Molly Santana – “Molly & Her Week of Wonders” review

Los Angeles, California up-&-comer Molly Santana with her sophomore effort. Originally a streetwear influencer, the Fontana native began making music in 2021 by releasing her debut EP Molly’s World as well as her debut mixtape Neptune & her 2nd EP Mélange. Her eponymous full-length debut studio album resulted in her signing a joint deal with Victor Victor Worldwide & Capitol Records despite the moderate reception, which Masonic Musik made up for. Fast forward 8 months, Molly & Her Week of Wonders looks to continue solidifying herself on the Victor Victor/Capitol labels.

“No Rules” produced by Internet Money Records in-house producer Synthetic is this rage-inducing intro rapping about her gratitude towards living without any restrictions whereas “Piss Me Off” melodically looks to get what’s hers for the cause & a triumphant vibe to the instrumental. “Cayenne” blends hypertrap & electronic music boastfully cashing out with the drop top while “Unstoppable” featuring che joins forces with CXO for a highly enjoyable rage collab.

Tom Levesque of Vanguard Music Group gives “Handle It” an industrial trap flare promising her pistol will make anyone famous homaging the late Freda Santana just before “BRB” featuring Showjoe teams up for a pluggnb/drill hybrid talking returning to the people who count on them. The single “Not Regular” shuns the individuals who want to test her over a poppy & cloudy trap beat until “Been Did That” featuring labelmate Hardrock advising all these hoes to sit back.

“Acting Nice” asserts Molly’s dominance & shutting down any hate that’s thrown in her direction while “Globe” fuses rap rock & trap talking about life moving quicker than ever carrying the show on for those who can’t be here with us & the increase of hate speech. “Honest” makes it a point to be the only one in a circle of loved ones who keeps it 100 rather than lying to them while “When I’m Gone” instrumentally reminds me of Yeezus wanting to be remembered & leaving a mark on the industry.

Moving on from there, “I Know” taps in with Supah Mario asking her lover to hold her down apologizing for fucking up a night out while “Life I Chose (Ms. Americana)” homages “Summertime Sadness” by Lana Del Rey. The song “Set Up” finds herself running back to her old ways continuously while “Stupid Money” cloudily talks about it being time to up the scores. Lastly, the closer “Weekend” advises everyone to stay high chasing their dreams & getting the bag.

“Everybody Knows” starts the deluxe run sampling “Backstabber” by Ke$ha talking about everyone around her accepting the fact she’s becoming richer than she ever would’ve suppose she would while “1/1” suggesting it’ll be a long time until her exes find another woman like her in their lives. The final bonus track “Find a Way” strips the drums completely feeling confident that her day will come promising she won’t change.

Inspired by the film Valerie & Her Week of Wonders, Molly speaks a lot on what it feels like to be like a woman in the type of business she’s working with & in her world feeling like the movie’s plot translates what the world in general & the music industry feels like to most women. She’s pulling out all the stops with this more frequently & broader than Mansion Musik going crazy with her culminations of the rage, pop rap, cloud rap & trap styles she’s known for.

Score: 4/5

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Ouija Macc – “Chlorine” review

In front of us is the 7th studio LP from Las Vegas, Nevada emcee Ouija Macc. Breaking out in the fall of 2017 after the Insane Clown Posse signed him to Psychopathic Records shortly after putting out his debut EP Trashfire independently, Ouija has since proven himself as the hatchet’s biggest solo act dropping his last 6 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 other than Ouija & teamed up with each other 13 months ago for the excellent collab effort Anemoia building up Darcc Planet to become the darccest material of his career last summer. 3 months after Psycho Babbel though, we entered the Temple of Ash & are now leaving so he can drop Chlorine on us in the midst of him opening during ICP’s tour set to end this weekend alongside Wakko the Kidd & tapings of the hit Juggalo Championship Wrestling (JCW) webseries JCW Lunacy. I should also mention the inaugural JCW American Champion currently in his 2nd reign Caleb Konley appearing on Dark Side of the Ring a few days ago to remember the late WWE Cruiserweight Champion Daffney, Haley J ending Dani Mo’s inaugural JCW Women’s Championship reign & former JCW World Juggalo Tag Team Champion Kerry Morton ending former The Crash Pesocompleto Campeon, NWA National Champion & TNA X Division Champion Willie Mack’s 2nd reign as JCW World Juggalo Heavyweight Champion.

