The Neighbourhood – “(((((ultraSOUND)))))” review

The Neighbourhood is an alternative rock & indie pop band from Newbury Park, California consisting of drummer/percussionist Brandon Fried, bassist Michael Margott, rhythm guitarist Jeremiah Freedman, lead guitarist Zachary Abels & frontman Jesse Rutherford. Signing to Columbia Records in 2012, they would go on to make their full-length debut the next spring with I Love You. & Wiped Out! celebrated it’s 10-year anniversary only a couple weeks ago. Hard to Imagine The Neighbourhood Ever Changing would improve from both it’s predecessors while Chip Chrome & the Monotones would moderately fulfill their Columbia contract. They have since taken a hiatus between 2022 & this summer, joining the Warner Records roster for their 5th album.

“Hula Girl” sets up their return with a bit of a homage to Oasis singing about the feeling of being removed from his peers whereas “OMG” continues by blending elements of the Wiped Out! & Hard to Imagine The Neighbourhood Ever Changing eras lyrically calling back to “You Get Me So High” & “No Grey” respectively, which is something I believe longtime fans will certainly admire. “Lovebomb” goes for a more nostalgic vibe altogether breaking the curse that all of Jesse’s previous relationships all have in common just before “Private” sings about the relationship he has with his current girlfriend Valentina Bilbao.

As for “Lil Ol’ Me”, we have The Neighbourhood continuing to pull inspiration from Oasis with a hint of Nirvana sprinkled in this time around singing about people wanting Jesse’s soul after putting a lease on it while “Planet” incorporates a bridge reminiscent of the late Michael Jackson yearning to take back a light that was stolen. “Holy Ghost” reaches the halfway point experimenting with alternative dance singing for Valentina to hold him close whenever he feels uncomfortable or wants to give up making music while “Rabbit” begins the 2nd act of (((((ultraSOUND))))) tackling themes of agony & despair.

“Tides” keeps it rolling by throwing it back to the Wiped Out! days once again depicting a relationship built around constantly fighting & asking if they can put their differences behind them while “Daisy Chain” shifts towards an indie rock direction stylistically singing about the topic of nostalgia. “Zombie” compares Jesse to the undead because of him staying up all night waiting for a woman he’s been in contact with as of late to answer his missed calls while “Mama Drama” thematically picks up where “Daddy Issues” left off a decade earlier.

The song “Crushed” winds down (((((ultraSOUND)))))‘s final 11 minutes by taking a bit of a funkier approach in terms of sound singing about self-destruction while “Mute” apologizes in advance if Jesse’s been acting weird, attributing it to his desire of wanting to disappear & things inside his head becoming increasingly loud. “Stupid Boy” concludes the band’s comeback with a sequel to “Pretty Boy” off Chip Chrome & the Monotones, except the aesthetics of I Love You. happen to be more significantly prominent with his empathy increasing & his faith in humanity decreasing.

“Start” appropriately begins the deluxe run singing about having a difficult conversation with someone while “Good Grief” continues by admitting that he’s been having difficulty trying to get over the individual he’s addressing. “Lulu” sings about creating a self defense mechanism that allows Jesse to transform himself & experience life through a different identity while “Red Flag” suggests to set him on fire before he loses it. The final bonus track “Bed” spends the last couple minutes singing about being unsure of whether he’s lonely or alone & lying to himself to make everything seem alright.

Up until this point: These guys to me personally have always been one of those acts where they’ll occasionally wow me by putting out tracks like “Prey” or “Roll Call”, but (((((ultraSOUND))))) changes everything for The Neighbourhood returning under Warner Records for what might be their strongest LP. The production has something that all fans can enjoy recapturing every style they’ve explored during their Columbia Records tenure from alternative rock to indie pop, indie rock, alternative dance & dream pop with it’s darker & moodier spin complimenting Jesse Rutherford’s intimately self-aware lyrics revolving around heartbreak, disillusionment & emotional vulnerability.

