Gunna – “The Last Wun” review

College Park, Georgia rapper Gunna releasing his 5th studio LP. Beginning over a decade ago off his debut mixtape Hard Body, he would eventually catch the attention of local phenomenon Young Thug just 3 years later & would go on to sign to his 300 Entertainment imprint YSL Records. However it wasn’t until the release of his debut EP Drip or Drown & his 4th mixtape Drip Season 3 in late 2017 & early 2018 respectively where Gunna’s profile increased significantly. Drip or Drown 2 though was a mediocre full-length debut & W.U.N.N.A. (Wealthy Unapologetic N***a Naturally Authentic) wound up being one of the best trap albums of 2020, but the 4th & final installment of the Drip Season mixtape series aged like milk. A Gift & A Curse and One of Wun were both mediocre in their own ways & The Last Wun looks to officially complete his YSL/300 deal.

“many nights” was a derivative trap intro with a chill guitar melody talking about letting his hoe count up his racks millions of times whereas the cloudy “let that sink in” produced by Turbo explains that your shit doesn’t bend or break when you’ve built everything off faith. “just say dat” talks about singles becoming outdated with the continuously adapting state of the music industry leading into the half-baked pop rap joint “gp”.

NASH of Internet Money Records’ instrumental on “sakpase” stood out to me staying connected to the checks with pounds of cake leading into “at my purest” featuring Offset saving the best of 5 collaborations for the very beginning talking about their influence being valuable. “biting my game” accompanied by an acoustic trap instrumental vents over other artists jackin’ his style when nobody post-2022 has really done so while “prototype” responds to Thug tweeting for him to stop actin’ like they’re friends online.

“w.g.f.t. (we gettin’ fucked tonight)” featuring Burna Boy finds the pair uniting for a moody pop rap song breaking down sexual themes once again as does “forever be mine” featuring Wizkid, except both of them are talking about being one of a kind compared to the ex-boyfriends of the women they’re currently seeing. “again” works on some pianos & hi-hats expressing his desire to make love again while “endless” tries to insert himself into the “GOAT” convo when his post-prison material has been mid.

Nechie links up with Gunna for “i can’t feel my face”, which makes me appreciate “ADDYS” more comparison from the beat to the performances of both artists while “podcast” gets the 2nd half of The Last Wun going by talking about getting back up on his feet again after being down bad. “club house” simultaneously likens his bank account to a goldmine & wanting to be paid in full while “Satisfaction” featuring Asake ironically doesn’t feel very satisfying musically.

“fuck witcha boy” goes for a smoother trap vibe instrumentally talking about wanting to take a helicopter so he can fly out to Punta Cana while the generically atmospheric “on me” suggests that men shouldn’t be trusted, willing to take it a step further & putting it all on himself. “rare occasion” brings some refreshing synthesizers into the fold referencing the greatest QB of all-time & 7-time Super Bowl Champion Tom Brady while “made for this shit” talks about the days when he used to pray to reach the heights he has.

Meanwhile on “c.f.w.m. (can’t fuck with me)”, we have Gunna over a country trap hybrid flexing that he’s untouchable when his last couple duds & his falling out with Young Thug both proving otherwise while “what they thinking” tries to figure out what the bitches around him want & what other guys around him are thinking. “showed ‘em” kinda gives me deja vu of “Do Better” except it’s not as profound, except the amount of money he has doesn’t change him snitching.

“won’t stop” addresses the whole Alford plea situation from his perspective promising not to stop making music while “him all along” talks about steadily chasing his goals & staying strong with all the motions he’s been going through. “Got Damn” didn’t even make the final cut, but I’m glad it wasn’t included because it wasn’t even that memorable of a trap/pop rap single.

8 months ago when Lil Baby got divisive feedback for W.H.A.M. (Who Hard as Me?), I didn’t have any hopes left of The Last Wun outdoing that or It’s Only Me since the production department of Gunna’s music has been gradually declining in the last 26 months other than Turbo. And whatever’s next for him following the YSL deal ending, it’s difficult to tell whether or not he’ll make anything of Drip Season 3 or W.U.N.N.A. (Wealthy Unapologetic N***a Naturally Authentic)’s bar of quality ever again.

