Lil Durk – “Deep Thoughts” review

Chicago, Illinois rapper & Only the Family Entertainment founder Lil Durk finally dropping his 5th studio LP ahead of his murder-for-hire case. Rising to prominence a little over a decade ago off his debut mixtape I’m a Hitta, he would go on to follow this up with Life Ain’t No Joke & the first 2 installments of the Signed to the Streets trilogy until signing to Def Jam Recordings for his full-length debut Remember My Name & the sophomore effort Lil Durk 2X. Since then, Durk has made himself home at Alamo Records by dropping 9 more mixtapes & bounced back from the mixed reception of 7220 in the form of Almost Healed to let off a collection of Deep Thoughts.

“Shaking When I Pray” is this decent cloudy trap intro that Isaiah Valmont of Internet Money Records whipped up talking about people doing anything to go viral these days whereas “Keep on Sippin’” addresses an individual he gave everything to & yet, they still continue to trip out. “They Wanna Be You” featuring Future finds the 2 talking about kids wanting to be exactly like the both of them prior to “Soul Bleed” admits to putting others ahead of his own team as of late.

Lil Baby joins Durk on “1,000 Times” talking about people they used to hang with in the hood leaving them drowning just before “Turn Up a Notch” has one of my favorite instrumentals from Southside & Smatt Sertified clapping back at everyone who counted him out a decade ago. “Vanish Mode” produced by Chopsquad DJ addresses a bitch lying to him about loving him leading into “Monitoring Me” getting in his Chicago drill bag.

“Untouchable” ends the 1st leg by hustling whenever he gets a chance & barely holding his stance as it already is while “Notebook” gives off a laidback trap direction talking about the industry putting him in beefs. “Can’t Hide It” was a decent pop rap single that benny blanco & Cashmere Cat laced together delving into relationships, but then “Wondering Again” ponders if an ex will ever love him once more.

Hunxho appears for the mediocre “Late Checkout” still in disbelief they found love while “Think You Glowed” shuts down a hoe lying to herself that he’s glowing up. The song “Opportunist” remembers his late brother & describes the way he copes with depression while “Alhamdulillah” talks about finally being healed. “Deep Depression” with Metro Boomin’, BoogzDaBeast & FNZ all behind the boards closes the album figuring out why he’s in love with the streets since shit gets ugly.

7220 & Almost Healed were both admirably personal with the latter kinda stepping it up in the production department, which led me hoping Deep Thoughts would expand on. Unfortunately for the most part, it turned out to become the same old melodic trap/pop rap that we’ve been getting from him in recent memory. Even with the introspection he brings to the table, the production is a step down from Almost Healed & it kinda feels repetitive.

Score: 2/5

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Maya Delilah – “The Long Way Round” review

Maya Delilah is a 24 year old R&B singer/songwriter from London, England, United Kingdom who introduced herself in the summer of 2020 with her debut EP Oh Boy & later It’s Not Me, It’s You the next fall. Both of which were welcomed to mixed reception, signing a joint deal with Blue Note Records & Capitol Records roughly 12 months later. 2 & a half years have passed since & she’s ready to take herself to new heights on her debut album.

“Begin Again” minimally begins her Blue Note debut hoping nothing changes whenever she rewinds to a certain point in her life whereas “Look At the State of Me Now” hooks up some mellow ass guitar work singing about everyone taking a look at how she’s doing currently. “Man of the House” experiments with country-pop reveling in the domestic potential of new love prior to “Maya, Maya, Maya” delving further down the introspection topically.

Meanwhile on “Jeffrey”, we have Maya taking a backseat vocally making way for an acoustic guitar & some organs to prominently take over the spotlight just before “Squeeze” brings a funkier vibe to the table telling her lover to never let her go. “Actress” samples the late Curtis Mayfield singing that she’s on the verge of losing control & getting lost, but then “Did I Dream It At All?” hops over these pianos to address the theme of despair.

“I’ll Be There in the Morning” starts the final leg of The Long Way Round by taking inspiration from an unpleasant experience she once had while the acoustic “My Balloon” apologizes to this individual for keep pulling them back to her. The western-tinged “Necklace” sings about feeling as if 2 worlds are intersecting & being a realist while “Never with You” ends by admitting her fear of growing old.

