The Cure – “Songs of the Lost World” review

The Cure are a well regarded post-punk/goth rock band from Crawley, West Sussex, England, United Kingdom consisting of bassist/keyboardist Simon Gallup, keyboardist Roger O’Donnell, guitarist Perry Bamonte, drummer Jason Cooper, guitarist Reeves Gabrels & frontman Robert Smith. They’ve made some of the most essential music within both subgenres like 17 Seconds, Faith, Pornography, The Head on the Door, my personal favorite Disintegration, Wish & even the eponymous effort that Ross Robinson produced. 16 long years later, they’re back together for their 14th album.

“Alone” starts by fusing goth rock with dream pop & ethereal wave drawing it’s inspiration from the Ernest Dowson poem “Dregs” whereas “& Nothing’s Forever” is a slow & string-heavy number singing about a promise Robert made to be with someone on their deathbed. “A Fragile Thing” crosses over into alt/goth rock turf with additional influences from drean pop & baggy music clarifying there’s nothing you can do to change the end, but then the gloomy “Warsong” sings that we’re all born for war.

To get the 2nd half going, “Drone:Nodrone” easily stands as the catchiest & most upbeat moment on the entire LP from a musical standpoint acknowledging a tumultuous relationship just before “I Can Never Say Goodbye” passionately laments the death of Robert’s brother Richard for 6 minutes. “All I Ever Am” sings about way love turns out every time from his perspective will never be enough & “Endsong” wraps things up with a 10-minute epic of a closer inspired by a starlit night that reminded Robert of a similar evening in 1969, stargazing in the back garden with his father when Apollo 11 landed on the moon.

The goth rock/post-punk icons return after an over a decade dealing almost exclusively in death, dying & the relentless march of time inspired by David Bowie’s 26th & final album ★. The songs move slowly & many go on for minutes before Smith opens his mouth. No pop hits, no hooks & really no fun. It’s also some of the band’s most engrossing work, a statement that like most great Cure songs can’t be taken lightly.

Score: 4.5/5

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A-F-R-O – “The Bad & the Ugly: The Goods Always Die First” review

Los Angeles emcee/producer A-F-R-O teaming up with Boston, Massachusetts underground veteran Stu Bangas for his proper full-length debut studio album. A protege of R.A. the Rugged Man after winning the Definition of a Rap Flow contest, his Duck Down Music Inc.-backed 5th EP A-F-R-O Polo produced by Marco Polo introduced himself as a promising up-&-comer within the underground. I got to cover his self-produced 9th EP The Drawing Board earlier this spring & while thought that it was his best work yet, The Bad & the Ugly: The Goods Always Die First surely had more than enough potential to top it.

“Hip Hop Tournament” starts with a horn-inflicted boom bap instrumental addressing those who wanna battle him whereas “Bring Ya Best Army” brings an uncanny atmosphere to the table keeping it raw talking about his opposition bringing the best out of their arsenal. “Lost Souls” works in more kicks & snares to discuss the titular kind of people wandering around his parts just before “From Dusk ‘Till Dawn” featuring Lil D ruggedly talks about being unstoppable.

Moving on from there, “Pay Attention” maintains a boom bap edge advising y’all to actively listen to him very carefully as he shows how it’s done leading into “Hallucinogenz” sampling a bit of psychedelic rock with nothing on the mind but the dimesack. “Story of a Scumbag” grimly gets in his storytelling bag discussing a young kid with a cold heart prior to “Eyes Closed” boasting that he could do this shit in his sleep.

“Breakadawn” featuring Horror City & Motion+ nears the conclusion of The Bad & the Ugly: The Goods Always Die First by linking the trio up promising that they’ll always keep it moving prior to “Run 4 Ya Life!” rounding things out in the form of this murderous closer advising for everyone listening to bring a pen & a mic instead of a gun clarifying that your demise will be a good time for him.

For over a decade, I’ve always felt that A-F-R-O had more than enough potential to make a classic studio LP someday & it finally happened on Halloween wiping almost everything else that he’s done up until this point. The features are just ok, but Stu Bangas’ production top to bottom reveals itself to be a great match for A-F-R-O’s cutthroat lyricism.

