Twiztid – “Generation Nightmare” review

Twiztid is a horrorcore duo from Detroit, Michigan consisting of Jamie Madrox & Monoxide. The duo started off as members of the House of Krazees with The R.O.C. before splitting off in 1997, eventually being taken under the wings of the Insane Clown Posse & signing to Psychopathic Records shortly after. They ended up staying with them for 15 years & sporadically wrestled during the first few years after Juggalo Championship Wrestling (JCW) was formed, leaving the hatchet at the end of 2012 to form their own label Majik Ninja Entertainment in 2014. But now coming off the final Vans Warped Tour last summer as well as the 2nd year of their own annual pop culture convention a couple months ago, the demented duo & Astronomicon founders are back on the scene with their 12th full-length album.

After the “Live Forever” intro, we dive into the first song “Phlegm in the Windpipe”. A rap metal fusion where Jamie & Paul pretty much take a jab at society. The track “Speak Of” talks about being unique over an instrumental with some rubbery bass & a quirky synth while the song “Something New” speaks of changing the game over an abrasive beat from MIKE SUMMERS a.k.a. 7.

The track “Siamese Amazement” is a throwback to the punk sound that they dabbled with on Mutant, Vol. 2 while the song “Sick Mind” talks about being insane over a bass-heavy trap beat from Godsynth. The track “Here with the Dead” vents about their stresses over an empowering instrumental while the song “Disappear” talks about escaping drama & the chaotic beat is perfect.

“Bring Me Back” serves as an energetic companion to the previous joint while the song “Magic Spellz” is pretty much a refined sequel to Twiztid’s last attempt at going nu metal on “Nothing to You”, which landed on their previous album The Continuous Evilutions of Life’s ?’s. However I don’t know if it’s just me, but Monoxide kinda sounds like he’s impersonating Eddie Vedder on here.

The track “Livin’ @ the Bottom” talks about celebrating themselves over a Three 6 Mafia influenced trap beat & after the short but motivating Jamie solo cut “Skit 17”, the song “Let It Flow” boasts about their skills over a minimalist beat. The track “Don’t Be Hatin’” with Young Wicked pretty much speaks for itself over a bouncy instrumental while the song “Role Models” makes clever references to all of the celebrities who’ve committed heinous sexual acts lately over a gloomy beat.

“Wreck” to me sounds like a cliched rock song that you can find in a sports video game while the song “If It Matters What I Think Now” is a dedication to people who have their backs over an acoustic guitar passage with some drums thrown in. The track “4 the Nightmare Children” is a grimy ode to the outcasts & after the “End of the Beginning” outro, the final song “Strike” is a gruesome showcasing of Twiztid’s newly formed supergroup with Alla Xul Elu called the Venomous 5.

At first in felt that Generation Nightmare was better than Fearless Fred Fury because I was disappointed with it altogether even after the fact that parts of the “Fury!” video were filmed at my uncle’s store. However the more I’ve sat with it, I happen to find myself going back to Fearless Fred Fury & even it’s bonus EP Flip the Rat a lot more comparison. The production is kinda catered to that Warp Tour sound which makes sense considering that they performed as part of last year’s Warp Tour lineup & they previously performed in ‘03 Warp Tour, it’s that the results are decent.

Score: 3/5

Kevin Abstract – “ARIZONA baby” review

Kevin Abstract is a 23 year old rapper, singer/songwriter, producer & director from Corpus Christi, Texas who made his debut in 2014 with MTV1987. He followed it up 2 years later with the fantastic American Boyfriend: A Suburban Love Story & then the following year, he rose to stardom as the de facto leader of the best boyband since 1 Direction themselves BROCKHAMPTON. However after a rough 2018, he’s back with his 3rd full-length album.

