Tag: album review

Out Of/Into – “Motion II” review

Out Of/Into is a post-bop quintet consisting of pianist Gerald Clayton, alto saxophonist Immanuel Wilkins, vibraphonist Joel Ross, drummer Kendrick Scott & bassist Matt Brewer. Forming in the winter of 2023, they would go on to introduce themselves last winter in the form of their full-length studio debut album Motion under the greatest jazz label of all-time Blue Note Records & are celebrating it’s upcoming 1-year anniversary this weekend by getting back together for an official sophomore effort succeeding Gerald’s love letter to turntablism 1s & 2s in April.

“Brothers in Arms” opens the 2nd LP with an 8 minute post-bop single having The Blue Note Quintet jamming out & everybody getting their own solos whereas “Finding Ways” gives off a laidback vibe from the prominent saxophone to the vibraphones popping up midway through or the pianos towards the backend of it. “Juno” starts with some bass licks for the first 90 seconds or so, paving way for Immanuel & Joel to trade the spotlight with one another.

Were treated to the 2nd & final single “Familiar Route” to start the other half of Out Of/Into’s sequel to their introductory full-length, taking inspiration from my favorite Herbie Hancock’s 5th album & my personal favorite during his Blue Note tenure Maiden Voyage. “The Catalyst” continues Motion II’s last act by giving off an otherworldly atmosphere until switching into something more playfully catchy & “Nacho Supreme” feels like a love letter to Blue Note output 5 decades earlier.

Developed during a 40 date tour commemorating the 85th anniversary of Blue Note Records’ formation a year earlier, the successor to Out Of/Into’s inaugural opus expands on the direction it’s predecessor traveled down 52 weeks earlier reaching farther than they did when the quintet was properly introduced last winter shaping the future of the post-bop style & jazz music altogether by continuing to embody the spirit of what the finest in the genre has done for almost a century.

Score: 4/5

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Erick Sermon – “Dynamic Duos” review

Islip, New York emcee/producer Erick Sermon taking a backseat vocally for his 9th LP. A member of the duo EPMD & the trio Def Squad, it was’t until the early/mid 90s where he made his solo debut No Pressure & followed with a sophomore effort Double or Nothing under Def Jam Recordings. Following the DreamWorks Records-backed Erick Onasis as well as Music & React under J Records, he contemplated retiring in the summer of 2004 with Chilltown, New York under Universal Music Group. He fortunately made a flawed yet solid comeback over a decade later with E.S.P. (Erick Sermon’s Perception) & his last album Vernia was a great tribute to his late grandmother, but he’s ready to roll out the Dynamic Duos trilogy.

After the intro, the lead single “Look at ‘Em” by Method Man & Redman begins with them talking about their whole crews going off over a ghostly instrumental whereas “Sidewalk Executives” by M.O.P. works in a soul sample to proclaim administrative status of their home turf. “Like That” by WWE Hall of Famer Snoop Dogg takes a funkier route to spit playful romance & after the “Maya Crockett” skit, “God Mode” by Conway the Machine & The Game links up to talk about their verses being scriptures.

“How Do You Know?” by Cypress Hill goes for a boom bap vibe cautioning that nobody want the purple haze smoke from them while “How Long?” by Public Enemy brings back the funk shifting from hardcore lyricism to the politically relevant subject matter they’ve always been known for. EPMD get a song of their own with “Test Me” daring for their opposition to try them & see what happens but after the “Pimp Gators” skit, “The City” by Tha Dogg Pound represents the west coast.

The song “Spectacle” by Heltah Skeltah blends soul & funk talking about making the music world experience something incredible while “No Gimmicks” featuring 38 Spesh with Da Youngfellaz on the remix finds the quartet reminding us all that they remain authentic. Prior to the outro, “Back 2 the Party” by Salt-n-Pepa finishes with the recently inducted Rock & Roll Hall of Famers smoothly getting nostalgic over the days of block parties.

Focusing more on the production side of things, Dynamic Duos marks the 1st time since the insomnia compilation under Interscope Records almost 3 decades ago where Erick Sermon lets a list of guest performers shine on the mic although he does drop a couple verses here & there. And it’s no surprise that the inaugural entry of this series has great potential to be his greatest material honoring some of hip hop’s most iconic groups & duos.

