Juga-Naut – “12 Bricks” review

This is the 5th studio LP from Nottingham, East Midlands, England, United Kingdom emcee Juga-Naut. Dropping all 4 of his previous full-lengths including a mixtape & 3 extended plays, the ones that would stick out to me the most would be the Sonnyjim-produced debut The Purple Door & his 3rd album Back to the Grill Again produced by Giallo Point. London veteran Micall Parknsun however has been enlisted behind the boards for 12 Bricks after being teased in 2017 & that automatically had me interested regarding the direction for it.

“Blue Notes” opens up with a psychedelic boom bap instrumental talking about him dreaming of a better future ahead of him whereas “40 Acres” featuring Micall Parknsun himself finds the pair over a synth-driven beat boasting that they made the speakers bump because they made the drum. “Show & Prove” keeps things dusty decimating any other squad who can’t fuck with his because they’re a bunch of phonies just before “Gametime” atmospherically talks about taking time when getting what’s his.

VVV get a track of their own with “Gaudi-Gang” having Cappo & Vandal Savage join Juga-Naut to discuss elevation & progress being the 2 key parts of this journey called life while “Know Your Worth” talks about realizing one’s value. “Dodgy Dealings” kicks off the 2nd half of 12 Bricks recalling some dishonest business methods being revealed over an organ & hi-hats while “Build a Bridge” returns to the boom bap explaining what we do today makes it what it is.

“Pink & Red” winds down the last leg of the album talking about slowly dreaming of big money coming his way until using “Stained Glass” as a metaphor for the other side containing a pained past instrumentally retaining a boom bap sound. “The Juice” featuring Scorzayzee & Tommy Nova finds the trio getting confrontational over a rap rock beat while “Glass Mortar” featuring Da Flyy Hooligan ends on an opulently hardcore note.

Come to find out 12 Bricks was recorded between 2016-2018, which is wild to me considering that it joins The Purple Door & Back to the Grill Again in becoming an another important entry in Juga-Naut’s discography. Between his rhymes & Micall Parknsun’s production, they’re pretty much laying out the foundation for this new era of underground hip hop in a time of uncertainty combining Naut’s hard-hitting lyricism with Micall’s ear for sampling.

Score: 4/5

Jay Electronica – “Act II: Patents of Nobility (The Turn)” review

This is the surprise sophomore album from New Orleans emcee/producer Jay Electronica. Fans had waited 13 years for him to drop a full-length album ever since his debut EP Act 1: Eternal Sunshine (The Pledge) & we finally got that in the form of شهادة مكتوبة back in March of this year, which was a collab effort with JAY-Z. But after leaking online recently, Jay has decided to officially drop the OG version of the album.

“Real Magic” talks about accepting oneself over a bare piano instrumental while the next song “New Illuminati” talks about being just that over a churchy beat. After the “Patents of Nobility” interlude, the track “Life on Mars” pays tribute to Erykah Badu over some synths. The song “Bonnie & Clyde” shit-talks on those faking over a sample of the Serge Gainsbourg joint of the same name while the track “Dinner at Tiffany’s” is essentially “Shiny Suit Theory” off شهادةمكتوبة.

The song “Memories & Merlot” reminisces on all the moments in his life that he cherishes over a settle, psychedelic beat while the track “Better in Tune” gets confessional over an angelic instrumental. The song “Letter of Falon” talks about climbing the highest mountain himself over some hi-hats & claps while the track “Road to Perdition” with JAY-Z sees the 2 making a number of references to the Tom Hanks film of the same name over a triumphant beat.

“Welcome to Knightsbridge” flexes his rapping prowess over a hypnotic instrumental while the track “Rough Love” gets raunchy over a beat with some stunning choir vocals. The song “Night of the Roundtable” talks about feeling his hunger growing over some claps & keyboard embellishments while the penultimate track “Run & Hide” is a stunning R&B duet with The Bullitts that tells the story of a woman who escapes from her problems. The closer “10,000 Lotus Petals” is just a wonderful orchestral piece with no Jay presence at all.

