Black Country, New Road – “Forever Howlong” review

Black Country, New Road is an experimental rock band from Cambridge, England, United Kingdom consisting of bassist/vocalist Tyler Hyde, saxophonist/flautist/vocalist, Lewis Evans a.k.a. Good With Parents, violinist/vocalist Georgia Ellery, keyboardist/vocalist May Kershaw, drummer Charlie Wayne & guitarist Luke Mark. Signing to Ninja Tune, the band’s debut For the 1st Time & the sophomore effort Ants From Up There have both quickly become the most important post-rock & art-rock albums of the current decade receiving universal acclaim. Taking 3 years off, they’re returning for their 3rd studio LP.

“Besties” blends progressive pop, chamber pop, baroque pop, sunshine pop & soft rock dealing with unrequited love for a best friend whereas “The Big Spin” dabbles with country singing about a restrictive domestic life unwillingly enforced on a person. “Socks” gives off progressive pop & art rock vibe explaining our lives hold a light no life has held before while “Salem Sisters” finds Tyler singing about happily being in a tree with a fire biting beneath him.

The country influences once again on “2 Horses” asking if Georgia found a man she can finally lean on leading into “Mary” heading for a minimal direction in terms of general sound taking the lyrics from diary entries followed by “Happy Birthday” crossing over progressive pop, baroque pop, art rock, folk rock, piano rock, chamber pop, indie rock & neo-canterbury teaching us privilege doesn’t bring happiness.

“For the Cold Country” carries over the progressive folk, art rock, chamber folk, progressive rock, choral, post-rock & neo-canterbury elements focusing on a journey of self-reflection while “Nancy Tries to Take the Night” tells a tragic tale ending in suicide. The title track returns to a minimalistic flare with a winding approach to the songwriting & “Goodbye (Don’t Tell Me)” finishes with an acoustic ballad admitting to Georgia falling in love with a feeling.

The modern day experimental rock trailblazers reemerge with a meticulously detailed album that includes everything from folk to prog via baroque pop & touches of alt-rock yet all the while retaining that unmistakably unique sound that only this combination of musicians can come up with. Although hugely varied & expansive, Forever Howlong also feels deeply cohesive & focused as it takes 3 distinct voices & styles & seamlessly intersperses them into a new collective sound.

Score: 4.5/5

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Allegaeon – “The Ossuary Lens” review

Allegaeon is technical death metal band from Denver, Colorado consisting of lead guitarist Greg Burgess, rhythm guitarist Michael Stancel, bassist Brandon Michael, drummer Jeff Saltzman & frontman Ezra Haynes. These guys have been making themselves at home with Metal Blade Records for the past 15 years ago putting out 7 albums & the most notable being their last 4; Elements for the Infinite, Proponent for Sentience, Apoptosis & Damnum. Beginning the 2nd quarter of 2025 however, they’re coming back after 3 years to deliver their 8th studio LP.

After the “Refraction” instrumental intro, the first song “Chaos Theory” begins with a progressive technical death metal vibe explaining an abysmal dissolution causing chaos to be restored in life whereas “Driftwood” maintains the prog-tech-death approach talking about the shadows of your past taking you eventually. “Dies Irae” promises to spare no one while the technical death metal-tinged “The Swarm” asks to give ‘em falling skies to take their eyes.

“Carried by Delusion” maintains the tech death flare talking about his ghost carrying the sword & standing in a shallow grave immortalized just before “Dark Matter Dynamics” featuring Adrian Bellue devours all light where questions roam with answers being kept tight-lipped. “Imperial” asks to what degree is our fate sealed & to what end do we allow while “Wake Circling Above” morbidly explains being on his way out & never finding himself again. “Scythe” ends by talking about Hell opening alongside fear dying a long time ago.

Ezra’s return after a decade represents several different viewpoints of death further touching on some classic Allegaeon science-related topics such as chaos theory & dark matter while also strumming the chords of more introspective topics such as alcoholism, relationships & perseverance embracing a new subgenre called melotech bringing melodic death metal & technical death metal together to display the band at their most cohesive.