“Creepy Crawler” starts off with a hellish trap intro produced by Devereaux talking about crawling up on ‘em & stacking up his commas whereas “Miyazaki” pulls from the Memphis scene taking it’s name after the revered スタジオジブリ founder 宮崎駿. “WICC17 SH17” makes a phat homage to the style of music he’s widely known for & putting a modern appeal to it for a newer generation of juggalos while the DeadBoyGrim-laced single “Lil’ Nitemare” walks down the wrong path deviated by demons.

Meanwhile on “Loonatic”, we have Ouija bringing the presence of a wicked clown right in front of you over a cloudy trap instrumental until the ghostly “Never That” talks about running with the pack to the money & never looking back. “House of 1,000 Doors” gets in his storytelling bag portraying himself as a game show host named after Rob Zombie’s classic directional debut House of 1,000 Corpses until “Mr. Fat Balls” drearily talks about being fed up with the bullshit lies.

“Klepto” breaks down his skitzophrenic tendencies on the verge of stealing shit over some pots, pans & hi-hats while the chilling “Up It Up” entertainingly throws in bar introducing a new nickname for himself blending his moniker with the name of current Monday Night RAW commentator, occasional WWE in-ring performer, ESPN’s College GameDay analyst, host of The Pat McAfee Show on ESPN & former Indianapolis Colts kicker Pat McAfee.

Moving on from there, “Toot Toot” samples “The Loons off ICP’s sophomore effort & the 2nd Joker’s Card Ringmaster going 117mph for the cash since he don’t fuck around when it comes to that while “Mean Muthafucka” shows an angrier side to Ouija warning to get out his face unless you wanna see him crash out. “Databass” vividly portrays himself as a sex offender who preys for his victims on the internet, but then “Death Trap” featuring Apoc Krysis unloads 17 from the clip.

“Unda Unda” pulls inspiration from the Memphis hip hop scene more more blending that with horrorcore & trap talking about coming from the underground since Chapter 17/Psychopathic’s whole sound has appealed to that demographic of hip hop culture birthing it’s own subculture in the process & “Would It Be Alright” finishes Chlorine with a trap metal/emo rap hybrid asking if it’s ok if he dies here tonight.

Ouija’s been calling this the best thing he’s ever made for the past month now & I can’t really argue with it because of the the whole concept revolving around him always being a scrub no matter how clean. Devereaux handles most of the production showing influences of trap, horrorcore, cloud rap, trap metal, emo rap & Memphis hip hop backing the C17 CEO’s call for a juggalo takeover.

Score: 4.5/5

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Crimeapple – “Rose Gold” review

This is the 17th studio LP from New Jersey lyricist Crimeapple. Becoming a fan of his in the fall of 2017 with his 4th EP Sweet Dreams along with the Big Ghost Ltd. produced full-length debut Aguardiente that following spring, his profile in the underground grew exponentially from there. Discography standouts include the DJ Skizz-produced Wet Dirt, the DJ Muggs-produced Medallo, Cartagena, Breakfast in Hradec, Sin Cortar, the Preservation-produced El León, the official Aguardiente sequel Bazuko & the Mello Music Group-backed This, Is Not That produced by Apollo Brown. The latter 3 have all become the most I’ve enjoyed Crime’s music in a while to the point where I didn’t expect any different out of Rose Gold.

“Taste Like Butter” samples “O-o-h Child” by The Stairsteps suggesting you take a look at how he went from being broke & down to an icon within the modern underground hip hop scene whereas “Oro Rosa” strips the drums to talk about spoiling himself rotting after giving it everything when he had nothing left. “Paradigms” hooks a boom bap instrumental with some horns coming at the throats of these lame & strange muhfuckas leading into “Discounts” finding him living his best life.

