Elcamino – “Don’t Eat the Fruit” review

Elcamino is an MC from Buffalo, New York who‘s been blowing up within the past couple years. He dropped a self-titled EP with Griselda Records in November of 2017 & a mixtape last summer called Walk on Water but now, he’s delivering his long-awaited debut. The album kicks off with “Davis St.”, where El talks about being made over a soulful beat. The next track “Devotion” talks about just that over a luscious soul sample from DJ Shay & Nicholas Craven while the song “Ghetto Luv” talks about making out of the struggle over some horns & an organ. The title track gets bloodthirsty over an atmospheric beat while the song “Venice Beach” with Benny the Butcher sees the 2 getting mafioso over some epic string sections.

The track “Flu Game” is an unfinished yet gloomy minimalist piece while the song “Redrum” pretty much speaks for itself over an eerie beat. The track “Big Bro” is a dedication to his older sibling over a beautiful instrumental while the song “Too Grimey for the Radio” with Meyhem Lauren truly lives up to it’s title in every aspect. The track “9 on My Lap” with Conway the Machine gets back on the confrontational tip over a sinister boom bap beat while the song “Alter Prayer” with Crimeapple gets back on the mafioso tip over a synth heavy beat. The album then ends with “Hidden Hills”, where Elcamino continues to brag over a Termanology instrumental with some congas & an infectious horn lead.

Man, it makes me really happy to see Elcamino outdoing himself with each & every project. The production’s more refined & El sounds harder than ever, but I just wish it was longer than 29 minutes.

Score: 4/5

Juice WRLD – “Death Race for Love” review

Juice WRLD is a 20 year old rapper from Chicago, Illinois who started blowing up just about a year ago due to the release of his debut album Goodbye & Good Riddance. I personally thought it was just average, because I feel like he’s pretty much Post Malone making Lil Uzi Vert & Trippie Redd songs. He then followed it up with a VERY awkward collab tape with Future called WRLD on Drugs but now, he’s returning with his sophomore album.

It all starts off with “Empty”, where Juice vents about being lonely over a piano & clap driven instrumental. The next song “Maze” talks about losing his sanity over a somber trap beat from Boi-1da while the track “HeEmotions” talks about another day in the life of Juice WRLD over a gloomy beat from Hit-Boy. After the “Demonz” interlude, the song “Fast” talks about his new life, but it literally sounds like a Post Malone joint down to the Louis Bell & Ging instrumental.

The track “Hear Me Calling” talks about a breakup over an infectiously rhythmic Purps instrumental while the song “Big” gets boastful over a spacey Hit-Boy beat. The track “Robbery” is another breakup tune except this one feels forced & corny while the song “Flaws & Sins” talks about seeing light through the darkness over a bland beat. The track “Feeling” is pretty much a boring rehash of the opener while the song “Syphilis” is a sex ode with an eerie trap beat from Cardo.

The track “Who Shot Cupid?” details more ex-girlfriend shit with a beautiful acoustic-driven instrumental from Purps while the song “Ring Ring” is about doing drugs with a dime a dozen beat. The track “Desire” is on some stalker shit over an atmospheric Purps beat while the song “Out My Way” gets back on the braggadocious tip over an abrasive Hit-Boy beat.

“The Bees Knees” is a fiery club banger while the song “ON GOD” with Young Thug sees the 2 talking about being in their bags over some prominent hi-hats. The track “10 Feet” is a boring diatribe about being high while the song “Won’t Let Go” talks about the girl of his dreams over a Purps beat with some rubbery bass.

The track “She’s the One” is a trippy follow-up to the previous joint while the song “Rider” sees Juice telling this chick to prove her loyalty to him over a generic beat. The album then finishes off with “Make Believe”, where Juice talks about how he say this breakup coming over a Boi-1da instrumental that beautifully uses the same sample that J Dilla used on “Runnin’” by The Pharcyde.

This wasn’t as bad as I thought it was gonna be, but it’s still a mixed bag. The production has gotten better & Juice is only as half melodramatic this time around, but it really didn’t need to be 22 tracks & 72 minutes long.

