Wheeler Walker Jr. – “Pullin’ Out” review

Ben Hoffman a.k.a. Wheeler Walker Jr. is a 51 year old comedian, actor, writer & musician from Lexington, Kentucky known for parodying outlaw country music since his 2016 full-length debut Redneck Shit in response to his feeling towards the state of modern country music (more specifically the bro-country subgenre). The creator of the short-lived Netflix adult animated series Hoops that would later be cancelled after 1 season due to the extremely poor reception went on to follow it up with the sophomore effort Ol’ Wheeler, WW III, Sex, Drugs & Country Music and Ram continuing to drum up more controversy for his raunchy subject matter. As someone who finds more humor in Ben’s music than his own filmography, the anticipation for the Pepper Hill Records founder’s 6th & final LP was certainly there.

“Pullin’ Out” sets the tone for pretty much Wheeler Walker Jr.’s entire musical output singing over a country instrumental about receiving oral in Tennessee whereas “Pussy & Pills” goes for a Americana direction working in some pianos out to the gate to explain that those, liquor & kush being the only things he needs. “Whiskey Dickin’” comes though with an old school saloon vibe for a comedic drinking anthem leading into “Fuck This Bar” angrily calling everyone in the bar except for himself a piece of shit.

If one couldn’t tell by the name of “Waiting for the Drugs to Kick In”, we have Wheeler singing about taking drugs & the effects of them revealing itself in a matter of minutes just before suggesting flushing an “Old Piece of Shit” down if anybody doesn’t want that type of person near their vicinity. “Big Tittied Lady” kicks off the 2nd half singing about this woman being the one who saves him daily while “Why Aren’t You Sucking My Dick?” asks that very question dabbling with country rock.

“D.S.L. (Dicksuckin’ Lips)” winds down the last act of Pullin’ Out throwing it back to some of the late, great Johnny Cash’s output instrumentally singing about a woman who’s always giving brain while “Let’s Get Drunk, Do a Buncha Drugs & Fuck” calls for everyone to party hard with him. The closing track “Nice Titties!” finishes up spends the remaining minutes of the album with 1 last vulgar ode to the kinda women you’d see at Hooters.

Artists like Morgan Wallen, HARDY, Ella Langley & Stella Lefty were never really my type because I’ve always leaned more towards country artists like The Highwaymen & I’d place Pullin’ Out amongst some of the better artists in that style to drop in 2026 no question of it. Anyone who’s never heard of him will obviously trip out when they listen to this or any other Wheeler Walker Jr. song & another reason I wouldn’t mind if his stuff plays is since a handful of people including myself look at it in a “Weird Al” Yankovic kinda way.

Score: 3.5/5

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Kardinal Offishall – “Firestarter 2: everyday, sometimes…” review

Kardinal Offishall is a 50 year old rapper, songwriter, producer, DJ & record executive from Toronto, Ontario, Canada who made his debut in late ‘97 with Eye & I. The sophomore effort Firestarter: Quest for Fire albeit major label debut under MCA Records would make him the ambassador of the Canadian hip hop scene even if Fire & Glory, Not 4 Sale, the Nottz-produced A.M.T.R.I.M. (Allow Me to Re-Introduce Myself) mixtape & Kardi Gras: The Clash were all welcomed to mixed reception. Over a decade later & he’s returned for his 6th studio LP.

“Heavy’s the Head” triumphantly opens up talking about the weight of the crown he’s wearing whereas “40 Acres & a Ferrari” featuring Black Thought & Stove God Cook$ finds the trio discussing it not being too late for them to receive those 2 things over a boom bap instrumental. “All Nighter” featuring Konshens & T-Pain goes for a pop rap vibe talking about staying up for an evening with their partners but once “Kiss Me When I” admits he hates it when his lover leaves, “Top 3” featuring Buju Banton & Idris Elba ends the 1st leg with a boastful reggae anthem.