Score: 4.5/5

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Jane Remover – “Revengeseekerz” review

Jane Remover is a 21 year old musician from Newark, New Jersey known for pioneering the Dariacore microgenre. They made their breakout debut in the fall of 2021 with Frailty under deadAir Records & it wasn’t until exactly 24 months later when former BROCKHAMPTON leader Kevin Abstract called Jane Remover’s sophomore effort Census Designated his favorite album of that year where I personally got introduced to their music. Continuing the bi-yearly release cycle, their 3rd album has finally arrived after high anticipation.

“Twice Removed” begins with this digicore intro explaining that 2022 feels like a million years ago to them by now & shit getting old to them so quickly whereas the EDM-driven “Psychoboost” featuring Danny Brown finds the 2 talking about both of them feeling as if they’re a part of each other. “Star People” blends hyperpop & trap so they can ask if you’re either their bestie or their enemy prior to the chaotically noisy “Experimental Skin” talking about seeing no evil.

Moving on from there, “angels in camo” returns for more of a digicore vibe trading names with demons & refusing to let the creeps win just before “Dreamflasher” takes the sound of the previous cut & meshing it with EDM asking God to save them since they’re so turnt at the current moment. “Turn Up or Die” brings a glitchier flare to the table giving this bitch a proper sendoff by blowing his head off while “Dancing with Your Eyes Closed” perfectly showcases fusing hyperpop, electropop, digicore, bass house, future bass, electro hop, electroclash, Dariacore & rage influences.

“Fadeoutz” talks about feeling the same affection the standard popstar receives & likening fast love to fast drugs while “Professional Vengeance” balances digicore & pop punk returning from California with a bag 10x the price of what they were sold. “Dark Night Castle” admits to feeling like they don’t deserve the business prior to the outstanding digicore, rage, experimental hip hop, industrial hip hop, dark plugg & emo rap closer “JRJRJR”.

There are artists in the digicore scene I’ve given props to like Bear1boss or che & Polo Perks no question, except Jane Remover reclaims the sound that made them popular on the occasion of presenting the most flawless listening experience I’ve had in 2025 as of right now & a landmark in that style. The glitchcore aesthetics get uniquely branched out to the likes of experimental hip hop, electronic dance music, rage, hyperpop, hard dance, bass house, industrial hip hop, hardcore EDM, dark plugg, emo rap, electropop, future bass, electro hop, electroclash & of course Dariacore seamlessly.

Score: 5/5

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Ouija Macc & Ricky Hil – “Problem Children 2” review

This is the 2nd collaborative album between Las Vegas, Nevada emcee Ouija Macc as well as New York recording artist & Limosa Nostra Records founder Ricky Hil. The latter of whom came up in 2009 in the cloud/emo rap scenes & the other is the CEO of the Psychopathic Records subsidiary Chapter 17 Records who has been the only other current artist on the label that runs beneath the streets other than the Insane Clown Posse themselves for pretty much the current decade. Ricky recently got a shoutout on the highlight “Olympian” off Playboi Carti’s 3rd album MUSIC last month & is linking up with Ouija again for a sequel to Problem Children ahead of Ouija appearing on the upcoming 2nd leg of JCW Lunacy’s Hella Pain & Diamond Rain Tour.

The title track produced by Devereaux starts with both of them giving middle fingers to everyone & spraying the walls with blood over a guitar-trap instrumental whereas “Upside Down” takes a cloudier route thanks to former Good Charlotte guitarist Billy Martin with Ouija giving props to Psychopathic Don & the wicked clowns’ manager Billy Bill for giving him game. “‘Till I Die” finds the pair talking about staying until the day where they take their last breaths while “Fucc ‘Em Up” fuses hardcore hip hop & trap thanks to 808 Mafia co-founder Lex Luger.

SosMula formerly of the City Morgue joins both of the Problem Children on the “Tavernity Trinity” introducing a new underground supergroup over a trap metal beat leading into “Ginsu” talking about death knocking on their doors & them eventually answering it. “In Vein” brings a trap metal flare back in the fold so they can tackle themes of death just before the internal emo rap-tinged “To Feel” talks about having loneliness to fulfill in their lives.

