Gorilla Voltage – “Gods & Claws” review

Gorilla Voltage is a hip hop duo from San Jose, California consisting of Mr. Grey & ClockworC. They originally came up as The Damn Dirty Apes in 2015 & released their self-titled debut that same year, changing their name after Twiztid signed them to Majik Ninja Entertainment on Christmas Day that following year. Their sophomore album Ape-X was released a couple months later & now to kick off 2019, they’re delivering their 3rd full-length album after appearing at the first annual Astronomicon a year ago next month.

The album kicks off with “Handful of Matches”, which talks about arson over a bass heavy beat. The next track “Ape Shit, Pt. 2” serves as a menacing sequel to a highlight off their 2015 debut while the song “Let Go” with Dot Bundini reflects on their past over a boom bap beat with some sinister horns. The track “Good Die Young” talks about how ruthless they are over a boom bap beat with some strings while the song “War Zone Dome” talks about internal conflict over a chaotic beat. The track “Generation Fool” is an adrenaline pumping take on rap metal while the song “Westilence” is filled with vicious battle bars over an instrumental with a prominent tuba.

The track “Feeding Time” brags about them taking over the game over a sinister beat while the song “Rocks in My Socks” talks about drug dealing over a hyphy beat. The track “Spaz Out” is a flawless mosh pit anthem while the song “Doomsday” vividly describes an apocalypse over a booming instrumental with some 8-bit synths. The track “Mad Scientist” with Kung Fu Vampire is a lyrical onslaught over a thumping beat while the song “Pub Crawl” is a flawless display of the duo’s chemistry over a chaotic beat. The penultimate track “No Rivalry” tells the story of a robbery over a monstrous beat & then the closer “Hatefuck” is a beautifully slow, smooth & melodic love anthem.

Ringing in the new year for MNE by delivering their best work yet, Gods & Claws makes some great improvements above Gorilla Voltage’s debut a couple years earlier a while after securing their label deal & dethroning The Damn Dirty Apes. There are some occasional weak spots here & there, but the production & lyricism have both stepped up for the most part & I also love how ClockworC & Mr. Grey take on many different styles of hip hop on here.

Score: 4/5

Bang Belushi – “The Adventures of Bang Belushi” review

Bang Belushi is an MC from Detroit, Michigan who came up as 1/4 of the world famous Fat Killahz. Since the group’s hiatus beginning in 2011, he’s released a few EPs with 2 of them being under his own name & the other one being a collaborative effort with fellow Fat Killah King Gordy. But now with just a few days left in 2018, the newly founded Middle Finger Music is helping him in giving fans his long-awaited full-length debut with the label’s co-founder Foul Mouth producing it in it’s entirety.

After the intro, we go into the first song “Gotta Go”. Here, Bang gets boastful over a smooth boom bap beat. The track “That Loud” is a weed anthem with a prominent flute while the song “I Love Fast Food” pretty much speaks for itself over a grimy beat. The track “Do the Bang” is a charismatic party anthem while the song “DrinkSmokeWeedFuck” vividly describes his Saturday nights over a boom bap beat with some vibraphones. The track “Simple” with Nolan the Ninja sees the 2 getting on some fly shit over some funky guitar licking while the song “I Think I’m ODB” with A-Minus talks about how wreckless they are over a boom bap beat with some horns.

The track “For Years” talks about his place in the rap game over a soulful beat while the song “Rhyder Daddy” is a heartfelt tribute to Bang’s daughter complete with a settle beat. The track “Shooter” with King Gordy & Guilty Simpson sees the 3 getting vividly murderous over an organ-inflicted boom bap beat while “The Zone Out” with Isaac Castor sees the 2 talking about relaxation over a spacey yet jazzy beat. The song “Blowed Everyday” speaks for itself over a laidback beat while the track “Bloodsport” feels like a perfectly haunting sequel to “Bang & the Barfly” off of Aztek the Barfly’s latest magnum opus Line King. The album then finishes with “Middle Finger Rap”, where Bang fantastically sets the vibe complete with some eerie choir vocals.