Nesta appears for the remix to “My Brother’s Keeper” to kick off the 2nd half continuing showing more love towards Jamaican culture while “When You’re in Love” once again confronts themes of romance over a more subdued beat. “Bombay Sunsets” featuring Idris Elba returns to the boom bap so they can bring it hardcore & after “When There’s Smoke” aggressively talks about the consequences of any beef poppin’ off, the title track ends Firestarter 2: everyday, sometimes… telling us the way he’s been feeling since the previous full-length.

Admittedly: I wasn’t so sure whether or not Firestarter 2: everyday, sometimes… would live up to the expectations set out by the predecessor considering almost everything he’s done since has left audiences divided. And contrasting the previous installment capturing Kardinal Offishall at the height of his career, this sequel provides a glimpse of where he’s at a quarter of a century later as the ambassador of Canadian hip hop maintaining his signature dancehall style outside of some boom bap & pop rap detours. I can respect that.

Score: 3.5/5

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Adult DVD – Self-Titled review

Adult DVD are a dance-punk band from Leeds, West Yorkshire, England, United Kingdom consisting of bassist George Manson, drummer Jonathan Newell, guitarist Danny Blackburn, backup synthesist Jake Williams, co-founding synthesist Greg Lonsdale & frontman Harry Hanson. Forming in the middle of the 2020 COVID-19 pandemic when Harry & Greg were sending music to each other on the internet, they would eventually drop their debut extended play Fountain of Youth in 2023 & the follow-up Next Day Shipping arrived a year later. Signing to Fat Possum Records back in January, they’re ready for an eponymous full-length studio debut.

“Do As I Please” begins with this dance punk intro singing about nonconformity whereas “Coffin Dodger” keeps the dance punk revival vibes in tact so Harry can describe avoiding death. “Cold Caller” goes for a synth-punk direction suggesting that one can really get what they want just before Adult DVD treads the dance punk waters once more singing about waking up one day feeling serious & becoming what they call a “Minimal Criminal”.

The new rave-inspired 4th & final single “Jesus Christ Supercar” sings about feeling like the son of God under the influence of drugs while the 2nd single “Cowboy on Aisle 3” gets humorous with the songwriting to end the 1st leg of the band’s self-titled offering, embracing the dance punk aesthetics once more. “The Steaks are High” maintains the dance punk revivalism so Harry can observe the increasing pricing of beef while “World’s Best Boss” sings about only shaking this guy’s hand because he’s in charge of his job.

“All I Need” reaches the backend of Adult DVD’s inaugural LP with some of the most carefree dance punk throughout the entire half hour while “Ghillie Suit” would make one think of the late Prodigy frontman Keith Flint right when it instantly plays & I have no doubts that would’ve made him proud. “Real Tree Lee” introduced these guys as part of the Fat Possum roster with a lead single reminiscent of Fontaines D.C. mocking a secluded right-winger & the 3rd single “Rolling Face” ends in the form of this synth-punk outro singing about there once being comfort in sound & pleasure in the peace when time passed.

Citing The Prodigy amongst their biggest inspirations alongside LCD Soundsystem, this debut album elevates the potential we initially saw in Adult DVD when they initially formed & make a broader introduction to the dance punk revival, synth-punk, big beat, electroclash & new rave ideas of their early EPs introducing a handful of different characters with massive egos for the purpose of thinking people would consider them assholes if they wrote from their own perspectives.

Score: 4/5

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Protomartyr – “Hotel Usona” review

Protomartyr is an art/post-punk band from Detroit, Michigan consisting of guitarist Greg Ahee, drummer Alex Leonard, bassist Scott Davidson & frontman Joe Casey. Releasing their debut No Passion All Technique in 2012, the sophomore effort & Under Color of Official Right & The Agent Intellect under Sub Pop Records would turn more heads & Relatives in Descent has become their most celebrated material yet. Coming off both Ultimate Success Today & Formal Growth in the Desert though, the teasers for their 7th studio LP had me more excited than either of it’s predecessors.