Score: 2/5

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Ethel Cain – “Willoughby Tucker, I’ll Always Love You” review

Ethel Cain is a 27 year old singer/songwriter, producer & model from Tallahassee, Florida releasing 3 EPs building up towards her widely received full-length studio debut Preacher’s Daughter. Her most recent EP Perverts a week into 2025 already ranks right behind the new Roc Marciano EP The Coldest Profession produced by DJ Premier for the greatest extended plays of the year, continuing her hot streak with a sophomore effort & a couple teasers in the midst of the rollout.

“Janie” gets the ball rolling on the LP with an endearingly profound tribute to her best friend of the same name whereas “Fuck Me Eyes” after the “Willoughby’s Theme” composition sings about Holly Reddick over a combination between synthpop, dream pop, ethereal wave, synthwave & big music. “Nettles” the lead single masterfully blends Americana, singer/songwriter, ambient Americana, slowcore & alt-country feeling a burden of life post-graduation leading into the “Willoughby’s Interlude”.

To start the 2nd half, “Dust Bowl” delves deeper into the ambient Americana vibe feeling like she’s already broken a death pact that she made back in the 8th grade while “A Knock on My Door” gives off a heavier singer/songwriter direction questioning herself for the first time since the current relationship she’s involved in began. “Tempest” after the “Radio Towers” instrumental piece samples “Doe Hunting” for the only moment where we get a look at Willoughby’s perception & “Waco, Texas” references the infamous Branch Davidians siege 3 decades previously.

Willoughby Tucker, I’ll Always Love You predates the events of it’s predecessor traveling back almost 4 decades earlier revolving around his & girlfriend’s adolescence, raising the stakes regarding Ethel Cain’s artistic potential both Preacher’s Daughter & Perverts began revealing. Slowcore’s most gifted songwriter of the modern era minimizes the dream pop influences of her debut production wise to experiment with ambient music, post-rock, Americana, ambient Americana, synthpop, ethereal wave, synthwave & big music.

Score: 4.5/5

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Amaarae – “Black Star” review

Amaarae is a 30 year old singer/songwriter from The Bronx, New York by way of Accra, Ghana independently releasing her 2017 debut EP Passionfruit Summers followed by the 2020 full-length studio debut The Angel You Don’t Know through her own label Golden Child Entertainment. The latter of which caught Interscope Records’ attention, who signed her for the highly praised sophomore effort Fountain Baby & looks to raise the stakes even higher with the 3rd LP becoming the most personal of them all.

“Stuck Up” opens with a reference to Spike Lee ahead of his upcoming A24 Films neo-noir crime thriller Highest 2 Lowest coming to theaters next weekend whereas the boldly audacious “Starkilla” sings about serving ketamine, cocaine & ecstasy. “ms60” contains one of my favorite instrumentals on the album from WondaGurl responding to those calling her stuff like bitch, villain & a controversial diva while “Kiss Me Thru the Phone 2” featuring PinkPantheress samples “Thong Song” by Sisqó for a homage to Soulja Boy.

As for “B2B”, we have Amaarae singing about bisexuality sampling “Maybe” by Toni Braxton just before “She’s My Drug” heavily interpolates “Believe” by Cher asking if one believes in love when sobered off the drugs. The lead single “Girlie-Pop!” however excitingly blends Jersey club, dance-pop, tamborzão, alté & alternative R&B embodying the feeling of a kiss from your favourite person in the world.

“S.M.O. (Slut Me Out)” combines dance-pop, gqom, Bacardi Burger-Highlife, Detroit techno, electro & hiplife for a cross between Donna Summer & Control era Janet Jackson while “Fineshyt” makes for the 2nd & final track to be produced by BNYX of Working on Dying sings about her bisexual experienced wanting to buying the woman she’s currently in love with whatever kind of clothes she wants on top of the inability of leaving her by herself.

To get the 4th quarter’s clock winding down, “Dove Cameron” calls back to her previous LP singing about people referring to her as “Fountain” & showing off all the money she’s been making while “Dream Scenario” goes alternative R&B desiring for her lover to tell her what they want. “100drum” finds herself confronting the familiar feeling of paranoia brought on by an unnamed adversary & “Free the Youth” ties it all up by singing about not getting too pumped because she’s fucked up.

Familiarizing myself through her collaborations with the likes of KAYTRAMINÉ or Janelle Monáe to Bas & Childish Gambino, the 2nd major label offering in the Amaarae canon playfully embraces her Ghanaian heritage. It’s production leans heavier towards dance-pop & electronic dance music compared to Fountain Baby additionally pulling further inspiration from funk brasileiro, alternative r&b, house, alté, pop rap, African music, Afroswing, gqom, Bacardi Burger-Highlife, Detroit techno, electro, hiplife, Jersey club, tamborzão & alté to confidently explore her identity as an artist & as a woman.

