This is the 13th studio LP from Chicago emcee Novatore & his Goon MuSick sophomore effort. Emerging as a member of the Infamous Crew, he’s also built up an impressive solo career over nearly a decade by dropping 4 EPs & an acclaimed collaborative effort with A.M. Early Morning produced by Stu Bangas called Kingdom of Criminality on top of all the previous LPs that he’s dropped along the way. Other highlights include Louie, Louie II, Embrace the Darkness, Portrait of a Madman, Embrace the Darkness II: Explorers of Experience, Master of Morbid Creations & Living in the End Times, Alchemy & Black Magic & following up his Goon MuSick debut The 87 Arsonist by discussing a Brenx-produced Agoraphobia.
After the intro, the first song “No Restraint” featuring Lord Goat is this boom bap opener with both of them showing off their top notch lyricism whereas “Blood Pies” delivers further down a morbid atmosphere talking about murdering those who can’t compete. After the “Voicemail” skit, the title track featuring Termanology works in more kicks & snares pleading to be taken out the house prior “Knives” featuring Jak Tripper bringing it hardcore for 2 & a half minutes.
“Piano Man” hops over a piano-driven boom bap beat hence the title admitting that he barely leaves the house likening himself to that of a black widow while “Blacksmith” featuring King Magnetic & Recognize Ali finds the trio aggressively boasting that their pens are sharper than ever before. The grisly “Water Shadows” laughs off anyone who comes at them without any skill & finally, “Killer Instinct” ends Agoraphobia by angrily talking about his murderous tendencies.
Loosely basing it’s concept around the fear of leaving one’s home, Novatore’s follow-up to The 87 Arsonist remembers the late Cast Gawd after he was killed in the middle of a shootout with the Arizona police department last spring by giving the underground another reason as to why he fits in so well on the Goon MuSick roster. Brenx’ production here is on par with its predecessor rooted in the traditional boom bap sound, I like that he got lesser guests & even the cohesiveness in general.
This is the sophomore full-length studio LP from Flint, Michigan rapper & M.I.N.E. Entertainment founder Rio da Yung O.G. home from behind bars. Breaking through the local trap scene during the latter portion of the previous decade under the mentorship of Peezy signing to #Boyz Entertainment in tandem with EMPIRE Distribution, he has since put out his last 9 EPs as well as a full-length debut album & a handful of collaborative projects under his belt all over the duration of 7 years. Rio Circa 2020 was a solid EP celebrating his 30th birthday & we’re here 8 months to celebrate Rio Free.
“Yung O.G.” happens to be this synth-driven Detroit trap intro demanding everyone brings their cheddar out now that he’s in the streets again whereas “Shake Back” comes through with a club banger clarifying his only concern being getting his weight back. “Do Dat” tears down his competition mixing Detroit trap & Mobb music leading into “Me & Marc” talking about going from sitting incarcerated to a Maybach.
Moving on from there, “Uncle Sam” warns that he might pull up with a strap & everything he says ain’t cap at all just before “Off-Rap” wanting to know how he got indicted when he ain’t ever cooked powder. The title track makes a clear statement that it’s his time now while “We Dem Niggas” reps M.I.N.E. & #Boyz Entertainment while “W.Y.D.T. (What You Do Today?) asks a question for the broke. “Rap War” concludes Rio Free by daring everyone to bring their dogs out.
“Something Happen” kicks off the deluxe run with some bells gearing up to a start a fire up in this muhfucka while “4 Minutes of Hell” holds it down for that exact length of time rappin’ without a hook. “Coincidence” asks how the fuck y’all became broke when he was in jail & him being rich soon as he came home while “Booked Summer” talks about his son loving money as much as he does never wanting any toys.
As for “Make a Way”, we have Rio assuring that he still has the wheel except he can’t steer straight these days getting by with 25 racks while “We Need a Pilot” talks about needing to sit down for a minute due to him consuming too many pills. “2:52am in Atlanta” lays a trap out in order to catch a mouse while “Cousin Killed” talks about slime shit resulting in his cousin’s death. “Crash Dummy” admits that he cries even with his gangsta status & the final bonus track “Claressa Shields” gives his flowers to the Flint boxer & MMA fighter.