Score: 2.5/5

Solange – “When I Get Home” review

Solange is a 32 year old singer/songwriter & actress from Houston, Texas known for being the younger sister of Beyoncé. Her first 2 full-length outings in the 2000s were average at best, but came back fantastically in 2016 with A Seat at the Table. But now 3 years later, she’s returning out of the blue with her 4th album.

Things kick off with “Things I Imagined”, which is a mellow yet repetitive piece. After the “S. McGregor” interlude, the next song “Down With the Clique” sings about how she comes first & the keyboards from Tyler, The Creator on here are absolutely gorgeous. The track “Way to the Show” is about how this guy can get it over a spacey yet funky beat & after the “Can I Hold the Mic?” interlude, the song “Stay Flo” talks about lust over a settle instrumental from Metro Boomin’ of all people. The track “Dreams” talks about just that over a relaxing instrumental from both Earl Sweatshirt & Blood Orange and after the “Nothing Without Intention” interlude, the song “Almeda” with Playboi Carti sees the 2 listing common traits of black people over some militant drums & beautiful keyboard passages.

The track “Time (Is)” sings about how this guy isn’t for her over some keys & bass-playing while the song “My Skin My Logo” with Gucci Mane sees the 2 complimenting each other perfectly over a bass-guitar. After the “We Deal with the Freak’n” intermission, the track “Jerrod” is a guitar ballad about how Solange wants the titular guy to call her. The song “Binz” talks about how she wants to wake up over a minimalist instrumental while the track “Beltway” is a half-written ballad about how this dude loves her. After the “Exit Scott” interlude, the song “Sound of Rain” is another repetitive piece, but I do admire the atmospheric Pharrell production. Then after the “Not Screwed!” interlude, the song “I’m a Witness” serves as a flawless closer with a prominent bass-line.

This is EASILY a serious contender for the best R&B album of 2019. It’s bit more psychedelic than A Seat at the Table, but it’s just as introspective & lush. Another near perfect example of why Solange is on par (or maybe even better) than her sister.

Score: 4.5/5

2 Chainz – “Rap or Go to the League” review

2 Chainz is a 41 year old rapper from Atlanta, Georgia who came up as 1/2 of the duo Playaz Circle. They eventually signed to Disturbing tha Peace Records & Def Jam Recordings in the 2000s releasing only 2 albums. He eventually ventured off into a solo career, with his previous album Pretty Girls 👍 TRΛP MUSIC easily being his most mature work yet. But almost a couple years later, he’s back with the long-awaited follow-up.

The album kicks off with “Forgiven”, where Tity Boi gets spiritual over a trap beat with some beautifully alluring background vocals. The next song “Threat 2 Society” vents about not getting the credit he deserves over a pretty 9th Wonder instrumental while the track “Money in the Way” is a boring diatribe about this chick even though I like the triumphant beat. The song “Statue of Limitations” reflects on his drug dealing days over a bass heavy beat from 30 Roc while the song “High Top Versace” with Young Thug sees the 2 getting braggadocious over a disappointingly bland beat. The track “Whip” talks about going back to drug dealing over a WondaGurl beat with a dark atmosphere to it while the song “NCAA” of course talks about hustling over an eerie Honorable C.N.O.T.E. instrumental.

The song “Momma I Hit a Lick” with Kendrick Lamar of course has perfectly vivid storytelling accompanied with a Pharrell instrumental kin to “Amazing” off of T.I.’s 2010 album No Mercy while the track “Rule the World” is a smooth ode to his ride or die chick over a luxurious instrumental. The song “Girl’s Best Friend” talks about diamonds over a vintage West Coast instrumental from Cardo while the track “2 Dollar Bill” sees ColleGrove teaming up with E-40 to deliver a dime a dozen club banger with a dime a dozen DJ Mustard beat. The song “I Said Me” is all about how real he is over a nondescript beat while the penultimate track “I’m Not Crazy, Life Is” with Chance the Rapper & Kodak Black talks about how he’s never changed over a somber trap beat. The album then finishes with “Sam”, which gets conscious over a druggy beat.

