LMNO – “3 Mimes & an Elephant” review

LMNO is a 51 year old MC from Long Beach, California known for being a member of the Visionaries. Making his solo debut over 2 decades ago with Leave My Name Out, he would go on to release a total of 17 more bodies of work under his own name with the most notable being the 10-disc James Kelly & the Madlib-produced 10:20. The last time I covered LMNO was when he formed the trio LMD in the fall of 2022 & put out an impressive debut called Flying High. So when I heard DJ D-Styles was fully producing the 19th LP in LMNO’s catalog, I knew it was gonna be quality considering D-Styles’ recent production run.

After an intro, the first song “A Dual with a Dual Edge” featuring Self Jupiter finds the 2 over a boom bap instrumental reflecting in coming from the bottom & jumping off the ledge before their wings began to spread whereas “Cross Examination” takes a funkier yet mellower approach not knowing what to do if he couldn’t create never tapping out. “Best to Lay Low” dabbles with rap rock preferring to sail the 7 seas instead of selling his soul leading into “Son of a Daughter” dustily talks about keeping babies out the street & never competing

“Hip Hop as Fuck” ruggedly breaks down the explanation of others either having it or not just before “Garlic Braid” was a great piano-driven single homaging the title track off Eric B. & Rakim’s sophomore effort down the hook & sample. “Bloody White Flags” deliriously suggests you find him if you want the smoke brought right to you directly while “Saved & Spent” drearily talks about giving thanks daily. “Out of Sight (Out of Mind)” featuring Blu closes the album with them flexing they daydream with night vision & their west coast underground statuses.

10:20 was easily the most I’ve enjoyed a solo effort from LMNO since After the Fact produced by Evidence over a decade ago & like I had expected, he & DJ D-Styles knock it out of the park with a follow-up halfway through the current decade that compensates the gap between the predecessor & now. D-Styles’ production similarly to Invincibl Rap Mislz & Beluga pushes the Beat Junkies sound forward with LMNO holding down the performances by himself like he did the last time we heard from him.

Score: 4.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Rivers of Nihil – Self-Titled review

Reading, Pennsylvania progressive tech-death metal band Rivers of Nihil consisting of lead guitarist/keyboardist/programmer Brody Uttley, drummer/backing vocalist Jared Klein, rhythm guitarist/backing vocalist Andy Thomas & bassist/frontman Adam Biggs returning after 4 years with an eponymous 5th LP. Signing to Metal Blade Records on my 16th birthday in 2012, their full-length debut the next fall The Conscious Seed of Light & their sophomore effort Monarchy broke their ground as a progressive tech-death outfit until Where Owls Know My Name became notable for it’s secondary djent & jazz fusion influences. The Work toned it down on the death metal elements in favor of standard prog metal & had a feeling this self-titled body of work would delve further down that rabbit hole.

“The Sub-Orbital Blues” was a tolerable progressive death metal single singing about the dichotomy of living in a 21st century society rife with scientific & technological advancements whereas “Dustman” asks if you believe what you see & being nothing but dust. “Criminals” had to be my least favorite single due to it’s meat & potatoes take on death metal, melodic metalcore & deathcore preying on innocent men while “Despair Church” promises to take the whole world away.

To end the first half, “Water & Time” encourages to let those 2 things disintegrate it leaves you alone lost in space going for a progressively melodic death metal direction just before “House of Light” ditching the melodic elements of the previously mentioned single asking for a sign to be set free told no lies. “Evidence” turns up the hostility talking about dangerous games being played with a cage, waiting at the end, but then “American Death” refuses to believe a word said & calls themselves the American Dream itself.

“The Logical End” keeps the progressive death metal hybrids going singing about building another empire right where they’re standing due to them never having to see a logical end for as long as they live the rest of their days & not fading away while the title track appropriately finishes the album asking not to breathe in a disease born from the flowers of despair, encouraging to wake up or you’ll bе swept away because of another day being lost wasted.

Setting out to bring the sounds of their previous material with all the fat cut away, Rivers of Nihil complete their mission successfully with a body of work reminiscent of The Conscious Seed of Light & Monarchy in terms of technicality with the only exception being these guys having a mature understanding of pacing or bringing a more refreshed perspective of the experimentation throughout Where Owls Know My Name & The Work respectively.

Score: 4.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

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

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

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

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

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

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

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

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

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

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

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

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Morgan Wallen – “I’m the Problem” review

Morgan Wallen is a 32 year old singer/songwriter from Sneedville, Tennessee putting out the full-length debut If I Know Me to mixed reception 4 years after starting out. Republic Records would sign him for the 2-disc major label debut Dangerous, moving over to the Mercury Records subsidiary in the spring of 2023 & releasing 1 Thing at a Time to prominently more negative feedback compared to both of it’s predecessor. It’s been almost 2 months since he controversially stormed off the set of the semicentennial Saturday Night Live owned by the NBC division of the Comcast Corporation subsidiary NBCUniversal originally serving as the host of that week’s episode & his 4th LP has arrived.