For only a 54 minute follow-up to the full-length debut turning 5 this spring, Rio da Yung O.G. gears up for his homecoming show at the Masonic Temple tomorrow by dropping one of the most pivotal offerings in his discography yet. He refrains from having any guests join him in contrast to Rio Circa 2020 containing features half of the time letting the Detroit trap scene that he’s a key figure of know that he’s returned as if he was never locked up.
Detroit rapper Rafa is back with his full-length debut studio album. Coming up as a member of the WRLD Tour Mafia a couple years ago, he would also begin a solo career of his own starting on Thanksgiving 2020 with his debut EP Not for Household Use & followed it up earlier this year in the form his debut tape Dog$hit & Ammunition. The eponymous mixtape was a pivotal point in his career & Good Girls Don’t Exist from last spring was a superior EP, so it’s cool for him to breakdown the changing of his moniker from WTM Milt to R.A.F.A. (Rockstars Are Fucking Awesome).
“Diary of a Madman” mixes Detroit trap & rock music admitting that he can’t make up for all the damage since he’s a bandit whereas “Fashionably Late” takes a more psychedelic trap route instrumentally talking about never being early. “Get It Back” turns the psychedelia even higher advising y’all to sit & watch him making this bread while the rage-inducing “U R Special” encourages everyone not to let anyone discredit their worth.
As for “IDGAF”, we have Rafa assuring everyone that he’s seeing the bigger picture lately blending Detroit trap & psychedelic rock leading into “Roller Coaster” playfully boasting that all this shit made him. The bassy “Floatin’” suitably lets us know that’s exactly how he’s feeling while the rock-trap hybrid “Linger” wishes an ex good luck. “R J L” cloudily compares himself to the late John Lennon that is until “WATTB” takes it all in for the final moments.
Self-titled & Good Girls Don’t Exist both contain some of my favorite material in Rafa’s whole entire solo catalog, but R.A.F.A. (Rockstars Are Fucking Awesome) takes it to a whole new level by revealing itself to be his boldest work yet. He expand beyond the Motor City’s unique take on trap music in favor of rap rock, cloud rap, rage & psychedelia breaking down the meaning behind his current stage name.
This is the 3rd overall project between Brooklyn, New York duo Stuyville consisting of emcees Eddie Kaine & Rim. Both of whom initially got together over 4 years ago on Devil’s Night 2020 for their moderately received 1st collab effort BK Caminates produced by iamT2 followed by the Meta EP a couple summers later to more mixed reception across the spectrum. Welcome to Stuyville on the other hand here had high potential of surpassing both of it’s predecessors soon as it was announced than 38 Spesh & Camoflauge Monk would both be producing it on top of Holy Toledo Productions & Compound Interest Entertainment backing it.
“What’s This” eerily welcomes everyone to Stuyville by spitting that real shit over a grisly boom bap instrumental from Camoflauge Monk whereas “Ice Cold” takes a more soulful route thanks to 38 Spesh talking about their hearts being as cold as they are refusing to fold. “Never Stop” featuring Che Noir hooks up an organ with kicks & snares promising not to hang it up leading into “Check Check” talking about bench-pressing whenever they be lifting weight off the scale.
Hus Kingpin joins Eddie & Rim on “Da Whispers” fusing cloud rap & boom bap into 1 boasting that all 3 of them stay war ready & keepin’ it gutter while “Stay Focused” motivationally talks about still getting to the dough even when the odds are against them. “Salute” featuring Benny the Butcher goes drumless as the trio do exactly what they have to, but then “Breakfast” talks about focusing on being great.
“Reminisce” featuring Kurupt begins the final leg of Welcome to Stuyville on a jazzier note reflecting on the fact that the block ain’t the same these days while “Chop House” strips the drums again in favor of a bare flute suggesting not to ride the wave if you ain’t the skipper. The closing track “Made Men” featuring the late Fred the Godson finishes the LP with everyone talking about their successes in the rap game.
Only a week into the new year, Welcome to Stuyville greatly surpasses BK Caminates & META in being the best collaborative effort that Eddie Kaine & Rim have done with one another & an early Album of the Year candidate that’ll hold it’s strength until next winter. Camoflauge Monk & 38 Spesh’s production here is more palatable than the last couple & the chemistry that the individually talented Brooklyn lyricists share gets elevated.