Score: 3.5/5

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Dave McMurray – “I Love Life Even When I’m Hurting” review

Here we have the 9th studio LP from Detroit, Michigan saxophonist & multi-instrumentalist Dave McMurray. Introducing himself in 1989 off his debut album The Secret Life & returning 7 years later with the sophomore effort The Dave McMurray Show under Warner Records, he would go on to put out Peace of Mind as well as Soul Searching & Nu Life Stories between the late 90s/early 2000s until returning in 2018 by signing to the greatest jazz label of all-time Blue Note Records & made Music is Life his debut for the home of the genre’s finest. Coming off Grateful Deadication & it’s sequel, he wants to make it clear that I Love Life Even When I’m Hurting.

After the spoken word intro “This Life” by Herschel Boone, “The Jungaleers” starts with Shady Records in-house producer Luis Resto alongside drummer Jeff Canady & percussionist Mahindi Masai joining Dave to pull from Afrobeats for a nod to the high school the latter had attended whereas “Just a Thought” dedicates itself to his wife & daughter. “7 Wishes 4 G” blends soul-jazz & deep house for a love letter to “Astral Traveling” by Pharaoh Sanders leading into him covering “We Got By” by Al Jarreau.

“The Plum Blossom” by Yusef Lateef gets covered to start the 2nd half while the title track recruits Blue Note president Don Was to play acoustic bass. “Find Your Peace (4 Tani)” gives his flowers to drummer Tani Tabbal bringing the soul-jazz influences back in full effect to endearing results. “The Wheel” finishes the LP with a cover of the Grateful Dead b-side of the same name & honoring Jerry Garcia’s legacy in his own fashion.

Celebrating the love he has for the Motor City & for the many musicians he’s collaborated with, Dave McMurray comes off the Grateful Deadication series to make his greatest musical statement since Music is Life. Consisting of 6 original compositions & 3 covers in the wake of a friend of Dave’s who succumbed to illness & passed away alone, it’s admirable for me hearing him using that energy to construct a full-length themed around positivity surrounded by the most special people in his life.

Score: 4/5

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FKA twigs – “Eusexua 2: Afterglow” review

Cheltenham, Gloucestershire, England, United Kingdom singer/songwriter & dancer FKA twigs releasing a sequel to Eusexua with her 4th album. Notable in the art pop scene for her XL Recordings subsidiary Young Recordings debut EP2 after her eponymous debut EP along with her full-length debut LP1 & her 3rd EP M3LL155X. Her sophomore effort Magdalene was also acclaimed with many saying it’s better than LP1 & the same goes with her Atlantic Records-backed debut mixtape Caprisongs, releasing Eusexua at the beginning of 2025 & has followed it up almost 10 months later with Afterglow.

“Love Crimes” makes for a post-dubstep intro singing about the best time being the hardest ones to let go & advising her lover to take things slow whereas “Slushy” blends alternative R&B & glitch pop so she can create some harmony by painting her own utopia with her mind. “Wild & Alone” featuring PinkPantheress finds the 2 joining forces over a UK garage be at to sing about loving a celebrity who constantly has the feeling of isolation leading into ”Hard” pulling inspiration from Janet Jackson a little describing the way she wants to be loved.

Trip hop, illbient, alternative r&b, future garage, chopped & screwed, ambient dub and eccojams all collide on the final single “Cheap Hotel” yearning for her & her romantic interest to go all night with each other sexually at a spot behind the club just before “Touch a Girl” shifts more towards an alternative R&B vibe singing about a clever man leaving her spinning although he’s not good with women. The lead single “Predictable Girl” comes across as an internal monologue blending UK bass, 2-step, glitch pop deconstructed club, future garage & industrial techno while “Sushi” starts the 2nd half singing about wanting to take this guy out.

“Piece of Mine” starts the final moments of Eusexua 2: Afterglow balancing glitch pop & alternative R&B advising the man she’s with to relax his mind because he’s a part of her while “Lost All My Friends” could be my least favorite track here due to be heavily repetitive songwriting despite the EDM approach instrumentally. “Stereo Boy” finishes twigs’ 2nd full-length of 2025 singing about hearing the static within the titular character’s heart, allowing him to drive herself off the edge if she can land in his oils although her pain has remained even after she changed the station.

