Swapa – “CLRBLND” review

Swapa is a 21 year old recording artist & producer from Harlem, New York introducing himself in 2021 off his poorly received debut EP To Each It’s Own. He would gradually improve himself from there whether it be New Harmony, Bannon, Ollo, Eigen, Island or his most recent extended play as of me writing this Armageddon celebrating it’s 1-year anniversary last month. In regards to his full-length studio debut album CLRBLND, seeing a couple notable producers that I’m a fan of making some contributions to it had me intrigued & I thought I’d give it a shot.

“tap in” starts us off by introducing a new mind of swag to the world since he’s in his bag differently whereas the experimental “fully chop” talks about nobody being able to fuck with him because of his boss status. “redinyoeyes” appreciatively throws it back to the Bannon era a little for those who’re fond of that point in his career leading into the self-produced “skull” talking about the type of guy he is compared to some of these lames.

Moving on from there, “heavy metal” continues to display Swapa’s production talents assuring that he’s in it similarly to the titular genre of music just before the 808-heavy “steve kerr” talks about being richer than the Golden State Warriors’ head coach himself. “nah” stylistically feels like some new age Future shit getting fried while “sir scale” produced by Whyceg & Goxan works in more 808s talking about everything he says eventually selling.

“rigged” reaches the halfway point of the LP subtly referencing the NBA’s ongoing illegal gambling scandal involving Chauncey Billups, Damon Jones & Terry Rozier while “old habits” sticks out with one of my favorite flows throughout CLRBLND asking if one wants to die now that he gave his bitch a Glock to carry for protection. “nother level” speaks of wanting to murder their opps & throw their corpses in the river while “again” talks about it only being him & his bands in the end.

Things take a more rage-inducing vibe on “troll” considering himself a threat while “ykisshme” leans heavier towards a synth-based sound thanks to Clayco promising y’all gonna know it’s him when he pulls up. “marni” much like “old habits” shines as a moment where he shows off what he can do with his flows while the piano-heavy “why not?” talks about doing this music shit for himself. “alien” finishes Swapa’s debut with him psychedelically arriving to the function looking extraterrestrial.

Impressed with his verse on Devstacks’ sophomore effort 4SouljasOnly earlier this spring, it only made sense for me to find out if CLRBLND would be capable of topping Armageddon in addition to some of the other EPs he has under his belt that I don’t find myself going back to very often like Island for instance. Surely enough, all 5 tracks he produced by himself along with “sir scale” & “ykisshme” to name a couple all make for the finer moments over the course of Swapa’s proper introduction.

Score: 3.5/5

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The Neighbourhood – “(((((ultraSOUND)))))” review

The Neighbourhood is an alternative rock & indie pop band from Newbury Park, California consisting of drummer/percussionist Brandon Fried, bassist Michael Margott, rhythm guitarist Jeremiah Freedman, lead guitarist Zachary Abels & frontman Jesse Rutherford. Signing to Columbia Records in 2012, they would go on to make their full-length debut the next spring with I Love You. & Wiped Out! celebrated it’s 10-year anniversary only a couple weeks ago. Hard to Imagine The Neighbourhood Ever Changing would improve from both it’s predecessors while Chip Chrome & the Monotones would moderately fulfill their Columbia contract. They have since taken a hiatus between 2022 & this summer, joining the Warner Records roster for their 5th album.

“Hula Girl” sets up their return with a bit of a homage to Oasis singing about the feeling of being removed from his peers whereas “OMG” continues by blending elements of the Wiped Out! & Hard to Imagine The Neighbourhood Ever Changing eras lyrically calling back to “You Get Me So High” & “No Grey” respectively, which is something I believe longtime fans will certainly admire. “Lovebomb” goes for a more nostalgic vibe altogether breaking the curse that all of Jesse’s previous relationships all have in common just before “Private” sings about the relationship he has with his current girlfriend Valentina Bilbao.

