Rome Streetz – “Hatton Garden Holdup” review

New York lyricist Rome Streetz enlisting Daringer for his 9th studio LP. Emerging in 2016 off his debut mixtape I Been Thru Mad Shit, this was followed up by a plethora of projects with the most notable being the Noise Kandy tetralogy & Headcrack. These past couple years however we’re probably his biggest ones yet, as he dropped some of the best work of his career from the DJ Muggs-produced Death & the Magician or the Futurewave-produced Razor’s Edge to the Ransom-assisted collab effort Coup de Grâce & the Griselda Records deal that followed. His debut with the Buffalo powerhouse Kiss the Ring alongside the Big Ghost Ltd.-produced Wasn’t Built in a Day both made the top 10 spots of my last couple Best Of lists & I had no doubt Hatton Garden Holdup would do the same coming off the 5th & final installment of the Noise Kandy series.

“Ace of Base” starts us off by stripping the drums completely detailing his expertise in the drug game whereas “Starbvxkz” takes the boom bap route instrumentally talking about this shit being a cakewalk to him. “Sage” featuring ScHoolboy Q finds the 2 linking up so they can coldly talk about being married to the game leading into “Drive By” going drumless again providing the theme music to firing a weapon from within a motor vehicle & then fleeing.

Meyhem Lauren joins Rome on “Cadillac Smoke” working in some kicks, snares & even a vibraphone leaving everyone in the morgue frozen every time they hop on the mic just before “100 Schemes” maintains a gritty boom bap flare cautioning to not let anyone fuck you over in this industry, but then “Spike” samples are off music once again dissing those who’ve been at the same spot for so damn long.

“Pro Tro” featuring Conway the Machine brings the kicks & snares back in the equation flexing that both of them were destined to score while “Weight of the World” featuring Cormega finds the 2 dustily raising Hell in the midst of being on a paper trail. “Jimi’s Headband” eerily talks being an amazing artist that started out as a Street Fighter while “SpaceX” named after the space technology company founded by Tesla CEO, Neuralink co-founder & Twitter owner Elon Musk aggressively declares himself a champ like WWE Hall of Famer, former 6-time WWE Champion, 2-time WWE Intercontinental Champion, 2-time WWE United States Champion, 5-time WWE Tag Team Champion & NWA World Tag Team Champion Stone Cold Steve Austin.

The track “Reap What You Sow” pushes towards the conclusion of Hatton Garden Holdup boasting that his money so big to the point where he can’t fold it on top of seeing shit that made his heart freeze as a result of him never selling his soul with the tons of dope during his street days & finally, “Heavy Traffic” finishes Rome’s masterpiece by hopping over 1 more boom bap beat to paint images of the gangsta lifestyle.

Most people who’ve been keeping up with me throughout of the year probably know I have Benny the Butcher’s latest Def Jam debut Everybody Can’t Go as my favorite album of 2024 & as I had expected, Hatton Garden Holdup surpasses. From the perfectly articulate lyricism that Rome Streetz is known for to Daringer’s signature production & the high-profile guests, all 3 factors combined make for a perfect 42 minute listening experience.

Score: 5/5

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Twisted Insane – “Halfway Gone” review

San Diego, California chopper as well as horrorcore veteran & Brainsick Muzik founder Twisted Insane kicking off the Halloween season by dropping his 17th studio LP. Writing his first rhyme at the age of 12, he would go on to put out 5 mixtapes & a couple full-lengths until he was featured on the Tech N9ne single “Worldwide Choppers”. The Root of All Evil & The Insane Asylum further elevated his status in the underground, maintaining a consistent schedule since dropping 13 more albums in the process. Halfway Gone though was said to be the deepest creation yet & had serious potential of becoming a discography highlight.