Score: 4.5/5

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House of Krazees – “31” review

The House of Krazees are a seminal Detroit, Michigan horrorcore trio consisting of The R.O.C. alongside Mr. Bones & Hektik. Introducing themselves 31 years ago off the strength of their first 2 EPs Home Sweet Home & Home Bound, the next one Outbreed & their full-length debut Season of the Pumpkin back-to-back would later become classics in the early wicked shit scene followed by the sophomore effort Head Trauma until their 1997 disbandment. The R.O.C. would form HaLFBrEEd with Skrapz releasing their debut The Night They Came Home under the H.o.K. moniker in contrast to Mr. Bones & Hektik signing with Psychopathic Records as protégés of the Insane Clown Posse, renaming themselves as Jamie Madrox & Monoxide of the demented duo & Astronomicon founders Twiztid. HaLFBrEEd disbanded in 2000 after kontamiNATION despite that becoming another horrorcore essential & Twiztid released their first 9 albums through hatchet, departing at the end of 2012 & forming their own label Majik Ninja Entertainment a decade ago already. Kicking off the Halloween festivities, the original lineup of The R.O.C. & Twiztid are returning for their 3rd proper LP.

After the intro, the first song “Sent Here to Take You” perfectly starts us off foreshadowing what’s to come with this aggressive opener detailing their schizophrenic tendencies whereas “Lifeline” take the cold blooded boom bap route instrumental, talking about stabbing muhfuckas. “Into Hell Face 1st” brings a rap rack vibe to the table asking y’all what it’s worth once you reach Hell’s Pit prior to “Mask, Playing Games” drearily getting on the Jason Voorhees tip lyrically.

“Make It Dark” returns to the boom bap bringing the dark to your life discussing if they could stab the entire world just before “Killing Machine” brings a bit of an industrial hip hop vibe to the beat so they can talk about being comatose numb with a mask butcher knife stabbing. “The Slaughter, The Carnage” continues to show the trio’s murderous tendencies leading into “Swim in Your Blood” dusty talking about being addicted to doing exactly that.

As for “Break Skin”, we have the House of Krazees offering a bit of a dark atmosphere instrumentally discussing the possibility of living forever & never dying again biting the cartilage while “Killer Hunter” hopped over more kicks and snares to talk about killin’ ‘em all. “The Basement” pushes towards the final moments of 31 by putting an uncanny spin on the traditional boom bap sound talking about how it’s up to you if that’s where you really wanna die & “Thorn” ends by making sure there’s nothing left off everyone they’re killing. The bonus track “Down the Street” dabbles with trap yelling in the streets in black hoodies & pumpkin masks.

If you ask me, I never really considered The Night They Came Home to be the final House of Krazees album up to this point & more of the unofficial debut album from HaLFBrEEd. That said: their 1st body of work since Head Trauma goes to show the pioneering wicked shit group’s longevity. The R.O.C.’s production takes it back to their roots & it’s the most wicked that I’ve heard Twiztid sound in a while, foreshadowing their upcoming album Welcome to Your Funeral produced by Rob Zombie’s engineer Zeuss by taking it back to where it all started.

Score: 4.5/5

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Diorvsyou – “Ashes” review

Atlanta, Georgia up-&-comer Diorvsyou releasing his full-length debut album. Coming up in 2021 off his debut EP Scoreboard, it wasn’t until I saw him open up for southsidesilhouette in Brooklyn the folllwing November where I was personally introduced to his music & I was actually impressed with his set. The next EP w.t.f.i.dvy? (who the fuck is diorvsyou?) marked a bigger breakthrough for him artistically & almost a year since Diorvsrxlvnd’s eponymous debut, Dior himself’s returning up from the Ashes.

“Long Time” is this rage-inducing open or acknowledging the fact that it’s been a while since we’ve heard from him & that’s how life goes sometimes whereas “SoFarGone” produced by Zaan takes the psychedelic trap route instrumentally talking about everything being new. “WakeUpThumb” has a bit of a cloudy trap approach flexing his lifestyle just before the booming “Leisure” talks about being so high at the moment.

southsidesilhouette & Sk8star both join Dior on “ToThePlan” for a 3-headed monster of a trap heater produced by Y3rip & n9ck promising to come get you right if you talkin’ down leading into “African King” talks about having so much swag to the point where he doesn’t even know what he wants when hitting the stores anymore. “Fashion Forward” works in some hypertrap undertones to the beat boasting that none of the shit he puts on wax is fiction, but then the playful “Mudwash” talks about having too many options at his dispense.