It’s been a long time coming & at the end, Bang’s magnum opus is over here is a fantastic example of why I think Middle Finger Music is starting to become one of the most consistent labels in hip hop. There are a couple features that I personally didn’t care for but other than that, Foul Mouth continues to prove himself as one of the best producers in the game today & it suits the raw unfiltered lyricism that is displayed from beginning to end.

Score: 4.5/5

21 Savage – “i am > i was” review

21 Savage is a 26 year old rapper & producer born in London, England, United Kingdom & raised in Atlanta, Georgia who I first caught wind of on the 2016 XXL Freshman Class. Shortly after, he dropped his 2nd EP Savage Mode with Metro Boomin’ producing it in it’s entirety. I wasn’t a fan of the project at first admittedly because I thought it was boring, but it has grown on me overtime. He dropped a solid full-length debut with Issa Album last summer & then last Halloween, he teamed up with Offset & Metro to put out one of the best collab projects of the decade: Without Warning. Now after spending a bulk of 2018 killing it with features, he’s dropping his highly anticipated sophomore album.

Things kick off with “a lot”, where Savage & surprisingly teams up with J. Cole to talk about what they’re thankful for over a soulful trap beat from DJ Dahi. The next song “break da law” pretty much speaks for itself over an eerie beat from the So Icey Boyz while the track “a&t (ass & titties)” with Yung Miami is a strip club anthem that interpolates the Hypnotize Camp Posse song of the same name & it goes over very well. The song “out for the night” is an ode to his lady over an airy beat while the track “gun smoke” talks about being a 1-man army over a dreary trap beat. The song “1.5” with Offset sees the 2 getting charismatically boastful over a Wheezy instrumental that actually has kind of a mafioso vibe to it while the track “all my friends” with Post Malone sees the 2 talking about how their fame has resulted in falling outs with their homies over a druggy beat.

The song “can’t leave without it” feels like a mediocre leftover from Gunna & Lil Baby’s recent collab tape Drip Harder down to the dime a dozen Wheezy production while the track “asmr” if you couldn’t tell serves as an equally whisper-delivered, cold blooded sequel to “Don’t Come Out the House” off of Metro Boomin’s latest album NOT ALL HEROES WEAR CAPES. The song “ball w/o you” is a breakup tune with a piano-laced trap beat from TM88 & even though the Cardo & 30 Roc produced “good day” is gritty on all fronts, it sounds out of place as 21 only handles the hook while ScHoolboy Q & Project Pat handle the verses. The track “pad lock” recalls life before a deal with a dope reference to former 3-time WWE world champion Rey Mysterio over a spacey trap beat while the song “monster” with Childish Gambino discuss how fame has changed them over a luscious piano instrumental. The penultimate track “letter 2 my momma” is a heartwarming dedication to 21’s mother Heather Abraham-Joseph & then the closer “4L” with Young Nudy see the 2 getting murderous over an Old Western/trap fusion.

Honestly, this was a pretty solid way for 21 Savage to end his year. There are some lowpoints on here but for the most part, the album truly lives up to it’s title as it lyrically sounds like that 21’s been maturing quite a bit.

Score: 3.5/5

Kodak Black – “Dying to Live” review

Kodak Black is a 21 year old rapper who blew up with the release of his 4th mixtape Lil B.I.G. Pac in 2016. He then landed a spot in the 2016 XXL Freshman Class a few days after & released his debut album Painting Pictures the following year. But now 10 months after the release of his Valentine’s Day tape Heart Break Kodak as well as a series of legal troubles, he’s delivering his sophomore album before the year is done.

The album kicks off with “Testimony”, where Kodak talks about being God-sent over a somber trap beat. The next song “This Forever” talks about his place in the game over a bouncy London on de Track & Leon Thomas III beat while the track “Identity Thief” is an attempt at going hyphy & it surprisingly works pretty well. The song “Gnarly” with Lil Pump is a party anthem with a spacey beat while the track “ZEZE” with Offset is a catchy tropical banger d.a. got that dope produced.