Score: 4.5/5

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Infinite Coles – “Sweetface Killah” review

Infinite Coles is a 33 year old singer/songwriter & rapper from Staten Island, New York notable for being the son of one of hip hop’s greatest storytellers: Ghostface Killah from the almighty Wu-Tang Clan. He’s also the brother of both Sun God from the Theodore Unit & of course Supreme-Intelligence, putting out an alternative R&B extended play in the fall of 2021 called Destiny to moderate reception. He made headlines a few months ago when the title track to his full-length studio debut album right here dropped, which went viral because of Infinite airing out his grievances towards his father for disowning him after coming out to him over a decade ago.

After the previously mentioned breakout single, “DMs” continues by singing over a house instrumental that he’ll give the man of his eye anything he wants whereas “Boots” featuring Julz & Maleigh Zan on the remix takes the hip house/ballroom route stylistically challenging anyone who wants to go up against them. “Shoot” finds himself singing over house production again warning he’ll call his siblings if this gunman pull the trigger on him until “Thankful” goes full gospel expressing his gratitude.

“Dad & I” after the “Why’s It Important?” interlude continues to delve deep into Infinite’s relationship with Ghostface while “Body Song” sings over a bare piano getting in his gospel bag again. “Mama Song” moves on with a heartfelt tribute to Infinite’s mother & after the “Different Kind of Rain” interlude, “BGM” goes for a soulful house vibe singing about this woman with a soul like the sun. The closer “Hummingbird” sends it all off with a moody ode to his lover working it for him.

It’s a shame albeit not really that surprising to hear that Starks doesn’t want anything to do with Infinite Coles because of his sexual orientation, but the latter uses Sweetface Killah to carve a stylistic path that’s a lot different than what his father & his siblings are all known for. Its production tends to be more based around both contemporary & alternative R&B, progressive soul, pop rap, ballroom, hip hop soul, dance-pop, hardcore hip hop, house & gospel introducing the world to an alter ego that was created by the homophobia that surrounded him.

Score: 3.5/5

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TM88 – “F.I.L.A. (Forever I Love Atlanta) 25” review

TM88 is a 38 year old producer & songwriter from Atlanta, Georgia known for being a founding member of the 808 Mafia alongside Lex Luger & Southside respectively. He would also form the TGOD Mafia trio with rappers Juicy J & Wiz Khalifa in addition to producing Lil Uzi Vert’s biggest hit: “XO Tour Llif3”. However in light him forming his very own EMPIRE Distribution imprint Crash Dummy Records, one of trap music’s greatest beatsmith has celebrated with his own debut album.

After the “Vet Radio” skit, “Juiceman” by OJ da Juiceman co-produced by Zaytoven begins comparing his wrist to Fruity Pebbles whereas “Wrong with That” by Jose Guapo & Quez finds the 2 talking about a shawty who wants to fuck their partners. “B.A.B. (Break a Bitch)” by Tracy T breaks the law down to become a boss just before “Layers” by iMcFli references Tubi, the home network of the WWE’s secondary development brand EVOLVE.

“Grady Baby” by Yung Ralph gives the world insight in regards to what things where like for him growing up as an 80s baby while “Return of Church” by Mucho flexes that he sent a freaky hoe to H-Town coming off a jet. “Quadruple” by Futuretalks about sleepin’ with women in 4s off of nothin’ leading into “Friday Night” by iMcFli, Luchee Mulan & Quez sampling “Issa Party” by Jose Guapo, Shad da God & Young Dro to recall how they used to spend their Friday evenings.

DJ Spinz gets behind the boards for “Lies” by Baby D & Travis Porter bridging together the crunk & futuristic swag eras while “Make Em Get the Money Right 25” by Pastor Troy serving as a spiritual successor to the D.S.G.B. track off their final album ‘Til Death Do Us Part. “Ice Cream Truck” by Travis Porter throws it back to the futuristic swag days again while “Extra” by Shad da God talking about having his old shit with him.

“Kick In (Oww)” by Fabo of D4L starts the 2nd half explaining that he’s experienced some shit in his life because of being born in the hatred while “Shake Sum” by Travis Porter & 2 Chainz comes together for an ATL strip club heater. Fabo returns with Moneymyface so they can get “Geeked Up” together to mixed results while “I Want That” by Sosotrap talks about being anything but average throughout his career.