“Prblms” featuring REEZY X brings the pair together over a regalia instrumental interpolating the classic JAY-Z single “99 Problems” while the inebriating atmosphere of “No Kap” featuring Sk8star talks about the fact that both of them are fly & they be makin’ this shit look ways. “:tf” featuring southsidesilhouette leaves hoes with the sad face explaining to them that’s not how shit goes for either one of them despite the horn-laced drill beat while the moody “Smash” boasts his wealth.

Meanwhile on “RacksIn”, we have Dior starting the final leg of Ashes on some cloudy trap shit talking about the racks coming in & cash going out while the otherworldly “Rated R” promises to let the 9 off if anyone ever tries to play with him. “X2” featuring Galactic Records signee tana turns the bass up high running an entire mile with Rick Owens boots on both of their feet & lastly, the closer “Toast” that Nosaint of Vanguard Music Group laced vibrantly ends Dior’s debut asking where his Day 1s are.

w.t.f.i.dvy? (who the fuck is diorvsyou?) showed quite a bit of potential in the 4evrrthumbin’ member & Ashes a year & a half later takes that same potential to newer heights. The guest-list is mostly consisting, there’s a lot more outside collaborators than there was on that previous EP as opposed to a single producer’s particular sound & Dior himself feels rejuvenated.

Score: 4/5

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Tyler, The Creator – “Chromakopia” review

Ladera Heights emcee, singer/songwriter, producer, actor, visual artist, designer & comedian Tyler, The Creator releasing his 7th full-length studio LP on a Monday to start off the Halloween 2024 week. Blowing up about 15 years ago as the de facto leader of Odd Future, his evolution both artistically & personally since the collective’s disbandment in 2015 has truly been amongst the most fascinating ones I’ve ever witnessed in my lifetime going from the bratty edginess of Bastard & Goblin to the undeniable maturity & versatility shown on Flower Boy & Igor. T’s last album Call Me If You Get Lost happened to be his best lyrically and a year & a half after The Estate Sale EP, we’re now entering Chromakopia.

“St. Chroma” produced with Inflo introduces us to the titular character representing where Tyler’s at personally & artistically pulling from experimental hip hop, west coast hip hop, industrial hip hop, neo-soul & neo-psychedelia whereas “Rah Tah Tah” throws it back to the Cherry Bomb era instrumentally talking about how she ain’t ever meet anyone like him. “Noid” mixes experimental hip hop, psychedelic rock, west coast hip hop, zamrock, rap rock, neo-soul, hardcore hip hop, psychedelic soul & neo-psychedelia tackling themes of paranoia prior to “Darling, I” sampling “Vivrant Thing” by Q-Tip to talk about him continuing to fall in love.

As for “Hey Jane”, we have T over this calming beat imagining what it would be like if his romantic partner Jane got pregnant even though neither of them were anticipating the pregnancy just before the colorful “I Killed You” breaks free from external pressures, toxic relationships, or outdated versions of himself. “Judge Judy” breaks down the story of a fleeting relationship with a woman named Judy bringing a nostalgic summer atmosphere to the table just before “Sticky” featuring Glorilla, Lil Wayne & Sexyy Red flips “Get Buck” by Young Buck explaining how shit’s getting out here.

“Take Your Mask Off” hooks up these prominent synthesizers & pianos hoping listeners find themselves while “Tomorrow” goes for a minimal sound altogether addressing his fear of aging. “Thought I Was Dead” featuring ScHoolboy Q & additional mixing from Romil Hemnani fuses hardcore hip hop, west coast hip hop, experimental hip hop, industrial hip hop, aquacrunk, fanfare & grime for a boisterous manifesto of his mentality later addressing people criticizing him for what he said about Columbia Records labelmate Ian during his SpringHill interview although the mixed reception of Goodbye Horses proved his point.

