Dabbla – “Nobody” review

This is the 3rd studio LP from London, England, United Kingdom emcee Dabbla. Known for being 1/3 the Dead Players as well as 1/3 of LDZ & 1/4 of Problem Child, he eventually made his solo debut in 2016 off Year of the Monkey followed by the debut mixtape Chapsville under High Focus Records & the sophomore effort Death Moves respectively. Only a couple months after the world shut down entirely because of the COVID-19 pandemic, Potent Funk Records co-founder Sumgii’s being enlisted to produce Nobody.

The title track sets the tone of what’s to come advising one to save their expertise until it helps them blow up for the purpose of seeing who really supports him & doesn’t whereas “Out My Way” admits to being a little crossfaded over a boom bap instrumental. “Trenches” goes for a psychedelic direction getting real sick & tired of all the bullshit around him while ”Shimmy” hooks the kicks & snares back up to talk about the only thing we need to do is be ourselves.

“Rare” ends the 1st half of the album confesses of him hustling for the funds because of the rarity in it just before “Same” gets the 2nd leg going returning to the boom bap talking about how neither his address or his number have changed since becoming successful. “Enough” vividly describes a relationship falling apart in front of our very eyes & the woman being fed up with all the bullshit she’s dealt with for so long over an industrial beat while “Explain” talks about having this funny melting feeling inside his brain driving him nuts.

Nearing the conclusion of Nobody, the song “Lucky” discusses his gratitude of taking all the risks he had to in order for him to be in the position he’s at now in his career while “Formless”could have the quirkiest instrumental here talking about these shapeless artists having no capability of outdoing him because of the lack of cutting edge boundary-pushing talent. “Junk” spends the last 3 & a half minutes of the album

Death Moves was merely ok to me a couple years earlier, but Nobody could be the greatest thing that’s ever come out of Potent Funk Records delivering a full-length that I enjoy equally as much as if not more than Year of the Monkeyconsidering it captures the chemistry of the label’s founders in a way that sticks out differently than either of Problem Child’s projects shedding light on the lethal combination of Sumgii’s sonically varied & bass-driven production or Dabbla’s cutthroat syllables & dynamic flows.

Score: 4/5

Gorilla Twins – Self-Titled review

The Gorilla Twins are a Brooklyn hip hop duo consisting of Ill Bill & NEMS. Both of whom have cemented themselves as underground titans with releases like The Hour of Reprisal, Prezident’s Day, The Grimy Awards & Gorilla Monsoon. The 2 have collaborated with each other a few times in the past but after 5 years in the making, they’ve decided now is the time to team up with this new album over here.

After the titular intro, we get into the first song “Married to the Game”. Where the duo pretty much talk about their grind over a wrathful instrumental. The track “Wolves” with Vinnie Paz sees the 3 telling their opponents that they don’t want the smoke over a boom bap beat with a mournful piano-loop while the song “Highs & Lows” talks about the trials & tribulations of their lives over a perilous beat from Stu Bangas. The track “Bong!” finds the duo going back & forth with each other nonchalantly over some strings & a despondent vocal sample looped by Shortfyuz while the song “Supply & Demand” compares themselves to the bad guys in movies over a boom bap beat with an angelic choir hanging in the background.

After the “Twinning” interlude, the track “Nah” talks about running the spot over an unsettling instrumental from Scram Jones while the song “Shootout at the Cyclone” with Lord Goat sees the 3 getting on the mafioso tip over a Middle Eastern-influenced instrumental from Ill Bill himself. The track “Gunners” talks about those who lie in their raps over an apocalyptic boom bap beat & although I like how the song “Pay Homage” tells the listeners to put respect on both of their names along with the Stu Bangas instrumental that they both trade bars, I wish it was a little bit longer. The album finishes off with “Adios”, where the Gorilla Twins link up with Immortal Technique to talk about inevitable death over a funereal boom bap beat.

This was well worth the 5 year wait if you ask me. During the album’s 35 minute runtime, Ill Bill & NEMS manage to show that they have an impeccably natural chemistry together & the production is grimy as it’s always been. The lack of features are a really nice touch as well. If you’re a fan of either one of the Canarsie & Coney Island veterans or both for that atter, then this is definitely a must listen!

