Killswitch Engage – “This Consequence” review

Killswitch Engage are a metalcore band consisting of bassist Mike D’Antonio, lead guitarist Adam Dutkiewicz, rhythm guitarist Joel Stroetzel, drummer Justin Foley & frontman Jesse Leach. A dominant force in the subgenre spanning 25 years off their eponymous debut, Alive or Just Breathing, The End of Heartache, As Daylight Dies which was my favorite of the Howard Jones era, their 2nd eponymous album produced by Brendan O’Brien, Disarm the Desccent, Incarnate & more recently their Metal Blade Records debut Atonement. The band who wrote “This Fire Burns” for Monday Night RAW superstar, former 6-time WWE world champion, WWE Intercontinental Champion, WWE tag team champion, 2-time AEW World Champion, inaugural ROH Hall of Fame inductee, ROH World Champion & 2-time ROH World Tag Team Champion CM Punk who later albeit unsuccessfully competed in the UFC division of the Endeavor-owned TKO Group Holdings took 6 years off & are finally returning for their 9th studio LP.

“Abandon Us” sets the tone with this melodic metalcore intro airing out every single last person who turned their backs on them whereas “Discordant Nation” infuses more elements of melodic death metal into their sound so they can create a more metallic & melodic style of the metal/hardcore punk hybrid subgenre they’re known for suggesting to yield & bend a knee. “Aftermath” promises to give Jesse’s life to save this individual although it’s too late while the single “Forever Aligned” sings about connection & the spiritual energy that bonds us as humans.

Meanwhile on “I Believe”, we have Killswitch Engage mixing alt-metal influences with melodic metalcore confident of not being led astray & brighter days ahead just before “Where It Dies” singing about it being too late for one’s repentance & suffering Jesse’s vengeance because of it. “Collusion” observes the whole world being a conspiracy these days leading into “The Fall of Us” singing about bitterness overtaking an individual they knew. “Broken Glass” tells those who speaks in shards of shattered glass that they’ll suffer the consequences & “Requiem” ends by promising this isn’t the end.

Instead of making something contrasting from anything the band has previously done, This Consequence encapsulates of the things that fans have come to love from Killswitch Engage throwing it back to the Alive of Just Breathing era albeit making it feel modern. The energy is noticeably different from any of their recent material & they prominently address the topic of societal division in light of Donald Trump’s 2nd presidential inauguration last month cautioning the repercussions of our actions will come back to bite us in the ass in due time.

Score: 3.5/5

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Youth Lagoon – “Rarely Do I Dream” review

Youth Lagoon is the pseudonym of Boise, Idaho dream pop musician Trevor Powers. He debuted in 2011 off The Year of Hibernation under Fat Possum Records & has since put out Wondrous Bughouse, Savage Hills Ballroom, Capricorn albeit under his own name & Heaven’s a Junkyard through the label aside from Mulberry Violence being released independently. 2 years after what’s considered to be his best work since the debut, Trevor’s looking to level up on his 7th LP.

“Neighborhood Scene” ponders if he even belongs in a country house to get us started whereas “Speed Freak” works in elements from alternative dance, synthpop & new rave music singing about his problems disappearing through every mountain he can steer. “Football” fuses indie pop, soft rock, neo-psychedelia, psychedelic pop & dream pop observing Mary’s faith wearin’ thin like an old shoe sole while “Gumshoe” blends indie rock & baggy to sing that the summer taught him life is a baseball bat to the jaw.

Moving forward with “Seersucker”, we have Trevor letting everyone out there know he’s doing alright leading into “Lucy Takes a Picture” bringing indie pop, chamber pop & neo-psychedelia singing about walking the cold night Earth & catching a breeze. “Perfect World” suggests to ignore the call since the roulette ball was out of grace just before the indie/chamber pop hybrid “My Beautiful Girl” serves as an ode to the woman in his life.

“Canary” truly sets off the encore of Rarely Do I Dream by offering a blissfully calming atmosphere to the table instrumentally with his friends living in his head these days while “Parking Lot” sings about letting him cruise for the spot rather than letting him lose. “Saturday Cowboy Manitee” prior to the “Home Movies (1989-1993)” outro finishes the album refusing to fake his love.

