Deep Sea Diver – “Billboard Heart” review

Deep Sea Diver are an indie rock band from Seattle, Washington consisting of drummer Peter Mansen, guitarist Elliot Jackson, bassist Garrett Gue & frontwoman Jessica Dobson. Their 2012 debut History Speaks followed by Secrets & Impossible Weight were all solid in their own rights, eventually garnering the interest of the biggest local indie label Sub Pop Records & them fittingly signing the hometown act for their 4th full-length studio album in their discography having the potential to become their most important one ever.

The title track mixes indie rock, dream pop, neo-psychedelia, indie pop, new wave & post-punk revival together singing about welcoming the future by letting go of it whereas the existentially tongue-in-cheek “What Do I Know?” asks why Jessica feels so complicated. “Emergency” turns the punk influences back up warning she doesn’t anyone shit when she really doesn’t while “Shovel” blends new wave, post-punk revival & alternative dance gets at Jessica’s most angular & dualistic.

“Tiny Threads” comes through with a sweeping anthem for anyone trying to hold anything together just before “Loose Change” brings a heavy singer/songwriter vibe to the table with it’s acoustic heavy sound singing about all of us standing up to our mistakes. “Always Waving Goodbye” goes for their signature indie pop/indie rock sound hoping that we all stop hiding one day while “Let Me Go”featuring Madison Cunningham stands out with them giving flowers to PJ Harvey.

To begin the encore of Deep Sea Diver’s official Sub Pop debut, “Be Sweet” calls for everyone to give her more flowers than she can take only for the sole purpose of smelling them in the flesh & promising we’ll survive the bullshit in the past month or so while “See in the Dark” sings about having the ability of having night vision & there being no need for anyone else around her to find another way out. “Happiness Isn’t a Given” concludes the band’s most exciting offering perceiving joy as not being specified.

For a personal breakthrough that prompted an artistic one, Billboard Hearts exemplifies Seattle’s biggest label signing the local act & they hand them a defiant & brilliant exclamation mark at the end of a long period of wandering. They expand the indie rock/indie hybrids they’re known for venturing out in favor of new wave, synthpop, shoegaze, garage rock revival, post-punk revival, singer/songwriter & dream pop peeling back a renewed self of self Jessica has.

Score: 4/5

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Jim Jones – “At the Church Steps” review

Here we have the 10th studio LP from Bronx, New York rapper Jim Jones. A member of The Diplomats in the 2000s, his first 5 full-lengths from 2004-2011 had some highlights in them even if they were all average at best as whole albums. However it wouldn’t be until 2018 after dropping Wasted Talent where he would really start putting out his best material ever & then came out with his magnum opus the following year El Capo. El Capo 2 & the Harry Fraud-produced The Fraud Department continued the acclaim up until the Hitmaka-produced Back in My Prime proved to be disappointing. Over 2 decades after his debut, he’s arrived At the Church Steps.

“Jomo” produced by 1982 is actually a great sample-driven opener to get us started reminding everyone who he is 21 years later whereas “Genesis” fuses gospel & trap courtesy of Jim himself talking about half these dudes out here being broke to the point where they can’t pay their debts. “Seen It All” discusses getting it all in & never falling because of his shoes being tied, but then “Make It Out” maintains a trap vibe thanks to Hitmaka talking about him & Cam’ron falling out with each other again a month ago.

Conway the Machine & Keen Streetz join Jimmy for “Walking on Business” working in a boom bap instrumental to follow through with their actions & sticking to their values just before “White Lines” talks about being obsessed with spending money & refusing to back down for anybody. “Call on Me” goes for a solemn trap vibe again with the help of Smatt Sertified feeling like the world’s falling on him leading into “Opp Thot” featuring Fabolous talks about the L only being a loss if you’ve learned your lesson.

“This Shit Still in Harlem” embraces the Brooklyn drill sound representing the Manhattan neighborhood further proving Cam’s point that he isn’t from Harlem at all while “Dope Boy” featuring Keen Streetz ominously suggests to let them do their dance. “Cinema” featuring Fivio Foreign & Keen Streetz takes another shot at the New York Drill sound missing the landing even harder than previously & after the “Ray Ray” skit, “Back in My Bag” returns to the boom bap getting in the mix again.

Dave East appears with Jim on “What’s Going On?” so both of them can break down shit being different nowadays while “Back in the Day” by The Lobby Boyz keeps the traditional boom bap sound in tact getting reflective. “End of Summer” atmospherically asks God to make space in heaven for him & “Church Steps” ends with a gospel-inspired closer that The Heatmakerz cooked up talking about arriving at the steps of a place of worship.

“Outside” starts the deluxe run with Ron Browz going sample drill behind the boards talking about being out here with that shit on while “Shop” offers a weak take on cloud rap pointing out that some like to take out fires & others letting them burn. “Walk with Me” featuring Keen Streetz cavernously talks about their street mentality & legitimacy while the industrial hip hop joint “Fashion Killa” shows off his taste in drip.

