Marilyn Manson – “1 Assassination Under God” review

Ohio singer/songwriter, actor, painter & writer Marilyn Manson making his Nuclear Blast Records debut with his 12th studio LP. Signing to Nothing Records & Interscope Records, his debut Portrait of an American Family proved to be a passable industrial rock/alt-metal debut although The Triptych launched him into international stardom. Said triptych including Antichrist Superstar, Mechanical Animals & my favorite Holywood: In the Shadow of the Valley. The Golden Age of Grotesque & Eat Me, Drink Me were both received to mixed responses as was his final Interscope offering The High End of the Low & the Loma Vista Recordings debut Born Villain. However during my senior year of high school, The Pale Emperor made his true return to form followed by Heaven Upside Down & the Shooter Jennings-produced We Are Chaos wrapped up his Loma Vista contract. Marilyn hasn’t been around musically in a while because of psychological & sexual abuse allegations, which I can’t speak for myself on whether they’re true or false. That said as someone who grew up during his prime, I’d be lying if I said I wasn’t interested in 1 Assassination Under God.

The title track sets it all off with this 5 & a half minute intro singing about refusing to suffer for everyone else’s amusement assuring them they’ll always be entertained & everyone showing up for the execution whereas “No Funeral Without Applause” infernally discusses the only thing in this world that can fill this hole inside of him. “Nod If You Understand” throws it back to the Antichrist Superstar era refusing to repent since that’s what he was sent here for while “As Sick as the Secrets Within” mixes elements of alt, industrial & goth rock to sing about making everyone dream of him.

“Sacrilegious” swaps out the goth rock influences in favor of glam rock telling us that’s exactly how he’s been feeling just before the industrially glam “Death Isn’t a Costume” sings about being left behind. “Meet Me in Purgatory” goes alt-rock again wanting everyone to come with him if he’s casted out prior to alt/industrial metal hybrid “Raise the Red Flag” sings about refusing to accept your surrender. “Sacrifice of the Mass” ends by getting dressed in his mortuary best ready for his ride.

I’m not exactly sure how many more chapters we’re gonna get outta 1 Assassination Under God since it’s said to be the 1st in a new series, but I can definitely say that this is easily the best thing that he’s made since The Pale Emperor nearly a decade ago. His production with Tyler Bates feels like a mix of Mechanical Animals & Holywood pulling from alt-rock, alt-metal, industrial rock, industrial metal & glam rock with the songwriting nostalgically taking us back to 2000 channeling all the anger he’s been feeling in the past 4 years.

Score: 4/5

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Opeth – “The Last Will & Testament” review

Opeth is a Swedish prog-rock/progressive death metal band consisting of drummer Waltteri Väyrynen, keyboardist Joakim Svalberg, guitarist Fredrik Åkesson, bassist Martín Méndez & of course frontman Mikael Åkerfeldt. They would go on to put out 8 consecutive classics in a row after their acclaimed debut Orchid including Morningrise, My Arms, Your Hearse, Still Life, their MNRK Music Group debut & my favorite Blackwater Park, Deliverance/Damnation, their Roadrunner Records debut Ghost Reveries & Watershed. They’ve mainly diverted from the death metal elements since although I prefer In Cauda Venenum & Pale Communion over their Nuclear Blast Records debut Sorceress also marking Moderbolaget Records’ formation & Hertiage respectively. 16 years later, they’re returning to their progressive death metal roots for their 14th album.

“§1” begins with this progressive death metal intro with additional elements of symphonic prog confessing as part of his final plight whereas “§2” gives off more of a standard rock vibe altogether singing about a child in the night cursed to survive. “§3” takes the symphonic progressive metal route stylistically to sing about all being still when he broke the seal just before “§4” gets back on the progressive death metal tip addressing the shifting sands of time.

Meanwhile on “§5”, we have Opeth continuing to further embrace the progressive death metal sound that they made a name of themselves with pledging themselves to us all the secrets revealed in paragraphs leading into “§6” pulls from traditional prog metal singing about tragedies of future past now being chained to your neck. “§7” serves as a progressive death metal reminder of the fragility of heritage & “A Story Never Told” ends by singing that there is indeed a road that leads to home.

