Destroy Lonely – “Love Lasts Forever” review

Atlanta, Georgia recording artist Destroy Lonely returning for his sophomore effort. The son of former Disturbing tha Peace Records signee I-20, he’s released a total of 11 EPs since originally breaking out through SoundCloud in 2019 prior to Playboi Carti signing alone to his Interscope Records imprint Opium Records to surprise drop his last tape No Stylist in light of his ongoing tour with fellow label-mate Ken Carson last summer followed by the full-length debut If Looks Could Kill last summer. Another year passing & the most versatile Opium artist looks to remind us that Love Lasts Forever.

If you really think about it, “Forever” pretty much gets the ball rollin’ in the form of the title track telling us love as well as money & his particular lifestyle being eternal sampling All Saints whereas “Love Hurts” featuring Lil Uzi Vert finds the 2 telling us the downsides of romance going for an atmospheric trap instrumentally. “Luv 4 Ya” was a fine choice of a lead single waking up too rich while “Crystal Clear” goes for psychedelic approach admitting to not understanding that some of his homies ain’t here & bitches being unforgivable. The latter being odd considering the domestic abuse allegations couple months earlier & he responded by saying “hoes mad” & nothing more.

“Baby Money” moves on from there with an atmospheric trap flare to the beat flexing the newest nickname that he’s received prior to the quasi-pluggy “Say That” reuniting with Lone’s longtime collaborator Clayco telling it’s only life as opposed to a lifestyle of it’s own. The symphonic trap vibes of “Pimp Talk” happens to be a cool change of pace portraying himself as an actual pimp just before “Cadillac” shows off the 200 on his neck over a decent FNZ instrumental.

Nearing the end of Love Last Forever’s first half, “Syrup Sippin’” produced by Toom of Vanguard Music Group brags he got weed blowin’ strong similarly to that of a speaker & that he does in fact sip lean while “Lock In” talks about a bitch tryna skate all on his ice thinking she Frozone from The Incredibles trilogy. “Doubt It” refuses to a miss a single dollar further embracing the Baby Money persona, but then “Wish You Well” has one of my favorite beats on the album courtesy of Wheezy so he can talk about the legitimate trappin’ he does.

“Ship Her Off” once again portrays himself as a pimp droppin’ an entire check with his clothes refusing to switch up his flow reconnecting with Cxdy of Internet Money Records while “Honestly” opens up about a breakup wishing an ex-girlfriend of his was still here with him since shit’s been getting real & he’s been bigger than big lately. “Take a Trip” brings an energetic quality to the table getting in his young rich bag for 3 & a half minutes while “Extra High” talks about feeling safe once he’s higher than he normally is.

Meanwhile on “Amerika”, we have Lone over a somber trap sound making everything black & “Thrill” featuring Ken Carson reminds us of the strong chemistry between Opium’s first 2 artists. “About Money” starts the bonus track run making it clear he’s got his mind on the paper over rattling bass while the uncanny atmosphere of “No Worries” co-produced by Taurus shrugs off any concerns. “Pass Me the Keys” lastly closes shop talking about being high to the point where he shouldn’t be driving.

“The Bounce” officially starts the deluxe run rockin’ 5 star since stylin’ ain’t so hard for him over a cavernous trap instrumental from BryceUnknwn while the trippy “Make a Sound” talks about shawty fallin’ in love with Baby Money leaving $100s peakin’ out & his cross is upside down representing the Opium clique. “See You Tomorrow” cloudily sets out to pop a bottle & call up the models the next day since there ain’t no time for sorrow while “Meet the Boss” chaotically boasts that he doesn’t know another young dude out here like himself. “Bling” entrancingly shows off old school bling puttin’ on for the ’99 & 2000s paying homage to the Juvenile hit “Back That Azz Up” servin’ crack like the 80s named after the Cash Money Millionaires single “Bling Bling” off B.G.’s 4th & best album Chopper City in the Ghetto.

“Smoking” remains locked in with all his dogs rockstar trippin’ in a bassy, hallucinatory fashion while “Healing” turns the atmosphere back up referencing UFC Hall of Famer, the inaugural UFC Women’s Bantamweight Champion, 3-time WWE women’s world champion & WWE Women’s Tag Team Champion Ronda Rousey formerly of both TKO Group Holdings divisions. “Forgot My Name” hazily further continues expands on the theme of getting stoned while “LSD” with Y3rip energetically gets extra lit every single night without getting exhausted making bar mitzvah money. “Money Anthem” is a whole theme song dedicated to the bread wanting naysayers to say something leaving their main bitches mouth full unable to say shit & the physical exclusive “Bangaz” featuring Don Toliver otherworldly talks about liking the way their bitches twist their fingers. “Get Right” goes rage again standing tall & “Prettiest One” cavernously cops a Chanel bag for the prettiest bitches.

