Ouija Macc – “Pyramid of Skulls” review

Here is the 10th studio LP from Las Vegas, Nevada emcee Ouija Macc. Breaking out when the Insane Clown Posse signed him to Psychopathic Records shortly after putting out his debut EP Trashfire independently almost a decade ago, Ouija has since proven himself as the hatchet’s biggest solo act dropping his last 9 full-lengths, 2 greatest hits compilations, 8 mixtapes & 5 EPs all in the span of nearly 8 years. He even started his own label Chapter 17 Records, with Darby O’Trill now being the only artist signed. He has since declared himself America’s Most Wicked back in November & looks to enter the Pyramid of Skulls weeks after CoKane as well as 2 Tuff Tony & Willie Mack became the new JCW World Juggalo Heavyweight Champion & JCW World Juggalo Tag Team Champions respectively.

Devereaux samples “Psycho Killer” by Talking Heads for the intro “Chalupa Mode” laughing off all the dummies who’re getting salty because they’re not finding any dirt on him whereas “0 Day” wickedly suggests to step out of his zone if you’re trying to imitate the type of shit he’s been on. “Faygo n’ Crown” flips “The Graveyard” by Project Born featuring ICP to talk about mixing the Juggalo Juice & whiskey prior to “The World is Hell” addressing an observation he’s had this whole time despite the name reminding all of the previous generation juggalos who’ve become down with Ouija of a track Esham did with Twiztid off my personal favorite album of theirs The Green Book during The Unholy’s brief Psychopathic tenure in the early 2000s as “The Boogieman”.

“Gnome Sayin’” shows a bit of a Memphis influence talking about stacking skulls all the way up to the ceiling while “Leviticus” blends a bassline & some hi-hats to tear down a bitch to dismantle a bitch with a gun, except Ouija knows he’s too much of a bitch to pull the trigger. Things lean towards a ghostlier direction instrumentally on “Behind the Beyond” talking about receiving messages from spirits that’ve been haunting him leading into him “Fillin’ Up My Bag” full of severed heads.

Reaching the halfway point, “On My Mind” gives off a more Hellish sound talking about having the idea of murder stuck in his head until telling the story of a “Haunted Cabinet” he stuffs all those dead bodies inside of. “Up 2 Something” continues the 2nd act of the Pyramid of Skulls speaking of the chosen few being excluded when armageddon eventually comes while “Chest Pain” makes it clear that all the real ones ain’t ever coming back once they’re gone & laying his ass to rest because of the dead holes he got.

“Killem All” was a phat lead single to begin the rollout talking about murdering everyone while “Bloody Mess” gets on his emo shit over the quirkiest instrumental of the bunch constantly thinking of death because of his depression. “No Place Like Home” talks about him continuing to stack up skulls like he’s building a masterpiece while “Candle of Revenge” vividly describes him dismembering guys who mistreat women. “Crying in the Pyramid” might be one of Ouija’s greatest songs taking an introspective approach to the lyrics on top of this cloudy beat using a sample & “Never Die” ends with him making sure his homies live forever.

Juggalo Championship Wrestling (JCW) will be kicking off their March Massacre weekend of JCW Lunacy tapings tonight & of course I have to mention Juggalohio IV going down next weekend, so America’s Most Wicked takes the disciples of the Sunken Church through the Pyramid of Skulls whilst reaffirming Ouija Macc’s constant balance of quantity & quality. Being teased since the Temple of Ash era almost a year & a half ago, it thematically picks up where Sunken Church left coming straight off the top of his head.

Score: 4.5/5

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Hus Kingpin – “Wavo Forever” review

Brand new LP & the 9th proper one overall from underground veteran Hus Kingpin. In addition to being 1/2 of Tha Connection with SmooVth, he has also built up over both a dozen mixtapes & EP in his discography all in the span of almost 2 decades with my personal favorites being Cocaine Beach produced by Big Ghost Ltd. as well as the Portishead-inspired Portishus & more recently The Supergoat fully produced by 9th Wonder. The latter in the beginning of 2024 has quickly become his most celebrated material in years, returning with Wavo Forever under Holy Toledo Productions.

