Mission: Infect – “epideM:Ic” review

This is the 7th studio LP from underground hip hop collective Mission: Infect consisting of Lo Key, Badluck, Dubbs, Fia Fawn, KruX 1, Madd Maxxx, Malaria, St. Sinna & 0. They’ve released their previous 6 full-lengths together in the span of nearly 2 decades including the Chemical Threats tetralogy, XterM:Ination & Asphyxiation with quite a few other members finding success on their own as solo artists in the wicked shit scene. Returning in 2024 with their arM:Igeddon extended play, they’re returning in time for an epideM:Ic.

After the “Incoming Transmission” intro, we get a sequel to “Throw ‘Em Up” off the 2nd installment of the Criminal Threats series performed by Lo Key & Badluck whereas “Body Drop” aggressively talks about the crew slaughtering all opponents over a boom bap instrumental. “Bring the Noise” explains that this is basically chemical warfare to Neon Sermon & Dubbs rather than another song while “Call 2 Arms” lets both Lo Key & Dubbs blow off some lyrical steam for a few minutes.

“Bullets & Spraypaint” starts the 2nd half talking about LOKE & Fia Fawn’s only purpose here being to infest the brains of those listening leading into “Soldiers of Death” explains the voices in their heads telling them to kill all enemies. “Contagion” after the “Message from Grey” skit takes a more conscious approach topically over an apocalyptic beat & once “Blackout” brings the revolution live from the frontlines, the outro “Starting Over” provides an anthem for the rebellious to grab their gas masks & march to.

Originally slated to come out a year earlier, Lo Key ended up temporarily scrapping epideM:Ic for due to the lack of involvement from all the other Mission: Infect generals & I’m surprisingly overjoyed that he was able to get 6 others who’ve been around since Day 1 to be apart of the final product alongside the 2 newest additions to the crew. They’ve even jokingly said the album probably doesn’t have anything to do with the ongoing hantavirus situation & not only does M:I lyrically turn brains into black cherry slurpees, but them hinting at recruiting more artists to join & more output collectively seems like a promising beginning of making up for being inactive for long periods of time.

Score: 4/5

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Eric André – “Film Scores for Films That Don’t Exist” review

Eric André is a 43 year old comedian, actor, television host, writer, producer & musician from Boca Raton, Florida who I became a fan of when The Eric André Show was airing on the Cartoon Network late night block [adult swim]. It would become the greatest talk show of all-time & ran for 6 seasons, joining the likes of Smiling Friends as well as Rick & Morty and Loiter Squad as some of the greatest material they’ve aired. I also enjoyed Bad Trip & saw him do stand-up the night Ye formerly known as Kanye West did a listening party for Jesus is King at the venue next door, except some may not know he dropped an extended play on Christmas 2014 called BLARF. Fast forward to 2019, the full-length debut Cease & Desist under Stones Throw Records was a solid plunderphonics/sound collage album & he’s back for a sophomore effort.

“The Final Shootout” sets the tone of what’s to come by bringing in an orchestra for a composition that I can imagine hearing during a climactic scene in the middle of an old western movie whereas the only single “What’s for Dinner?” fuses symphonic music, orchestral, avant-garde metal, djent, metalcore & minimalism. “Stars Without Light” seems like it would fit in a future Star Wars show on Disney+ because of the emotional weight it carries while “Piano Concerto #0” ends the 1st leg on a more peppier note.

As for “Mercury Dripping Down My Spine”, we have Eric experimenting with a dark ambient sound for the longest number here clocking in at nearly 8 minutes just before “Run for Your Death” makes one feel like they’re in the middle of a chase scene in an action/adventure flick that only gets more & more intense. “Dead Ballerina” nears the end of Film Scores for Films That Don’t Exist with what could easily be the only track here that evokes a sad atmosphere & “1869 Overture” concludes in the form of a brief 64 second finale.