Maybe the most comprehensive & audacious album that Trevor has crafted to date, Rather Do I Dream primarily composes itself as a treasure trove of home movies, twangy fuzz guitars, sun-bleached synths, classical pianos, blown-out drums & his spellbinding melodies feeling like an old photograph that’s been reanimated in a strange & distant future showing influences of indie pop, dream pop, bedroom pop, alternative dance, synthpop, new rave, soft rock, neo-psychedelia, psychedelic pop, indie rock, baggy & chamber pop.

Score: 4.5/5

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Dave East & Ransom – “The Final Call” review

Harlem, New York emcee Dave East joining Jersey City wordsmith Ransom for a whole new collaborative studio LP. Both of these guys have worked with each other a handful of times in the past off songs like “Everything for Sale” or even “Rolling 50 Deep” & “Rolling 110 Deep” prior to the late DJ Kay Slay’s passing, so they’ve decided to link up & take their chemistry to the next level by supplying The Final Call to anyone who considers themselves a fan of either of them including myself.

“Audubon Ballroom” produced by MadeinTYO is this drumless opener giving y’all more than enough of themselves over a bare soul sample whereas the title track featuring Jay Electronica finds the trio talking about lighting up everything they touch. “Soul Food in Mecca” works in a gospel flip discussing that a winner is simply a loser who tries just before “By Any Means Necessary” featuring Method Man soulfully talks about the sad waiting for you to pass to say you’re dead nice.

22Gz joins Dave & Ransom for “Mayhem” tryna give something they can feel with the help of V Don behind the boards leading into “Al Kabir Beach” remembering the days when they were tryna make a way & now getting deposits made in their bank accounts on the daily. “The Mosque” talks about praying on the daily sampling soul music once more, but then “Blood & Water” pivots right between in response to people making it an effort to pigeonhole them.

“Exotic Prayer Rugs” featuring Jadin Alexander strips the drums to start the encore of The Final Call continuing to follow the doctrine because of the melodic ways to pray for days when they were unresponsive & “Fairwells” serves as this incredibly passionate closer to the album by letting shots ring out as a solution to handling each & every single one of the drama that people try to push their way.

Granted I think Chaos is My Ladder 2 was a little better as a collab effort, The Final Call is still pretty enjoyable for a good portion of it’s run. V Don’s production on Ransom’s joint effort with Conway the Machine is more consistent on 1 hand & on the other, both MCs match each other’s intensity with most of the guests’ own unique flavor gelling in impressively.

Score: 3.5/5

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Shylow – “The Contingency Plan” review

Shylow is a 46 year old MC & producer from the Durham Region of Ontario, Canada notable for being a founding member the Bomb Shelta Association, 1/2 of the duo 1st Division, 1/2 of The Shelter, 1/2 of the Dookie Bros & 1/3 of The Drum Majors since Marco Polo referred to him as his Beat Yoda. His first ever solo single “Moment of Clarity” produced by Ayatollah came out in 2002 & was presumed to have an official solo debut album in the works, focusing more on The Shelter & more recently the Dookie Bros after 1st Division’s disbandment following their only full-length Overworked & Underpaid a few months after I had graduated high school. A decade later, the day has finally arrived.

The self-produced title track warns everyone that he already told y’all not to do him a certain way again & having the urgency of it happening once more hitting him whereas “Haute Tension” ominously talks about getting a lot of chest lyrically. “Bloodlust” suggests not to press your luck when battling him since you may in fact lose while “Ya Time’z Up” talks about lacking the fortitude of testicles over a boom bap instrumental.

“Opportunism” featuring Franchise futuristically finds the pair discussing schemers trying to control their little worlds last month leading into “Daily Affirmations” asks what about him would make you think he’d give a fuck about your opinion on him. The soul sample prominently shown throughout “Listen” rattles off his experiences over the course of Father Time itself, but then “D&A” eerily gives a glimpse of his DNA.