“The Old Hotel” kicks things off with this post-punk intro likening the US to a hotel that’s been neglected for a long period of time whereas the lead single “Sounds We Cannot Hear” blends post-punk, noise rock & art rock to sing about tinnitus. “Converts” makes brutal critiques towards JD Vance & Peter Thiel respectively but once the 3rd & final single “Exalted Eagles” fuses art rock & post-punk to condemn the rise of fascism, “The Knife Dream” could go down amongst Protomartyr’s most haunting tracks.

Meanwhile on “Feed the Sewer”, we have Joe & company fusing noise rock as well as post-punk & post-hardcore for a warning regarding the dangers of AI just before “Lavender – Gospel” breaks down the AI database system used against Palestinians in accelerating the Gaza genocide. “3rd Country” winds down the last few moments of Hotel Usonadetailing the heartbreaking reality of families being separated via deportation & “Checking Out” sends off the album singing about America making him & many others disillusioned.

12 months from now will already be an entire decade since Relatives in Descent revealed Protomartyr’s artistic evolution beyond the Under Color of Official Right & The Agent Intellect eras, but Hotel Usona has now dethroned it to become the most powerful musical statement in their 2 decades of existence. The post-punk, art rock, goth rock, noise rock & post-rock production doesn’t lose it’s richness at any point during the 45 minutes & they conceptually make a disturbingly realistic comparison between the state of this country for almost 2 years & an abandoned hotel rotting from within.

Score: 4.5/5

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Kiefer Shackleford – “Memory Bomb” review

Kiefer Shackleford is a 34 year old pianist & producer from Los Angeles, California who properly introduced himself nearly a decade earlier off his full-length studio debut Kickin’ It Alone & the sophomore effort Happysad respectively. When There’s Love Around as well as It’s Ok, B U & Something Real would all follow to similar reception but coming off FATHERS’ eponymous debut a couple months ago, Kiefer’s signing to the great jazz label of all-time Blue Note Records for his 6th studio LP.

“Daydreaming” by Cisco Swank & Relyae opens up with both of them lusciously singing about a romantic fantasy with CARRTOONS playing bass & Luke Titus handling drums whereas “Nowhere Fast” by Rae Khalil takes a funkier approach refusing to give up her heart that she’s keeping safe. “Overture” hits us with the first actual compositional piece playing keys with Nate Smith on the drums & Shibo on bass giving heavy instrumental hip hop vibes for a few minutes until “NewLevels NewDevils” by Erick the Architect & Tony Stone goes full-blown jazz rap.

Relyae takes the microphone once again during “Get to the Moon” except Amber Navran’s accompanying her for this glamorous R&B duet letting CARRTOONS play bass once more leading into the title track enlisting tenor saxophonist Walter Smith III, guitarist Flanafi & bassist Shibo to make the core of Memory Bomb amongst it’s most exquisite moments. “Entr’acte” feels like more of an 89 second interlude to end the 1st half that could play in the middle of an [adult swim] bumper while “BusyForYa” by Planet Giza sings about not having time for this individual.

“Won’t Be Long” by Amber Navran & Phil Beaudreau with Shibo playing the synthesizers & bass depicting a couple assuring each other that none of them are ungrateful for the lessons learned preceding a breakup while “Don’t Fail Me Now” pulls inspiration from instrumental hip hop again, letting CARRTOONS program the drums behind these synths. “Can’t Let a Good Thing Go” by Gareth Donkin sings about refusing to move past something in life going correctly & after the exuberant “As She Was”, the closing track “I Let My Hair Grow” ends Memory Bomb handling all the instruments by himself.

Known for honing his own style that he refers to as “Over the Breaks”, the FATHERS album made me even more interested in what Kiefer Shackleford was artistically capable of doing from an individual standpoint & would say Memory Bomb joins DOMi & JD Beck’s recent sophomore effort WHO ASKED? in being one of Blue Note’s more average releases on 2026. His distinctive blend of jazz improvisation & hip hop production more richly textured than his earlier output regardless of the guest vocalists being a mixed bag.