I’d like to start the final paragraph of this review by apologizing to all my Opium fans reading this because I’m well aware of the fact I’ve gained a following within their fanbase not too long after Anthony Fantano’s scathing criticism for my support of them & even if Love Lasts Forever has it’s highlights, I didn’t enjoy it as much as I did No Stylist or even If Looks Could Kill. It’s understandable the most versatile signing on the Opium roster would want to take a break from having Clayco produce a large portion of the LP since they have that Metro & Future chemistry, it’s that a lot of this production feels repetitive as a result.

Score: 3/5

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Nails – “Every Bridge Burning” review

Nails is a Oxnard, California grindcore band consisting of guitarist Shelby Lermo, bassist Andrew Solis, drummer Carlos Cruz & frontman/guitarist Todd Jones. Their 2010 debut Unsilent Death has become of the greatest albums in the extreme metal/hardcore punk fusion subgenre, landing them a contract with Sunn O)))’s independently owned Southern Lord Records to put out an acclaimed sophomore effort in Abandon All Life & later signing with Nuclear Blast Records a few years after that for You’ll Never Be One of Us. Nearly a decade of radio silence, Todd & company are returning on Every Bridge Burning.

“Imposing Will” couldn’t have been a better choice for an opening track mixing grindcore & metalcore having the effect of an urgency talking about no matter how deep it cuts, it’ll never be enough whereas the 1-minute “Punishment Map” brutality sets out to making people feel the way they make Todd feel. The title track explosively talks about the knife inside & the past being where there’s hurting just before “Give Me the Painkiller” fuses metalcore, grindcore, thrash metal, speed metal & stenchcore discusses a painkiller addiction.

On “Lacking the Ability to Process Empathy”, we have Nails going for a primarily metallic hardcore sound with additional elements of grind to talk about friends turning into enemies leading into “Trapped” going full-blown grindcore feeling stuck in a living Hell. “Made Up You Mind” continues the shortened song structures & a diverse palette of intense techniques calling out someone who isn’t in control, but then the skull-smashing “Dehumanized” discusses the idea of dehumanization.

“I Can’t Turn It Off” reaches the final moments of Every Bridge Burning addressing everyone who thinks that Todd’s a terrible person refusing to apologize for doing it his way & never compromising himself or the rest of the Nails for that matter & lastly, “No More Rivers to Cross” is this adrenaline-inducing 3 minute closer clarifying that he doesn’t see things the way others do wanting be left alone, pay his bills & die in his home.

Almost 15 years of cementing themselves further as the greatest grind band that the subgenre has seen in recent memory, Nails’ comeback effort makes it seems like they never even left in the first place because it’s their 2nd classic with Nuclear Blast & their 4th consecutively gratifying LP overall. They show everyone exactly how much they’ve evolved since the last time we heard from them taking their signature style & excellently fuse it with metalcore, crust punk, sludge metal, thrash metal & speed metal.

Score: 4.5/5

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che – “Sayso Says” review

This is the full-length debut studio album from Atlanta, Georgia up-&-comer che. Starting as a member of the 4ersona collective under the original moniker murkio before settling on cheRomani+ & later abbreviating it. But it wasn’t until more recently where he decided to build a solo catalog for himself by putting out the debut EP 3 over a year ago & followed it up this past February in the form of X, which was supposed to be the original version of his 3rd EP Closed Captions over the summer which was a solid introduction to who he is artistically & personally. Crueger last Halloween showed more of a Chief Keef influence & is releasing Sayso Says with only less than a month left of summer.

“I Rot, I Rot” starts by hopping over an intergalactic trap instrumental from CXO talking about not needing any more new friends whereas “Saska, You Made It” turns the rage up celebrating his newfound success. “Pretend We’re Sleeping” encourages everyone to do their own shit working in some synths & hi-hats prior to “Get Naked” goes hypertrap again flexing his VIP status.