Although I personally have always had Damnation as my favorite prog rock offering of theirs, these guys have always been at their strongest when performing in the prog death metal style & their return to form after 16 years happens to be a well crafted concept album set in the post-World War I era unfolding the story of a wealthy, conservative, infertile patriarch whose last will & testament reveals shocking family secrets.

Score: 4.5/5

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Skribbal – “Electric Lungs” review

Los Angeles, California emcee Skribbal teaming up with both his uncle Katfish & the multifaceted SVH for his 4th studio LP. Coming up in 2016 off the strength of his full-length debut Drug Spun Funk, would catch the attention of the rising Wisconsin underground label Force 5 Records & they would put out his sophomore effort Skinwalker a couple years later. Once he dropped his debut EP Quarantine Sessions a month after the pandemic started, he would leave the label to form his own Splatterbrain Records & celebrated this newfound independence by dropping his 3rd album Black Eyed Children distancing himself from horrorcore in favor of a more hardcore hip hop style. Last time I covered him was the winter of 2022 with the Road to Dystopia EP & Electric Lungs is now making a daring shift from underground hip hop to nu metal/

After the intro, the first song “Gaslight” sets the tone of what’s to come with this nu metal opener rapping about the opps’ tactics backfiring on them & losing his own sight whereas “Suffer the Fall” works in some more heavy guitars except he’s singing this time looking to make the world believe. “Forged in Fire” kinda has this industrial hip hop vibe cautioning a violent storm forming since the Devil resurrects when the beat drops leading into “Torn” going full-blown rap metal to talk about being ready for war.

“Iron Sky” after the “Military Industrial Complex” interlude continues being hip hop & metal music together making room for conscious lyricism while “Start All Over (Bad Side)” kinda feels reminiscent to LINKIN PARK’s early 2000s output discussing coming from a broken home & having a broken mind. “This Graveyard Earth” takes the boom bap route instrumentally bringing hardcore lyricism to the table, but then the trap metal-inspired “Breaking Out” promises to never let them take away who he is.

Ashes Like Rain joins Skribbal on the song “Shadow Bleeding” getting back in his nu metal bag with rap verses & guttural screaming on the hook talking all these hoebags nowadays embracing the propaganda while “Run Rabbit!” featuring Myalansky of prior Wu-Syndicate fame & Praise1 just before the outro properly finishes Electric Lungs with more of a hardcore hip hop-driven closer talking about haters being mad over their return from Hell to rob rappers of their chains.

Combining the lyrical depth and underground sensibilities of hip hop with the aggressive instrumentation of metal, the Splatterbrain Records founder takes us on a genre-bending journey tackling subjects from government corruption to dark occult conspiracies in addition to inviting listeners to embrace their own strength and individuality in a world that often seems oppressive through his confidence & bravado.

Score: 4/5

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Bobby J from Rockaway – “Higher” review

This is the sophomore effort from Queens emcee Bobby J from Rockaway. Coming up as a protege of Kwamé, he would begin to turn heads in the underground during the summer of 2019 off the strength of his full-length debut Summer Classics along with his Statik Selektah produced debut EP Endless Summer, the latter being my introduction to his music along with 1 Mic & a Drum’s eponymous EP. Bobby then joined forces with Detroit veteran Hush to drop the collab album 718 II 313 last summer, of which they had the honor of playing 80% of to me at a studio a year before it even dropped. Nef produced the Radio Days EP nearly 2 years ago & is tapping in with Dom Dirtee to take us Higher.

The title track starts with this otherworldly beat wanting to take it to a new level whereas “Once Again” takes the boom bap route instrumentally so Bobby can talking about being back up in this bitch with the hardcore composer. The 2nd single “Vibin’ (All By Myself)” gives off more a playful tone discussing the relatable subject matter of having fun by yourself in your room listening to music & after the “Mr. Walt Checks In” interlude, the lead single “Dangerous” lets their aptly titled mentality be known when facing them.