As for “Lil Ol’ Me”, we have The Neighbourhood continuing to pull inspiration from Oasis with a hint of Nirvana sprinkled in this time around singing about people wanting Jesse’s soul after putting a lease on it while “Planet” incorporates a bridge reminiscent of the late Michael Jackson yearning to take back a light that was stolen. “Holy Ghost” reaches the halfway point experimenting with alternative dance singing for Valentina to hold him close whenever he feels uncomfortable or wants to give up making music while “Rabbit” begins the 2nd act of (((((ultraSOUND))))) tackling themes of agony & despair.

“Tides” keeps it rolling by throwing it back to the Wiped Out! days once again depicting a relationship built around constantly fighting & asking if they can put their differences behind them while “Daisy Chain” shifts towards an indie rock direction stylistically singing about the topic of nostalgia. “Zombie” compares Jesse to the undead because of him staying up all night waiting for a woman he’s been in contact with as of late to answer his missed calls while “Mama Drama” thematically picks up where “Daddy Issues” left off a decade earlier.

The song “Crushed” winds down (((((ultraSOUND)))))‘s final 11 minutes by taking a bit of a funkier approach in terms of sound singing about self-destruction while “Mute” apologizes in advance if Jesse’s been acting weird, attributing it to his desire of wanting to disappear & things inside his head becoming increasingly loud. “Stupid Boy” concludes the band’s comeback with a sequel to “Pretty Boy” off Chip Chrome & the Monotones, except the aesthetics of I Love You. happen to be more significantly prominent with his empathy increasing & his faith in humanity decreasing.

“Start” appropriately begins the deluxe run singing about having a difficult conversation with someone while “Good Grief” continues by admitting that he’s been having difficulty trying to get over the individual he’s addressing. “Lulu” sings about creating a self defense mechanism that allows Jesse to transform himself & experience life through a different identity while “Red Flag” suggests to set him on fire before he loses it. The final bonus track “Bed” spends the last couple minutes singing about being unsure of whether he’s lonely or alone & lying to himself to make everything seem alright.

Up until this point: These guys to me personally have always been one of those acts where they’ll occasionally wow me by putting out tracks like “Prey” or “Roll Call”, but (((((ultraSOUND))))) changes everything for The Neighbourhood returning under Warner Records for what might be their strongest LP. The production has something that all fans can enjoy recapturing every style they’ve explored during their Columbia Records tenure from alternative rock to indie pop, indie rock, alternative dance & dream pop with it’s darker & moodier spin complimenting Jesse Rutherford’s intimately self-aware lyrics revolving around heartbreak, disillusionment & emotional vulnerability.

Score: 3.5/5

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Navy Blue – “The Sword & The Soaring” review

Brooklyn, New York skateboarder, MC, producer, songwriter, visual artist & model Navy Blue starting the week off with his 8th studio LP. Breaking out a decade ago off his debut EP According to the Waterbearer, he would go on to drop 9 more EPs & 6 full-lengths before signing to Def Jam Recordings for his previous album Ways of Knowing produced by Budgie to critical acclaim. Coming off last summer’s Memoirs in Armour EP however, The Sword & The Sword has arrived as we reach the halfway point of the month.

“The Bloodletter” begins by hooking up a drumless piano from Chris Keys advising that you don’t have to die in order to live again whereas the only single “Orchards” takes the boom bap route instrumentally with some strings to talk about being on an other journey of self-discovery. “God’s Kingdom” produced by Graymatter gets back on the drumless vibes finding himself unable to cry lately since his uncle Carl passed while “Sunlight of the Spirit” soulfully talks about life being to beautiful to hide the way he’s living.

Moving on from there, “Guardadas” keeps it drumless calmly desiring for peace & recognition just before “My Heartbeat” heads for a jazzier boom bap direction talking about not being defined by who he’s living for soaring through an existential war. “Tale of the Truth” strips the drums once again trying to tone down the voices depriving him of his patience leading into the self-produced “Fight On” talking about love being the very thing he’s fighting for.