Keen Streetz links back up with Jimmy on “Hoodie Season” providing an average anthem for that specific time of year when it starts to get cold out while “Hustlers” featuring Keen Streetz jazzily talks about being go-getters. “Swerv” featuring G Herbo takes another jab at sample drill doing it just as good as “Outside” did earlier while the trap rock hybrid “Civil Rights” shows a more conscious side to the Vamplife Records founder.

“Ring” slickly pleads for someone to call him while the underwhelming “Skin” fails in terms of an attempt at sexy drill. “Deep End” featuring Rick Ross intriguingly shows off their riches while “No Love” featuring YG shows absolutely 0 affection for these bitches while “Vamp Ooter’s” featuring Dilla illa & 34Zeussy doesn’t represent the VL label that well personally. The final bonus track “Flu Game” featuring Trinidad Jame$ is only slightly better, soulfully talking about being ok.

Some of the singles building up to At the Church Steps including the feature-heavy tracklist truly had me a bit torn on the sequel to the ByrdGang leader’s solo debut unlike the high praise I gave to El Capo, El Capo 2 & The Fraud Department. Now that I’ve actually heard the whole entire thing, I’m still a little iffy on it. Jim’s growth in the past 2 decades is there, except a lot of the hooks are cringe & some of the production tends to falter occasionally.

Score: 2.5/5

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1300SAINT – “All Hail” review

1300SAINT is an Atlanta, Georgia up-&-comer known for staying out of the box with a versatile sound & style drawing in listeners from all walks of life painting pictures of all colors & shapes to create a true experience for his audience. The heavy 808 based instrumentals he lays his smooth vocals over on his debut album Noir makes you feel every song a little more than usual, catching Young Thug’s attention & signing him to YSL Records after coming home last Halloween for 1300SAINT’s official sophomore effort.

“Never Them” starts with a trap instrumental working in some sampling talking about this not being a homecoming whatsoever from his perspective whereas “Venom” talks about him chilling with the snakes in the pit now that he has a label deal. “I See Red” gives a glimpse of what’s in his cup & not wanting problems with him, but then “Out Bad” produced by Jwade fuses trap & rock reflecting on being at his lowest when he was 18 compared to his current status.

Meanwhile on “LCKY NMBR 7”, we have 1300SAINT over this cloudy trap instrumental reflecting on the days when he was playing on the block as if it was Tetris just before “Everything Slatt” really represents YSL to the fullest on here & he more than deserves it. “Life of a Don” blends an atmospheric trap backdrop with a guitar showing off what it’s like to be a Don & after the Young Thug interlude, the sample-based “Safe & Sound” suggests he & a romantic interest lay back some time.

“Gallery” calls out those who taught them the way they should be moving for not giving him credit for it while “BTTR & BTTR” talks about his evolution. “Cayenne” has these crazy synthesizers throughout observing the dog eat dog world for what it is while “Sunsex” melodically shows a sensual side to him. “The World is Yours” wraps it up with him getting everything he asked for.

It’s no secret YSL Records was in a rough patch for almost 3 years because of everything that went on & they really needed to bring someone on board who fits in with the rest of the roster keeping up with the modern trap sounds. 1300SAINT was the right person they could choose. As far as production goes, it’s a cut above his previous material & he holds the fort with no guests for 37 minutes.

Score: 3.5/5

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Queen Herawin – “Awaken the Sleeping Giant” review

New York emcee Queen Herawin returning ahead of her solo debut Metamorphosis turning 10 this spring with a sophomore effort. A member of the Juggaknots, she eventually went on to drop an EP after her debut The Space Between Things & appeared on Vinnie Paz’ 5th album as above so below only a month away from the world changing forever because of the pandemic. However after some recent singles, she’s teamed with Coalmine Records to help distribute Awaken the Sleeping Giant.

“Focus” is this spacious boom bap intro exploring the idea of resetting perspective until the aperture is properly set & allowing you to see things from a much more clearer perspective whereas “Anger” talks about time feeling like a ticking bomb to her occasionally through genuine angst. “Gluttony” featuring Breeze Brewin’ works in this crazy gospel sample venting that their people feel like straight meat sometimes just before “Denial” featuring Illa Ghee & Pretty Bulli finds the trio on a blink away from savagery.

Open Mike Eagle joins Herawin on the synth-heavy “Shame” delivering a relentless verbal onslaught over some additional organs leading into “Anxiety” produced by J. Depina somberly opening up about her struggles with the universal plague of anxiety & showing how her lyrical craft becomes her remedy. “Power” featuring Ke Turner hits y’all spiritual sound codes on top of these pianos & strings while “Arrogant” featuring Poison Pen ruggedly takes charge thanks to Johnny Slash.