Preceding the “Crash Out Radio” skit, “B.D.A. (Bounce Dat Ass) by 4Batz’ wife Anycia continues to channel that strip club energy handling a sole verse wedged between a repetitive Waka Flocka Flame hook while “Take It Away” by T.I. & Young Dro talks about their respective legacies. “What’s This?” by T.I. & 2 Chainz links up to speak of materialism while “Stuff Man” by Yung L.A. could be his dopest song since “Ain’t I”.

“Twin Bruddaz” by Waka Flocka Flame talks about feelin’ a way he hasn’t felt since Slim Dunkin’ was murdered during my freshman year of high school while the “F.I.LA. (Forever I Love Atlanta) Tribute” by Blanco Brown finishes in the form of this passionately sung dedication to Trouble, Bankroll Fresh, Rich Homie Quan, Young Scooter & Takeoff. Maybe the greatest song of his career considering that a great deal of his music isn’t for me at all.

Being a genuine fan of TM88’s production work ever since my adolescence, hearing that he was putting out an entire LP containing other artists performing over his beats from start to finish had me excited from when it was announced because I believe he could curate something special if he wanted to. F.I.L.A. (Forever I Love Atlanta) 25 however has me a little divided due to the inconsistency amongst the guest & most importantly, parts reminiscent of Metro Boomin’s 2nd mixtape A Futuristic Summa & Jermaine Dupri’s 3rd album Magic City.

Score: 3/5

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A-F-R-O – “The Bad & the Ugly II” review

Los Angeles, California emcee/producer A-F-R-O running it back with Stu Bangas for his latest LP. A protege of R.A. the Rugged Man after winning the Definition of a Rap Flow contest, his Duck Down Music Inc.-backed 5th EP A-F-R-O Polo produced by Marco Polo introduced himself as a promising up-&-comer within the underground. The Drawing Board alongside The Bad & the Ugly: The Goods Always Die First and Crimson Fury have all testified to his vengeful return in recent memory, preluding his upcoming 14th EP No More Patience with The Bad & the Ugly II.

A sequel to “Lost Souls” off the original Bad & the Ugly begins assuring that he still sees the finer things despite having glaucoma whereas “Pack It In” mixes sampling with kicks & snares calling back to the House of Pain single “Jump Around” in that battling him’s a sin. “Bring Ya Best Army 2” featuring One Be Lo dustily picks up where the predecessor left off last Halloween leading into “Mastermind” featuring Wordsworth talking about life ain’t a game to them.

“Use Your Brain” pushes towards the end of the 1st half advising one to think prior to stepping up to the microphone just before “Conductor” hops over an organ-inflicted boom bap instrumental to talk about conducting poetry whenever he’s in the booth. “Man of God” featuring Motion+ finds the 2 speaking being beyond blessed with their lives & having no tolerance towards disrespect while “My Saloon” talks about pouring up lyrical brew & not allowing any punk muhfuckas in his bar.

We get some pianos & a drum machine on “The Quick & The Dead” addressing the type of rappers who think they slick by busting their rhymes with speed when they’re really not while “No Regrets” featuring 4-IZE talks about living life without any remorse. “D’Amalfi” produced by Young Bangas marks the only track that Stu didn’t produce soulfully discussing being on this grind, but never thought he’d still be dreaming.

“Pandemic Posse” featuring Blaq Poet, EKYM1536, Emsee Prospekt, Horror City, Motion+ & Pulse Reaction takes up the next 6 minutes properly introducing themselves collectively while “Glistening” asks all the party people if they’re still listening to him rock the stage. “Stairway 2 Heaven” finishes with some rap rock undertones explaining that God told him to use his mind as a weapon.

The Bad & The Ugly II might be a little more heavier on the features compared to the original that came out last Halloween, but I’d certainly put it above Crimson Fury by only slight margin as much as I highly enjoyed that conceptual self produced extend extended play 5 months ago. The production almost entirely handled by Stu Bangas of course recaptures the flawlessly raw energy of The Bad & The Ugly, with A-F-R-O’s pen leveling up in terms of gruesomeness.