The title track has this interesting, guitar-driven trap instrumental throughout assuring that he’s here although half of him feels as if he isn’t whereas “External Wounds” works in a darker riff tone & hi-hats to talk about mental health pleading to get out of his life since he don’t need this shit. “So Far Ahead” maintains a gritty trap vibe boasting the fact that he’s ahead of the curve of everyone else that is until Swisher Sleep joins him on the somber “Memory” crushingly remembers his child who died after someone hit the street in the middle of a drive-by.

Continuing the series of tracks that began on his Hell’s Kitchen mixtape in the form of a 2-parter, “Blackout 4” expressing his desire to experience a sudden & temporary loss in consciousness while the acoustic “Tailspin” sings about being in a state of chaos, panic or loss of control. “Jesus” gets in his chopper bag for 3 & a half minutes speeding up his flows nonchalantly accompanied by some beat switches, but then “Motel 6” showcases more sung vocals detailing him getting drunk at the titular motel chain.

“1 Foot in the Grave” goes for an uncanny trap approach instrumentally talking about not asking him to stay since he’s close to dying anyway just before “Growin’ Up” featuring Fase 1 finds the pair vulnerably giving us a look at what it was like for both of them being raised in the southeast. “Wings” is a crucial highlight sending 1 out for everyone who’s still shrouded in darkness over a guitar/trap crossover leading into “Left Behind” featuring C. Ray talking about the type of people who want to see 2 of the biggest Brainsick artists forgotten.

One of the most personal moments on Halfway Gone would easily be “KJ” telling his son who no longer lives with him to pop him on his line anytime he wants to while “OT-IZ-UM” continues the theme of fatherhood grimly singing about having an autistic child himself. “N.T.S. 2 (Night Time Shit 2)” happens to be an amazing sick world to one of my all-time favorite Twisted Insane songs reiterating that he loves the dark & writes his best music when he’s in it while “Back When” feels like he hit rock bottom with nothing more to gain during the pager days.

“Botched” featuring Kamikazi gets the encore of Halfway Gone rollin’ wanting to know exactly why women nowadays seek validation as much as they do while “Same” featuring C. Ray reunites the 2 talking about still being the exact same muhfuckas they were when they first started out. “1 Trick Pony” sings over a guitar addressing those who say that’s all he’ll ever be when he proved them wrong & “Endgame” perfectly closes the LP searching for the final stage of his life.

In the ongoing series of albums that Twisted Insane’s been working on where they all sound completely different from one another, his 2nd offering of 2024 surpasses the west coast gangsta rap heavy predecessor from this summer Shoot for the Face 2.5 in favor of the deepest & most emotional music he’s ever made period. It’s something that would change the lives of many in their darkest moments since the west coast MC uses his own life experiences to help others cope with the hardships they face.

Score: 4.5/5

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Joey Cool – “Roller Coaster” review

Kansas City, Missouri emcee Joey Cool making his 8th studio LP a double-disc effort. Starting out as a long-time affiliate of local independent hip hop powerhouse Strange Music dropping a total of 4 mixtapes & a studio album on his own until Tech N9ne decided to officially sign him to the Snake & Bat in 2017, he then dropped an eponymous sophomore album the next spring followed by Old Habits Die Hard as well as Coolie High & I Tried to Be Normal Once. Coming off The Chairman of the Board & the Mario Casalini-produced Enjoy the View however, the Swankiest of Strangeland is taking us on a Roller Coaster.

After the “Poor Sinner’s Hand” intro, the first song “Madhouse” sets the Roller Coaster in motion with an atmospheric trap instrumental talking about Satan making him crash out spazzing whereas “Commotion” works in more of a robotic beat allowing Joey to break down, just exactly how he was made. “Heart” featuring Doobie & produced by C-Lance interestingly has this grotesque trap sound flexing he can drop a bag & it’ll still follow him since he lookin’ like he hit the lottery, but then the cloudy “Out the Way” talks moving surgically as opposed to being merciful.