Paul Wall joins Bobby on the 3rd & final single “I Gotta” for both of them to go hard with their respective squads while “Outta This Club” tells the DJ to not stop playing this heater. After the “Tape Stand” skit, “Round N Round” makes their head spin over kicks & snares leading into “Get Away” passionately feels the need to escape. “Hello” nears the end agreeably saying he deserves more exposure & “Break Me Down” ends by refusing to crumble.

It’s already been 5 years since Summer Classics, but Higher comes off a couple EPs & group projects allowing him to elevate us with Dom Dirtee joining him in succeeding at that. Majik Ninja Entertainment in-house producer Fritz the Cat’s engineering is superb, Dom’s production reasserts his status as the hardcore composer & Bobby holds off from having any guests MCs unlike last time to snap for 36 minutes.

Score: 4.5/5

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Eto – “Long Way Home” review

This is the 7th full-length studio LP from Rochester, New York emcee/producer Eto. Learning of him through his verse at the end of the 6th installment of Westside Gunn’s infamous HWH mixtape series & eventually his DJ Muggs-produced full-length debut Hell’s Roof a few months later, this was followed up with Long Story Short as well as & Front Row & The Beauty of It. The Futurewave-produced Dead Poets would be as acclaimed as his debut & coming off Integrity 2 produced by Body Bag Ben which was a solid sequel the original EP itself, Eto’s taking the Long Way Home.

The title track has this unsettling atmosphere to the instrumental beginning by talking about the fact money comes a long way when you take the longer route back to the crib whereas “Purge Night” strips the drums completely alluding the titular series of films. The cutthroat “Yes Lord” featuring Flee Lord finds the RocAmeriKKKa duo getting in their hardcore bag lyrically prior to “Judas” produced by Chup finds him stuck at both ends of the pitchfork.

“New Money” hooks up a guitar sample thanks to V Don talking about that new paper coming in being speechless to him just before “The Light” featuring Tony Yayo seeing both artists over a boom bap instrumental from Nottz aggressively talking about how it got dark out. “No Pun Intended” featuring Kurupt cautions that neither one of them want any kind of trouble since the extended can extend in minutes & “Tearz” runs it all back up effortlessly.

Starting the final leg, Mephux brings a gospel trap flare to the table on “Oath” reflecting on when he used to play in the cold while the self-produced “3 Strikes” featuring Dark Lo & Nyce da Future jazzily refuses to make any kind of deal with the Devil going forward boasting they can go on for eons. The closer “Durnan” ties up the album refusing to share the proceeds choosing between a Desert Eagle or a box cutter.

Long Way Home isn’t on the same par of excellency as Dead Poets & Integrity 2 both were per se, nevertheless it still remains as an enjoyable offering from the Rochester lyricist & beatsmith. Yes the production on the last couple albums were more consistent, but Eto unquestionably sounds like he took his time with the verses & the brief amount of guests who join all match his level of lyricism finely.

Score: 3.5/5

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Kash Doll – “The Last Doll” review

Kash Doll is a 32 year old rapper, songwriter & actress from Detroit, Michigan who signed to Republic Records for her debut mixtape Brat Mailas well as the debut EP The Vault & of course the full-length debut studio album Stacked. She later signed to MNRK Music Group a year & a half ago after fulfilling her major label commitments, linking up with DJ Drama for her sophomore tape Back on Dexter & returning to put out The Last Doll independently after playing Monique during the first 2 seasons of BMF on STARZ.

“Klarity” produced by Cardiak & Wu10 begins with this exuberant trap opener dedicated to her daughter whereas the 2nd to last single “Kash Kommandments” decently puts her own spin on the iconic Biggie track “10 Crack Commandments”. “Nothin’ New” takes the Detroit trap route instrumentally thanks to none other than Helluva shittin’ on bitches for a living leading into “Pressin’” featuring Tee Grizzley wanting to know who these people think they pressin’ up against.

Hitmaka sampling “Apache (Jump On It)” by the Sugarhill Gang on “Jump” was pretty cool representing her city declaring that she won’t ever leave the block, but then the off-the-wall trap vibe that Lex Luger gives “Plot Twist” is outstanding flexing that she stole this bitch’s man. “NWA” featuring Tracy T finds the couple linking up over an OG Parker beat showing pride in bossing each other up while “Baby Boy” pays homage to her son.

