Insane Clown Posse – “The Naught” review

Detroit horrorcore duo, Juggalo Championship Wrestling founders & the longest reigning 2-time JCW World Juggalo Tag Team Champions Insane Clown Posse have officially unveiled their 17th studio LP & the final Joker’s Card of the 2nd Deck. Consisting of JCW Commissioner Violent J & the shortest reigning JCW World Juggalo Heavyweight Champion Shaggy 2 Dope, many don’t know that 3 other members came & went during the first 5 years of the group’s inception. Not only would The Duke of the Wicked & the Southside Strangla go on to create seminal wicked shit albums like The First 6, they also gained an extremely loyal fanbase in the process & their self-owned Psychopathic Records became an independent hip hop powerhouse as the label’s roster continued to grow until they wanted to focus more on their own legacy. Commemorating the 25th annual Gathering of the Juggalos or the Gathering of Legends kicking off tomorrow & The 2 Day War between JCW & Game Changer Wrestling (GCW) beginning later this weekend, The Naught will explore the afterlife in a concept differing from The Wraith’s exhibitions of Shangri-La & Hell’s Pit.

The title track produced by Shaggytheairhead after the intro opens with a trap song breaking down the titular character’s meaning whereas “Watch Me” reunites with longtime collaborator Mike E. Clark talking about the wicked shit splitting your shit up throwing it back to the Bang! Pow! Boom! & The Mighty Death Pop! days instrumentally. “Everybody Dies” moves forward with a 6-minute rap rock-influenced Violent J solo cut picking up where Everybody Rize” off my 3rd favorite Joker’s Card The Amazing Jeckel Brothers left off just before the semi-boom bap influenced “Happy Fun Day” uses wordplay for the Duke to ask what exactly others find wrong with him in having bloody fun referencing former ECW World Heavyweight Champion, ECW World Television Champion, IWGPタッグチャンピオン, WCW Hardcore Champion & 2-time WCW World Tag Team Champion Bam Bam Bigelow.

“Only Wicked Shit” goes for an EDM trap direction thanks to Brian Kuma so both of the clowns can represent their style of music they’ve been making for over 3 decades & after the “Flashback” skit, “Dead Kelly” blends these bells & hi-hats together to tell the story of the titular character. Shaggy 2 Dope getting his own track with the carnivalesque “Here We Go” looking to tear the place down alongside the rest of his hatchet family while the playfully humorous “Cinnamon Pigtails” describes a tale of Violent J meeting a woman on Instagram who turned out to be a catfish.

Devereaux helps ICP dabble with trap metal on “I’m Still Breathin’” talking about their gratitude of being alive despite the chaos in the world while “Pop Out” continues the 2nd half of The Naught with another 2 Dope solo joint that DJ Clay makes more trap oriented than the last one angrily making the speakers jump while the disco rap-inspired “Throw ‘Em Up” after another “Flashback” skit talks about throwing your hatchets up. Violent J responds to 1 Man Kru’s disses these past couple years by calling him a “Softy Pillow Man” using a prominent tuba within the beat leading into the occult “I’m Fallin’” talking about them thinking no one should try to die.

Expressing some kind of resolution from the conflict inferred from the rest of The Naught, the iconic Toto single “Africa” gets heavily sampled throughout “While It Lasts” ending the 2nd Deck of Joker’s Cards structured similarly to “Low” off Fearless Fred Fury where the Duke’s singing during a good bulk of it & Shaggy drops off a brief rap verse. Wasn’t one of my favorite songs off FFF personally but “While It Lasts” is conceptually stronger than “Low”, basically talking about enjoying the time we all have on this planet.