Things start off with “Big Wheels”, where Kevin raps about his personal demons over a synth & some hi-hats from Jack Antonoff & Romil Hemnani. Not a bad opener, but it sounds unfinished. The next song “Joy Ride” melodically reflects on how he would never listen over a some soothing horns while the track “Georgia” talks about being at peace over a relaxing instrumental. The track “Corpus Christi” raps about feeling like a loner as well as addresses Ameer Vann being kicked out of BROCKHAMPTON over a prominent synthesizer while “Baby Boy” is a full-blown psych-rock that touches down on an ex.

The track “Mississippi” is a somber R&B cut telling his loved ones not to get it twisted with him while the song “Use Me” reflects on going from growing up rough to being successful over an atmospheric beat. The track “Peach” by Geezer is a psychedelic tune about a past relationship while the song “American Problem” literally sounds like a leftover from Childish Gambino’s last album “Awaken, My Love!”. The penultimate track “Crumble” is a guitar ballad about getting back to his lover & then the album finishes with “Boyer”, where Kevin talks about how he & this guy can’t run forever over a banger beat.

While it’s no American Boyfriend 2, this in my opinion is still the 2nd best release in Kevin’s solo discography. He continues to show how diverse of an artist he is & the production is detailed, but he drowns in his influences on some of these cuts to the point where it’s distracting. Noneless, it’s still worth checking out if you’re a big BROCKHAMPTON fan.

Score: 3.5/5

Erick Sermon – “Vernia” review

Erick Sermon is a 50 year old MC & producer from Islip, New York known for being a member of EPMD & the Def Squad. However, it was’t until the early/mid 90s where he made his solo debut No Pressure & followed with a sophomore effort Double or Nothing under Def Jam Recordings. Following the DreamWorks Records-backed Erick Onasis as well as Music & React under J Records, he contemplated retiring in the summer of 2004 with Chilltown, New York under Universal Music Group. He fortunately made a flawed yet solid comeback over a decade later with E.S.P. (Erick Sermon’s Perception) & he’s at it again with his 8th full-length album.

After the “Payne Intro”, the first song “Wake Up (No Fear)” brags about his skills over a futuristic instrumental while “Da Wave” continues the lyrical themes of the previous joint over a vintage Rockwilder beat. “Tha Game” featuring AZ & Styles P sees the 3 dissing people only out for the fame over a bass-line & a soul sample while “Go” with No Malice talks about life in the streets over a luscious boom bap instrumental.

“My Style” with N.O.R.E. & Raekwon sees the 3 showing all of their unique styles over a laidback soul sample while “That Girl” with Big K.R.I.T. is a smooth dedication to Southern womenz “Cabinet” shouts out a plethora of legendary MCs over yet another funky instrumental & “Stay Real, Pt. 2” with Keith Murray & Nature is a fantastic sequel to a highlight off No Pressure.

The song “Zion” with Xzibit alongside David Banner & even Shaquille O’Neal spit battle bars over a boom bap beat with a sinister piano lead while “May Sound Crazy” with Devin the Dude & Too $hort finds the trio getting romantic over a g-funk beat from DJ Battlecat. “300 E” is essentially E-Dub charismatically boasting over a beautifully futuristic instrumental from Rockwilder album & it all finishes with the Apathy produced title track, which is a heartwarming dedication to his grandmother.

E.S.P. (Erick Sermon’s Perception) still has its after all this time, but Vernia sticks out as the greater album of the 2 he’s given us since making music again. Only a couple tracks I could’ve done without yet through it all, Erick really sticks to his guns lyrically remembering his late grandmother Vernia Mims with the guests mostly adding into the equation & the production mostly handled by The Green-Eyed Bandit himself is top notch including the contributions from a few noteworthy great producers.

Score: 4/5

Tech N9ne – “N9NA” review

This is the latest full-length outing from the highest-selling independent hip hop artist of all-time; the King of Darkness himself: Tech N9ne. If anyone is far behind in his catalog, the dude has made himself one of the hardest working men in the culture by dropping at least 1 or 2 albums a year since 2016 & his previous one Planet ended up being one of his best ones yet. However with a new tour starting earlier this week, he’s celebrating by releasing his 21st album.