You’re not gonna get anything like Cease & Desist over the course of the half hour Film Scores for Films That Don’t Exist has to offer & I think that’s a very good thing, but the final product though is worth revisiting as someone who doesn’t listen to a lot of orchestral or classical music. Other than maybe “Symphony #9 in E Minor” when former PWG World Champion, 2-time WWE world champion & the longest reigning WWE Intercontinental Champion Gunther makes his entrances or the beginning of my favorite Ren & Stimpy episode “Stimpy’s Invention”. The secondary influences of symphonic metal, avant-garde metal, djent, metalcore, post-minimalism, dark ambient & progressive electronic & space ambient were all additionally executed properly & further states we won’t ever know what to expect from Eric André musically.

Score: 3.5/5

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American Football – “LP4” review

American Football is one of the most prolific midwest emo bands hailing from Urbana, Illinois comprised of guitarist Steve Holmes, drummer/trumpeter Steve Lamos, bassist Nate Kinsella & the latter’s cousin/frontman Mike. Exploding in 1999 off their eponymous full-length debut, they would make a moderate comeback in 2016 in the form of a sophomore effort although their previous album back in 2019 has been widely considered by many including myself to be right behind their debut. 7 years later, they’re starting off the month of May returning for their 4th studio LP.

“Man Overboard” begins by singing about feeling hopeless & Mike comparing himself to anchor being cut loose pondering life without this person he misses whereas the 2nd & final single “No Feeling” featuring Brendan Yates fuses post-rock, indie rock, slowcore & dream pop to ponder suicide. “Blood on My Blood” featuring Caithlin de Marrais sings about the story of Mike’s existence being a murder mystery until “Bad Moons” combines post-rock, indie rock, dream pop, slowcore, midwest emo & ambient pop for an exciting lead single.

After the compositional “One with the Piano” intermission, “Patron Saint of Pale” starts the 2nd half looking to settle an issue by playing rochambeau while “Wake Her Up” featuring Wisp sings about a boy who fell in love with the girl at the bottom of the River Seine. “Desdemona” takes inspiration from tragic heroine who appeared in the Shakespearean play Othello & after the “Lullabye” instrumental piece builds itself upon a vibraphone & guitar, “No Soul to Save” ends with Mike likening himself to a magician making himself disappear.

It’s often a very special occasion when these guys put out new music because they don’t do it very often & the indication of LP4 becoming some of American Football’s darkest material becomes a reality almost 3 decades since their self-titled debut, landing right behind the latter for the 2nd best entry in the band’s discography. There’s more of a focus on the quartet’s indie/post-rock elements production-wise compared to than LP3 although we’re still getting whiffs of midwest emo, slowcore, math rock, shoegaze, dream pop & ambient pop tackling grim subjects including suicidal thoughts, shame, divorce, addiction, self-hatred & rebirth.

Score: 4.5/5

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Isaiah Rashad – “It’s Been Awful” review

Chattanooga, Tennessee emcee & singer/songwriter Isaiah Rashad finally back for his 3rd studio LP. Coming up over a decade ago by signing to Top Dawg Entertainment & dropping his 2nd EP cilvia demo to universal acclaim the following year, the full-length debut The Sun’s Tirade as well as the sophomore effort albeit major label debut The House is Burning under Warner Records would continue to cement Zaywop was the most underrated weapon in the TDE arsenal. It’s Been Awful however could wake some people up since many would use that name to describe the past year & a half.

“The New Sublime” begins with this slow beat talking about wanting someone to pray for him & his family because of everyone going crazy whereas “M.O.M. (Man On a Mission)” rhythmically describes himself as the type who’s determined to get what he wants. “Same Sh!t” made for a tolerable trap single talking about the plan being to make money until he dies leading into “Boy in Red” featuring SZA coming through with this synergistically buttery R&B duet.

As for “Supaficial”, we have Zay further embracing a smoother vibe instrumentally asking if he & his lover can lay outside due to his dislike of lights in the ceiling while “Scared 2 Look Down” combines elements of cloud rap & trap to talk about him changing for the greater good. “Happy Hour” doesn’t shy away regarding him giving up on love from his side of things & sippin’ lean slowly just before “Do I Look High?” reaches the halfway point talks about dancing with the dark to fall in love with what he really is.