Bayamon, Puerto Rico rapper, singer/songwriter, producer, actor, occasional WWE in-ring performer since WrestleMania XXXVII, real estate agent, Super Bowl LX halftime show performer & the King of Latin Trap himself Bad Bunny dropping his 6th studio LP only a week into the new year. Emerging in 2018 after being featured on Cardi B’s only full-length to date Invasion of Privacy, his own debut X 100pre that Christmas Eve was a decent Latin Trap debut followed by the 2020 sophomore effort Y.H.L.Q.M.D.L.G. (Yo Hago Lo Que Me Da La Gana) showing a heavy reggaetón influence & El Último Tour Del Mundo infused the sounds of it’s predecessors with rock music. Un Verano Sin Ti decently put a cumba & indie pop spin on reggaetón & Nadie Sabe Lo Que Va a Pasar Mañana proved to be the worst offering in his discography his negatively received appearances on Travis Scott’s 4th album Utopia & a week after Drake’s 6th album For All the Dogs. However, I did enjoy his most recent WWE appearance to date at Backlash XVIII in the José Miguel Agrelot Coliseum earlier that spring & a month after Endeavor purchased the company from Vince McMahon to merge it with the UFC’s parent entity Zuffa & form TKO Group Holdings. DeBÍ TiRAR MáS FOToS on the other hand coming off his feature on ¥$’ sophomore effort Vultures 2 has been widely singled out as his best material yet & convinced me to dive into it.
Bayamón, rapero puertorriqueño, cantante / compositor, productor, actor, intérprete ocasional de la WWE en el ring desde WrestleMania XXXVII, agente de bienes raíces, artista del espectáculo del descanso de la Super Bowl LX & el Rey del Latin Trap en persona Bad Bunny dejando caer su 6º LP de estudio solo una semana en el nuevo año. Surgido en 2018 después de aparecer en el único larga duración de Cardi B hasta la fecha Invasion of Privacy, su propio debut X 100pre esa víspera de Navidad fue un decente debut de Latin Trap seguido por el segundo esfuerzo de 2020 Y.H.L.Q.M.D.L.G. (Yo Hago Lo Que Me Da La Gana) mostrando una fuerte influencia reggaetón & El Último Tour Del Mundo infundió los sonidos de sus predecesores con música rock. Un Verano Sin Ti puso decentemente un giro cumba & indie pop en reggaetón & Nadie Sabe Lo Que Va a Pasar Mañana resultó ser la peor oferta en su discografía sus apariciones negativamente recibidas en el 4 º álbum de Travis Scott Utopía & una semana después del 6 º álbum de Drake For All the Dogs. Sin embargo, disfruté de su más reciente aparición en la WWE hasta la fecha en Backlash XVIII en el Coliseo José Miguel Agrelot a principios de primavera y un mes después de que Endeavor comprara la compañía a Vince McMahon para fusionarla con la entidad matriz de la UFC, Zuffa, y formar TKO Group Holdings. DeBÍ TirAR MáS FOToS, por otro lado, saliendo de su largometraje en el esfuerzo de segundo año de ¥$’ Vultures 2 ha sido ampliamente destacado como su mejor material hasta ahora y me convenció de sumergirme en él.
“NUEVAYoL” pays tribute to “Un Verano en Nueva York” by El Gran Combo de Puerto Rico & Andy Montañez giving it a more urban touch packed with Puerto Rican & Dominican references whereas “VOY A LLeVARTE PA PR” takes the reggaetón route making makes an invitation to a woman with whom he wants to get involved to visit Puerto Rico with him & go partying. “BAILE INoLVIDABLE” homages salsa music addressing a woman with whom he had a romantic relationship & that he still can’t forget, but then “PERFuMITO NUEVO” featuring RaiNao is this reggaetón duet portraying 2 lovers.
“NUEVAYoL” rinde homenaje a “Un Verano en Nueva York” de El Gran Combo de Puerto Rico & Andy Montañez dándole un toque más urbano repleto de referencias puertorriqueñas y dominicanas mientras que “VOY A LLeVARTE PA PR” toma la ruta del reggaetón haciendo una invitación a una mujer con la que quiere involucrarse para que visite Puerto Rico con él y se vaya de fiesta. “BAILE INoLVIDABLE” rinde homenaje a la música salsa dirigiéndose a una mujer con la que tuvo una relación romántica y que todavía no puede olvidar, pero “PERFuMITO NUEVO” con RaiNao es un dueto de reggaetón que retrata a dos amantes.