The song “Take 1″ serves as a diss towards 6ix9ine over a gritty trap beat while the track “Moshpit” with Juice WRLD speaks for itself over a blissful trap beat that doesn’t suit the vibe at all. The song “Transgression” talks about being blessed over some keyboards while the track “Malcolm X.X.X.” is a touching dedication to XXXTENTACION over a synth-heavy instrumental. The track “Calling My Spirit” talks about his 3rd eye over an acoustic trap beat from Southside & Jake One while the song “In the Flesh” talks about resurrection over a cloudy beat.

The track “From the Cradle” gets boastful over a beautiful acoustic beat while the song “If I’m Lyin’, I’m Flyin’” talks about fame over a spacey trap beat. The penultimate track “Needing Something” is a piano ballad about inner peace. The album then finishes with “Could’ve Been Different”, where Kodak talks about a deceiving person he knew over a trap beat with some gloomy keys.

I’ve been curious to hear this given the singles & now with the finished product here, I think it’s his best work yet. However, it’s still average at best. I think he can work on trying to sound more coherent, but the production mostly knocks & a handful of the song topics are some of most mature to date.

Score: 3/5

Method Man – “The Meth Lab 2: The Lithium” review

Method Man is a 47 year old rapper known for being apart of the almighty Wu-Tang Clan. He only dropped 1 album this decade, which was The Meth Lab back in 2015. Personally, I found it to be his weakest effort yet due to the cut-rate production & packing damn near every track with features just for the sake of having features. However, he’s returning with his 6th full-length album & it serves as a sequel to that project.

After the “Pilot” intro, we go into the first song “Kill Different. Here, Meth & Raekwon talk about achieving success over a rap rock beat. The track “Eastside” with Intell & Snoop Dogg see the 3 paying tribute to their home coasts over a boom bap beat with some strings & after the “Thotti Gotti” skit, we go into the song “Grand Prix”. Where Meth compares himself to Ricky Bobby in getting money over a gloomy Dame Grease instrumental.

Then after the “Impractical Jokers Pranks” skit, the song “Drunk Tunes” with N.O.R.E. & Mall G perfectly lives up to it’s title over a bland beat. Following the “Emergency Forecast” skit, the song “Wild Cats” with Redman, Streetlife & Hanz On talks about how reckless all 4 of them are over a piano & a guitar. “The Lab” with Spank talks about the drug game over a minimalist beat while the song “Bridge Boys” with Kash Verrazano Talk about hood fame over an apocalyptic beat.

The track “Back Blockz” with Youngin’, Cardi Express & F.R.E.A.K. talks about doing shit by themselves over an eerie beat while the song “Ronins” with Cappadonna, Masta Killa & Hanz On is filled with battle bars over a gritty beat with an organ. After the “Impractical Jokers: Torture” skit, the song “2 More Minutes” talks about being underrated over a rap rock beat. Then after the “Pussy on SoundCloud” skit, the song “S.I. vs. Everybody” is a boring rendition of “Detroit vs. Everybody” off the 2014 Shady Records compilation SHADYXV.

The track “Lithium” with Hanz On & Sheek Louch reflects on their days in the streets over a boom bap beat with a wailing guitar while the “P.L.O.” remix is a lackluster sequel to the song off Meth’s classic 1994 debut Tical. The song “Killing the Game” with Pretty Blanco speaks for itself for a generic trap beat & before ending with the outro, the final song “Yo” tells the listener to respect them over a somber trap beat.

Yeah, I didn’t care for this. Method Man still has it lyrically & the production is slightly better than the predecessor but just like last time, I still feel like it’s packed with a lot of filler.

Score: 2/5

Dirty Dike – “Acrylic Snail” review

Cambridge, England, United Kingdom emcee/producer Dirty Dike making his High Focus Records victory lap with his 5th solo LP. A member of Contact Play, his solo debut Bogies & Alcohol as well as the sophomore effort Constant Dikestar were both welcomed to warm reception although Return of the Twat was considered average by many. The Sloshpot EP & Sucking on Prawns in the Moonlight have since become his most celebrated work ever, coming off the latter 3 years prior for Acrylic Snail.