“Ain’t Givin’ Up” kicks off the 2nd leg of It’s Been Awful discussing his refusal of killing this high he’s experiencing while “G.T.K.Y. (Get To Know You)” produced by Wu10 talks about a desire of wanting a better understanding of his romantic interest from a personal standpoint. “Cameras” featuring Dominic Fike finds the pair pleading for their partners to pull up for a bit while “Act Normal” ponders what love is when he doesn’t trust men or women.

Rounding out 3rd, the song “10 States Away” talks about getting fucked up during the middle of the day & planning his escape route while “Nuthin’ 2 Hide” admits to an individual killing his love through lying & pushing his limits in the evening without having a single thing to hide. “Superpowers” blends jazz rap & trap so he can talk about having extraordinary abilities of his own while the “719” freestyle samples “It Doesn’t Make Sense” by The Family Circle to speak of running back to his bitch.

It’s a shame that some closed-minded bigots will overlook Isaiah Rashad for the rest of his career all because of some asshole outing him as bisexual because he gets a lot of confessions & contemplations off his chest over the course of It’s Been Awful, possibly becoming the darkest material in his entire discography. The production in general feels like a different sound for him balancing conscious hip hop & contemporary R&B, limiting the amount of guests compared to The House is Burning to break down the Hell he’s gone through.

Score: 4/5

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Ziggy Marley – “Brightside” review

Ziggy Marley is a 57 year old musician, singer/songwriter, producer, voice actor, author & philanthropist from Kingston, Jamaica notable for being the eldest son of reggae icon Bob Marley & his widow Rita. Beginning as the lead singer of The Melody Makers, they would drop 9 full-lengths together until disbanding & embarking on a solo career. He has since given his 8 albums of his own for over 2 decades, with his debut Dragonfly & the sophomore effort Love’s My Religion widely considered to be his best. More Family Time until now was the only thing he’s released in the 2020s & was optimistic in terms of his 9th studio LP being an improvement.

“Jah We Give Glory” fittingly begins with this reggae intro co-produced by his brother Stephen singing about praising God whereas “Racism’s a Killa” featuring Big Boi on the remix makes a powerful statement regarding the issue of racial discrimination only days after the Voting Rights Act was gutted. “Hey People Now” featuring Nikki Costa decently finds the 2 singing about us having the ability of setting ourselves free until the brass-heavy “Why Let the World?” featuring Sheila E. describes escaping the issues of our daily lives.

I felt that “Many Mourn for Bob” was a heartwarming way to start the 2nd half remembering Ziggy’s late father while “Sweet Divine” sing about a person who he can’t even find the right words to describe. “Make It Paradise” brings ukulele player Jake Shimabukuro into the picture yearning to spend time with his loved ones outside while the title track ties everything up by singing about the Brightside of the chaos happening around us globally.

Looking at everything that’s been going on throughout the past year & a half, Ziggy Marley’s return to secular reggae marks an introspective comeback for the creative approach in terms of songwriting & production that was unlike anything he’s done throughout his entire career & probably surpasses Wild & Free to become the best thing he’s musically done since his 2000s output. It’s unique for him & Stephen to use the 432Hz sonic frequency regularly employed for meditation & confronts the issue of mental health directly.

Score: 4/5

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Edward Skeletrix – “Body of Work” review

This is the sophomore effort from Atlanta, Georgia rapper, producer, clothing designer, graphic artist & creative director Edward Skeletrix. Coming up during my high school years under the original moniker cight, he would go on to make his full-length near the end of 2023 with Skeletrix Language followed by The Perfect Background Music for Any Situation & the 2-disc Museum Music mixtapes last year. But after several months of delays, his newest Body of Work finally dropped & hopefully it won’t be his last.

“Everyone & Everything” made for a decent electronic/experimental hip hop intro talking about the masses wanting to listen to clones of each other whereas “Turn Off the Lights” blends cloud rap, wave, rage, Chicago drill, witch house & plugg yearning for his lover to let him see her body. The self-produced “정말많이정들었어요! Im So Attached” sung in Korean explores psychedelic folk, folktronica & bossa nova while the ambient plugg-infused “Ariana, Bella Hadid” talks about trying to get the bag.

