Kota the Friend – “Once in a Blue Moon” review

Brooklyn, New York emcee/producer Kota the Friend back for his 12th studio LP. Breaking out in 2016 off his debut EP Palm Tree Liquor, he would go on to follow it up with 2 more EPs before dropping his debut album FOTO in 2019. Kota has since dropped 10 more under his belt, with my personal favorites being To Kill a Sunrise & To See a Sunset both fully produced by Statik Selektah. 2 & a half years later, they’re linking back up on Once in a Blue Moon.

“Bacon Egg & Cheese” is this soulful boom bap intro advising not to fix what isn’t broke whereas “Blah” featuring Logic goes full-blown jazz rap talking about their shooters having the greens comin’ at your head if you be spewin’ bullshit out your mouth. “How It Is” maintains the jazzy boom bap vibes pullin’ up on their opps’ new crib like “fuck yo couch” as if he’s the late Rick James, but then the tranquil “Let It Go” talks about a place where you’re free head to toe.

Meanwhile on “Free My Dogs”, we have Kota over a mellow boom bap instrumental calling for all his homies to be let out from the pen just before “Northside” joyously talks about buying land up north. “What You Need” featuring PhearNone goes lo-fi asking their romantic interests that very question prior to the jazzy “Mr. Mellow” talking about having it cold. “Get It Done” soulfully wears his heart on his sleeve like it’s jewelry & “Count Your Days” ends by showing his fearlessness.

If you’re like me & you consider both albums that Kota the Friend has previously done with Statik Selektah to be the finest material of his entire career, Once in a Blue Moon drops outta nowhere recapturing the magic of it’s predecessors for an individual both of work satisfactory to fan of both. Statik’s production is jazzy yet lo-fi throughout a good bulk of it & the performances from Kota himself are the most focused he’s sounded in a while.

Score: 4.5/5

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9 Vicious – “Studio Addict” review

This is the official full-length debut studio album from Atlanta, Georgia up-&-comer 9 Vicious. Breaking out this past summer off his debut single “U Fancy”, he would go on to further introduce himself only a month ago by releasing his debut EP B4SA preluding what was to come from him in a much bigger capacity musically. Exactly 4 weeks later, he’s looking to take the next step & elevate himself as an artist by giving the listeners what it’s like in being a Studio Addict like him.

The title track is a stripped back trap intro rapping about wanting more guap as each day passes by refusing to bang out hits in the lab while “Tokyo” takes the synth-based route instrumentally flexing that he’s chillin’ over at the most populous city out in Japan with a baddie by his side. “F&N” produced by Nosaint of Vanguard Music Group hooks up a rubbery bass-line talking about praying to God & not Buddha whereas “The Truth” speaks from the heart over a calm trap beat from 406ahmad.

“Los Angeles” maintains the trap vibes droppin’ braggadocio showin’ off the lifestyle that he lives for a little over 3 minutes leading into “Ye” heading for more of a plugg direction to the beat as he talks about fuckin’ a dime bitch & having 10 hoes. The interlude is more of a 105 second atmospheric joint flexing that he got more sticks than Halo while “1 Beer” samples one of my all-time favorite Kanye West songs “No More Parties in L.A.” asking why they be fuckin’ with him.

Meanwhile on “Boom Bap”, we have 9 showing off the real deal swag that he’s got while “Slide Aht” flat outs tells a chick that she needs to slide right out the door at this point over a Jwade instrumental. “Black Truck Talking” feels somewhat unfinished since he left an open verse during the final minute or so while “Love Hurts” samples Cash Cobain asking his partner if she means it & “Just Landed” ends with Patrick Garza giving off a triumphant flare to keep the racks on him.

Can’t say it’s the most groundbreaking trap project that I’ve heard all year, but I very much think there is artistic potential in 9 Vicious & am optimistic that we’ll get to see & hear him grow as time goes on. Even if there’s a predominantly heavy Young Thug influence, there’s some interesting ideas within the production & the hunger burning inside him reveals itself passionately during the half hour experience.

