Yeat – “A Dangerous Lyfë & A Dangerous Love” review

Brand new double album & the 6th overall from Portland, Oregon rapper Yeat. Emerging in 2018 off his debut EP Deep Blue $trips, he’s been dominating the mainstream since 2021 whether it be him dropping a plethora of projects or receiving cosigns from the likes of Drake & Earl Sweatshirt. He eventually signed to Geffen Records, who backed his sophomore effort albeit major label debut 2 Alivë few years ago & it’s companionable deluxe EP Gëek Pack shortly after. Coming off his 5th mixtape Lyfë a few summers ago alongside Aftërlyfe & the experimental Capitol Records debut 2093, he went back to his roots to rep the Lyfestylë & came off a Dangerous Summer to describe A Dangerous Lyfë & A Dangerous Love.

“Purpose General” produced by BNYX of Working on Dying atmospherically begins the 2-disc adventure talking about paving checks after paving the way for others whereas “Face the Flame” featuring YoungBoy Never Broke Again finds the 2 teaming up so they can describe getting geeked off ecstasy, going for a more trap vibe. “Lose Control” samples “Someone Saved My Life Tonight” by Elton John talking about passing the wheel to God leading into “Griddlë” admits to falling in love with a freak.

We have BNYX bringing the bells back for “What I Want” boasting that his sales double every time he puts out new music just before “Liv Likë Dis” asks his girl why his wealth got her acting funny over an Honorable C.N.O.T.E. & Sonny Digital instrumental. “Tallër” has a more lively vibe to it courtesy of Cade talking about him trying to make his money larger than the rest while “My Way” tritely tells his partner that she has to make up her mind & take as much time as she needs.

“Let King Tonka Talk” was a disappointing single largely because of the unnecessary Kylie Jenner feature, which is a shame because I like the way Dylan Brady fuses jerk & industrial hip hop with pop rap. “Dangerous House” however picks up with a 2-parter that Shlohmo cooked up talking about keeping things hazardous around his parts while “No More Ghosts” featuring KiD CuDi ends Disc 1 with both of them fed up with everything that isn’t real.

To begin Disc 2, the song “2Nite” embraces a more standard trap sound once again talking about waiting at the fire & his detractors not wanting to see him catching Ws while the self-produced “Geek Luv” describes a kind of love where the sex feels like a drug. The beat on “Naked” is ok except it could be my least favorite track here because it feels like a repetitive 92 second interlude, but then “Went Wrong” decently talks about him & an ex waitin’ for their relationship to fail.

“Real Life Shit” incorporate some heavy synthesizers admitting that he’s been looking for a reason to tweak & after “My Time” instrumentally gives props to The Neptunes talking about going bigger than he can imagine since he was destined for this music shit, “2Planës” reunites with Internet Money Records in-house producer Synthetic sampling the 2023 leak “Wanna be më” flexing that he has a couple airplanes respectively carrying money & his own people.

The song “Silk Facë” brings the synths back in full effect to push closer near A Dangerous Lyfë & A Dangerous Love’s conclusion talking about feeling the same & looking to run shit up again while “Back Home” featuring Joji returning to their respective cribs because something at the function feels off to both of them. “Up From Here” ends the LP talking about going rock bottom & elevating past that point.

Originally announced nearly 2 years ago already, A Dangerous Lyfë & A Dangerous Love has since evolved into a double full-length that I’d sincerely have to put behind Lyfestylë as the 2nd weakest project Yeat has ever put out. I can appreciate him telling 2 completely different stories across the hourlong runtime, although the predominant trap production feels like he’s playing it safe & a few of the guest appearances were pointless.

Score: 3/5

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dälek – “Brilliance of a Falling Moon” review

dälek is an industrially abstract hip hop outfit from Newark, New Jersey now comprised of producer Mike Mare & none other than MC dälek himself. Their 1998 debut Negro Necro Nekros was a great introduction except the sophomore effort From Filthy Tongue of Gods & Griots and Absence are both widely considered to be their best. Abandoned Language, Gutter Tactics, Untitled, Asphalt for Eden, Endangered Philosophies & Precipice were all solid with some being better than others. My personal favorites around that time gap being Abandoned Language & Gutter Tactics. Anyways, they’re reuniting after 4 years for their 10th LP.

