Too $hort – “Sir Too $hort: Freaky Tales” review

Too $hort is a 58 year old MC, songwriter, producer & record executive from Oakland, California known for being a west coast pioneer within the last 4 decades. Born to Mack, Life is…Too $hort, $hort Dog’s in the House, Get In Where You Fit In & Gettin’ It (Album #10) all stick out in his extensive catalog. This fall will mark 8 years since The Pimp Tape & he’s finally returning with the 21st full-length studio LP he’s actually been teasing since roughly 2022 or so only 2 & a half years after Mount Westmore’s debut Snoop, Cube, 40, $hort.

“Still Mackin’” samples the “Dope Fiend Beat” off Born to Mack to talk about his longevity in the rap game whereas the uncanny trap-flavored title track discusses always winning in the end & all the bitches knowin’ his name. “You Don’t Know” dabbles with Mobb music thanks to Ant Banks talking about these hoes not having an idea as to what’s going on while “Pick a Side” featuring WWE Hall of Famer Snoop Dogg wants to know exactly who their partners are playing for.

BossLife Big Spence & Larry June join $hort Dog on “Pimpin’ Like Kenny Red” for a turnt-up hyphy track likening themselves to pimps leading into “Go Bitch” featuring Big Zeke, Jay Chess & Kokane serving as a g-funk club banger for the bitches out there who be doing the most. “No Feelings” featuring Bandaide & Mistah F.A.B. brings the trio together so they can live & die by the code, but then the acoustic trap hybrid “Keep It Going” featuring King George encourages everyone to continue moving.

“The Budget” pulls a bit from rap rock to spend a few bucks while “Sucka Shit” essentially calls out the people who be on their bullshit. “Got It from the Bay” represents the northern side of California that made him while “Brain Surgery” talks about people having to know how to do it to make it. And prior to the Check the Stats” outro, the self-produced “Everywhere” takes the Mobb route for the final time reflecting on the places his career has taken him.

Drawing heavily on his Bay Area roots & long-standing partnerships, the 1st installment in a new trilogy is more of a a deliberate look back as much as a statement of staying power Too $hort has ultimately bridging the classic template with new wrinkles & familiar faces. The funk-heavy, bass-driven production marks a return to the smoothness that anchored many of $hort’s most influential releases during the golden age & joins the ever-growing list of hip hop pioneers adapting decades later.

Score: 4/5

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Dave Blunts – “You Can’t Say That” review

Dave Blunts is a 23 year old rapper, singer/songwriter & internet personality from Davenport, Iowa by way of Salt Lake City, Utah who’s put out a total of 16 EPs & a couple full-length albums since 2018 or so. I’ve even mentioned his guest appearances on the latest Babytron & D. Savage albums Tronicles & We Love D. Savage respectively in the past several months. However with his popularity increasing, Dave’s 3rd studio LP felt like it could be his biggest one of his career.

“Solar’s Departure” starts by referencing the disgraced former IWGPジュニアヘビー級チャンピオン, 2-time WWE world champion, 4-time WWE Intercontinental Champion, 5-time WWE United States Champion, 7-time WWE tag team champion & 3-time WCW World Television Champion Chris Benoit over a cheerily drumless instrumental whereas “Air Mattress” goes for a plugg direction talking about his diamonds changing with the climate.

His health concerns get brought up on the trap, lowend & regalia crossover “1st Day Out the Hospital” except the line where he disses KanKan comes off as INCREDIBLY transphobic leading into the colorful trap cut “Game Changer” talks about taking what he wants. “1 Year Max” serves as a response to WWE Hall of Famer Snoop Dogg’s comments regarding Dave’s weight & “Knee Surgery Tomorrow” makes a comparison regarding this bitch’s head game.

“Issabella’s Untimely Deportation” cuts off the titular woman after learning she really be fuckin’ his mans over some synthesizers & 808s just before “Tired of Being a Simp” gets on the regalia tip talking about him getting too attached to women he hardly knows. “Solar’s Unsuccessful Attempt to Return” keeps the regalia vibes telling his ex he really wants her back prior to “White Chicks dissing KanKan again & 9 Vicious, except the 9 Vicious jab is justified.