Score: 3.5/5

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Real Psycho – Self-Titled review

Real Psycho is a superduo consisting of Los Angeles, California emcee B-Real as well as Queens, New York emcee/producer Psycho Les. One of whom is notable for being the frontman of Cypress Hill & the other being 1/2 of The Beatnuts. After only collaborating with each other a couple times in the past off songs like “Fuck ‘Em If They Listenin’” & the Robosonic-produced “High Like”, they’re getting together for an official full-length debut album.

After the titular intro, the first song “Doin’ What You Never Did” starts with a jazzy boom bap instrumental talking about never falling off whereas “Laugh 2 Da Bank” hooks up this mind-altering beat for them to talk about puttin’ in the work that they do & eventually cashin’ out. “What We Came to Do” featuring Too $hort unites the trio for them to aptly tear the party up prior to “You Might Know Us” warning your arms will get broken if you touch them.

“Put That Work In” featuring Son Doobie finds all 3 of them linking up for 4 minutes talking about showing y’all how it be done while “Excuse Me” goes for a generally old school vibe to the beat making this joint feel like it was taken straight from a mixtape. “Once in a Lifetime” has a quirkier instrumental talking about how you’ve haven’t seen this freshness previously just before “This Goes Hard” featuring Big Twins & Demrick lets off hardcore lyricism in their own unique styles.

Reaching the conclusion, “Timbos” hooks you Eric Bobo’s signature percussion flexing that he be tiptoeing around in the titular brand of boots while “Lyrical Hammers” embraces a rap rock sound reminding us that they be hanging around henchmen. “Stay Calm” brings a psychedelic boom bap flare suggesting to relax as they spark the bong & “Kitty Kat” for a closer feels underwhelming tackling the theme of sex in an uneventful manner.

For all the hardcore Cypress Hill & Beatnuts fans, I have a pretty good feeling that you’re gonna come away from Real Psycho’s debut with an enjoyable side project from both veterans. Psycho Les hasn’t lost a step with his production game attesting to The Beatnuts being underappreciated behind the boards & his chemistry with B-Real on the mic flows very well during 45 & a half minute experience.

Score: 4/5

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Dax – “From a Man’s Perspective” review

This is sophomore full-length studio LP from St. John’s, Newfoundland & Labrador, Canada rapper Dax. Working as a janitor before blowing up after dropping the single “YourWorthIt.org” with Hopsin in the summer of 2018, this was followed up with his debut EP It’s Different Now shortly after & the I’ll Say It For You EP under the Strange Music subsidiary It Goes Up Entertainment. Pain Paints Pictures was one of the worst debuts of this decade & 3 years later, he’s returning From a Man’s Perspective.

The title track starts with a melodramatically cloudy opener talking about wanting to be with this individual for the night whereas the acoustic “Took My Heart Out” whines about not wanting to use his heart anymore & comes off as sappy than genuine. “Place of Peace” works in a guitar & some fingersnaps telling his significant other than he wants to go to her for peace while “A Real Man” talks about what this woman wants not being legitimate.

“Soldier” featuring Tom MacDonald ends the first leg with a tedious far-right propaganda joint which is odd because neither of them are from the United States just before “To Be a Man” takes a laughable shot a county rap & it’s not Darius Rucker’s fault. “Lonely Dirt Road” mixes cloud rap & pop rap escaping to a place where no one knows, but then “You’re the Problem” tries to gaslight his critics saying their dislike for his music comes from a reflection of theirselves.

The penultimate song “Diary of a Man Trying” nears the conclusion of From a Man’s Perspective talking about trying to move on GPSing all his thoughts even if they wind up leading him to places that’ll hurt him & finally, “I Hate That I Love You” ends the album by dissing the mother of his child as if he’s Eminem in the late 90s/early 2000s, who has always been an influence to Dax except that he exemplifies Em’s worst traits to a new level.