The message on “Enjoy Your Life” comes from a good place of heart maintaining the rage beats thanks to Ginseng telling his fans to enjoy their time here alive just before “Been There, Done That” has this bubbly hypertrap tone to the beat talking about doing it all. “Hex On My Chest, It’s Going Down” goes for a spaciously booming approach instrumentally advising to simply get through it & you’ll be ok leading into the energetic “Pissy Coffee” refuses to play games with anyone.

After the interlude, “It’s My Party & I’ll Die If I Want To” kicks off the other half of Sayso Says inducing more rage talking about not wanting peace anymore while “Don’t Tell No1” encourages people to come fuck with him over densely buzzing synth work with repetitive chord progressions & melodic synth leads. “Nunca Hacer Cocaina” incorporates a hint of digicore undertones speaking out against cocaine usage while “School Girl Sashimi” keeps the rage beats rolling talking about lust.

“Y.D.F.W.M.N.M.? (You Don’t Fuck With Me No More?)” whips up an ethereal trap banger calling out the people who switched up on him while the futuristic “Children Shouldn’t Play with Dead Things” wishes this bitch knew how he really felt. “Cut Off Your Hands” turns the bass up suggesting his girl should chop her hands off since she gives so much head & “My Favorite Color is Red” serves as a bombastic closer leaving blood everywhere.

Only a couple years in the game & I have no doubt in my mind that Sayso Says will take che to newer heights since it basically surpasses every expectation set out by his early EPs. His songwriting/performances are on par if not above Crueger’s last Halloween & I’d be reminded if I didn’t commend him for doing such an outstanding job self-producing a lot of it basing the LP’s sound primarily in the rage subgenre that he emerged out of.

Score: 4/5

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Big Sean – “Better Me Than You” review

Detroit, Michigan rapper & singer/songwriter Big Sean returning after 3 years to release his 7th LP. Coming up as a protege of Chicago icon Kanye West & signing to his Def Jam Recordings imprint G.O.O.D. Music, he generated some buzz in the late 2000s by dropping the Finally Famous mixtape trilogy, but it wouldn’t be until 2011 when his profile significantly increased when Sean dropped a 4th installment as his full-length debut. This was followed up the next year with the highly acclaimed Detroit mixtape & then a sophomore album the year after that entitled Hall of Fame. However, his next 2 full-lengths Dark Sky Paradise & I Decided. were both mediocre in comparison to all those past efforts. Now the last time Big Sean dropped a project was in late 2017 with Double or Nothing which had INCREDIBLE production from Metro Boomin’ top to bottom, but Sean himself was SEVERELY lacking. His G.O.O.D. Music contract was fulfilled with the surprisingly mature Detroit II & the Hit-Boy produced What You Expect? was better, but is coming back addressing some leaks over a month ago brushing off that it’s Better You Than Me.

After the “Pressure” intro, the first song “Iconic” that by BNYX of Working on Dying alongside Hit-Boy, Rogét Chahayed & Tom Levesque of Vanguard Music Group cooked up together starts us off on some trap rock shit flexing his icon status whereas “Typecast” takes the cloudy trap route instrumentally showing off the pimpin’ in his blood feelin’ like Jerry Buss in the arena. “Break the Cycle” featuring Uncle Charlie Wilson of the Gap Band on the hook has a funky boom bap flare that Leon Thomas III provides callin’ out those who believe more than what actually happened, but then “Who You Are (Superstar)” brings a triumphant trap vibe to the table calling his #1.

“Yes” was an mediocre 2-part trap single that FNZ helped put together with an annoying ass hook telling us the way he responds when muhfuckas say no just before “It Is What It Is” featuring Gunna picks things back up from the synth-trap beat from Turbo to the lyrics about how this is only as big as it gets. “Apologize” is a self-produced drumless open letter to Sean’s mentor Ye which isn’t surprising since Kanye talked mad shit about him in that 2021 Drink Champs interview & after the “Clarity” skit, “On Up” has an old school west coast sound that FF for Def Entertainment in-house producer KeY Wane brings to the table dedicated to his son Noah.

Meanwhile on “Something”, we have Syd of The Internet & originally Odd Future joining the Sean Don for a subdued trap/pop rap joint reminding the listeners that we all have our different bullshit that we’re each going through in our lives until Thundercat provides a psychedelic tone for “Black Void” being done with the disrespect. “This n That” featuring Bryson Tiller & Kodak Black ruins a heavenly Hit-Boy instrumental talking about taking psychedelic mushrooms & 1,000,000 Pieces” featuring Larry June likens their lives to a puzzle broken down to so many pieces over a mellowly dusty instrumental.