“Crème Brûlée” boasts that the weed they’re smoking on is significantly sweeter than dessert itself prior to “Nightmare Boyz” talking about people sneak-dissin’ only for the simple reason because of them not being legitimate competition in either of their eyes whatsoever. “Pray 4 Me” finds both of them discussing having 0 sympathy for their enemies due to life itself being an entire tragedy, but then “Buffalo Sauce” showcases a fun back-&-forth chemistry.

As for “Gone in the Wind”, we have Ouija & Ricky talking about death calling ‘em again & it all being lights off in the end while “Low Battery Warning” suggests to enjoy your emptiness since it’ll be as good as it can get. “I’d Probably Rot” shows an emo rap influence again talking about having nothing while “Storm Come Rolling In” admits to pain swallowing them again. “Moon Through the Blinds of the Bando” finishes by stripping the drums with parts of them feeling like they’re in Hell’s Pit.

The eponymous introductory LP was a fun marriage between Ouija Macc’s horrorcore twist on the SoundCloud aesthetics & Ricky’s cloudy emo rap hybrids, returning after 3 years to take it up another level since Ouija has evolved so much artistically since the last time he teamed up with Ricky. Their respective styles all come back & mesh well together once again to take every redeemable quality of its predecessor to newer levels.

Score: 4/5

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Boldy James – “Alphabet Highway” review

The hardest working Detroit artist today Boldy James enlisting V Don to produce his 14th full-length LP. Breaking out in the fall of 2013 off his Alchemist produced debut M.1.C.S. (My 1st Chemistry Set), he would later go on to land a contract with Nas’ independent label Mass Appeal Records for a little while before getting locked up. Once coming home, Uncle Al would help get his name back out there once getting out by dropping the Boldface EP around Christmas 2019 & then the sophomore album The Price of Tea in China. This was followed up with the Sterling Toles-produced Manger on McNichols which was as equally fantastic, but the Griselda Records-backed Versace Tape EP was a tad bit disappointing given how rushed it was. Bo Jackson though would become his most critically acclaimed work to date & Super Tecmo Bo was almost as great for an EP. Fair Exchange No Robbery produced by Nicholas Craven, Penalty of Leadership, Mr. 10-08 produced by Futurewave, the Conductor Williams-produced Across the Tracks, the Harry Fraud-produced The Bricktionary & the Carlo Anthony-produced Hidden in Plain Sight were all welcomed to warm reception additionally. Token of Appreciation produced by Chuck Strangers was much better than both Murder During Drug Traffic & Permanent Ink, coming off the Antt Beatz produced Hommage from last weekend to go on the Alphabet Highway.

“Finishing Touches” starts by talking about his resume not having any blemishes or smudges when he has only a few projects in his discography that stand out being mid at best whereas “R.S.N.S. (Real Street N***a Shit)” needs no further explanation regarding the subject matter. “Split the Bill” was an outstanding boom bap single explaining trigger happy & they ain’t even smiling while “Mrs. Porter” dabbles with trap going off to the horse races

Moving on from there, “No Guessing Games” assures his girl to chill out since all wounds will be healed in due time just before “Dr. Demento” talks about people being able to tell he’s up simply by looking at his chains & being in a standoff with the opps. “Entrapment” heads for an atmospheric direction asking if he’s speaking to an undercover fed & worried of setting himself up if he is, but then “Lemon Head Light” soulfully walks people down like he’s on papers they’re tryna take from him.

“Day Light Savings” goes drumless to talk about bottling up his pain in a pint & people tryna seal his fate while the piano-driven “Without Mention” explains that the streets turned his soul cold. “Smacking Foreigns” jazzily advises to never switch up on your members while “Quaker Oats” gets on the rap rock tip again tryna stack his chips until they touch the sky. “Bobert Horry” finishes Alphabet Highway with this killer tribute to current Los Angeles Lakers commentator & former player Robert Horry.

Some felt that Hommage was on the same level of mediocrity as Murder During Drug Traffic & Permanent Ink, which I disagree with because I’d have to put it behind Hidden in Plain Sight as the finest examples of him pulling off that Detroit trap sound. Alphabet Highway if you’re familiar with V Don’s production style, most will find themselves enjoy as much if not more than Token of Appreciation over a month ago. The production that V Don cooks up here is more rawer & Boldy lyrically goes harder with the pen.