Chuwi joins Bad Bunny on “WELTiTA” giving off a heavy Caribbean flare taking each other for a walk on the beach while “VeLDÁ” featuring Dei V & Omar Courtz mixes early 2010s reggaetón with elements of it’s present for the trio to talk about a woman whom the interpreters try to conquer & tempt to see each other. “EL CLúB” brings hip house, chillwave, melodic house, synthwave & future house together inspired by an ex-girlfriend of his leading into the synth-reggaetón hybrid “KETU TeCRÉ” singing about her acting wild now that she’s moved on from him.
Chuwi se une a Bad Bunny en “WELTiTA” desprendiendo un fuerte aire caribeño dándose un paseo por la playa mientras que “VeLDÁ” con Dei V & Omar Courtz mezcla el reggaetón de principios de 2010 con elementos de su presente para que el trío hable de una mujer a la que los intérpretes intentan conquistar y tentar para verse. “EL CLúB” aúna hip house, chillwave, house melódico, synthwave y future house inspirado en una ex-novia de él que desemboca en el híbrido synth-reggaetón “KETU TeCRÉ” cantando sobre ella actuando salvajemente ahora que ha pasado de él.
“BOKeTE” tells a story of heartbreak between Bad Bunny & a woman with whom he maintained a relationship that cooled & turned off over time that gradually ending in distance & loss of communication on both parts accompanied by soft & melodies from a bachata rhythm guitar appears progressively while synthesizer-heavy reggaetón cut “KLOuFRENS” awkwardly admits that he stalks an ex only to see how she’s doing these days. “TURiSTA” embraces a Hispanic American Folk Music vibe singing about someone who was a tourist in his life just before “CAFé CON RON” featuring Los Pleneros de la Cresta gets back on the Caribbean tip drinking coffee in the morning & rum in the afternoon.
“BOKeTE” cuenta una historia de desamor entre Bad Bunny y una mujer con la que mantuvo una relación que se enfrió y apagó con el tiempo y que poco a poco terminó en distancia y pérdida de comunicación por ambas partes acompañada de melodías suaves y de una guitarra rítmica de bachata que aparece progresivamente mientras que el corte de reggaetón con sintetizador “KLOuFRENS” admite torpemente que acosa a una ex sólo para ver cómo le va a ella estos días. “TURiSTA” abraza un ambiente de música folk hispanoamericana cantando sobre alguien que fue turista en su vida justo antes de que “CAFÉ CON RON” con Los Pleneros de la Cresta vuelva a la punta caribeña bebiendo café por la mañana y ron por la tarde.
The final single “PiTORRO DE COCO” that came out couple weeks ago was a cool foray into bomba, son cubano & Christmas music while “LO QUE LE PASÓ A HAWAii” addresses the loss of identity suffered by the state of Hawaii & wanting to keep the Puerto Rican culture intact. “EoO” samples “Perreo Baby” by Héctor & Tito taking us to the disco while “DtMF” expresses hope that his people never move away. “LA MuDANZA” profoundly closes the album profoundly talking about going from the oldest of 6 working since he was a kid to a millionaire without ever leaving the hood.
El último single “PiTORRO DE COCO” que salió hace un par de semanas fue una incursión genial en la bomba, el son cubano y la música navideña mientras que “LO QUE LE PASÓ A HAWAii” aborda la pérdida de identidad sufrida por el estado de Hawaii y el deseo de mantener intacta la cultura puertorriqueña. “EoO” samplea “Perreo Baby” de Héctor & Tito llevándonos a la discoteca mientras que “DtMF” expresa la esperanza de que su gente nunca se aleje. “LA MuDANZA” cierra profundamente el disco hablando de pasar de ser el mayor de 6 trabajando desde niño a millonario sin salir del barrio.
