Jehry Robinson – “20/20” review

Jehry Robinson is a 32 year old rapper, singer/songwriter & producer from Long Island, New York who came up in 2016 of his eponymous debut EP & the debut mixtape Pts. IV-VI few months later. His biggest breakthrough came around last Christmas after signing to Strange Music, establishing himself with the KC indie powerhouse by dropping his full-length debut in the middle of the ongoing COVID-19 pandemic following a small handful of releases from the label’s artists & continuing to let more come down the pipe earlier this month.

The album kicks off with “Daylight”, where Jehry & Tech N9ne talk about being elites referencing Amazon founder Jeff Bezos over a woozy beat from MIKE SUMMERS a.k.a. 7. The next song “Follow My Lead” with King Iso sees the 2 talking about being uncontrollable over a cavernous trap beat while the track “No Refunds” goes full-blown reggae to talk about making your time in this world count. The song “Earthquakes” vents about missing home over an tropical beat from Wyshmaster while the track “Daddy Issues” talks about being there for his niece over an acoustic instrumental.

The song “In My Feels” opens up about his inner demons over a smooth beat while the track “Reseverations” telling this person the possibility of staying with him over some more reggae production. The song “Mind Your Business” pretty much speaks for itself over a cavernous instrumental while the track “Impatient” talks about being just that over a dreary beat. The song “Gas in the Tank” talks about going up from here now that he has a record deal over an aggressive trap beat while the track “Walk Away” talks about how life’s amazing & the empowering feel of the production fits just great.

The song “Michael” is a tearjerking tribute to Jehry’s cousin of the same name who passed away of a drug overdose while the track “Closer to the Sun” is a playful summertime bop. The song “Torture” talks about feeling like he’s underwater over an infectiously rhythmic instrumental while the track “Ego” talks about remaining humble over a tropical instrumental. The song “Ritual” with Joey Cool sees the 2 talking about spreading love over a triumphant beat while the track “Lights” is a touching ballad that seems to be written towards Jehry’s incredible manager/wife Tara Ennis.

The song “Backburner” talks about how he’s falling into place over a jazzy instrumental while the track “Disagree” with Cozzy Sutra sees the 2 telling their significant others that they both have their own issues over a boom bap beat with a piano-loop. The closer “Foresight” talks about how everyone’s messing with him now due to his new record deal over some plinky pianos from Matt Phoenix & then there’s the bonus cut “Say Less”, where Jehry links up with Justina Valentine of Wild’n Out fame to clap back at their nonbelievers over a bouncy beat that has a bit of a modern West Coast feel to it.

Strange Music has been staying consistent for several years now whether it be their signings or constantly working on new projects & Jehry Robinson is definitely a good fit for the label. This album really does a good job at giving listeners a deeper look into his personality along with displaying how versatile he can be.

Score: 3.5/5

Felt – “Felt 4 U” review

Felt is a duo consisting of underground veterans MURS & Slug. The pair made their debut in late 2002 with a self-titled full-length produced by The Grouch, but would step their game up a lot much more on their 2005 sophomore effort that featured front to back production from Ant. Last we heard from them was in ‘09 with a 3rd album that was entirely produced by Aesop Rock but after a dropping a loosie earlier this week, MURS & Slug are hooking back up with Ant to drop Felt 4 U out of nowhere.

The album kicks off with “Never Enough”, where the duo talk about leveling up over a funky beat. The next song “Find My Way” talks about forever paying the price over an instrumental to cruise down the street to while the track “Don’t Do Me Like That” talks about getting into arguments with their wives over a mellow beat. The song “Trees” sees the 2 trading bars back & forth over a boom bap beat with an organ loop while the track “Through the Night” gets romantic over a sensual instrumental.

The song “Freeze Tag” is a crowd mover with a somewhat disco inspired beat while the track “Sticks & Stones” looks back on their childhoods over a heavenly instrumental. The song “Underwater” gets back on the love side of things over a fittingly aquatic instrumental while the track “Alexander F’real” continues to show their chemistry over a slick beat. The song “Hologram” with The Grouch & Aesop Rock sees the 4 talking about how they don’t give a fuck what people be hollering over what could possibly be the darkest instrumental on the whole album while the penultimate track “Crimson Skies” talk about being at the crossroads over a cinematic boom bap beat. The album finishes with “Borboleta”, where Felt talks about how far they’ve come & how far they have left down the road over an summery instrumental.