Meanwhile on “10 Bands on Solar”, we have Dave maintaining a regalia flare talking about everyone being on his dick now that he’s becoming popular while “Diddy Games” likens PlaqueBoyMax to disgraced Bad Boy Entertainment founder Puff Daddy a.k.a. P. Diddy or Diddy. “Sex Crimes” continues to hurl transphobia towards KanKan’s way & includes a line regarding Antonio Brown raping Britney Taylor, but then “Moving Slow” talks about his affinity for lean.

“Industry Planet” reflects on taking shit for granted during the days he was broke over a cloudy trap beat while “Balcony” blends pop rap & regalia talking about being a man & putting his feelings to the side. “Thinking of You” finds him trying to get Solar back swapping out the pop rap elements in favor of rage while “Bummy” talks about the codeine making him feel lovely.

The song “Back in the DMV” produced by thr6x expresses the pain inside of him because of Issabella not fucking with him & the closer “Issabella” ends the LP by talking about giving her a shot since Solar’s not coming back. Lastly even though I’m very well aware of the fact that it was left off the final cut, the jerk instrumental on “Bitches” featuring Ye or the Nazi formerly known as Kanye West was actually refreshing to hear Kanye on even if his verse feels like a ripoff of Lil Yachty catching strays from former WWE Champion, 4-time WWE Intercontinental Champion, 3-time WWE United States Champion & 15-time WWE tag team champion Kofi Kingston a few months ago.

Known for his dark humorous lyrics as well as introducing characters in his songs, You Can’t Say That as an album is only a slight improvement from the mixed reception of both Well Dude Here’s My Thing & If I Could I Would although it’s very much decent. There’s nothing wrong with the production drawing from regalia, pop rap, trap, rage, lowend, jerk, comedy rap, emo rap & pluggnb since I tend to review countless artists in those styles. My problems more so lie with the context of some of Dave’s lyrics like the transphobic KanKan disses & mentioning Antonio Brown’s rape case.

Score: 3/5

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$crim – “Via Crucis” review

This the 4th studio LP from New Orleans rapper, producer & deejay $crim of the $uicideboy$. The first of the boy$ to branch out on his own by dropping the solo debut A Man Rose to the Dead during the COVID-19 pandemic to mixed to negative reception including from myself. Lonely Boy was a solid introduction to $crim’s alter-ego even though you can tell it was inspired by Destroy Lonely’s debut album If Looks Could Kill & the sequel Lonely Boy 2 was more of a thank you, returning after over a year for Via Crucis.

“Destination: Lost” sets it off by talking about his evil ways over a self-produced instrumental that starts off drumless up until the 2nd half of it whereas “Tale of the Missing Man” cautions everyone to not waste the days they have left going another round for the man who ain’t coming back. “Whiskey 4 the Holy Ghost” hazily advises to never give up on what your dreams are & continuing to fight just before “Real Tree Playas Anthem” shows off exactly how fly he is.

Moving on from there, “Axeman of New Orleans” embrace is a bit of a Memphis vibe to the beat representing the northside of New Orleans leading into the grim standout “Reborn” co-produced with G*59 Record$ in-house producer Dynox talking about him finding God after his 2019 detox. “Warped Lives of Blameless Children” gets in his emo rap bag expressing his desire to feel somewhat decently, but then the rage-inducing “Psych Ward” talks about coming from the dirt.

“#lonelycore” shows an emo influence once again refusing to believe his therapist after being told that he’s been healing & crying in secret while “Nightmare on the Northside 3” is a 2-parter continuing the trilogy that began on A Man Rose to the Dead & Lonely Boy respectively. “Guns N’ Roses” heads for more of a bombastic approach admitting his pill addiction has made him fear less while “Father, Hold Me” asks where the memories go when we all die.

The lead single “Methamphetamine Blues” samples Pinegrove suggesting not to ask how he’s been if you genuinely could give a fuck less while “Ex Nihlio” talks about demons taking over him & being too different than anyone else. “Pill Hill Serenade” confesses to relapsing off the pills getting high to the point where he can’t even move while “Eastern Block Psalm” pulls from the Memphis scene talking about those who’re jealous of him.