Common complaints regarding Yum Yum Bedlam from what I’ve heard amongst juggalos is that it felt like a mixtape than a Joker’s Card or the producer tags, neither of which I had any issues with personally because I appreciated it being the first female character in the Dark Carnival mythology & it’s themes of loyalty. The Naught however has to be my 3rd favorite Card of the 2nd Deck, with #2 being Bang! Pow! Boom! & of course The Mighty Death Pop! at #1. The production feels like a throwback to the carnival sound even with Kuma & Mythic Mindz finishing the 71% that Mike E. Clark had yet to complete because of him moving & the clowns themselves answering the question of if one was ever alive at all if there’s no afterlife when we die.

Score: 4.5/5

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Hariroc – “The Squidfather” review

This is the sophomore effort from Atlanta, Georgia producer & rapper Hariroc. Known for being an extensive collaborator of Lil Tony, he would go on to fully produce the Troc & Swaggbaggs extended plays for Tony in their entireties preceding a debut album of his own Indalment last summer welcomed to moderate reception. 13 months have passed & The Squidfather has returned to bless the plugg subgenre of trap compiling almost 30 tracks recruiting more notable names than previously.

“Restart the Wave” by Lil Tony begins with a piano & some 808s talking about not being able to name a single person who’s pulled his cork whereas “We Don’t Like U” by Teflon Zay hops over these ethereal synthesizers & skittering hi-hats to poke fun at Will Smith slappin’ Chris Rock. “Trap Ain’t Workin’” by RRoxket proves to be a favorite of mine from the pluggy beat to the lyrics trollin’ his opps when he smokes weed while “Backwood Baby” by Pradabagshawty talks about using Swishers as of late to roll his shit.

One of the weaker cuts on here in my opinion goes to “Celibate” only because of 1900Rugrat wasting this insane ambient plugg instrumental until “Biting My Swag” by Babystaydown makes up for it by airing out his grievances towards everyone who be coping his aura & trying to make it their own. White Friends” by PCF Manmanweighs things down again using a clumsy flow for roughly 104 seconds prior to “I Think” by Protect saving us once more talking about putting techs all over his body.

“SV” by 4eRedd & IsoBkae carried the plugg vibes forward joining forces so they can discuss not moving so loosely while “Bummy Scam” by Teflon Zay & Zone1eriic trades the mic back-&-forth with each other talking about using their Glocks to make their opps drop dead in the middle of a mall. “Hitmaker” by Yksteexy goes ambient plugg again feeling like he’s gonna be taken out for the things he won’t say while “Foxes” by Aobtrey & Fox BD dropping 1 comatose verse after another.

Nino Paid joins Lil Tony on “Threw Up the Drank” ending the 1st half of The Squidfather explaining they changed due to them not wanting to go back being broke & swervin’ while “From the Ground Up” by Cayo begins the 3rd quarter using this raw ass instrumental to talk about building this shit from the dirt skyward. “Yo Favorite Rapper a Hoe” by ApolloRed1 advises not to shed a tear if he’s ever killed while “Strike in Clayco” by Rx Yp picks up from there puttin’ belt to ass.

“So Much on My Mind” by Luhh Dyl, Seddy Hendrinx & Warhol.SS comes together to cloudily talk about doing things legitimately this time while “Kel Tec” by Double XL references Spider-Man 3, which was by far the worst entry of the Sam Raimi trilogy. “Man Up” by RW 5 talks about having to mature himself after he came home from prison like any other responsible person would do while “Turkey Neck” by GetRichZay & SSG Splurgewakes up daily to get a bag or 2.

Jripey takes the mic during the pluggy “Super Fly” talking about making songs for fun instead of charting while the ambient plugg “Watch My Back” by Day 1 Lil Willie looks back at a time where he told someone to trust to look out for him only to be betrayed. “Snakes” by TopOppGen moves forward running up in cribs without knocking beforehand while “Homie Hopper” by tana talks about taking down whole entire gangs by his lonely & asking where these individuals were when he was broke needing them.