Maintaining than continuing the primary electronic dance music influences of it’s predecessor & swapping out the art pop elements in favor of alternative R&B, what was originally set to be an expansion of Eusexua has become a spiritual successor that’s more experimental than it’s counterpart. The production additionally exploring sounds of UK garage, post-dubstep, glitch pop, UK bass & deconstructed club expands on the feelings that come after experiencing Eusexua & transmuting them into a soundtrack for the hours after the rave tackling themes of freedom alongside pleasure & maximizing every moment to the fullest.

Score: 4.5/5

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Che Noir & 7xvethegenius – “Desired Crowns” review

Buffalo, New York emcees Che Noir & 7xvethegenius joining forces for a collaborative full-length studio LP. One of whom blew up after 38 Spesh signed her to TCF Music Group & the other would sign with Conway the Machine’s own Drumwork Music Group, although they have since started their own labels Poetic Movement Records & Broadband Sound respectively. We’ve heard them cross paths with each other several times over the years, elevating their chemistry in part of their quest of their Desired Crowns.

After the “Trapped in the Silicone” intro, the first song “Topanga” produced by Lord Sear sets it all off with a soulful sample for both ladies to body for a few minutes whereas “Not Me” locks in with Chup so they can talk about going pound for pound. The 3rd & final single “Sum of 2 Evils” hooks up a crooning boom bap instrumental from Conductor Williams flexing that they could fit all the money everyone’s bragging of in their purses leading into “Amina” talking about making it because of survival.

Reason joins Che & 7xve on “Flight” recalling the best thing that their mothers told them was that the sky limit’s over a V Don beat & after the “Love You” interlude, Che Noir herself works in a soul sample during “Conquer” talking about making waves by following moves. “Town Ballroom” brings a dustier vibe thanks to Khrysis coaching shit ain’t funny despite them smiling while “Breaker” prior to the “Black Girl” remix ends with them in disbelief over the goals they’ve achieved.

Almost 4 years in the making, Desired Crowns progresses a chemistry that previous cuts like “Bless the Food” or “Neck Protected” have already captured previously except 2 of the illest women in Buffalo have grown a lot artistically throughout this ongoing decade & that’s a reoccurring reminder of this album now that they’re both doing their own thing. Appropriately, Che Noir & 7xvethegenius only have 1 guest to accompany them to put all their energy towards their synergetic bonds over a consistent batch of beats for nearly a half hour.

Score: 4/5

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Boldy James – “Criminally Attached” review

It’s been 4 months & Detroit veteran Boldy James has finally returned to make his Roc Nation Records debut in the form of his 17th LP. Breaking out in the fall of 2013 off his Alchemist produced debut M.1.C.S. (My 1st Chemistry Set), there was a point where Nas’ independent label Mass Appeal Records had them on their roster for a little while before getting locked up. Once coming home, Uncle Al would help get his name back out there once getting out by dropping the Boldface EP around Christmas 2019 & then the sophomore album The Price of Tea in China. Manger on McNichols produced by Sterling Toles was as equally fantastic & the Griselda Records-backed Versace Tape EP was a tad bit disappointing given how rushed it was. Bo Jackson though would become his most critically acclaimed work to date & Super Tecmo Bo was almost as great for an EP. Fair Exchange No Robbery produced by Nicholas Craven, Penalty of Leadership, Mr. 10-08 produced by Futurewave, the Conductor Williams-produced Across the Tracks the Harry Fraud-produced The Bricktionary & the Carlo Anthony-produced Hidden in Plain Sight were all welcomed to warm reception additionally. Token of Appreciation produced by Chuck Strangers was much better than both Murder During Drug Traffic & Permanent Ink, the Antt Beatz produced Hommage left people divided although I didn’t mind it, coming off the V Don-produced Alphabet Highway & the Killing Nothing sequel Conversational Pieces respectively by showing up Late to His Own Funeral. Signing to Roc Nation not too long ago, he & Craven have decided to run it back with Criminally Attached.