“Get You Back” featuring Cash Cobain gets into the sexy drill style that the latter sample drill pioneer has become known for in regards to his solo work with the help of WondaGurl talking about ex while “Certified” featuring the late D12 leader Proof’s son Nasaan vibrantly boasts their certifications in the rap game. After the “Focus” skit, “Boundaries” points out that time ain’t running out when it’s really life running its course while “Precision” was a decent trap/chipmunk soul hybrid.

As we approach the final moments of Sean’s first full-length outing since leaving G.O.O.D. Music, the official closer “My Life” finds KAYTRANADA backing Sean with synths & an outro skit “Happiness” that really should’ve been separated into a track of it’s own telling us he had to boss up & the bonus cut “Together Forever” makes me want The Alchemist to do an entire project for Sean in the future whether it be the gospel flip or the Detroit star saving some of the best lyrics for last.

Better Me Than You surges beyond the sentimental to embody something altogether more meaningful regarding the man behind the mic & I respect that he’s at a point in his life where he lets things happen when they’re supposed to happen, yet I didn’t enjoy it as much as Hall of Fame or Detroit or even the sequel & What You Expect?. All 4 of which are my favorites in his discography. Even if some of the production & guests falter, I can’t dismiss the newfound perspective.

Score: 3/5

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Strick – “All Time High” review

Atlanta, Georgia rapper & songwriter Strick releasing his sophomore full-length studio LP after a few delays. Following his debut mixtape Risk=Reward & it’s sequel, this resulted in Young Thug signing him to YSL Records putting out 3 more tapes as well as the debut album Strick Land & more recently the 2Late 2Apologize. 21 months later, he’s at an All Time High regardless of YSL’s ongoing R.I.C.O. case & is ready to share it with the world as fall’s getting ready to start in 3 weeks or so.

The synth-driven “Chess Not Checkers” starts by singing about living like a star ever since signing to YSL whereas “Kisses Make Sure” featuring James Blake & Young Thug gives off an acoustic trap/pop rap vibe so the trio can tackle the themes of love. “Neat Freak” keeps the mellow trap production rolling flexing his current status while the cloudy “Cr@sh” featuring Travis Scott recalls the previous night where shit got too crazy.

“Lacrosse” moves on from there with 110 second trap cut talking about always keeping a stick on him just before “Nightcrawler” hooks up a stripped-back loop & hi-hats getting boastful lyrically. “Recipe for Love” featuring Future has a syrupy flare to the beat calling out their partners for doing them bad, but then “Party @ 4am” moodily talks about turning up in the early hours of the morning.

Meanwhile on “Fighter Jet”, we have Strick over another acoustic trap hybrid beating the odds letting y’all see for yourselves the way he’s living now leading into “Complete You” starting the 2nd leg of the album on the melodic pop rap tip. “On Your Line” intoxicatingly keeps the subject of romance in mind while “Come Alive” featuring 6LACK fuses trap, pop rap & R&B talking about their partners being enlivened during sex.

“Higher Living” serves as this lavish ode to living better while “Vase” produced by ATL Jacob atmospherically tells everyone listening to not let the fast life change you whatsoever. “Voice & Laugh” samples soul music throwing hi-hats into the equation learning a lot about loyalty & missing his ex while “ILY.” hops over a crooning beat talking women & people stealing his style.

Nearing the conclusion of the LP, the penultimate track “Slurricane” goes off-the-top for little over a minute telling his new bitch that he can get her in the mood & he isn’t anything like her previous man in any way shape or form while “Point Proven” ends the album talking about being a rockstar over a horn-laced trap beat.

YSL’s output in last year or so has been extremely hit or miss & I actually happened to enjoy All Time High more than Gunna’s last 2 post-incarceration efforts A Gift & A Curse and One of Wun combined. Mainly because it’s produced better, the guest-list is stronger than Strick Land almost 3 years ago & Strick himself lets everyone know where he’s at in his life currently.