We have Edward sampling “Lovefool” by The Cardigans and “Wet” by Mowalola & Deto Black during “Art’s Sucking the Life Out of Me Ok” prior to experimental hip hop, sound collage, industrial hip hop & wave music colliding for “House Party” so he can talk about wetting up the home of this person he has beef with. “Slavery” comes through with an art pop/experimental hip hop fusion including additional elements of alternative R&B & classic crossover venting his frustrations with label drama.

“Pain & Torture” after the heavenly “Art’s Sucking the Life Out of Me 6” intermission brings the ambient plugg vibes back in full gear talking about his inability of expressing his emotions properly while “Art’s Sucking the Life Out Of Me” takes a moment to discuss his views on religion. “Conference” has this experimental ambient plugg flare to it talking about needing more motivation to continue his musical career while “Let’s Take a Break From the Negativity” protects his energy.

North West gets a song of her on with “Let’s Have Some Fun” playfully looking to turn up over an ambient house, outsider house, hip house, hardstyle, lo-fi house, deconstructed club & experimental hip hop instrumental prior to “Art’s Sucking the Life Out Of Me..” ending the 1st half on a compositional note. “Love Me Not!” however kicks off the 2nd half shifting towards an experimentally & impressionistically ambient vibe admitting that he’s a fucked up guy himself.

“Guest List” after the “Art’s Sucking the Life Out of Me!” skit details his own likings for women over a beat mixing elements of ambient plugg, experimental hip hop, sound collage & neoclassical darkwave while the ambient “Art’s Sucking the Life Out of Me Wow” talks about him feeling like he’s drowning. “Luxury Delusions Aéronef” cloudily opens up regarding his experiences of being schizophrenic & after the “Art’s Sucking the Life Out of Me Fr” interlude, “Back Back” featuring Slime Dollaz decently gets on some gangsta shit topically.

After instrumentally repurposing the late XXXTENTACION loosie “elegant”, the song “Never Feel Again” continues to talk about his dwindling passion for music while “Mercay” discusses his relationship within the industry altogether. “Chaos in the Order” collides experimental hip hop, ambient, art pop, progressive electronic, spoken word & utopian virtual for a repetitive statement about his boundary-pushing music while “1 More Song Til I’m Famous” optimistically believing he’ll get more exposure if he drops anything going forward.

Putting the beef with his former mentee Brennan Jones to the side, Edward Skeletrix has always proven himself to be the most musically gifted of the 2 & Body of Work proves it by surpassing his debut. The experimental hip hop production amalgamates an eclectic number of sounds including electronic music, experimental music, ambient plugg, cloud rap, ambient, art pop, sound collage, epic collage, glitch pop, wave, rage, Chicago drill, witch house, plugg, psychedelic folk, folktronica, bossa nova, alternative R&B, classic crossover, neoclassical darkwave, ambient house, outsider house, hip house, hardstyle, lo-fi house, deconstructed club & progressive electronic to describe his love for the game fading.

Score: 4.5/5

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Weird Nightmare – “Hoopla” review

This is the sophomore effort from Toronto, Ontario, Canada singer/songwriter Weird Nightmare a.k.a. Alex Edkins. Known for being the frontman of METZ & Lids, he would also become 1/2 of the experimental rock duo Noble Rot prior to making his eponymous full-length debut under Sub Pop Records in 2023 to moderate reception. I did however appreciate the noisy indie rock direction Alex went for with it including the secondary influences of power pop & garage rock, so him returning 4 years later by dropping Hoopla was gonna be an interesting growth to witness.

“Headful of Rain” opens up with this alternative rock intro singing about wanting to write a love song without him ending up scrapping it whereas the 2nd single “Might See You There” gives off some power pop vibes portraying himself to be coming home from what I have to presume to be the road touring. “Baby Don’t” fuses elements of pop rock & alt-rock singing about this woman being everything he wanted out of her while the lead single “Forever Elsewhere” describes things to be darker by the night & love overcoming all soon.