“Drippin’ 3” explosively picks up right where “Drippin’ 2” from the Swank Sinatra mixtape left off reuniting with Mario Casalini telling y’all to catch him outside with the swank leading into “Indecisive” pulling inspiration from the hyphy scene instrumentally describing a woman as being inconclusive pleading for her to actually make up her mind. “Trouble Town” featuring Lil Wyte hooks up a guitar & hi-hats suggesting to let the world burn since there’s no looking back just before “Give Thanks” featuring The Popper finds both KC spitters praising the higher power over a thunderous trap beat.

The 5th & final single “OG Cool” concludes Disc 1 by having Wyshmaster lace Joey with a rubbery instrumental all in his zone hitting his stride & after the “Price of Admission” intro, “G.O.Y.F. (Get Out Your Feelings)” featuring X-Raided starts Disc 2 with both Strange Music artists over pianos & hi-hats telling everyone listening to do exactly that. “I Sent the Text” is a decent, auto-tune heavy pop rap joint meaning no disrespect to the woman he texted & made this very track about while “Static” marks an energetic trap turn likening this to all of his powers assembling.

“Parlez Vous” is this organ/hi-hat crossover that Lowkey tha Wizard of the unConventionAl KingZ cooked up spitting the gospel while “Vibe Check” refers to himself as the cream of the crop over more hyphy production. “Sail Away” featuring Ubiquitous finds the 2 trying to take their time on top of this guitar/trap fusion with Matt Phoenix on the hook while “The Fuse” finds him on the verge of exploding over horns. “Slow Down” smoothly tells his girl to take things in their relationship slowly remaining the man even if he ain’t rich as she thought he was and “Crawl Space” featuring Tech N9ne reaches the end of the ride with a trap metal closer feeling on the edge.

All 8 of the new joints that Joey gave us off the deluxe version of what’s easily the most emphatic offering of his career Enjoy the View back March unquestionably could’ve made it onto the final product that celebrated it’s 1-year anniversary almost a couple weeks ago but either way, it was a dope way to hold us off until he took us on a Roller Coaster trip full of all the twists & turns, ups & downs you can expect from an elite MC on his level of skill.

Score: 3.5/5

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ClockworC – “Have a Vice Life” review

ClockworC is a 34 year old MC & producer from Gilroy, California who caught my attention is 1/2 of Gorilla Voltage formerly The Damn Dirty Apes with Mr. Grey putting out their last 2 full-lengths Ape-X and more specifically Gods & Claws through Majik Ninja Entertainment until going on a hiatus that surprisingly ended last weekend. Clock has since formed the MC/producer duo Them Chains with Tomás Carrillo dropping a handful of singles as a unit & is now releasing a full-length solo debut studio album that he mostly produced by himself other than 2 tracks.

The self-produced title track kicks things off perfectly with a settle beat telling us that you can have a vice life just like him especially after everything he’s been through whereas “Critical” takes the soulful trap route instrumentally wanting y’all to let him know when to go since he been too far gone. “Boomstick” marks a turn into boom bap territory to talk about living lawlessly while “‘Til the Sky Turns Black” promises to live every day like it’s the last pretty much.

Moving forward from there, “Get Lost” gives off a bit of a rap rock vibe to the beat making it clear he doesn’t want to be found if he winds up lost just before the catchy “Down” admits to feeling like dancing on landmines pleading not to stand by. Them Chains reunite for a brief moment with the dreary trap banger “Keanu” talking about wanting everyone on the pronto leading into “The Menu” returns to the boom bap so he can tell everyone who isn’t going up so long.

“Can’t Lose” featuring 4toda5to is this decently slick rap rock cut with both of them refusing to stop while “Pain” featuring C-Mob offers the best guest verse of the 2 on the LP as they passionately want to let everyone listening feel the pain that they’ve experienced. “Hilarious” ends Have a Vice Life by reassuring everyone that he’ll be laughing until they bury him since there’s no need to cry whatsoever going forward.

As someone who’s been following him since the GV days during the Christmas of 2016 where it was announced that they had signed to MNE, hearing that Clock mostly produced this all by myself increased my anticipation for it & it’s some of the most personal music of his entire career. It’s a good mix of boom bap & trap, reserving a few guests to join him in at showing a vulnerable side to him.