Estee Nack & Eto both team up with Crime on “World Famous” bringing the trio together so they can talk about being well known all across the globe prior to the lead single “‘97 Tape Master” likening themselves to ghetto celebrities. “Easy Enough” flexes that he’s the embodiment of the term MC regardless of his eventual demise settling in on him just before the dusty “Congratulations” talks about taking his foot off the gas to take advantage.

“Paulie” begins the final leg of Rose Gold gives a middle finger to being competitive & becoming more confident in peddling death itself while “Pastor’s Whip” shows a religious side to himself & the gospel sample really couldn’t have fit the overall aesthetic any better. “Trifecta” hops over these stellar pianos to call out the individuals in his life who’re envious of his success while “Crystal City” ends with prominent synthesizers feeling like his bus riding days were yesterday.

Wet Dirt was the very 1st time that I’ve ever reviewed Crime & in light of Breakfast in Hradec celebrating it’s 3-year anniversary next month, Skizz taps back in with the east coast underground vet at this point completing a timeless trilogy by embarking on a journey built on sound matched with storytelling & consistency that those who’ve been following from the start will find themselves enjoying as much as both predecessors.

Score: 4.5/5

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Vino La Mano – “Season of Revenge” review

Corpus Christi, Texas emcee Vino La Mano finally putting out his full-length debut studio album. Catching the eye of Buffalo standout Benny the Butcher after signing to his Black Soprano Family Records imprint, he would go on to drop 18 EPs between 2019 & early 2024 with the most notable being Circle of Trust and Blood & Fire. It’s been quite some time since I’ve last covered him, although those handful of EPs have all been building up for the Season of Revenge to dawn.

The synth-boom bap intro “Stand Where I Stand” talks about going out to get it instead of waiting until something comes up whereas the gritty “Louie V’s Like Forces” promises that he can make the bricks vanish & gets into owing the game favors still. “That’s My Word” maintains a dark boom bap vibe to talk about dirty money & clean money spending the same just before “Halfway There” addresses people saying the game’s getting to him when he ain’t at that point.

“No Questions Asked” talks about being from a place where he has to keep a heater on him & people showing fake love leading into “Build Yo Team” stripping the drums finding himself in traffic when those who always doubt him pray on his downfall wanting to catch him when he’s lacking. “Outta Love” spaciously specifies that one needs stripes in order to have a conversation with him while “Speaking Off Pride” finds him talking to the listener from a place of self-esteem.

As for “Hit the Scene Trappin’”, we have Vino returning to the boom bap talking about making his dreams happen even if it wasn’t easy for him to do by any means until “Ain’t No Love” dustily homages the late DJ Shay & breaks down hate being the new love this day in age when he isn’t lying. “Nothing Lasts Forever” brings the keys back in the fold boasting that he’s the realest around, but then “Put That on My Soul” sees himself talking about never folding.

“Couple Minutes of Pain” starts the Season of Revenge’s final moments stripping the drums again to passionately get some heartbreak off his chest while “Some Things Don’t Change” talks about this being the realest song he’s ever conceived in his entire career, to which I can’t argue with. “Been a Dealer a Long Time” finally wraps up Vino’s long-awaited introductory LP by looking back on his days in the streets moving weight since he was doing that forever until his music started taking off.

Much of the potential I heard on those previous EPs (especially both of the ones that I’ve reviewed in the past) has been gradually revealing itself over the course of time & Season of Revenge raises the bar significantly on all fronts. The Soul Monsters continue to serve as his in-house production team heavily building a boom bap sound for the album & Vino’s quest for vengeance ultimately fulfills itself.