Score: 4.5/5

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Lou Phelps – “Chélbé” review

Lou Phelps is a 30 year old rapper & producer from Saint-Hubert, Québéc, Canada notable for being the MC half of the MC/producer duo The Celestics alongside his brother & one of the biggest producers in the past decade KAYTRANADA. He even has 3 EPs & a full-length debut album of his own since they mutually decided to focus more on their solo careers for the past 11 years. Nearly 9 months since the last EP Top Z last summer, Lou’s returning for a sophomore effort.

“Prolly Us” produced by KAYTRANADA who laced Chélbé front-to-back was a funky way to start things off talking about bad bitches & real homies both wanting love whereas “After I” featuring GoldLink finds the 2 asking if you can tell that they know how to have a great time. “4 My Children” keeps the funk/hip hop crossovers going talking about wanting to make millions for his kids & not giving a fuck regarding other’s feelings, but then “I Dunno” take a shot at hip house detailing a woman who keeps coming back to him for more.

As for “What Now”, the hip house vibes carry on referencing the current TNA World Tag Team Champion in his 3rd reign & inaugural 4th Rope World Tag Team Champion Jeff Hardy of The Hardy Boyz while “Under My Skin” featuring Nono Black finds the pair suggesting to let the haters hate & their money continuing to pile up. “Jungle” kinda reminds me of Q-Tip from A Tribe Called Quest & I mean that as a compliment boasting about being sexy & clean because he’s the man leading into “Is My Mic On?” sees him tryna play it right

“2am” blends synth-funk & hip hop telling the woman he has in mind that she’s a gift to him while “Aftaparty” talks about showing this chick how fast them birds go once they finally become an official couple keeping the synthesizers in the fold instrumentally. “Pimp” finishes Lou’s first LP in 7 years with 1 more funky beat to discuss spitting his rhymes because all he wants is the money in his pockets to get bigger & for all the broke ass bitches to take themselves back home.

Resurrecting the anarchic spirit of post-millennial underground hip hop, The Celestics unofficially reunite for a love letter to the culture’s golden age occasionally charting new territory in contemporary dance-rap. KAYTRANADA boldy fuses hip hop, house & jazz music for the globally minded, fashion-forward listener emphasizing his multicultural background & paying tribute giving himself a pat on the back for his authenticity, self-appreciation & personal style.

Score: 4/5

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Shoreline Mafia – “Back in Bidness” review

The Shoreline Mafia are a Los Angeles, California duo now consisting of Ohgeesy & Fenix Flexin’. Originally a quartet, their debut mixtape ShorelineDoThatShit resulted in them signing to Atlantic Records for their next couple tapes & EPs as well as a full length studio debut. They would temporarily disband following Mafia Bidness so its members could pursue their solo careers, reuniting with half its members in 2023 & returning to Atlantic in tandem with 300 Entertainment for a sophomore effort.

The title track fuses hyphy & trap to get the ball rollin’ talking about their return whereas “Touch Down” puts a bigger emphasis on hyphy thanks to DJ Snake including a reference to The Grim Adventures of Billy & Mandy on the Discovery Global-owned Cartoon Network. “Back 2 Back” morbidly demands to know where the cabbage at & showing ‘em the money just before the ratchet “Too Often” talks about not fucking with broke bitches at all.

“Watch That Hoe” blends trap & hyphy once more advising for everyone to stay on their toes leading into “Broski” swaps out the hyphy influences in favor of Mobb music asking what you’re in the game for if you ain’t even tryna do it. “No Makeup” vibrantly references former IWGPヘビー級チャンピオン as well as a 10-time WWE world champion & former UFC Heavyweight Champion in both TKO Group Holdings divisions Brock Lesnar while “Fast & Furious” gets back with DJ Snake for another hyphy heater.

As for “Rubbaband Man”, we have the Shoreline Mafia going for a nervous direction paying homage to T.I.’s most popular single while “Shoreline Twins” homages the Ying Yang Twins down to Mr. Collipark handling the co-production. “Work of Art” feels like a bit of a traffic music/g-funk crossover asking what the salary of these women are since they belong in galleries & want them by their sides, but then “Yoga & Pilates” shouts out all the bitches who do those 2 things.