“Better Than” sets the tone for this new era of the pairing’s career with an industrial boom bap instrumental venting they’re frustration with everything going on nationwide since last January whereas “Knowledge | Understanding | Wisdom”goes for a noiser vibe defying the oligarchs who want to keep us stupid. “Normalized Tragedy” fuses industrial hip hop & boom bap talking about never going numb to brutality while “Expressions of Love” talks about suffering after the voices have been given to the dumb.

Kicking off the 2nd leg, “Substance” takes a jab at all these rappers whose music lacks any significance while the dustily haunting “I’m a Man” reiterates the message that African American men used to protest segregation 6 decades earlier in a modern context. “For the People” combines industrial hip hop & boom bap again talking about refusing to stop the fight until all US citizens are equal while “By The Time We Arrive in El Salvador” criticizes the maximum-security Terrorism Confinement Center where 300 Venezuelan migrants accused of being gang members were sent despite only 12 of whom being charged with crimes.

These guys have been amongst the most underappreciated industrial hip hop acts alongside The Disposable Heroes of Hiphoprisy, but dälek’s comeback nearly a decade in the making will undoubtedly be heralded as their strongest opus since Untitled. Mike Mare’s production embraces an experimental boom bap sound rather than sticking to their industrial roots & MC dälek’s lyrics are heavily inspired by what’s been happening throughout the world, more specifically the rise of fascism in America & resisting it.

Score: 4.5/5

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Slayyyter – “WOR$T GIRL IN AMERICA” review

Slayyyter is a 29 year old rapper & singer/songwriter from Kirkwood, Missouri who began to turn heads in 2019 off her eponymous debut mixtape. She would go on to follow it up with the full-length debut Troubled Paradise which was pretty average in comparison & the sophomore effort Starfucker, the latter of which was highly praised enough for Columbia Records to sign her. Coming off a handful of revered teasers, she’s ready to make her major label debut with her 3rd album.

“Dance…” opens up with this electropop, dance-pop, French electro, acid house, electroclash, synthwave, midtempo bass & electro-disco single singing about coming to party whereas “Beat Up Chanel$” blends electropop, electroclash, witch house, futurepop, slap house, pop rap & electro house to express her desire for new personnel. “Cannibalism!” fuses alternative dance, post-punk, post-punk revival, dance-punk revival, new rave, surf rock & psychobilly asking God for a sign leading into “Old Technology” explores electroclash, electropop, electro-industrial, new rave, future house & pop rap to talk about doing drugs tonight.

Industrial hip hop, Jersey club rap, deconstructed club, hardcore hip hop, ballroom & electroclash all collide on “Crank” taking a more sexual approach to her songwriting leading into her recalling a time where a lover left her stranded at a “Gas Station” to end the 1st leg of the LP & being devastated by it because she loved this guy more than anything. “Yes Goddd” begins the 2nd half pleading to be let off with some spaces over a thunderous beat just before “Unknown Loverz” sings about a man running faster the more she chases him.

“Old Fling$” addresses an individual she saw creepin’ from the sideline trying to get to the bottom of the reason why they’re hiding from her while “I’m Actually Kinda Famous” could be my least favorite track here because I felt like there could’ve easily been another verse added to it. “$t. Loser” asks this person she’s constantly thinking of if he has her on his mind as much as she does him while “What’s it Like, To Be Liked?” makes the greatest possible use of a Starfuckerouttake turning up the sadness levels. After the “*Prayer*” interlude, the outro “Brittany Murphy.” ends with a tribute to the late King of the Hill/8 Mile star of the same name.