Score: 4/5

Gunna – “W.U.N.N.A. (Wealthy Unapologetic N***a Naturally Authentic)” review

Gunna is a 26 year old rapper from College Park, Georgia that got his start in 2013 with his debut mixtape Hard Body. He would eventually catch the attention of local phenomenon Young Thug in 2016, who take Gunna under his wing & sign him to his 300 Entertainment imprint YSL Records that same year. However it wasn’t until the release of Drip or Drown & Drip Season 3 in late 2017 & early 2018 respectively where Gunna’s profile increased significantly. Last we heard from him was a little over a year ago with the disappointingly mediocre full-length debut Drip or Drown 2 but after doing a shitload of features since, he’s ready to deliver a sophomore effort.

The album kicks off with “Argentina”, where Gunna tells the story of 2 women following him to the studio over an acoustic-trap instrumental from Wheezy. The next song “Gimmick” speaks on being loyal over a slow yet intoxicating beat while the track “M.O.T.W. (Money On The Way)” talks about his new lifestyle over a piano & some snares from Outtatown. The song “Feigning” talks about partying over a Tay Keith instrumental with some orchestral loops while the track “Dollaz on My Head” with Young Thug sees the 2 getting materialistic over a cloudy beat from Mike WiLL Made-It.

The song “Addys” with Nechie is a tedious tribute to the drug adderall with a decent instrumental from Turbo & while I wasn’t too crazy on the vaportrap-flavored lead single “Skybox” produced by Taurus at first, it has slightly grown on me in the context of the album. The titular song is a boring sequel to “Speed It Up” off of Drip or Drown 2 while the track “Blind Fold” with Lil Baby sees the duo flexing over a nightly instrumental.

The song “Rockstar Bikers & Chains” talks about what it’s like for him being on top over an incredible trap rock instrumental while the track “Met Gala” talks about having the finest clothing & I absolutely love how kaleidoscopic the beat is. The song “Nasty Girl / On Camera” is a raunchy 2 parter that sequences into one another solidly while the track “Cooler Than a Bitch” with Roddy Ricch sees the 2 talking about how awesome they are over a Tre Pounds beat with a nice guitar loop.

The song “I’m On Some” opens up about people trying to leach him for his wealth over a spacious beat while the track “Top Floor” with Travis Scott is an infectious party starter with an instrumental kin to “Hot” off of Young Thug’s So Much Fun. The song “Don’t Play Around” talks about how he doesn’t have time for B.S. over an electronic-tinged beat while the penultimate track “Do Better” is a emotionally profound motivational anthem with a beat with a trippy atmosphere to it. The album finishes with “Far”, where Gunna & Thugger discuss how they didn’t think they’d get to the point where they are now over a woozy beat.

This is A LOT better than Drip or Drown 2 was & I’ll even say it’s the best thing that Gunna‘s put out since Drip Season 3. Couple of weak features, but most of them come together nicely. However, what I really enjoy the most about this album is how it sounds much more focused & consistent than it’s predecessor from the catchy songwriting & performances to the vigorous production.

Score: 4/5

$crim – “A Man Rose from the Dead” review

$crim is a 31 year old rapper & producer New Orleans, Louisiana known for being 1/2 of the $uicideboy$. The duo has been impeccably consistent since their formation in 2013, but it seems like we’re finally getting solo efforts from them with the youngest of the 2 being the first at bat.

The album begins with “Delusions of Grandeur”, where $crim vents about how he can’t tell what’s real & fake over a cloudy trap beat. The next song “Scars” gets on the more melodic side of things opening up about his depression while the track “Jesus Wept” is a bombastic moshpit starter. The song “Naloxone” depressingly speaks on his drug use with some heavy auto-tune in his voice while the track “Feel It Too (It’s Too Much)” talks about how this woman left him hurt & I really love how hard the drums hit on here.

The song “Tell Me When I’m Good Enough” stays on the theme of being heartbroken over a weary beat while the track “He Got Game” finds $crim bragging over a psychedelic instrumental. The song “Portola (Blood Clot!)” robotically talks about feeling delirious over a solemn instrumental while the track “El Paseo” sings about getting rowdy over a surprisingly tropical instrumental.