Score: 4.5/5

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BABYMETAL – “Metal Forth” review | ベビーメタル – 『メタル・フォース』レビュー

BABYMETAL is a Kawaii metal trio from Tokyo, Japan consisting of Su-metal, Moametal & Momometal. Releasing an eponymous debut album together under Toy’s Factory over a decade ago already, the band’s sophomore effort Metal Resistance a couple years later was where I personally became a fan of their music. On the contrary, Metal Galaxy & The Other One were both average in comparison. Signing to Capitol Records this spring, the band’s finally ready to make their major label debut.

ベビーメタルは、スメタル、モアメタル、モモメタルで構成された、東京、日本のカワイイメタルトリオです。すでに10年以上前にトイズ・ファクトリーの下で同名のデビューアルバムをリリースし、数年後のバンドの2枚目の努力「金属抵抗」は、私が個人的に彼らの音楽のファンになった場所です。反対に、「メタル・ギャラクシー」と「ザ・オアザー・ワン」はどちらも比較で平均でした。この春、キャピトルレコードと契約し、ベビーメタルはついにメジャーレーベルデビューの準備が整いました。

“from me to u” featuring Poppy blends alternative metal, metalcore, electronicore, nu metal, industrial metal & kawaii metal to sing about killing the enemies with the rage inside them whereas the WWE Bash in Berlin official theme song “Ratatata” featuring Electric Callboy fuses electronicore, kawaii metal & Eurodance comparing their bodies to weapons.

「私からあなたへ」にポピーが参加したこの曲は、オルタナティブ・メタル、メタルコア、エレクトロコア、ニュー・メタル、インダストリアル・メタル、そしてカワイイ・メタルを融合させ、敵を内なる怒りで倒すことを歌っています。一方、WWEベルリンでのバッシュの公式テーマソング「ラタタタ」に電気式コールボーイが参加したこの曲は、エレクトロコア、カワイイ・メタル、ユーロダンスを融合させ、彼らの体を武器に例えています。

Slaughter to Prevail joins BABYMETAL for the disappointingly mediocre kawaii metal/metalcore crossover “Song 3” trying to make their version of “Revolution 9” by The Beatles just before “Kon! Kon!” featuring Bloodywood embraces a heavier nu metal vibe with additional elements of kawaii metal, rap metal & Bhangra in what both parties have called “creature metal”.

スローター・トゥ・プリヴェイルは、ベビーメタルと共に、失望的なほど平凡な「カワイイ・メタル/メタルコア」のクロスオーバー曲「歌3」に参加し、ビートルズの「革命9」のバージョンを制作しようとしています。その後、「コン！コン！」では、ブラッディウッドがより重いニューメタルの雰囲気を採用し、カワイイ・メタル、ラップ・メタル、バンガラの要素を組み合わせた「クリーチャー・メタル」と両者が呼ぶスタイルを追求しています。

KxAxWxAxIxI concludes the first half of “Metal Force” by embracing the kawaii metal style they have come to recognize and standing at the top of the subgenre hierarchy, while the gradually cute “Sunset Kiss” featuring Polyphia reflects on the lovers’ relationship coming to an end, as it melts into the red sky of dawn , depicting the sun setting and the faded face still burning.

KxAxWxAxIxI 「は、彼らが認知するようになったカワイイ・メタル・スタイルを取り入れ、サブジャンルのヒエラルキーの頂点に立つことで、『メタルフォース』の前半を締めくくる。一方、ポリフィアをフィーチャーした徐々にカワイくなる」サンセット・キス “は、恋人たちの関係が終わりを迎えることに思いを馳せ、夜明けの赤い空に溶けていくように、太陽が沈み、色あせた顔がまだ燃えている様子を描写している。

Spiritbox & BABYMETAL team up for the kawaii metal, alt-metal, metalcore & djent hybrid “My Queen” asking to be freed from some sort of pain while “Algorism” sings about the past & the future not going away because love’s a process within itself. “METAL!!” experiments with alternative metal, groove metal & Japanese folk music for an energetically playful single to dance to while “White Flame” climactically finishes the melodic speed metal series on a powerfully emotional note.