From the moment that Falling in Reverse put out Popular Monster this summer up until now, I wasn’t sure if there could be a hip hop album that could match the metalcore offering in terms of being unlistenable & Dax sure enough manages to do it with a month left in the year. The production is mediocre & his subject matter delivered From a Man’s Perspective feels trite than sincere. Tyler, The Creator’s 7th album Chromakopia does a significantly better job of providing introspection than this.

Score: 0/5

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Lateef the Truthspeaker – “Experimental Slap” review

Oakland, California emcee Lateef the Truthspeaker tapping in with Nick Andre for his official sophomore effort. A member of the Quannum Projects collective in addition to their subgroups Latyrx alongside Lateef & the Chief and The Mighty Underdogs, his first few solo mixtapes Ahead of the Curve including Truth is Love & Truth at Sea were all decent ahead of his official 2011 solo debut FireWire surpassing them in quality. 13 years later, he & Nick got more of an Experimental Slap for the underground.

“Show Love” is this sample-driven trap opener demanding his flowers considering that he’s been in the game for 3 decades already whereas “Tic Tac Toe” taking a much calmer route instrumentally relying heavy on drums talking about holding his own. After the first of 3 “Slap” skits, “Things Never Seen Before” psychedelically reminds everyone that he’s the coldest with the pen while the bassy “Watch What You Say” featuring Phesto from the Hieroglyphics subgroup Souls of Mischief puts everyone in their place.

As for “California Sober”, we have Lateef putting it down 7 times for the struggle on top of a playfully fun beat that Nick cooked up just before “Snake Bite” featuring the late Zion I frontman Baba Zumbi & Deuce Eclipse airs out every last individual who happened to turn a blind eye to them. “Guns 2” featuring Jumbo & nOOdy Oddy after another “Slap” skit serves as a sequel to a 2018 joint picking up right where the predecessor left off leading into “Freed Up” featuring Baba Zumbi & Deuce Eclipse setting out to convert nonbelievers.

“Started Dreaming Again” featuring Aima the Dreamer pairs both of them talking about their recent dreams of coinciding within them starting to feel their pens while the crooning boom bap “Waiting on My Time to Come” featuring the late Blackalicious frontman Gift of Gab eerily expresses the self-awareness of his demise quite possibly coming soon. After the final “Slap” skit, “Not Asking” feels like a cool homage to one of my favorite groups A Tribe Called Quest while “Last Night” featuring Slug takes it back to the basement talking about how ain’t nobody tryna eat off your peace.

Latyrx gets together with Baba Zumbi, Casual of the Hieroglyphics crew, The Grouch of the Living Legends & finally Lil B the Based God formerly of The Pack for a sequel to “Life is Awesome” showing their gratitude regarding the way life’s been treating them at this point in all of their careers & “Almost as Blue” finishes Lateef’s long-awaited follow-up to FireWire with this heartfelt tribute to Baba Zumbi, who passed away in the summer of 2021 following the 48 year anniversary of hip hop culture’s formation.

Mostly made during the pandemic, Experimental Slap was made during a time of great change, turmoil & personal revelation composed with fun and love as well as terror & tragedy. It’s emotional, intelligent & irreverent & while we’ve never really been for the drama. And there is in fact some drama because this album is a reﬂection of the time it was recorded. Personal & political. Intense polarization & isolation, coupled with extreme communal connection & service. Humanity in the face of death.

Score: 4.5/5

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Smino – “Maybe in Nirvana” review

St. Louis, Missouri rapper, singer/songwriter & producer Smino finally dropping his 3rd full-length album. Emerging in the spring of 2017 off his impressive full-length debut blkswn & notable for being member of the Zoink Gang supergroup, this was followed up with his 2nd & 3rd mixtapes NØIR & She Already Decided ahead of signing with Motown Records following his departure from Interscope Records for his critically acclaimed sophomore effort Luv 4 Rent. Couple years later, Maybe in Nirvana is finally here.