Score: 3/5

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Tinashe – “Popstar” review

Here we have the 5th studio LP from Lexington, Kentucky singer/songwriter, dancer & actress Tinashe. Breaking out over a decade ago off her first 3 mixtapes In Case We Die as well as Reverie & more specifically Black Water, her RCA Records-backed debut Aquarius was as well received as the latter although her debut EP Amethyst was moderately received & the 4th tape Nightride was seen as an improvement. She would later depart RCA following the sophomore effort Joyride going independent on both Songs for You & 333respectively to better reception again, coming off BB/Ang3l & Quantum Baby to sign with Atlantic Records for Popstar.

“Sunglasses” produced by Arca kicks things off singing about seeing straightforward tunnel vision whereas “Too Easy” blends ghettotech, pop rap & techno bass boasting that she makes this shit look simple. “Melatonin” could have a chance at becoming the best single of 2026 masterfully combining ghetto house, ghettotech, acid techno, electroclash, tech house & hip house singing about those sleeping on her prior to “Empty Stadium” sampling “Rebound” by Audrey Nuna describing the rush she gets when rehearsing.

We have Tinashe taking a more somber approach during “Flashbacks” apologizing to her partner for talking shit whenever she gets turned on while the 44 second “Overdramatic” feels underdeveloped because I really enjoy DJ Camper’s jazzy trap beat & the brief verse. “I’d Rather Be Alone” mixes elements of trap & alternative R&B depicting the unwillingness of continuing an unhappy relationship while “Crash Out” experiments with ratchet & hyphy retaining the PBR&B & pop rap textures losing her shit.

“Pillow Fight” begins the 2nd half showing a more playful side to herself singing about falling in love with someone instantly while “Nobody Wanna Dance Anymore” goes EDM to make some commentary regarding that specific scene that’s others have made equally well. “25/8” atmospherically finds herself going beyond the limits daily while & after the “The Show Must Go On” intermission, the title track brings us to the core advising against dating a Popstar.

The song “Brainrot” makes a bold comparison between her numbness towards insincere affection & the Internet culture phase popularized by Gen Z & Alpha that I found to be genuinely funny while “Cloud 9” warmly sings about being in paradise with basslines that keep hitting you in the chest. “Heavy Weight” spends the remaining minutes of the album stripping it back for an acoustic outro confessing she’s been carrying this baggage for some time.

Returning to a major label for the first time in almost a decade, Atlantic makes it up to everyone for the mediocre responses to Miley Cyrus’ own debut for the imprint Bass Persuades last weekend with what I’m sure many will consider Tinashe’s finest artistic statement for years to come. The alternative R&B, electronic dance music, post-dubstep, pop rap, alt-pop & UK bass production embodies her own definition of what makes a Popstar & she sounds more confident than she has previously.

Score: 4.5/5

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Madopelli – “The Unkindness” review

Yes, this is the brand new LP & 5th overall from California City horrorcore duo Madopelli. Consisting of M.A.D & Ant Dog, the pair have also gone on to drop a couple of mixtapes & EPs ever since forming in 2016. Their sophomore effort albeit Lyrikal Snuff Productionz debut No Bluffin’ proved itself to be Madopelli’s most refined work to date both lyrically & sonically to the point where they were instantly accepted within the Gorehop realm. The follow-up Stories from the Sanctum later resulted in both members making their LSP debut as solo artists with Sadistic Symphony & M.A.D (Me Against Death), coming off Suffer Not Dishonor to discuss The Unkindness.

After the titular intro, “Repeat It with Me” begins with an aggressive intro representing the squad leading into “Remember That” sends a message to the people acting like they don’t know. “Where We Dwell” featuring Ganjre the Great finds the trio describing this darkness creeping within themselves & after “Wicked Soundz” talks about giving 0 fucks, “Better Dayz” sends positivity towards anyone listening who’s going through something advising to keep their heads up.

“Ghost in Ceiling” gets the 2nd half going asking if everything will be alright in the end because M.A.D & Ant are each at a low point mentally just before “My Way Out” continues from there talking about how they feel like simultaneously dying & climbing further away until they’re undiscoverable. “Whut!” makes it clear that neither one of them have time for nonsense & the final song “Void” preceding the outro angrily concludes The Unkindness people’s hearts growing dark.