Self-titled & Starfucker have already become amongst the greatest electropop within the last decade, but WOR$T GIRL IN AMERICA fully realizes Slayyyter’s artistic potential & simultaneously provides a more authentic version of herself. The production masterfully brings elements of electroclash, French electro, electro-industrial, new rave, dance-pop, electro house, pop rap, acid house, synthwave, midtempo bass, electro-disco, witch house, futurepop, slap house, pop rap, alternative dance, post-punk, post-punk revival, dance-punk revival, new rave, surf rock, psychobilly, new rave, future house, industrial hip hop, Jersey club rap, deconstructed club, hardcore hip hop & ballroom to her electropop sound so she can tell the world a bit more regarding her upbringings.

Score: 4.5/5

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Fliptrix – “Elevation” review

Here we have the 11th solo LP from South London, England, United Kingdom emcee Fliptrix. The founder of High Focus Records as well as a member of The 4 Owls, he made his debut in 2007 off Force Fed Imagery followed by Theory of Rhyme and later Third Eye of the Storm & The Road to the Interdimensional Piff Highway. Polyhymnia came out a couple years later as did Patterns of Escapism & Inexhale. Light Work was alright & Mantra #9 took a more mature approach, coming off the Leigh Brothers-produced Dragonfly to have Forest DLG a.k.a. Telemachus soundtrack his Elevation.

“Teacher” begins with them providing a ray of light during these troubling times whereas the 3rd single “Transform” takes the soulful boom bap route instrumentally providing more insight penmanship. “1 Heart” continues from there brutally observing the modern condition leading into the 4th single “Better Watch Them” jazzily leans towards conscious vibe lyrically.

As for “33 Vertebrae”, we have Flip embracing a hip house sound talking about the part of our body that helps us elevate just before “The Divine Feminine” makes a powerful statement condemning misogyny. “Energy! Energy! Energy!” featuring General Levy fuses hip hop with jungle for a captivating teaser that could be played at EDM festivals to come while the 2nd single “Floodlights” talks about rebellion.

“Who’s the Saviour?” calls for everyone listening to rise up while the 7th single “Freedom?” featuring Coops talks about the world spiraling downward in real time. “Do You Wanna See” featuring Da Flyy Hooligan dismisses those who don’t wanna see the forest like they say they’d like to while “Dangerous” by The 4 Owls featuring Coops, Cracker Jon, Dabbla, Farma G, Harry Shotta, Babylon Dead frontman Jman, Kemastry, King Kashmere, Ramson Badbonez, Renelle 893, Sparkz, Truemendous, Verbz & Vitamin G comes through with an outstanding High Focus posse cut.

Continuing the 2nd half, “Tears in the Eyes of Gaia” has a more emotional approach to it talking about the way perceives beauty while “Chilling” dedicating this one to all the people who’re typically calm out in public rather than wylin’ out or getting hyped. “Ups & Downs” talks about life being similar to a rollercoaster while the 8th & final single “Visionaries” featuring Frisco adamantly expresses their desire of making perfect use of their final breaths.

“Mighty” featuring Kamakaze joins forces for a grime track cautioning not to make any moves unless you’re strong enough to bare the tussle while “It Ain’t Easy But I’m Surfing” talks about staying focused & determined although it’s not a breeze to do by any means. “I Be on My Way” sends off the Elevation with Flip discussing that the pain he’s endured can be seen on his face & carving his own path for 16 years via the biggest underground UK hip hop label.

Desiring to make something completely different compared to Dragonfly, Elevation takes the maturity of it’s predecessor & Mantra #9 by delivering an album that joins the ranks of Fliptrix’ last couple except I love this one slightly more. Telemachus’ production is more experimental than the Leigh Brothers’ was & Fliptrix’ lyricism aims to lift the world to higher state of consciousness & trigger conversations regarding the state of the world in the hope of enacting positive change during everything that’s happened in these past 14 going on 15 months. There are also a few guests that he’s never worked with before & did so in attempt to sought out new energies after collaborating with all the greats in his scene.

Score: 4.5/5

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BTS – “Arirang” review

BTS is a boy band from Seoul, South Korea consisting of RM, Suga, J-Hope, Jin, Jung Kook, V & Jimin. Their full-length debut Dark & Wild under Bighit Music & the HYBE Corporation was moderately received although Wake Up & Youth both proved to be less favorable, bouncing back with Wings & dividing audiences again by dropping Face Yourself a couple years later. Love Yourself: Tear as well as Map of the Soul: 7 & BE would continue to polarize the musical spectrum, reuniting following the completion of their military service for their 9th album.