スピリットボックスとベビーメタルは、カワイイメタル、アルトメタル、メタルコア、ジェントのハイブリッド「マイ・クイーン」でタッグを組み、ある種の痛みから解放されることを願い、「アルゴリズム」では、愛はそれ自体がプロセスであるため、過去と未来はなくならないことを歌っている。「メタり！！」は、オルタナティヴ・メタル、グルーヴ・メタル、日本のフォーク・ミュージックを実験的に取り入れた、エネルギッシュで遊び心のあるシングルで、「白い炎」は、メロディック・スピード・メタル・シリーズのクライマックスを力強くエモーショナルに締めくくる。

Metal Forth embodies BABYMETAL’s artistic growth by pushing boundaries & collaborating with artists they’ve connected with from around the world, landing behind Metal Resistance for their most essential full-length. Kobametal’s production is more bolder than the band’s earlier output going beyond kawaii metal to further explore the styles alternative metal, electronicore, industrial metal, power metal, j-pop, metalcore, deathcore, djent, nu metal, groove metal, Eurodance, rap metal, Bhangra & Japanese folk music.

メタル・フォースは、境界線を押し広げ、世界中のアーティストとコラボレートすることで、ベビーメタルが芸術的に成長したことを体現している。コバメタルのプロダクションは、カワイイメタルの枠を超え、オルタナティヴ・メタル、エレクトロニコア、インダストリアル・メタル、パワー・メタル、Jポップ、メタルコア、デスコア、ジェント、ニュー・メタル、グルーヴ・メタル、ユーロダンス、ラップ・メタル、バングラ、日本の民俗音楽などのスタイルをさらに探求している。

Score: 3.5/5

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Dropout Kings – “Yokai” review

Phoenix, Arizona trap metal outfit the Dropout Kings consisting of vocalists Adam Ramey & Eddie Wellz, guitarist Rob Sebastian & drummer Jeremy Garcia releasing their 3rd studio LP. Making theirbdwbur in 2018 off their full-length debut AudioDope & gaining more momentum a couple years later with their debut EP GlitchGang, they signed to Suburban Noize Records for their divisive sophomore effort Riot Music even if I personally have it as my favorite in their discography. Adam tragically took his own life this spring & the Kings are dedicating Yokai to his memory.

“Black Sheep” starts the album with a rap metal/nu metal throwback talking about being out of their minds whereas “Brace Yourself” advises to prepare for what they’ve done to break themselves embracing both styles of the intro once again. “Baka” gets back to the band’s trap metal roots promising to live & die by honor as well as referencing my favorite WR of all-time Randy Moss, but then “F.T.W. (Fuck the World)” lividly gives a middle finger to everyone around them.

The rap metal vibes return for “Devil Fruit” observing the game for being as cutthroat as it is just before “First Day Out” starts the 2nd half of Yokai with the most melodic moment on the entire project singing about life going south & things looking brighter these days. “Guillotine” blends rap metal & alternative metal together so they can speak of finding their own ways around the darkness while “Fake It” asks if their names will be said or disappeared if they happened to fade away.

Meanwhile on the title track, we have the Dropout Kings going in an industrial hip hop direction instrumentally talking about bringing knifes to gun fights & becoming smartasses when they get too high prior to the rap rock-tinged “Eye Bleach” suggesting that they should be treating all these other bands in their lane like they’re children advising to hang it up already. The closer “Deadname” ends the sextet’s Napalm debut with a metalcore/rap metal hybrid wanting to be buried as their former forenames.

Getting to see the Dropout Kings live during both the Gathering of the Juggalos & Fright Fest in the late summer/early fall of 2021, what could most likely be Adam Ramey’s final recordings ever celebrates everything he stood for marks a bittersweet end of an era in the group’s story. The indomitable will, ambition, struggle & pain that’ve shaped these guys into what they are today get vouched for adapting to trap metal’s evolution during a time of their greatest loss.

Score: 4/5

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Young Nudy – “Paradise” review

Here is the 4th studio LP from Atlanta, Georgia rapper Young Nudy. Although he & 21 Savage are cousins, he eventually carved a lane of his own in the last decade with 10 mixtapes (the most notable ones being the Pi’erre Bourne-produced Sli’merre & it’s sequel) followed by his previous 3 full-lengths. I heard at some point last fall when Sli’merre 2 came out that Nudy had an album fully produced by Metro Boomin’ coming down the pipe but regardless when or if that happens, he’s taking us on a trip to Paradise.

