Statik Selektah – “Expensive Taste” review

This is the 11th studio LP from Boston, Massachusetts producer, DJ & radio personality Statik Selektah. Widely considered to be one of the most consistent & hard-working producers in all of hip hop for over a decade now whether it be his output as part of the producer/MC duo 1982 alongside fellow Boston native Termanology or entirely producing projects for the likes of Action Bronson & Paul Wall, even his 10 solo albums contain some outstanding material of their own ranging from Extended Play to #WhatGoesAround… & more recently Round Trip. He originally announced Expensive Taste to come out in January under his own label Showoff Records in tandem with Mass Appeal Records, but has finally dropped it 10 months later.

Ab-Soul, AZ, Boldy James & Bruiser Wolf all unite for the jazzy intro “Rose Tinted” talking about feeling like Hell despite Heaven being around the corner whereas “Generational” by Killer Mike, Styles P & 1982 kinda goes for a rap rock vibe so they can bring it hardcore. “Eye Shine” by Busta Rhymes, Nina Sky & Smif-n-Wessun brings everyone together to talk about glowing up prior to the 2nd single “Champagne Wishes” by Ab-Soul, Freddie Gibbs & Raekwon discussing their caviar dreams.

“No Time Soon” by 2 Chainz gives us another taste of what we can expect outta his upcoming 8th album Playaz Only Live Once arriving next month while the symphonic boom bap crossover “Growing Pains” by Joey Bada$$ talks about having no time to get caught up in the past. “Kings County” by M.O.P. & NEMS finds the trio aggressively representing the borough of Brooklyn just before “365” by Kai Ca$h, Paul Wall & Smoke DZA soulfully talks about what’s changed for them in the past year.

The Cool Kids, Jay Worthy & Rome Streetz all link up during “Real Player Baby” throwing jabs at those who can’t freestyle for shit while “Globetrotters” by Logic & Lørd Skø talks about their status traveling around the world over a soulful boom bap instrumental. “Good Vino” by Crimeapple & Monday Night kicks off the 2nd half detailing each of their luxurious preferences while “Choose Life” by G-Eazy talks knowing he had to flourish & grow.

“Is That You!” by Bruiser Wolf, Chris Crack & Wiki continues from there dissing the carbon copies of them for not being as fly as either of them while “Crown of Thorns” by Coyote & Dirty Sanchez ruggedly talks about people wanting their views now that they’ve climbed to the top. “Northside” by Northside Lord gives the Queens up-&-comer a couple minutes to show the world what he’s got over a piano-inflicted boom bap beat while “Tooth 4 Tooth” by Coyote, JFK, Lørd Skø, REKS, S.T.R.E.E.T. & UFO Fev references WWE Hall of Famer, former 3-time WWE Champion, 11-time WWE tag team champion, the inaugural WWE Hardcore Champion, CWA World Tag Team Champion & TNA World Champion Mick Foley.

Winding down the last leg of Expensive Taste, the song “I Tried” by Brother Tom Sos & Kota the Friend makes it clear how they’d rather sell dope in the streets instead of selling out while “Ain’t So Far” by Cordae jazzily talks about being up at 3am counting money & shooting shit in his backyard. “The Louvre” by Joey Bada$$, Rome Streetz & Westside Gunn speaks of flying their lovers out to Paris to hit the titular museum while “The Red Carpet” by Pharoahe Monch preceding the Hannibal Buress outro “Where Did the Shroom Guy Go?” ends the album connecting to what the culture says.

Thematically built around the idea where expensiveness doesn’t always deal in cost the quality of life you live, Statik Selektah makes up for the 10 month delay Expensive Taste suffered when the Legend Has It series was wrapping up with a full-length that feels as equally enjoyable as the one he put out a few years earlier. His soulful boom bap production gives room for every guest to provide their own perspective on the realities that come with success & ambition regardless of there being a few performers I could’ve done without.

Score: 4/5

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SOB x RBE – “From the Land” review

Vallejo, California trio SOB x RBE consisting of Slimmy B, Yhung T.O. & DaBoii reuniting for their 4th studio LP. Catching wind of them in 2018 when “Paramedic!” became a personal highlight for me on the soundtrack for the near perfect Marvel film Black Panther, they quickly followed this up by releasing their first 2 albums with EMPIRE Distribution entitled GANGIN’ & GANGIN’ 2 even if both of them were incredibly average. Their 3rd extended play Family Not a Group produced by Hit-Boy under Def Jam Recordings to this day stands as my favorite thing they’ve done, reuniting 7 years after Strictly Only Brothers to drop From the Land.