The song “Nightmares from the Northside” is of course a nod to the iconic Juicy J cut “Soldiers from the Northside” down to the dynamic production while the track “Euphoria Euphoria” gets back on the drug use tip over a nightly instrumental. The song “Violent Secrets” is a lifeless love tune while the track “Side Effects” discusses how it’s lonely at the top over a bland instrumental. The song “Carcosa” talks about self-destructing over a dull instrumental while the track “Fight Club (Psychosis)” gets murderous over a bass-heavy beat.

The song “Percocets & Papers” talks about being high over a skeletal instrumental while the track “PTSD” talks about living lies over a trap beat with some decent guitar passages. The song “El Guerro” is another riot starter while the penultimate track “The Devil I Know” gets back on the lifeless heartbreak bullshit. The album finishes with “Lost Child”, where $crim talks about how he just wants to smile over a dreary beat.

Coming from someone who’s been following $uicideboy$ for quite a while now, what a disappointment. I don’t mind the overall sound, but $crim’s singing on a good bulk of this album is pretty bad & the auto-tune doesn’t help at all. Also I appreciate the fact that he wanted to it to be all him & all him only, but the lack of features really make it monotonously boring.

Score: 2/5

Eto – “The Beauty of It” review

This is the 4th full-length album from Rochester emcee Eto. I first caught wind of him in 2018 with his feature on Westside Gunn’s Hitler Wears Hermes VI mixtape, but his DJ Muggs-produced debut Hell’s Roof that dropped a few months later would catch my full attention. This was followed up with Long Story Short & Front Row later that same year but for The Beauty of It, he’s decided to switch it up by bringing a handful of well-known producers into the fold.

The album begins with the title track, where Eto delivers a short yet raw verse over a haunting instrumental. The next song “No” with Grafh sees the 2 getting ferocious over a boom bap beat from a piano loop while the track “Nothin’ Like You” a luscious instrumental. “The Pot” gets on the mob boss tip over a dark Alchemist instrumental & after the short yet vicious “Guilty” interlude produced by Daringer, the song “Rusty Stainless” with Rome Streetz sees the 2 showing off their sharp lyricism over an chilling Statik Selektah beat.

The track “Growing Pains” talks about feeling like shit over a gloomy boom bap beat while the song “Beloved” displays his storytelling abilities over a spooky Marco Polo instrumental. The track “Metal Lords” with the Heavy Metal Kings finds the 3 talking about how they’re taking over the game over a cinematic beat & after the flute-heavy “Innocence” interlude, the song “Lawless” with $ha Hef sees the 2 talking about how people are just that over a hypnotic vocal sample.

The track “Anybody” talks about death over a forlorn piano-loop whereas “No Reply” seems awkwardly out of place & I say that because Jai Black is taking up a good bulk of the song with very little Eto presence whatsoever. The track “Pissin’ in Bottles” talks about partying over a slow instrumental from DJ Green Lantern & then after the short yet emotional “Purpose” interlude, “Back to the BBQ” is an odd way of closing out the album especially since Eto is once again barely on it. However, Large Professor does show that he can still cook up some grimy beats in 2020.

I personally think Hell’s Roof is his magnum opus but if you wanna get into the guy, The Beauty of It really isn’t a bad place to start either. Some of the features were weak but outside of that, the production choices are mostly top notch & Eto’s manages to come through with some of his most personal material yet.

Score: 3.5/5

Future – “High Off Life” review

This is the 8th full-length album from Atlanta, Georgia rapper & singer/songwriter Future. Lot a people don’t know that he got his start being brought into the Dungeon Family thanks to his cousin Rico Wade of Organized Noize but he did become one of the leading figures in the trap subgenre with releases like Honest, Monster, Beast Mode, 56 Nights & my personal favorite: D.S. 2 (Dirty Sprite 2). It’s been a little over a year since Future’s last album The WIZRD, but he’s now coming out of the shadows with High Off Life.