The Long Way Round compared to her early EPs feels like combination of so many parts of her since she’s so influenced by different genres, people, places & experiences that it’s always felt hard for me to fit my music into a consistent sound or mood. It took her a long time to realize that it’s a beautiful thing to have a body of work that explores so many different influences. It brings her intimacy, ability, inspiration depth & lightness into 1 striking debut.

Score: 4/5

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Bria Salmena – “Big Dog” review

Toronto, Ontario, Canada singer/songwriter Bria Salmena signing to Sub Pop Records for her official solo debut. Coming up as the guitarist/percussionist & co-vocalist for Dear Sister, they would put out 2 full-lengths until their disbandment & she would go on to become the frontwoman of FRIGS as well as forming the country duo Bria with FRIGS guitarist Duncan Jennings putting out a couple mediocre EPs full of covers. Looking to differentiate herself from her side projects, Sub Pop’s bringing her onto the label roster to cement her Big Dog status.

Drastic” begins with this pop rock intro finding herself at an impasse staring at the runway instead of getting on the plane whereas “Backs of Birds” focuses more on embracing the people in her life who lift her up. “Closer to You” takes a shot at post-punk telling her to either love her gently or leave prior to “Hammer” singing about leaving all her fears to be afraid & resilience in general.

As for “Radisson”, we have Bria exploring the raw energy of anger & the ability it has to transform just before “Twilight” goes for more of a stripped-back vibe kin to traditional country music tackling naivety & surrender. “On the Line” details her living her life taking risks for this specific person she has in mind, but then “Stretch the Struggle” assures you’ll never see her crying.

“Rags” tackles transgressive rage & the catharsis that is possible when it’s given permission to move freely through the body while “See’er” featuring former Sonic Youth guitarist Lee Ranaldo brings the acoustics back expressing a yearning for being seen. “Peanut” nears the end of her solo debut asking what kind of fool she is & the closer “Water Memory” recalls what it was like for her spending Christmas alone during the 2020 COVID-19 pandemic in mandatory travel quarantine.

Chronicling a story of transformation, Big Dog becomes this deeply personal exploration of resilience & a declaration of artistic independence forged through collaboration. It takes elements of hypnotic krautrock & shimmery shoegaze, opulent goth, & pulsing darkwave with a smearing of electronic textures for a sophisticated & often uncanny sound placing her potent lyrical imagery in the dead center of it all.

Score: 4/5

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ΠΔV – “On My Way 2 Rexdale” review

This is the 5th full-length album from Toronto, Ontario, Canada rapper, singer/songwriter & producer ΠΔV. Breaking out in 2016 after signing to The Weeknd’s very own Republic Records imprint X♥O Records & his verse/production on “beibs in the trap” off of Travis Scott’s sophomore effort Birds in the Trap Sing McKnight, I think that it’s been made pretty clear that I personally haven’t been the biggest fan of ΠΔV’s music up to this point. Primarily because of his robotic delivery, insipid lyrics & generic production choices (especially on Reckless & Bad Habits). However I did find the Wheezy-produced Emergency Tsunami to be ΠΔV’s best work to date, albeit not by much. Demons Protected by Angels wasn’t really much better & the singles building up On My Way 2 Rexdale made me want to give it a chance.

“Sinking” finds him opening up about his loneliness & inner emotions over a drumless guitar instrumental that he make himself whereas “You” feels more of a Don Toliver cut since ΠΔV has little to no presence on it whatsoever. “Stay Up” co-produced by Internet Money Records in-house producer Synthetic talks about being awake when no one else is while “Burbs” reunites with Wheezy behind the boards talking about making it out the hood.

Playboi Carti joins ΠΔV on “Unlimited” so both of them can rock out together for 3 & a half minutes just before “Back 2 Business” talks about having a lot of problems he deals with as it is getting back in his bag after 2 & a half years. “U.N.I.” goes for a sample-heavy trap direction showing a romantic side to him leading into “1 of None” asking a shawty if she’d be willing to hide out with him.

“Nxxd You” admits to his love that he gets excited around her for no reason comparing her presence to taking ecstasy while “Real Me” takes a cloudier route thanks to Metro Boomin’ showing his romantic interest his genuine self. “Red” brings a moody trap beat to the table drowning in his double cup only seeing the aptly mentioned color, but then “Keep Going” gives a finger to the money & fame continuing his music career in spite of doubters.