“Kindred Spirit” starts the 2nd half remembering the late Ka in light of his tragic passing 13 months earlier over a saxophone while “If Only…” brings a bluesy guitar in the fold apologizing for not returning calls due to falling back. “Illusions” maintains a drumless sound talking about looking high & low when he was high & low while “24 Gospel” featuring Earl Sweatshirt finds the 2 abstractly bodying a gospel sample that Animoss flipped.

To kick off The Sword & The Soaring’s final quarter, “Here & Now” jumps over a sampled piano for a couple minutes explaining his pain is where his day resides while Sebb Bash gives “Soul Investments” an appropriately soulful edge to it asks why he’s on with keeping lesser if he has more to gain. “Sharing Life blends these luscious keys & a flute talking about fatherhood while “The Phoenix” comes to the realization that the trials & tribulations have taught him he’s worthy of affection.

Navy Blue’s entire discography has been defined by his introspectively abstract lyricism & drumless production, but his newest album takes his use of music as a therapeutic outlet to newer territories having The Sword thematically representing an earthly tool used for the battle he’s cohesively describing or in this case grief & The Soaring symbolizing the heavenly council. The production on this one is soothingly peaceful handling only 25% of it himself & Ka would certainly be proud of the way he’s being honored if he was still here.

Score: 4.5/5

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Hatch Wiseguy – “Dirt & Diamonds” review

Hatch Wiseguy is a 37 year old MC from Detroit, Michigan making his full-length debut 2 decades ago with Wise Guy & following it up with an EP called Likewise. He would later go on to receive co-signs from local veterans like Royce da 5’9″ & Trick-Trick to established icons like The LOX & the late DMX, even forming a duo with Pony Evans called Role Idols. I also thought that he had the best performance of the 3 on the track he contributed to off Blizzard’s debut album Duel with Death, so hearing that he was returning for a sophomore effort felt long overdue in my personal opinion.

“To Whom It May Concern” produced by Foul Mouth starts off by hooking up a piano-based boom bap instrumental playing with fiery Hell like 2 magnums whereas “Pop Off” featuring Astray & Paradime finds the trio over a more jazzily soulful instrumental from Blizzard talking about needing head doctors since they’re so crazy. “Prolific” flexes his status with the pen continuing to demonstrate Foul’s ear for sampling just before “Foreigner” lavishly talks about popping overseas with his Gs.

38 Spesh joins the Wiseguy on the grimy boom bap collaboration “Yikes” giving no fucks as to what these pussies are like out here these days leading into “Snakes” featuring Astray reuniting the 2 to call out those exact kind of people scheming behind their backs over a dusty beat. “We Outside” featuring Bizarre gets together to give the audience that raw shit prior to “Leap Frog” featuring Marv Won talking about both of them hurdling over all these bitches, with Hatch referencing WWE Hall of Famer Mike Tyson alongside the greatest basketball player of all-time Michael Jordan & the late king of pop Michael Jackson.

“It’s Not Ok” featuring KXNG CROOKED begins the 2nd half with both artists looking to keep angels by their side whenever they’re out because of devils following them while the drumless “Make You Proud” talks about having to learn some lessons the hard way & seeing his father pass away in front of him. “Seeing is Believing” brings the kicks & snares back in the fold humbly living his dreams until “Chill” scoffs at these group of people acting like bitches. “Bare My Soul” featuring Astray explains that he made this album because there’s not enough love being spread these days & “Nincompoop” wraps things up with some shit-talking.

Intentionally making this a niche boom bap project for those who truly appreciate the craft & artistry of lyricism & hip hop at it’s most traditional instead of the casual rap listener or a sing-a-long crowd, Dirt & Diamonds checks all the boxes in regards of making it a triumphant comeback from very personal moments to bangers, stories, lyrical exercises & some good ol’ bops. Pulling a lot of strings to include some of the top talents in the genre from features to production & even live instrumentation, it’s like he’s catching up with all of us as to what’s been going on with him & his growth since the last time he dropped forever ago.