“17” made for a cloudy intro produced by Kid Hazel talking about his young shooter layin’ bodies out whereas “What’s Happenin’?” featuring Latto finds the 2 pairing up over a Coupe instrumental so they can stay turnt in the club. “Pull Up” works in some strings & hi-hats for a homage to “Throw Some D’s” by Rich Boyleading into the Atlanta bass strip club heater “B.T.A. (Bounce That Ass)”.

The title track finds himself in the middle of a block party getting back on the trap vibes with some horns added to the equation just before “GOAT” bombastically talks about not wanting smoke with him at all. “Big Bad Wolf” featuring BabyDrill has a quirkier drill sound to it likening themselves to a pack of wolves while “Super Slime” talks about a woman falling in love with him because he ain’t no scrub.

21 Savage joins his cousin to make the Memphis rap banger “Iced Tea” basically saying you don’t get to eat if you don’t hustle while “Sugar” combines these pianos & hi-hats likening himself to Tony Montana of Scarface. “Mop Stick” has an eerier trap flare to it expressing is dislike for people cappin’ in their raps while “Snake” talks about the needing to clean up the streets & watch out for any rats.

“Chains On” nears Paradise’s final minutes to show off the ice around his neck over a trap beat with some vibraphones not having to flex shit because the girl he’s currently seeing is already well aware of him making money while “4 God” properly ties up our journey in Nudy’s Paradisewith some 808s & ominous synthesizers promising to put anyone who goes against him on a white tee shirt only driving fast.

Young Nudy & Coupe have crossed paths with one another countless times in the past already, using half of Anyways… or a great deal of both DR. EV4L & Gumbo as examples. Point is: The unique chemistry they’ve always had together still makes for a fun listening experience whether it be the trap, cloud rap, Memphis rap, pop rap, dirty south & rage production or Nudy’s explicitly gangsta approach to his songwriting.

Score: 3.5/5

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Debby Friday – “The Starrr of the Queen of Life” review

Nigerian born albeit Montréal, Québec, Canada raised rapper, singer/songwriter & producer Debby Friday now based in Toronto, Ontario, Canada returning for a sophomore effort. Introducing herself off her first few EPs Terror as well as Bitchpunk & Death Drive, she would catch the attention of Sub Pop Records & sign to the Seattle indie label in the spring of 2023 for her full-length debut Good Luck. Couple years later & The Starrr of the Queen of Life looks to shine as we begin a new month.

“1/17” was a great electropop, dance-pop, vocal trance, bubblegum bass, alt-pop & electro house intro showing a more playful side to herself whereas the electropop, dance-pop, vocal trance, bubblegum bass, alt-pop & dream trance single “All I Wanna Do is Party” sings about wanting to let loose. “In the Club” seductively finds herself tryna get her freak on pulling from the post-club scene a bit leading into the industrial hip hop/midtempo bass crossover “Lipsync”.

Debby switches it up for the alternative R&B-tinged “Alberta” singing about the feeling of uncertainty in a relationship just before “Higher” pleads for her lover to hold her close so she doesn’t panic. “P.P.P. (Pussy Pink Princess)” gets back on the industrial hip hop vibes talking about making everyone around her into believers but after the 808s & Heartbreak-inspired “Leave.”, the final single “Bet On Me” conveys the message of intuition & raw self-belief over a atmospheric drum & bass/alt-pop beat while “Darker the Better” finishes Debby’s 2nd LP with a dance-pop ode to getting fucked up.

29 months since her electro-industrial heavy debut, Debby Friday following the sound of her own voice has resulted in her most kaleidoscopic work ever. The production here appeals more prominently to art pop, electropop, dance-pop & alt-pop with secondary influences of bubblegum bass, alternative r&b, hyperpop, industrial hip hop, deconstructed club, vocal trance, electro house, dream trance, midtempo bass, electroclash, EBM, acid techno and atmospheric drum & bass defining what it is to be a “starrr” using her own terms.