After the “Le Horde” intro, we dive straight into the first song “Lord of Weird”. Where Tech pretty much proclaims himself as just that over a gloomy trap beat. The title track serves as a reintroduction for N9na’s new fans with MIKE SUMMERS a.k.a. 7’s trunk-knocking production fitting like a glove while the song “Hit the Ground Running” with JL & King Iso sees the 3 talking about how no one can stop them over a trap beat with some acoustic strumming over an eerie beat. The track “Like I Ain’t” reflects on his accomplishments while the song “Green Lit” with Iso alongside Tech’s latest Strange Music signee Maez301 sees the 3 calling out people who double crossed them over an infectious instrumental.

The track “Chuki Fever” is a shot at everyone jealous of his success over a somber trap beat while the song “Fuckin’ Do It” with Futuristic & JL is a decent alcohol anthem with a skeletal trap beat. The track “Don’t Let Me Fall” is a boring diatribe of a 1-night stand with a simplistic beat while the song “You Line!” with Krizz Kaliko viciously attacks frauds with a perfectly suiting beat. The track “EDI’s” serves as a tribute to edibles with a monstrous beat while the song “Rata” takes a surprising direction in Latin territory & it somehow works.

The track “F.T.I. 2.0” serves as a vicious sequel to the iconic “Fuck the Industry” off his 2001 classic Anghellic while the song “She Fell” is a moody sex tune with a horrendous hook. The track “Sink” talks about depression with a gorgeous bass-line while the song “H.O.B. (History Of Bitches)” talks about crazy chicks trying to come back into his life over an atmospheric beat. The track “Ion Memba” recalls his past addiction with an average C-Mob verse over a spacey bass-heavy beat while the song “Active” talks about gang life over a nocturnal instrumental.

The track “EF U (Easier For You)” with Jelly Roll is a heartfelt dedication to the broken with a pretty guitar passage while the song “I’m Caught Crazy! (4Ever)” is essentially Tech embracing his insanity over a nocturnal instrumental. The closer track “I’m Sorry” is a triumphant ode to his family & then there’s the bonus track “Disparagement”, where he & King Iso diss their haters over a generic trap beat.

While I personally prefer Planet, this is still a solid listen. Of course Tech brings his A-game lyrically & I like how he kept the features minimal just like that previous album, but some of the production choices on this one in comparison could’ve been better.

Score: 3.5/5

Camouflage Regime – Self-Titled review

The Camouflage Regime is a newly formed hardcore hip hop duo consisting of 2 East Coast underground heavyweights: former Juice Crew member Tragedy Khadafi & Army of the Pharaohs leader Vinnie Paz. The 2 have collaborated with each other a couple of times in the past (most notably the iconic Jedi Mind Tricks joint “Genghis Khan”) but now, they’re teaming up for their highly anticipated debut.

The album kicks off with “Bloody Jungle”, where Paz & Tragedy get murderous over an eerie Stu Bangas beat. The next song “Canaan’s Bracelet” with Agallah sees the 3 spitting that gun talk referencing WWE Hall of Famer, former WWE Champion & WWE Tag Team Champion The Iron Sheik over a piano-inflicted boom bap beat while the song “A Warrior’s Fate” is laced with vicious battle bars over a sinister beat. The track “Cinematic Echo” boasts about their skills over a soulful beat while the song “Jummah Rituals” gets back on the violence tip over an apocalyptic beat.

The track “Fibre Optic Weapons” with Ill Bill sees the 3 vividly describing life in the streets over an ominous beat while the song “Nocturnal Militia” talks about how they ain’t ready to die over another keyboard-inflicted boom bap beat. “The Most Gracious” pretty much speaks for itself over a piano & some strings while the song “Thought Machine” gets conscious over an abrasive beat. Lastly, the closer “Persian Legacy” talks about being military minded over a boom bap beat with some keys & a killer guitar.