Score: 4/5

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Powers Pleasant – “Life Sucks” review

This is the official full length debut studio album from Brooklyn, New York producer & DJ Powers Pleasant. A member of the Pro Era & Beast Coast collectives, he’s had a hand in the instrumentals on some of the latter’s output from The Underachievers’ 3rd mixtape It Happened in Flatbush in 2016 to Joey Bada$$’ politically charged sophomore album ALL-AMERIKKKAN BADA$$ in 2017. Powers even came out with his own EP Life is Beautiful & has signed to Mass Appeal Records for the sequel Life Sucks.

“Entro” by Denzel Curry is this cutthroat boom bap opener flexing that he’s the King of the Hill & this Mike Judge his rap skill whereas “Rumble” by Joey Bada$$ works in some horns & hi-hats so he can get violent. “Galore” by DC the Don has some of the weaker performances on the album despite it’s cloudy trap instrumental talking about being allergic to catching feelings, but then “Shmoke” by A$AP Ferg & Armani Caesar finds the pair over a soul sample & hi-hats warning y’all don’t want beef with them.

Denzel Curry, Meechy Darko & Soulja Livin Tru get together for the atmospheric trap joint “Bandoe” flexing that all 3 of them are still boomin’ out the back door just before Joey Bada$$ & SABA team up on the laidback “Ball Alone” talking about not needing any help. “Know Me Now” by DC the Don acoustically sings that he wants to love with no control leading into “That’s Tough” by $not mixing trap & rock discussing doing shit himself tryna find his way.

“Pamper Pamper” by Mike Dimes brings a soulful trap flare to the table pulling out with his homies while “Baby Boy’s Drunk” by AG Club & Audrey Nuna comes through with this annoying attempt at a club banger. “I’m the Shit” by Guapdad 4000 & P-Lo hops over pianos & hi-hats to get boastful while “Wassup” by Jasiah & Tkay Maidza sees the 2 asking what the deal is. “SMH” by Aaron Rose, CJ Fly, Joey Bada$$ & Nyck Caution ends the album repping Pro Era.

The predecessor from 5 years ago Life’s Beautiful was a decent look at what Powers Pleasant’s solo discography could look like going forward & regardless if I didn’t enjoy Life Sucks more than the last EP, I can’t say it’s any worse either if that makes any sense. Powers’ production start to finish is absolutely fine primarily basing itself around a trap sound, the performances during the 36 minute runtime on the contrary tend to be hit or miss.

Score: 3/5

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Tee Grizzley – “Post Traumatic” review

This is the 5th full length studio LP from Detroit rapper & singer/songwriter Tee Grizzley. Originally a member of the quartet ASBH, it wouldn’t be until 2016 where he would blow up off his first solo single “First Day Out” & earned a contract with 300 Entertainment. His profile would continue to grow by dropping projects like his debut mixtape My Moment, the debut album Activated, his 2nd tape, Still My Moment, the Timbaland exec-produced sophomore effort Scriptures or my personal favorite: his 3rd mixtape The Smartest. Built for Whatever & Chapters of the Trenches would both later be received moderately and responses towards Half Tee, Half Beast & Tee’s Coney Island were generally mixed, but some of the singles ahead of Post Traumatic made it seem promising.

The intro fuses Mobb music with Detroit trap talking about having post traumatic stress due to his father dying recently & barely knowing his own mother whereas “We Dem” produced by Wheezy works in a symphonic trap instrumental flexing that he’s still him. “Blow for Blow” featuring J. Cole finds the 2 over a signature Pi’erre Bourne beat which is fine except for the “I’m really him, Bruce Jenner, boy just ain’t” line feeling reminiscent to the 1 bar he had on “Pi” off Might Delete Later, but then “All I Wanna Do” goes for a soulful Detroit trap vibe thanks to FNZ looking to get money.