The intro begins the group’s comeback talking about muhfuckas still being broke as they were when they initially split up whereas the lead single “10 Summers” reminds us exactly how long they’ve been doing this shit for. The title track talks about uppin’ B’s & throwin’ 3’s in what they call the City of Opportunity prior to the 3rd & final single “Someone” admitting to getting caught up in the field at night totin’ their rifles & looking for their enemies when searching for their soulmates.

“SOB Only” asks who can they call whenever either of them are alone & need somebody, fuckin’ with each other because the rest are bitches leading into “Her Loss” featuring Lil Bean & Lil Yee sampling “F.A.S. (Fine As Shit)” by Shelby Ruger talking about turning other hoes up. “Rock n Roll” instrumentally goes for a Mobb vibe keeping a Glock on them when they make money until “Honeypack” flips “Stay with Me” by DeBarge asking women to be theirs.

As for “Need It”, we have all 3 of them continuing the romantic themes incorporating some finger snaps & an airy backdrop accompanying them while “Clockwork” talks about showing muhfuckas how their Glocks work. “Red Eye” tropically assuring their partners that they don’t have to be shy & after “Birthday” talks about the type of women they need when they make their trip around the sun, the closer “What Came With It” ends From the Land breaking down everything that comes with their territory.

Many including myself didn’t think this day would ever come but now that it has, From the Land ranks amongst my biggest disappointments of 2026 & could go down as the weakest album in SOB x RBE’s entire discography. I’m very happy to hear DaBoii alongside Slimmy B & Yhung T.O. getting back together after focusing on their solo careers for the past 7 years although the production is nowhere near as exciting as Family Not a Group’s was.

Score: 2/5

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vax – “Vaxination” review

Brand new sophomore effort from West Palm Beach, Florida rapper/producer vax. Someone who’s gone on to drop 8 extended plays since 2023 after beginning to make music at the age of 12 ranging from New Jazz to Forgive My Sins & Pyramid Scheme, with Is This You? following my personal favorite of the bunch Throne. Coming off #B4BlueDawn & the full-length debut Blue Dawn as well as the Steeze EP & B4VXN, the main course to the latter is finally ready to be served after several delays

“Hold Me Over” opens up with a hypertrap instrumental pleading for his bae to not switch up on him whereas the self-produced “Angel” kinda has some digicore undertones to it asking whether or not this woman can be honest with his love. “Obey” talks about doing whatever the individual he’s addressing wanted him to do without asking any questions while “Mob” lets Hostile handle the sole verse, painting imagery of the gangsta lifestyle.

Meanwhile on “Nation”, we have vax coming through with a 2-parter moonwalking like the late King of Pop Michael Jackson & aiming at heads leading into the rage-inducing “1 4 Ya” talking about getting money like he’s some sorta mad man. “Move Right” leans towards the digicore side of things again explaining that he can’t get up because he’s fried as fuck just before “Drop the Act” sends a clear message directed at people fakin’ the funk.

“Tearin’ Up” featuring Onyx77 kicks off the 2nd half of Vaxination realizing the ones who they were confident of being their soulmates not caring enough while “Correct” talks about having the ability to fuck your bitch by sending her a single text message. “Tajin” flexes how hot he is & his love for all bad bitches across the world regardless of skin color but after “Iconic” boasts his legendary status, “Take My Number” asks if this girl would be ok with having his digits.

Cochise saves my favorite guest appearance for last during “Eastside” representing the alligator state they call home while “Turn Off the World” interpolates “New Wave” by Sam Gellaitry when the hook comes around, yearning to cancel out everyone near his vicinity. “Luck” confesses the feeling of his fortune diminishing when it seems like he stumbled across a pot of gold & “End of the Day” sends off the album talking about walking away with his heart wrapped around a noose.

The averageness of B4VXN & Steeze sparked some concerns heading into Vaxination, but thankfully I’d put it above both of those EPs & behind Blue Dawn to claim the bragging rights of becoming my 2nd favorite thing vax has done all year. The production predominantly balances digicore & rage other than some secondary influences of pop rap although I feel like it’s not as cohesive as his debut was back in April.