The song “Get 2 U” has interestingly chilled out trap flare instrumentally that really caught my attention right out the gate talking about the drugs runnin’ through his body & the closer “Pain Away” asks for his partner to relieve him of all pain he’s been feeling. “Get U Back” starts the deluxe run with a moody 2-parter wanting this woman back in his life while “1 Fan” talks about a hoe who says she dated ΠΔV & he begs to differ since he ain’t ever claimed her to begin with.

“Globe” switches it up by showing a plugg influence talking about being known all around the world while the woozy “Potholes” finds him actively dodging thots in the streets. “Lift Service” tells a chick to back it up & drop it low for him telling her he loves it when she shakes 1 leg while the extended version of the single “Rexdale” sincerely talks about staying strong & powering through during difficult times.

Was surprised regarding the original version of “Rari” called “Now It’s Over” seeing the light of day officially looking back on when he was broke & those days being done with while “Bag” from the Brown Boy 2 mixtape reappears for whatever reason. Lil Uzi Vert pops up for the remix of “Habits” off ΠΔV’s sophomore effort Bad Habits that I enjoy more than the original while the “Go to Hell” intro off his debut EP Brown Boy sampling “Enormous” by Gucci Mane gives his homie some Bathing Ape to celebrate his prison release.

“Highway” originally recorded in late 2016-early 2017 speaks of the lavish lifestyle he’s been living for the past decade living every day as if it’s gonna be his last while “She Worth It” featuring co-production from London on da Track talks about the woman he currently has on his mind. “Paranoid” cavernously tackles the problems brought about by his new-found fame while “Fast Life” questions loyalties whilst flexing his new-found wealth & success over a vocal sample & hi-hats. The final bonus track “Take a Seat” thanks God for him being wealthy now & suggesting to hop in the foreign whip pulled up driving in.

If you told me the same guy who made some of the worst trap albums of 2010s like Reckless & Bad Habits would make his best full-length nearly 5 years after the most consistent mixtape in his discography, I don’t think I would’ve believed you. He’s always been an enjoyable producer & to hear him primarily self-producing his music again is what he needed, taking it back to his origins by returning to his Toronto home town.

Score: 3.5/5

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Will Smith – “Based on a True Story” review

Philadelphia, Pennsylvania actor, rapper & film producer Will Smith returning after 2 decades to put out his 5th studio LP. Breaking out as 1/2 of DJ Jazzy Jeff & The Fresh Prince, the duo put out 5 albums until disbanding as a result of Will’s acting career taking off. He made his solo debut in the summer of 1997 signing to Columbia Records for Big Willie Style, which was followed by Willenium & later Born to Reign fulfilling his contract. Big Willie went over to Interscope Records for Lost & Found celebrating it’s 20-year anniversary this weekend, focusing on acting up until Based on a True Story.

“Barbershop Day” by DJ Jazzy Jeff & The Fresh Prince reunites the duo to start us off talking about people cancelling him for slapping Chris Rock at the Oscars because of what he said regarding his wife Jada Pinkett Smith whereas “You Lookin’ for Me?” talks about not being so hard to find. After the “Rave Sermon” interlude, “Rave in the Wasteland” goes for more of a Christian hip hop vibe tackling themes of religion leading into “Bulletproof” talking about dancing in Hell & high waters.

Meanwhile on “Hard Times (Smile)”, we have The Fresh Prince talking about smiling through the pain one might be going through in their lives at the moment leading into the decent pop rap single “Beautiful Scars” featuring Big Sean addressing religious subject matter again. “Tantrum” featuring Joyner Lucas gives a glimpse of what’s to come from their upcoming collab effort even if it’s not that satisfying & “1st Love” was a decent Valentine’s Day cut with some Latin influences.

“Make It Look Easy” boasts that he’s the artist that they call for when they hard to mess up & after the “YCMI Sermon” interlude, “You Can Make It” produced by FNZ pulls from the Christian hip hop scene once again telling people to hold on & assuring them they’ll make it in the end. Ahead of the “WOA Sermon” outro, the final song “Work of Art” featuring his son Jaden on the hook & a verse from Russ was one of the worst singles of last year since it feels like the musical equivalent of having your parents telling you the music you listen to is trash.