Score: 3.5/5

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Stereolab – “Instant Holograms on Metal Film” review

Stereolab are an Anglo-French avant-pop band from London, England, United Kingdom consisting of bassist Xavier Muñoz Guimera, keyboardist/vibraphonist Joe Watson, drummer Andy Ramsay, guitarist/keyboardist Tim Gane & frontwoman Lætitia Sadier. The latter’s appearance on “Campfire” off Tyler, The Creator’s sophomore effort Wolf becoming my introduction to her during my sophomore year of high school & the “Ping Pong” video. Transient Random-Noise Bursts With Announcements, Mars Audiac Quintet, Emperor Tomato Ketchup, Dots & Loops, Cobra & Phases Group Play Voltage in the Milky Night, Sound-Dust, Margerine Eclipse and Chemical Chords all stood out for their own reasons once I took a deep dive in the band’s discography although it was 3 years after their hiatus. It’s already been 15 long years since the Chemical Chords collection of outtakes Not Music saw the light of day, signing a new distribution deal with Warp Records for the Duuphonic Records founders’ 11th full-length album.

The lead single “Aerial Troubles” after the “Mystical Plosives” instrumental intro blends indie pop, neo-psychedelia, krautrock, chamber pop, indietronica, psychedelic pop & ambient pop singing about us unable to eat & drink our pain away whereas “Melodie’s a Wound” works in elements of neo-psychedelia, indie rock, ambient pop, space age pop, indietronica, space rock revival, post-rock & neo-acoustic setting manipulation as the goal.

“Immortal Hands” shows off a lounge influence during the first half until the other hooks up drum-machine alongside some dizzying brass & flutes colliding with each other leading into the cheerful “Vermona F Transistor” sings about being the creator of this reality instead of the deceiver who feigns for Lætitia’s love. “Le Coeur Et La Force” puts the band’s French on display lyrically discussing an eternal keystone being lent to them with the same heart of the same strength until “Electrifying Teenybop!” serves as another jam session.

Neo-psychedelia, ambient pop, indie pop, indie rock, indietronica, exotica, lounge & space rock revival all get balled up onto “Transmuted Matter” asking what you see through the eye of the heart while “Esemplastic Creeping Eruption” sings about abiding into the light portal when becomes dark. “If You Remember I Forgot How to Dream” takes a groovier approach condemning the idea of war since she belongs to Earth, but then “Flashes from Everywhere” sings about being learned from instead of being believed.

“Colour Television” gets the backend of Instant Holograms on Metal Film rolling by psychedelically telling a single story being violently imposed as a universal narrative of progress, development & civilization while “If You Remember I Forgot How to Dream 2” rounds out the groop’s comeback effort that many including myself have waited over a decade for with a defiantly singing about exploring without fear & providing contrasts to the predecessor.

Eager to make up for lost time, Stereolab finds themselves in perfect working order gloriously overstuffing songs that key in on familiar pleasure points while introducing all manner of shapeshifting surprises. Their production takes it’s cues from neo-psychedelia, indie pop, indie rock, post-rock, ambient pop, indietronica, krautrock, lounge, chamber pop, psychedelic pop, indie surf, space rock revival & easy listening to promise utopia is still in our grasps.

Score: 4.5/5

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G-Eazy – “Helium” review

Oakland, California rapper, singer/songwriter, producer & actor G-Eazy making up for the delays of his 8th studio LP. Breaking out into the mainstream with his 3rd album These Things Happen in 2014, this was followed up a year later with When It’s Dark Outas well as The Beautiful & Damned back in 2017. Scary Nights was a subpar prelude to These Things Happen Too, Everything’s Strange Here easily stands as his embarrassing body of work yet & the These Things Happen sequel was only better by a small margin. Freak Show was one of the worst albums of 2024 & is putting out Helium only 11 months later.

“GRWM” was a mediocre trap intro talking about hoes calling him & asking them to pay him whereas “Kiss the Sky” gives boom bap a shot only for him to miss with a weak homage to the iconic Jimi Hendrix cut “Purple Haze”. The title track gets into his signature pop rap style pleading for this woman’s love leading into the underwhelming boom bap/rap rock crossover “Outside” featuring Diany Dior staying out for the summer.

Finishing the first half, “Dream About Me” tells his ex not to even think of him in her dreams over a generic trap instrumental just before “Fight & Fuck” gets back on the pop rap vibe once again describing a toxic relationship where he & his partner argue only to make lover afterwards. “Nada” wound up being a close contender for one of the worst singles to come out in 2024 partying when he wants, but then “After Dark” expresses his desire to be understood.