“Do Killers Ring the Doorbells?” observes that something in the room doesn’t feel right soon as he sets foot & suggesting to count his blessings when all else fails while the buzzing “Death Rides a Grey Horse” talks about his chrome heart being decked out in the Chrome Hearts luxury brand. “Physician, Heal Thyself!” asks what’s left for him to gain & feels conflicted by the stranger taking on his mirror while “Daddy Warbucks” refers to itself as the song you make money to.

As for “Way of Sorrows”, we have $crim embracing the Memphis influences once again dismissing those saying they gon’ pop shit when they’ve never actually popped shit their whole lives while “Today’s a Beautiful Day to Die” sinisterly warns for everyone to get out his way. “Walk on Water” wants to know who else be doin’ shit the way he does crossing over soul & trap while the stripped-back “Depression, My Best Friend” talks about his struggles with the mental state.

“Staring at the Dust” dedicates itself to everyone around the world who’s been feeling hopeless while “Leave the Gun, Take the Cannoli” talks about him finally taking off. “Ugly Sunday” advises for everyone to stay the fuck up out his way while “Red Mist” talks about the inside of his double cup feeling like magic. “Gospel of Scott” ask what you’re gonna do when people find out who you really are & “Vena Amoris” ends his most spiritual solo effort talking about the vein of love.

6 years after starting to follow Christianity, the Lonely Boy is back exactly a week after his 36th birthday to make an 88 minute album in which it’s name refers to 14 steps which led to Jesus’ crucifixion similarly to the NA 12 Step guide to sobriety. $crim’s production culminates all the sounds that he’s tried throughout his career into 1 & elevates his own instrumentals with lyrics revolving around mental health & quite possibly the most religiously conceptual thing I’ve ever heard from either $uicideboy$ member.

Score: 4/5

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Heem – “Bars & Noble 2” review

In front of us the 3rd studio LP from Buffalo, New York emcee Heem. Catching my attention in 2020 after becoming of a protege of Benny the Butcher & signing to Black Soprano Family Records, he also made a few appearances on the label’s showcase EP prior to dropping his debut mixtape Long Story Short & a debut EP High Art. His debut album From the Cradle to the Game came in the spring of 2023 & with the 1-year anniversary of Bars & Noble next month, it’s understandable for him to make a sequel.

“187” is this eerie boom bap intro talking about his murderous tendencies making them think it’s all good until getting caught up with later whereas “Charlies” soulfully clears up the feeling of everyone else being unable to walk in his shoes. “1993” somberly lets everyone know exactly where he comes from prior to “For Gangsters Only” featuring Charles Hider shouting out all the G’s in their lives.

The title track maintains an overall hardcore hip hop vibe instrumentally to talk about doing it for his city while “Gangsta Pain” featuring Harrd Luck returns to the boom bap so they can break down the hurt that all the street dudes out in their parts go through. “The Streets” works in a vocal sample so he can talk about practicing what you preach just before “Retro Flow” produced by CG has to be my favorite cut on here all across the boards.

“Dog Eat Dog” featuring Illy Foo begins the final act of Bars & Noble 2 by talking about the way the world is while “Simon Says” admits to the entire B$F squad having no screws to their heads. “Gangsta Boogie” ruggedly asks if anyone out there who were never feeling him are finally doing so now & not really dancing on beats that much, but then “Guns & Butta” samples “You Can’t Stop the Rain” by Loose Ends to sell 20s for the 10.

Heems finds himself on a whole new level since he’s been reconstructing his path in the rap game for the past 11 months & with Long Story Short still sticking out as my personal favorite of his, I do enjoy the Bars & Noble more than I liked the predecessor almost a year ago already. He’s at strongest, wisest & more well seasoned nearly half a decade into the game already although the features are cut below the original.

Score: 3.5/5

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Bernadette Price – “A Widow’s Cry” review

This is the official full-length studio debut album from Brooklyn, New York emcee & the current Ruck Down Records CEO Bernadette Price. 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 PayneRim, the Snowgoons, Ruste Juxx & Vic Spencer. With the 10-year anniversary of Sean’s passing approaching this summer, Duck Down Music Inc. has finally decided to allow the world to hear A Widow’s Cry.