“RZA Fangs” produced by RZA starts with him talking about keeping a razor in his mouth in case the gun’s jammed whereas “Ghost of Camay” goes for a soulful vibe thanks to Mathematics & he could’ve given us 1 more verse instead of letting the beat ride out for the last minute. “Next Level” featuring Inspectah Deck finds the 2 spending their 95 seconds together talking about turning people into ghosts when the smoke settles while “Hang Glide Samurai” featuring Kurupt & Raekwon comes through with more hardcore penmanship.

Killah Priest & Planet Asia both join Hus on “Mind Devine” aggressively talking about having guards around them because they’re well known while “Who Made You Look? 2” featuring Shyheim find the 2 teaming up for a sequel to a Portishus highlight. “The Pleasures” by Tha Connection featuring Rozewood brings all 3 of them together to look back at getting chains at 16 while “Majestic” featuring Ghostface Killah & Planet Asia lets the trio spit darts over a Big Ghost Ltd. beat.

“Killer’s Theme” featuring the Wu-Syndicate rounds out 3rd with everyone making an anthem for the kind of people who aren’t afraid to let some blood shed while “Saigon Velour” featuring Ghostface Killah & Tricky doesn’t hit me the same way “Majestic” did although I do like the Relense instrumental. “Wisewave” featuring Bronze Nazareth finishes up the full-length pairing both of them over a soulful beat the latter cooked up individually spitting verses of wisdom.

There are a couple of guests that I could’ve done without & some of the production can be a tad bit inconsistent compared to The Supergoat other than a few noteworthy exceptions, but I can definitely say that Wavo Forever’s the most I’ve enjoyed Hus Kingpin’s music in a couple years. If he makes an adjustment or 2 to the areas where this album lacks, then I really think he can make something nearing the same pedestal it’s predecessor & Cocaine Beach stand regarding the most essential entries to his catalog.

Score: 3.5/5

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17&18 – “OuttaWack” review

17&18 are a duo from Detroit Michigan consisting of C.R.I.M. & Forever Foy. One of whom I met in 2021 at the release party for Fatt Father’s 5th album Soccer Dad produced by Middle Finger Music co-founder Foul Mouth & the other began his career a year later, starting up his own label Forever & a Day Entertainment too. Crossing paths with each other at a show towards the backend of 2024, they’ve since been plotting to make their introduction & have dropped their full-length studio debut to celebrate St. Patrick’s Day.

“No Direction” starts us off having both members trading cutthroat bars with each other over a piano instrumental whereas “Higher Than You” moves on from there on some eerier shit, with C.R.I.M. talking about working for everything she has & Foy confessing to being a manic depressive since an adolescent. “Not Rain” hooks up a cumbersome boom bap beat speaking of manifesting everything that draws to them prior to the ghostly “DNT CRY” advising not to shed any tears for them.

Reaching the halfway point, “The Bad Guy” instrumentally kinda has a funkier vibe to it talking about being in their villain eras for their own betterment while “Please Dont Roll Up My Window” greatly explains that they’re staying underground because the mainstream’s too compact these days. “Nobody Cares” however goes drumless so they can make it clear that people really don’t give a shit about how much others complain or pray.

“Total Annihilation” became the very moment that 17&18 were born spitting hardcore verses over this bloodcurdling beat while “RapCamp Retreat” featuring Beezy Brown, Blizzard & Jay Hemlock as well as “We Gotta Be Close” featuring J. Santino, Jenn Foy, Lyric Bell & SongByrd finishes OuttaWack with 2 different posse cuts. 1 clocking at 5 minutes taking a more hard of approach & the other at 6, except it ties everything together on a more endearing note.

I haven’t really heard much of Forever Foy’s material up to this point but knowing C.R.I.M. for almost 5 years already, I wanted to give OuttaWack a chance & it gives me an understanding regarding why they formed 17&18 since this isn’t too far behind from Bill & Isiah’s eponymous 2023 debut in terms of recent Motor City pairings. Both of them team up in the studio dismissing anything what either of them would consider a bad idea without judgement or sense of feeling embarrassed.