“How Can You Sleep?” gets it going on the final minutes of Helium with an acoustic pop rap cut finding G-Eazy admitting that he can’t move on from this woman that he said he would try to leave in the past & I found the lead single “Vampires” to be a tiring closer addressing toxic relationships once again although I don’t really mind the moodier sound all that much nor did I have any issue with the Bahari hook/bridge.

Conceptually built around the highs & lows of love & life, the sliver of optimism I had regarding this one wasn’t really done any justice even if it was released the day prior of G-Eazy’s birthday & the birthday of his brother he was closer than close too. The boom bap portions are actually average at best & the idea of parties never lasting forever being worth it in the end is a valid life lesson, except neither the trap or the pop rap cuts don’t really scratch the itch.

Score: 1.5/5

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The Musalini – “Live & Let Die” review

California producer DJ Fresh teaming with New York emcee & Jamla Records recording artist The Musalinifor the latter’s 10th studio LP. Beginning to take the underground by storm since 2018 after dropping his debut mixtape Musalini Season, he went on to release 3 full-lengths & another tape before signing to TCF Music Group. Since then, he’s made himself home by dropping a few EPs & Return of the Oro in the early part of this decade. In God We Trust produced by 38 Spesh, The Don & Eye alongside its sequel fully produced 9th Wonder & Pure Izm produced by Khrysis have all quickly become his best material over the past 3 years. Mackaroni produced by Cookin’ Soul became my favorite of the 4 projects Mu$ put out last year & The Pierre Hotel was overloaded with features although the production was outstanding. Fast forward a few months, Live & Let Die is in front of us.

“Late Nite” works in some pianos only to break the door down with a cloudy boom bap instrumental telling his babygirl to live it up whereas “Moneyyyyyy” describes the affection he has for his ride or die. “Speeding” breaks down the explanation of him having more time than he does patience until “Player’s Ball” featuring Planet Asia & Silent Snipers finds the trio portraying themselves as pimps taking a funkier approach to the beat.

Izzy Hott joins Mu$ for “Double Life” advises everyone to know what you’re getting themselves into before they wind up getting themselves into it sampling soul music leading into “Good Game” going for a trap approach to talk about him giving her D is all he does. “Polo Scarf” brings a jazzy boom bap flare to the table always keeping it real & knowing what the agenda is, but then the soulful “Old Soul” talking about time costing money.

The title track featuring O Finess unites the 2 continuing the funkier vibes instrumentally reminding everyone of the way they be living while “Red Eye” calmingly talks about falling asleep on the plane that he boarded in his home state & woke up right when they landed over in the west coast. “Fly Zone” featuring John Dutch sees the pair calling themselves the flyest muhfuckas in the world & “Can’t Buy Love” featuring Silent Snipers ends by talking about not taking life for granted.

Taking a west coast producer & an east coast lyricist, Live & Let Die makes up for the disappointment I had towards The Pierre Hotel with a 33 & a half minute body of work that I think is Mu$’ most enjoyable since Mackaroni almost 14 months ago. He & DJ Fresh are basically paying homage to Kool G Rap & DJ Polo’s 3rd & final album Live & Let Die where both regions take everything distinct of what makes their scenes special & flowing into each other seamlessly.

Score: 3.5/5

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Yuno – “Blest” review

Yuno is a 34 year old psychedelic indie pop singer/songwriter from Jacksonville, Florida by way of The Bronx, New York not to be confused with comedy rapper Yuno Miles considering he signed to Sub Pop Records in the summer of 2018 for his debut EP Moodie taking it’s name after an original moniker Yuno Moodie later shortening it. However, he’s returning to show his growth personally & artistically for a full-length debut studio album of his own following several years of inactivity.

The title track brings together alternative R&B & indie pop facing the overwhelming rush of emotions that comes with falling in love with somebody head-on whereas “We Belong” dabbles with rock a little singing about being back where he feels like he & his partner should be. “Massive” continues the indie pop & rock hybrids having a feeling in his soul that the bane of staying young is gettin’ older not understanding why it’s taking over while the final single “Unfair” goes for a dream pop direction singing about it not being right that he & his partner never had a chance.