“Body to Body” gets things going with this k-pop/pop rap intro expressing the lustful desires towards their romantic interests whereas “Hooligan” talks about acting a fool again & wanting everyone to watch these beat go crazy. “Aliens” fuses trap with the k-pop & pop rap sounds thanks to Mike WiLL Made-It confidently assuring the world that this’ll be one of the biggest jams of the year just before “FYA” produced by Diplo & Flume sings about a woman willing to dance on fire.

Pluss & Mike WiLL run it back with BTS on “2.0” pulling inspiration from trap once again so they can remind everyone of how they do but after the “#29” interlude, “Swim” sings to their lovers about spending their lives watching them & how they’d only want to be beside them. Tame Impala gives “Merry Go Round” a bit a synthpop vibe realizing their lives are broken rollercoasters only they themselves can blame for it while “Normal” sings about what they would like to consider the usual

“Like Animals” continues the 2nd half of Arirang with this atmospheric pop ballad assuring the love of their lives to eat this life until their hearts are full while “they don’t know ‘bout us” combines elements of trap along with pop rap & k-pop singing about people not knowing shit regarding them. After asking “1 More Night” to stay with their partners, “Please” makes it clear to them that they’ll take another step closer when the world falls apart & the final song preceding the “Armyrang” outro ends by singing about following their loved ones “Into the Sun”

It was funny to see the “Dynamite” music video being included during season 10 of MTV’s hit series Beavis & Butt-head on Paramount+ preceding their move to Comedy Central, but I’ve never considered myself a fan of BTS’ music outside of that & Arirang achieves the expectations of becoming the most enjoyably consisting LP they’ve ever made. Their k-pop style secondarily explores the sounds of pop rap, alt-pop, trap, synthpop, pop, experimental hip hop & contemporary R&B for a reunion that offers a glimpse of new perspectives.

Score: 3.5/5

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underscores – “u” review

underscores is a 25 year old singer/songwriter & producer from San Francisco, California who dropped 6 extended plays between 2015-2020 including Trust Exercises, Grawlix, Air Freshener, Skin Purifying Treatment, We Never Got Strawberry Cake & Character Development!. Her full-length debut Fishmonger would follow as would Boneyard a.k.a. Fearmonger & the sophomore effort Wallsocket, the latter 2 being widely considered as her greatest work. Coming off the Covergirl: Originally by Sonny EP in 2024 & of course producing a few tracks for Danny Brown’s 7th album Stardust this past fall though, she’s signing to Mom + Pop Music her 3rd studio LP.

“Tell Me (U Want It)” begins with a self-produced electropop, dance-pop, hyperpop, complextro & slimepunk single that she considers “Music for my iPhone spy movie” singing about direct communication in a relationship whereas “Music”blends electropop, hybrid trap, hyperpop future bass, bubblegum bass, colour bass & pop rap sampling “Gunk” off Fishmonger singing about feeling the harmony. “Hollywood Forever” issues a clear statement that she doesn’t want to be buried in the titular cemetery while “The Peace” goes a capella to talk about not speaking unless spoken to.

The late SOPHIE & Arca are both key inspirations of “Innuendo (I Get U)” confessing to part of her hope she can understand this person she’s addressing leading into “Lovefield” hypnotically mourns a type of love that was unrewarded. “Do It” combines electropop, dance-pop, contemporary R&B, complextro & electro house singing about not committing to a relationship due to the riskiness of it but once she sensss a “Bodyfeeling” she doesn’t tell her partner of, “Wish U Well” ends the album wanting nothing the best out of a woman who moved on.

Expanding the intricately high impact world continuing to be built by its own creator, Mom + Pop introduces underscores as part of their roster by presenting the most accessible entry in her entire catalog & what I’m sure will be amongst 2026’s most lauded opuses. Her songwriting’s more emotionally charged than everything she’s done previously & the electropop production culminates many different era of career. More specifically the styles of electronic dance music, dance-pop, alt-pop, future bass, bubblegum bass, hybrid trap & hyperpop.