As for “I Am Him”, we have Shy the Beat Yoda himself ruggedly flexes his lyrical prowess over a thunderous boom bap beat while “I’m the Muthafuckin’ Man” featuring Skanks the Rap Martyr sees the 2 talking about their high class statuses. “The Fam Jam” groovily pays homage to all his family while “Problem Solvers” featuring Franchise reunites both of them to talk about being able to fix any issue that they come across.

“Better Than You” starts the encore of The Contingency Plan with Shylow hooking up these prominent organs instrumentally confidently boasting that he’s lyrically superior to anyone else who wants to step up to him on the mic at the end of the day & the closer “The Hate Song” wraps up the founding Bomb Shelta Association member’s official solo debut telling the story of his right hand & eventually his left hand.

An extremely personal body of work, The Contingency Plan was not a part of what Shy had planned for this year & a recent event in his life forced his hand & what he has described as the album before the album is one that’s been a very long time in the making. His production that he handled all by himself mind you homages the old school era that raised him & he really doesn’t hold back on everything that’s happened in the last 365 days.

Score: 4/5

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Klokwerk E – “Anubis” review

Klokwerk E are a horrorcore duo from Columbus, Ohio consisting of Billy D & Kyle Kombs. Introducing themselves a couple years ago off their debut EP Will Boof 4 Rent & later the full-length debut The Emerald Tablets, these guys would form the Mighty Morphin’ Wackness supergroup with the Super Famous Fun Time Guys last summer & put out the Santa Claus Fukked My Dog EP in the midst of last Black Friday weekend. Few months later, their sophomore effort is finally in front of us.

The title tracks properly introduces juggalos to the dog of death over this dark trap instrumental whereas the grungy boom bap crossover “Walk with the Dead” talks about putting people to sleep in their new beds that happen to be coffins. “Put a Spell on You” homages the late Screamin’ Jay Hawkins to discuss every single one of us being in Hell when you think of it while “Suicidal Fun” talks about the concept of depression.

“Intergalactic Radio 2” is basically them jackin’ for beats similarly to what they did on it’s predecessor while the groovily slow “You Got a Nice Ass” talks about the love they have for cake. “Catfish” featuring S.O.N. shows the trio’s storytelling abilities discussing the possible outcomes of online dating leading into “Temu Sex Toy” displays a comedically vulgar side to Billy & Kyle.

Brandon Buckingham joins Klokwerk E for the trap-driven “Dirty Dirt Bag” to talk about all 3 of them being scrubs are just before “10 Plagues” brings an occult atmosphere to the beat so they kick the wicked shit. After the “Chewing” interlude, “Night of the Living Meth Heads” gives their flowers to the seminal political hip hop outfit Public Enemy while “Everything’s Dead” talks about waking up surrounded by death itself.

“Help Me Hide the Body” conceptually feels reminiscent to the iconic Necro track “Dead Body Disposal” except they borrow it & put their own unique take on it while the final song “Take What’s Mine” ahead of the “Dog” outro finishes up Anubis with what easily sticks out as the most controversial track on the entire thing with it’s lyrical content of runnin’ with an axe in their hands on the east side & keepin’ at least 5 bitches in the back of my van only for them to meet a brutally unspeakable demise.

Significantly darker than The Emerald Tablets was, Anubis embarks on a descent into ancient Egypt’s darkest corners fusing a batch of sinister beats along with a twisted blend of horror & humor to guide you through tombs where the dead don’t rest & the dog of death itself eagerly waiting to judge your soul. It’s kinda like the scene in Scream where 1 guy gets hit with the TV in the sense of it being the musical equivalent to certain parts in horror films that makes you laugh.

Score: 3.5/5

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Eem Triplin’ – “Melody of a Memory” review

Eem Triplin’ is a 23 year old recording artist & producer from Johnstown, Pennsylvania beginning his music career over a decade ago as a result of his older brother introducing him to the FL Studio program. His first 3 EPs N0WH3R3 as well as No More Tears & Still Pretty caught the attention of RCA Records, signing him after appearing on the deluxe version of Camila Cabello’s most recent album C,XOXO for a full-length debut studio album showing everyone what he’s capable of doing.