“Stupid” shows off a more melodic side to Kash Doll singing about wanting to know why her man is out here actin’ stupid chasing subpar hoes when he has the coolest bad bitch just before “Comfy” featuring Tink samples “Comfortable” by Lil Wayne suggesting not to get too comfortable around them. “Love Myself” has a cool dance vibe talking about self-love while “Power” featuring MDG was a questionable lead single.

The penultimate track “Big 1” pushes towards the final moments of The Last Doll refusing to take these lame ass dudes seriously tellin’ one of them who thinks he can swing to batter up & finally, the b-side to the latter “Fawk ‘Em” officially closes the LP by giving middle fingers to all the fake, weird hoes as well as the envious snakes & the people who stay trickin’ off that munyun.

Marking a deeply personal chapter in her life, Kash Doll’s first album after leaving Republic showcases her growth as a woman, a mother of 2 & an artist evolving beyond the persona that first brought her into the spotlight. Balancing motherhood with her thriving career, the Detroit star reflects on her journey by using this album as a powerful expression of her personal & artistic evolution.

Score: 3.5/5

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Maxo Kream – “Personification” review

This is the 4th full-length studio LP from Houston, Texas emcee & songwriter Maxo Kream. Breaking out in the beginning of 2018 off his debut album Punken following his first 4 mixtapes, this resulted in him signing to RCA Records for the sophomore effort Brandon Banks & of course Weight of the World that celebrated it’s 3-year anniversary last month. Some of the singles ahead of Personification however have become the best of his entire discography & I had to give it a shot.

The cloudy trap intro “Mo Murda” acknowledges that people start thinking you’re a part of the illuminati once you start making the amount of money that he does whereas “Fashitso” works in a flute from Cubeatz to talk about coming a long way from kickin’ doors down. “Cracc Era” featuring & produced by Tyler, The Creator turns the bass up telling everyone listening to let go of the drama & people talking shit prior to the sample-driven “Street Fraternity” explaining that you die for eternity once you join.

“Big Hoe Me” kinda has this atmospheric drill vibe instrumentally publicly admitting that he’s almost lost his life twice out in the streets until the fame while “Smokey” featuring BigXthaPlug links up over a Memphis-inspired trap beat from Hit-Boy making it clear they blasting you the next time you owe them. “Higher Than Ever” featuring Rob49 & Skilla Baby dabbles with Detroit trap boasting they real smooth, but then “Drizzy Draco 2” is a sequel to the Brandon Banks highlight.

Josh Kream joins Maxo on the moody trap joint “Walk by Faith” that Beat Butcha laced taking aim at TKO Group Holdings co-founder with individually self-booked runs as WWE Champion & ECW World Heavyweight Champion Vince McMahon while “Drop Top Impala” featuring Z-Ro sees them getting rich off vocals & touring globally. “Bibles & Rifles” is another standout from the Evilgiane instrumental to ask if he’d be forgiven or struck down for wishing death while “Talkin’ in Screw” featuring That Mexican OT remembers the late Screwed Up Click leader and chopped & screwed pioneer DJ Screw.

“Bang the Bus” reunites with Evilgiane again except they experiment with sample drill painting images of the gangsta lifestyle that he’s lived through for nearly 3 minutes & finally, the closing track “Triggaman” featuring Denzel Curry properly rounds out Maxo’s first offering in 3 years & the first in his discography since leaving RCA with both southern MCs over a trap beat ringing off an eerie atmosphere talking about letting the sticks off.

Upping the ante by imbuing it with a heady concept organized around the various ways he has presented himself on wax, Personification is pretty much Maxo diving into all of the themes presented by these different characters. Trigga Maxo, Punken & Emekwanem all get a chance to show what parts of him they represent whether it be the first being hardened by the streets & inspired by the swampy Southern goodness of Houston’s rap tradition, the other becoming more fond of nostalgia & simpler times or the final one discussing his responsibilities as a man & father.