Score: 4/5

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Aaron Parks – “By All Means!!” review

Aaron Parks is a 42 year old pianist from Seattle, Washington making his debut in the late 90s, putting out 4 full-lengths as a leader until making his Blue Note Records solo debut the following decade with his magnum opus Invisible Cinema. He would go on to put out 9 more LPs until returning to Blue Note last summer for the final chapter of the Little Big trilogy, which marked my personal favorite installment of the 3 & his 16th album has arrived 13 months since coming back to the greatest jazz label.

“A Way” starts us off bringing bassist Ben Street, tenor saxophonist Ben Solomon & drummer Billy Hart all on board for a post-bop intro whereas the lead single “Parks Lope” shows a bit of a John Coltrane influence bringing a bluesier vibe for only a minute shorter than the opener. The 2nd single “For Maria José” serves as a compositional love letter to Aaron‘s wife that she’s surely adore prior to “Dense Phantasy” pulling inspiration from the late Bill Evans.

The song “Anywhere Together” begins the 2nd half of By Any Means!! with a post-bop jam reminiscent of the late Wayne Shorter’s early output (Juju & See No Evil in particular) while “Little River” publicly expresses the love he has for his son Lucas during the 3rd & final single. Of course I can’t for get to mention “Raincoat”, which so ends the last 6 & a half minutes on a succulent note colliding the piano & tenor sax with some cymbals.

Distancing himself from the jazz fusions that’ve defined a great deal of his output since the late 2010s or so, Aaron Parks reunites the very same trio who brought us Find the Way to embrace a rootsier post-bop approach throughout By Any Means!! as opposed to Invisible Cinema’s lenience towards the ECM style. It may even be his greatest musical statement of his career, celebrating his family & the traditions of jazz music as a whole.

Score: 4/5

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Insecure Men – “A Man for All Seasons” review

Insecure Men is a neo-psychedelia duo from Stockwell, South London, England, United Kingdom consisting of bassist Ben Romans-Hopcraft & vocalist/guitarist Saul Adamczewski. Originally a trio with Nathan Saoudi, they would go on to sign to Fat Possum Records & made their eponymous full-length studio debut in 2018 establishing themselves in the windmill scene by additionally pulling from psychedelic hypnagogic pop, returning for a sophomore effort after almost 8 years since properly introducing themselves.

The psychedelic pop intro “Love Again” sings about the horizons not always signify a new beginning whereas the 3rd & final single “Cleaning Bricks” takes inspiration from an old job they had. “Krab” feels like somewhat of a spiritual successor to “The Drones” by The Fat White Family left off their 2016 sophomore effort Songs for Our Mothers while the 2nd single “Time’s a Healer” sings about a hallucinatory narcotic dream that occurred this summer to conclude the 1st act.

“Tulse Hill Station” starts the 2nd half with an ode to the London railway station of the same name prior to the lead single “Alien” comes across as being envious that the woman of interest is seeing other dudes & feels like he’s a complete outsider to her. “Butter” asks what’s left for a person who lost their dream summer job while “Graveyard (Of Our Love)” sings about a relationship that didn’t last & the protagonist hoping he isn’t as stupid as he was. “Weak” concludes the LP with a folkier note pleading to have a hole drank inside their heads due to feebleness.

Focusing less around the hypnagogic pop elements of self-titled, A Man for All Seasons conceptually builds itself around Saul Adamczewski’s hospitalization for severe psychosis & opioid addiction sparking an entire artistic rebirth that includes 2 more albums exploring country & dub music to the fullest extent. The neo-psychedelic pop production of Insecure Men’s debut has matured greatly in the last 7 years since we’ve heard them together exemplified by some of the indie folk elements, taking a more confessionally escapist approach to the lyrics.