Score: 4.5/5

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Mike WiLL Made-It – “R3SET” review

Mike WiLL Made-It is a 36 year old producer from Marietta, Georgia who has become one of the most in-demand producers across hip hop, trap R&B & pop for the last decade. He would also drop 5 mixtapes throughout the early 2010s including the Est. in 1989 series as well as #MikeWiLLBeenTriLL & Ransom, the latter of which came out through his own label Ear Drummer Records & gave us a sequel under Interscope Records almost a decade ago. The soundtrack for Creed II however became his final major label offering, returning a few days shy of his birthday to drop a sophomore effort independently.

“ATL (APPR3CIAT3 TH3 LOV3)” by 21 Savage splits itself into halves to get things going with the help of London on da Track showing love to the city that made them whereas “Standing O” by Monaleo & Travis Porter co-produced by Shawn Ferrari blends some hi-hats & synthesizers for a decent single catered to the strip clubs. “TIM3” by SahBabii wasn’t as strong of a 2-parter as the intro although I appreciate the respect paid to the late Black Sabbath frontman & WWE Hall of Famer Ozzy Osbourne, but then “RUSSIAN ROULETT3” by Young Thug makes up for it talking about the game of chance.

Anycia, J Money & KARRAHBOOO all get together for “My Way” moderately talking about having things how they’d like over an instrumental Sonny Digital was involved in cooking up while “@ 874” by Hunxho & 2 Chainz shows off Mike WiLL’s ear for sampling although Tity Boi had the strongest performance out of both of them. “D33P3R” by Ludacris & Teezo Touchdown was easily my favorite single due to them tastefully combining R&B & pop rap to describe being deep in love while “Rooms” by Chief Keef & YoungBoy Never Broke Again unites both of them to explore the typical themes of their own individual discographies.

“O.F.G. (Opportunities For Growth)!” by J. Cole with co-production from Pluss & 30 Roc gets the 2nd half going talking about there being too much money for him to get & only having chances at evolution going forward in his career while “STOV3 LIT” by OJ da Juiceman has to be one of the best songs I’ve heard from him in quite some time recalling his days when he was trappin’ in the lab. “MONEY TALK$” by Killer Mike, T.I. & Young Dro brings all 3 of them together with Zaytoven helping behind the boards to talk about the paper while “AAA” by Sid Sriram continues with this mediocre attempt at trap soul named after the WME Group-owned TKO Group Holdings division WWE’s subsidiary Lucha Libre AAA Worldwide.

The late Lil Keed gets a posthumous cut of his own with “IN MY H3AD” talking about having some shit going on mentally until his passing over a beat Chopsquad DJ had a hand in making while “All I Know” by Cee-Lo Green shits all over “AAA” combining gospel & soul for a passionately sung ode wondering if anyone believes in God because He believed in him. “Major” by Swae Lee ends the R3SET with an outro that’s far more tolerable than the latter’s “Flammable” single, which gives me some hope for his upcoming sophomore effort Same Difference.

“high3r” by Lil Wayne & Lil Yachty starts the deluxe run talking about wanting to elevate the women they’re with hence why they’re treating them like it’s the last time they’ll ever see them until J. Cole co-produces “Blood Moon” by Lil Uzi Vert, where the last verse comes harder than the one preceding it & the repetitive hook falling flat. The final bonus track “Rockstar Raging” by Swae Lee outdoes the closer interestingly blending trap, rap rock & pop rap talk about staying fly until his very last breath.

Taking the opportunity to cement his presence in a new decade, Mike WiLL Made-It’s follow-up to Ransom 2 celebrates his birthday a few days early by dropping an improvement above it’s predecessor & one of the better mainstream producer curated albums that I’ve heard more recently. The production expands the trap & pop rap styles he’s become known for in addition to occasionally venturing out to experiment with gospel & trap soul, primarily bringing the right guests in those lanes other than a couple lulls.