After the Keisha Plum intro, the first song “Drama Time” featuring Ruste Juxx produced by Stu Bangas is this horn-inflicted boom bap cut warning that people ain’t slick as they think they are whereas “Real Life” featuring Smif-n-Wessun & Terror Van Poo ominously finds everyone getting serious topically. “Flatlined” featuring Terror Van Poo links up with Vinny Idol behind the boards to continue kicking it hardcore & after an interlude, “Bars” featuring Ruste Juxx & Terror Van Poo shows off their lyricism over a Khrysis instrumental.

The title track ominously warns that she’s gonna make everyone remember her for good leading into “Gloomy” featuring Terror Van Poo grimly talks about them moving like they gonna stick ya ass up for the loot instead of doing so sensitively as if it’s a love movie. After another interlude, “Sean’s Gone” soulfully remembers her late husband that tragically left us almost 10 years ago already & “Shut da Fuck Up” featuring Sean Price himself silences everyone over a boom bap beat from Da Beatminerz.

Santana Fox keeps it in the basement sonically during “Skully” assuring that everyone still out here delivering while “No Love” featuring Terror Van Poo reunites the pair so they can make it clear that they ain’t your muhfuckin’ friend. “Now Ain’t the Time” featuring Terror Van Poo soulfully declines any thoughts coming their way that isn’t theirs whatsoever & ahead of the outro, the final song “Do About It” featuring Rock & Terror Van Poo ends by suggesting y’all should’ve been believing in Bernadette.

Being able to hear her working with all those artists that I mentioned at the very beginning has really come full circle on A Widow’s Cry since her official debut LP establishes herself as an artist along with honoring the memory of her husband that left us way too soon. The production is primarily grounded in the traditional boom bap sound, recruiting the right beatsmiths & guests to join her in transforming her vision into a work of art.

Score: 4/5

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Whyceg – “Cegregation” review

Atlanta, Georgia producer, audio engineer & recording artist Whyceg releasing his sophomore effort under his Sony Music imprint Cegular Records. Properly introducing himself to the underground in the summer of 2022 off his debut EP Grey Areas alongside the superior follow-up Cegular over a year later & of course the debut mixtape Yin & Yang a couple months later, his full-length studio debut Ceg Year would arrive in the previous February, signing both Babystaydown & Pradabagshawty to Cegular afterwards with each of them becoming successful in their own unique ways this past fall. Unlike their mentor’s previous solo efforts however, he chooses to take a backseat vocally approaching Cegregation & a list of guest performers to do what they do best over his production.

“Go Far” by 2sdxrt3all begins with a plugg intro talking about being disappointed by people tearing his heart in half whenever he shows them love whereas “Creep” by B6 decently blends gangsta rap lyrics & a dark plugg instrumental together for a passable single if you’re a fan of those styles. “In the Blind” by FBLMANNY talks about others hating to play a game they don’t want him to win leading into a personal favorite of mine “Old Lady Purse” by RRoxket co-produced by Goxan admitting to getting nervous around the feds.

Big Yavo gets a song of his own with the pluggy “Yay Ball” pulling out a stick & he’s not referring to chicken when he says that just before “Jetson” by Lil Tony fuses these trippy synthesizers & hi-hats shouting out one of the 2020s’ most popular trap beatsmiths: JetsonMade. “Dominoes” by Lazer Dim 700 & 2sdxrt3all finds the 2 teaming up for a dark plugg track cautioning to not choke if you don’t want smoke while “No Mental” by Yhapojj talks about giving a fuck less regarding his haters.

“IRL” by Lil Dre6o reaches the halfway point of Cegregation poking fun at people who be actin’ hard on the Meta Platforms-owned Instagram only to be scared shitless of him when running into each other while “Dead Ppl” by NDO D & Pradabagshawty kicks off the 2nd act on some dark plugg shit once again talking about smelling corpses near them, the latter having the strongest verse compared to the other. “Need Shells” by iam3hard moves forward continuing to mesh themes of the gangsta lifestyle & plugg instrumentation looking to reload his guns with more ammo while “Claim You Rich” by Jripey takes jabs at anybody who says they’re wealthier than they really are.