To be honest, this is neck & neck with Tity Boi’s previous album. Sure some of the beats are generic, but it’s just as mature as last time on all fronts. Makes me really happy to see him continuing to progress as an artist & flexing his lyrical prowess a bit more.

Score: 3.5/5

Pitch 92 – “3rd Culture” review

This is the debut album from Dublin, Ireland producer Pitch 92. Known for being the in-house beatsmith of The Mouse Outfit, he would go on to produce the group’s first couple full-lengths Escape Music & Step Steadier until getting to jump behind the boards throughout Verb T’s 8th album Good Evening. He eventually signed to Hove, East Sussex, England, United Kingdom imprint High Focus Records for the Lost in Space EP preluding 3rd Culture in preparation for the main course arriving 5 months afterwards.

After the “Start It Off” intro, the title track by Jehst hops over a boom bap instrumental with some organs breaking it down for those who don’t know what it is whereas “Swoop” by The 4 Owls works in some pianos so the quartet can bring it live. “Humanoid” by King Kashmere, Mysdiggi & Verb T finds the trio spitting hardcore verses without a hook on top of this glossy boom bap beat while the aquatically funky “Drama” by The Mouse Outfit featuring the Foreign Beggars talking about playing hostilely.

“Overly Fresh” by Fliptrix co-produced by Beat Butcha speaks of never sleeping in addition to murdering beats leading into “I Need That” by Dr. Syntax, Dubbul O & Harleighblu blending boom bap with neo-soul talking about feeling like the music calls them when they’re rollin’, smokin’ or drinkin’. Micall Parknsun & Verb T tell fans who think they’ve “Heard It Before” to think again while “Follow Me” by Dr. Outer & Sparkz calmly trades the mic back-&-forth with each other for a bit.

Tyler Daley gets his own track with the soothing boom bap heater “Confused” talking about not knowing to do regarding this woman who isn’t good for him at all while the hypnotically funky “Kingdom” by Jehst, LayFullStop & Sparkz finds the trio rocking their own realms with their individually distinctive cadences. “Makes No Sense” by DRS brings the keys back in the picture addresses people who judge the things we love failing to understand why they do it while “How We Living” by Karl Sage & Manik MC funkily talks about being stuck up in the ground.

“Criminalized” by Coops begins 3rd Culture’s final act recalling him getting arrested for the 1st time when he was only 8 while “Wise Men” by Confucius MC fuses soul & boom bap wondering if he should laugh or cry inside of his mind. Prior to the 87 second compositional “FFM” outro building itself upon sampling a woodwind, the final song “Worth It” by Jerome Thomas sends off the LP with a luxurious R&B ballad finding him unsure of whether this relationship’s worth the risks it has or not.

Amassing some of the most well respected national & international names within the genres of both UK hip hop & R&B artists for a lengthier successor to Lost in Space, the studio debut in Pitch 92’s solo discography prioritizes the half of that extended play where the guests were doing their thing over his Jaylib-inspired instrumentals created using an MPC except a huge contrasting difference would be the small handful of moments that felt like filler as opposed to 3rd Culture’s predecessor cohesively demonstrating his talents with & without a performer.

Score: 3.5/5

Offset – “FATHER OF 4” review

Offset is a 27 year old rapper who came up at the beginning of the decade as 1/3 of the Migos. He released a fantastic collab album with 21 Savage & Metro Boomin’ on Halloween 2017 called Without Warning but now just a few months after his cousins Quavo & Takeoff made their solo debuts with QUAVO HUNCHO & The Last Rocket respectively, Offset is the final Migo at bat.

The album kicks off with the title track, which is a heartwarming dedication to his children over a somber beat from Metro. The next track “How Did I Get Here?” with J. Cole sees the 2 talking about fame over an atmospheric beat while the song “Lick” talks about his rags to riches over a bland woodwind-infused beat with some rubbery bass. The track “Tats on My Face” gets boastful over a nocturnal trap beat from the So Icey Boyz while the song “Made Men” talks about how he’s made referencing WWE Hall of Famer Arnold Schwarzenegger over a grimy trap beat from Southside. The track “Wild Wild West” with Gunna gets back on the boastful tip over an eerie Metro beat while the song “North Star” talks about the stresses of fame over a beautifully stripped back beat.