These guys have never disappointed me personally & this is a pretty damn good comeback for them. Ant absolutely kills it on the boards whereas both MURS & Slug both sound like they never left because the way they compliment each other is still as fantastic as ever.

Score: 4/5

Stevie Stone – “Black Lion” review

Stevie Stone is a 39 year old MC from Columbia, Missouri who first gained attention as one of the very last 2 artists to ever sign with Ruthless Records alongside Hopsin. Both of their full-length debuts New Kid Comin’ & Gazing at the Moonlight received little to no promotion, leading both artists to leave the crumbling label. Hopsin went on to form Funk Volume shortly after before closing shop in 2016 whereas Stevie signed to Strange Music in 2012. He eventually became one of the label’s biggest artists with albums like Rollin’ Stone, 2 Birds 1 Stone, Malta Bend & my personal favorite: Level Up. Then came the JL collab album Kontra-Band in 2018, which was really good too. But after Tech N9ne dropped his latest album ENTERFEAR this past spring, things over at Strange slowed down drastically due to the pandemic. However, Stevie is helping the Snake & Bat back in their groove by dropping Black Lion.

The album kicks off with “Set in Stone”, where Stevie talks about being unchangeable when it’s all said & done over an acoustic guitar. The next song “V.I.P.” serves as a club banger with a cavernous trap beat while the track “Type of Time” talks about being a threat over a MIKE SUMMERS a.k.a. 7 instrumental with a cool woodwind thrown in.“Underrated” vents about deserving more appreciation over a delicate instrumental while “The Worst for Me” details how this woman can’t leave him over a luxurious boom bap beat.

“Can’t Deny It” talks about a groupie wanting to chill with him over a smooth instrumental & while “Selfish” featuring Flawless Real Talk finds the 2 talking about why they’re so finicky over a vibrant beat with a woodwind sample. The track “No Permission” gives the listeners a proper clue of what his do’s & dont’s are over a druggy instrumental while the song “Teknique” featuring Tech N9ne gets sexual over an hyphy beat.

The track “Conquer” featuring Spaide R.I.P.P.E.R. is a decent mosh pit starter while the song “Jungle” featuring King Iso gets on the more braggadocious tip over a trap beat with a unique cricket loop throughout. “Dope Sick” talks about hard he be going over an intimidating instrumental from Wyshmaster while the track “Holiday” featuring Maez301 is an incredibly fun party anthem.

“Hennessy & Harmony” talks about being all in over a cloudy instrumental while the track “Vibe” featuring ¡MAYDAY! stoner’s tune backed by the reggae style production throughout South of 5th. “Some Days” speaks on having all these emotions bottled up over a piano-inflicted trap beat while the penultimate track “Still Standing” featuring Rittz finds the 2 talking about how far they’ve come over a melancholic instrumental. “Taste” ends the album opening up about how much fame has changed him over a chill beat.

Like I said earlier: Stevie Stone is one of the most prominent acts on Strange Music & this album is a fine example as to why even if it’s said to be his last under the local indie major. There are a couple of features that don’t really land with me, but you’re gonna get a good look at how much he’s changed throughout the years & the artist/person that he has become today.

Score: 4/5

Jay Royale – “The Baltimore Housing Project” review

This is the highly anticipated sophomore album from Baltimore emcee Jay Royale, who came onto my radar not too long ago with the release of his 2018 full-length debut The Ivory Stoop. But after a couple of big features on Vinnie Paz & Daniel Son’s latest albums, he’s back on his own for The Baltimore Housing Project.

The intro is pretty much Jay setting the tone for the whole album on top of a minimal yet punchy beat whereas the next song “Thousand Gram Figero” with Skyzoo sees the 2 coming with the battle bars over an old school boom bap beat. “The Town” pretty much describes the city that he grew up on over a foreboding instrumental while the track “Skee Rack” with Ransom goes at people who doubted them over a hypnotic beat.