Reaching the halfway point, “Never in Style” embraces a bit of a garage rock sound rebelliously singing about him never following what’s trendy just before the 3rd single “Pay No Mind” explains being so broke to the point where he can’t even pay attention to the time to begin the 2nd leg of the LP & assuring he’ll be done in the end. “If You Should Turn Away” however keeps it going forward with this gentle, summery aura realizing how it feels to love someone & fuck up his shot.

“Little Strange” winds down Hoopla’s last few moments taking some inspiration from The Beach Boys’ surf rock output during the early stages of their career particularly when the chorus hits & after “Bright City Lights” featuring Julianna Riolino finds the pair embracing the pop rock influences even further for this warm duet, the 4th & final single “Where I Belong” introspectively sings about wanting to be with his 2 children to send off the album.

Representing a huge leap forward in Weird Nightmare’s sonic palette & emotional vulnerability, Hoopla combines the aesthetics of 60s psychedelia & the 90s DIY movement to lean heavier on his power pop, slacker rock, jangle pop, pop punk, noise pop, garage rock revival & garage punk influences for a half hour statement regarding the love Alex Edkins still has for the world looking to shine a bright light of optimism in these dark times. The type of artistic development he displays here is what I love to hear & can definitely imagine it getting play over in the west coast this summer.

Score: 4/5

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Farma G – “Nearly Nothing’s Enough” review

London, England, United Kingdom emcee/producer Farma G enlisting Brighton, East Sussex producer Relense to solely produce his sophomore effort. Known for being a member of the Mud Family collective & 1/2 of the Task Force alongside his brother Chester P, he would go on to produce for several big names within the underground from Rome Streetz to Vinnie Paz & the latter’s Heavy Metal Kings cohort Ill Bill. Signing to High Focus Records a few years ago, How to Kill a Butterfly was a solid beginning of this new chapter in his career & the chances of Nearly Nothing’s Enough outdoing it were very likely given some of the teasers.

“‘Till I’m Gone” begins with a boom bap-tinged 3rd & final single celebrating his journey so far whereas “Ya Dead Now” talks about the trials & tribulations of a nomad being on the line. “Mr. Moany” portrays himself to be an depressed individual who can’t see to leave his own home due to the messiness of his life while the lead single “Makes Me Wanna…” makes some commentary on the state of the scene in an age of overinflated egos & social media clap trap.

Meanwhile on “Peace Pipes”, we have Farma talking about law enforcement officers who abuse their power just before “The Circus” works on a vocal sample so he can ask himself if anyone in this game has balls. “Punch Up” demands for everyone to give him everything they have or put their heads on the chopping blocks while “Matters of the Heart” talks about having the process of mending heartbreak lasting our whole lifetime.

“X-Files” kicks off the 4th quarter of Nearly Nothing’s Enough taking a more conspiratorial approach to his songwriting while “Psycho with a Lexicon” talks about analyzing murder scenes in order to identify the victims. The 2nd single “Sun Wukong” stunningly brings the anciently supernatural Monkey King from Journey to the West to life & the outro “Never Be the Same” finished the album talking about things constantly changing throughout our existence.

I can still picture Farma G making a full-length where he’s handling all the beats by himself with a few guests, but Nearly Nothing’s Enough will suffice as the greatest entry of his solo discography for now. Relense’s gritty analog production is a cut above How to Kill a Butterfly’s, soundtracking the venom & introspection that fuels a great deal of Farma’s wide range of topics taking him back to a corner where he once sat & studied the world as it passed him by.

Score: 4.5/5

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Grafh – “Sometimes Money Cost Too Much” review

Here is a brand new LP & the 5th overall from Queens, New York emcee Grafh. Emerging over 2 decades ago off his debut mixtape The Bang Out, he went on to release 7 more tapes before dropping his full-length debut Autografh only a few years later continuing that with a total of 10 mixtapes & an EP. The sophomore effort Stop Calling Art Content produced entirely by the late DJ Shay & released through Benny the Butcher’s very own MNRK Music Group imprint Black Soprano Family Records as well as his TCF Music Group debut Art of Words would become his most acclaimed material to date, coming off God’s Timing to explain how Sometimes Money Cost Too Much.