Things kick off with “Trapped in the Sun”, where Future talks about giving game to his sons over a tense instrumental. The next song “HiTek Tek” of course gets materialistic over a bland instrumental while the track “Touch the Sky” talks about how no one can finesse him referencing WWE Hall of Famer, the shortest reigning WWE Champion & former WWE Tag Team Champion André the Giant over a cavernous Southside beat. The song “Solitaries” with Travis Scott sees the 2 getting boastful over a lively beat from Wheezy & Mike Dean while the track “Ridin’ Strikers” talks about sending shooters & the way that the So Icey Boyz’ instrumental on here transitions during the last minute or so is just jaw-dropping.

The song “One of My” gets annoyingly repetitive over a dime a dozen trap beat while the track “Posted with Demons” talks about pimpin’ over a DJ Spinz beat with some luscious string sections. The song “Hard to Choose One” talks about having too many bitches over a keyboard heavy instrumental while the track “Trillionaire” with YoungBoy Never Broke Again sees the 2 vapidly talking about becoming richer than they already are over a comatose instrumental.

The track “Harlem Shake” with Young Thug sees the 2 talking about being trap stars over an Italian-flavored beat while the song “Up the River” pretty much addresses that he’s the one a lot of trap rappers got their styles from over an euphoric beat. The track “Pray for a Key” gets reflective over a cloudy TM88 beat with some occasional vinyl crackling if you listen very closely while the song “Too Comfortable” is a message to all the hoes that wanna fuck with him over an acoustic trap beat.

The track “All Bad” with Lil Uzi Vert sees the 2 talking about how fine the women around them are over a colorful instrumental from Brandon Finessin’ of Working on Dying & Outtatown while the song “Outer Space Bih” talks about over a DY beat with a piano-loop that’s sweet to the ear. The track “Accepting My Flaws” is a beautiful thank you to Lori Harvey backed by a heavenly instrumental while the song “Life is Good” with Drake is pretty much 2 mediocre solo songs from each artist combined into 1.

The track “Last Name” with Lil Durk sees the 2 talking about paranoia over a dismal beat while the song “Tycoon” talks about being a magnate over a sedating instrumental. The penultimate track “100 Shooters” with Doe Boy & Meek Mill sees the 3 talking about how street their are over a woodwind-infused Tay Keith beat & then the album finishes off with a pointless sequel to “Life is Good” except it’s Future on the first half then DaBaby & Lil Baby on the other.

You know I wasn’t really looking forward to this album given how hit or miss Future’s discography has been since 2017, but this is definitely one of his better releases within the past 3 years. Some tracks during the 70 minutes runtime definitely could’ve been left on the cutting room floor, but the production is a lot more interesting for the most part & the songwriting is a lot catchier too.

Score: 3.5/5

Ramirez – “Tha Playa$ Manual” review

Ramirez is a 22 year old MC from San Francisco, California who you may recognize for being the very 1st artist that the $uicideboy$ ever signed to G*59 Record$. Joining his mentors for the G.R.E.Y.G.O.D.S. collab EP & it’s sequel, he would make his full-length debut at the beginning of 2016 off Meet Me Where the River Turns Greyfollowed by The Grey Gorilla & Son of Serpentine. For his 4th studio album however, he’s recruiting Virginia producer Rocci to produce the whole entire thing top to bottom.

After the intro, the first song “Lane Switching”opens with a cloudy yet funky ode to the playas giving middle fingers to the perpetrators whereas “Hunnids” kinda has a Memphis influence to the beat talking about having all the shit that everyone else doesn’t have. “Gold Thangs & Pinky Rangs (Da Hooptie)” featuring Pouya & Shakewell takes the g-funk route for the trio offering fine wine & necklaces instead of money until the moody “Brown Eyes” featuring Rocci finds the pair looking to steal hoes.

“Lavender Lust” after the “Radio” skit is pretty much Rocci singing over a funky instrumental for a minute asking if his romantic interest loves him back just before “Glitter & Gold” gets back on the g-funk vibes to include a dope ass 士セーラームーン reference early during the first verse. “The Fo 5” radiates a bit of a cavernous feel to the beat making way for Ramirez to talk about murder just before “Lead Sled” keeps his head up in the rain with an instrumental harking back to the west coast sound of the 90s.