Score: 3.5/5

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Curren$y – “Off to the Races” review

New Orleans, Louisiana rapper, songwriter & record executive Curren$y dropping his 25th LP a week after its announcement. Starting with No Limit Records in 2002, he would then hop over to Young Money Entertainment & Cash Money Records in 2006 & eventually branched out in 2008 with his own label Jet Life Recordings. The man has since made a name for himself by dropping a handful of projects every single year with my favorites including the Harry Fraud-produced Cigarette Boats, the Alchemist-produced Covert Coup, the prominently Ski Beatz produced Pilot Talk series, The Carrollton Heist, the Lex Luger produced Motivational Speech, the Statik Selektah-produced Gran Turismo & Continuance to name a small handful. Last time I covered Spitta was when he had So So Def Recordings founder Jermaine Dupri produce For Motivational Uses Only & Never Catch Us, heading Off to the Races over a year later.

“Colorblast” opens up with a smooth instrumental talking about having his passport & money on his fast car whereas the luxurious “White Linen Dinner” discusses people having their eye on everybody else’s bag. “The Telethon” featuring Rome Streetz works in an operatic vocal sample to put their foots on muhfuckas’ necks & after “Kamikaze Drive” admits to feeling alive again following the death of his friend, “Night Vision” featuring Wiz Khalifa talks about the the kind of scenery others dream of.

As for “Duffle 2 the Dealership”, we have Spitta discussing making a name for himself through his audio cocaine & the drug war while “Go So Fast” featuring Bruiser Wolf & Fendi P talks about their champagne being colder than the world. “Tightrope” moves on from there trying to take more than the average cut & once “Sound of the Rain” featuring Jazzy details their hunger for success, “Factory Settings” ends Off to the Races talking about people forgetting shit.

Coming off the Spiral Staircases & Roofless Records for Drop Tops collaborative projects he did with Larry June & Wiz Khalifa respectively, Curren$y runs it back with Harry Fraud to pick up exactly where they left off a year & a half ago flowing over the latter’s sample-heavy production enlisting only a select few guests in joining him to give us the typical stoner/luxury raps we’ve come to know him for clocking at almost a half hour.

Score: 3.5/5

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RRoxket – “High School Flunky 2” review

Atlanta, Georgia rapper RRoxket is back for his sophomore effort. Emerging in 2022 off his debut extended plays Rixhie Rixh & the full-length debut album R.I.P. RRoxket, he would go on to drop 3 more EPs Happy Birthday RRoxket as well as RRoxket Valentine and Red M&M ahead of his debut tape Red Ranger that was preluded by High School Flunky. He put out a fun self-titled effort on Black Friday 2024 after officially signing to Sony Music, coming off Rixhie Rixh II & Geek Monster to drop High School Flunky 2.

“Dork” begins with a dark plugg intro recalling a time in his life where he had a shootout on his mother’s porch whereas “Cali Weed” talks about having the feeling that the feds are tapped into him because of his mob ties. “Euphoria” has a more standard plugg vibe to it telling this girl she’ll be his honey bun if she stays down for him until “Planet Pilot” talks about young dudes touching the gat before the floss.

Continuing from there, “Pesos” cautions that it’ll take a bit of a lengthy amount of time to calm him down if anyone gets him rowdy leading into “Miami” atmospherically talking about his girl wanting some red bottoms as opposed to him desiring to stack his bread up. “Perkysex” obviously revolves around him popping percocets & fucking bitches over another plugg instrumental while “Fair” talks about his doctors advising him to lay off the meds.

“Player” reaches the midway point of High School Flunky 2 expressing his love for the Ben Franks & keeping a gun by his side while the pluggy “Cell Phones” talks about law enforcement wiretapping both of his mobile devices. “Royal Rumble” references the first of the WME Group-owned TKO Group Holdings division WWE’s big 5 pay-per-view events while “Anger” talks about calling up his shooter & so he can take a look at the new stick he bought.

My favorite track here would probably be “ATM” produced by Hariroc looking back at the days when he was broke laying on the cockroach infested floors of the trap house where he used to stay at & robbing people growing up but after “Tres Pills” asking himself why his cousin ended up betraying him along with calling out a middleman who’s acting like the plug over psychedelic synthesizers, “Picking Flowers” makes it clear that he isn’t the good guy.

“Cash Cow” gets closer towards the end talking about making a consistent amount of money whilst getting head while “Watermelon” brings these exuberant piano chords in the picture to talk about reaching an agreement for his girl to pull up & fuck. “Bad Habit” featuring B6 ends High School Flunky 2 with it’s only guest appearances, pairing both of them to discuss smoking gas out in the west coast & going cold turkey on the percs over some 808s & retro synth melodies.