Ironically as somebody who never liked his features on “K-Pop” or “Gently” as a big Travis Scott fan & someone who enjoys Drake’s music from 2007-2015 as well as For All the Dogs, I have to admit that DeBÍ TiRAR MáS FOToS is by far the strongest & most personal entry in Bad Bunny’s discography thus far. It’s sound is heavily based around Carribean music & reggaetón further showing influences of salsa plena, bomba, jibaro, Latin electronic, chillwave, son cubano, Christmas music, hip house, chillwave, melodic house, synthwave & future house centering Puerto Rico in his work moreso than in the past & celebrating various musical styles within it’s legacy.
Irónicamente como alguien que nunca le gustó sus características en “K-Pop” o “Gently” como un gran fan de Travis Scott y alguien que disfruta de la música de Drake de 2007-2015 así como For All the Dogs, tengo que admitir que DeBÍ TiRAR MáS FOToS es, con mucho, la entrada más fuerte y más personal en la discografía de Bad Bunny hasta el momento. Su sonido está fuertemente basado en la música caribeña y el reggaetón, mostrando además influencias de salsa plena, bomba, jíbaro, electrónica latina, chillwave, son cubano, música navideña, hip house, chillwave, house melódico, synthwave y future house, centrando a Puerto Rico en su trabajo más que en el pasado y celebrando varios estilos musicales dentro de su legado.
Atlanta, Georgia rapper Lil Baby returning to put out his 4th studio LP. Rising to stardom in 2018 off his debut album Harder Than Ever, his profile would gradually increase from there by following up with a collab project with Gunna entitled Drip Harder & his 4th solo mixtape Street Gossip. His sophomore effort My Turn & It’s Only Me were equally welcomed moderately & is posing the question of W.H.A.M. (Who Hard As Me?) few weeks after former AAA Reina de Reinas Campeon, CMLL Mundial Femenil Parejas Campeon, the only female TNA World Champion, TNA Knockouts World Champion & documented racist Tessa Blanchard returning at Final Resolution XIII.
“Listen Up” produced by London on da Track is this drumless intro dropping off 2 dope verses without a hook flexing that nobody can stand the way he does whereas “Dum, Dumb & Dumber” featuring Future & Young Thug gets together over a synth-trap beat from Wheezy talking about being GA certified. “F U 2x” boasts that he stealing women from lames who really ain’t players & DJ Champ going for a darker trap route instrumentally, but then “I Promise” with co-production from Southside assures that you ain’t always have to pour your heart out.
Glorilla joins Baby on “Redbone” for a decent joint dedicated to all the baddies out there except I find myself enjoying it more than “By Myself” featuring Rylo Rodriguez, which unites the CBFW Records artists together over a DY instrumental that I find myself enjoying as much as Baby’s verses & more than both Rod Wave’s hook AND the Rylo verse. “Due 4A Win” has a great concept not wanting to be compared to anyone else even if the beat’s kinda mild just before “Stiff Gang” makes up for it with it’s overall celebratory flare.
“So Sorry” takes a more serious approach making an open apology to someone that he thought was his homie & ready to see himself moving on from having that friendship coming to an end while “Stuff” featuring Travis Scott gets back on the carefree tip talking about them tryna see who colder. “Say Twin” hooks up some hi-hats & piano chords for Baby to hop over them maintaining his self-esteem while “Free Promo” wanting to know if you’re stupid or dumb.
The song “Outfit” featuring 21 Savage reaches the final moments of W.H.A.M. (Who Hard As Me?)by getting them together over this moderately cavernous trap beat breaking down their lifestyles while “Drugs Talkin’” finds Dez Wright bringing in some horns & hi-hats talking about being under the influence of both drugs & alcohol. “Streets Colder” warms up for Dominique a month from now with a DY-laced closer pointing out how colder people are becoming out here.
“99” featuring Future gets the deluxe run going with both of them comparing themselves to Juvenile in his prime 25 years ago while “Idol” cloudily talks about not fucking with anyone else since they ain’t like him in any way shape or form. “Runnin’ This Shit” heads for a symphonic trap direction dissing Gunna for being a rat not giving a fuck if Young Thug said that they’re still cool & the final bonus track “My Shawty” rounds it out with a moody pop rap joint penned about his current girlfriend.