Score: 3.5/5

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Josiah the Gift – “Lavish Language” review

Brooklyn, New York emcee Josiah the Gift returning 6 & a half months after The Glorious Si’s eponymous debut to release his 6th solo LP. Starting out in the late 2010s by releasing his first 2 EPs Jack Johnson & Raw, he later broke out within the underground back in the summer of 2020 off his acclaimed debut album Iron Mic. His profile continued to elevate with the debut mixtape Remain Raw, the sophomore effort Mightier Than the Sword as well as the sequel, the True Cipher-produced TOGO & his previous album God’s Gracious. A year & a half after the lagger, the Gift of The Umbrella is returning to speak that Lavish Language.

“Rep” starts us off with an orchestral beat talking about the reputation proceeding, elevating & focusing on his goals demonstrating whereas “Hommy” works in some background vocals suggesting that you should lay low if you catch a body because the case will be closed if they find it. “Wolvez” embraces the boom bap sound instrumentally letting everyone know who y’all be fuckin’ with prior to “Mulsanne” maintaining those kicks & snares refusing to introduce himself since they should know by now.

The guitar/boom bap hybrid “Take II” finds him evening out the butters wondering where all his homies stumbled at musically & his mom being out in the streets during the 80s, but then the exuberantly dusty “Karhu Sneakers” talks about never disrespecting him since he the reason people even on the guest list showing off his kicks from the titular brand. “Florence Cathedral” featuring HooksArthur samples soul music wanting their flowers givin’ ‘em love just before “True Story” takes it back to the basement instrumentally talking about being the one you can call for peace.

“Lavish” featuring Bless Picasso takes a funkier approach to the beat comparing the chef in the kitchen that’s cookin’ up the drug supply to Guy Fieri additionally suggesting that root of evil is necessary & love being secondary while “Patra” returns to the boom bap telling the story of a homie of hos who ends up getting shot to death. “The Glory” rawly talks being satisfied with life even though he’s not a millionaire while “You’re Gonna Die” strips the drums details another homie that’s moving with no fear of death.

Pushing towards the final moments of Lavish Language, the instrumental on “The Filth” sorta gives me a capacious vibe pointing out the fact that everyone comes from nothing on top of being tired of seeing others strugglin’ or his mind still being wired to hustlin’ that is until “The Chosen” ties up the LP soulfully feelin’ his spirit leaving him fantasizing of owning Benz’ & jet skis seeing one’s future in different directions.

5 years in the making damn-near & what Josiah the Gift presents to us here stands out differently than what he’s done previously, joining Iron Mic & The Glorious Si album as one of the 3 essential standouts in his discography. Bishop cooks some of the most thorough beats of his career, the 2 guests strongly contribute to their verses hold their own weight & Josiah’s performances maintain the laser-focused hunger of both full-lengths I mentioned earlier.

Score: 4/5

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Juicy J – “Ravenite Social Club” review

Memphis, Tennessee rapper, songwriter, producer & record executive Juicy J coming off the Mental Trillness duology to release his 8th solo LP. Rising to stardom in the 90s as the co-founder of the seminal Three 6 Mafia alongside his Tear Da Club Up Thugs cohorts DJ Paul & the late Lord Infamous, he’s also had the most successful solo career out of everyone in the Mafia whether it be the Taylor Gang Entertainment/Columbia Records-backed Stay Trippy & Rubba Band Business: The Album or more recently Crypto Business & Mental Trillness. The latter & it’s sequel noticeably taking on a more serious tone than some of Juicy’s latest material, taking a good chunk of it’s time coping with Gangsta Boo’s untimely passing. Further diverting from the norm, he’s going jazz rap in the Ravenite Social Club.

After the “Provider” intro, the first song “The Higher Ups” further sets the tone of what’s to come hopping over a jazz boom bap instrumental from longtime Griselda affiliate JR Swiftz dissing corporate America whereas “Don’t Go Out” works in some pianos as well as kicks & snares advising not to go out the way Paul Castellano of the Gambino crime family did. “That’s Gangsta” keeps it boom bap explaining how hard it is to be splitting 50/50 with his bitch, but then “Everything All Good” has a warmer trap approach telling us he’s been doing ok.

“Fucked Up Era” hooks up some horns describing what he was living in for the past year & a half or so that resulted in both Mental Trillness albums prior to “Thought It Was” strips the drums completely boasting his luxurious ways of living. “Deserve It” has this orchestral boom bap flare to the beat dedicating it to all the independent shawties ahead of “The Past is the Past” colorfully leaving everything behind him for approximately 116 seconds.