The track “After Dark” is pays tribute to Paris Brown over a luscious trap beat while the song “Don’t Lose Me” addresses his split-up with Cardi B over a spacious beat. The track “Underrated” talks about how he feels just that over another nocturnal trap beat from the So Icey Boyz while the song “Legacy” with Travis Scott & 21 Savage talks about their success over a dreary beat. The track “Clout” with Cardi B attack people who‘ll do anything to be famous over a keyboard-inflicted trap beat while the song “On Fleek” with Quavo is a sex tune with an moody beat. The track “Quarter Milli” with Gucci Mane sees the 2 bragging about their wealth over a bass-heavy from Metro & Pyrex Whippa while the song “Red Room” talks about how crazy his life has been over a pretty trap beat. The album then finishes with “Came a Long Way”, where Offset pulls a pretty heart wrenching performance over a gloomy trap beat.

We all know the Migos’ material since C U L T U R E II has been very lackluster, but this is easily the best of the 3 solo debuts & it actually gives me hope for C U L T U R E III. The lyrics are a lot more personal surprisingly, it’s more well-produced & it seems like they actually focused more on quality over quantity.

Score: 3.5/5

Clear Soul Forces – “Still” review

The Clear Soul Forces are a hip hop quartet from Detroit, Michigan consisting of E-Fav, Ilajide, L.A.Z. & Noveliss. They blew up at the beginning of 2012 with the viral sensation of their “Get No Better” music video but now 7 years later, they’re delivering their 5th full-length album.

Things kick off with “Blaow”, where the 4 spit battle bars over a semi-jazzy boom bap beat. The song “Hit Me Now” is a perfect display of their skills over a vibrant boom bap beat while the track “Diamond Rhymin'” is a chilled out crowd mover comparing themselves to former 3-time WCW World Heavyweight Champion, 2-time WWE United States Champion, 5-time WWE tag team champion & WCW World Television Champion Diamond Dallas Page refusing to join the nWo. The “Sword Play” remix is a pretty great revision of the song that the group did on Noveliss’ Kenjutsu Under the Moonlight EP from a couple years back while the song “Kick It” kinda reminds of the classic Tribe Called Quest track with the same name, but updated for a modern audience.

The track “Dinner Time” is filled with lyrical acrobatics over a J Dilla-esque instrumental while the song “They Shootin'” is a flawless display of the quartet’s chemistry referencing WWE Hall of Famer, former WWE Intercontinental Champion, WWE United States Champion & WCW World Tag Team Champion Rick Rude accompanied by a mellow beat with some thumping drums. The track “Say (What)” is a well put together freestyle with a funky beat & after the “Still Enterlude”, the penultimate song “Pump Pump” is an infectious club banger. The album then finishes with “Don’t Stop”, which is a 7 & a half minute odyssey about their success including a reference to WWE Hall of Famer as well as former WWE Intercontinental Champion & WWE Tag Team Champion The Godfather a.k.a. Papa Shango.

This is easily the group’s best album yet, in my opinion. The chemistry between each member is tighter than ever, their lyricism has gotten a lot more sharper with time & the production has that Detroit soul to it making the palates sounds gorgeous. If they continue to outdo themselves with each album like this, then I have a feeling that they’ll grow closer to reaching the potential as one of the greatest groups to come out of Detroit.

Score: 4/5

Smif-n-Wessun – “The All” review

Smif-n-Wessun are a legendary Brooklyn, New York hip hop duo consisting of Tek & Steele from the Boot Camp Clik. Their 1995 debut Dah Shinin’ is widely regarded as an East Coast classic & now just 8 years after the Pete Rock produced Monumental marked an official return to form for the Cocoa Brovaz, they’re making their return with their 7th full-length album with Jamla Records in-house production team The Soul Council producing it in it’s entirety.