To be honest, I think this is his true debut album & I’ll even go as far to say that it’s better than شهادةمكتوبة. Sure it can sound dated at times, but the production on here is a lot better in comparison & Jay Electronica lyrically was at his best during this point in time.

Score: 4/5

Westside Gunn – “WHO MADE THE SUNSHINE?” review

Westside Gunn is a 38 year old MC & entrepreneur from Buffalo, New York who broke out in 2016 with his near-perfect debut album FLYGOD. He would go on to take over the culture with his brother Conway the Machine & their cousin Benny the Butcher as all 3 of them have consistently dropped a slew of high quality releases both solo-wise & as a trio over the past 5 years. However, Westside has stated on numerous occasions that he’ll quit making music after 2020 & has released 2 albums since the year started: Pray for Paris & FLYGOD is an Awesome God II. But with Hitler Wears Hermes VIII set to drop at the end of the month, Westside is delivering his highly anticipated Shady Records album.

After the “Sunshine” intro, the first song “The Butcher & the Blade” with Benny & Conway named after the AEW tag team finds the trio talking about God having them winning over a boom bap beat from Daringer & Beat Butcha with some rapid keyboard arpeggios referencing former 4-time WCW World Television Champion as well as 2-time WWE Intercontinental Champion, 3-time WWE Hardcore Champion & 4-time WWE tag team champion William Regal whereas the next track “Ishkabibble’s” with Black Thought sees the 2 talking about pushing over an eerie instrumental.

“All Praises” sounds like a leftover from Boldy James’ The Price of Tea in China down to the Alchemist beat as Westside Gunn only handles the hook while the track “Big Basha’s” talks about there being blood & brains everywhere over a somber boom bap instrumental. The song “Liz Loves Luger” with Armani Caesar finds the 2 talking about wanting loyalty from their partners over a luscious beat while the track “Ocean Prime” with Busta Rhymes & Slick Rick sees the 3 talking about chopping dudes into pieces later referencing the greatest WWE superstar ever; 7-time world champion, 7-time tag team champion & WWE Hardcore Champion The Undertaker over a forlorn instrumental.

The song “Lessie” talks about how they’re still getting paid over a wavy beat while the track “Frank Murphy” with Elcamino, Estee Nack, Flee Lord, Smoke DZA & Stove God Cook$ is an epic East Coast posse cut with a wailing instrumental. “Good Night” hooks back up with Slick Rick to get in their storytelling bag over a beat with some ominous keys & then the closer “98 Sabers” is a vicious showcasing of the Griselda roster & the Just Blaze instrumental fits perfectly, but I wonder why Boldy James isn’t on here.

Not a bad album, but it could’ve been better in my personal opinion. It’s pretty much a slightly better version of FLYGOD is an Awesome God II as there are a lot of features & a couple of questionable production choices on here. Here’s to hoping Hitler 8 will be much better.

Score: 3.5/5

Sa-Roc – “The Sharecropper’s Daughter” review

Sa-Roc is a 38 year old MC from Washington D.C. who’s dropped a total of 6 albums a rarities compilation, 2 EPs & 2 mixtapes throughout the the first half of the previous decade before signing to Rhymesayers Entertainment in 2015. But after several years of singles, we’re finally being treated to her debut on the label & her 7th full-length album overall.

The opener “EmergencE” tells her haters to look at her now over a quasi-jazzy instrumental whereas the next track “Gold Leaf” flexes her prowess over a boom bap beat with a well-incorporated flute. The song “Rocwell America” with Styles P sees the 2 tackling the corruption in our country over a beat with a somewhat mystical vibe to it while the track “Something Real” talks about wanting to get to know her partner over a sample of Alicia Keys’ “You Don’t Know My Name”.

The song “Hand of God” talks about proving one’s authenticity over a boom bap beat with an old school video game feel to it while the song “Deliverance” talks about elevating in a stress-free zone over a nocturnal instrumental from Evidence. The song “Lay It Down” talks about counting your blessings over an operatic beat while the title track over a funky, psychedelic beat. “The Black Renaissance” with Black Thought is a phenomenal ode to the Black Lives Matter movement with a piano-inflicted beat while the song “r(E)volution” talks about nothing’s gonna change but them over some popping drums & what sounds like a bass guitar.