“Word Up Son” represents his home borough over a horn instrumental produced by 38 Spesh to open up shop whereas “Squeeze 1st” featuring Benny the Butcher finds the 2 talking about asking questions after initially firing shots over a bloodcurdling boom bap beat from Mike & Keys. “Outside” featuring Mitchy Slick & Styles P brings the trio together so they can let everyone know they’re still out in the streets leading into “Documented” talking about everything with him being kept on record.

Tech N9ne appears on “Suicide” explaining that crossing either one of them will result in the death of those doing the backstabbing while “Better with Time” featuring Bun B goes for a cloudy trap vibe instrumentally talking about improving as they get older. “Big League” featuring Joyner Lucas was one of the weaker singles teased fusing rock & trap to speak of being in the majors when Grafh’s the better lyricist of the 2 until “Brick by Brick” decently continues talking about the gangsta lifestyle.

“Rollin’” featuring Don Paul & Dope Gang Porter experiments with a more nervous sound encouraging the listeners to look at him & his squad now while “Twin” incorporates a sped-up soul sample to get more romantic on the lyrical side of things. “Lil Vybe” was another single that I wasn’t head over heels for continuing the sensual subject matter over a cloudier beat while “Some Wounds Never Heal” finishes with a drumless outro where we get hit with gut-wrenching introspection.

The last 3 albums we’ve gotten from Grafh within almost 5 years have been some of the most important material in his entire 2-decade career & that alone has raised my anticipation for Sometimes Money Cost Too Much. However since it’s finally out following some delays within the past couple months, I’m a little torn by it although there are certainly more highs than lows. He does his thing on the mic as do a great deal of the guests, but some the production left me underwhelmed & the 2nd half feels weaker than the 1st.

Score: 3/5

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NEMS & Ron Browz – “I Should Boom You” review

New York recording artists NEMS & Ron Browz joining forces for a new collaborative studio LP. One of whom is an underground veteran hauling from Coney Island, Brooklyn emerging in the battle rap circuit back in the early 2000s & the other’s a Harlem native gaining widespread recognition for producing Nas’ iconic JAY-Z diss “Ether”. They’ve crossed paths a couple times already on tracks like “The Bar Exam” & “Count It Out”, so I had no problem with Ron fully producing I Should Boom You. That said: Him rapping on every track did make me somewhat concerned since I’ve never considered myself a fan of Etherlibrium.

We get this gully boom bap instrumental for the intro so they can trade bars about being the “Hottest in America” & reminding the weirdos what the hammers can do whereas “Earl Manigault” featuring Lil’ Fame finds the trio calling for everyone to go home since they’re going harder. “First48” blends some pianos with kicks & snares talking about having guns tucked in their waists while “Kruger” compares themselves to the iconic Nightmare on Elm Street antagonist.

“Here I Go” featuring Papoose reaches the halfway point sticking to the traditional boom bap sound & having all 3 of them issuing a warning that anyone who targets them will become a statistic but after “P Anthem” shifts it’s focus towards the clubs exemplified by the raunchy approach both artists take with their songwriting, “Nothing Gon’ Stop Me” instrumentally pulls some inspiration from reggae music talking about being unstoppable forces.

Wrapping up I Should Boom You’s final minutes, the 2nd & final single “The Mush” goes for an old school vibe responding to all the doubters who’re mad at both performers for catching Ws & making new money while “Bendicion” talks about catching them on top of a cop car smoking or butt-naked on your girl’s fire escape. “The Bar Exam” sends off the album with a horn-inflicted boom bap outro flexing their lyrical proficiencies & the best verse being saved for last.

Some people like to say that both of NEMS’ full-lengths under Goliath Records are the worst in his discography, but I’d say that’s blasphemy since Rise of the Silverback would go behind Gorilla Monsoon for some of his best material & America’s Sweetheart had it’s moments even if the Fuck Ya Lyfe General himself wasn’t very happy with my criticisms of it. That said: I Should Boom You was more enjoyable than I had anticipated it being although the Gorilla Twins’ eponymous debut is more superior. The production’s more rawer than America’s Sweetheart & some of Ron Browz’ best rapping makes its way on here even if NEMS has the sharper pen.

Score: 4/5

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