Score: 4/5

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Bun B – “Way Mo Trill” review

Port Arthur, Texas emcee & entrepreneur Bun B returning for his 7th studio LP. Coming up as 1/2 of the iconic duo UGK over 3 decade ago, he eventually released his solo debut Trill in the fall of 2005 & & began focusing towards his solo career a few months after UGK’s self-titled double album when his cohort Pimp C passed away. Bun went on to release 5 more albums, with the last one being the Cory Mo-produced Mo Trill & to which Way Mo Trill serves as an official sequel to ahead of it’s predecessor turning 4 in a few months.

“There He Go” featuring 8Ball & MJG starts with them forever staying on the grind every minute & every hour whereas the final single “Everywhere We Go” by UGK featuring Juicy J & Project Pat talks about representing the south regardless of where they’re at. “Better Believe It” featuring LaRussell co-produced by DJ Toomp pulls from gospel a bit flexing that they’re back bigger & better while “I Can’t Lie” featuring Monaleo & Scotty ATL after the “Queenie Keeping It Trill 2” skit finds the trio talking about not letting hoes ride with Ray Murray of Organized Noize handling co-production.

Killa Kyleon & Young Dro appear for the soulful lead single “Can’t Stop My Hustle” refusing to pump the brakes in terms of hustling while “Down in the South” featuring Akeem Ali & 24hrs talks about bumping country rap tunes in the ride driving around the city. Woodie Woo joins Bun in clarifying that they’re “Still Outside” & after “N****s Ain’t Right” featuring Z-Ro calls out the frauds, Jay Worthy alongside Legendary Baller & Scar get together with Bun to “Put You on Game”.

Starting the deluxe run, “Be About Some Bread” featuring Talib Kweli joins forces over sample-based trap instrumental advising to get the fuck out the game if you don’t even know how to play it when they’re absolutely correct about it while the final bonus track “Fight Music” featuring Grafh & Termanology finishes up with all 3 of them over some horns & hi-hats for a song either the WWE or the UFC divisions of the WME Group-owned TKO Group Holdings would include in a future video game soundtrack.

Unfortunately as much as I enjoyed Mo Trill for it’s demonstration of Bun B & Cory Mo’s artistic chemistry approximately 3 & a half years earlier, I wouldn’t consider the sequel to be on par with the predecessor even though I’m very much torn coming away from it. Not because of Cory’s dirty south/trap production or the killer lyricism from the founder of II Trill Enterprises & Trill Burgers, but mainly due to the opinion that the list of guests subtly tones down in consistency.

Score: 3/5

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Domo Genesis – “Scram!” review

This is the 4th studio LP from Inglewood, California emcee & songwriter Domo Genesis. Starting in mid-2009 as a member of the now defunct Odd Future collective, he’s gone on to give us 3 full-lengths accompanied by 4 mixtapes & an EP excluding the Facade Records trilogy within the last dozen years, my personal favorites of which being his debut mixtape Rolling Papers, The Alchemist-produced 3rd mixtape No Idols, the Evidence-produced debut EP Aren’t U Glad You’re U? and sophomore effort Intros, Outros & Interludes. Doms’ last album What You Don’t Get!? produced by Graymatter had a more drumless sound & coming off World Gone Mad this summer, they’re advising any & all competition to Scram!.

“Sheddingweight” begins with a delicately drumless beat talking about being paid in pounds & not needing any extra baggage whereas “Makemealilmoney” takes an orchestral route instrumentally looking to get paid. “Goodgracious” talks about time waving the long hand wondering how fast it’ll prior to “Clocking2u” featuring Evidence bodying a bare sample together.

Moving on from there, “Money” discusses the most important thing that builds his ego with a more suspenseful sound just before the calming “Dedication” talks about always staying on his feet even when he’s sleeping. “Kurtrambis” kicks off the 2nd half reminding that he’s been running up numbers & others being too afraid to call it the way it is while “Deyknow” references 2-time WWE Hall of Famer, 14-time WWE world champion, 5-time WWE Intercontinental Champion, 3-time WWE tag team champion & the WME Group-owned TKO Group Holdings division’s CCO Triple H.