“Go for Me” gets the final leg of Back in Bidness started by throwing guns in the building taking shots at everyone who be acting like they got cash & don’t actually show it while “Tusi” talks about a follow-up being guaranteed if it’s really beef with them. “Set the Record Straight” cautions that you have to have a resume in order to be near their presence while the gospel flip DJ Paul & TWhy use on “Top Notch” saves the best beat for last talking about still being high quality after 5 years off.

Returning stronger than ever, Back in Bidness is a testament to the Shoreline Mafia’s brotherhood & proving that time apart hasn’t dulled their signature sound. From the hard-hitting production reclaiming the throne of the nervous scene following Drakeo the Ruler’s murder to unfiltered lyrics, Ohgeesy & Fenix Flexin’ team up for a triumphant homecoming for the group that helped define a generation of underground rap.

Score: 4/5

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2hollis – “star” review

2hollis is a 21 year old rapper, singer/songwriter & producer from Chicago, Illinois coming up as 1/2 of Mage Eternal & a member of OSX under the original Drippysoup moniker. Putting out a total of 7 EPs along with a couple mixtapes & 3 studio LPs, his last full-lengths 2 & Boy resulted in him signing to Interscope Records as a solo act this past fall. He’s now making a significantly bigger splash with his 4th album albeit major label debut a week out from the current 新日本プロレス President, former 8-time IWGPヘビー級チャンピオン, 2-time IWGPインターコンチネンタルチャンピオン, 3-time IWGP USヘビー級チャンピオン, 新日本プロレス世界TVチャンピオン, 3-time IWGPタッグチャンピオン, NEVER無差別級チャンピオン, NEVER無差別級6人タッグチャンピオン, GHCタッグチャンピオン, CMLL Mundial Parejas Campeon, CMLL Mundial Trios Campeon & RPW British Heavyweight Champion 棚橋弘至’s final US match.

After the glitchy “beginning” intro, the self-produced “flash” talks about a lot of the things he’s shown the woman on his mind have actually been illusions whereas “cope” homages the “Heroes” title track by the late David Bowie admitting he feels empty & asking if he can be trusted. “you” works in some house undertones telling this woman how good she is at lying to him leading into “tell me” embracing the EDM vibes heavier talking about being afraid of death.

“destroy me” gets back on the hip house tip hoping for this chick to tell him she loves him & needs him in her life just before “burn” pulls a little from the dubstep scene talking about his romantic interest continually sticking in his head. “girl” is a bass-heavy trap dedication to his girlfriend he doesn’t want to lose tryna make sense of her & after the “dream rain sports” instrumental interlude, “nice” samples “Household Goods” by the Totally Enormous Extinct Dinosaurs” showing his generosity.

2hollis maintains an EDM flare on “nerve” admiring the way he & partner are nonconformists but after the “ego” interlude, the rage-inducing “sidekick” talks about never being a close associate or assistant to anyone else. “eldest child” acoustically speaks about what it was like from his experience of being the oldest of 2 children in his family & the minimal closer “safe” pleads for his lover to tell him that he’s safe.

star for a major label debut feels like a collection of feelings & meanings from someone chasing stardom finds it all coming true in the most beautiful ways despite it burning so badly . His production here takes cues from electropop, electroclash, hyperpop, electronic dance music & digicore taking us along for a hero’s journey after starting everyone on the enemies & trials ahead of the upcoming follow-up he’s already working on as announced earlier on during the week.

Score: 3.5/5

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9 Vicious – “Tumblr Music” review

This is the sophomore effort & YSL Records debut from Atlanta, Georgia up-&-comer 9 Vicious. Breaking out last summer off his debut single “U Fancy”, he would go on to further introduce himself on B4SA & the debut album Studio Addict helped him gain more exposure to the point where Young Thug signed him to YSL after B4TM dropped. Couple months later, he’s joining 1300SAINT as 1 of the 2 newest signees for the label by putting out Tumblr Music ahead of the latter 1300’s upcoming project albeit his 2nd under the YSL banner Saint Season next month on the 25th.