“Walnut Grove” comes out the gate with a vocal sample talking about making money for a long time putting it on his grandmother Mary Lou whereas “No Blemishes soulfully explains that a membership of the gang he’s in cannot be simply claimed.“Infrared.com” talks about still being in the ghetto with all of his Zs getting calls that shouldn’t be answered on speaker just before “Fully Smack” runs up a check quickly to the point where he doesn’t have to wait in a line.

David Hill & 50 Gwuap Taj join Boldy on the soulful “Trifecta” talking about the way they see themselves livin’ leading into “Thumb of Craven” starting the 2nd half continuing the drumless chipmunk soul vibes telling the heavyweights throw up against to walk a little lighter. “Mr. Quaker Oats” featuring Poppy Bricks embraces a jazzier vibe talking about being more Richie than Lionel while “Thread the Needle” suggests you know he came from the bands the way he marches in.

“2 Left Feet” begins Criminally Attached last several minutes talking about not missing a single beat when he’s hustling in the streets over a chipmunk soul instrumental & lastly, “1st Time Around” ends with a vocal jazz flip admitting that he isn’t referring to blank disc when he mentions CDs & advising that one shouldn’t get to acquainted with the 227 Concreatures because of all the excessive gang shit that stays surrounding them.

Hard to say whether or not we’ll still get The Pop Catcher either next month or in 2026 but either way, Boldy James’ official Roc Nation Records debut & his 4th album to be entirely produced by one of my personal favorite producers of this ongoing decade joins Late to My Own Funeral alongside Token of Appreciation & Alphabet Highway for the strongest out of the handful of albums the Motor City’s finest has had to offer in 2025. Gearing up for a Super Tecmo Bowl follow-up next year also, Nicholas Craven’s drumlessly soulful production is unparalleled compared to it’s predecessor 4 months earlier & the same can be said regarding the gangsta-themed lyrics.

Score: 4.5/5

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Ty Farris – “Run Toward the Monster” review

Detroit veteran Ty Farris teaming up with Apollo Brown to produce his 12th LP. Emerging up up under the name T-Flame being featuring on a lot of projects throughout the mid-2000’s until the very end of the decade, it was at that point where he started to put out solo stuff at a prolific rate by dropping 11 mixtapes, all 11 of his previous albums & 4 EPs. Standouts include the Room 39 duology & the No Cosign Just Cocaine series, the Machacha-produced Malice at the Palace & the Graymatter produced Sounds That Never Left My Soul. Coming off Enigma with an Attitude & Timing of a Tarantula, we have 2 of the Motor City’s finest joining forces suggesting you Run Toward the Monster.

After the “Run” intro, the first song “Follow My Soul” makes for a passionate boom bap intro talking about listening to his intuitions in this cold game whereas the 2nd & final single “No Celebrations” speaks of the relentless grind it takes to reach the top. “Details” disses wankstas who portray fictitious crime they’ve committed in their music while “Authenticity” featuring Mickey Diamond finds 2 talking about their legitimacies.

“Ctrl Alt Delete” brings a bit of a psychedelic, boom, bad vibe instrumentally proclaiming his 3rd eye doesn’t ever sleep leading into “Beautiful Struggle” talks about the journey to where he is now wasn’t an easy one, but he wouldn’t have changed shit. “Sacred” works in some sampling for Ty to explain the way he feels every time he’s in front of a microphone just before “Cold is the Gun” talks about never buckling under pressure.

Kicking off the final leg, “Street Patriots” speaks of another day in the battlefield for his kind of people chopping up a vocal sample while “Traffic” talks about still going although most who were hustling beside him have fallen off. The lead single “Flawless Victory” featuring Top Hooter teams up over a flute warning of what their results will be in any beef until finishing up by asking God to have mercy for the “Young Rebels” trying to survive the fight.