The title track was a mediocre contemporary country intro bashing his ex for being Ms. Never Do Wrong when Morgan himself was making racially charged comments at the beginning of 2021 whereas “I Got Better” sings about feeling like who he really is again when that hasn’t really changed. “Superman” named after the Warner Bros. subsidiary DC Entertainment-owned franchise ahead of the DC Universe media franchise & shared universe beginning in a couple months was one of the better singles continuing the contemporary country direction dedicated to his son Indigo until Tate McRae appears for the cheesy country pop duet “What I Want”.

“Just in Case” gets back on the contemporary country vibes describing a situationship that later transformed into something far more captivating when I found it anything but & after an interlude, “Falling Apart” tackles the breakup theme once more singing about selling him & his ex out only for him to justifiably pay the price for it. “Skoal, Chevy & Browning” expresses his desire for somebody simple as those 3 separate things leading into “Eyes are Closed” asking his son what he sees when he sleeps at night.

It’s funny that Morgan asks his own mother what he did wrong on “Kick Myself” after asking him to get help when he’s a documented racist, ignored CDC guidelines during the COVID-19 pandemic & got arrested last spring for throwing a chair off the roof of Eric Church’s newly-opened Nashville bar Chief’s while “20 Cigarettes” sings about a girl telling him what her hometown is like. Another highlight would be “TN” expressing his love for the state that made him & “Missing” suggests he might miss the woman he wants missin’ him.

“Where’d That Girl Go?” sings about an ex who he feels has a long way from a bad good riddance wanting to know what happened to the old her while “Genesis” makes a corny comparison of how Jack Daniels & Jim Beam didn’t know him from Adam & Eve regardless of the subject matter revolving around temptation. “Revelation” sings about being a hard one to love since it runs in my blood when he acts like a jackass, but then “#3 & #7” featuring Eric Church himself feels like a cautionary tale centered around drinking & driving.

Spite reveals itself even more on “Kiss Her in Front of You” taking him at a girl that he used to date for walking out on him & making out in front of his new partner as a “fuck you” to his previous one while the trite “If You Were Mine” sings about wanting to lay her down & take his time giving her the pipe. “Don’t We” reaffirms the small-town values, tradition & simplicity even if that way of life isn’t for everyone prior to “Come Back as a Redneck” featuring HARDY teaming up for a horrible bro-country collab.

“Love Somebody” feels ironic since the topic of wanting to find a genuine connection with a woman in a world full of fleeting, shallow relationships appropriating Latin influences while “Dark ‘Til Daylight” finds him singing about feeling composed during the day & his mindset spiraling during the evening. “The Dealer” featuring ERNEST looks back on the days they could’ve folded & finding 1 more card to play while “Leavin’s the Least I Could Do” unloads more melodramatic breakup bullshit onto the table.

As for “Jack & Jill”, we have Morgan giving his own take on the classic fairytale except they both wind up on 1 in Tennessee while “I Ain’t Comin’ Back” featuring Post Malone gets even more over the top with the heartbreak than I would’ve expected from both of them. “Nothin’ Left” acoustically sings about lonely nights coming his way because of him fucking up another relationship while “Drinking ‘Til It Does” tries drowning in a river full of whiskey.

“Smile” tries & fails at mixing folk with singer/songwriter reflecting on a love that has since grown cold while “Working Man’s Song” tackily sings about how tryin’ to make a livin’ isn’t supposed to feel like dyin’. “Whiskey in Reverse” points out the empty Jack Daniels bottle by his coffee cup doing more damage than it did any good while “Crazy Eyes” admitting that his girl’s eyes have some kinda power over him sleeping for only 10 hours in the span of 3 days.

Finally kicking off the last leg of I’m the Problem, the song “L.A. Night” not to be confused with former 2-time WWE United States Champion, TNA World Champion, TNA World Tag Team Champion, NWA World Tag Team Champion & アイアンマンヘビーメタル級チャンピオン L.A. Knight (Yeah!) talks about being a country boy in the middle of the west coast while “Miami” desecrates “Miami, My Amy” by Keith Whitley shamelessly. “Lies Lies Lies” was an average country pop single singing about still being a fool for the same ol’ fibs he falls for & “I’m a Little Crazy” closes by showing some self-awareness.

I personally find it unfortunate that the only country album that Mercury has put out since being revived in 2022 would be Johnny Cash’s most recent posthumous offering Songwriter & the material on there was 3 decades old. Primarily because I’m the Problem feels a lot like 1 Thing at a Time where it’s completely bloated with more misses & hits. He focuses less on country pop than he did on the predecessor favoring a contemporary sound altogether.

Score: 1.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

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

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!