“Came In It” produced by DJ Dahi is this cloudy intro talking about pulling up to the spot with the gang & all guns blazing whereas “If We’re Being Honest” works in some prominent synthesizers to admits to wanting his romantic interest to want him back refusing to trick in the current economic climate. “Fiji” featuring Cruza finds the pair drinking Hennessy as if it’s the titular brand of water crossing over alternative R&B, plugg & pop rap leading into “23” showing off the player in him even if he’s in his early 20s.

Meanwhile on “Duya”, we have Eem rapping over this delicate pop rap instrumental asking if this woman wants to love him or not homaging “ELEMENT.” by Kendrick Lamar during the outro just before “Out Miami” featuring Ty$ sees the 2 talking about being unable to keep up with their partners who’re out in Florida enjoying it there. “IYKTYK” tells his ex that he ain’t mad for her cancelling her subscription while “Feyoncé” talks about wanting to pull a woman as bad as Beyoncé of The Carters.

“Miss Me?” mixes pop rap as well as alternative R&B & plugg wanting to know if anyone still cares for him in the midst of his career taking off, but then “Crazy Hoes” talks about a hoe stalkin’ him following an on-&-off relationship. “Tall Tales” serves as a 2-parter asking his main chick if she would ride or die for him while “On & On” talks about this woman refusing to admit her needing him. “Kingdom of Hearts” finishes with an R&B joint singing that he wants to keep his woman as if she’s a secret.

The Pennsylvania recording artist’s major label debut reveals parts of himself that he’s never shared before & furthermore reveals a side of his sound that he hasn’t shown folks yet. Showing his evolution as an artist, he steers away from the sample drill undertones of Still Pretty in favor of DJ Dahi giving him an east coast pop rap/trap flare with additional elements of alternative R&B & plugg.

Score: 3.5/5

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Twiztid – “Welcome to Your Funeral” review

Detroit, Michigan’s demented duo & Astronomicon founders Twiztid finally linking up with Rob Zombie’s engineer Zeuss for their 17th studio LP & the official Unlikely Prescription sequel. Consisting of Jamie Madrox & Monoxide, both of whom originally started out as part of the House of Krazees alongside their childhood friend The R.O.C. in 1992 before their initial disbandment 5 years later. Almost immediately after, the Insane Clown Posse took Jamie & Mono under their wings by signing them to Psychopathic Recordsas who they’re known as today. They would become the label’s 2nd biggest act being their mentors off projects like Mostasteless, Freek Show, Mirror Mirror, The Green Book, W.I.C.K.E.D. (Wish I Could Kill Every Day & Abominationz. Shortly after the latter was released, Twiztid left Psychopathic to form Majik Ninja Entertainment in 2014. Since then they’ve released 7 albums & 9 EPs on their own label, my favorites of which being /ˌrevəˈlāSH⁽ᵊ⁾n/ & even their last full-length Glyph. They made their full-blown rock debut Unlikely Prescription in 2021 to mixed reception & are celebrating Juggalo Weekend by putting out the long-awaited successor Welcome to Your Funeral.

“like we’re gunna die” breaks the door down with this intense rap rock opener living every day of their lives as if it could potentially be their last whereas “i don’t need this” gets a little heavier talking about something killing them. “fed up” couldn’t have been a more perfect lead single to get the rollout going welcoming everyone to the underground hip hop scene ahead of the angsty “leave the world” watching the world burn this evening.

Meanwhile on “the wake”, we have Twiztid over some synths & guitars confessing that they don’t feel like the solutions to their unfixable problems exist in any way shape or form just before last year’s Fright Fest single “inside out” brings back the rap rock vibes observing the hidden anger in everyone. “light the way” heavily talks about their moods changing as if it’s altitudes, but then “let me go” angrily expresses their frustration with all the bullshit.

“plastic” begins the encore of Welcome to Your Funeral with both Jamie & Mono taking about feeling like neither one of them belong anywhere while “dance on my grave” vents over the ghosts that haunt their brains, hearing the prayers of the ones who cannot be saved & finding a way for them to get their minds rights. “thunder from the sky” concludes the LP on a nu metal note talking about the understanding of life having it’s ways of kicking you down & “fyd” was this heavy bonus cut explaining their minds got them looking for their souls.