Becoming the first rapper to ever graduate from Harvard University majoring in pharmaceutical beverage sciences & minoring in advanced financial display last month, it makes all the sense in the world for RRoxket to celebrate this monumental achievement than to drop a new full-length & one that I prefer more than the predecessor 11 months ago. However if he locked in with Hariroc for an entire collection of material whether it’s the next album or an EP or a mixtape, it could outdo everything he’s done previously.

Score: 3.5/5

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Twiztid – “Monsters” review

Here we have the physical exclusive 18th studio LP from Detroit, Michigan’s demented duo & Astronomicon founders Twiztid. Consisting of Jamie Madrox & Monoxide, they originally started out as part of the House of Krazees alongside childhood friend The R.O.C. in 1992 before their initial disbandment 5 years later. Almost immediately after, the Insane Clown Posse took Jamie & Mono under their wings by signing them to Psychopathic Records as who they’re known as today. They would become the label’s 2nd biggest act being their mentors off projects like Mostasteless, Freek Show, Mirror Mirror, The Green Book, W.I.C.K.E.D. (Wish I Could Kill Every Day & Abominationz. Shortly after the latter was released, Twiztid left Psychopathic to form Majik Ninja Entertainment in 2014. Since then they’ve released 8 albums & 10 EPs on their own label, my favorites of which being /ˌrevəˈlāSH⁽ᵊ⁾n/ & Glyph. Coming off Welcome to Your Funeral produced by Rob Zombie’s engineer Zeuss, they dropped Monsters on Devil’s Night.

After the intro, “No Evidence” finds them sinisterly talking about covering up the murders they committed whereas my favorite track “‘Til the Cops Come” instrumentally leans towards a funky boom bap vibe looking to party until law enforcement shuts it down. “Now I’m Homicidal” talks about murdering every last person who’s against them leading into “Don’t Sank” calling for everyone struggling to stay afloat instead of succumbing to their depression & there’s a bar where Monoxide’s clapping back at people who’ve hated them before the Psychopathic days.

“Gotta Be Me” wraps up the 1st act responding to the “I Get It, Twiztid / Deal with the Devil” diss Long Live Evil diss Alla Xul Elu put out shortly after their MNE departure & throwing their severed heads in the crowd at last year’s Hallowicked while “I Just Wanna Kill” kicks off the 2nd half talking about once again never meeting anyone they didn’t want to take the lives of. “Devil Deja Vu” makes it clear they don’t give a fuck how far out from heaven they are & the final song “I Don’t Care Anymore” preceding the outro wraps up Monsters sending a message to those who has their hearts.

It’s wild to me that Twiztid destroyed all the unsold copies of Monsters when they could’ve easily put them up on the MNE Store when Fright Fest ended & give it a streaming release set for a later day instead of having it coincide with Songs of Samhain V: Outside of Heaven because this definitely makes up for the disappointment I had with both the latter becoming the weakest in the Songs of Samhain series whether it’s the production abandoning the rock influences or the wicked verses occasionally tackling themes of mental health & nonconformity along the way.

Score: 4/5

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Alla Xul Elu – “WHellcome Home” review

Portsmouth, Ohio horrorcore trio & Long Live Evil founders Alla Xul Elu’s celebrating Halloween with their 8th studio LP. Consisting of Billy Obey as well as Joey Black & Lee Carver, they broke out a decade ago as a duo by releasing their first 2 albums Head of Horns & Sci-Co that same year. This was followed up with their 4/20-themed debut EP Necronomichron in 2017 & adding Carver into the fold shortly after, but it wasn’t until Twiztid signed them to Majik Ninja Entertainment in 2018 when the Xul Boys’ music got increasingly better. Their MNE debut The Almighty is unquestionably the greatest horrorcore album of the 2010s, their 2019 EP Church of Xul took a much darker approach, Mauxuleum made it in the top 10 of my Best Releases of 2020 list despite them ditching their signature boom bap sound for a more industrial, trap metal direction & Necronomichron 2: Dead by Bong was a superior sequel to their 4/20 EP. The Magic Xul Bus preluded their final MNE offering Gods of Evil Rise produced by Mike E. Clark, opening for Psychopathic Records & Juggalo Championship Wrestling (JCW) founders the Insane Clown Posse last Hallowicked. Coming off No Masters & Universal Perverts however, WHellcome Home is here 2 months after its initial announcement on the eve of Nic Nemeth becoming the new JCW World Juggalo Heavyweight Champion.