My Turn & It’s Only Me are both underwhelming compared to Harder Than Ever in my opinion, which is my favorite in Lil Baby’s discography. W.H.A.M. (Who Hard As Me?) on the other end, I find to be a decent body of work to hold everyone off getting in his young n***a bag for 41 minutes only doing without less than half of it. Either way you want to put it, I’ll take the highs until he shows us a more personal side to himself on Dominique.
This is the 6th full-length studio LP from Flint, Michigan emcee/producer Jon Connor. Someone who’s steadily been holding it down for the last 2 decades including The Calling, Vinnie Chase & S.O.S. trilogies along with the Best in the World series paying homage to some of Jon’s influences, Salvation, While You Were Sleeping & Unconscious State. He was even signed to Aftermath Entertainment/Interscope Records for 6 years before departing after Vehicle City wound up being shelved & has come off III: The Calling, Vinnie Chase & S.O.S. by giving Food for the Soul.
“We’re Gonna Be Okay” starts with a soulful trap opener providing optimism for everyone feeling uncertain ahead of Donald Trump’s 2nd inauguration a few weeks from now whereas “413” takes it to the basement thanks to DJ Silk talking about refusing to stop until he gets exactly what he came for. “I’m Tryin’” victoriously expands on the themes of the previous joint making it an effort & after the “Nikell for the Soul” interlude, “Everyday” featuring Daylyt finds them both over kicks & snares shouting out their people.
Jag links up with Jon on “Evolution of Amazing” bringing a trap flare back to the table as they talk about their greatness gradually evolving the way it is just before “Red Velvet” featuring Stalley links the pair together on top of this calming beat talking about leading the fakes where they at without even speaking. “Take Flight” celebrates the jealousy & hate that motivated him to step his game up leading into the jazzy “New Day” talks seeing how far we can go taking it day by day.
After the titular interlude, “The Vibes” featuring Dizzy Wright heads for a groovier boom bap direction tackling the familiar theme of love going further staying with their respective partners while “They Wonder” featuring Locksmith talks about going through everything. “Over & Over” maintains the raw beats reminding that there ain’t nothing new under the sun, but then “Double Murda” featuring Termanology shows a hardcore side to them getting ready for war referencing WWE Hall of Famer, former 6-time WWE world champion & WWE Intercontinental Champion Randy Savage.
“So Much Pressure” calls for everyone to help each other since we’re all heading rough in addition to being stuck in our ways the older that we get & after the “Nights” interlude, “The Great Design (Key Elements of Love)” talks about people taking in the time to recognize the other side of God’s greatest design of them all. “Something Dope About You” soulfully tells his romantic interest that he wants to make her smile & “Heaven on Earth” featuring MRK SX calmly talks making their own paradise.
The track “Blind Eye View” pushes further towards the final leg of Food for the Soul dabbling with trap again refusing to go backwards revealing that he doesn’t know the exact reason why that he sees the world the way that he does & the outro ties it all up in the form of this jazz rap closer advising listeners to stay in control along with acting now in regards of wanting to chase one’s dreams believing half of what you’ve seen & question half of what you’ve been told in life.
Rather than refusing to try to being anything more than what it is still rewarding listeners with something that wasn’t too hard to digest like he did on III last year, he takes everyone back musically & helps you to push forward by laying out the thought-provoking lyrics Jon Connor is known backed by a batch of infectious instrumentals & a powerful message that nourishes the soul. If he still plans on putting out 24 produced by Beats by the Pound member KLC as announced 3 years ago, I’m certain it’ll be the most essential material of his career.
Philadelphia, Pennsylvania underground veteran Chief Kamachi releasing his 6th studio LP & the first after 10 years. A member of the JuJu Mob & formerly of the Army of the Pharaohs collective, his first couple solo efforts Cult Status & Concrete Gospel came out prior to his departure after AotP’s sophomore effort Ritual of Battle & followed the latter 2 up with The Clock of Destiny as well as Rise & Rhyme and of course Radio Raheem. Couple days after Christmas, he’s back with that Godbody.
“The 4th Lecture” is this triumphantly hardcore intro talking about being from a different pedigree & refusing to compromise his integrity for celebrity status whereas “Solar Return” compares himself to a section 8 Egyptian on top of a piano-driven instrumental. “Dime Bags of Divinity” embraces a gospel boom bap sound calling himself the sun rising over the slum tomorrow ahead of “Storm the Capital” calling for us all ready to be freed.