Score: 3.5/5

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Ouija Macc – “Pyramid of Skulls” review

Here is the 10th studio LP from Las Vegas, Nevada emcee Ouija Macc. Breaking out when the Insane Clown Posse signed him to Psychopathic Records shortly after putting out his debut EP Trashfire independently almost a decade ago, Ouija has since proven himself as the hatchet’s biggest solo act dropping his last 9 full-lengths, 2 greatest hits compilations, 8 mixtapes & 5 EPs all in the span of nearly 8 years. He even started his own label Chapter 17 Records, with Darby O’Trill now being the only artist signed. He has since declared himself America’s Most Wicked back in November & looks to enter the Pyramid of Skulls weeks after CoKane as well as 2 Tuff Tony & Willie Mack became the new JCW World Juggalo Heavyweight Champion & JCW World Juggalo Tag Team Champions respectively.

Devereaux samples “Psycho Killer” by Talking Heads for the intro “Chalupa Mode” laughing off all the dummies who’re getting salty because they’re not finding any dirt on him whereas “0 Day” wickedly suggests to step out of his zone if you’re trying to imitate the type of shit he’s been on. “Faygo n’ Crown” flips “The Graveyard” by Project Born featuring ICP to talk about mixing the Juggalo Juice & whiskey prior to “The World is Hell” addressing an observation he’s had this whole time despite the name reminding all of the previous generation juggalos who’ve become down with Ouija of a track Esham did with Twiztid off my personal favorite album of theirs The Green Book during The Unholy’s brief Psychopathic tenure in the early 2000s as “The Boogieman”.

“Gnome Sayin’” shows a bit of a Memphis influence talking about stacking skulls all the way up to the ceiling while “Leviticus” blends a bassline & some hi-hats to tear down a bitch to dismantle a bitch with a gun, except Ouija knows he’s too much of a bitch to pull the trigger. Things lean towards a ghostlier direction instrumentally on “Behind the Beyond” talking about receiving messages from spirits that’ve been haunting him leading into him “Fillin’ Up My Bag” full of severed heads.

Reaching the halfway point, “On My Mind” gives off a more Hellish sound talking about having the idea of murder stuck in his head until telling the story of a “Haunted Cabinet” he stuffs all those dead bodies inside of. “Up 2 Something” continues the 2nd act of the Pyramid of Skulls speaking of the chosen few being excluded when armageddon eventually comes while “Chest Pain” makes it clear that all the real ones ain’t ever coming back once they’re gone & laying his ass to rest because of the dead holes he got.

“Killem All” was a phat lead single to begin the rollout talking about murdering everyone while “Bloody Mess” gets on his emo shit over the quirkiest instrumental of the bunch constantly thinking of death because of his depression. “No Place Like Home” talks about him continuing to stack up skulls like he’s building a masterpiece while “Candle of Revenge” vividly describes him dismembering guys who mistreat women. “Crying in the Pyramid” might be one of Ouija’s greatest songs taking an introspective approach to the lyrics on top of this cloudy beat using a sample & “Never Die” ends with him making sure his homies live forever.

Juggalo Championship Wrestling (JCW) will be kicking off their March Massacre weekend of JCW Lunacy tapings tonight & of course I have to mention Juggalohio IV going down next weekend, so America’s Most Wicked takes the disciples of the Sunken Church through the Pyramid of Skulls whilst reaffirming Ouija Macc’s constant balance of quantity & quality. Being teased since the Temple of Ash era almost a year & a half ago, it thematically picks up where Sunken Church left coming straight off the top of his head.

Score: 4.5/5

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Hus Kingpin – “Wavo Forever” review

Brand new LP & the 9th proper one overall from underground veteran Hus Kingpin. In addition to being 1/2 of Tha Connection with SmooVth, he has also built up over both a dozen mixtapes & EP in his discography all in the span of almost 2 decades with my personal favorites being Cocaine Beach produced by Big Ghost Ltd. as well as the Portishead-inspired Portishus & more recently The Supergoat fully produced by 9th Wonder. The latter in the beginning of 2024 has quickly become his most celebrated material in years, returning with Wavo Forever under Holy Toledo Productions.