The track “Goddess Gang” talks about being royalty over some horns & plinky keys while the song “Forever” talks about being a star over an slow beat. The track “40 & a Mule” comes through on the battle bar tip over a beat with a nice, faint background vocalist while the song “Dark Horse” talks about how they can’t deny her strength anymore over a thumping instrumental. The album finishes with “Grounded”, where Sa-Roc talks about being right about herself over a J Dilla inspired boom bap instrumental.

To me, this is Sa-Roc’s magnum opus & I think it further solidified her as one of the illest female spitters hip hop has to offer currently. The production is a lot more refined in comparison to her previous efforts & the listener gets a great look into her upbringings.

Score: 4/5

Big Hoodoo – “The Hoodini Chronicles: The Redbook” review

Big Hoodoo is a 42 year old MC from Detroit, Michigan who originally came up as Doe Dubbla. Under that original moniker, he put out a double-disc full-length debut in 2008 called Stack’n & later followed it up with Hiatus in 2012. However it wouldn’t be until 2013 when Dubbla signed Psychopathic Records, put out his 3rd album Crystal Skull that summer & became the black magic practitioner that he is today. Now the last time we heard from Hoodoo solo-wise was in 2016 when he released asylum, which was pretty much a more refined version of Crystal Skull. But just a little over year after founding his own label Ear Drug Musik as well as teaming up with Anybody Killa to drop Tha Hav Knots’ debut EP, the man is now delivering his highly anticipated 5th album.

The opener “Juice” with Bam Beda sees the 2 talking about being grateful for making out the hood & getting lit when the pressure’s on over some keyboards, but then transitions into a Sada Baby type beat that isn’t too bad. The next song “HooDooinit” triumphantly celebrates his return over an anarchic trap instrumental while the track “Bitch I’m Gone” finds Hoodoo boasting over a sinister beat from Str8jaket.

“Hatchetman” is a full-blown Psychopathic anthem backed by a trap instrumental with some eerie keyboards while the track “7+3” hooks back up with Bam Beda to talk about murdering those who want beef with them over a solemn beat.

The song “Take Over” with Blac finds the 2 talking about running shit over a bass-heavy instrumental while the track “Ride High” talks about going at those praying on his downfall over a ghostly beat with a killer guitar riff. The song “Juggalo Love (Murder Medley)” with Ouija Macc sees the 2 talking about how juggalos don’t play over an instrumental with a creepy atmosphere to it while the track “RIP” talks those who tried to stop him & this is probably the most evil-sounding beat on the whole entire album.

“Against the Grain” recruits Hoodoo’s mentors the Insane Clown Posse to thank those who helped all 3 of their dreams come to fruition over a tranquil instrumental & then “Time of My Life” is an emotional finale as Hoodoo’s spitting some real life shit & the background singer throughout was a remarkable touch as well.

After a 4-year wait, this was very much well worth it because I think The Hoodini Chronicles: The Redbook is neck & neck with asylum for Big Hoodoo’s best work. His evolution throughout the past 7 years is quite evident as his lyricism has only gotten better with time & the production on here is just as raw. Great comeback effort.

Score: 4/5

Public Enemy – “What You Gonna Do When the Grid Goes Down?” review

Public Enemy is an iconic political hip hop outfit from Long Island, New York lead by Chuck D. Their first 5 albums are hip hop essentials as what Chuck & company were saying on all of them are still very much relevant today. They ended up leaving Def Jam Recordings in ‘98 after releasing the He Got Game soundtrack, but have put out a total of 10 albums independently. But with everything that’s happened in 2020, the group has seen fit to return to Def Jam for their 16th full-length album.