“Perfect Pear” sounds reminiscent to P.M. Dawn during the duo’s final years actively releasing music while “Fall Apart” sings about the walls closing in him & his partner having time to kill. “Worst of Times” acknowledges how hard it is to be here with all the bullshit going on today prior to “True” breezily captures the tension of a relationship caught between misunderstanding & reconciliation. “Gimme Ocean” psychedelically asks for the ocean waves to make him float to his romantic interest & the closer “Blitz!” sings about people hating him from the bleachers trying to keep it peaceful.

Transforming the emo-tinged suburban malaise of Moodie into more expansively widescreen pop drama suited for big moves & bigger stages, the kaleidoscopic sound he devised as a millennial hermit in his childhood bedroom in Florida has since broadened his horizons. Blest bids for love & connection which especially in the fractured era of social media have resonated with many listeners who find solace in his vulnerability imbued with elements of dream pop, rock music, trap & psychedelia.

Score: 4/5

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Xzibit – “Kingmaker” review

Xzibit is a 50 year old MC, actor, television presenter, radio personality & record executive from Los Angeles, California starting as a member of the Likwit Crew collective. His first 2 full-lengths At the Speed of Light and 40 Dayz & 40 Nightz under Nightz under Loud Records & RCA Records were prominently bout around the traditional boom bap sound, forming his very own label Open Bar Entertainment & fulfilling a 1-album deal with Epic Records for my favorite of his Restless. X later signed to Columbia Records to put out Man vs. Machine & Weapons of Mass Destruction, opting to release Full Circle & Napalm independently through distribution by MNRK Music Group & EMI Records respectively. Over a decade later, Mr. X to the Z is joining former UFC Featherweight & Lightweight Champion Conor McGregor’s newly formed Greenback Records to back his 9th studio LP.

“Play This at My Funeral” was a tight boom bap single to start off the rollout suggesting to say it with your chest if you want to make it out in the west whereas “Everywhere I Go” produced by Dem Jointz thunderously talks about rockin’ both coasts regardless of where he’s at. “Been a Long Time 2”recaptures the energy of a Restless highlight avoiding a conversation that was had almost 25 years ago while “The Moment” featuring Busta Rhymes & Jason Martin formerly known as Problem promises to fuck up any pussy on sight over a boisterous Focus… beat.

The horns on “Earth is Over” were a nice touch dismissing these muhfucka out here for being actors instead of experiencing the hardships of the streets like X has just before “Leave Me Alone” featuring Dr. Dre hooks up some organs with the help of Swizz Beatz so both of them can talk about wanting to have some peace. “Belly of the Beast” featuring Jason Martin aggressively tells everyone to manifest their destinies & making them into reality, but then the sample-driven “History” nods some of the albums that’ve inspired him.

“Genesis” finds him telling this woman that he can be her everything acting all innocent & her becoming his origin or beginning of something while “Perfect Alibi” makes his own a statement under suspicion of a crime he was in a different place around the time the offense was committed. “American Idol” featuring Symba goes for a soulful flare courtesy of Sndtrak explaining that they’re make to kill they own through circumstances they were given while “Crash” featuring Royce da 5’9” reminds us the million ways to die.

Ice Cube appears for the final single “For the Love”sampling “Quiet Storm” by the late Prodigy feeling the rain almost as hard as they did when they fell in love while DJ Battlecat provides a g-funk groove to “Shut Yo Mouth” featuring Compton AV clapping back at the people who’ve been doubting them. “Higher” featuring B-Real & Redman unites the trio for a funky weed smoker’s ballad clocking at 2 & a half minutes while until will.i.am flips “Everyone Nose (All the Girls Standing in the Line for the Bathroom)” by N*E*R*D throughout “Success” breaking down what that means to X.

Likwit Crew founder King T preludes his upcoming final album with his own solo joint “Notified” proving that he’s still got it 4 decades later with Beat Butchataking it into rap rock territory while DJ Khalil turns the funk up once more during “What U Like” featuring Guapdad 4000 talks about having fortunes on both of their sides. “End of the Day” featuring Domo Genesis& Tre Capital encourages everyone to do whatever it takes for them when it’s all said & done while the title track finishes by asking if you’re ready for the throne or something greater.