Moving on from there, “Out da Way” homages the Memphis scene again talking about feeling some type of way as of late while “Tales from da Guttah fuses gangsta rap with trap & dirty south repping G*59 until his body turns grey. After the “Ebony Wood Stock” interlude with a 35 second verse during the backend of it, “Red Dot” featuring Night Lovell ahead of the outro sends off Tha Playa$ Manual with both of them leavin’ people in critical condition by putting bullets through their domes.

The most sonically expansive project that we’ve ever gotten from Ramirez to this day will arguably become the greatest musical opus in the history of the G*59 Record$ discography. Rocci’s production is heavily driven by the g-funk sound that shaped Death Row Records approximately 3 decades ago further drawing inspiration from Memphis rap, trap, hip hop soul, pop rap, phonk, contemporary R&B & the dirty south combined in a smoothly manner with the west coast artist’s gangsta themes.

Score: 4.5/5

Twiztid – “Mad Season” review

This is the surprise 13th full-length album from Detroit hip hop duo & Astronomicon founders Twiztid. Originally starting off as members of the House of Krazees with The R.O.C. before disbanding in 1997, Jamie Madrox & Monoxide were taken eventually under the wings of the Insane Clown Posse & signed to Psychopathic Records shortly after. They ended up staying with them for 15 years & sporadically wrestled during the first few years after Juggalo Championship Wrestling (JCW) was formed, leaving at the end of 2012 to form their own label Majik Ninja Entertainment in 2014. They’ve released 3 full-length albums on their own since & with the 1 year anniversary of their previous one Generation Nightmare coming this weekend, Jamie & Mono decided to hit us with Mad Season out of the blue.

The opener “Off W/ They Heads” finds the demented duo talking about the occult over a nocturnal trap beat from Young Wicked whereas the next song “Do This 1 More Time” talks about being mentally unstable over a bombastic instrumental. The track “Everything’s Cursed” stays on the horrorcore tip over a rubbery, supernatural beat while song “That’s What They Be Telling Me” airs out the things being heard to them over a groggy trap beat from Godsynth.

The track “F Feelings“ tells their opponents to do their worst over a suspenseful instrumental then the song right after is the latest installment of the “Wasted” series of party anthems that Twiztid does & it’s just as decent as the previous 3. The track “Follow Me” with Hyro the Hero sees the trio talking about feeling electrified over some unsettling bells backed by a set of snares & then there’s the “Hungry Like the Wolf” cover, which Jamie & Jimmy Urine both do a great job at surprisingly.

The song “Never Change” finds Monoxide declaring himself a rebel & Jamie addressing the duo’s falling out with ICP over an haunting piano-trap beat from ScatteredBrains while “Fuck Wit Us” is a Triple Threat cut about smoking weed over an instrumental with an uncanny feel to it. The song “My Bible” with Stevie Stone & Young Wicked sees the 4 talking about bringing smoke over a prominent organ loop while the penultimate track “Slo-Mo” talks about being under the influence over a woozy boom bap beat. The album finishes with “4Get U”, where Twiztid hooks up with Ekoh & Young Wicked to fall about being done dirty in the industry over these icy keyboards.

As solid as Generation Nightmare was, this new album is even better in my personal opinion. I really like how the demented duo sound angrier & return to a more hip hop-based sound on here in contrast to the previous effort attempting to appeal to that Warped Tour crowd.

Score: 3.5/5

Isaac Castor – “The Rabbit Hole” review

Isaac Castor is a 24 year old rapper from Ann Arbor, Michigan who I first caught wind of through his association with Middle Finger Music a few years ago. He eventually landed a contract with the label & now he’s hooking up with it’s co-founder Foul Mouth for his full-length debut.

The album kicks off with “Homesick”, where Isaac talks about how he’s ready to take over the game & I love the meditative boom bap production as well. The next song “Retrospect” with Bub Rock sees the 2 reflecting about their past & how they’re doing better now over a beautiful soul sample while “The Sickness” charismatically shows off his skills over an organ-inflicted boom bap beat. The song “Regal” talks about how raw his music is over an instrumental that sounds like something RZA would’ve made in the 90’s while the track “Fire Drill” talks about being built for this over a jazzy boom bap beat.

