underscores – “u” review

underscores is a 25 year old singer/songwriter & producer from San Francisco, California who dropped 6 extended plays between 2015-2020 including Trust Exercises, Grawlix, Air Freshener, Skin Purifying Treatment, We Never Got Strawberry Cake & Character Development!. Her full-length debut Fishmonger would follow as would Boneyard a.k.a. Fearmonger & the sophomore effort Wallsocket, the latter 2 being widely considered as her greatest work. Coming off the Covergirl: Originally by Sonny EP in 2024 & of course producing a few tracks for Danny Brown’s 7th album Stardust this past fall though, she’s signing to Mom + Pop Music her 3rd studio LP.

“Tell Me (U Want It)” begins with a self-produced electropop, dance-pop, hyperpop, complextro & slimepunk single that she considers “Music for my iPhone spy movie” singing about direct communication in a relationship whereas “Music”blends electropop, hybrid trap, hyperpop future bass, bubblegum bass, colour bass & pop rap sampling “Gunk” off Fishmonger singing about feeling the harmony. “Hollywood Forever” issues a clear statement that she doesn’t want to be buried in the titular cemetery while “The Peace” goes a capella to talk about not speaking unless spoken to.

The late SOPHIE & Arca are both key inspirations of “Innuendo (I Get U)” confessing to part of her hope she can understand this person she’s addressing leading into “Lovefield” hypnotically mourns a type of love that was unrewarded. “Do It” combines electropop, dance-pop, contemporary R&B, complextro & electro house singing about not committing to a relationship due to the riskiness of it but once she sensss a “Bodyfeeling” she doesn’t tell her partner of, “Wish U Well” ends the album wanting nothing the best out of a woman who moved on.

Expanding the intricately high impact world continuing to be built by its own creator, Mom + Pop introduces underscores as part of their roster by presenting the most accessible entry in her entire catalog & what I’m sure will be amongst 2026’s most lauded opuses. Her songwriting’s more emotionally charged than everything she’s done previously & the electropop production culminates many different era of career. More specifically the styles of electronic dance music, dance-pop, alt-pop, future bass, bubblegum bass, hybrid trap & hyperpop.

Score: 4.5/5

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Mike WiLL Made-It – “R3SET” review

Mike WiLL Made-It is a 36 year old producer from Marietta, Georgia who has become one of the most in-demand producers across hip hop, trap R&B & pop for the last decade. He would also drop 5 mixtapes throughout the early 2010s including the Est. in 1989 series as well as #MikeWiLLBeenTriLL & Ransom, the latter of which came out through his own label Ear Drummer Records & gave us a sequel under Interscope Records almost a decade ago. The soundtrack for Creed II however became his final major label offering, returning a few days shy of his birthday to drop a sophomore effort independently.

“ATL (APPR3CIAT3 TH3 LOV3)” by 21 Savage splits itself into halves to get things going with the help of London on da Track showing love to the city that made them whereas “Standing O” by Monaleo & Travis Porter co-produced by Shawn Ferrari blends some hi-hats & synthesizers for a decent single catered to the strip clubs. “TIM3” by SahBabii wasn’t as strong of a 2-parter as the intro although I appreciate the respect paid to the late Black Sabbath frontman & WWE Hall of Famer Ozzy Osbourne, but then “RUSSIAN ROULETT3” by Young Thug makes up for it talking about the game of chance.

Anycia, J Money & KARRAHBOOO all get together for “My Way” moderately talking about having things how they’d like over an instrumental Sonny Digital was involved in cooking up while “@ 874” by Hunxho & 2 Chainz shows off Mike WiLL’s ear for sampling although Tity Boi had the strongest performance out of both of them. “D33P3R” by Ludacris & Teezo Touchdown was easily my favorite single due to them tastefully combining R&B & pop rap to describe being deep in love while “Rooms” by Chief Keef & YoungBoy Never Broke Again unites both of them to explore the typical themes of their own individual discographies.