Score: 4/5

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Dave East – “Living Proof” review

This is the 5th studio LP from Harlem emcee Dave East. Breaking out in 2014 off his 8th mixtape Black Rose, this resulted in the man signing a joint deal with Def Jam Recordings & even Nas’ independently owned Mass Appeal Records as well as a spot in the iconic 2016 XXL Freshman Class. However, his full-length debut Survival wouldn’t come out until 3 years later & was very disappointing in the sense that he tried appealing to a more mainstream audience that just didn’t exist. The Harry Fraud produced sophomore effort Hoffa proved to be better as did his final Def Jam offering Fortune Favors the Bold & APT 6E produced by Mike & Keys marked a return to his independent roots, so hearing would be Living Proof fully laced by araabMUZIK gave me a feeling it would be one of the most essential listening experiences of Dave’s career.

“Percocet” is the synthesizer driven boom bap intro talking about there not being any better feeling re-uppin’ whereas “Bet My Life” shifts towards a cloudy trap direction instrumentally flexing that he’s on his 2nd-wind. “Solid N****z” featuring Cruch Calhoun gives off a bit of a victorious flare to the beat as they tell the difference between the real & the cowards. I also owe Cruch an apology for what I said in regards to his verse on “The Win” when Hoffa dropped, I was wrong & I own up to that.

Fabolous joins Dave for the orchestrally hardcore “Buss Down” to discuss all that they ever wanted was a Rollie so they got some prior to “Walk wit Me” working in a bit of a jazz rap vibe for the instrumental advising y’all to take a walk with him real quick. “Lift ‘Em Up” featuring Benny the Butcher returns to a symphonic edge talking about having better patience & only broke people think money can solve problems, but then “Roll Up” pulls influence from jazz music once again not knowing too many living the life he does.

“Joe Jackson” featuring O.T. the Real starts the other half of Living Proof with both of them cautioning that rappers acting like something they’re not is what leads to them getting shot while “All I Know” heads back for a trap direction putting on for shit that he could die for. “Same Shit” featuring Giggs finds the 2 boasting they’re still with exact same group of homies they came up with while “Everything for Sale” featuring Ransom samples “To the Other Man” by Luther Ingram admitting they’ve done bad & grew better.

Starting the final leg of the LP on a psychedelic note, “The Love Fake” tackles themes of envy and no smut being put on his legacy once he’s gone while the luxurious trap flavored “Run Down” featuring Millyz talks going through it in the midst of everyone else not understanding it whatsoever. “The Other Side” pushes towards the final moments exuberantly warning that money ain’t a thing since you can’t take it with ya & “Barbara” ends by telling the titular person that he misses her.

Highlighting the shared vision & chemistry of both collaborators, Living Proof delivers one of the year’s standout releases & of course amongst the most important high points in the 2016 XXL Freshman’s career. araabMUZIK’s signature production throughout is a lot more consistent that it was on APT 6E pulling from boom bap to trap, chipmunk soul & jazz rap making more than enough room for Dave East to go harder lyrically than he did during the summer.

Score: 4/5

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Lyte – “Full Force” review

This is the sophomore effort from Flint, Michigan emcee Lyte. Emerging a decade ago off his debut mixtape Follow the Lyte, he later signed to the Insane Clown Posse’s very own Psychopathic Records on New Year’s Day 2017 & put out his debut EP Psychopathic MonStar that summer following the 18th annual Gathering of the Juggalos in Oklahoma. He amicably departed couple years later in order to focus on building his own label MonStar Entertainment & becoming a father, returning over 2 & a half years ago for the debut album Metamorphosis demonstrating his personal & artistic growth. MonStar has since evolved into a roster of its own, coming off a showcase EP to return Full Force.

“Dying Breed” starts with this wavy trap instrumental from Str8jaket talking about his kind shrinking near to the point of extinction whereas “Feel the Way I Do” works in some pianos & strings asking if there’s anyone who feels the exact same way as he does. “Time Will Tell” featuring Ant G finds the 2 over a trap instrumental reassuring everyone that they’re nowhere near close to being done leading into “Made a Lot” talking about the money, sacrifices & mistakes he’s made.