The self-produced “Consequence” mixes these pianos with kicks & snares reminding the listeners of the most valuable lesson a person can learn in their lifetime while “Payment” swaps the keys out in favor of synthesizers admitting The Notorious B.I.G. wasn’t lying when he said “Mo Money, Mo Problems” using his own experiences. “1 in 1,000,000” hops on top of more horns advising what a dangerous lie it is that you don’t have to work just before the soulfully drumless “Suicide Doors” featuring Cordae warns to get a bag before you beef since you’ll need money for war.

“The Bottom Line” continues to chop up the soul samples smoking & drinking 1 for old time’s sake while the 4 minute “To You” pays tribute to Lord Infamous, Koopsta Knicca & Gangsta Boo over Robert Glasper playing piano. “Sometimes” further pushes the closure of the Ravenite Social Club for the night soulfully asking if you needed someone to talk to & no one was there while “Things Changed” promising he’ll be there when his baby falls automatically telling her yes if she ever calls him.

Beginning the deluxe run, the drumlessly jazzy “In Plain Sight” disses the haters for wanting to see him torn down legalizing products to sell at the same price while “Fit the Mode” featuring Project Pat puts a mature spin on trap generally talking about the best thing in the world being a woman by your side. “Could’ve Been Worse” goes boom bap reminding that you only get 1 chance to make it while “Enemy Lines” angrily warns what happens once you cross a specific path.

“Just Listen” jazzily advises everyone who’s still tuning in for them to take care of their business while “Dizzy” drumlessly reflects on spending most of his time denying what the heavens planned & refusing to fake the funk anymore by letting the prophets come true. The final bonus track “Point ‘Em Out” featuring Remy Ma goes trap for a dedication to all the real women & not trying to risk being around the bitches who’re fake.

Both installments of the Mental Trillness duology were greeted to mixed reception although I personally appreciate them for being more introspectively serious than some of Juicy’s past solo material & now that we finally got Ravenite Social Club after 8 months in the making, it could very well be my favorite of his since branching out on his own & he’ll even tell you that himself. It’s a change of pace with its production building upon the sounds of jazz rap, boom bap, drumless & chipmunk soul focusing less on trap taking the overall maturity a step further.

Score: 4.5/5

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Heems – “Veena” review | हीम्स – “वीणा” समीक्षा

This is the 3rd full-length solo LP from Queens, New York emcee Heems. Emerging in 2008 as 1/3 of the alternative hip hop group Das Racist, he put out a couple mixtapes Nehru Jackets & Wild Water Kingdom as well as the full-length debut album Eat Pray Thug following their disbandment in 2012. Hima started up his own Mass Appeal Records imprint Veena Sounds & joining forces with the new label’s in-house producer Lapgan on the critically acclaimed sophomore effort Lafandar, now looking to go back-to-back with Veena.

यह क्वींस, न्यूयॉर्क एम्सी हेम्स का तीसरा पूर्ण-लंबाई वाला एकल एलपी है। 2008 में वैकल्पिक हिप हॉप समूह दास रेसिस्ट के 1/3 सदस्य के रूप में उभरते हुए, उन्होंने 2012 में अपने विघटन के बाद कुछ मिक्सटेप नेहरू जैकेट्स और वाइल्ड वॉटर किंगडम के साथ-साथ फुल-लेंथ डेब्यू एल्बम ईट प्रेयर ठग भी निकाला। हिमा ने अपनी खुद की शुरुआत की मास अपील रिकॉर्ड्स ने वीना साउंड्स को छाप दिया है और समीक्षकों द्वारा प्रशंसित द्वितीय प्रयास लफंदर पर नए लेबल के इन-हाउस निर्माता लैपगन के साथ जुड़ रहे हैं, अब वीणा के साथ बैक-टू-बैक जाने की सोच रहे हैं।

After the titular intro, the first song “Ratatouille” is a colorful boom bap opener talking about feeling more confident than ever whereas “Manto” featuring Vijay Iyer works in more kicks & snares turning the jazz influences all the way up treating this shit like as if it’s his mission. “Bourdain” featuring Mr. Cheeks keeps things in the basement instrumentally talking about staying alert & after the “Underbelly” skit, “Rakhi” featuring Ajji & Pavvan dabbles with drill a bit getting boastful.