The song “Pearl Handle” with Ill Conscious finds both of them talking about being strapped over a beat with a grim guitar passage while the track “Tint Cruddy” with Termanology sees the 2 talking about making it over an instrumental with a heavenly loop. The song “Hate to Love It” talks about his validity over an orchestral beat while the track “Lime” with Willie the Kid talks about how no one can compete with them over a piano & some heavy drums.

The song “Levaz” talks about pushing drugs over a boom bap beat with a luxurious piano loop while the track “Reefer Clouds” paints some dark street imagery over an instrumental with a plucky guitar loop. The song “Charles S. Dutton” gets back with Ill Conscious to reminisce on their childhoods over a flute-tinged instrumental while the penultimate track “Unreasonable Doubted” talks about people doing shit behind his back over a shadowy instrumental. The outro starts off with Jay talking about trying to bring back those classic Nas/AZ vibes on top of a murky beat, but then transitions into a decent “Unreasonably Doubted” remix.

If you liked his verse on “Scorched Earth”, you’d definitely enjoy this album because it’s probably the man’s best work yet if you ask me. The production is a lot more grimier than The Ivory Stoop was & Jay Royale does a great job at taking the listener through the experiences he had in his hometown.

Score: 4/5

Oh! The Horror – “Halloween 365” review

Oh! The Horror is a trio from Sacramento, California consisting of frontman Jonathon Hillhouse, rhythm guitarist Jeremy Terror & lead guitarist/producer Grady Finch. They released an EP just over a year ago called The Devil Made Me Do It & were able to gain even more exposure just a few weeks ago by becoming the very 1st act under Majik Ninja Entertainment’s new sub-label Welcome to the Underground. Of course with this new record deal, the trio had to celebrate by dropping their full-length debut.

The opener “Kill ‘Em All” get murderous over an icy instrumental backed by some heavy guitars whereas the next track “Boom!” tries to incorporate elements of EDM as they talk about how they’re not hard to find. The song “Origins” tells a story about them agreeing to a deal with Satan over a prominently rubbery trap beat while the track “Scream Queen” talks about taking dude’s bitches over a straight up nu metal throwback. The song “Leave Me Alone” talks about wanting to be set free over an beat fusing an amalgamation of different styles of while the track “Pain” with KidCrusher sees the 2 talking about fading in the darkness & the instrumentation on here is some of the best on the entire album.

The song “Idontcare” talks about not giving a fuck over a minimal beat with a dope retro video game sample occasionally popping in & out while the song “Boomstick!” talks about guns over a trap metal fusion. The track “Bodies” talks about having corpses in their basement over some hellish guitars while the track “Scream” starts bragging over a demented instrumental. The penultimate song “Zombie” talks about getting a blowjob over another trap metal beat & then the album finishes with the title track, where the trio talk about how they’re always gonna be freaks over an uncanny beat.

Pretty good album if you ask me. I was expecting a bit more out of the features & even though the whole rap metal shtick might come off as lame to some people, Oh! The Horror is definitely a more unique face in that style & I can definitely see them growing down the line.

Score: 3.5/5

Scum – “Out with the Old” review

Interesting to see Denver, Colorado rapper & Lyrikal Snuff Productionz founder Scum making his 12th solo album a double LP in the midst of the COVID-19 pandemic. Forming the label in 2000, he would go on to drop 11th full-lengths since including the divisively received debut Enter the Asylum as well as the more positively accepted sophomore effort Violent Verses alongside it’s respective successors Only Bodies Left Behind & Dinner’s Served. Coming off the mixed feedback of Zipper’s Creepers, it’s Out with the Old for The Gorefather.

“Talez from the Freezer” kicks things off talking about all the corpses that he’s keeping frozen whereas “Die Yung” produced by Psychopathic Records in-house producer Devereaux was a personal highlight, cautioning we’ll all meet our demise at a young age. “What It Iz” continues from there talking about this being only the beginning of one’s life no longer having meaning to it leading into “Prevail” suggesting those who aren’t on your side have no purpose having a place around him.