Following the “Introvert” intro, “Ancient Evil” comes out the gate with a hellish boom bap opener talking about the LLE never expiring whereas “All is Dead” makes themselves at home in a place where there’s absolutely no peace whatsoever. “F.Y.I.T.A.X.E. (Fuck You It’s The Alla Xul Elu)” named after a signature catchphrase of theirs expresses their love for the wicked shit keeping it dusty leading into “Doombaptism” talks about the style of music they play called “doom bap”, similarly to Necro inventing “death rap”.

“Dark Daze” moves on from there sharpening the knives they write with every single evening just before “AKA the Grave” keeps the doom bap vibes rollin’ talking about putting people 6 feet below the ground. “Dances with Worms” featuring the newest member of the Long Live Evil family Malakeye finds all 4 of them reminding us death’s everywhere while “Corpsegarden” begins the 2nd half waking up the deceased arising from parts unknown.

As for “Faith”, we have Xul reiterating the trust they continue to put putting in the Church of Xul until the danceable “AXE Slaps Hacks Backs” talking about chopping people up with an axe. Things return to the doom bap for the group to let out all of their “Invasive Thoughts” & explaining how fucked their brains are in process while “Freezer Burnt” talks about someone being left in the cold so long that they wound up getting frozen, unable to adjust the temperature.

The title track appropriately winds down the last act of WHellcome Home asking if anyone will go after them straight down to Hell’s Pit while “SINsation SELLebration” immediately talks about throwing the hottest party Hell’s ever had, spitting the wicked shit over an EDM instrumental. “Future is Fire” featuring Jahred Gomes takes it back to their signature doom bap style informing those who want to return home of the harsh reality that it won’t happen & “Homebody” finishes the full-length militantly talks about confronting their demons for their own happiness.

These guys have been on an absolute ROLL this year whether it was the clarification of Alla Xul Elu having No Masters & of course the raunchy Universal Perverts EP we got 4 weeks earlier, WHellcome Home comfortably places itself at the hierarchy of everything they’ve done in 2026 & hearing Billy announcing through social media of them having so much more material coming down the pipeline rivals the output of Chapter 17 Records CEO Ouija Macc in keeping the scene alive for generations to come.

Score: 4.5/5

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Trizz & Twisted Insane – “1950 Hallow Creek Drive” review

West coast underground veterans Trizz & Twisted Insane hailing from Inland Empire & San Diego, California respectively enlisting MIKE SUMMERS a.k.a. 7 to fully produce a new collaborative studio LP. One of whom came up when Brotha Lynch Hung signed him to Madesicc Muzicc & the other made a name for himself for pulling off the chopper style without sounding corny in addition to forming his own label Brainsick Muzik. They’ve crossed paths with each other several times over the years & 1950 Hallow Creek Drive looks to celebrate Halloween in the most appropriate manner imaginable.

After the “Whatever You Do, Don’t Knock” intro, “Treats” immediately talks about how trick or treating on Halloween got them going apeshit over a trap instrumental whereas “Hallow Fiends” featuring Bleezo finds the trio on some boom bap vibes explaining that the only thing you hear on this night of the year is the screams of their victims. “Hive Mind” blends jazz rap & trap to address their collective consciousness prior to “Horror Year” dismembering the bitch made off the top.

“Ziplock” continues from returning to the boom bap to depict the lifestyle of a gangsta while “Ebola” gives us a look at the level of sickness each of them possess. “Grindhouse” embraces a trap sound again turning up the level of wickedness together just before “MRI” talks about putting holes in the necks of anyone disrespecting them. “This Sounds Like…” heinously lets the world know what typa shit they be on & “Ransom” wraps up 1950 Hallow Creek Drive giving us 1 last gangsta rap track.

I still believe Coronella with the Psychopathic Records subsidiary Chapter 17 Records’ CEO Ouija Macc stands as my favorite collaborative effort Trizz has done, but there’s no doubt in mind that 1950 Hallow Creek Drive has earned the right of becoming a very close 2nd. Him & Twisted Insane meshing their distinctive styles of gangsta-tinged horrorcore over 7 production varying from boom bap to trap & jazz rap makes for an appropriately bloodcurdling half hour even if I felt like Bleezo’s sole guest appearance was alright.