Score: 3.5/5

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Bernadette Price & Terror Van Poo – “Kissing the Ground for Sinners” review

Brooklyn, New York emcee & Ruck Down Records CEO Bernadette Price teaming up with local artist Terror Van Poo & Boston, Massachusetts producer Stu Bangas for a new collaborative extended play. The widow of the late Sean Price of the Boot Camp Clik & Heltah Skeltah, she’s made a few appearances on songs in the past whether it be her late husband’s posthumous offering Imperius Rex or even with the likes of RJ Payne, Rim, the Snowgoons, Ruste Juxx & Vic Spencer. She finally made her solo debut last spring with A Widow’s Cry & to commemorate what would’ve been Ruck’s 54th birthday, it only makes sense for her & Terror to drop Kissing the Ground for Sinners.

After the intro, “Burden of Proof” starts with both of them hopping over a boom bap instrumental to talk about these rappers being bitches & masking it by claiming they’re real whereas “Big Trouble” eerily cautions that they got the gunplay as well as the street credit. “Trust in God” has a creepier vibe to the beat talking about having more faith in Higher Power & their guns more than people leading into “Food” featuring Leanah Cane aggressively proclaiming there to be no one nicer than them.

“Fuck You” gets the 2nd half of the EP going by giving middle fingers to everybody & instrumentally embracing a somber tone just before “Gunn Butt” jazzily talks about them having the ability to change perceptions overnight. The title track finds both of them looking to smoke any & all clowns who come in their direction while “Brownsville O.G.” blends a piano sample with some kicks & snares representing their stomping grounds to end the EP.

Terror Van Poo already had a few appearances on A Widow’s Cry almost a year earlier, so the idea of him doing an entire EP with Bernadette Price rapping over Stu Bangas production to honor her late husband’s legacy seemed like it could that LP & it sure enough does. Stu’s beats here hit significantly harder than Kissing the Ground for Sinners’ predecessor & we get a look at the artistic chemistry between both New Yorkers rather than continuing to present what Sean’s widow can offer as a solo artist.

Score: 4.5/5

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James Blake – “Trying Times” review

This is the 7th studio LP & Virgin Music debut from Enfield, London, England, United Kingdom singer/songwriter & producer James Blake. Someone who would move over to Republic Records after making his eponymous debut in 2011 under A&M Records by dropping Overgrown, The Colour in Anything, Assume Form, Friends That Break Your Heart & Playing Robots into Heaven over the course of a decade. I can’t forget to mention when he & Lil Yachty got together for their collaborative album Bad Cameo a couple years ago, marking his independence from a major label in an attempt to make something that would help people overcome these Trying Times.

“Walk Out Music” begins with a neo-psychedelic synthwave intro singing about being no good to anybody whereas “Death of Love” fuses alternative R&B, post-dubstep, trap soul & UK bass sampling “You Want It Darker” by the late Leonard Cohen to describe the internet’s progressively dark downfall. “I Had a Dream She Took My Hand” combines singer/songwriter, alternative R&B, brill building & adult contemporary flipping “It Was Only a Dream” by Thee Sinseers sings about wanting to know what it means while the soulful singer/songwriter title track desiring to die & stay alive for this person after everything going on these past couple weeks.

Things kinda take an indie rock turn whilst suggesting to his partner that they “Make Something Up” leading into Monica Martin joining James for the 2-parter “Didn’t Come to Argue” singing about taking her hand with no plans of doing so. “Days Go By” experiments with chipmunk soul & post-dubstep passionately admitting he let the enemy get the best of him in the midst of nothing getting done the more time passes while “Doesn’t Just Happen” featuring Dave continues the 2nd half of the album singing & rapping about how falling in love doesn’t occur out of the blue.

“Rest of Your Life” after the vocally repetitive “Obsession” interlude kicks off the 4th quarter of Trying Times embracing an EDM sound wanting to know where this person’s gonna spend the remainder of their existence & wanting to spend it with them while “Through the High Wire” was originally conceived when one of my top 10 producers of all-time Ye formerly known as Kanye West were working on a cancelled collaborative album called War & I’ll still take this final version for what it is. “Feel It Again” incorporates these bare synthesizers asking himself if he really came all the way here to be someone’s friend & “Just a Little Higher” ends with him singing about adjusting your sights because we’re all getting played.