Zone1eriic takes the mic during “Clock It” & once another highlight “Undercover” by Babystaydown takes 111 seconds so he can talk about the woman he’s seeing possibly being the one yet simultaneously feeling like he can’t trust her for whatever reason he’s still trying to figure out, 2sdxrt3all returns 1 last time so he can make a sequel to “Crazy Dxrt3all Flow” off his 2nd EP Stop Holdin’ Nuts that recaptures everything that made the original version of it so special.

“OhYeah” by Rx Yp uses a flow reminiscent of Lucki’s using the gat to make muhfuckas dance like it’s the music video to “Thriller” by the late King of Pop himself Michael Jackon while “TF You Goin’?” by luhbrod7 promises to never leave his Heat similarly to how LeBron James did. Ending the album on a high note, “Riches” by diamond* clarifies to his girlfriend that he handles mafia business making others go missing.

I’d recommend checking out the Cegular EP for those curious of Whyceg’s abilities as a rapper, but I’d still take it over Cegregation for the finest entry in his discography so far & it has me hoping I’ll enjoy the next time the CEO of Cegular Records decides to let other artists rock his signature plugg sound throughout the duration of an entire LP a lot more than the averageness of this. This guy’s amongst my favorites in the plugg/dark plugg subgenres of trap & he really has something special going for his imprint, my main criticism with the album’s that the guest-list feels inconsistent.

Score: 2.5/5

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Wu-Tang Clan – “Black Samson, The Bastard Swordsmen” review

The Wu-Tang Clan are the greatest hip hop group of all-time from Staten Island, New York consisting of one of my top 10 producers the RZA, the GZA, Inspectah Deck, U-God, Ghostface Killah, Method Man, Raekwon, Masta Killa, Cappadonna, the late Ol’ Dirty Bastard & their deejay Mathematics. Originally a trio under the All in Together Now moniker, their 1993 debut Enter the Wu-Tang (36 Chambers) became an east coast hip hop landmark & their 1997 sophomore effort Wu-Tang Forever is the greatest double disc hip hop album ever. The W was significantly less polished than most of what came of that era in the Clan & Iron Flag divisively revisited old sounds. 8 Diagrams stirred more controversy due to RZA embracing a experimental, orchestral & more universal production style with A Better Tomorrow during my senior year of high school being regarded as their worst even if “Pioneer the Frontier” has always stood out to me personally. Mathematics would fully produce The Saga Continues… & is doing so again for the Wu’s 8th album preluding their upcoming farewell tour. Not even gonna waste my breath on Once Upon a Time in Shaolin.

After the “Sucker Free City” intro, the first song “Mandigo” is this boom bap opener with 4 of the 9 remaining swordsmen talking about their style taking a strong back & total breath control whereas “Roar of a Lion (The Lion’s Pit)” by RZA & U-God featuring Kool G Rap finds the trio giving middle fingers to all their enemies. “Claudine” by Ghostface Killah & Method Man featuring Nicole Bus crosses over hip hop & soul trying to fight for love while “Shaolin vs. Lama” by Inspectah Deck & Raekwon talks about holding your head.

“Executioners from Shaolin” keeps it rolling by sinisterly cautioning that nobody want smoke with them in a battle just before “Cleopatra Jones” by Masta Killa & Raekwon sees the pair breaking down the affection each of them have a woman who goes by that name. “Warriors 2, Cooley High” by Method Man featuring Benny the Butcher absolutely delivers as a big fan of both Wu-Tang & Griselda just before “Let’s Do It Again” by RZA following his role as Bobby in the A24 Films surrealist comedy drama Problemista featuring RJ Payne, Willie the Kid& 38 Spesh talks about getting stronger as life becomes more difficult.