Score: 4.5/5

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Ministry – “Hate to Go: Takeout or Delivery” review

Ministry is an industrial metal band from Chicago, Illinois consisting of keyboardist John Bechdel, drummer Pepe Clarke, bassist Paul D’Amour, secondary guitarist Monte Pittman, lead guitarist Cesar Soto & frontman Al Jourgensen. These guys have put out a dozen full-lengths within the past 4 decades, most notably The Land of Rape & Honey as well as The Mind’s a Terrible Thing to Taste & ΚΕΦΑΛΗΞΘ under Warner Records, signing to Cleopatra Records after the mixed reception of the Nuclear Blast Records-backed Hopiumforthemasses for their 17th & final album.

“Crickets” kicks things off talking about how being the time to embrace the responsibility of our inactivity if dictatorship takes its hold whereas “Voices of Hate” further elaborates their condemnation of fascism. One of my favorite tracks here would be the fiery “Clown Car” from the vocals to the instrumentation, which actually makes the messaging land. In an ironic twist of fate, “We Hate” & “Delete” might be the worst ones here. I’m talking AmeriKKKant levels of unlistenable garbage.

Kicking off the 2nd half, “Grifter” comes through with a mediocre critique regarding the idea of profiting leading into “The White Man Lied” awkwardly sounding like the True Blood theme song within itself. The thrashy “Singularity” decently addresses the rise of AI only for the “Burned Out” video contradicting all of that despite addressing important political issues across the globe, although “We’re Still Here” would go behind “Clown Car” because it does feel bittersweet.

This is like the 3rd time Al Jourgensen said he would he retire considering that The Last Sucker & From Beer to Eternity were originally billed as Ministry’s victory lap, but I’d certainly put Hate to Go: Takeout or Delivery above the latter & behind The Last Sucker. His politics haven’t changed & as much as I really want to like it for speaking up against the rise of authoritarianism, the industrial/groove metal production feels meat & potatoes.

Score: 2.5/5

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PISS – “you made me / skin on linen” review

PISS is a feminist post-hardcore/noise rock band from Vancouver, British Columbia, Canada consisting of drummer Garreth Roberts, bassist Gavin Moya, guitarist Tyler Paterson & frontman Taylor Zantingh. They’ve done several live performances within the past couple years already, but are looking to make bigger waves after signing to the Seattle, Washington indie label Sub Pop Records roughly 6 months ago so they can make their full-length studio debut following a small handful of widely revered teasers.

After the “kai & friends” intro, “i wanted to be a singer” blends noise rock & post-hardcore for Taylor to sing about learning some people only listen when you’re screaming whereas the sass/pigfuck fusion “time loop at hot slit” after the “andrea” interlude makes some powerful commentary regarding the objectification of women. After the “manon on the trial of gisèle pelicot” interlude, “a little girl’s horse craze betrays her” combines elements of hardcore along with noise rock & sludge metal looking for a way out of her body to disguise the scent that drew them out.

“there was a door” after the “toni” interlude moves on from there singing about abuse just before “how can you act opposite to this emotion?” following the “andrea II” interlude discusses never feeling safe in one’s own body again. The 2nd “blocking a scene you can’t remember” mixes post-rock, slowcore, noise rock, spoken word, post-hardcore & emo tells the story of a woman who was sexually abused by an older man.

“self-blame with thorn necklace & hummingbird” pays homage to Frida Kahlo’s painting of the same name for a 49 second pigfuck track while the 3rd & final single “Rote Zora. “Resistance is Possible.” Emma, no. 6, June 1984, pp. 39-41. 15.” after the “vikki” interlude gives us a cross between post-hardcore, noise rock, sludge metal & spoken word assuring that resistance is always a possibility. “i keep trying to change the ending” ends the album with a 7 minute outro singing about the inability of bleeding forever.

We already have a couple months left of 2026 & PISS’ inaugural LP already has the bragging rights of being the best thing Sub Pop has put out this year & dare I say: Some of the most powerful noise rock/post-hardcore to come out of the riot grrrl movement this entire decade. you made me / skin on linen’s secondary influences of spoken word, interview, post-rock, pigfuck, sass & sludge metal by including a bunch of interludes might sound tiring, but the feminist themes need to be heard now more than ever in times like these regarding misogyny.

Score: 4.5/5

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