Majik Ninja Entertainment in-house producer Godsynth gets behind the boards for the highlight “All That Lies Ahead” talking about shooting anyone who doubts him just before “Dead Motherfuckas” advises leaving all snitches to die out since they can’t post on social media or call law enforcement. “Sinnafuck” talks about how he’d rather be hated because it’s brought him infamy while “What Duz That Make U?” angrily calls out an entire crew that’re built like bitches.

“Captain” talks about the rodents always being the first to flee whenever a ship begins sink & going down with it because he feels like there’s doesn’t a whole lot left keeping him alive while “Tick Tock” lets everyone know time’s running out & evil has risen. “Fuck U All” gives middle fingers to everyone who’s constantly dismissing LSP while “Judge Me Not” asks how one understands him when they’ve never walked a mile in their shoes or when he can’t put his trust in anyone.

Meanwhile on “Asylum MMXX”, we have Madopelli helping Scum take it all the way back to the essence of Enter the Asylum assuring he has unified business there 2 decades later while “I Hate Me Too” talks about self-hatred. The title track ends Disc 1 angrily declares his squad’s been fed up of being told to wait their turn while “Tired of Waiting” featuring Death+ & Psychopathic artist Ouija Macc finds the trio kicking off Disc 2 talking about not wanting to suffer the way they have been for some time.

“Cleanup” featuring Damien Quinn & Donnie Menace links up so they can discuss going too far taking the life of someone who should’ve simply gotten beat up for fucking with them while “Unforgiven” featuring Bloodshot decently talks about their purpose of inflicting mutilation & the complications being there since conception. “Chitska” featuring MC Val appropriately spits the wicked shit in Russian together while “Say Your Goodbyes” featuring Rozz Dyliams suggests everyone makes their farewells until crawling 6 feet deep.

Jamie Madrox & Monoxide of Twiztid each spit a verse for the single “Mind of a Killa” taking us through the mindset of serial killers while “It Could Be You” by Devil’s Trident sends a message to the people who think they’re indestructible, cautioning they could disappear at any given moment. “S.I.C.K. (Sadistic Inhumane Compulsive Killings)” featuring Řezník unites to controversially talk about date-rape while “What’s Dead May Never Die” featuring Blaze Ya Dead Homie & Rozz Dyliams makes that very proclamation.

“Soul 2 Keep” featuring Frodo the Ghost talks about maintaining the souls of those who’ll be sleeping eternally without experiencing any sort of afterlife while “Let the Sleeping Dogs Lie 2020” by M.M.M.F.D. featuring Bukshot delivers a sequel to a Deadly Drugz highlight. “Rest When I’m Dead” featuring Boondox & JP tha Hustler talks about all 3 of them doing what they must until it’s their time to go while “Deaths You Die” featuring Bake Lo details the many ways one can meet their death.

Cody Manson appears for “Bad Dayz” in preparation of his debut Psychoactive this Christmas talking about the way this game of life ends depends on ourselves while “Redrum Diary” by M.M.M.F.D. featuring Gravedog, Morbyd & Skitzo explains that there’s not much left on Earth to keep either one of them from leaving at this point. “Drown ‘Em in the Swamp” starts the deluxe run talking about murdering people out in a marsh making them suffocate in the waters while the serious “Love Yourself” confronts themes of self appreciation.

“Wake Up” featuring Leaders of the Lost & Scottfree feels like a bittersweet moment considering the last time Bully Vegas & Stress the Mind were heard rapping jointly was “Quattros Locos Pistoleros” off Death 4 Told’s 3rd album Mean Muggers Handbook with an impeding appearance on their upcoming 4th & final album El Fin later this winter while the final bonus track “Ain’t No Saint” excluding the 2019 version of the title track properly ends Out with the Old admitting that he isn’t perfect when none of us are.

Celebrating 2 whole decades of Lyrikal Snuff Productionz, I thought the idea of Scum putting together a 2-disc full-length where he’s killing it over by himself & with some of the biggest names in the underground wicked shit scene would make for some of the most promising material of his career & I can definitely say it’s some of his best material in my opinion. The production’s consistent & aside from a few features that I could’ve done without, a great deal of them make Disc 2 feel more refreshing if Disc 1 comes off monotonous.