टाइटैनिक इंट्रो के बाद, पहला गाना “रैटटौइल” एक रंगीन बूम बैप ओपनर है जो पहले से कहीं अधिक आत्मविश्वास महसूस करने की बात करता है, जबकि विजय अय्यर की विशेषता वाला “मंटो” अधिक किक और स्नेयर में काम करता है, जो जैज़ प्रभावों को पूरी तरह से बदल देता है, जैसे कि इस गंदगी का इलाज करना। अगर यह उसका मिशन है. मिस्टर चीक्स की विशेषता वाला “बोरडेन” बेसमेंट में चीजों को सतर्क रहने के बारे में बात करता रहता है और “अंडरबेली” स्किट के बाद, “राखी” जिसमें अज्जी और पाववन की भूमिका है, थोड़ा घमंडी हो जाता है।

“Flowers” featuring Navz-47 goes for a hypnotically spacious Middle Eastern vibe talking about love & after the “Juhi” interlude, the song “Dame” shoots for a dancier groove flexing that he’s wiser than Master Splinter from the Teenage Mutant Ninja Turtles. And prior to the “Righteous” outro, the final song “Banshee” featuring Cool Calm Pete slickly finds the 2 bossing up.

नेव्ज़-47 की विशेषता वाला “फ्लावर्स” प्यार के बारे में बात करते हुए एक सम्मोहक रूप से विशाल मध्य पूर्वी वाइब के लिए जाता है और “जूही” इंटरल्यूड के बाद, गाना “डेम” एक डांसर ग्रूव के लिए शूट करता है जो दर्शाता है कि वह टीनएज म्यूटेंट निंजा टर्टल के मास्टर स्प्लिंटर से अधिक बुद्धिमान है। और “राइटियस” आउट्रो से पहले, कूल कैलम पीट की विशेषता वाले अंतिम गीत “बंशी” में दोनों को जोर से दिखाया गया है।

Lafandar was such an incredible comeback & Mass Appeal Records debut from the former Das Racist member, but Veena matches if not surpasses the same caliber as he did with the previous album he put out at the beginning of the year. Lapgan splits the production fairly with Sid Vashi so Hima can deliver a tribute to his mother.

लफ़ंदर पूर्व दास रेसिस्ट सदस्य की ओर से एक अविश्वसनीय वापसी और मास अपील रिकॉर्ड्स की पहली फिल्म थी, लेकिन वीना उसी क्षमता से मेल खाती है जैसा कि उसने पिछले एल्बम के साथ किया था जो उसने साल की शुरुआत में पेश किया था। लैपगन ने सिड वाशी के साथ उत्पादन को निष्पक्ष रूप से विभाजित किया ताकि हिमा अपनी मां को श्रद्धांजलि दे सके।

Score: 4.5/5

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X-Raided – “A Sin in Heaven” review

Here we have the 18th full-length studio LP albeit Strange Music sophomore effort from Sacramento, California veteran X-Raided. Exploding onto the scene in 1992 off the strength of his full-length debut Psycho Active, he was shortly after sentenced to 31 years in prison on murder charges, only to be granted parole in the fall of 2018 & continued to build his discography by dropping a little over a dozen more albums whilst incarcerated. The Nefarious Loc surprisingly signed to Strange in 2022 & his previous offering A Prayer in Hell was a true blue return to form, so A Sin in Heaven had me expecting no differently.

“2400” is a trap opener airing out everyone for getting here late & flexing that he got here early whereas the rapid-fire “Sacrilegious” discusses not understanding the dark if you ain’t ever been in the light. “Can’t Hold Us Down” has a gospel trap vibe to the beat looking to ball in the midst of them tryna keep his people broke, but then “California State” featuring Locksmith is a cloudy tribute to the state out in the west coast that raised them.

Meanwhile on “Boy Meets World”, we have X over a much more bouncier beat from Mario Casalini talking about wanting to become a banger as he was growing up just before the groovier “P.T.S.D. (Passing The Story Down)” talks about his story being passed on to his children. “A Favor for a Favor” featuring Nox finds the 2 coming together so they can tell a hustler’s story but after the “Waste Management” interlude, “A Cold Day in Hell” featuring C-Mob & Joey Cool refuses to choose hoes over his bros supposing that’s the way life goes.