After the intro, the first song “Dear Fren” lusciously starts by breaking down how different shit’s been for him whereas the funky “Ready Set Goku” produced by Kenny Beats stands out telling this chick that they might need to be alone since they don’t get along on top of going on a run as if he’s Jackie Joyner & her getting attached being a catastrophe in the making. The title track likens every day to a different style dabbling with plugg music instrumentally while the cloudy “Lee” talks his cuzzo keeping the Clipse with No Malice & that he’s been drinking.

“Tequan” featuring Raven Lenae gets together for a summery, acoustic pop rap joint advising to change your position while “NSYNC” goes for a generally laidback vibe altogether talking about being a gentleman who late night walks as if he’s a pimp. “Ms. Joyce” featuring Bun B brings a psychedelic trap flare to the table referencing WWE Hall of Famer, 2-time WWE Intercontinental Champion & 3-time WWE Tag Team Champion Rikishi while “Hoe-nouns” featuring Reggie feels more like a Reggie song featuring Smino since Reggie takes up a bulk of it, but then “Glo-Fi” tropically ends the album by cautioning that he can’t be burnt out.

Fulfilling his Motown contract in favor of building up his own 0 Fatigue Records imprint, Maybe in Nirvana serves as a reflective & experimental prequel to Luv 4 Rent tackling themes of love alongside loss & self-discovery whilst maintaining Smino’s signature innovative style. He furthermore expands his artistic limits by fusing profound lyricism with immersive soundscapes that reaffirm his evolution as a musician & becoming more blatantly honest regarding his emotions.

Score: 3.5/5

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Teknology – Self-Titled review

Teknology is an east coast hip hop duo consisting of Tek & Termanology. One of whom hails from Brooklyn, New York & the other coming straight outta Boston, Massachusetts. Collaborating with each other multiple times over the years from tracks like “Walk with Me” to “Nobody” & “T2”, they’re coming off an appearance on UFO Fev’s 8th album Strapped from this summer to deliver a full-length debut of their own to start 2024’s final month.

After the intro, the title track produced by Statik Selektah sets the tone of what’s to come with a boom bap cut introducing us to both underground veterans as an official unit whereas “Hustler’s Soul” featuring Freeway groovily talks about the hustler mindset they have. “Money Deposits” featuring Ea$y Money works in more kicks & snares from Cartune Beatz advising to put your hands up just before “The Connect” featuring Bun B, Lil’ Keke & Paul Wall dabbles with trap for a homage to the south.

“I Got What You Need” featuring UFO Fev & Wais P atmospherically calls out those who don’t really want smoke when they be fakin’ it for the bullshit they be pullin’ leading into “She’s Got a Thing for Me” featuring 5 Mics shows off a more sensual side to all 3 performers & even the Statik beat gives off a laidback approach. “Boom Bap or Die” featuring Flash is Hip Hop pays homage to the titular sound that Nottz whips up, but then “The Sun Will Shine” featuring Steele warns the convo ain’t happening if money ain’t involved.

Meanwhile on “The Game Ain’t the Same”, we have Teknology atmospherically talking about the fact shit done changed while “What They Want” morbidly asks these bitches what exactly they want from them. “Toe to Toe” goes jazz rap & delivers well-articulated hardcore lyricism while “No Stoppin’” talks about them not slowing down over a Dom Dirtee instrumental. “Been Around” featuring UFO Fev ends it all by reaffirming their legacy on top of a Sndtrak instrumental.

Soon as I first heard “UFO Teknology” off Strapped during the summer, I knew that both of east coast MCs would eventually come together for an official body of work sooner rather than later & they sure did deliver on it. The production’s consistent, the guests all match the duo’s energy & they elevate their chemistry even further outstandingly bouncing off of each other’s intensities.

Score: 4/5

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Rich Amiri – “War Ready” review

Boston, Massachusetts up-&-comer Rich Amiri returning for the final month of 2024 with his 3rd full-length studio album. Beginning to turn heads since the fall of 2021 off the strength of his debut EP Ethereal, the 4ersona member would go on to follow it up with 6 more EPs before signing to Internet Money Records & introducing himself to a wider audience on the aptly titled Evolution followed by the sophomore effort Ghetto Fabulous. He landed a spot in this year’s XXL Freshman Class over the summer & is now War Ready roughly 6 months later.

