones franchise owned by The Walt Disney Company subsidiary Lucasfilm over a mystical beat while the track Aubergine with Fielded finds the 3 talking about hysteria over an instrumental that starts off with a demented atmosphere, but then switches into something more forlorn.
The song “God’s Feet” talks about “blowing that horn fast” over a glistening boom bap beat while the track “Peppertree” talks about how “there’s something else out there” over a saxophone & a reversed loop. The song “Scaffolds” talks about always being late with the epiphanies & having excuses over a paranormal instrumental while the track “Falling Out the Sky” with Earl Sweatshirt sees the trio opening up about their demons over a lachrymose beat.
The song “Wishing Bad” with Curly Castro & Amani finds the 4 talking about how all their problems come from no compensation over a minimal, yet deranged instrumental while the track “Chicharonnes” with Quelle Chris sees the 3 talking about corrupt cops over a ghastly beat. “Squeegee” is another favorite of mine with it’s enraged verses, the ear-grabbing hook & repose production while the penultimate track “Robert Moses” talks about a new day over a jazz-laced instrumental. The album ends with “Stonefruit”, where the duo talk about having so much to undo over a celebratory beat.
This is hands down one of the best albums I’ve heard all year & I’ll even go as far to say that it’s Armand Hammer’s magnum opus. Couple of the features were a miss for me personally, but the gruesome imagery that Billy Woods & Elucid paint goes hand to hand with Uncle Al’s signature sound almost flawlessly.