After the “Playground” intro, we have Dike jumping over this EDM instrumental from Telemachus for the opener “Permanent Midnight” talking about snatching microphones out people’s hands because he’s giving 0 fucks whereas “Whoops” featuring Jam Baxter & Rag’n’Bone Man dropping 3 hardcore verses without the need of a chorus. “Caustic Soda” uses a flow homaging the late Sean Price talking about the way he raps prior to “Whoa” featuring Lee Scott dustily sends a warning directed at people thinking of making sly moves.

“Nothing at All” maintains a boom bap vibe with some keys courtesy of Pete Cannon asking what others are gonna do regarding him budging all the rules just before “Still the Same James” enlists Joe Corfield behind the boards being the very same prick he was when he began making music. The self-produced “I Like My Nights Dark” featuring Jam Baxter discusses their preference of having the streets completely empty & every alleyway being their bitch while “Syringe Ditch” talks about him breaking up with a woman who perceived him to be a misogynist.

Leaf Dog joins Dike on the mic during “Caterpillar Funk” flexing that shit goes down when they pop out while “Dumb” featuring Dabbla talks about the pair being comfortably ill in their own rights. “Ouch” featuring Jman & Lee Scott finds the trio fucked up bleeding out the nose but after “Sun Tan of a Pig” boasts the vallys & quids in his bum-bag over a Ghosttown beat, “Rex 01” featuring the Foreign Beggars alongside Inja & Killa P ends the album with a cool hook-less 4 minute outro.

Spending more of his time producing for other artists since Sucking on Prawns in the Moonlight, the final album under Dirty Dike’s contract with High Focus Records finishes this era of his career by making Acrylic Snail plausibly the most personal entry in his whole entire discography. Shining a light on his formative years & of course the transition between his past & present selves, he pays homage to the things he saw in the very farthest reaches of night that made him who he is today accompanied by a solid list of guests.

Score: 3.5/5

Gucci Mane – “Evil Genius” review

Gucci Mane is a legendary rapper from Atlanta, Georgia known for being one of the 3 trap pioneers shaping the subgenre to what it is today. However, it wasn’t until 2016 when he released from prison for possession of a firearm by a convicted felon that he would improve both musically & personally. The dude is known for dropping a couple projects a year & as we approach the final month of 2018, he’s delivering his 13th full-length album.

The album kicks off with “Off the Boat”, where Woo recalls his drug dealing days over a nocturnal beat. The track “By Myself” is essentially trap’s answer to KiD CuDi’s “Solo Dolo” while the song “Bipolar” with Quavo sees the 2 talking about how they act with their paychecks over a spacious trap beat from OG Parker. The track “Just Like It” with 21 Savage sees the 2 talking about the drug game over an ominous beat from Honorable C.N.O.T.E. while the song “Cold Shoulder” with YoungBoy Never Broke Again sees the 2 brushing off their haters over a nondescript instrumental.

The track “On God” gets boastful over an apocalyptic beat from Southside while the song “Father’s Day” pretty much acknowledges his status as a trap pioneer over a dark instrumental from Metro Boomin’. The track “Outta Proportion” references WWE Hall of Famer, former 6-time WWE Champion, 2-time WWE Intercontinental Champion, 2-time WWE United States Champion, 5-time WWE Tag Team Champion & NWA World Tag Team Champion Stone Cold Steve Austin backed with prominent hi-hats & faint keyboards. The track “Lost Y’all Minds” with Quavo is a needless sequel to “Bipolar” while the song “I’m Not Goin’” with Kevin Gates sees the 2 going at those who pray on their downfall over a bass-heavy trap beat from Murda Beatz.