Spending the last quarter of a century waking up to do what he loves, James Blake commemorates 15 years of introducing himself with self-titled by dropping what the multi-talented recording artist himself would consider the strongest possible foot he could put forward & takes over Playing Robots Into Heaven’s spot as the guest thing he’s done in this ongoing decade. His production explores art pop, alternative R&B, alt-pop, post-dubstep, UK bass, trap soul, neo-soul, singer/songwriter, brill building & adult contemporary to confidently give us his experiences of being in love in the middle of him battling the limits of the self against a backdrop of global uncertainty.

Score: 4.5/5

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Lamb of God – “Into Oblivion” review

Lamb of God is a groove metal band from Richmond, Virginia comprised of bassist John Campbell, lead guitarist Mark Morton, rhythm guitarist Willie Adler, drummer Art Cruz & frontman Randy Blythe. Introducing themselves a quarter of a century ago off their full-length debut Burn the Priest & the sophomore effort New American Gospel, As the Palaces Burn would catch the attention of Epic Records & their major label debut Ashes of the Wake remains my personal favorite in their discography even now. Sacrament, Wrath, Resolution, VII: Sturm und Drang, self titled & Omens were all solid in their own rights although I personally prefer some more than others. They’ve been teasing a new era since this past October right around the time a video of theirs appeared on season 11 of the MTV hit-series Beavis & Butt-head marking their debut for Comedy Central & it’s finally here with their 11th album.

The title track & 3rd single incorporates some metalcore influences into their signature groove metal sound singing about being the face of tyranny in the age of conspiracy whereas the 2nd single “Parasocial Christ” sprinkles some hints of thrash metal throughout for a statement criticizing the current age of social media. The lead single “Sepsis” combines thrash & groove metal with sludge metal for a throwback to their Burn the Priest days except Randy’s noticeably angrier now that he’s older while “The Killing Floor” feels reminiscent to the As the Palace Burns era following the name change.

“El Vacío” reaches the halfway point embracing more somber guitar tones singing about a monster sleeping in their home state while “St. Catherine’s Wheel” kicking off the 2nd leg. After the 4th & final single “Blunt Force Blues” blends groove metal & metalcore for a reflection of the various skills they’ve accrued over the course of their career, “Bully” taps back into the band’s typical angst some have come to know them for while “1,000 Years” sings about unleashing the dogs of war to fill his crimson glass. “Devise / Destroy” spends the last 4 minutes riding off Into Oblivion by taking a more antagonistic approach to delivering the social commentary Randy wants to get off his chest.

Self-titled & Omens were both alright to me personally, but the teasers we got in preparation for Into Oblivion gave me the impression that it would be their best since VII: Sturm und Drang after I had graduated high school over a decade ago & I can definitely say with confidence that it joins the likes of that as well as Sacrament & As the Palace Burn in comprising the other 4 albums I would have join Ashes of the Wake to comprise my top 5 favorite full-lengths throughout the Lamb of God canon. The groove metal veterans take secondary inspiration from metalcore, thrash metal & sludge metal to issue a warning regarding people accepting what would’ve horrified them 2 decades ago.

Score: 4/5

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Nezzy – “The Infamous N.E.Z.” review

Brand new LP & the 4th overall from Sandusky, Ohio emcee/producer Nezzy. Emerging within the underground in 2022 off his first 2 EPs Subject to Change & Pyramids, he went on to follow this up by releasing the full-length debut Hippie Thug in the spring of 2023 & subsequently his 3rd EP New World Disorder a couple months later. Hall of Infamy & his previous album Worm Food from last summer have both elevated him in terms of popularity containing some of the greatest tracks of his career, dropping The Infamous N.E.Z. almost 9 months succeeding it’s predecessor.

“The Infamous” produced by C-Lance gives his flowers to one of the greatest hip hop duos of all-time Mobb Deep fresh off their final album Infinite this past fall whereas the self-produced “Mysterioso Pizzicato” maintains a gritty boom bap vibe instrumentally talking about cremating any rapper who thinks they’re hot. “Cuckoo!” wasn’t my favorite single of the 3 although I do appreciate the old school east coast hip hop just before “Raiders of the Lost Art” featuring Ja’king the Divine teams up over a Stu Bangas beat talking about hip hop being more than fame & riches.

We get a cool tribute to the classic video game “Def Jam Vendetta” although I prefer Fight for New York like most people & Icon was complete garbage, but then “Gein’s Theme” ruggedly talks about how there won’t ever be another MC of his caliber. “Vat of Acid” gets the 2nd half going admitting that he’s been a bastard from the very beginning while the lead single “Kaboom Bap” talks about being the man with the plan.