After the “Education of Smif-n-Wessun” intro, the first song “Testify” sees the duo looking back at their career over a boom bap beat with a faint vocal sample popping in & out from 9th Wonder & Khrysis. The track “Dreamland” with Raekwon sees the 3 reminiscing on their childhoods over a settle instrumental while the song “Ocean Drive” with Rapsody is a Bonnie & Clyde-esque tune over a keyboard-inflicted boom bap beat. The track “Let It Go” talks about murdering their competition over a boom bap beat with a dinky keyboard-lead.

The track “Letter 4 U” is a dedication to their families over some punchy drums while the song “Let Me Tell” with Rick Ross sees the 3 getting confrontational over an eerie beat. The title track gets boastful about their skills over an ominous beat while the song “We Good” with GQ pretty much speaks for itself over a moody beat. The track “StahfAllah” talks about being cut from a different cloth over a boom bap beat with a quiet-horn lead while the song “Illusions” tells the story of a dumb dude in the streets over a boom bap beat with some eerie background vocals. The album then ends with “1 Time” talking about their legacy over a jazzy-boom bap beat. Overall, this was a damn near perfect comeback for the duo. It’s focused, the lyrics are insightful & the production from The Soul Council suits them fantastically.

Score: 4.5/5

Insane Clown Posse – “Fearless Fred Fury” review

The Insane Clown Posse are a Detroit horrorcore duo, the founders of Juggalo Championship Wrestling & the longest reigning 2-time JCW World Juggalo Tag Team Champions consisting of JCW Commissioner Violent J & the shortest reigning JCW World Juggalo Heavyweight Champion Shaggy 2 Dope. They’ve been at it since the very late 80’s & through their own label Psychopathic Records, the 2 have managed to become independent titans. The last we heard from J & Shaggy in a full-length capacity was in 2015 with The Marvelous Missing Link double disc set which has been regarded as the weakest Card of the 2nd Deck but almost 4 years later, they’re returning with their 15th full-length album.

As with every album in the duo’s Dark Carnival mythology, the intro & the first song “Red Fred” serve as an introduction to the album’s titular character. The track “Fury!” is all about fighting back & not only do the verses make you feel like the adrenaline is starting to flow inside, but so does the MIKE SUMMERS a.k.a. 7 & Str8jaket production. The song “West Vernor Ave.” is a Shaggy solo cut that pays tribute to the titular street in downtown Detroit while the track “W.T.F.! (What The Fuck!)” talks about the problems of the world today over a chaotic beat.

The song “Satellite” sees the 2 is an empowerment anthem with a spacious beat referencing former 2-time ECW World Heavyweight Champion, FTW Champion, ECW World Television Champion, 3-time ECW World Tag Team Champion, JCW World Juggalo Heavyweight Champion, NWA World’s Heavyweight Champion, IWGPジュニアヘビー級チャンピオン & the longest reigning XPW World Heavyweight Champion Sabu while the track “Seriously Hilarious” gets murderous over a haunting beat dissing their former protégés & Majik Ninja Entertainment founders Twiztid. The song “Game Over” sees J making fun of gamers over a trap beat with an AMAZING Super Mario sample thanks to Devereaux throughout while “Night of Redrum” nocturnally continues their acclaimed “Night of” series.

The song “Low” is mostly a take on the classic Zombies joint “Time of the Season” including a reference to the inaugural IWGPヘビー級チャンピオン, former 12-time WWE world champion, WWE tag team champion & WWE Hall of Famer Hulk Hogan while the song “TripleX” is a clever tale taking place in a therapy session over a demented beat. The song “Nobody’s Fault” is a painfully corny emo rap cut while the song “Hot Head” is a boring, sluggish angst anthem. The song “Shimmer” is a guitar ballad to God showing the Duke of the Wicked’s storytelling abilities while the track “Freedom” sees J & Shaggy talking about just that over an uplifting beat. After the “Beware!” interlude, the closer “I Like It Rough” is a disgusting sex tune (not in a good way either) with a bland trap beat.