A fitting soundtrack for the cold months & colder realities, Run Toward the Monster reserves the arguable right of possibly becoming the greatest musical statement of Ty Farris’ entire career for it’s grittily emotional & unapologetically honest. Apollo Brown’s production has a heavily grimy, soul-drenched grit to it compared to Funeral for a Dream earlier this summer & T-Flame’s lyrics are amongst the most mature he’s ever penned, tackling issues like survival or self-awareness & standing your ground.

Score: 4.5/5

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Tee Grizzley – “Street Psalms” review

Here is the 6th studio LP from Detroit rapper & singer/songwriter Tee Grizzley. 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 Islandwere generally mixed, coming off the sonically diverse Post Traumatic & declaring it’s Forever My Moment by spitting Street Psalms.

“In My Life” was a decent Detroit trap intro talking about not getting adjusted to being broke even though it took him a long time to get things right whereas “Walk” produced by Chopsquad DJ makes up for it from the the instrumental to Grizzley’s lyrics explaining that he balls late at night so he can party in the trenches. “Lou’s Deli” continues to head down that same trajectory in terms of quality explaining that he’s walking in the streets & stepping in the booth while “Seen Enough” featuring Polo G talks about being too deep in the water with the sharks.

As for “Make ‘Em See”, we have Helluva jumping behind the boards making it clear that he ain’t got no time to wait because he got a toddler & an infant when he’s not wrong there leading into “Chicken Different” suggest that this bitch changes her mind frame if she can’t handle what comes with the game. “Slow Me Down” makes it clear that he knows what it’s like to pray for something & then it ends up falling at your heels while “Voicemail” featuring [Rod Wave] talks about not getting sleep because of bitches abusing their numbers.

“Breath of Fresh Air” pushes towards the first half conclusion by assuring his girl that his emotions are safe with her & that he can’t wait to see her while “Van Nuys Aviation” recalling when people weren’t helping him when he needed it & wanting to take pictures with him now that he’s big. “Emotionally Intelligent” let the love of his life know that he’s constantly thinking of her & misses her dearly while “Trials & Tribulations” talks about the street shit being watered down to the point where they need to cut it out.

Continuing the 2nd half, I found the sampling on “Made It That Way” to be pretty interesting forcing himself to trap on days when he doesn’t even wanna do a damn thing while “In My Headphones” continues to show off some cool sample techniques talking about being quiet unless he means it. “Brain Cells” reunites with Helluva to hook some bells talking about the dumb shit he’s done lowering his intelligence while “Chase People” maintains the Detroit sound dismissing those calling even with him when he kept it going & they gave up.

“Back to Michigan” kicks off the final leg of Street Psalms with him & Helluva getting back together publicly admitting that 300 has given him a $20M offer in exchange for his penmanship while “Internet Detectives” takes a shot at that specific group of people. “Baby Teeski” pushes towards the end, talking about his family reasonably missing him & “New Chapter” finishes with a gospel influence speaking of having only God’s presence left.

Admittedly: As much as I liked Post Traumatic & Forever My Moment, I came away from Street Psalms enjoying it less than either or and it could be one of the weaker installments in Tee Grizzley’s discography. I appreciate the approach she took in terms of songwriting, although I don’t think the Detroit trap production was as enjoyable as the last couple projects that I previously had mentioned.

Score: 3/5

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Navy Blue – “The Sword & The Soaring” review

Brooklyn, New York skateboarder, MC, producer, songwriter, visual artist & model Navy Blue starting the week off with his 8th studio LP. Breaking out a decade ago off his debut EP According to the Waterbearer, he would go on to drop 9 more EPs & 6 full-lengths before signing to Def Jam Recordings for his previous album Ways of Knowing produced by Budgie to critical acclaim. Coming off last summer’s Memoirs in Armour EP however, The Sword & The Sword has arrived as we reach the halfway point of the month.