“Riddle Me This” rounds out 3rd with this eerie boom bap beat suggesting to keep your head on a swivel & stay vigilant while “Most Writeous” featuring Copywrite finds the 2 promising over some horns issuing a promise of snatching microphones from anyone who’s spitting wack rhymes. “N.E.Z.” lastly sends it all off saluting The Notorious B.I.G. & the late Prodigy on top of promising to go crazy musically until the day he can’t anymore.

Nezzy has been constantly turning heads by evolving his whole style known for combining hardcore vulgar references filled with deeply introspective conscious rap full of uncompromising rhyme schemes & thought-provoking choice of words ever since opening for opening for Psychopathic Records alumni Anybody Killa & DJ Clay at the co-headlined Welcome Home Party couple years ago, to which The Infamous N.E.Z. feels like a refinement of Worm Food in terms of lyricism & production.

Score: 4/5

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Stacc Styles – “Stacc of Spades” review

Tucson, Arizona recording artist Stacc Styles is back with his 4th studio LP. The founder of Dope Shop Records, he introduced himself in the spring of 2015 off the debut album Inside the Ride followed by the sophomore effort Mr. Purple in the fall of 2020. Stacc has also been an affiliate of Suburban Noize Records dating back to being a roadie for the punk band Mower, eventually signing to the west coast underground imprint in 2024 & his last full-length Live Your Best Life refined his whole artistic identity. Almost a couple years later, he’s returning with a Stacc of Spades.

After the titular intro, the first song “God Mode Activated” makes his return over a funereal trap beat talking about being the head honcho whereas “Still Riding High” leans towards a g-funk vibe for all the stoners out there. “Relentless” goes for a more rugged vibe instrumentally & takes a hardcore approach to his songwriting prior to “What You Mad About?” posing a question for all the haters who’ve been detracting him since signing to Subnoize.

“Knife Rips” embraces a more celebratory tone refusing to stop because it’s only gonna go up from here just before “Pounds to Grams” featuring D-Loc & Judge D of the Kottonmouth Kings finds the trio getting back on their weed smoking shit. After the “Sub Noize Legacy” interlude throws it back to the Tsunami Bros.’ only album King Harbor with a full-blown turntablism cut, “Stamina” works in some pianos & guitars boasting that no one has his kind of endurance while “Modern Day Hero” talks about how dreams do come true.

Preceding the “Message from Munchies” skit, “Take Your Time” hops over a bluesy boom bap instrumental wanting the world to know everything will be ok in the end while “To the Dome” featuring the DG@F General himself Chucky Chuck & the late Saint Dog comes through with an old school 90s west coast heater. “How You Living” goes g-funk again wanting everyone to ride with him into this new era & once the original Kottonmouth King Johnny Richter appears for the reggae-inflicted single “More Peace of Mind”, the closer “Anything’s Possible” featuring Too Rude frontman Dog Boy ends the album on an optimistic note.

Live Your Best Life was a solid refinement of Stacc Styles’ whole sound that Suburban Noize Records laid out the blueprint for & not only does Stacc of Spades take it to the next level with his magnum opus, but also one of the greatest things Subnoize has done over the course of the 2020s along with Obnoxious’ debut album Sic Audio & the King Klick’s self-titled extended play. From the incredible list of the label’s most celebrated alumni to Stacc’s own performances & the production, it feels like their way of moving forward whilst celebrating 3 decades of it’s foundation.

Score: 4.5/5

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Elucid – “I Guess U Had to Be There” review

This is the 5th studio LP & Rhymesayers Entertainment debut from Queens, New York emcee/producer Elucid. For nearly 2 decades, he’s been making a name for himself whether it be his 10 mixtapes & 2 EPs that he’s released by himself or becoming 1/2 of the abstract duo Armand Hammer. His full-length solo debut Save Yourself came during the spring of 2016, which was followed by I Told Bessie as well as the Fat Possum Records-backed Revelator & Interference Pattern. Given that 2 of 2025’s most celebrated albums Golliwog & Mercy both came out under Rhymesayers, it was only a matter of time for I Guess U Had to Be There to drop & my anticipation was raised after learning Sebb Bash was fully producing it.