Twiztid has always had rock songs in their discography like “Darkness” & “Familiar”, that’s no question about that except Unlikely Prescription catered to more of a mainstream alt-rock sound. Welcome to Your Funeral on the contrary, I can genuinely say that it’s what Unlikely Prescription should’ve been. Zeuss’ production has a predominant nu metal sound that I absolutely can’t get enough of, Twiztid’s rapping more & the subject matter gets on the wicked shit.

Score: 4.5/5

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Sleep Lyrical – “Broken Hearts on My Face 2” review

Tampa, Florida emcee Sleep Lyrical making his Dirtcore Music debut with his 3rd studio LP. Known for his M.S.B.K. series of mixtapes, he discography further includes the Watch Me Work EP followed by the debut album The 12th Hour & the sophomore effort Broken Hearts on My Face. Coming off M.S.B.K. 6 last summer, Sleep’s looking to switch it up by giving the underground what they ain’t used to hearing from him getting a lot off his chest throughout the course of Broken Hearts on My Face 2 coinciding Valentine’s Day.

After the intro, the first song “Stay a While” produced by Crossworm is a somber trap opener suggesting that you shouldn’t be making any promises to him if you’re gonna fold whereas “Dealing With” featuring Senorita Sin finds the 2 talking about making it through this rough patch. “Trying Not to Fall” soulfully fights against the fog in an effort of saving his shine just before “Ease My Mind” get rid of the pain by smoking it all away.

“Back To” shows more of a hyphy influence instrumentally talking about initially thinking he was done dealing with all these broken hearts leading into “Hole in My Heart” talks about focusing on himself & still falling apart. “Circles” goes for a trap vibe to the beat feel like he’s moving around in circles some days, but then “Mission by Myself” eerie talks about being alone with his thoughts.

As for “Might Go Crazy”, we have Sleep Lyrical openly discussing the possibility of him losing his mind that’s already on the brink of sanity while the syrupy “Insignificant” shows a romantic side to him. The song “Fight” featuring Samson Samson gets aggressive over a dusty boom bap instrumental while the trap-rock fusion “Roll Alone” talks about rollin’ by himself. “Let Me Down” wraps up his Dirtcore debut talking bout the only thing he needs is his partner next to him.

The homie Rone Bone of The Beneath the Dirt Podcast was the one who put me into Sleep Lyrical several years ago & for his first album on Dirtcore Music, the sequel to Broken Hearts on My Face surpasses it’s predecessor. A personal catharsis, Sleep works through the trauma of betrayal, the death of his ex & the closure he never got from years of toxicity over some of the strongest production that I’ve ever heard him on.

Score: 4.5/5

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Napoleon da Legend – “F.L.A.W. (Following Lies Always Wounds)” review

French-American veteran Napoleon da Legend wasting no time on his 30th studio LP. Heads in the underground should already be familiar with him due to the lengthy discography that he’s built up for himself for nearly the past decade including Coup D’État, it’s sequel, Street Universe, Dragon Ball G, the Sicknature-produced Colossus of GOATs, Buckets or the DJ D-Styles-produced Invincibl Rap Mislz & the DJ Rhettmatic-produced Legmatic. He & JR Swiftz came together on the outstanding Great Minds last month, bringing Giallo in the fold again on F.L.A.W. (Following Lies Always Wounds).

“Chasing Shadows” ominously kicks off Napoleon’s 2nd body of work this year by talking about being on the verge of doing something drastic whereas “Life or Death” featuring Jay Royale finds the pair talking about this being survival of the fittest. “That Ain’t It” keeps it in the basement to break down the concept of hustling on the daily prior to “Welcome 2 the Theater” featuring Ghost Machine working in some strings referencing WWE Hall of Famer, former 3-time WWE world champion, 3-time WWE United States Champion, 2-time WWE Intercontinental Champion, 9-time WWE tag team champion, 8-time WWE Cruiserweight Champion, アイアンマンヘビーメタル級チャンピオン & The Crash’s inaugural Mundial Pesocompleto Campeon Rey Mysterio.