After the George Clinton intro, the first song “Grid” featuring Cypress Hill finds the 2 groups talking about the current digital age over a funky instrumental from my homie C-Doc while the track “State of the Union (STFU)” takes a jab at Donald Trump over a hypnotic boom bap beat from DJ Premier. After the “Merica Mirror” interlude, the song “Public Enemy Number Won” with the Beastie Boys & Run-D.M.C. is a modern version of “Public Enemy #1” off their 1987 debut Yo! Bum Rush the Show down to the Fred Wesley & The J.B.’s sample while the track “Toxic” continues to take aim at Trump over an doomsday-sounding beat.

The song “Yesterday Man” with Daddy-O ponders what happened to hip hop over a rap-rock instrumental & after the “Crossroads Burning” interlude, the following track is a star-studded sequel to one of PE’s most iconic joints: “Fight the Power”. The song “Beat ‘Em All” talks about being ready to fight over a dusty instrumental while the track “Smash the Crowd” with Ice-T & PMD discusses how great they are over a dynamic beat.

The track “If You Can’t Beat ‘Em Join ‘Em” is a noisy & repetitive interlude while the song “Go at Me” with Jahi talks about revolution over a beat with some more rock influences to it. The track “Rest In Beats” with The Impossebulls pays tribute to all the hip hop legends we’ve lost over a forlorn beat co-produced by Easy Mo Bee. Then before finishing with the “I’m Black” outro, the closer R.I.P. Blackat” is a Flavor Flav solo cut paying tribute to Clyde Bazile Jr. with a melancholic instrumental.

If anyone asks me, this is Public Enemy’s best effort in a while. The lyrical content is as stronger & thought-provoking than ever before, but what makes this stand out more than a handful of their output in the past 21 years is that it’s a lot more well-produced. However, I don’t get why 6 songs on here from the group’s previous album Nothing’s Quick in the Desert reappear on here. Nonetheless, definitely worth checking out for the current times.

Score: 3.5/5

JL – “The Devil Hates Sundays” review

This is the brand new album from Missouri emcee JL, who started out as a member of the B. Hood crew before signing to Strange Music in 2015. His full-length debut on the label D.I.B.K.I.S. (Do It Big Keep It Strange) that came out a few years ago was a proper introduction to the Strange fanbase & I really liked that Kontra-Band collab effort he did with Stevie Stone in 2018 too. But after teasing new music for quite some time now, JL’s officially back with The Devil Hates Sundays.

After the intro, the first song “Silver” makes numerous references to the titular color over an organ-inflicted boom bap beat from MIKE SUMMERS a.k.a. 7 (who produced about half the album) whereas the track “Sunday Morning” with Marley Young finds the 2 comparing them & their significant others to Adam & Eve over a euphoric beat. The song “Means to an End” with Tech N9ne sees both spitters talking about doing anything for better luck over a trap beat with some bells while the track “Ask for It” with LeezoSTG & Maez301 finds the trio talking about giving their significant others anything they want over a rubbery instrumental.

The song “Ahh Haa” talks about being high over a hyphy beat from Wyshmaster while the track “Who Raised You?” talks about how they don’t make ‘em like this over a beat with some bells & a background singer humming. The song “Flashing Out” is filled with clever Hollywood references over a cavernous instrumental from Dominique Sanders while the track “That’s Him” with Joey Cool displays an impeccable chemistry with one another over a monstrous beat.

The song “Sleep on Me” with Krizz Kaliko sees the 2 talking about being underrated over a bleak instrumental while the track “Petty Bop” does a good job of living up to it’s name both lyrically & sonically. The song “Common Sense” talks about him being one of a kind over a cloudy beat while the track “Coming Down” talks about being off of the high over a woodwind-infused beat.

The song “SOS” talks about being too far gone over a dense beat while the track “Voices” with Jehry Robinson sees the 2 talking about the internal conflict within them over a desolate beat. The song “MIA” talks about getting to the money over a woozy instrumental while the track “Moonwalker” links up with Suli4Q & the CES Cru finds the 4 talking about revenge over a somewhat quirky beat.

The song “If I Wasn’t” with Saigon & Starrz finds the 3 painting scenarios of where they’d be if they never made it in the rap game over an intoxicating instrumental while the penultimate track “Bat Shit Crazy” talks about his boo being as wild as him over a sensual beat. The album finishes with “Inner Demons”, where JL apologizes for how he is over an instrumental with some slick guitar-playing.