“1st Light” began the rollout with this drumlessly abstract lead single talking about being on farmer time whereas “Cantana” works in some exuberant pianos & a soul sample wanting to be left the fuck alone in addition to being on his 8th life. “Hands n Feet” featuring Estee Nack finds the 2 leaning towards a hardcore boom bap vibe dropping bars that they assume will go over people’s heads more than Israeli drones, but then “Make Me Wise” strips the drums again describing the government pairin’ propaganda with a pie in the face when that & the drone line on the previous track aren’t entirely wrong.

My favorite track here would easily be “Coonspeak” from the abstractly conscious lyricism to the experimentally wicked & drumless loop just before “Equiano” reaches the halfway point bringing the drums back in whilst turning up the psychedelia telling it straight how it is. Armand Hammer reunites for the 3rd & final single “The Lorax” returning to the boom bap & including a reference to the infamous Malice at the Palace brawl which occurred when I was about to turn 8 while “Fainting Goats” featuring Breeze Brewin’ hop over this drumless chipmunk soul beat talking about their reaffirmations of nobody having harder motion than them.

“I Say Self” rounds out 3rd with a sinisterly dark approach instrumentally talking about his refusal to put swine above himself while “Visitation Place” shifts towards a psychedelic direction with the beat tearing apart the type of people who should be doing more when they don’t & seeing it in their eyes that nothing’s adding up when he can’t either. “Alive Herbals” turns up the funk looking to the paint the block blue with money inside his shoes & “Parental Advisory” ends the album on some drumless psychedelic rock shit wondering if his firearm awoke anyone from their sleep.

Receiving a huge co-sign from one of my top 10 producers of all-time The Alchemist calling him “his favorite producer today”, Sebb Bash validates that by linking up with Elucid to surpass Revelator to become the greatest entry in his entire solo catalog & continues to ring in this new era for Backwoodz Studioz since they’ve signed this distribution deal with Rhymesayers Entertainment last spring. His abstractly conscious & hardcore lyrical style has been progressively improving & Sebb cooks up some of his greatest production built around drumless, boom bap, psychedelia & chipmunk soul.

Score: 4.5/5

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Bruiser Wolf – “Push & Paint” review

Here is the 5th studio LP from Detroit, Michigan emcee Bruiser Wolf. A member of the Bruiser Brigade collective, his 2021 solo debut Dope Game Stupid would become an experimentally gangsta & comedic gem although the sophomore effort My Story Got Stories was more moderately received a couple years ago. Both of his last couple albums Potluck & Made by Dope produced by Harry Fraud respectively have become his most celebrated material thus far, looking to Push & Paint for 313 Day.

Payroll Giovanni appears on the intro & final single “Hater Not an Opp” explaining that the only thing both of them have on their minds is the product moving in & out prior to Akeem Ali joining Bruiser for the lead single talking about having a “Common Goal” over a Mobb beat. That said, it wasn’t necessarily my favorite teaser of the 3. “Ole Girl” featuring P-Lo finds the 2 asking women if they may have this dance while “Toxic” featuring Sada Baby goes for a hyphy vibe instrumentally talking about all of their bitches being the poisonous type.

The 2nd half begins with this animated beat admitting that he isn’t good with “Numbers” hence why he doesn’t call hoes while “Ask Yourself” featuring GT links up to make people question if they can fuck with the real ones. “Why They Play Me?” featuring Babytron talks about people loving their flows every city they hit up but once “She a Bill” featuring Sheefy McFly himself describes a woman who fit the receipt similarly to a wallet, “Wannabees” concludes Push & Paint takes a dig at those who want to be hip hop’s answer to the Warner Bros.-owned Quick Draw McGraw/Yogi Bear Show character Snagglepuss.

Receiving a huge co-sign from 2-time NBA Champion Kevin Durant this past fall, Bruiser Wolf’s way of celebrating 313 Day is pretty solid even if it doesn’t blow me away the same way Made by Dope or Potluck did. Sheefy McFly’s production here is mainly reminiscent of the Mobb & hyphy west coast hip hop scenes which is cool since I’ve heard some comparisons between him & E-40, except there a couple features I could’ve done without & it does pick up towards the backend of it.

Score: 3.5/5

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