The track “Wake Up in the Sky” with Kodak Black is a celebratory anthem with a laidback instrumental from 808 Mafia members DY, Tarentino & Tre Pounds while the song “Solitaire” is a solid introduction to the Glacier Boyz with a video-gamey instrumental. The track “This the Night” charismatically boasts about his wife Keyshia Davis over an atmospheric Southside beat while the song “Mad Russian” with Lil Skies sees the 2 getting flirtatious over a moody Murda Beatz instrumental.

The track “Hard Feelings” addresses all of Wop’s exes over a bland beat while the song “Lord” gives thanks to the higher power over a vibrant beat. The penultimate track “Money Callin'” pretty much speaks for itself over a syrupy yet spacey beat & then the closer “Kept Back” with Lil Pump sees the 2 talking about wanting a boss bitch over a trap beat with some classy keys.

It’s been almost a year since Gucci dropped his last album El Gato: The Human Glacier & now that we finally got the finished product after teasing it since then, the end results are slightly mixed. He still sounds great, but almost half of these cuts sound either unfinished or very plain.

Score: 3/5

XXXTENTACION – “Skins” review

XXXTENTACION was a 20 year old rapper, singer/songwriter & producer from Plantation, Florida who rose to prominence last year with a handful of singles. He landed a spot in the 2017 XXL Freshman Class & put out his debut album 17 just a few months after. Then he dropped his sophomore album ? at the beginning of this year, which was slightly better & equally rushed as 17 was. But unfortunately, he was murdered over the summer & now his estate is issuing his 1st posthumous album.

After the fake deep intro, we go into the first song with “guardian angel”. Here, X reflects on Jocelyn Flores & the way he reverses the instrumental from the 17 song that was dedicated to her & slaps it on the cut was lazy. The track “train food” reflects on his rough past over some sinister acoustic guitar strings while the song “whoa (mind in awe)” has a pretty spacious instrumental, but X’s moaning is annoying as fuck. The track “BAD!” truly lives up to it’s title as it’s a corny & moody relationship ballad while the song “STARING AT THE SKY” sees X badly singing about running from pain over an acoustic guitar. The track “1 Minute” feels more like a Kanye West joint since he takes up a bulk of it & after the structureless “difference” interlude, we go into the penultimate track “I don’t let go” where X gets raunchy over a laidback instrumental. The album then closes with “what are you so afraid of?”, which is an unfinished acoustic cut.

And that’s the thing, this thing is such a mess from front to back. I’m not trying to disrespect the dead, but the “album” sounds like it was cobbled together just to make money & that’s a huge reason why posthumous albums in general are hit or miss with me

Score: 1/5

Ice Cube – “Everythang’s Corrupt” review

Ice Cube is a 49 year old MC, songwriter, actor, film producer, CubeVision founder & BIG3 founder from Los Angeles, California who started as a member of C.I.A. in 1984 & disbanded 3 years later after gaining limited commercial success. He then became a member of the iconic N.W.A, but left after the release of their infamous debut album Straight Outta Compton to focus on his solo career. He dropped a handful of albums in the 90’s with his first 2 AmeriKKKa’s Most Wanted & Death Certificate becoming West Coast essentials. But as the 2000’s came around, he began focusing on an acting career & his musical output was shortened. However, he’s coming back from an 8 year hiatus with his 10th full-length album.

After the Super OG intro, we go into the first song “Arrest the President”. It’s no surprise that he’s going at Donald Trump on here & despite his statements being valid, the mixing on here is ass. The track “Chase Down the Bully” talks about beating up Trump supporters over a thumping instrumental while the song “Don’t Bring Me No Bag” speaks out against snitches in the drug house over a mediocre trap beat.

“Bad Dope” sees Cube comparing himself to just that over a menacing instrumental while the song “On Them Pills” is talks down on the current drug trend over a nondescript instrumental. “Fire Water” contemplates how Cube is gonna die while the song “Streets Shed Tears” talks about his respect in the hood over a churchy instrumental

The track “Ain’t Got Haters” with Too $hort sees the 2 brushing off their naysayers over a smooth instrumental from DJ Pooh while the song “Can You Dig It?” talks about being old school referencing WWE Hall of Famer Mike Tyson over a funky Hallway Productionz beat. “That New Funkadelic” serves as a pretty solid sequel to “Bop Gun (1 Nation)” off his 4th album Lethal Injection back from 1993 while the song “1 for the Money” talks about why he’s still rapping over a piano & strings.