“The Bloodletter” begins by hooking up a drumless piano from Chris Keys advising that you don’t have to die in order to live again whereas the only single “Orchards” takes the boom bap route instrumentally with some strings to talk about being on an other journey of self-discovery. “God’s Kingdom” produced by Graymatter gets back on the drumless vibes finding himself unable to cry lately since his uncle Carl passed while “Sunlight of the Spirit” soulfully talks about life being to beautiful to hide the way he’s living.

Moving on from there, “Guardadas” keeps it drumless calmly desiring for peace & recognition just before “My Heartbeat” heads for a jazzier boom bap direction talking about not being defined by who he’s living for soaring through an existential war. “Tale of the Truth” strips the drums once again trying to tone down the voices depriving him of his patience leading into the self-produced “Fight On” talking about love being the very thing he’s fighting for.

“Kindred Spirit” starts the 2nd half remembering the late Ka in light of his tragic passing 13 months earlier over a saxophone while “If Only…” brings a bluesy guitar in the fold apologizing for not returning calls due to falling back. “Illusions” maintains a drumless sound talking about looking high & low when he was high & low while “24 Gospel” featuring Earl Sweatshirt finds the 2 abstractly bodying a gospel sample that Animoss flipped.

To kick off The Sword & The Soaring’s final quarter, “Here & Now” jumps over a sampled piano for a couple minutes explaining his pain is where his day resides while Sebb Bash gives “Soul Investments” an appropriately soulful edge to it asks why he’s on with keeping lesser if he has more to gain. “Sharing Life blends these luscious keys & a flute talking about fatherhood while “The Phoenix” comes to the realization that the trials & tribulations have taught him he’s worthy of affection.

Navy Blue’s entire discography has been defined by his introspectively abstract lyricism & drumless production, but his newest album takes his use of music as a therapeutic outlet to newer territories having The Sword thematically representing an earthly tool used for the battle he’s cohesively describing or in this case grief & The Soaring symbolizing the heavenly council. The production on this one is soothingly peaceful handling only 25% of it himself & Ka would certainly be proud of the way he’s being honored if he was still here.

Score: 4.5/5

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Hatch Wiseguy – “Dirt & Diamonds” review

Hatch Wiseguy is a 37 year old MC from Detroit, Michigan making his full-length debut 2 decades ago with Wise Guy & following it up with an EP called Likewise. He would later go on to receive co-signs from local veterans like Royce da 5’9″ & Trick-Trick to established icons like The LOX & the late DMX, even forming a duo with Pony Evans called Role Idols. I also thought that he had the best performance of the 3 on the track he contributed to off Blizzard’s debut album Duel with Death, so hearing that he was returning for a sophomore effort felt long overdue in my personal opinion.

“To Whom It May Concern” produced by Foul Mouth starts off by hooking up a piano-based boom bap instrumental playing with fiery Hell like 2 magnums whereas “Pop Off” featuring Astray & Paradime finds the trio over a more jazzily soulful instrumental from Blizzard talking about needing head doctors since they’re so crazy. “Prolific” flexes his status with the pen continuing to demonstrate Foul’s ear for sampling just before “Foreigner” lavishly talks about popping overseas with his Gs.

38 Spesh joins the Wiseguy on the grimy boom bap collaboration “Yikes” giving no fucks as to what these pussies are like out here these days leading into “Snakes” featuring Astray reuniting the 2 to call out those exact kind of people scheming behind their backs over a dusty beat. “We Outside” featuring Bizarre gets together to give the audience that raw shit prior to “Leap Frog” featuring Marv Won talking about both of them hurdling over all these bitches, with Hatch referencing WWE Hall of Famer Mike Tyson alongside the greatest basketball player of all-time Michael Jordan & the late king of pop Michael Jackson.

“It’s Not Ok” featuring KXNG CROOKED begins the 2nd half with both artists looking to keep angels by their side whenever they’re out because of devils following them while the drumless “Make You Proud” talks about having to learn some lessons the hard way & seeing his father pass away in front of him. “Seeing is Believing” brings the kicks & snares back in the fold humbly living his dreams until “Chill” scoffs at these group of people acting like bitches. “Bare My Soul” featuring Astray explains that he made this album because there’s not enough love being spread these days & “Nincompoop” wraps things up with some shit-talking.