The way “Why Can’t There Be Love?” by Dee Edwards gets sampled by 406ahmad on “Margiela Steppin’” talking about playing this shit like it’s a 2K game whereas “Makaveli” goes for more of an eerie trap direction instrumentally thanks to Patrick Garza further homaging 2Pac like he did with the album cover. “Clout Demons” easily sticks out as the worst track with the “I know I fucked up, I admit I was horny” line appallingly admitting that he slept with a minor prior to “SP5DER” representing his uncle’s clothing brand to the fullest.

“Twitter & Instagram” named after the social media apps owned by Tesla CEO, SpaceX founder, Neuralink founder & Nazi Elon Musk and Facebook founder & Meta Platforms CEO Mark Zuckerberg respectively cloudily boasts with Jwade to get on some new shit daily just before “Anti You” talks about growing up without guidance. “Mad Rappers” finds him pissing off his competition leading into “Hit ‘Em Up” clearly giving more flowers to Pac.

Starting the final leg of Tumblr Music, the song “Beastmode” turns up the bass so he can break down the way he livin’ on Cleveland Avenue while “Again” promotes his set at Lyrical Lemonade’s upcoming 7th annual Summer Smash festival. The self-produced “Take Me Down” has possibly my favorite beat on the whole LP thinking about the craziness that he’s experienced in his life so far.

No denying from me that Studio Addict & B4TM both have their highlights like “The Truth” or “R.I.P Keed”, but I’d argue that Tumblr Music falls behind All Hail as a decent example of YSL bringing exciting new artists onto their roster now that Thug finally came home last Halloween. It’s the best he’s sounded production-wise & he holds it down by himself like he did 3 months ago other than some questionable lines occasionally coming up.

Score: 3/5

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Autumn! – “Back 2 My Roots!” review

This is the 5th studio LP from Lafayette, Louisiana rapper, singer/songwriter & producer Autumn!. Gaining traction off all 22 of his previous EPs & a full-length debut on SoundCloud since 2018 prior to signing to Victor Victor Worldwide & Republic Records following the Not Much Left EP, he made his major label debut nearly 3 years ago with his sophomore effort Antagonist! as well as following it up with the last 2 installments of the Golden Child trilogy & Midnight Club. Wick delivered a sequel to Solitary last spring, You Never Was Mine in the summer & ##B4B2MR in the winter. To end the 1st quarter of 2025, it’s time for him to go Back 2 My Roots.

“Replica!” sets the tone of what’s to come excellently with the self-produced plugg instrumental talking about the only thing he copies is Margiela whereas “Brainrot!” named after a term I feel like out-of-touch people use to call dank memes rocks Balmain showing respect to the late Lil Keed. “Passenger Princess!” keeps the plugg vibes going for a love song about his glock leading into “Sunburn!” sampling “Plastic 100°C” by Sampha & shouting out Summrs only having Burberry material on his end.

As for both “Something New!” & “Laws of Power!”, we have Autumn! taking a couple ##B4B2MR highlights & placing them on the final version of the album just before “Upper Echelon!” maintains the plugg sound talking about seeing the limelight. “Louie V Everything!” featuring Summrs on the remix expresses their love for Louis Vuitton referencing the Rockstar Games-owned Grand Theft Auto V protagonist Trevor Philips, but then “1 Way 2!” throws it back to the Antagonist! sequel aesthetically.

“Still the Same 3!” continues a trilogy that began with his breakout single stuck in a place he wants to forget while “Both Ways!” talks about his hoes being bisexual. “Did It Again!” a lot like “Something New!” & “Laws of Power!” reappears after being on ##B4B2MR while “Count It Faster!” talks about stacking his racks up. “Free Promo!” flexes his brother moving in slow-mo because of the lean while “Stuck in a Loop!” admits to the way he feels at times. “When I Pray” finishes Back 2 My Roots waking up with money on his mind.

##B4B2MR promisingly had many including myself thinking that Back 2 My Roots would be a return to form for him considering the mixed reception of You Never Was Mine almost 9 months ago & I personally would tell you that it’s the most I’ve enjoyed his music since Golden Child 3! exactly 3 years to the day it dropped. It’s primarily self-produced other than a couple tracks delving back into the plugg sound that made him blow up & he’s more focused than some of his recent output.

Score: 4/5

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