“Still in the Kitchen” talks about drug dealing over a chaotic beat from E-A-Ski while “Non Believers” reminds the listeners to bow down to him over a thunderous beat with a sitar. The title track touches down on the political system over a bustling rap rock instrumental from Fredwreck & “Good Cop Bad Cop” advises all of the officers who do their jobs correctly to stand up for those who abuse their badge over a somewhat funky beat with some triumphant horns.

It’s been a long 8 years & while it’s not perfect, it’s a solid comeback for the West Coast icon & certainly more of a consistent listen than his previous & worst LP I’m the West was. It’s the most lyrically conscious that I’ve heard him in a while addressing the current state of politics, society & culture even if I feel like the production could’ve been better at certain points.

Score: 3.5/5

Lee Scott – “Lou Reed 2000” review

This is the 7th studio LP from Runcorn, Cheshire, England, United Kingdom emcee, producer & author Lee Scott. Introducing himself through The Wrong Bootleg Demo & the full-length debut Put on the Glasses over a decade ago under his own label Blah Records, some may even recognize him for his memberships with the Antiheroes, the B-Movie Millionaires, the Children of the Damned, Cult Mountain, the Cult of the Damned, Group, HAPPYPPL, Hock Tu Down, the Mcabre Brothers & Nobodies Home. Peppered Mouth Soup & Happy Sellout Shit were ok, but the sophomore effort Stupid Poignant Shit produced by Illinformed would become his most celebrated work following it up with Tin Foil Fronts as well as CactusOwlMoonGoat & the High Focus Records-backed Butter Fly being another favorite of mine. Nice Swan would become as beloved although Supergod5000plus & Oh, the Fun We’re Having were alright. He’s wrapping up 2018 however producing a great deal of Lou Reed 2000 homaging The Velvet Underground’s late frontman of the same name.

After the “Lou Lives” intro, the self-produced title track begins with him talking about turning negatives into positives despite everything in his life being shit whereas “Rocket Fuel” produced by Nobodies Home talks about today not being great yet it’s alright because there’s always yesterday. “Bad Foot Forward” featuring King Grubb finds the pair asking why people are pushing them around & flippin’ a cough on this battery operated machine while “Me Alone” talks about starting a riot because the damage is done.

“Mid Afternoon” continues the 2nd half of the album talking about not having a dream & occasionally waking up in the middle of the afternoon looking to get some food inside him sooner rather than later if after “Foneline ‘06” featuring King Grubb expresses a desire to call someone who doesn’t even call them anymore, “Colossal Jones” featuring Jam Baxter talks about confusing people’s 6th senses & it taking more than a stretch of marble pillars to hold their tongues.

The track “Next Stop” opens up about him constantly thinking of all the things he doesn’t want to do & sending the whole world on a “fuck you” note while the final song “Fuck U Save Me” featuring Sadhugold the “Lou Lives II” outro spends the last few minutes of the full-length with both of them lyrically getting in their hardcore bags, commending some for impressing them the way they take this joke called life so seriously & being nothing like the artists comparing themselves to him.

All 3 of the extended plays Lee Scott has dropped post-Butter Fly still have their share of notable moments despite not considering them to be on par, but Lou Reed 2000 is definitely the most I’ve enjoyed his solo material in a couple years. The production primarily handled by Lee himself with live instrumentation from his Nobodies Home companion Jack Chard occasionally chops up some samples to spend a bulk of the half hour exploring a varied range of sounds from jazz rap to lo-fi hip hop & boom bap cutting down the guest appearances to only a select few for a 30 minute collection of thought provokingly sad philosophical ignorant rap.

Score: 4/5