“RZA Fangs” produced by RZA starts with him talking about keeping a razor in his mouth in case the gun’s jammed whereas “Ghost of Camay” goes for a soulful vibe thanks to Mathematics & he could’ve given us 1 more verse instead of letting the beat ride out for the last minute. “Next Level” featuring Inspectah Deck finds the 2 spending their 95 seconds together talking about turning people into ghosts when the smoke settles while “Hang Glide Samurai” featuring Kurupt & Raekwon comes through with more hardcore penmanship.

Killah Priest & Planet Asia both join Hus on “Mind Devine” aggressively talking about having guards around them because they’re well known while “Who Made You Look? 2” featuring Shyheim find the 2 teaming up for a sequel to a Portishus highlight. “The Pleasures” by Tha Connection featuring Rozewood brings all 3 of them together to look back at getting chains at 16 while “Majestic” featuring Ghostface Killah & Planet Asia lets the trio spit darts over a Big Ghost Ltd. beat.

“Killer’s Theme” featuring the Wu-Syndicate rounds out 3rd with everyone making an anthem for the kind of people who aren’t afraid to let some blood shed while “Saigon Velour” featuring Ghostface Killah & Tricky doesn’t hit me the same way “Majestic” did although I do like the Relense instrumental. “Wisewave” featuring Bronze Nazareth finishes up the full-length pairing both of them over a soulful beat the latter cooked up individually spitting verses of wisdom.

There are a couple of guests that I could’ve done without & some of the production can be a tad bit inconsistent compared to The Supergoat other than a few noteworthy exceptions, but I can definitely say that Wavo Forever’s the most I’ve enjoyed Hus Kingpin’s music in a couple years. If he makes an adjustment or 2 to the areas where this album lacks, then I really think he can make something nearing the same pedestal it’s predecessor & Cocaine Beach stand regarding the most essential entries to his catalog.

Score: 3.5/5

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17&18 – “OuttaWack” review

17&18 are a duo from Detroit Michigan consisting of C.R.I.M. & Forever Foy. One of whom I met in 2021 at the release party for Fatt Father’s 5th album Soccer Dad produced by Middle Finger Music co-founder Foul Mouth & the other began his career a year later, starting up his own label Forever & a Day Entertainment too. Crossing paths with each other at a show towards the backend of 2024, they’ve since been plotting to make their introduction & have dropped their full-length studio debut to celebrate St. Patrick’s Day.

“No Direction” starts us off having both members trading cutthroat bars with each other over a piano instrumental whereas “Higher Than You” moves on from there on some eerier shit, with C.R.I.M. talking about working for everything she has & Foy confessing to being a manic depressive since an adolescent. “Not Rain” hooks up a cumbersome boom bap beat speaking of manifesting everything that draws to them prior to the ghostly “DNT CRY” advising not to shed any tears for them.

Reaching the halfway point, “The Bad Guy” instrumentally kinda has a funkier vibe to it talking about being in their villain eras for their own betterment while “Please Dont Roll Up My Window” greatly explains that they’re staying underground because the mainstream’s too compact these days. “Nobody Cares” however goes drumless so they can make it clear that people really don’t give a shit about how much others complain or pray.

“Total Annihilation” became the very moment that 17&18 were born spitting hardcore verses over this bloodcurdling beat while “RapCamp Retreat” featuring Beezy Brown, Blizzard & Jay Hemlock as well as “We Gotta Be Close” featuring J. Santino, Jenn Foy, Lyric Bell & SongByrd finishes OuttaWack with 2 different posse cuts. 1 clocking at 5 minutes taking a more hard of approach & the other at 6, except it ties everything together on a more endearing note.

I haven’t really heard much of Forever Foy’s material up to this point but knowing C.R.I.M. for almost 5 years already, I wanted to give OuttaWack a chance & it gives me an understanding regarding why they formed 17&18 since this isn’t too far behind from Bill & Isiah’s eponymous 2023 debut in terms of recent Motor City pairings. Both of them team up in the studio dismissing anything what either of them would consider a bad idea without judgement or sense of feeling embarrassed.

Score: 3.5/5

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