It’ll already be a couple years since Madopelli dropped Suffer Not Dishonor within the next few months & in preparation for Team Snuff getting ready for a wave of new music in time for Halloween roughly 4 weeks from now including Scum’s 17th album Nobody Spared in a couple weeks & the sophomore effort from albeit LSP debut from their newest signing the King of Horriblecore sometime afterwards, both of them observe The Unkindness that the world has slowly devolved into with the darkest of the 4 full-lengths they’ve made.

Score: 3.5/5

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Salt – “Salty n Lit” review

Salt is a 60 year old MC from Brooklyn, New York who became amongst the First Ladies of Rap Salt-n-Pepa alongside Pepa & DJ Spinderella back in the mid-80s. Outside of them dropping 5 full-lengths together in a little over a decade with last one being in 1997, they’ve also been embroiled in a copyright dispute with Universal Music Group since 2022 & were recently inducted into the Rock & Roll Hall of Fame last fall. However, neither of them until this point have gone solo & Salt’s taking it upon herself to be the first to do so.

After the “Long Game” intro, the opening track “Chosen” gets things poppin’ instrumentally bringing a Bay Area vibe to the table talking about her greatness whereas “Real One” embraces a funkier vibe flexing that she’s still nice with it after all this time away recording. “Diamonds in the Light” flips one of my favorite Jadakiss tracks “Still Feel Me” to discuss maintaining your inner peace leading into “No Crumbs” chops up a soul sample so she can talk about having unfinished business

“Kings & Queens” after a Chuck D interlude wraps up the 1st half with a 2nd single honoring hip hop culture’s historic origins in the east coast while “4 the Love” featuring Dee-1 soulfully kicks off the 2nd leg showing some love to the Nas joint “1 Mic”. We have Salt experimenting with R&B & trap on “Overcomers” asking where the ladies at for a summertime bop despite it being fall now & after the “Insecure” interlude, “Ride or Die” blends pop rap & trap for a decent romance anthem.

The spacious boom bap “My Team” reps her squad interpolating “My Chick Bad” by Ludacris & Nicki Minaj during the hook while “Poison Water” brings an aquatic trap flare to the table asking why this deadly form of rain’s been pouring down upon her. “Like Christ” feels less of an “interlude” & more of an undeveloped plea to become similar to Jesus just before the funky “All My Life” outro sends off Salty n Lit looking back at her career.

Similarly to Mike D of the Beastie Boys’ own solo debut Thank You last month, Salt gives the world a personal statement based on her life experience & who she has become for anyone who appreciates what Salt-n-Pepa have down for the culture without the need of a major label. There’s a heavy gospel influence to the production which can be inconsistent at points & more notably the guests, but it’d be interesting to hear if she makes anything going forward with bigger names joining her on the mic & behind the boards.

Score: 3/5

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Tee Grizzley – “They Forgot” review

Detroit, Michigan rapper & singer/songwriter Tee Grizzley ending the month with his 7th studio LP. Originally a member of the quartet ASBH, it wouldn’t be until 2016 where he would blow up off his first solo single “First Day Out” & earned a contract with 300 Entertainment. His profile would continue to grow by dropping projects like his debut mixtape My Moment, the debut album Activated, his 2nd tape Still My Moment, the Timbaland exec-produced sophomore effort Scriptures or my personal favorite: his 3rd mixtape The Smartest. Built for Whatever, Chapters of the Trenches, Half Tee, Half Beast & Tee’s Coney Island were generally mixed, coming off the sonically diverse Post Traumatic as well as Forever My Moment & the divisively received Street Psalms to admit he feels like They Forgot.

“99 Ovrall” sets the tone of what’s to come with this underwhelming intro getting on his gangsta shit whereas “Back ina Yams” made for a more uninteresting single confessing he doesn’t like being around these dudes who force his hand. “How” doesn’t make things any better trying to figure out the reason people don’t have any sort of appreciation towards him leading into “Locked Up in Mexico” talking about those he showed the road to paying no homage to him.