Score: 4/5

M.A.V. – “Hoodlum” review

M.A.V. is an emcee that some may be familiar with as a member of Da Cloth, a group that’s been taking over the New York underground for the past year or 2 now. He just dropped an incredible collab album with Rob Gates & Big Ghost Ltd. in mid-July called The Darkness but not even a couple weeks later, M.A.V. has seen for to team up with Giallo Point for his full-length debut.

After the intro, the first song “Prepaids & Plush Planning” with Mooch sees both of them talking about the dealer life over a dark instrumental with a rapid keyboard sample whereas the next track “Face Value” pays tribute to his significant other over a laidback boom bap beat. The track “Hand in Hand” with Ty Farris & Asun Eastwood finds the 3 painting some dark imagery over a dark yet minimal instrumental while the song “Are You Not Entertained?” with Rigz sees the 2 going at their opposition over a boom bap beat with a grim synth-line.

The track “First 2 a 3rd” with King Bub Rock goes on about cooking up coke in their auntie’s houses over an airy instrumental while the song “Protocol” gets back with Rigz to speak on betrayal & death over a bloodcurdling beat. “The Lion” calls out those who’ve never been on his level over a cinematic instrumental & before a 1-minute outdo, the final song “Remember” with Rigz & Tekk9 speaks on how the work they all put in will be worth it at the end of day on top of a solemn boom bap beat.

Wasn’t expecting another album to come so quickly after The Dark Side of Nature, but I’m glad it did because this is another yet crown jewel in M.A.V.’s ever-growing discography. Giallo Point continues to be one of the best underground producers in the game today, as he provides a fantastic musical backdrop for M.A.V.’s gritty lyrics.

Score: 4/5

K.A.A.N. – “All Praise is Due” review

K.A.A.N. is a 29 year old emcee from Columbia, Maryland known for his speedy flows & conscious lyricism. The man has made a lengthy yet consistent discography for himself in just 6 years with my favorites being Black Blood, Pure Intentions, Subtle Meditation & Requiem for a Dream Deferred. He just dropped Blissful Awareness back in May & exactly 2 months later, K.A.A.N. is surprise dropping his 14th album with Big Ghost Ltd. producing the whole thing.

Things kick off with “Foreword”, where K.A.A.N. talks about how life seems so slow over a luscious boom bap beat. The next song “Elevation” talks about his growth over a moody instrumental while “The Feeling” talks about having the urge that something’s wrong over a beat with some beautiful choir vocals hanging in the back. The track “Manifesto” cautions that the world will feel something that has never been felt before on top of a dreary instrumental while the song “Valley of Kings” talks about keeping his head high over a dim beat.

The track $100K & a Benz” talks about pushing it to the limit over an intoxicating beat. while the song “Sellasie” talks about how he doesn’t know where he’s going over a somewhat jazzy beat. The track “Flight” talks about trying to lead the blind over a reclining instrumental while “Apparations” is an emotional ballad from the heart. The album finishes off with “After Words”, where K.A.A.N. vents about questions that he’s been wanting answers for over a boom bap beat with a well-incorporated violin loop.

Overall, this is one of the best albums K.A.A.N. has ever made without a doubt. He comes through with some of his most captivating bars to date whereas Big Ghost Ltd.‘s production sounds unlike anything in the past & it turns out beautifully.

Score: 4/5

Logic – “No Pressure” review

Logic is a 30 year old rapper, singer/songwriter, producer & author from Rockville, Maryland who showed quite a bit of potential in the early 2010s with his Young Sinatra mixtape series. His first 2 full-lengths Under Pressure & The Incredible True Story were both solid as well but beginning with the Bobby Tarantino tape in 2016, his discography has been VERY rocky. Mostly because his lyrical topics got trite & he drowned deeper in his influences to the point where it’s distracting. Case in point: His 3rd album ΞVERYBODY in 2017 was pretty much a Dollar Store version of Kendrick Lamar’s To Pimp a Butterfly & then Bobby Tarantino II almost a year after sounded like a poor man’s Travis Scott album. However, I thought Young Sinatra IV was decent at best & MAYBE he would bounce back going forward. But somehow someway, Logic was able to drop 2 of the worst albums of last year in the span of 6 weeks with Supermarket & Confessions of a Dangerous Mind. Of course the backlash both those records justifiably received resulted in him going AWOL & since then, he’s started his own family with a second-wife & conceiving a child together. To focus on that, he’s giving us a sequel to Under Pressure as a parting gift from the music industry.