Cappadonna, Masta Killa & U-God all link on up “Dolomite” for another hardcore boom bap track justifiably boasting that you can’t tell ‘em shit since they’ve been around longer than the 80s crack epidemic & going deep enough in the projects where no one else can go, but then the “Trouble Man” outro shows off Kameron Corvet’s skills through a brief verse. “Charleston Blue, Legend of a Fighter” by Cappadonna featuring KXNG CROOKED officially ends the album with the latter talking about fatherhood & Cappa penning an open letter to his mother while the bonus track “Sinners (Mo’ Better Blues)” by the Def Squad was a cool reunion minus Redman.

7 & a half years since The Saga Continues…, the Clan homages the blaxploitation & martial arts genres of films that shaped them 5 decades ago. I appreciate that all 9 members were able to contribute lyrically testing each other’s swords unlike U-God being the only absentee on the predecessor & some of the finest in the underground today joining them felt like a rewarding passing-of-the-torch moment. 1 final noteworthy mention has to be Mathematics displaying his growth & development as a producer with the selection of beats he’s arranged.

Score: 3.5/5

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Raz Fresco – “Stadium Lo Champions” review

Pretty sure this has to be the 17th studio LP from Toronto, Ontario, Canada emcee/producer Raz Fresco. I’ve been familiar with the guy since my high school years at this point whether it be some of his features or his own extensive discography including the Magneto Was Right mixtape series, the Futurewave-produced Gorgeous Polo Sportsmen album, the Nicholas Craven-produced Boulangerie album, the Cake beat tapes, the Gia…À La Carte collab EP with Estee Nack or more recently the Cookin’ Soul produced Bakin’ Soul, the Daniel Son collab effort Northside & the DJ Muggs-produced The Eternal Now. Merely 9 months later, Futurewave’s coming back for the return of the Stadium Lo Champions.

After the intro, the first song “Mind Light” is a boom bap intro with a calming vocal sample talking about everyone seeing him shine both day & night whereas “Ok Let’s Go” finds him ready to get the show going. “Tesla Tower Power” strips the drums talking about being cold-hearted since they’re Canadian while “Steve Austin” featuring Daniel Son homages the WWE Hall of Famer, former 6-time WWE Champion, 2-time WWE Intercontinental Champion, 2-time WWE United States Champion, 5-time WWE Tag Team Champion & NWA World Tag Team Champion set to appear on former WWE Women’s Champion Stephanie McMahon’s new ESPN+ reality show Stephanie’s Places next week.

“Lauren Story” tells everyone to gather around he can vividly paint the image of a woman he met a week ago named Lauren over some vibraphones leading into “Cyanide” returning to the boom bap cautioning everyone to fasten their seats & steer away living your days fast. “Earth Spin” featuring Gritfall & Sonnyjim finds the trio addressing the people who feel as if the world revolves solely around them prior to “Olympic Flame” talking about working for either Satan or God.

Moving on from there, “What’s the Word?” those for a jazzier boom bap vibe instrumentally asking what’s good with the people he’s around just before “Alpaca” featuring al.divino & Estee Nack sees all 3 of them talking about certain individuals needing to get back out their & making the money they’re owed. “Honestly” expresses his desire for the whole world over a jazz rap beat prior to “Mortal Kombat” featuring The 6th Letter referencing the Warner Bros.-owned fighting game franchise that the WB CEO David Zaslav is considering selling.

“In My Lifetime” reaches the final moments of Stadium Lo Champions in some lo-Fi boom bap shit suggesting the things Raz has seen during his life will take everyone out their right minds & ahead of the “Lo Champion” outro, the final song “Sam Never Was My Uncle” concludes the album with 1 more drumless track pretty much talking about the United States of America’s current position it’s been taking for nearly 3 months already.

This summer will mark 2 years since Raz began churning out amongst the most important material of his 15 year career, taking it further by returning with Futurewave to display the growth within their chemistry together halfway through the current decade. The latter’s production is mainly built around boom bap, drumless, jazz rap & lo-fi hip hop as we’re treated to an evolution Gorgeous Polo Sportsmen they once were to becoming Stadium Lo Champions.