Moving on from there, we have Kamachi on “Sold the Soul” coming clean regarding every step he takes feeling like as if it’s the last dawn wanting to know who withdrew the light leading into “96 Fatigues hooking the kicks & snares back up to talk about freedom being a dirty flag to stand in the rear. “Earth Mecca” soulfully recalls the last time he saw this queen was when she was in the block looking up at the sky just before “Concrete Prayer Rugs” gives everyone the sound of repentance.
“Astral Prison” produced by Domingo happens to be a personal favorite of mine from the drumless keys to the lyrics clearing his name as prisoner of the stars while “Breakfast in Babylon” feasts on knowledge rather than bread tasting like ash & despair. The self-produced “Lil Kev Ain’t a Killer” tells the story of a church boy with a pure soul spending the rest of his life behind bars but prior to the titular outro, “NTB” ends by wanting to show him that you got it.
Returning after a decade away from the game, it’s only right that Kamachi returned with album that redefines the boundaries of spiritual, lyrical & raw hip hop. Godbody takes underground heads on sonic journey through the streets, the soul & the cosmos delivered with the precision & power that only Kamachi can bring sparking a whole entire movement rather than being written off as simply music.
Dirtcore Music is an independent record label based out of Grand Rapids, Michigan founded by local rapper, singer/songwriter & producer Crossworm. The sole artist officially signed for its first 2 decades of existence until bringing Samson Samson whom he formed Bodies Below Sea Level with, Madd Maxxx, Mumm Ra, Sleep Lyrical, J Reno whom he formed Misery Coast with & Grounds all on board. Others such as Gavyn Gunn & Oblivia have spent a brief amount of time signed to Dirtcore with Gavyn’s debut EP Malevolent being a great start to his ongoing trilogy & the rest of the current roster dropping off a showcase compilation on Christmas.
“You Can Get It” by Grounds, Mumm Ra, Samson Samson & Sleep Lyrical produced by Crossworm follows the “Good Evening” intro fusing electronic & trap to -leave enemies toe-tagged whereas “Burn It All Down” by Bodies Below Sea Level industrially finds themselves in a pyromanic type of mood. “The Split” by Misery Coast & Sleep Lyrical meshes these acoustics & hi-hats to talk about this being their life’s work prior to “Kill Em All” by Madd Maxxx & Misery Coast spitting the wicked shit over a trap instrumental.
Madd Maxxx gets his own solo cut with “Zatoichi” aggressively promising to take you out over a cold blooded aboom bap instrumental from J Reno leading into the cutthroat “Landmine” by Madd Maxxx & Misery Coast talking about rollin’ with villains & henchmen. “Keep You Safe” by Grounds, Madd Maxxx & Sleep Lyrical aesthetically somewhat reminds me of 1,000 Suns/Living Things era LINKIN PARK just before “Wear Them Kicks” by Madd Maxxx after an interlude from Dirtcore’s label manager Bando suggests to slide by him if you wanna try him.
“Heavy Babies Weigh Too Much” by Grounds teases his upcoming EP Walking into Tragedy this spring with a self-produced alternative rock track that breaks down during the 2nd half of it but once “Ill” by Madd Maxxx & Samson Samson gets back in their wicked bags decimating a boom bap instrumental, Bodies Below Sea Level goes into “Killmode” for the final song on the comp with the occasional guitars reminding me of “My Last Breath” by Evanescence serving as the entrance theme of former 2-time AEW TNT Champion, AEW World Trios Champion, 2-time NWA World’s Heavyweight Champion, TNA World Champion, 6-time WWE world champion, 4-time WWE Intercontinental Champion, WWE Hardcore Champion, 9-time WWE tag team champion & The Patriarchy leader Christian Cage.
Making my holiday season a little better, all 8 artists get together to end what’s been an outstanding year for music by compiling a collection of songs that’ll get the average listener unfamiliar with Dirtcore familiarized with who everyone is from an artistic standpoint & a little bit as people. The production from the trio of in-house producers displays the Grand Rapids imprint’s prominently underground wicked shit sound & expanding beyond it for industrial music, rock music, boom bap, electronic rock & trap signaling that everything they’ve done these past few years was only the beginning.