Meanwhile on “Orphan”, we have Grizzley comparing all these new Detroit rappers to his children even if I feel like it’s still lacking instrumentally just before “Snow Grass Leaves” talking about coming from a place where it he your own loved ones hurting you. “Detroit Public Schools” describes being overseas for an entire month & still turning out fine in the end until “Hard Times” featuring Hurricane Wisdom ends the 1st half talking about the struggles of poverty.

“Survival Skills” commences the 2nd leg of They Forgot speaking of having the expertise of surviving out in these Motor City streets while “Grizz They Need You” responds to those saying that the city needs him to talk to them regardless of the beat not being all that exciting. “No Effort 2” for a sequel to the My Moment track of the same name feels more half-assed than it’s predecessor while “Holding On” talks about problems only getting worse whenever money’s involved.

Winding down the last few moments of They Forgot, the song “It’s a Privilege” while “Robbery 10” contains one of the weaker entries in the titular series of tracks he’s been making since the 2020 COVID-19 pandemic when he should most likely hang it up here. “Rain” featuring Skilla Baby produced by Coupe & Hitmaka was easily the most gratifying instrumental here sampling “Rain on Me”by Ashanti for a pop rap single while “Finally Made It” ends the full-length talking about feeling like he’s become successful.

Street Psalms felt like a significant letdown compared to a great bulk of Tee Grizzley’s output throughout the course of the decade & I wouldn’t say They Forgot about him because he still has an impressive following, but rather than the quality of his music has been beginning to decline for the past year & this newest album makes another example of that containing the most uninteresting batch of production he’s ever rapped over.

Score: 2/5

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Your Old Droog – “Bread & Butter” review

In front of us the latest studio LP & the 10th overall from Ukrainian-American lyricist Your Old Droog. Breaking out through his self-titled debut, many actually first thought he was an alter ego of Nas given that their voices are somewhat similar. He eventually became a legend in his own right off later projects such as Packs as well as It Wasn’t Even Close, TIME & the Nicholas Craven-produced YOD Wave. The 4 extended plays he gave us afterwards YOD Stewart, Yodney Dangerfield, The Yodfather & The Shining weren’t as great in my opinion yet most certainly had their highlights at the same time. Coming off Movie along with the anything’s possible & YOD Serling EPs however, he’s sticking to his Bread & Butter.

“You Know How That Girl” kicks things off reminding the world of Droog’s flawless style whereas “Brighton Beach” featuring Evidence takes a more soulful approach instrumentally suggesting all these rappers who’re nowhere near their level are better off working jobs when there’s no lies told. The title track produced by Cartune Beatz gives off a nostalgic vibe talking about artists he grew up listening to becoming fans of his until the lead single “Pavlovian Effect” featuring A-Reece & Masta Ace goes for a conscious boom bap direction.

Oddisee appears for “Thinking” so they can talk about the only time where they don’t have something in their mind being when they go to sleep at night while “I Appreciate You” ends the 1st leg with this smooth dedication to YOD’s soulmate. “Symphony” begins the 2nd half of the album with an organ-inflicted beat talking about how great his life is leading into “Therapy” admitting he’s going through the motions & still not knowing who he is as a grown man.

“Schadenfreude” hooks up this dreamy Conductor Williams instrumental including a witty bar out the gate referring to Stove God Cook$’ issues with Babygrande Records while the 2nd & final single “I Don’t Care” blends jazz rap & neo-soul thanks to Flying Lotus shrugging off what anyone says of him. “Hunter Biden” drumlessly points out those around you hiding when shit ain’t perfect only to come back once it’s smoothened out just before “Impression Control” finishes Bread & Butter dissing the soft.

Providing some comfort food for fans of 90s east coast hip hop & simultaneously making a point regarding what makes that sound so perennial, Your Old Droog returns to Nature Sounds for the first time in 4 & a half years drawing a huge bulk of Bread & Butter’s inspiration from his youth when his family would thinly spread caviar across plain bread. There are some points where I feel like the production could’ve been better, but the lyrical balance between braggadocio & reflection makes the album worth listening.

Score: 3.5/5

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