Score: 4/5

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Crimeapple – “Hanzai” review

Brand new full-length LP & the 19th overall from Hackensack, New Jersey lyricist Crimeapple. Becoming a fan of his in the fall of 2017 with his 4th EP Sweet Dreams along with the Big Ghost Ltd. produced full-length debut Aguardiente that next spring, his profile in the underground grew exponentially from there. Discography standouts include the DJ Skizz-produced Wet Dirt, the DJ Muggs-produced Medallo, Cartagena, Breakfast in Hradec, Sin Cortar, the Preservation-produced El León, the official Aguardiente sequel Bazuko, the Mello Music Group-backed This, Is Not That produced by Apollo Brown, Rose Gold & more recently the V Don produced Bulletproof Chicken. Almost 3 months since the latter, Hanzai has arrived in time for Black Friday.

“Mastery” kicks the door down by hooking up a drumless beat recalling a time where he was deemed more than worthy following a performance in Tokyo, Japan & with by the blade whereas “Cocainerose” cloudily talks about rising out the coke game to having his neck froze. “14hrflight” takes the boom bap route instrumentally going to get what’s his right off the payload just before “Talmbout” featuring RLX go at the throats of the type of people who have no business discussing smoke.

As for “Forever” produced by Billy Loman, we have Crime ominously talking about traveling around the world doing the most trying to motivate leading into “Zipfile” ruggedly making guap with the ziplock bags of dope that he’s been whipping up where his homie’s girlfriend stays at. “Bajo” strips the drums again lighting a black & mild over some sumptuous piano chords but after “Sayonara” reunites with DJ Skizz talks about leaving a hoe who loves toxicity way too much, “Madamewoo” advises to picture him running the game without using his legs.

“MetroPCS” starts the final leg of Hanzaiexplaining that raising fingers at his crew isn’t the way he does things around here while “1,000,000 Miles” talks about running laps around the entire city. “Brownbutter” including an uncredited feature incorporates a drumless soul sample clarifying that they only bang bitches & bank accounts while the V Don-laced closer “Tippytoes” sends it all off talking about doing his time acting humble, advising one should’ve taken advantage at that point.

Can’t say I came away from Hanzai enjoying it on the same caliber as Rose Gold or Bulletproof Chicken, but the 4th & likely final project from Crimeapple this year excluding the Escama collaborative EP with Primo Profit contains plenty of highs that make it worth your time. Some of the production may not stick out to me as much as his last couple albums & both guest performances were passable, although his lyricism remains gratifying.

Score: 3.5/5

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ILLtemper – “Paxil Rose” review

ILLtemper is a 36 year old MC from Trevose, Pennsylvania establishing himself for over a decade within the underground wicked shit scene by releasing a total of 8 EPs & 10 full-lengths. He’s also notable for being 1/2 of the Even Heathens with King Gordy, who also make up 2/5 of the Wic Kids. For his 11th album however, it marks his debut for Lyrikal Snuff Productionz only a few months after the Heathens made their LSP debut with Handful of Cancel & had me hoping it would become an important statement amongst the rest of his solo output.

After the “INTROvert” intro, the 1st song “Stayed the Same” produced by J Reno somberly begins talking about being a lost one who was never found whereas the title track compares himself to Guns N’ Roses frontman Axl Rose except he’s taking antidepressants. “The Used” by the Even Heathens hops over a bluesy boom bap instrumental talking about not ruining other people because you’re a cunt leading into “Pitch Blackness” admits to feeling like everything’s darkening around him.

Stir Crazy jumps behind the boards for the rock/boom bap crossover “Felt” taking a more heartfelt approach to the songwriting telling anyone who thinks he’s stronger than this would be sorely mistaken while “Losers” featuring Jakprogresso talks about always being failures swapping the guitars out for pianos. “Games” brings these Atari-like synthesizers with kicks & snares suggesting that Mario should stop saving the Princess while “Ain’t Right” advises to think twice prior to taking your own life.

“Unease” featuring Killator comes out the gate with a rock sample panicking like they’re looking at the current state of the stock market while “Nice Guy” talks about the nicest people dying alone over another rock/boom bap fusion. “Orange Bottles” heads for a summery trap direction talking about taking paxil anymore & after “In Your Eyes” suggests he should play hardball, “Dear Ronnie” finishes with a tearjerking open letter to himself.