The album kicks off with the title track, where Logic gets reflective over some old school production. The next song “Hit My Line” talks about hoping God fixes all the bad stuff in the world today over a boom bap beat from longtime collaborator 6ix with some joyous keyboard melodies while the track “GP4” is a lame bastardization of OutKast’s “Elevators (Me & You)”. The song “Celebration” is an ode to his time in the music industry over a soulful No I.D. instrumental & while I like the beat switch on “Aquarius III”, the lyrics are an odd mash-up of “OCD” & “I’m Gone”.

The song “Soul Food II” is a dope revamp of the original “Soul Food” down to the beat while the track “Perfect” talks his shit over a vibrant FNZ instrumental. The song “man i is” talks about being happy with the person he’s become over a sample of Erykah Badu’s “Didn’t Cha Know?”. The song “DadBod” of course speaks on his newfound fatherhood over a delicate instrumental while the track “5 Hooks” charismatically boasts over a dynamic instrumental from Toro y Moi.

The song “Dark Place” talks about his anxiety & depression over a moody beat while the track “A2Z” is a modern take on Blackalicious’ “Alphabet Aerobics” backed by a punchy beat with some haunting keyboards. The song “Heard ‘Em Say” is a motivational anthem that actually goes over & before the spoken word outro “Obediently Yours”, the track “Amen” talks about how grateful he is for everything over a gospel-like boom bap beat.

In the past, a lot of rappers have said they’re gonna retire from making music & almost none of them actually do. But if this truly is the last Logic album, then I’m not mad at all. Easily his best since The Incredible True Story in my opinion. It’s well produced & Logic actually sounds focused this time around. Thank you, Bobby!

Score: 3.5/5

M.A.V. & Rob Gates – “The Dark Side of Nature” review

This is the surprise collaborative album between Rochester emcees M.A.V. & Rob Gates. Both of whom are members of Da Cloth along with Mooch & Rigz, who actually happened to drop their own collab effort with Big Ghost Ltd. production top to bottom late last year called The Only Way Out. Given that, it’s only right for Big Ghost to show off 2 other members of Da Cloth for a full project.

After the “Prelude” intro, the first song “Bad News” opens up about doing what needed to be done over a grimy beat with some rock influences to it whereas the next track “Bloodhounds” gets murderous over a wailing guitar. The song “Said What I Said” talks about how ugly the lives that they’ve lived are on top of an instrumental that sounds like something from a horror flick while the track “Wild Card” angrily paints themselves as mobsters over a melancholic boom bap beat.

The song “Green Light” talks about applying the lesions that they’ve learned throughout the years on top of a somber orchestral loop while the track “Tombstone” talks about engaging in criminal activity over a fuzzy boom bap beat. The song “Left for Dead” with Rigz sonically gets back on the rock side of things as the trio talk about how dudes in their hood don’t play while the track “Said Less, Did More” talks about grinding as over an elegiac piano instrumental.

The song “Authenticated” talks about how their credibility over a hypnotic beat while the penultimate track “By Myself” gives us a glimpse of what it was like for them growing up & I really love the instrumentation gets more layered as the song progresses. The album finishes off with “Smokin’ Aces”, where everyone in Da Cloth gruesomely show us what they’re capable of as a unit for almost 8 minutes.

If you loved The Only Way Out, then you’re gonna enjoy this just as much. Not only because M.A.V. & Rob Gates’ chemistry is just so unique, but Big Ghost Ltd. also continues to show why he’s one of the best producers in hip hop today.

Score: 4/5