It’s been a few years coming & at the end, I enjoyed it. Paz & Tragedy could’ve padded it out with a few more tracks, but their chemistry really shines & the raw production suits them fantastically.

Score: 4/5

Anderson .Paak – “Ventura” review

Anderson .Paak is a 33 year old rapper, singer/songwriter & producer from Oxnard, California who gained notoriety by landing a handful of features on my all-time favorite producer Dr. Dre’s 3rd & final album Compton: A Soundtrack by Dr. Dre in 2015 as well as forming the duo NxWorries with Knxwledge & signing to Stones Throw Records together that same year. He then dropped one of the best R&B albums of the decade with Malibu at the beginning of 2016 & that lead to Dre officially signing him to Aftermath Entertainment a few weeks later. But with his fantastic major label debut Oxnard dropping 5 months ago, it seems like .Paak is now delivering a follow-up.

Things start off with “Come Home”, where .Paak & André 3000 fresh off his role in the A24 Films sci-fi horror High Life ask for their former lovers to reconcile over a jazzy beat & a WWE reference during 3 Stacks’ verse. The next track “Make It Better” talks about mending over a smooth instrumental from Fredwreck & The Alchemist alongside a gorgeous Smokey Robinson hook while the song “Reachin’ 2 Much” is an infectiously funky odyssey about this woman who is excessive for him. The track “Winner’s Circle” is a lust anthem over a beautifully minimalist instrumental while the song “Good Heels” with Jazmine Sullivan sounds like an unfinished duet.

The track “Yada Yada” brushes off his naysayers over a mellow instrumental while the song “King James” of course pays tribute to the Los Angeles Lakers player LeBron James over a funky instrumental. The track “Chosen One” is a dedication to .Paak’s potential soulmate over a spacey beat while the song “Jet Black” talks about this couple peakin’ over a laidback beat. The penultimate track “Twilight” is about this woman who puts .Paak back in place over a vintage Pharrell instrumental, but then the closer “What Can We Do?” is a duet with Nate Dogg about moving on from a past relationship over an uplifting instrumental.

Yeah, it’s just as amazing as the last 2 albums were. There are a few underwhelming moments, but .Paak’s sticking to his R&B guns again in contrast to Oxnard & he continues to show how dynamic of an artist he really is.

Score: 4.5/5

Diabolic – “Collusion” review

Diabolic is a legendary underground MC from Long Island, New York who made a name for himself by battle rapping in the very late 90’s/early 2000’s. However, it wouldn’t be until 2009 that he would release his debut album Liar & a Thief. Which was solid, but he would eventually outdo himself 5 years later with the release of Fightin’ Words. But now, another 5 years has passed & he has teamed up with Vanderslice to help him return with his 3rd full-length album.

After the intro, we go into the first song “Think of That”. Here, Diabolic talks about returning to the throne of hip hop over a soulful boom bap beat. The track “Jitterbug” talks about not crossing him over an instrumental with a prominent keyboard & synthesizer while the song “Normalize” vividly describes the criminal activity he involves himself in over a perfectly sinister boom bap beat. The track “See the Light” with NEMS gets cold-blooded over an eerie beat while the song “Who We Are” with Tre Mark Star, Coast & John Jigg$ is about how living rough made all 4 of them the people they turned out to be today over a spacious instrumental.

The track “Other Side” talks about living like he’s on his way to death over a vicious beat while the song “Once Again” is laced with deadly battle bars over a jazzy beat. The track “Simon Phoenix” boasts about his skills over a haunting beat referencing WWE Hall of Famer Pete Rose & before the album finishes with the outro, the final song “Last Day” with Coast sees the 2 talking about keeping it live forever but the beat on here is just ok to me.

All that being said: I think this was a dope comeback for Diabolic. It’s a bit too short as it only runs a little over a half hour, but he & Vanderslice display a pretty great chemistry together from start to finish.