Can’t say it’s one of the worst things that I’ve heard all year but almost 20 years to the day since Lost & Found, the Philly icon returns to his pop rap roots although it feels as mediocre as the Interscope-backed predecessor and even his final Columbia offering Born to Reign. I will say it’s cool to hear him adapting to the modern trap sounds & even trying to put together a Christian hip hop concept, although I can’t say the same for some of the production & the features.

Score: 2/5

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Lørd Skø – “PiFF” review

New York up-&-comer Lørd Skø signing to Fat Beats Records for his 3rd studio LP. Getting his start in the fall of 2020 off his debut EP 13th Angel, his profile would grow from there eventually hiring one of the greatest A&Rs in the industry Dante Ross as his manager & showing the world of what he’s capable of doing last summer when he put out his debut Museum. His sophomore effort United Palace was a great dedication to his neighborhood, returning a year & a half later to drop PiFF.

“Livin’ Life” is this jazzy intro talking about living right these days whereas “2nd Thought” produced by Statik Selektah proves to be a highlight as he shows off an aura that can’t be confused with anyone else. “Stubborn” works on this high-pitched gospel sample getting reckless in the middle of his block rockin’ 2 boots while “Bong Rips” featuring MAVI along with Harry Fraud behind the boards making reference to the current TNA World Tag Team Champion in his 3rd reign & inaugural 4th Rope World Tag Team Champion Jeff Hardy of The Hardy Boyz.

Curren$y joins Skø on the single “Understand” suggesting that even the haters gotta love it & turning their plugs into fans of their music just before “Girbaud Talk” featuring Grand Puba brings back the jazz thanks to Mike Shabb talking about checking the wave & sliding. “Robinhood” takes a more cloudier route with the beat likening himself to a vigilante, but then the lo-fi boom bap “Cigarette Butts” smacks the makeup off these clowns making them do 10s.

“Camel Eyes” featuring Conway the Machine psychedelically talks about both of their standards being high & being where they are now by staying on course prior to Feardorian bringing a woozy trap flare to the table on “Holding Me Up” featuring Polo Perks airing everyone moving wack. “Problem Child” soulfully telling his homies to stay safe moving dangerously & after a “Funkee Intermission”, he puts smoke in his “Lungz” like he always does daily.

The song “Not the Same” hits the backend of PiFF working in a crooning sample referencing WWE Hall of Famer, former 3-time WWE Champion, 11-time WWE tag team champion, the inaugural WWE Hardcore Champion, CWA World Tag Team Champion & TNA World Champion Mick Foley merely 19 years to the day he gave former 2-time AEW TNT Champion, WWE Hall of Famer, 11-time WWE world champion, 5-time WWE Intercontinental Champion, WWE United States Champion & 15-time WWE tag team champion Adam Copeland married to WWE Hall of Famer & 4-time WWE Women’s Champion Beth Phoenix his best singles match.

“Randy Moss” closes it out comparing himself to the Pro Football Hall of Famer & my personal favorite WR of all-time temporarily playing with the New England Patriots at a point in time where his career was winding down, who was recently battling cancer this past winter & is now fortunately cancer free while the vinyl exclusive bonus track “Lesson Learned” reunites with Statik Selektah once again asking it all for the wrong reasons.

For his Fat Beats debut, Lørd Skø makes an example of cross-generational worldbuilding at its best with PiFF by referencing classic New York City hip hop while embracing today’s NYC sound much like he did on United Palace a year & a half ago. Inspired by the stoner wing of the Blog Era during his pre-teen years, he’s created a wide-reaching stoner-friendly future classic showcasing his evolution as an artist in full.

Score: 4.5/5

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Boldy James – “Hommage” review

Detroit veteran Boldy James enlisting local trap producer Antt Beatz for his 13th studio LP. Breaking out in the fall of 2013 off his Alchemist produced debut M.1.C.S. (My 1st Chemistry Set), the Detroit lyricist 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, hoping Hommage would do the same with Alphabet Highway produced by V Don dropping next weekend.

“Back on Top” hooks up a Detroit trap instrumental begging to differ regarding people telling him they be making money now whereas “Off the Richter” featuring Baby Money finds the pair talking about it best to keep things pushing since your life can be taken in an instant. “Brick James” gives off an atmospheric Detroit trap vibe delving into the gangsta lifestyle he lives leading into “Tetris” co-produced by Helluva showing a boastful side to him.