The pianos that start “Like Him” ahead of the psychedelic influences kicking in during the other half are stunning feeling like he’s chasing a ghost & wanting to know if he looks like his father while “Balloon” featuring Doechii samples “I Wanna Rock (Boo Boo)” by 2 Live Crew leader Uncle Luke so they can air this bitch out since both of them are at the top of the room. “I Hope You Find Your Way Home” finishes Tyler’s 4th consecutive classic by talking about vulnerability, self-awareness & personal growth over more synths & pianos while the deluxe run’s sole bonus track “Mother” recalls stories of his mom.

Breaking his traditional 2-year cycle of releasing music, Chromakopia to me is pretty much a mature refinement of Cherry Bomb. The experimentation within his production ventures beyond west coast hip hop in favor of neo-soul, hardcore hip hop, synth-funk, neo-psychedelia, progressive soul, rap rock, zamrock, industrial hip hop, aquacrunk, fanfare & grime so he can battle with the shades of maturity as the once colorful glee of ambition & youth withers away with his maturity. His mother Bonita Smith’s advice throughout keeps Tyler’s “light” alive, guiding him through the greatest hurdles in adulthood.

Score: 4.5/5

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Amyl & the Sniffers – “Cartoon Darkness” review

Amyl & the Sniffers are a pub/punk rock band from Melbourne, Australia consisting of drummer Bryce Wilson, guitarist Declan Martens, bassist Gus Romer & frontwoman Amy Taylor. Breaking out in the mid-2010s off their first couple EPs Giddy Up & Big Attraction, this resulted in them signing with ATO Records for their eponymous full-length debut & Comfort to Me. The latter of which became my introduction to them since it came out not long after current 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 made his in-ring return at the greatest AEW pay-per-view of all-time All Out III & he was giving it heavy props. Should further mention his role in being the guest referee when the current NXT Champion Trick Williams began his ongoing 2nd reign. B2B Records not too long ago signed a distribution deal with Virgin Music & are celebrating with their 3rd album.

The garage rock revival “Jerkin’” was a mediocre choice of a single telling obsessed losers who’re chronically online that Amy’s more successful than them & they’ll never get with her whereas “Chewing Gum” heads for a garage punk direction singing about being stuck to her new romantic interest. “Tiny Bikini” dabbles with hard rock discussing themes of feminism wanting to wear nothing but a bikini, but then “Big Dreams” forays into hard rock to sing about never being the dull one.

“It’s Mine” goes head-on riot grrrl come and clean it if she likes it it’ll eventually become her’s while the appropriately titled “Motorbike Song” serves as this rebellious head-banging anthem that I can most definitely hear Harley Davidson riders blasting as they’re driving around the city. “Doing In Me Head” admits that she’s sick of promising everyone that she’s the same as others embracing the hard rock vibes once again just before “Pigs” explaining that she doesn’t like the idea of conformity.

Meanwhile on “Bailing on Me”, we have Amy & company showing a bit of a White Stripes influence expressing the too familiar feeling of heartbreak prior to “U Should Not Be Doing That” fusing garage punk with garage rock revival alongside dance-punk & glam punk sings about knowing her worth. “Do It Do It” asks her lover all these questions maintaining a punk edge while “Going Somewhere” asks to turn off your phone & your thoughts altogether. “Me & the Girls” finishes by telling a story of her & her friends being wasted at the airport.

Cartoon Darkness in the grand scheme of things happens to be a conceptual LP revolving around the fact that our generation is spoon-fed information in addition to climate crisis, war, A.I., tiptoeing on the eggshells of politics & people feeling like they’re helping by having a voice online when we’re all just feeding the data beast of Big Tech. They drive headfirst into the unknown into this looming sketch of the future that feels terrible despite that it doesn’t even exist yet by expanding their garage punk sound beyond post-punk, hardcore punk, riot grrrl, glam punk, garage rock revival & hard rock.