“O.F.G. (Opportunities For Growth)!” by J. Cole with co-production from Pluss & 30 Roc gets the 2nd half going talking about there being too much money for him to get & only having chances at evolution going forward in his career while “STOV3 LIT” by OJ da Juiceman has to be one of the best songs I’ve heard from him in quite some time recalling his days when he was trappin’ in the lab. “MONEY TALK$” by Killer Mike, T.I. & Young Dro brings all 3 of them together with Zaytoven helping behind the boards to talk about the paper while “AAA” by Sid Sriram continues with this mediocre attempt at trap soul named after the WME Group-owned TKO Group Holdings division WWE’s subsidiary Lucha Libre AAA Worldwide.

The late Lil Keed gets a posthumous cut of his own with “IN MY H3AD” talking about having some shit going on mentally until his passing over a beat Chopsquad DJ had a hand in making while “All I Know” by Cee-Lo Green shits all over “AAA” combining gospel & soul for a passionately sung ode wondering if anyone believes in God because He believed in him. “Major” by Swae Lee ends the R3SET with an outro that’s far more tolerable than the latter’s “Flammable” single, which gives me some hope for his upcoming sophomore effort Same Difference.

“high3r” by Lil Wayne & Lil Yachty starts the deluxe run talking about wanting to elevate the women they’re with hence why they’re treating them like it’s the last time they’ll ever see them until J. Cole co-produces “Blood Moon” by Lil Uzi Vert, where the last verse comes harder than the one preceding it & the repetitive hook falling flat. The final bonus track “Rockstar Raging” by Swae Lee outdoes the closer interestingly blending trap, rap rock & pop rap talk about staying fly until his very last breath.

Taking the opportunity to cement his presence in a new decade, Mike WiLL Made-It’s follow-up to Ransom 2 celebrates his birthday a few days early by dropping an improvement above it’s predecessor & one of the better mainstream producer curated albums that I’ve heard more recently. The production expands the trap & pop rap styles he’s become known for in addition to occasionally venturing out to experiment with gospel & trap soul, primarily bringing the right guests in those lanes other than a couple lulls.

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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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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Jack Harlow – “Monica” review

Louisville, Kentucky recording artist, producer & actor Jack Harlow returning with his 4th studio LP. Breaking through when the pandemic started off the single “What’s Poppin’?”, this resulted in DJ Drama & Don Cannon signing him to their Atlantic Records imprint Generation Now Entertainment as well as them putting out a mediocre full-length debut with That’s What They All Say that same winter & who could forget the arduous listen of a sophomore effort Come Home the Kids Miss You in 2023? Jackman. followed 11 months later & I thought that was alright, not really expecting anything different out of Monica.

“Trade Places” begins with Jack desiring to get alone with his lover the way she wants to whereas “Lonesome” produced by Rogét Chahayed talks about how sometimes he has to walk away when his partner’s feeling alone. “Prague” admits to his partner that he should stop holding on to them existing as a couple because he misses this woman the more she resists just before “My Winter” goes for a more laidback vibe describing a woman who he considers to be the complete opposite of himself.

To get the 2nd half of the album going, “Move Along” comes across as this 54 second interlude cautioning to be careful of what you take from him while “All of My Friends” talks about people telling him he comes off too strong to others. “Living Alone” confesses he can’t postpone disrupting the tempo of this person’s life any further & after “Against the Grain” asks his partner why she’s opposing what considered to be normal, “Say Hello” finishes with him suggesting he’ll get at this person when his life gets slow.

I kinda had the feeling that the commercial success of the obnoxious “Lovin’ on Me” would get to Jack Harlow’s head because Monica is a step above Come Home the Kids Miss You, but worse than Jackman. & has me questioning the future of Generation Now following Lil Uzi Vert’s departure. The production is more lenient towards the contemporary R&B & pop soul side of things rather than the pop rap style he became known for & although I very much appreciate him trying to artistically transcend by doing what he hasn’t done previously, I’d much rather listen to GENA’s full-length debut The Pleasure is Mine or Jill Scott’s 6th album To Whom This May Concern.

Score: 1.5/5

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