Moving on from there, “Concrete Connie” takes a pint of red & paints the entire town hall just before “Met Me” featuring BandGang Lonnie Bands talks about being evil genius gangsta intellectuals. “Super Mario” offers to show y’all how to turn a pitbull into a bouvier while “Himothy Mcveigh” gives off a soulful Detroit trap vibe talking about being unable to stand these boujee ass dudes.

“Street Cred” continues to push further towards the final moments of Hommage going behind the scenes with the clip & warning him not to roll the credits while “Talk Nice” puts a west coast spin Detroit trap recalling losing sight once as a pup in the middle of a full-blown dog fight. “Dead Flowers” wraps things up making it rain on your head & calling that a head shower, only to leave ‘em dead in the middle of a field.

Arguably the hardest working artist in Detroit balancing quantity & quality gets everyone prepared for Alphabet Highway by linking up with Antt Beatz for a Detroit trap album ending the 1st quarter of 2025 that I enjoy almost as much as Token of Appreciation from last month. Antt’s production is on par with Carlo Anthony’s roughly 3 months ago, both features come correct & Boldy shuts down those complaining of him venturing out to trap with his lyrics.

Score: 4/5

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Termanology – “Things I Seen” review

Lawrence, Massachusetts emcee/producer Termanology linking up with Detroit, Michigan producer Bronze Nazareth for his 13th studio LP. The leader of the ST. da Squad collective, he would also form the duos G.O.Y.A. (Gunz Or Yay Available) with Shortfyuz as well as 1982 with Statik Selektah or Fizzyology with Lil’ Fame & more recently Teknology with Tek. You also have a dozen albums of his that he’s released by himself, with standouts including the sophomore effort Politics as Usual or Bad Decisions & the Dame Grease-produced Set in Stone to name a few. 3 months after Teknology’s eponymous debut, Term’s putting the Things I Seen on wax.

After the “Hex Murda” intro, the title track begins with this soulful boom bap beat talking about simply wanting to live whereas “Make It Flood”keeps it rugged instrumentally talking about being as smooth of an operator as he already is. “Beast Mode” gets back on the chipmunk soul vibe boasting his lyrical abilities just before “Fargo” featuring Wais P finds the 2 making too much money to be living in sorrow.

“Sometimes You Go” featuring Jon Connor sees the both of them talking about not living lavish & their passion being wherever they pass it while “History Lesson” also featuring Jon Connor goes back-to-back discussing God giving them the ability & that not being so much of a mystery. The “Do You Remember?” interlude should’ve been meshed with the actual song featuring SuperSTah Snuk since they tie-in well with each other chopping up the soul samples again so they can get reminiscent.

Marv Won joins Termanology on “Alotta Prose (I Know)” maintaining a soulful edge to the beat so both of them can brush off any small talk that comes their way since neither of them have any time for that shit & prior to the outro, the final song “Henny Cancer” featuring Bronze Nazareth himself & Salute da Kidd wraps officially concludes Things I Seen by getting the trio together for a hardcore hip hop barfest without a hook chasing a legacy.

Things I Seen bounces back from the mixed reception of Term’s last couple solo efforts representing the perfect intersection of two legendary forces in the underground scene bringing each of both parties’ unique flavor to the table to make an experience that transcends mere music by going on this audible journey through life, struggle & triumph. Bronze Nazareth’s unparalleled production & poetic lyricism joining forces with the ST. da Squad leader’s razor-sharp rhymes & magnetic presence results in an unrelenting dedication to their craft.

Score: 4.5/5

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Deafheaven – “Lonely People with Power” review

Deafheaven is a San Francisco, California blackgaze & post-metal band consisting of guitarist Kerry McCoy, drummer Daniel Tracy, guitarist/keyboardist Shiv Mehra, bassist Chris Johnson & frontman George Clarke. Being introduced to the at the end of my sophomore year of high school when Sunbather succeeded what Roads to Judah was going for. New Bermuda as well as Ordinary Corrupt Human Love & Infinite Granite were all incredible in their own regards, looking to make their debut for Roadrunner Recordswith the quintet’s 6th studio album.