Score: 4.5/5

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Bon Iver – “SABLE, fABLE” review

Bon Iver is an indie folk band from Eau Claire, Wisconsin consisting of drummer/keyboardist Sean Carey, drummer Matthew McCaughan, guitarist/keyboardist Andrew Fitzpatrick, bassist/saxophonist Mike Lewis, guitarist/keyboardist Jenn Wasner & frontman Justin Vernon. Their first 2 albums For Emma, Forever Ago & Bon Iver, Bon Iver are widely regarded by many to be their most essential offerings although that’s not to say 22, a Million & i,i didn’t have their own highlights. 6 years later, they’re back for their 5th studio LP.

After the “…” intro, the first song “THINGS BEHIND THINGS BEHIND THINGS” acoustically starts the EP off singing about being caught compiling his own news expressing his fear of changing while “S P E Y S I D E” fuses indie & chamber folk with singer/songwriter taking a more autobiographical approach with the lyrics. “AWARDS SEASON” goes for a more minimal folk sound so Justin can sing about taking stock of a major & wrenching change whereas “Short Story” suggests you’ll never be complete since life heals & repeats.

“Everything is Peaceful Love” peppily sings about all feeling right inside of him regardless of the self-awareness surrounding his current relationship possibly falling apart at any time leading into “Walk Home” suggests his partner to show her burdens because he’s certain she was made for him. “Day 1” featuring Dijon & Flock of Dimes unites the trio asking if they can have a rewind only once just before “From” singing for his lover not to let shit trouble her mind & take the affection he has for her at her own pace.

Meanwhile on “I’ll Be There”, we have Justin promising to keep this fire inside him “even if it takes all goddamn night” while “If Only I Could Wait” featuring Danielle Haim serves as a duet about taking the pain for what’s already at stake. Prior to the “Au Revoir” instrumental outro, the final song “There’s a Rhythmn” finishes Bon Iver’s first full-length in 6 years talking about seeing a woman in Spain he genuinely considers a babe & how she treats him as good the way she does.

SABLE, feels more like a prologue detailing a controlled burn clearing the way for new possibilities & fABLE is the book counterpart portraying stories of introduction & celebration that includes a fresh growth blanketing the charred ground. Pretty much what I’m saying is that Disc 1 was a work of solitude & Disc 2 is an outstretched hand. The production is prominently based around indie folk & singer/songwriter with additional elements of chamber folk, folk pop & art pop originally emerging from a long-gestating breakdown.

Score: 4/5

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Messa – “The Spin” review

Messa is a doom metal band from Cittadella, Veneto, Italy consisting of guitarist/bassist Marco Zanin, drummer Rocco Toaldo, guitarist Alberto Piccolo aka Little Albert & frontwoman Sara Bianchin. Their debut album Belfry as well as the sophomore effort Feast for Water & Close have become amongst the highest quality traditional doom metal of the past decade with influences of heavy psych thrown in. Metal Blade Records has signed them for their 4th studio LP & one I was highly anticipating.

“Void Meridian” is this heavy psych/doom metal intro asking how far can 1 go whereas “At Races” blends goth rock, psychedelic rock, post-metal & doom metal to sing about being cursed & running. “Fire on the Roof” shows a bit of an industrial metal influence I wasn’t quite expecting admittedly spiraling backwards where Sara feels like she belongs while “Immolation” takes a shot at piano rock with a heavy psych twist asking to be sacrificed or immolated.

We have “The Dress” bringing together doom metal, dark jazz, jazz fusion & heavy psych singing about all Sara’s monsters that’re ready to be fed coming over to feast on her heart with no exception in addition to not even looking at herself at this point anymore while “Reveal” begins with a bluesy guitar until getting heavier & darker in terms of general sound. Last but not least, the closing track “Thicker Blood” finishes up the album with a cinematic 9-minute doom metal epic.

Making another step towards legendary status, Messa invites the metal world on a breathtaking journey across the wide open skies of their creative imagination over a beautiful landscape of moods, twists & styles during the course of their Metal Blade debut. From a basis in the band’s eclectic sound they they call scarlet doom, The Spin rises, falls, broods, bites, comforts & destroys while resounding with both instinctive, compulsive magic & obsessive, concerted hard work.

Score: 4.5/5

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