Score: 4.5/5

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King Magnetic – “3rd Time’s a Charm” review

King Magnetic is a 46 year old MC from Allentown, Pennsylvania known for being 1/2 of the duo King & The Lost Cauze as well as a former member of the Army of the Pharaohs collective. Branching out in his own with the Everything’s a Gamble mixtape trilogy, he made his solo debut in the summer of 2015 with Timing is Everything which holds a special place in my heart since it came shortly following my high school graduation. Everything Happens 4 a Reason came in the spring of 2017 followed by the debut mixtape Back in the Trap & the Tone Spliff-produced sophomore tape Nobody’s Safe, the latter of which came after Magnetic’s departure from AotP due to a falling out with Vinnie Paz. Last we heard from him was a few summers ago when he dropped a 4th installment of the Everything’s a Gamble series & is returning for his 3rd album.

The title track produced by Tone Spliff is this boom bap opener starting a new building for the next floor of rap whereas “Money Call” maintains a dusty edge instrumentally delving into his business ties. “Keep One on Me” featuring Big Remo brings a soulfully raw vibe to the table courtesy of Khrysis explaining why they stay strapped while “Every Single Day” jazzily tackles the hardships of each passing day giving thanks to God.

“Rah Rah” featuring Kool G Rap brings the 2 together over this grimy beat bringing it hardcore together just before “POS” throws it back to the Back in the Trap era & I don’t mind since it’s a reminder that Mag can murder trap instrumentals too. “Where You From?” featuring Ill Conscious heads for a summery approach representing their respective home turfs, but then “Warrants” featuring John Jigg$ flexes they still out here over a soul sample.

After the Jake Palumbo remix of “Gun Charge” which I like more than the original, “Good Day” featuring Tug McGraw & Twin Gambit returns to the boom bap telling listeners that every day is good in their books while “Trust Issues” featuring Twin Gambit addresses the topic at hand over a piano flip. After the “Family Discussion” interlude, “Slow Motion” ends with Ka$h sampling some dirty south shit throwing kicks & snares in the fold getting it how he lives it.

Nobody’s Safe as a mixtape has to be right behind his first solo LP from almost a decade ago as my personal favorite in his discography although I’m sure anyone who is familiar with King Magnetic will find themselves enjoying 3rd Time’s a Charm. The guest-list is fine including a few standouts, the production is versatile whether it be boom bap or trap and dirty south & the Pennsylvania lyricist keeps it rockin’ for 40 minutes.

Score: 3.5/5

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Rejjie Snow – “Peace 2 da World” review

Here we have the 3rd full-length studio LP from Dublin, Ireland emcee & singer/songwriter Rejjie Snow. Starting out a little over a decade ago, he went on to release the debut EP Rejovich and the debut mixtape The Moon & You ahead of the acclaimed 300 Entertainment-backed debut album Dear Annie. The sophomore effort Baw Baw Black Sheep was more moderately received in comparison & had interest in where Rejjie was gonna take it on Peace 2 da World.

“Africa” happens to be this 1-minute jazz rap opener saluting Mother Earth whereas “Karen” takes the luxurious boom bap route instrumentally referring to a middle-class woman perceived to be entitled or excessively demanding. The title track calmly advises everyone to not choose violence leading into the mellowly dusty “Tokyo Drift” addressing someone he thought came to party.

In regards to “Peekaboo”, we have Rejjie stripping the drums altogether melodically professing his love to his partner just before “I’m Yours” continuing the themes of romance offering more of a dancehall flare this time around. “Rio de Janeiro” is a pen-pal letter in the form of this dedication to the the titular Brazilian city, but then “Monkey in the Room” works in some background vocals talking about the pressure weighing on him heavy.

“Flight to Brazil” heads for trap territory playfully addressing his favorite woman while “Poofy Leaves” goes drumless again getting in tune with nature now it’s fall. “Mask On, Off” tells everyone to jump out the way & this ain’t propagated while “Grandma’s Hands” returns to the boom bap remembering his grandmother. “Snow White” closes Peace 2 da World praising the reasons for his looks over a vintage sample.

Since he’s a nomadic person, this album as a whole is a representative soundtrack to those days & the places Rejjie Snow has roamed in addition to themes of self-discovery & slowing down to focus on the important things in life. Speaking to his favorite person in the world & marking the very first time he’s made something for someone specifically, it improves on Baw Baw Black Sheep by forcing honor & challenge upon himself in ways he’s never done up until this point in his career.