“Amiri Trendsetter” featuring OsamaSon finds the pair kickin’ things off with this psychedelic trap instrumental talkin’ about people bitin’ their styles & that life can’t be any better in 2025 whereas “Oh Myy” has a bit of a rage influence living life as if it’s a movie. “Don’t Make Me” hazily suggests that he can show y’all how to move & finesse thanks to Internet Money in-house producer Synthetic & venny just before “U Want That?” flexes that he’s at Maggianos with a baddie over a siren & hi-hats courtesy of Rio Leyva.

OsamaSon & Amiri link back up on the futuristic trap joint “I’m wit It” explaining that shit’s getting gnarly in addition to showing off their new sticks & everyone else’s glitching while “Touché” works in a hypertrap beat talking about bitches tryna fuck him for his paper being outta their minds. “Count My Bandz” with co-production from Taz Taylor triumphantly clarifies that the world don’t owe you shit, but then the hypnotic “That’s It” boasts his lifestyle.

“Hunchos” ends the first half of War Ready expressing his fear of telling a bitch that he loves her because he’ll feel completely stupid if she ends up cheating on him while “Same Old Me” samples “New Person, Same Old Mistakes” by Tame Impala to talk about those thinkin’ shit’s sweet being goners. “I’m Gone” admits that he doesn’t want to choose violence & he’ll dead any beef if they bring it to him over a rage-inducing instrumental while “Stormi Daniels” likens his girl to the titular pornstar.

Meanwhile on “Keep It Cool”, we have Amiri maintaining the hypertrap vibes saying y’all better keep it cool ’cause shit could get ugly at any point while the carefree “So Easy” talks about having his way. “Gutta Gutta” promises that he won’t ever switch on his Day 1s shell shocking people & leaving them wrapped up while “G23” turns the bass up staying focused off the adderrall.

“U Like?” reaches further towards the backend of War Ready turning the distortion up a bit addressing a mischievous bitch who doesn’t love him at all & actually wants to beef him coming to the apparent realization that he doesn’t think he can save himself anymore while “Day After Day” finishes the LP with a cavernous trap cut knowing he’s been making it look like a breeze as a result of doing it from the very beginning.

Starting the deluxe run with a bang, “Heavy Steps” that Toom of Vanguard Music Group helped laced asks how you saying you have a check when you can’t even afford your rent while the intergalactic trap cut “New Celine” talks about him refusing to cop a plea deal. “Ray Charles” happens to be the final bonus track of the 3, treating a bitch as if she’s the rhythm & blues icon not seeing shit alluding to his blindness when he was still here.

Many have criticized Amiri for having a supposed “lack of authenticity” & he pretty much takes the opportunity to silence those individuals by putting out an album that reinforces why he landed a spot the 2024 XXL Freshman Class nearly 6 months ago. Although he’s been experimenting with his music for a while now, he’s trying out more new sounds on here & it results in his most eclectic offering.

Score: 3.5/5

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Stress Eater – “Everybody Eats!” review

Stress Eater is a newly formed east coast hip hop supergroup consisting of The Bronx, New York emcee/producer Kool Keith alongside Boston, Massachusetts emcee/producer duo 7L & Esoteric. They’ve collaborated with each other plenty of times whether it be “Daisycutta” off the penultimate 7LES album to date A New Dope or multiple CZARFACE projects since, so to hear that they were forming a new trio together & putting out a full-length debut of their own as a way of preluding CZARFACE’s next studio LP was only a matter of time. Only a day after WWE Hall of Famer Eric Bischoff gave CozyMax a record-setting 2nd reign as MLW World Tag Team Champions.