After the intro of the Flip the Rat bonus disc, “A Face 4 Fighting” starts the deluxe run with Violent J wickedly expressing his love for engaging in fights if shit gets ignited & Shaggy returns on “Fight Back” produced by DJ Paul talking about nobody wanting smoke with them over hi-hats & bells. “Revenge” goes for an futuristic trap vibe with the help of Mike P. making room for them warning that you’re never safe when they’re hunting for you prior to “I’m That Type” featuring Psychopathic’s biggest solo act Ouija Macc finds him & his mentors talking about the scrub life over a rap rock/trap mix.

Another artist on the Psychopathic roster Big Hoodoo join the clowns on “Hungry” to talk their desire for more paper & Brian Kuma giving it a trap flare generally while “Splish Splash” again brings Violent J’s storytelling abilities in the fold portraying a man whose house is 85% baths. “Friend Request” samples “100 Miles & Runnin'” by the N.W.A with J & 2 Dope poking fun at the concept of sending friend requests on the Meta Platforms-owned Facebook while “I Could Never” is another trap cut showing a more religious side to the Duke.

“Hawking” reaches the backend of Flip the Rat satirizing absurdism & conspiracy theories as the wicked clowns trading bars back-&-forth with each other sampling “Kiss” by the late Prince while “Tha Dogg” samples “Man in the Box” by Alice in Chains venting Violent J’s frustration of being treated like a bad dog, calling back to the familiar theme in ICP’s music of being outcasted. “Be Safe” concludes the collection of a dozen bonus tracks with both Shaggy & J playfully telling the juggalos to watch your step & take it easy.

I was legitimately excited going into this after I got to see them film the “Fury!” video at my uncle’s store back in October but now that it’s here, this thing absolutely shits on The Marvelous Missing Link. Other than a small handful of skippers, I appreciate it for going back to a darker sound & featuring around themes of standing up for yourself, fighting back against injustice, & having self-respect making Fred embody this “fight back” mentality. Sucks that the MNE/PSY fallout happened due to Young Wicked of the Axe Murder Boyz signed to MNE after he was having an affair with J’s niece as someone who grew up in Michigan at a time where Psychopathic was a roster full of artists, but it certainly made the clowns sound the angriest they’ve been a while.

Score: 3.5/5

CZARFACE & Ghostface Killah – “CZARFACE Meets Ghostface” review

This is the highly anticipated collab album between East Coast supergroup CZARFACE & the legendary Ghostface Killah. They first teamed up on the banger “Savagely Attack” off of CZARFACE’s self-titled debut back in 2013 but now almost a year after the trio’s collab album with MF DOOM titled CZARFACE Meets Metal Face, they’re following it up by doing a collab album with Tony Starks himself.

After the “Back at the Ringside” intro, the first song “Face Off” sees CZAR & Ghost really suiting the title over an eerie beat. The track “Iron Claw” tells their competition not to push them referencing former UFC Lightweight & Welterweight Champion B.J. Penn over an El-P inspired instrumental while the song “Czarrcade ‘87” is a CZAR solo cut where Esoteric & Inspectah Deck get confrontational over an ominous beat. The track “Powers & Stuff” reunite with Ghost to brag about their skills including a reference to 6-time WWE world champion & 4-time WWE Tag Team Champion Dave Bautista over an apocalyptic beat while the song “Masked Superstars” continues the lyrical themes of the previous joint over a more boom bap beat.

The track “Morning Ritual” has a somber beat & the storytelling is vivid, but I’m confused as to way Inspectah Deck doesn’t appear on it at all. The song “Super Soldier Serum” gets boastful over an electro-tinged beat while “The King Heard Voices” gets murderous over a perfectly fitting instrumental. The track “Listen to the Color” is another CZAR cut that could’ve been on any of their first 3 albums & before things close out with the “(Post Credits Scene)” outro, the final song “Mongolian Beef” is a lyrical onslaught with a doomsday-sounding beat.

From front to back, it definitely lives up to the hype. It could’ve been a little longer & used a couple features, but the production & chemistry between CZAR & Ghost is almost on par with DOOM’s.

Score: 4/5