Newark, New Jersey veteran Redman returning after a decade for his 9th full-length studio LP as a Christmas Eve miracle. A member of the Hit Squad, he later signed to Def Jam Recordings & saw success during the 90s & 2000s as a solo artist & later with Method Man as a duo after his first 3 albums Whut¿: Thee Album alongside Dare iz a Darkside & Muddy Waters cemented his icon status. The latter turned 28 a couple weeks ago & is returning after almost a decade for Muddy Waters 2.
After the “Welcome” intro, the first song “Da Fuck Goin’ On?” kicks the door down with a 77 second self-produced hardcore hip hop joint gettin’ on his grind whereas “Whut’s Hot” goes for a bit of a rap rock vibe instrumentally courtesy of Khrysis talkin’ about not being told what’s poppin’ & what isn’t. “Jersey” produced by Rockwilder goes for a soulful vibe representing his turf & after the “Fat Shirley” skit, “Lalala” by Method Man & Redman moves forward with a fun look at their back-&-forth chemistry although I prefer the DJ Premier remix.
“Don’t You Miss” reflects on the old days since he’s a 90s boy who never gives up & giving everyone exactly what they pay reuniting with his mentor Erick Sermon behind the boards for leading into “Ignant” talking about the fact that there ain’t nobody else around his city like him bringing his classic ignorance using the same sample as “Tearz” by the Wu-Tang Clan. After the “Uncle Quilly” skit, “Aye” takes it to the streets over a funky ass beat while “Hoodstar” brings a disco flare to the table talking about being well known in the streets.
The lead single “Don’t Wanna C Me Rich” samples “Luck of Lucien” by A Tribe Called Quest letting everyone know that he’s been doing alright for the past 9 years just before “I’m on Dat Bullshit” dabbles with trap a bit thanks to Hallway Productionz talking about those runnin’ their mouths behind his back & to get a life. After “Da Trunk” skit, “Pop da Trunk” hooks up some synthesizers & handclaps showing off his mob ties while “Gheddo Motivation” goes trap again to provide street gospel.
“Dynomite” featuring Sheek Louch finds the pair linking up reminding everyone that both of them be movin’ while “Wave” takes a minute & half to discuss being all about real shit & shrugging off anyone who tries to be all up in his business. After the “My Weed’s Been Taken” skit, “Kush” featuring WWE Hall of Famer Snoop Dogg brings the synths back in the fold for a stoner’s ballad while “Booyaka Shot” aggressively talks about fuckboys never winning & that the G’s stay up.
Ke Turner joins Funk Doc on the Mike & Keys laced “Goofy” so they can poke fun at all the weird muhfuckas out here these days & after the “Obama Stick Up” skit, “1:00” ruggedly let’s y’all know the way shit’s going down from the cannabis king’s side of things. “Lite It Up” strips the drums for a star-studded New Jersey posse cut featuring El Da Sensei, Hakim Green, Heather B, Lady Luck, the Lords of the Underground, Naughty by Nature, Nikki D, Queen Latifah, Rah Digga & 4-time NBA Champion Shaquille O’Neal sampling “Rapper’s Delight” by the Sugarhill Gang while “Wudeytauknbout” playfully talks about having a look at all his haters.
“Why U Mad?” featuring Mr. Cream & Runt Dawg sees the trio wanting to know the exact reason for everyone walking around so pissed over a Rick Rock instrumental & after the “Soopaman Luva 7” skit, we are treated to the 7th installment of Reggie’s beloved series of tracks split into 2-parts. “Looka Here” featuring KRS-One nears the conclusion of Muddy Waters 2 with both of them assuring that everything’s in order & “Smoke wit Me” ends by addressing his legend status.
Funk Doctor Spock’s been teasing this for so long to the point where people were calling it the east coast’s answer to Dr. Dre’s mythical Detox album & now that we finally got it after 15 years, it’s his most consistent body of work since Red Gone Wild: Thee Album roughly 18 years ago this spring. I find it to be more well-produced than the commercial Reggie & Mudface were in addition to the Brick City Masher making a returning to form to the humorous hardcore approach he’s known for.
Legends Will Never Die 