Score: 3.5/5

Yelawolf – “Trunk Muzik 3” review

Yelawolf is a 39 year old rapper, singer & producer from Gadsden, Alabama who first came onto the scene in 2005 with a mediocre debut album Creekwater. It wasn’t until the kickstart of 2010 with the release of his breakout tape Trunk Muzik that he would gain attention, eventually signing to Shady Records/Interscope Records & releasing his sophomore album Radioactive: Amazing & Mystifying Chemical Tricks the following year. A focused grouped, yet still fun major label debut. He then returned in 2015 with Love Story, where he started to incorporate country & rock music into his style. But when his childhood friend Shawty Fatt passed away at the tail-end of 2016, it caused him to disappear from the scene for a while. He fortunately returned with his previous album Trial by Fire, which is pretty much a self-produced & refined sequel to Love Story. Now after dropping a total of 8 vicious freestyles, he’s returning with his 5th full-length album & his last with Shady/Interscope.

The intro kicks things off fantastically, as it pretty much serves as a sequel to Trunk Muzik‘s title track from Yelawolf’s angry bars down to WLPWR sampling the original “Trunk Muzik” song itself. The next track “Catfish Billy 2” of course is a gritty follow-up to the cut that introduced the world to Yelawolf’s alter ego to begin with & even though I appreciate the song “Rowdy” for being a description of coming from the gutter as well as an abrasive beat from DJ Paul (who also provides an adrenaline pumping hook), the MGK verse is laughable. The track “Special Kind of Bad” is a violin & bass-heavy love ballad that’s goes over very well, but the next song “Like I Love You” is a cringey follow-up to it with a moody trap beat. The track “Drugs” is a look at addiction over a somber beat while the song “Trailer Park Hollywood” talks about looking country fresh & the beat is perfect for the whip.

The track “No Such Thing as Free” with Caskey & Doobie is a jab at people who talk crazy over an eerie beat while the song “We Slum” with Shawty Fatt & Big Henri is self-explanatory over a banger beat. The track “Box Chevy VI” with Rittz & DJ Paul is a tribute to old school Chevrolets over a vintage Paul instrumental while the song “All the Way Up” with MopTop & Cub da Cookup Boss is a look at their feelings on fame over some keyboards & skittering snares. The track “Over Again” is a somber breakup anthem with a cloudy beat while the song “Addiction” tells the depressing story about a friend of Yelawolf’s over a piano infused boom bap beat. The album then closes out with “Over Here”, where Yelawolf disses rappers who’re only out for the fame over a settle guitar & some thumping kick-drums.

With Yelawolf’s tenure at Shady Records being over, this is the best full-length album he’s released yet. The features are hit or miss, but it’s a great return to form of his earlier work from his deadly lyricism all the way down to the menacing production. Really looking forward to the future as he is now a fully independent artist.

Score: 4/5

Onoe Caponoe – “Surf or Die” review

Brand new album & the 3rd overall from Perivale, West London, England, United Kingdom emcee/producer Onoe Caponoe. Introducing himself in the early 2010s off his debut mixtape Central Control as well as Willows Midnight Gallery & Holy Mountain, it wasn’t until The Staircase to Nowhere caught the attention of High Focus Records & made his full-length debut for the label with Voices from Planet Cattele during my senior year of high school. Spells from the Cyclops continued Onoe’s evolution & had me hoping Surf or Die.

After the introductory skit, the first song “Suicide City” begins with a mix of Bionic from the London Posse & early Pro Era kicking flows over a nostalgic boom bap beat whereas “Red Planet” goes for a more cloudy Memphis trap vibe inciting an intergalactic mosh pit. “Ms. Universe” feels instrumentally reminiscent of A Tribe Called Quest’s late 90s output telling the woman he’s been seeing that he can make the stars shine while “Blood Moon (City Hunt)” shifts treads the trap waters again discussing 169 coming through the back door.