“Stop the Cap” by Raqbaby pleas for these phony muhfuckas to cut out all the bullshit fibs they spewin’ while “Fake Percy” by Blo talks about throwing up due to taking percocets that weren’t even legitimate. “Chris Vec” by Lil Tony & 1900Rugrat reflects over the times they were down bad having nobody fuck with them but prior to the “Free Beat I Love Y’all” compositional outro, it only makes sense for Hari to approach the mic himself for the last song “Close with God” talking about fighting his demons.

Becoming a fan of his last fall through joints like “On Same Shit” by Babystaydown or “Living Room” by Pradabagshawty & “Ganger” by RRoxket, I had expectations of The Squidfather hoping that it would be an improvement above Cegular Records founder Whyceg’s sophomore effort Cegregation a few months earlier & that’s what I sorta got even if this is only better by a very slight margin. Hariroc’s production centered around plugg, cloud rap, ambient plugg & dark plugg sticks out amongst the best he’s ever made except the guest-list can be inconsistent at times a lot like Cegregation’s.

Score: 3/5

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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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J.I.D – “God Does Like Ugly” review

Atlanta, Georgia emcee & singer/songwriter J.I.D releasing his highly anticipated 4th LP. Coming up 15 years ago off his debut mixtape Cakewalk & joining the Spillage Village collective lead by the EARTHGANG around that same time frame, he dropped a couple more tapes as well as DiCaprio after that & signed to J. Cole’s very own Interscope Records imprint Dreamville Records in 2017. He has since made himself home there with The Never Story followed by DiCaprio 2 & more recently The Forever Story, having God Does Like Ugly precede JIDTRO fully produced by Metro Boomin’.

“YouUgly!” opens with J.I.D taking a ceiling challenge to shows he’s above his peers & a beat switch talking about not being the same as an individual tryna stand out in a crowd amongst fools whereas “Glory” produced by Lex Luger delves into his spirituality. “WRK” was a dope trap single talking about relentless hustle being required to achieve his ambitions while the crooning boom bap crossover “Community” featuring Clipse finds the trio looking back on their early days & wanting to shoot Bob the Builder.

Hearing “Walk” by Comethazine getting sampled on “Gz” was an unexpected welcome talking about car robberies while “VCRs” featuring Vince Staples continues the gangsta rap themes over a Jay Versace instrumental. “Sk8” featuring the EARTHGANG reunites the trio for an Atlanta bass cut talking about claiming your side whether it be north, south, east or west just before “What We On” featuring Don Toliver teams up for a psychedelic slow love song DJ Chase B helped put together.

6LACK appears for the tranquil “Wholeheartedly” wanting their partners to promise that they won’t ever switch up against them while “No Boo” featuring Jessie Reyez gives off a more cumbersome approach asking each other if they’re tired of being alone. After the “& We Vibing” interlude, “On McAfee” slaughters this nasty beat from Boi-1da, Vinylz & Cubeatz warning that nobody’s safe while the 3-parter “On Blue” featuring Mereba talks about finding a place to feel safe.

“K-Word” balances drumless & trap hopping over some strings to address the topic of karma prior to “For Keeps” chopping up a jazzy soul sample talking about the feeling he’s been trying to find for so long hitting him right when it seems like the mojo is gone & nothing having the ability to make him step away from the mic. The album officially finishes with an extended version of “Sun” featuring Anycia, which was previewed during his Dreamville Fest last spring.

Starting the “preluxe” run, “Behold” boisterously talks about giving 2 middle fingers in a picture so they don’t ever forget while “Beau” dustily compares himself to Rambo. “Knew Better” by the BlakkBoyz stands at the dawn of a new era while “Lisa” asks not for his high to get fucked up. “Animals” featuring Eminem fresh off the latter’s appearance in Happy Gilmore 2 with the longest reigning AEW World Champion MJF now becoming the new CMLL Mundial Peso Semicompleto Campeon and the current WWE Women’s Intercontinental Champion Becky Lynch reunites for a breakbeat “Fuel” sequel.