After the “Hunt for CZARFACE” intro, the first song “Rocket Science” is this slowly produced opener that The Czar-Keys laced as always declaring D-Day on all these wack MCs whereas “Here’s Some Homicide” featuring Ice-T takes the boom bap route instrumentally talking about stepping in front of a bus being a better option than fuckin’ with ‘em. “Cold Wave” moves on with a 81 second 7L & Esoteric solo cut returning to their battle roots & after the “People Want Sugar” interlude, “Willrow Hood” reunites the trio for a funky lyrical driving courses including a reference to WWE Hall of Famers D-Generation X.

“Top Men of Rap” makes their claim in the titular position referencing current AEW performer & commentator as well as former 7-time WWE world champion, 11-time WWE Tag Team Champion, WWE Intercontinental Champion, WWE United States Champion & 3-time WWE Hardcore Champion Paul Wight while “Mecha & the Sole Brother” if you couldn’t tell homages Pete Rock & CL Smooth’s iconic debut album Mecca & the Soul Brother. “Genuine Lifestyle” dustily talks about the way they live not being phony, but then “Off the Bones” feels like a passable Czar-Keys instrumental interlude.

“Space Cowboy” returns to the boom bap nearing the conclusion of Everybody Eats! referring to themselves as the sheriffs of this town while the song “Aladdin’s Castle” featuring Mega Ran notable for making the entrance theme of 12-time WWE tag team champions The New Day mixes an organ with kicks & snares making way for a 4-minute nerdcore banger. “Giving Back to the Universe” properly finishes Stress Eater’s debut on a mellow boom bap note coming in as if it’s a Mecha-Godzilla.

Creating a funky full-length adventure, Kool Keith and 7L & Esoteric become a counterpart character that can even give the mighty CZARFACE a run for his money after working together for nearly 2 decade by giving fans a rich blend of what makes both underground acts so special whether it be the block-rocking beats that The Czar-Keys cook up or the bizarre & mind-bending lyricism from both MCs.

Score: 4.5/5

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Wordsworth – “2 Kings” review

This is the 6th solo LP from Brooklyn, New York emcee Wordsworth. A member of the duo Punch n Words & the trio eMC, he officially made his solo debut 2 decades ago already with Mirror Music followed by The Photo Album & the Donel Smokes-produced New Beginning. After JSOUL went on to produce his debut EP Blame It on Music & later Sam Brown doing Our World Today respectively, the next EP Undivided Attention would be an improvement over Blame It on Music & the last album The Fragility of Life was overloaded with too many features. That said, hearing that Stu Bangas was lacing 2 Kings had me anticipating it in being Wordsworth’s magnum opus.

The title track kicks the door down with a warmongering boom bap instrumental & flag-planting territories & never giving up whereas “Day 1” by Punch n Words featuring Ali Vegas menacingly talking about being prepared for when your day comes. “Embarrassed” works in a soul sample with some kicks & snares suggesting your money ain’t enough to keep your habits leading into “Yearbook” talking about some people he knew becoming career crooks.

“Start the Madness” featuring Breeze Brewin’ keeps it in the basement altogether for both MCs to come together to deliver lyrical insanity for nearly 4 minutes just before “Mother of My Kids” featuring C-Red finds the pair over a somber boom bap beat talking about finding another way to happiness. “Oh!” has a funkily raw flare throughout addressing the alliance of 2 giants while “Which One Are You?” featuring eLZhi wants to know if one is either fake or true.

To begin the final leg, “Something Strange” has a classy piano flip noticing a problem when the ID didn’t have the same name at all prior to “Solidified” confidently talks about his status in the game. “Hard Times Don’t Last” provides optimism for those struggling right now promising that it will get better, but then “God’s Mailbox” finishes the LP talking about sending letters to the Higher Power.

The history this guy has with Punch n Words & eMC alongside his first couple solo albums has proven to me that he’s very much skilled on the mic, yet 2 Kings feels like something I’ve always wanted from him. Stu Bangas’ production from the moment you press play to the final moments is perfect, the guests are all well chosen & Wordsworth himself sounds passionate on the mic.

Score: 4.5/5

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