Invisible Handz joins Napoleon for the drumless “Unforgiving” talking about the game never being fair from what they understand & their former opps ain’t breathing no more leading into “No Morals” returning to the boom bap suggesting that conscious hip hop & gangsta rap are the same other than being packaged differently. “Doing What I Gotta Do” speaks of one doing what has to be done in order to get by, but then “Nesquik” eerily talks about making everyone take Ls quickly.

“Solar Opposites” featuring Eloh Kush finds the 2 including a reference to SpaceX founded by Tesla CEO, Neuralink founder & Nazi Elon Musk while “Motivation” hollowly talks about everyone having it if it was much easier. Sunez Allah teams up with Napoleon on the title track so they can explain one always being wounded by following lies while the piano-driven “Peace” talks sitting back & counting his stacks.

Nejma Nefertiti appears for “Presume the Unpredictable” to get the final moments of F.L.A.W. (Following Lies Always Wounds) calling themselves the deadliest you’ve ever seen on the mic from the womb to the tomb & the closing track “Marathon” completes the 2nd consecutive classic in Napoleon’s catalog within 2 months tackling the Japanese philosophy of having 3 faces.

Exactly 4 weeks after Great Minds marked the halfway point of the first month of this year, Napoleon gets back with another album maintaining the high quality underground hip hop that it’s predecessor & even Legmatic achieved. Giallo Point’s production is on par with JR Swiftz’ & although I will say I wasn’t as big on the features since I preferred the couplet of guests last time, I appreciate Napoleon warning everyone of the consequences that come with following lies.

Score: 4.5/5

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Brother Ali – “Satisfied Soul” review

Here we have the 9th studio LP from Minneapolis, Minnesota activist & battle emcee Brother Ali. Exploding within the underground off his 2003 sophomore effort Shadows in the Sun & of course his 2007 follow-up The Undisputed Truth, he would continue this string of acclaimed releases with Us as well as the Jake One-produced Mourning in America & Dreaming in Color and All the Beauty in This Whole Life. Can’t forget to mention Ali’s debut EP Champion, his debut mixtape Left in the Deck or the Evidence-produced Secrets & Escapes either. His 4th EP Brother Minutester marked his departure from Rhymesayers Entertainment after nearly 2 decades, reuniting with Ant on Mello Music Group for Satisfied Soul almost a year after Love & Service.

The title track is a rap rock intro showing confidence of himself being the only one who can injure himself whereas “Deep Cuts” hooks up some pianos to talk about it always being love from his end calling God the eternal & everlasting. “Higher Learning at the Skyway” brings the guitars back in the equation wanting to make sure one’s speaking the lexicon just before the gospel-influenced “Drum” talks about gathering around the instrumental like a campfire.

Meanwhile on “The Counts”, we have Ant keeping it a little funky so Ali can address those who stay ready to count him out whenever they get the chance to do so leading into “Cast Aside” talking about being unable to describe having too much to say. “Ocean of Rage” kinda has a jazzy boom bap vibe letting y’all know to catch him by the moonlight letting the cool breeze through, but then “Under the Stars” explains you can’t do what you want when nobody wants you.

“Personal” goes for a more stripped back approach trying not to take shit personally & letting you be the first to know if he ever changes while “2 Dudes” brings the pianos back in the fold getting distracted by the city lights in an effort to navigate correctly. “Better But Us” soulfully talks about things improving other than a relationship where he & his partner fight & fuss while “Name of the One” talks about praise getting raised in the rays of the sun.

As for “Immortalized”, the pianos seep in once more calling himself an authorized street preacher while “Head Heart Hands” talks about getting all 3 of those parts of him right. The summery “Mysterious Things” sounds observes the enigma of human beings while the song “Handwriting” talks about seeing his impossible dreams become reality. “Sing Myself Whole” ends Ali’s debut with MMG showing his singing chops feeling all alone.

If the Rhymesayers mainstay’s gonna make himself at home with Mello Music Group going forward, then what a way to make his debut on the label. Ant’s production feels like a sonic mosaic of dusty drums, warm vinyl crackle & ghostly rhythms that feel like they’ve been pulled from the deep pockets of America’s forgotten record shops to make room for Brother Ali’s thought provoking, spiritual lyrics full of jagged self-reflection & unflinching critique rooted in hope & defiance.

Score: 4.5/5

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