Overall, I think this is JL’s best work date. There are a couple of features that I personally could’ve done without, but the lyrics on here are at his most introspective with the religious theme only enhancing it & the production fitting each cut like a glove.

Score: 3.5/5

Tory Lanez – “Daystar” review

Tory Lanez is a 28 year old rapper & singer/songwriter from Toronto, Ontario, Canada who blew up off his 2015 mixtape The New Toronto. He ended up signing with Interscope Records the following year, releasing a total of 4 albums under the major label before departing at the beginning of 2020. But after disappearing off social media for almost 3 months due to him shooting Megan Thee Stallion in the foot this past summer, Tory is back out of the blue with a surprise album.

“Money Over Fallouts” denies the fact that he shot Megan shooting over a keyboard-inflicted trap beat while the next song “A Woman” is a cringey auto-tune ballad about his heart being cold. The track “Friends Become Strangers” talks about those who turned his back on him over a spacious beat while the song “Sorry But I Had To…” is one of the better cuts on here as he talks about how no one can stop him over a mellow instrumental.

The track “A Poem from Me 2 You” goes a capella to speak on what fame really is about while “The Most High” is another highlight in the tracklisting where Tory gives praise to God over an araabMUZIK beat with some triumphant horns. The next 2 tracks “Look How GOD Works” & “Queen & Slim” are both tepid love songs in their own right even if Dez Wright co-produced the latter, but the track “What’s Kulture??” is another enjoyable moment on the album as Tory gets on the conscious side of things over a trap beat with some acoustics.

“Solar Drive @ Night” is an unlikeable simp anthem with a decent instrumental while the track “Bittersweet” talks about how he never meant to break this woman’s heart over a trap beat with some menacing piano-leads. The song “Things I Should’ve Said” talks about being fucked up over a woman over a horrid dancehall instrumental while the track “Just Got It Done” ponders about a falling out he had over an lavish beat.

The song “Jokes on Me” melodramatically talks about how he thought this woman would be more faithful to him over a moody instrumental while the song “Care for You” talks about Black children worldwide over another acoustic beat. The penultimate track “In the Air” talks about the fear of African-Americans over a dreary instrumental & then the closer “Life” talks about being newly improved over a beautiful piano instrumental.

Even though Tory Lanez has very much shown how talented he can be on his 5 Fingers of Death freestyle 2 & a half years ago, none of his projects have resonated with me in that same fashion & Daystar could very well be the worst of them all. It just seems as if he’s gaslighting the whole situation with Megan & it’s pretty sad.

Score: 1/5

Krizz Kaliko – “L.I.F.E. (Legend Immortal Forever Eternal)” review

Krizz Kaliko is a 46 year old rapper & singer/songwriter from Kansas City, Missouri known for being a Day 1 signing to Strange Music along with Kutt Calhoun. He’s put out a total of 6 albums & 2 EPs through the label since, with the latest prior to this being G.O. (God’s Order) in 2016. And even though that record was predominantly R&B, it was still damn-near perfect. However after a nearly 5-year hiatus, Krizz is returning with his 7th full-length album.

Things start off with “21, where Krizz & Tech N9ne talk about celebrating their birthday over a lively beat from Wyshmaster. The next song “Little” with Stevie Stone sees the 2 talking about having trouble on their minds over a nocturnal trap instrumental while “The Recipe” tries to seek answers from God over a suspenseful beat. The track “S.O.B.” calls out the frauds over a druggy instrumental while the song “Get Chose” talks about him freaking out.

The track “Borrowed Time” talks about how life is catching up to him over a moody N4 instrumental while the song “Bitches I Know” talks about how he be popping over a beat with some plinky keyboards. The track “Follow the Drip” links back up with Tech talk about how to find them over a monstrous trap instrumental while the song “What Do You Mean?” with King Iso finds the 2 talking about their grind over a skeletal beat.