Score: 3.5/5

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Che Noir – “The Lotus Child” review

This is the 3rd full length studio LP from Buffalo emcee/producer Che Noir. Discovering her after 38 Spesh signed Che to TCF Music Group & fully produced her first 3 EPs, her Apollo Brown-produced full-length debut As God Intended & then her self-produced 4th EP After 12 during the 2nd half of 2020 where her potential began to blossom exponentially. She has since followed this up with the sophomore effort Food for Thought as well as The Last Remnants, the Big Ghost Ltd.-produced Noir or Never & more recently The Color Chocolate. Almost 9 months to the day, The Lotus Child has finally arrived.

“Shadow Puppet” is a soulful, jazzy self-produced opener talking about being unable to appreciate the sun until being in the shadows whereas “Black Girl” featuring Rapsody takes the boom bap route instrumentally allowing them to uplift African American women as a whole. “Sister Act” maintains a dusty edge to the beat teaching lessons from a student of the game just before “Guns & Roses” featuring 38 Spesh keeps the sampling in tact rubbing clean money into the faces of doubters.

Starting the other half, “Jodie Landon” comes through with an angelic boom bap vibe to the beat talking about the light guiding us all while “Wis Love” shifts into a cloudier direction paying tribute to her husband. “Choices” has to be one of the most passionate moments on the entire EP reflecting on the days where she was sleeping in cars feeling hopeless, but then Statik Selektah fuses gospel & boom bap on the closer “Angels” remembering her brother & cousin who were both murdered.

It was smart of Che waiting until the timing was optimum to deliver something focusing on her growth & artistry, which The Lotus Child very much achieves being 3 years in the making. Easily the most I’ve enjoyed something from her since Noir or Never. Her lyrical prowess, storytelling abilities & dexterity as a producer are all being fully realized as she raises the stakes & leaving some of the most essential cuts of her entire career along the way.

Score: 4.5/5

Heaven & Miztica – “Deathpression & Inhumanity” review

This is a brand new double disc collaborative album from Russian duo Heaven & Miztica. One of whom was already established within the European horrorcore scene by putting out a couple EPs alongside a full-length album as part of his solo discography in the early/mid 2010s & the other happened to be his close friend, music partner, a multi-talented vocalist & a highly skilled tattoo artist. Heaven sadly passed away in September 2021 due to COVID-19 complications & Scum signed the duo to Lyrikal Snuff Productionz exactly a year later, making them the label’s first international act. Deathpression & Inhumanity were later clarified to be Heaven’s final works, which made even more since when Miztica signed to LSP as a solo artist this spring.

“The Farm” starts in the form of this Hellish trap metal opener talking about the reason why both of them are alone whereas “Sorrow & Sadness” featuring Jakob Shaw finds the trio taking the boom bap route instrumentally discussing the only 2 things they have in this world. “On My Own” goes full-blown nu metal to talk about doing things themselves just before “Anger” fuses trap metal with nu metal showing off some angst.

As for “Close Your Eyes”, we have the duo returning with a nu metal edge with some hardcore rap verses leading into “Do Me a Favor” featuring Suburban Noize Records g-punk band (həd) p.e. gets everyone together for this killer rap rock/nu metal crossover throwing it back to the early 2000s. “Let Me Try” chaotically tackles the theme of death while “Where Are You?” sings about wanting to be remembered.

“No More Hell” works in some heavy guitars advising not to look at either one of them in the face since they’re ready to fly & the closer “While My Flame Burns” properly ties off the collaborative 2-disc experience with this heartfelt rap rock ballad that would not only make Heaven proud of, but Sick Jacken lays the best feature for the end on top of it.

In contrast to most of the artists on the LSP roster being known for putting a boom bap & trap spin on the horrorcore subgenre, Deathpression / Inhumanity sticks out as something completely unique blending trap metal with nu metal & rap rock during the span of a 2-disc body of work clocking in it a little over a half hour doing Heaven’s legacy justice & sparking interested in Miztica’s solo career going forward.

Score: 4/5

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