“Olly Olly Oxen Free” featuring Bleezo, Tech N9ne & T-Nutty has these nervous undertones throughout stepping on these muhfuckas in a real way acknowledging that only the top MCs be fuckin’ with them while “The Sunken Place” produced by Wyshmaster solemnly lives in a drunken state. “Anymore” strips the drums completely hopping over pianos asking if it’s too late to admit he’s broken & “Pray” hooks the trap vibes back up talking praying when all else fails.

Moving on from there, “Conception (Aneraé’s Song)” produced by Matt Phoenix atmospherically looks to break all generational curses in his family tree while the trap-driven “Invigorated” featuring Ellis Prescott as well as Macntaj & Trizz talks about the feeling of being revitalized. “It’s Up” featuring KXNG CROOKED & Ras Kass sees the trio coming together for a 3 & a half minute west coast barfest while “Juggernaut” goes drill refusing to ever stop now that he’s home.

“Paranoia” featuring Tech N9ne blends a guitar & hi-hats allowing them to demonstrate speedier flows revolving around the theme of being paranoid referencing WWE Hall of Famer Drew Carey & after the “All or Nothing” interlude, the psychedelic rock/trap hybrid “No Conversations” tells everyone to hold their breaths as he balls. “Baby Mama Music” wittingly expresses his gratitude to be free while “Water” featuring Ellis Prescott, Jerome Dillard, Laza & Macntaj takes a delicately melodic approach.

Pushing further towards the end of A Sin in Heaven, the penultimate track “Elevating” featuring Don P is this gospel/trap hybrid finding both of them talking about constantly evolving from an artistic standpoint while MIKE SUMMERS a.k.a. 7 laces the closer “Gladiator” featuring C-Mob & King Iso finding all 3 of them coming together passionately referring to themselves as being trained to fight with weapons against others.

Only the 2nd release from the Strange Music camp this year following Tech’s first Collabos album in a long time C.O.S.M. (Class of Strange Music) after signing a new distribution deal with both RBC Records founder Brian Shafton’s new label Compound Interest Entertainment alongside Virgin Music even last summer & it’s a worthy successor to what has already become X’s strongest body of work in recent memory. He takes things full circle experiencing joys in life now that he has crafted a life he could only have imagined just a few years ago.

Score: 3.5/5

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Rock & Ruste Juxx – “Crownsville” review

Brooklyn, New York emcees Rock & Ruste Juxx teaming up for a brand new collaborative LP. One of whom is a member of the Boot Camp Clik as well as the now defunct subgroups Heltah Skeltah & The Fab 5 alongside the late Sean Price while the other was a protege of Ruck making his debut on Heltah Skeltah’s sophomore effort Magnum Force. They’ve crossed paths with one another countless times in the span of 26 years & to commemorate almost a decade of Sean’s passing, they’re getting together to take us through Crownsville.

The title track is a morbid boom bap opener representing Brownsville & Crown Heights respectively whereas “Black Out” has a soulful flare to the beat proudly wearing the borough that made them on their sleeves. “Vehicular Manslaughter” produced by D-Block Records in-house producer Vinny Idol works in more kicks & snares laying out some of their hardest verses on the album prior to “Crash Ya Whip” aggressively making y’all choose one of the 6,000,000 ways to die.

After the Bernadette Price Speaks skit, “Sean Lives On” serves as a sincere tribute to P with a ghostly boom bap instrumental while “B-83” sorta dabbles with trap feeling like an open hand palm slap so they can flex their status as nuclear bomb threats. “Ruck Down” brings a rap rock vibe to the table thanks to Bumpy Knuckles representing Sean’s independently owned Duck Down Music Inc. subsidiary Ruck Down Records, but then “Change Nothing” featuring Frankie Storm as well as 9th Uno behind the boards finds the trio linking up advising the listener to not switch-up.

“Dust Pan” has a fun back-&-forth chemistry from Rock & Ruste cautioning that your whole team will get swept fucking with them for roughly 135 seconds while “Kings County” pulls inspiration from rock music again instrumentally shouting out the titular Brooklyn county. “Wotcha Call Strength” by the Boot Camp Clik finishes Crownsville by having the collective reuniting for the first time since 2007 for a high-energy 6 minute closer that The Arcitype laced.

Knowing both artists’ individual history with Sean Price, it’s only right that they joined forces for the duration of an entire album & one that would make Sean proud if he was still with us today. Rock & Ruste elevate their chemistry over the course of 33 minutes other than a couple guests backed by the sounds of boom bap, a hint of trap & of course samples of rock & soul music.

Score: 4/5

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