The song “Headless Horsemen” with Fatt Father & J-Classic sees the 3 challenging their competition over a boom bap beat with a psychedelic guitar lead while the title track talks about partying over a woozy beat. The song “Name 5 Songs” talks about groupies over a fast-tempo trap beat while the track “Guess What?” talks about this girl he was seeing running off with another guy over a funky beat. The song “That Ain’t Love” pays tribute to those who’ve been heartbroken over a boom bap beat with some somber piano chords while the track “Paramount” with A-Minus sees the 2 talking about earning their stripes over an upbeat instrumental.

The song “Green Pill” with Aztek the Barfly sees the 2 talking about how no one’s on their level over a suspenseful instrumental while the penultimate track “Can’t Decide” talks about his demons over some strings. The album finishes off with “Challenged”, where Isaac talks about being blessed in the moment over an energetic beat. There is a bonus track worth mentioning called “Excuse My English” referencing UFC President Dana White.

What a fantastic debut. Foul Mouth reminds us why he’s my favorite producer out in Detroit with his versatile sound whereas Isaac really shines on here as his pen-game sounds smarter than ever & you really get a good look at who he is as a whole. Really looking forward to watch him grow in the future & to see what else Middle Finger Music has in store for the new decade.

Score: 4/5

Westside Gunn – “Pray for Paris” review

Westside Gunn is an MC & entrepreneur from Buffalo, New York that made his mark on hip hop in 2016 with his debut album FLYGOD. This has been continued with a handful of mixtapes, his 2018 sophomore album Supreme Blientele, inking a management deal with JAY-Z’s Roc Nation & his own label Griselda Records even signing a distribution deal with Shady Records. In 2019, we saw Westside drop his 3rd album FLYGOD is an Awesome God in the summer & then the 7th installment of his infamous Hitler Wears Hermes series 4 months later. However to kick off his final year of making music allegedly, he’s coming through with his 4th full-length album.

After the $4M + Tax” intro, we get into the first song “No Vacancy”. Where the FLYGOD of course talks about pushing & slamming muhfuckas on their necks like the longest-reigning WWE Champion, former 3-time WWE tag team champion & WWE Hall of Famer Bruno Sammartino over a blissful DJ Muggs instrumental. The next track “George Bondo” with Conway the Machine & Benny the Butcher sees the 3 talking about going from selling dog food to being successful & impacting the culture like former WCW senior VP, Monday Night RAW GM, TNA Executive Producer & WCW Hardcore Champion Eric Bischoff over a grimy Daringer/Beat Butcha instrumental while the song “327” with Joey Bada$$ & Tyler, The Creator sees the 3 flexing over a mellow boom bap beat.

The track “French Toast” with Wale sees the 2 talking about crushing their competition over a piano-inflicted boom bap beat & while the song “Euro Step” may have my least favorite instrumental on the album, I do like how Westside pays tribute to everyone he knows who’re still slanging yay. The track “Allah Sent Me” with Conway & Benny sees the 3 trading bars back & forth with each other like it’s nothing over a menacing Daringer beat while the song “$500 Ounces” with Freddie Gibbs & Roc Marciano sees the 3 getting mafioso over a jazzy Alchemist beat.

The track “Versace” talks about how he’s never going back to being broke over a harmonious vocal sample while the song “Clairborne Kick” with Boldy James sees the 2 talking about their dealing days & I really love the atmosphere that Uncle Al provides them with as well as nod to current WWE Champion Drew McIntyre’s finisher. The track “Shawn vs. Flair” shows off his wordplay over a flawless boom bap beat from none other than DJ Premier while the song “Party with Pop Smoke” finds Westside bragging & Keisha Plum closing it out with some beautiful poetry over a colorful Tyler, The Creator instrumental. The album then finishes with “Le Djobila”, where we get a very short verse & some really awesome tap-dancing over a soulful beat

If this really is Westside’s final year rapping because everyone has said it at some point, then what a way to kick it off. He sounds as passionate as ever, the big name features all come together fantastically & the production is easily some of the best that the man has EVER gotten his hands on.

Score: 4/5