Score: 3.5/5

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$uicideboy$ – “Thy Kingdom Come” review

This is the 5th studio LP from New Orleans, Louisiana duo Ruby da Cherry & $crim a.k.a. the $uicideboy$. In over a decade, they have given a plethora of projects whether it be the Kill Your$elf saga & Eternal Grey or even I WANNA DIE IN NEW ORLEANS & the Travis Barker-produced Live Fast, Die Whenever. The sophomore effort Long Term Effects of Suffering would follow as did Sing Me a Lullaby, My Sweet Temptation a few summers ago, most recently entering a New World Depression only 14 months back & coming off solo detours this spring for the boy$’ return on Thy Kingdom Come.

“Count Your Blessings” samples “Hot Razor” so they can flex on every single opponent after betting their lives on becoming successful whereas the bounce-influenced “Napoleon” talks about the 7th Ward. “Oh, What a Wretched Man I Am!” finds themselves feeling lucky to still be here going for a Memphis direction instrumentally while “Full of Grace (I Refuse to Tend My Own Grave)” produced by $crim & G*59 Record$ in-house producer Dynox talks about feeling emptier than their own graves.

Reaching the halfway point, “Chainbreaker” works in some synthesizers & hi-hats to speak on bitches always trippin’ over real ones while “Now & at the Hour of Our Death” featuring BONES combines hardcore hip hop, trap, Memphis rap, horrorcore, cloud rap & phonk looks to tear shit down. The lead single “Self Inflicted” throws it back to the Long Term Effects of Suffering era while “Grey+Grey+Grey” promises to see the end before you’ll see the end of them.

Night Lovell joins his mentors for “Carried Away” talking about getting overly enthusiastic because they’re sinnin’ & dedicating itself to those listening who’re experiencing some sort of pain in their lives right now just before “Monochromatic” finishes Thy Kingdom Come with an emo rap flare to it talking about feeling all alone on this road they’re heading down every single time they so happen to blink their eyes.

Bridging the $uicideboy$’ underground roots & their continuously evolving musical palate together, Thy Kingdom Come simultaneously celebrates where Ruby & $crim came from & sends a warning of what’s still to come. The production eclectically blends hardcore hip hop, trap, Memphis rap, horrorcore, cloud rap, phonk, bounce & emo rap putting their range on full display without losing any steam & maintaining the potent nihilism that made them popular. Even if they’re lyrically sticking to their bread & butter.

Score: 4/5

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Darby O’Trill – “WIL(low)” review

Here is the 7th studio LP from Key Largo, Floridian emcee Darby O’Trill. A close collaborator of Chapter 17/Psychopathic Records in-house producer Devereaux, their debut together Piecemeal received critical acclaim during the COVID-19 pandemic & signed Lyrikal Snuff Productionz & fulfilled it over 3 years ago with Gully, which is a modern day wicked shit classic. Amputate was a solid prelude to The Tomb, the latter was even better. Darby’s official C17 debut Creek became his best since Gully as did GARDeN last fall, taking us to the WIL(low) only a couple weeks out from the Gathering of Legends or the 25th annual Gathering of the Juggalos & of course The 2 Day War between Juggalo Championship Wrestling (JCW) & Game Changer Wrestling (GCW). Most importantly record-holding 5-time JCW World Juggalo Heavyweight Champion 2 Tuff Tony looking to take the title back from former GCW World Champion & GCW World Tag Team Champion Matt Tremont in The Final Battle after he ended Mad Man Pondo’s 3rd reign at the JCW/GCW Showcase Showdown: The Violence is Right couple weeks ago.

“strangling my boss with my wallet chain” made for an eerie trap opener produced by none other than Devereaux talking about death residing in his mind whereas “i saw the magician pull that rabbit out of his ass” wickedly flexes the tricks he has up his sleeve. “biting my tongue because there is nothing left to eat” talks about rather being the clown than the man behind the mask while “the scent of a 3 day old corpse rotting in a flawda attic” professes himself as Emperor of Bugs.

Shaggytheairhead hops behind the boards for the uncanny “barglegore gurglebach & the curious case of the vomiting shoes” talking about death fulfilling him & following “if i wuz more like u i’d b better off dead” referencing WWE Hall of Famer, former WWE United States Champion, WCW World Television Champion & the inaugural WWE Royal Rumble winner “Hacksaw” Jim Duggan. “the time i found bums having sex in a construction site porta potty” after the “you got anything else?” skit goes for a boom bap vibe finding himself unsure of where he’s going.