“Valentine’s Massacre” returns the boom bap after the compositional “Carnival of Souls (Hypno Pop)” piece abstractly referencing the murder of seven members & associates of Chicago, Illinois’ notorious North Side Gang just before “Graveyard Funk” shows off a bit of a Bone-Thugs-n-Harmony influence with a Memphis twist to it. “Behind the Wall of Sleep” talks about the good living forever & bad croaking whenever their time comes leading into “Chop ‘Em Down (Mosh of the Dead)” featuring L-Zee Roselli ending the 1st half of Surf or Die with an aggressive crunk gangsta rap fusion.

After the “Last Bittersweet Moment” instrumental intermission, “Heathers” smokily recalls a woman he met during the summertime & getting far away from people together while “Spaceship Funk / Cat on the Roof” talks about being swerved out in our solar system ahead of the spoken word outro during the 2nd half. “Raincloud” brings some jazzy piano chords in the fold speaking hearing voices in the back of his head like the Harry Potterfranchise antagonist Voldemort while the trap-flavored “Phone Call” produced by Telemachus talks about stepping out engulfed in flames.

“Crazy Cat Coffee Party” takes inspiration from jazz rap once again flexing that he’s been high in the sky & there being nobody higher than him generally while “Yellow Brix” confesses to being afraid of changing. “Lost the Love” smoothly samples “Running Out of Time” by Rexy realizing his mind’s true potential & the final song “Cymatics” prior to the “Black Sun (Love’s Key)” outro jazzily leaves a trail of flames behind when it’s time for him to go off.

Capturing the turbulence within Onoe Caponoe’s life these past couple years, I have no doubts of Surf or Die being heralded as the greatest LP in his entire discography & amongst the top 5 projects throughout High Focus Records’ most for years to come. The prominent experimental hip hop direction of Spells from the Cyclops ventures further out in favor of boom bap, jazz rap, cloud rap, Memphis rap, trap & sound collage getting a lot more lyrically abstract than what he’s done previously.

Score: 4.5/5

Logic – “Supermarket” review

Logic is a 29 year old rapper who came up at the beginning of the decade with his Young Sinatra series of mixtapes. His first 2 studio albums Under Pressure & The Incredible True Story showed more promise of his potential, but pretty much everything after that saw him taking a total nosedive. However with a new novel out now, he saw fit to release a new album accompanying it.

The “Bohemian Trapsody” has a pretty acoustic instrumental, but it sounds half-written. The next song “Can I Kick It?” is a buttery bastardization of the iconic Tribe Called Quest song with the same name while the song “Time Machine” is a cringey piano ballad about saving this chick (presumably his ex-wife Jess Andrea). The song “Pretty Young Girl” is a decent acoustic tribute to one of Logic’s Day 1 while the title track insists that he’s not a stalker, but yet he’s obsessing over this chick to the point where he goes to her job just to see her & fantasizes over her constantly. The song “Baby totally ruins Biz Markie’s “Just a Friend” while the track “By the Bridge” is pretty much Logic whining about why this woman doesn’t love him over another acoustic instrumental.

The song “Best Friend” is an acoustic love ballad that goes over pretty decently while the track “Lemon Drop” talks about setting this woman free over some funky guitar licking. The song “I’m Probably Gonna Rock Your World” is a hilariously sappy sex tune with a dreamy instrumental from Mac DeMarco of all people while the track “Vacation from Myself” talks about not needing sophistication over a mellow instrumental. The song “DeLorean” is another love ballad filled with Back to the Future & then the closer “I Love You Forever” is pretty much a boring diatribe to Jess.

I don’t know what else to say about this, it’s easily the worst thing he’s ever done. I can appreciate Logic for stepping out of his comfort zone & the production is cool for the most part, but the instrumentals tend to wear thin by the end. On top of that: his singing is awful & the lyrics are cornier than anything he’s been putting out since ΞVERYBODY.

Score: 0.5/5