Kingmaker reads as more of a sign that he wanted to share his knowledge of the good, the bad, the ugly, the ups & downs he’s faced throughout his life & career that he attributes to making him successful rather than getting called royalty or sitting on the throne & being a part of some kind of hierarchy, which I ultimately feel improves on everything that made Napalm feel so mature during my sophomore year in high school over a decade ago. It may be the best he’s sounded production-wise in over 2 decades & yet, he hasn’t lost a step with the pen & the guests hold their own weight.

Score: 4/5

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Rico Nasty – “Lethal” review

Maryland recording artist Rico Nasty finally releasing her sophomore effort. Turning heads in 2018 off her 6th mixtape Nasty, I was still very much impressed by her unique personality & her eclecticism although it was just ok. However the next spring, she got Kenny Beats to produce her debut EP Anger Management in it’s entirety & that ended up being my favorite body of work of hers even to this day. Nightmare Vacation was a bit of a step down from Anger Management even though it has a good share of bangers like “iPhone” & “10Fo”, but Las Ruinas showed a more experimental side to her & A Nasty Summer was kinda mediocre truthfully. HVRDC0RE DR3AMZ produced by Boyz Noize showed improvement building further anticipation for Lethal approximately 12 months later.

“Who Want It?” produced by Rogét Chahayed kicks it all off with an industrial hardcore hip hop intro asking if anyone wants smoke with her whereas “Teethsucker (Yea3x)” works in elements of rap rock, trap metal, pop rap & pop punk boasting that she has pulled up to the spot. “On the Low” fuses pop rap, trap, electropop, rage, digicore & pluggnb promising she’ll keep this relationship she has on the DL leading into the bubbly “Pink” talking about her bitch’s favorite color.

Pop rap, experimental hip hop, Jersey Club rap, digicore & emo rap all collide during the final single “Butterfly Kisses” moving like a nomad making her neighbors thinking she’s selling keys while “Eat Me!” keeps the aggressive trap flares going talking about people looking up to her these days. “Soul Snatcher” boisterously runs with the paper taking guys’ souls since the head was so good, but then “Grave” darkly talks about rocking shit as if she’s ripping a guitar.

“Son of a Gun” gets back in her trap metal roots so she can advise not to run whenever she shows up & refusing to let anyone put batteries in your back while “Smoke Break” turns the heaviness up talking about fucking shit up for herself. “Crash” brings a pop punk vibe to the table looking for a place she can let off some steam much like waves while the cloudy “Can’t Win ‘Em All” asks if she’s a bad person & if it’s ever enough.

The song “Say We Did” reaches the backend of Lethal finding Rico in her sassy bag having a trick or 2 up her sleeve & becoming unsure of what this person in her life exactly wants while “You Could Never” disses those who’re trying to steal her shine & people criticizing her for being too out of the box when that’s what made many including myself pay close attention to her. “Smile” is an acoustic closer dedicated to the special someone in her life while “Pepper” starts the deluxe run reuniting with Kenny Beats to flex her new Attico boots.

“Pretea” takes inspiration from pop punk again singing about her being a diva while the cloudy trap crossover “Pearls” telling anybody who’s sittin’ down the section that they’re not gettin’ lit enough. “Black Lace” shifts towards a rage-inducing direction suggesting this bitch is late to findin’ out about her when approached regarding Rico being late to a party & the final bonus track “Stunna” boisterously talks about being a top dog.

Feeling there was an investment she needed to make in herself, Lethal further reveals every facet of Rico Nasty whether it’s the styles that made her a household name or more guitars than previously & even touching on her own motherhood journey. She taking the energy of her previous output & channels it in a very cocky way with the production drawing inspiration from rap rock, trap metal, pop rap, pop punk, industrial hip hop, hardcore hip hop, electropop, rage, experimental hip hop, Jersey Club rap, digicore & emo rap.

Score: 3.5/5

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