“Love” featuring Aaqil Ali continues to go for a darker sound portraying 2 romantic partners wonderfully referencing to one another as their favorite monsters, but then “Manifest” featuring Apathy & Mickey Factz concludes the Sleeping Giant being awoken with them showcasing their elite style of lyricism each of them are known for in the underground & Supastition showing off some crazy sampling with the guitar flip he has to offer.

A whole entire decade after her solo debut, the Queen of the Juggaknots returns with a musical memoir of waking up to your true self, to your inherent power, embracing it & celebrating the entirety of who you are with a cathartic blend of stunning tales of her own personal growth addressing issues that she wanted to bring more awareness to with raw speaker-shaking production & consistent performances amongst the guests.

Score: 4/5

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Boldy James – “Token of Appreciation” review

Boldy James teaming up with Chuck Strangers for his 12th full-length 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 as well so I went into Token of Appreciation hoping it would be better than both Murder During Drug Traffic & Permanent Ink.

“B.O.B. (Big Ol’ Business) is this calming opener with Boldy making it very clear what he’s standing on regularly whereas “Whale Fishing” works in a drumless chipmunk soul instrumental talking about being aware of this shit coming with gun-smoke or a jail cell. “Big Paws on a Puppy” hooks up this piano refusing to lack & staying in double action while “Unapologetic” strips the drums again so he can talk about trying to a catch a blessing recollecting.

The synth-organs on “Lop Sided” are the most attentive detail about Chuck’s beat here zip-lining through the ghetto with his Concreature family just before “Global Telling” brings psychedelic jazzy flare to the table talking about his mother being extremely proud of his career taking off. “Thank God” continues the sampling giving praise to the Most High, but then “UPS” hops over a harp laying the demo down soon as they get ups.

“Fail Proof” officially gets the final leg of Boldy’s Token of Appreciation rollin’ to observe a plain that wasn’t protected from fallin’ flat on it’s face while “3rd Little Piggy” goes for a richly groovier vibe instrumentally unsurprisingly fucking with the bricks. “Bird’s Eye View” properly finishes the best thing that Boldy has made in the first 2 months of the year telling everyone the sky’s the limit from that very perspective.

Seeing people on social media saying Boldy’s beginning to fall off because Murder During Drug Traffic & Permanent Ink were both mid really must’ve caught his attention because he & Chuck Strangers just made every one of those idiots eat their words with an album on 2/27 Day that clears both it’s predecessors. Chuck’s production is far more well detailed than what we got from Boldy last month & his rapping sounds better in comparison.

Score: 4.5/5

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Smif-n-Wessun – “Infinity” review

Brooklyn, New York duo Smif-n-Wessun consisting of Tek & Steele of the Boot Camp Clik returning with Jamla Records’ in-house production team The Soul Council for their 8th studio LP. Their 1995 debut Dah Shinin’ is widely regarded as an East Coast classic & the Pete Rock produced Monumental, I enjoy almost as much. The All maintain the high quality consistency of Monumental by teaming with The Soul Council for the first time, looking to do it again 6 years later on Infinity.

The title track produced by Khrysis begins The All sequel by promising that they’ll be here for eternity whereas “Moses Promise” takes the soulful boom bap route instrumentally needing the whole team to be straight in order to catch wins. “Namaste” romantically tells their partners they ain’t in a rush tonight with the help of Ka$h behind the boards leading into “Medina” featuring Pharoahe Monch bringing it hardcore over a vocal sample from Sndtrak.

“Black Eminence” featuring the late Prodigy exuberantly turns it up after being asked to tone it down some while “Chuuch” works in a gospel flip talking about keeping it rolling whether it be better or worse. “Beautiful Trip” keeps the sampling chops going flexing that the reach they have has been global for 3 decades, but then “Enjoy Ya Life” brings these pianos in the fold courtesy of 9th Wonder talking about making the best of the short time we have here on Earth.

As for “Shine”, we have Tek & Steele heading for a groovier approach explaining that they value those they battle for while “Just Stay!” featuring Conway the Machine hops over this crooning vocal sample to talk about running through whole entire squads. “On My Soul” featuring Buckshot finds the trio tackling the theme of loyalty & camaraderie while “Heard About Me” featuring the late Sean Price soulfully asks if you heard everything said regarding them lately.

“Elephant in the Room” hits the final moments of Infinity with the 2nd & final single talking about never being traitors because they find those type of people to be worse than bitches & the Nottz-laced closer “Bad Guy” rounds it all out by making everyone listening choose between whether they want to hear the ugly truth or a pretty lie being told to them when most would rather pick the pretty lies since honesty hurts sometimes.

Several years after The Soul Council first got with Smif-n-Wessun, the Jamla in-house production team ensures that Infinity didn’t sound dated it all by giving the duo the classic sound they’re known for & making it feel new in the process. They reflect of their life experiences after all these decades refusing to curve to conformity & staying true to their roots with a great list of guests in addition to the stellar production.

Score: 4.5/5

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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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