Meanwhile on “Back in My Head”, we have Lyte showing off a speedier flow over another trap beat fighting back until they bury him just before “Full Deck” featuring Skitzo brings the pair together so they can talk about everyone fuckin’ with the wrong ones. “This Us” fuses electronic dance music & trap giving 0 fucks whatsoever, but then “Brand New” featuring Project Born aggressively talking about people acting that exact way.

“It’s Our Time” hooks up some pianos & hi-harts discussing that it’s MonStar Entertainment’s time to shine now while “OMG” featuring Str8jaket talks about needing God in their lives at the moment even if they’re not the praying type. The song “Disarray” featuring Stray grimly promises God certain things won’t happen again if He helps them & “Memories” featuring Str8jaket is a 6-minute closer breaking down the way he wants to be remembered.

Metamorphosis was a solid debut giving the underground a look at how much Lyte has changed on all fronts ever since signing to Psychopathic for a year & a half, which Full Force surpasses in terms of quality. The production almost entirely handled by Str8jaket elevates the trap sounds from 2 & a half years ago, the guests are reduced to MonStar’s current roster other than a couple outside collaborators & Lyte himself sounds hungrier.

Score: 4/5

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Cordae – “The Crossroads” review

This is the 3rd full-length studio LP from Suitland, Maryland emcee Cordae formerly of the YBN collective. The first time I heard him was “Old N****s”, an immensely well written response to “1985” off of J. Cole’s 5th album KOD. That single alone earned Cordae a HUGE co-sign from none other than Dr. Dre as well as a deal with Atlantic Records, where he put out a potential showing debut The Lost Boy the following summer right after his 2019 XXL Freshman Class placement. Just Until….. became a solid prelude to From a Bird’s Eye View, which received mixed feedback & Cordae himself even acknowledged it as the weakest entry of his discography. Nearly 3 years later, he’s at The Crossroads.

After the intro, the first song “‘06 Dreamin’” produced by FNZ is a soulful boom bap opener reflecting on a true story that happened when he was only 8 whereas “Back on the Road” featuring Lil Wayne takes the trap route instrumentally to talk about how we simply have to open our eyes. “Summer Drop” featuring Anderson .Paak gets back on a rawer edge courtesy of J. Cole pointing out that they don’t have any other options just before the rich “Nothing’s Promised” reminds that there isn’t anything guaranteed to us.

“Mad as Fuck” brings back the trap vibes expressing his frustration with everyone who isn’t paid enough to beef with him prior to “All Alone” sampling “A House Isn’t a Home” by Luther Vandross talking about feeling lonely even with all the success. “Never See It” fuses soul & trap getting on his pimp shit leading into “Pray” featuring Ty$ on the hook returning to the boom bap thanks to DJ Camper & Hitmaka asking if you’ll stick around once the money goes.

As for “Don’t Walk Away”, we have Cordae on a groovier beat pleading for his girlfriend of 5-years 大坂なおみ not to walk away from him while “Saturday Mornings” featuring Lil Wayne finds BoogzDaBeast flippin’ “I Really Really Love You” by Father’s Children venting over all the problems they’ve been dealing with. “No Bad News” samples “Bad News” by Kanye West thinking about this life of his, but then “Shai Afeni” serves as this open letter to his daughter drawing inspiration from chipmunk soul.

“What Really Matters” mixes trap with chipmunk soul telling listeners to put nothing over family including materialism while “Syrup Sandwiches” featuring Joey Bada$$ goes for an intoxicating atmosphere with the help of Thelonius Martin reflecting on their growth individually. “Now You Know” goes drumless for a tribute to his late grandmother & the bonus track “2 10s” featuring Anderson .Paak ends by showing off both artists’ completely different perspectives that they have when it comes to women making way for J. Cole & Dem Jointz to mix pop rap & jazz rap.

Reaching a turning point in his life, The Crossroads embodies Cordae at being the most refined version of himself as an artist by focusing on his craft & drawing inspiration from life to make sure he was putting his best foot forward. A culmination of decisions, the production’s more consistent than it was nearly 3 years ago & redeems himself from the mixed reception of From a Bird’s Eye View describing a period when every decision felt like the stakes were high for him.

Score: 4/5

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