It’s not something that I’ve publicly disclosed, but I personally have been taking Paxil ever since I was in grade school & hearing ILLtemper making a whole entire body of work dedicated to his experiences with it whilst likening himself as a rockstar makes his Lyrikal Snuff Productionz debut arguably the greatest solo effort of his entire discography. The production maintains the consistency of Handful of Cancel & ILLtemper conceptually takes us all on a trip into the world of mental health medications.

Score: 4/5

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Esham – “The Golden Age” review

This is the 24th studio LP from Detroit emcee/producer & Reel Life Productions founder Esham. Widely acknowledged as the godfather of horrorcore alongside his former Natas cohorts Mastamind & the late TNT, his run from 1989-2005 (particularly the albums KKKill the Fetus, Closed Casket & Doubelievengod?) would go on to lay out the groundwork for subsequent horrorcore acts such as the Insane Clown Posse & even Eminem. His output from Sacrificial Lambz onwards (essentially after his 2-album deal with Psychopathic Records from 02-05) has been a little hit or miss even though I love the single “S.S.M.D. (Stop Selling Me Drugs)” & Dichotomy respectively. Psyops however was a creative detour for Esham as he self-produced the whole thing for the first time in what seemed like a while conceptually revolving around what it was like for him living in Minneapolis during the George Floyd protests & a more rap rock inspired sound. He escaped Purgatory & preluded The Golden Age by serving up his 8th EP Amuse-Bouche, ushering the new era in 17 months later.

“The Golden Hour” sets up shop talking about rappers with no hope needing to cleanse their souls & introducing me to Count Tracula whereas “Power of Love” incorporates a vintage self-produced instrumental explaining that you don’t really want war with him. “CEO Killer” talks about hating liars & thieves more than being on welfare when he was growing up leading into “30 Gucci Purses” admitting he has no regrets of the amount of cash he’s spent.

Meanwhile on “Rain Drop”, we have Esham bringing back the boom bap vibes talking about the hate coming with the way he puts it down for the city since he does it so big while “F.I.L.A. (Fall In Love Again)” blends trap & pop rap tackling themes of romance. “Run It Back” goes for a smoother approach to the beat telling his lover there ain’t no slowing down since he has a lot speed while “Sexy” experiments with hip house interpolating “I’m Too Sexy” by Right Said Fred.

“Omg” starts the 2nd half of The Golden Age returning to the boom bap thanks to Dead Heat talking about being more insane than the wicked clowns themselves while “Narcissist” keeps things in the basement instrumentally speaking to himself showing y’all what wealth really is. “Slush” meshes a piano with kicks & snares talking about his heart being way too cold while the title track flexing that his paper’s too tall to fold.

Nearing the conclusion of The Golden Age, the song “Killing Time” finds himself waiting for a sickness to take him away while “A.M.F.D. (All My Friends are Dead)” combines dubstep production with horrorcore lyricism that winds up leaving me somewhat torn about it personally. “I Miss You” talks about the voices that he was hearing in his head was the money this whole entire time & “The Truth” finishes us off with a 2 minute rock outro showing off The Unholy’s singing chops.

Looking back at how reckless he was with his words when he was younger & cringing at it because the godfather of the wicked shit has obviously gotten much older, The Golden Age thematically opens up in regards to chasing what Esham thought success looked like whether it be industry recognition or respect from his own peers. Him continuing to do his own production again brings a smile to my face since that’s where a lot of his post-Psychopathic material until lately has lacked, recalling everything from the anxiety & depression to conquering Hell.

Score: 4/5

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A$AP Ferg – “Flip Phone Shorty: Strictly for Da Streetz” review

Another brand new studio LP from Manhattan, New York emcee & songwriter A$AP Ferg. One of the most prominent members of the A$AP Mob, his 2013 solo debut Trap Lord & the debut mixtape Ferg Foreverboth cemented that further although the sophomore effort A.$.A.P. (Always $trive And Prosper) received mixed responses for its more commercial heavy-sound. Still Striving & Floor Seats both marked a return to form for Ferg although Floor Seats II got divided feedback during the 2020 COVID lockdowns & Darold refined what A.$.A.P. (Always $trive And Prosper) was going for. Celebrating the Black Friday weekend however, Flip Phone Shorty: Strictly for Da Streetz has arrived in the midst of a few singles.