Prioritizing lyricism & artistry above everything else, God Does Like Ugly continues to exemplify J.I.D’s status as the best artist on the entire Dreamville Records roster with a supple prelude to JIDTRO & a virtuous successor to The Forever Story realizing the potential we initially heard almost a decade ago emphasizing the previous’ Christian themes. You’re still getting doses of trap, neo-soul, jazz rap & boom bap within the production except the Southeast Atlanta native’s wordplay keeps getting better with time almost a decade since his major label deal got inked.

Score: 4.5/5

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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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Homixide Gang – “Homixide Lifestyle 2” review

Homixide Beno! & Homixide Meechie known together as the Atlanta, Georgia duo the Homixide Gang releasing their 4th LP. Bringing to turn heads off their debut EP Snotty World to the point where trap trailblazer/rage pioneer Playboi Carti made them the 3rd act to sign to his Interscope Records imprint Opium Records following Ken Carson & Ken Destroy Lonely respectively, Homixide Lifestyle was a solid debut & Snot or Not wound up being a mixed bag of a sophomore effort. Their debut mixtape 5th AMNDMNT & their previous album I5U5WE5 were both received more favorably, looking to revisit the Homixide Lifestyle for a sequel.

“PC5” is a bombastic trap intro shows love to their homie Problem Child 5 presently incarcerated on murder charges whereas “Redrag” produced by Maaly Raw talks about shooting a lame in his face with the Glock. “1-800-555-OPIUM” blends trap & rock together so they can discuss the money callin’ them just before “Call in Me” links with Toom of Vanguard Music Group so they can compare themselves to walkie talkies being only a call away.

The way “Cherub Rock” by The Smashing Pumpkins was sampled on “5G” was pretty rad refusing to sell their souls while “PB&J” featuring Ken Carson finds the trio talking about their dangerous tendencies & trying to score as opposed to goaltending. “Soul-Fly” works in an unexpected soul sample to discuss their past leading into “Vice City” talking about having bitches go crazy over a Pi’erre Bourne beat.

“Frank Matthews” reflects over a Clayco & OPM BABI instrumental of wanting to become drug lords their whole entire lives while “Red Tails” references the greatest QB of all-time & 7-time Super Bowl champion Tom Brady. “Villain” conceptually dissects the Dark Knight quote “You either die a hero or you live long enough to see yourself become the villain” prior to F1LTHY of Working on Dying sampling “Downtown” by SWV during the highlight “Facet!me”.

ATL Jacob hops behind the boards for “Johnny Cage” referencing the character from the Warner Bros.-owned Mortal Kombat franchise prior to Homixide Mali appearing for “Sober” so the trio can get loaded. “Breeze” has a more laidback approach than what Homixide normally does boasting that they have more stripes on their backs than referees while “Watch Out!” bombastically talks about needing to stay geeked up.

“Going On” heads for a trap metal direction instrumentally to flex the kinda shit that pops off around them while “Headtap” talks about slangin’ the sticks with no aim & leaving blood everywhere. “Free Agents” touches base regarding their lifestyle & after “Shopping Bags” talks about hitting the store with them since they got everything y’all need, “State Property” playfully sees the pair getting money hungry.

To start Homixide Lifestyle 2’s final leg, “$$$ Problems” talks about having no issues regarding their finances returning to a trap metal sound while ”Nun 2 It” assures their respective girlfriends that they’ll go global effective immediately. “Gvnganati” talks about the subject of loyalty remembering the late R5 Homixide & “Nintend0” wraps up the LP with both of them playing the gamble of life using all cash.

Aside from Carti unsurprisingly not clearing his “Chopshop” verse hence why it didn’t make the final cut & Destroy Lonely only doing a hook for “Shopping Bag” instead of a verse, the Homixide Gang’s successor to their debut has a more general hardcore hip hop approach instead of gangsta rap although it very much expands on it’s rage/trap metal production minus the industrial hip hop elements.

Score: 3.5/5

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