“Plainface” brings some synths into the fold speaking of those trying to use his likeness while the heavenly “Tiresmoke” talks about letting bullshit breathe instead of drawing guns. “Buenosnachos” chops up a soul sample to advise that his latest efforts aren’t a tone else’s honors while “Everythingimnot” featuring 3wayslim talks about changing in many ways. “Pray4u” wraps things up with a message to a person he loves more than himself.

Finally accepting himself at face value, Scram! sorta feels like everything that makes Domo Genesis who he is combined into 1. Graymatter’s production more soulful than What You Don’t Get?! & World Gone Mad were, both guests were refreshing to hear as much as I enjoyed both predecessors for holding the fort individually & Doms pens what could very likely be the most abstract lyrics of his entire career accepting himself at face value.

Score: 4/5

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G Herbo – “Lil Herb” review

Chicago, Illinois rapper & songwriter G Herbo making his Uptown Records debut with his 9th LP. Breaking out over a decade ago off his debut mixtape Welcome to Fazoland, the resulted in him earning a spot in the legendary 2016 XXL Freshman Class along with 8 full-length albums, the previous ones being the 2-disc Survivor’s Remorse & more recently Big Swerv. Almost 4 & a half years since making his Republic Records debut 25, the artist formerly known as Lil Herb had been moved over to the relaunched Uptown subsidiary so he can take it back to his origins.

“Every Night” begins with a soulful drill instrumental talking about reasonably crying nonstop when his brother passed away whereas “Reason” produced by Don Cannon made for a promising lead single flexing that he’s why people have left the block to become rich, only to return. “Longevity” finds himself feeling like no one can fuck with him although the beat doesn’t move me the same way Southside & Smatt Sertified’s on “Blitz” does, using it to show off his champion status.

We get some strings & 808s meshing with one another during “Radar” asking if anybody listening has ever lived through a nightmare leading into “Where Would I Be?” referencing No Limit Records, who whooped Cash Money Records’ asses at the Verzuz occurring at ComplexCon a couple weeks ago. “Win Again” talks about forever stickin’ to the code for a W just before “1 Chance” reaches the halfway point encouraging the world to not blow their shot.

“Emergency” featuring Wyclef Jean finds the unlikely pairing joining forces over a Turbo instrumental to talk about having bullets piercing through their hearts while “Fallen Soldiers” remembers Juice WRLD, King Von & Pop Smoke respectively. “Give It All” talks about trading the money & fame for a chance to see his brother again while “Whatever U Want” has to be one of the weaker moments of Lil Herb moderately dabbling with pop rap.

The song “Thank Me” featuring Anderson .Paak gets together over some horns sampling WWE Hall of Famer Snoop Dogg’s historic Hollywood Walk of Fame speech right when you press play feeling grateful that neither of them went broke while “Colossal” credits staying on top of business & logistics to him going hard. “Went Legit” concludes the album telling his rags-to-riches story looking back at the days when he had nothing to his successes, but the “Lil Herb Freestyle” starts the deluxe run with that “Ether” flow.

“Ran Thru” talks about making a career out of his pain while “This n That 2” boasts that he was riding around in phantoms before he even got his driver’s license & proving the world isn’t bigger than him for the last 15 years. “Hold My Hand” makes classy usage of sampling to prefer being honest of having no love towards fake shit instead of keeping it to himself while “No Bap” talks about being the only one paying out the bill whenever it’s due.

Moving on from there, “I Did” decently boasts of him winning big time & prevailing in any situation while “Thug” samples “Thuggish Ruggish Bone” by Bone Thugs-n-Harmony gets back on his gangsta shit lyrically carrying a Russian AK & a bottle of malt liquor. “Go” talks about him constantly being on the move touring state to state while “Swerv n Em” featuring Big Opp & Doo Wop finds the trio over a Hitmaka beat for an underwhelming gangsta rap joint where Herbo has the best verse.