“Ball” drops braggadocio over a generic trap instrumental, which ironically sets the tone for the entire album until the 3rd & easily most salvageable single “Big Dawg” produced by Lex Luger talks about his hustle game being too real. “Dem Boyz” blends trap & dirty south continuing bring more charisma to the boastful lyrics but after the “Cee-Lo Voicemail” interlude, “P.O.L.O” will go down as one of the worst A$AP Ferg singles of all-time mainly because of the goofy beat.

Lil B joins Ferg for “Fisher Price”, ending the 1st half with synthesizers & hi-hats talking about all of their bitches being on go & “Uptown Baby” could be the weakest Lex Luger track here mostly because of the pointless French Montana verse. “Focus on Me” featuring Denzel Curry joins forces to make their blocks look like parades whenever they pop out while the lead single “Ferg Strong” proved to be better than “P.O.L.O.” & worse than “Big Dawg”.

“Young O.G.” featuring Denzel Curry reunites the pair 1 last time over the final Lex Luger beat of Flip Phone Shorty: Strictly for Da Streetz, looking to finish what A$AP Rocky & SpaceGhostPurpp both started after they squashed their beef this spring falling out started while “Shoot Up the Club” featuring Big Boss Vette finds the 2 getting raunchier topically. “Flip Phone Anthem” featuring エイウィッチ & Gucci Mane lastly finishes up with a tribute to the flip phone days 2 decades earlier.

Darold seemed like a step in the right direction for A$AP Ferg, but my biggest question coming away from Flip Phone Shorty: Strictly for Da Streetz is: What the Hell happened? Ferg himself & a vast majority of the guests aren’t much of an issue to me besides only a couple of them. A lot of my criticisms however are directed towards the production being more trap-oriented than Darold because aside from all 4 of Lex Luger’s contributions, it feels uneventful & maybe a little cutrate. If we actually get Don’t Be Dumb in January, it already has everything going for it to be a stronger listen.

Score: 2/5

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Von Pea – “Putcha Weight on It” review

Brooklyn, New York emcee/producer Von Pea reuniting with The Other Guys for his 4th solo LP. Currently 1/2 of Tanya Morgan with Donwill, he would later embark on a solo career with 2007 debut mixtape Grand Vonye as well as it’s follow-up So Motivational: The Most Skullduggery of Mixtapes & the full-length debut Pea’s Gotta Have It. Right after the Duly Noted. EP was when Mighty Joe & Isaiahstarted working with Von however, producing the To: You EP along with the sophomore effort The Fiasco & the I’m Good Luv, Enjoy EP respectively. Last we heard from Von by himself was his previous album City for Sale & Duly Noted 2, running it back with The Other Guys suggesting to Putcha Weight on It.

“More Johnny” opens up with a boom bap instrumental explain it that his legendary status will continue to be spoken of even when he’s gone whereas “Roadblock” featuring Che Noir finds the pair talking about people clapping at barriers & trying to rap with Black Thought. The title track by Tanya Morgan featuring Skyzoo gives off a dusty jazz rap vibe coming in stronger than initially said while “Lights On” talking about phase 4 being the type of shit that keeps the power on.

Meanwhile on “Slide Off with Her Homie”, we have Von continuing to bring that old school boom bap style to the table telling us what he’ll do to a skeezer if she doesn’t see how dope he is until “Hains Point” heads for a jazzier direction once more spitting like they gave him some kind of bribe. “Knew It All” featuring Oddisee crosses over elements of jazz rap & boom bap responding to the people who act like they know everything just before “Love Over Like” soulfully talks about romance.

“Shown Up Me” begins Putcha Weight on It’s final moments by having the drums constantly fading in & out like ocean waves flexing that be doesn’t need more than 7 people whenever he makes an album leading into “Bway & Myrtle”talking about trying to get on during the off-season sampling an organ. “Root for the Villain” sends it all off with a funky outro remembering one of hip hop’s greatest lyricists & producers, which happen to be none other than the late MF DOOM.

The Fiasco up until this point has been my favorite Von Pea solo effort & to commemorate it’s 8-year anniversary passing yesterday, Putcha Weight on It improves from the divisive feedback I’m Good Luv, Enjoy received although I personally didn’t mind when it came 10 months succeeding the album that preceded City of Sale. He & The Other Guys liken their chemistry to the late King of Pop himself Michael Jackson & the revolutionary composer Quincy Jones linking back up after 7 whole years for a collection of jazzy boom bap hits.

Score: 4/5

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