Intentionally making this a niche boom bap project for those who truly appreciate the craft & artistry of lyricism & hip hop at it’s most traditional instead of the casual rap listener or a sing-a-long crowd, Dirt & Diamonds checks all the boxes in regards of making it a triumphant comeback from very personal moments to bangers, stories, lyrical exercises & some good ol’ bops. Pulling a lot of strings to include some of the top talents in the genre from features to production & even live instrumentation, it’s like he’s catching up with all of us as to what’s been going on with him & his growth since the last time he dropped forever ago.

Score: 4/5

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Danny Brown – “Stardust” review

Detroit, Michigan emcee Danny Brown staying with Warp Records for his 7th LP. Emerging as a member of the Rese’vor Dogs in the mid-2000s, he would go onto form the Bruiser Brigade at the start of the previous decade & put out his debut album The Hybrid shortly after. This resulted in him signing with Fool’s Gold Records & delivering a near perfect sophomore effort XXX the next year, which was followed up with Old in 2013 as well as his 2016 magnum opus & Warp debut Atrocity Exhibition. Coming off uknowhatimsayin¿ in 2019 & what was originally supposed to be his final Warp Records album Quaranta, the Motor City’s finest has decided to stick around & have them drop Stardust.

Quadeca’s ethereal instrumental on “Book of Daniel” matched with Danny’s lyrics confidently talking about making it by the end of the night couldn’t have been a perfect combination to set it all off whereas “Starburst” fuses experimental hip hop, hardcore hip hop, industrial hip hop, bubblegum bass, trap, hybrid trap, deconstructed club, poetry & wonky for a speechless 2-parter showing no pity for a clout-chasing succubi.

“Copycats” combines pop rap, electropop, electro hop, electro house, grime, hyperpop, electro hop, dance-pop & bubblegum bass into 1 thanks to underscores expressing the importance of staying authentic in a world full of imitators just before “1999” featuring JOHNNASCUS works in some skittery synthesizers from the former Spider Gang member himself to tell us that the world truly ended a quarter of a century ago referencing Y2K.

Meanwhile on “Flowers”, we have Danny over an EDM beat talking about persevering through the hardest times of his life leading into “Lift You Up” embracing a hip house vibe instrumentally suggesting to move slower as a result of things going too fast. To conclude the 1st act, “Green Light” shifts towards a bit of an industrial hip hop/pop rap direction telling the love of his live that nothing won’t stop him from giving.

“What You See” reunites with Quadeca to begin the 2nd half on a colorful note wanting to know what their lovers see in them specifically & once “Baby” featuring Rodney Chrome finds the pair coming together to talk about being the perfect type of guys, ISSBROKIE joins Danny during “Whatever the Case” so they can clarify to those in pain due to their hustle that they won’t be knocked off their axis.

Femtanyl’s drum & bass influence throughout “1L0v3myL1f3!” is pretty cool talking about enjoying how things are going in his life because he has his paper up right when some tried counting him out while “Right from Wrong” advises to continue the journey & focus more regarding what’s ahead of us. “The End” featuring Ta Ukrainka links up for a bilingual 3-parter produced by Cynthoni & Quadeca, but “All4U” featuring Jane Remover stands as the true outro doing everything for those who take the time out to listen to their music.

Not to be mistaken with the lowest point of the current 2-time WWE Champion Cody Rhodes’ entire career, Stardust isn’t necessarily superior compared to Atrocity Exhibition but what I can say that it’s an admirable foray into electronic dance music after getting sober. He’s essentially telling about his recovery from addiction & finding joy in art again through the lens of a 90s-era semi-autobiographical popstar named Dusty Star additionally exploring the styles of pop rap, hardcore hip hop, bubblegum bass, deconstructed club, hyperpop & industrial hip hop.

Score: 4.5/5

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