The track “You” talks about being bottled up over a forlorn instrumental while the song “Drunk White Girls” with CJ Hicks is a humorous club banger backed by an off-the-wall beat from MIKE SUMMERS a.k.a. 7. The track “Let You Tell It” talks about how he’ll never leave the rap game over a druggy beat while the song “Amen” talks about being 95% here over a beat with some tavern sounding piano chords.

The track “Didn’t Need Woes” looks back on his childhood over an instrumental that kinda has a jazzy feel to it while the song “Foolish” with Rittz sees the 2 getting reckless over a cavernous trap beat. The track “Avoiding Mirrors” with Jelly Roll & Merkules finds the trio talking about being all fucked up over a chaotic instrumental while the song “Mad” with JL sees the 2 clapping back at people talking shit behind their backs over a trap beat with some keys & a rubbery bass-line. The closer “Coloring Book” talks about how they can never get him right over a dim instrumental & then the bonus cut “Understood” with Tech finds the duo talking about how they don’t sleep over a violin-inflicted beat.

Been a long-time coming but at the end of the day, this is a great comeback effort for Krizz. It’s got everything you love about him: Great rapping, even greater singing, well-written verses/hooks, banging’ ass production suiting the tone of each song & some well-incorporated features. Legend definitely solidifies Krizz as an OG of the culture & here’s to more albums from him in the near future. Welcome back, Kali!

Score: 4/5

Lil Tecca – “Virgo World” review

Lil Tecca is an 18 year old rapper, singer/songwriter & producer from New York City who blew up in 2018 off the single “Ran$om”. It would later be included on his debut mixtape We Love You Tecca that same year & would receive lukewarm reception. Fast forward a couple years later, Tecca is delivering his full-length debut.

The album kicks off with “Our Time”, where Lil Tecca calls out people using him for his newfound fame over an outdated dancehall beat. The next track “Actin’ Up” talks about his shawty over a rubbery instrumental with some luxurious keyboards while the song “When You Down” with Polo G & Lil Durk finds the trio touching down on loyalty over a trap beat with some impassioned piano embellishments.

“Back It Up” talks about an ex of his over a flute-inflicted instrumental Leon Thomas III co-produced while the song “Chemistry” talks about his new chick over another boring dancehall beat. The track “Royal Rumble” compares his newfound fame to the annual event created by WWE Hall of Famer, the inaugural WWE Intercontinental Champion & WWE Hardcore Champion Pat Patterson over a hyphy beat whereas “Foreign” produced by Rio Leyva & Taz Taylor of Internet Money Records is less of a song & more of a contest with to ΠΔV to see who can bore you the most.

The track “Selection” is a half-assed piece about wanting this woman to be his best friend over a decent instrumental from Skrillex & DJ Scheme while the song “Take 10” is pretty much the same thing except the beat is more undistinguished. The track “Dolly” with Lil Uzi Vert finds the 2 getting braggadocious over an intoxicating instrumental while the song “Insecurities” talks about how he adores this woman no matter what over a cheerful beat from Nick Mira.

“Tic Toc” talks about how no one wants beef with him over an instrumental kin to “When You Down” that I mentioned earlier while the song “Miss Me” talks about how he’s that guy over a somewhat quirky instrumental. The track “True to the Game” with Guwop Reign sees the 2 talking about them never changing over a violin-tinged instrumental while the song “Closest to Heaven” gets back on the romance shit over a woozy beat.

The track “Level Up” talks about hoping this woman means it when she says she loves him over a more soothing instrumental while the song “No Answers” talks about a chick acting stupid over an unexciting beat. The penultimate track “Last Call” over an acoustic trap instrumental from Cxdy & then the album ends with “Out of Love”, where Tecca talks about how fucked up the world is over a trap beat from Internet Money with a gorgeous piano loop.

I don’t mean any disrespect to the kid at all when I say this, but I think this album just goes to reveal Lil Tecca as a 1-hit wonder. The production choices are mostly bland & the rapping is more underwhelming than it’s ever been to the point where it just puts me to sleep. Pasto Flacco on the other hand is someone to look out for.

Score: 1.5/5