After the “Incidental” intro, the first song “Doberman” begins with a cryptically introspective opener confessing his own fear whereas the lead single “Magnolia” viciously blends atmospheric black metal & thrash metal singing about the loss of a father figure. “The Garden Route” returns to their blackgaze origins wanting the world to see their growth as songwriters since Infinite Granite prior to the 2nd & final single “Heathen” secondarily explores post-metal, dream pop, post-rock & post-punk to put ourselves in the shoes of a person who’s given up on themselves.

“Amethyst” proves to be the most vital representation of Lonely People with Power giving a fresh take on the beloved post-metal subgenre these guys popularized thematically basing itself around the LP’s own artwork while “Revelator” after the 2nd “Incidental” intermission takes a look at the inside of Kerry’s mind throughout a great deal of the studio sessions making this. “Body Behavior” painfully dissects all of George’s insecurities while “Winona” following the final “Incidental” intermission takes 7 & half minutes to sing about being left with emptiness in the end. “The Marvelous Orange Tree” on the other hand finishes up with a swan song without redemption walking into blackness.

Rather than distancing themselves further from the blackgaze sound Deafheaven has become known for like Infinite Granite did, Kerry & company take it back to their origins for their inaugural LP under Roadrunner describing the globe in general to be Lonely People with Power in addition to them prioritizing post-metal post-rock, screamo & black metal as secondary influences harnessing roughly every different idea they’ve had for 15 years using a similarly precise execution that made Sunbather so special during my adolescence over a decade ago except it’s pushing more boundaries than what became my introduction to blackgaze had initially done.

Score: 4.5/5

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Black Josh – “YSL Bootleg” review

This is the 8th studio LP from Manchester, England, United Kingdom emcee/producer Black Josh. Known for being a member of the Cult of the Damned & LEVELZ collectives as well as 1/2 of the B-Movie Millionaires & the Super Sag Bros, he would make debut over a decade ago off an eponymous EP & the full-length debut Blick Flair’s Ape Mountain until signing to Blah Records. He went on to drop 6 more albums & 3 EPs under the London label, coming off Today’s the Day a couple years earlier with YSL Bootleg.

“Aw, Here It Goes” by the B-Movie Millionaires starts with them trading verses with each other over a Lee Scott beat fusing g-funk & boom bap whereas “CBA” co-produced by Sumgii talks about refusing to be assed when he tries hard replacing the g-funk elements with hints of cloud rap. “Flu Game” featuring Sly Moon maintains the boom bap vibes speaking of feeling themselves when they’re not exactly feeling themselves while “Drink Champs” featuring Stinkin’ Slumrok shouts out the mishaps making money.

King Grubb appears on the sinisterly dusty “Gutter” talking about good things coming to those who pull the weight just before “Mossy Tree” luxuriously talks about being ready whenever shit pops off, calling back to one of my all-time favorite Cypress Hill tracks. “Council Pop” featuring Sly Moon finds the 2 lyrically going back-&-forth with each other just before “Garfield” heads for a lo-fi direction instrumentally talking his bars wrapping his doubters up in a weed joint to light up, reserving the last 55 seconds for a jazzy synthesizer breakdown.

“Who’s on What” begins the final act hopping over a psychedelic boom bap beat talking about partying until the sun rises while the cavernously hardcore “Don Julio” likens himself to playing the role of a villain in a theatrical film & dismissing rappers who aren’t on Blah’s level of lyricism. “Yes, Man” featuring Sniff has this uncanny boom bap tone talking about getting whatever it is they ask while the closer “Tiger Blood” by the Super Sag Bros drumlessly makes a reference to Charlie Sheen’s infamous 2011 meltdown except they’re drinking Hennessy instead of a tiger’s actual blood.

The only complaint I have regarding YSL Bootleg was it being marketed as an extended play when it’s a dozen tracks & over a half hour long but nonetheless, I’d have to put it above Mannyfornia when it comes down to the greatest entry in Black Josh’s solo discography. Lee Scott’s production here captures Josh’s versatility better than Today’s the Day since it largely stuck to 1 unified sound & the latter sharpens his skills after opening for Danny Brown during the UK leg of the Quaranta tour for this next chapter of a career spanning over an entire decade.

Score: 4/5

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