“Neva Going Back” makes it clear to everyone listening that he won’t be on some basic shit ever again now that he’s famous while “Outta Bounds” featuring Big Opp & Polo G finds the trio dropping verses without the need of a hook although Polo had the better guest appearance. “Mad People” talks about Herbo not owing anyone shit & no one having the ability to say he switched up while “Brown Skin” featuring Skilla Baby talks about black excellence over an Honorable C.N.O.T.E. instrumental.

Pop rap & trap get blended for “D.N.D. (Do Not Disturb)” featuring Ty$ expressing the love for the baddies they flew in from outta town while “Prayers” flips “Player’s Prayer” by Lloyd confessing that he’s been continuing to fuck around. “End of the Tunnel” featuring YK D mediocrely talks about both of them being hustlas & everything being on God’s timing until Southside & Smatt Sertified make up for it soundtracking the autobiographical “Story of a Thug” feeling like every day’s a repeat.

“Steel” talks about him choosing to rap the pain he’s felt carrying his firearm at the stop signs still while “Because of You” flexes going from the bus to a luxurious truck. “I Tried” talks about the problems in his life that he legitimately put effort into resolving & after “October” likens life to a rollercoaster, the final bonus track “How Can I Lose?” ends Lil Herb talking about not playing by the rules or honoring shit.

Needless to say: G Herbo’s last couple of projects have ranged from being average at best to uninspired at worst, so his Uptown Records debut here seemed like he would go back to what made him so popular over a decade ago & it’s exactly what he does sure enough. The production is the most Chicago drill-oriented since possibly 25, which makes up for Survivor’s Remorse & Big Swervo’s mixed-to-negative reception due to the way they both distance from that very sound & the passion of Welcome to Fazoland has been revived in a new incarnation.

Score: 3.5/5

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Reason – “Everything in My Soul_Blue” review

Carson, California rapper Reason finishing his 2025 with his 2nd EP. After releasing his first 4 tapes, Top Dawg Entertainment signed him in the middle of 2018 by reissuing the one that landed him the contract in the first place: There You Have It. However, his official full-length debut album New Beginnings received more mixed reception when it came out the fall where COVID had the whole world shut down & Anthony “Top Dawg” Tiffith’s son Moosa subsequently got into a heated exchange of words with Reason the week Porches dropped saying former employee & pgLang co-founder Dave Free regrets even signing him in the first place. I Love You Again came out 8 months ago under his own label Do More Records, which preluded Everything in My Soul_Blue.

The soulful trap instrumental on “Pity Parties_BLUE” was an immediately intriguing way to start us off talking about being known for slam dunking as if he’s Vince Carter prior to “Lie to Me_BLUE” pretty much channeling the frustration of being lied to in a relationship. “Paralyzed_BLUE” featuring Westside Boogie finds the 2 talking about love being stiff while “Idols & Rivals_BLUE” featuring Kai Ca$h continues with them feeling like they’re spiraling.

“Liu Kang_BLUE” begins the 2nd half of Everything in My Soul_BLUE bringing a summery vibe instrumentally referencing the Warner Bros.-owned Mortal Kombat character of the same name & once “There’s Pain in Photos_BLUE” takes the pop rap route stylistically talking about pushing through his lowest points & praying to stay focused, “Thass My Word_BLUE” concludes the EP with a cloudy trap beat trying to see who’s really all in for action like they claim

Starting the deluxe run, “GodLines_BLUE” drumlessly feeling as if people take time with his demons rather than taking time to get to know him personally while “Red Rose White Ceiling_BLUE” featuring Jayson Cash talks about nobody being able to walk their shoes. “Crab Cakes at Joeys_BLUE” tells the story of a woman sleeping with an A&R in hopes of launching her career & the final bonus track “Brittany Renner_BLUE” finishes on some boom bap shit sending prayers to the popular social media model.

Apparently said to be the inaugural entry in a new ongoing series of extended plays & despite remaining optimistic regarding however many installments are being planned, Reason begins this new era of his career moderately. I can admire the personal topics he addresses coming off I Love You Again renewed passion for songwriting & recording, but the moodier direction in sound can be hit or miss.

Score: 3/5

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