“da faladgulations ov mane” professes that he won’t ever become the type of person others want him to be while “i have alot of tattoos & most of them are shitty but she doesn’t seem to mind” harks back to the trap metal/horrorcore fusions on GARDeN talking about necrophilia. “17 pounds of crabdick at nates got me hallucinating, thanks parker” after the “1 nu message” skit keeps the heavy guitars & hi-hats in the fold to talk about a woman haunting him.

We have Darby feeling like the reaper’s close on the trap metal “is that a cat standing on my chest or my sleep paralysis demon?” admitting he never found his way home while “crippled by the thought of tomorrow” fuses trap & rock to talk about not being ok. “i ordered a falafel wrap and was served a severed hand on rye” tackles the theme of cannibalism over hi-hats & a nu metal riff that is until the “jerky jerrys” skit.

“drowned in a pool of kinetic sand” featuring Ouija Macc talks about not lacking intelligence despite their violent tendencies while “some guy told my girlfriend to dump me because im fat” opens up regarding not doing too well. “the vanilla scented mask of the killer” points out the reason he’s been getting hate & “now thats what i call an album no one is gonna care about” ends by talking about people not wanting him around because of him letting them down.

Once you’ve already gone down the Creek & past the GARDeN into the marsh amongst the vines where the lost souls gather, WIL(low) outdoes both it’s predecessors in becoming the darkest & most personal piece of work Darby O’Trill has ever made. Continuing to embrace the trap metal sound prominently, he near-perfectly takes us in the shoes of the lost & distraught wandering this earth searching for solace & thinking they’re alone.

Score: 4.5/5

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O.T. the Real – “Possession with Intent” review

Philadelphia, Pennsylvania emcee O.T. the Real making his TCF Music Group debut with his 9th studio LP. Getting his start in the underground almost a decade ago after coming home from prison & dropping his debut single “Papercuts”, his profile began to grow from there after showcasing his skills on radio stations or dropping his last 8 albums as well as a mixtape & 8 EPs. My favorites being the Heatmakerz-produced 3rd EP The Irishman & the DJ Green Lantern-produced 3rd album Broken Glass that dropped on my 25th birthday & the Statik Selektah produced Maxed Out. No Matter What, Desperation of December, It’s Almost Over & Red Summer were all hit or miss for me until O.T. finally signed to Black Soprano Family Records & enlisted araabMUZIK for Zombie to critical acclaim. Prepare for War & Pale Horse were ok, following up Moving Base O.T.’s eponymous debut showed improvement as did the Nickel Plated produced Cost of Living & The Devil You Know. That said: 38 Spesh fully producing Possession with Intent had me feel like this could be a special entry in O.T.’s catalog & the singles hinting towards it. Especially ahead of Shane Taylor Promotions becoming the new ROH World 6-Man Tag Team Champions & La Facción Ingobernable becoming the new ROH World Tag Team Champions when Death Before Dishonor XXII takes place at 2300 Arena a.k.a. ECW Arena.

“18 Ballgames” opens with some jazzy horns splitting a rat’s shit in half & dipped before the cops came whereas “Never Saw Me” hops over a boom bap instrumental with some pianos to talk about having people who depend on him. “Big Fish” featuring Grafh brings the brass instrumentation back in effect referencing my favorite show of all-time Breaking Bad leading into “For the Face” talking about friends becoming foes & grams turning into ounces.

Amir Ali joins O.T. for a shimmery “Philly Special” advising to make money because money won’t make you while “Americans” talks about the possibility of his enemies winding up dead or behind bars serving life. “Grease” featuring Dave East chops up a soul sample so the pair can talk about the work their plugs gave them just before “Warlock” takes it back to the basement instrumentally pleading not to blame him since he doesn’t mess with fentanyl

“Richer” featuring Flee Lord gets the ball rollin’ on the final leg of Possession with Intent responding to criticisms of being in their bags too much while the cinematically grimy “Jon Jek” talks about lasting longer than the beef you got if you mind your business. The jazzy “Streets Alone” speaks on putting family over everything & “Doin’ Bad” finishes the LP with 1 more boom bap joint addressing his past beefs.

Granted I did enjoy O.T. the Real’s last couple projects with Nickel Plated, the singles we got out of the Possession with Intent rollout had me feeling like it would become another one of his most essential LPs. Lo & behold: The most I’ve enjoyed an O.T. solo project since Zombie. A good 75% of the guests stick the landing in terms of their performances, but he & 38 Spesh both make for a pretty damn good MC/producer pairing.

Score: 4.5/5

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