“More Than Half” hooks up some horns & bells from Helluva to talk about half these muhfuckas out here folding eventually leading into “Ride or Die” featuring Tink heading towards more of a synth-based direction for a duet about having only each other on their minds. “Diana” switches gears in favor of a futuristic trap flare courtesy of BNYX from Working on Dying comparing her bitch to the late Princess Diana herself just before the bassy “I Ain’t Sorry” featuring Hunxho that Chopsquad DJ laced sees both of them at their most remorseless.

Meanwhile on “10pm in Detroit”, we have Tee Grizzley on top of these pianos & 808s boasting that he got money flowin’ all night like “Drunk in Love” by The Carters prior to “Swerv” featuring G Herbo putting a minimal emphasis on the drums so they can trade verses with one another without a hook for 3 minutes detailing their gang ties. “WTF I Want” mixes these synth-horns with 808s talking about doing whatever he feels like while the pop rap/trap hybrid “I Know” discusses knowing how to turn dreams into reality.

“Dream Youngin’” starts the 2nd leg of Post Traumatic on some atmospherically chill trap shit thanking everyone who’s ever supported him throughout his career while “Situationship” featuring Mariah the Scientist gives a shot at fusing trap soul & pop rap finding both of them wishing each other the best in the end. “Trench Baby” gets back on the Detroit trap tip talking about being born in the trenches of the Murder Mitten while “You Hear Me” featuring YTB Fatt comes through with this underwhelming team up looking to get their bags up.

Future makes up for some of the mediocrity joining Tee on “Swear to God” boasting that your album doesn’t even slap like Mixtape Pluto does which is valid since he took it back to his roots on there while “Pop Shit” featuring Baby Grizzley finds both Grizzlies shooting for a piano-driven direction instrumentally going from playing GameCubes to VS Cubes. “Deposits Crazy” gives thanks to God for somehow helping him through the pain in his life & “Detroit” featuring 42 Dugg serves as this bangin’ tribute to their hometown.

“Blueprint” pushes towards the final moments of the LP challenging everybody to step up & give back to the city in some type of way while “Suffer in Silence” talks about going off by loyalty & the way you treat him without anyone telling him that shit’s gonna change. As for an official closer, we get treated to the 7th AND the 8th installments of Tee Grizzley’s famous “Robbery” series with Helluva hopping behind the boards for both tracks that Segway into one another perfectly.

The Smartest still stands as my favorite tape in the Detroit trap star’s discography but when it comes to his full-lengths, I came away impressed with Post Traumatic as much as I was with the mixtape that I previously mentioned coming out during the COVID lockdowns. It’s more sonically diverse than what someone might expect being used to the Detroit trap style, showing comfortably yet resolute with these homegrown Michigan beats backing him while thriving across styles from rugged trap to even poppier territory.

Score: 4/5

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Dirty White – “Melodies of Redemption” review

Mount Clemens, Michigan emcee/DJ Dirty White teaming up with Majik Ninja Entertainment in-house producer Stir Crazy for his 3rd full-length studio LP. Returning after an 11-year absence in the summer of 2020 off the strength of his debut album Authenticated, he would later prelude the sophomore effort The Rebuilding of a Broken Soul a year & ago by putting out a debut EP Dirty White’s the Name! ahead of The Rebuilding of a Broken Soul itself seeing the light of day this past spring. Over 6 months later, Dirty White’s continuing to put in work starting the final quarter of 2024 by at least unleashing the Melodies of Redemption.

The “Evolution” intro tells his story from writing his first rhymes & performing a local talent show in 1992 to him walking away from it all for over a decade & his eventual return inspired by a conversation with the King of Rock himself forming his backing band the High Life Social Club consisting of drummer Jamie Brady alongside turntablists DJ Nano2hype & DJ Bet whereas the rock/boom bap hybrid “I Feel Alive (MFKA)” talking about doing whatever it takes to survive. “Ay Yo” stays on the rap rock tip clarifying he does this to make life better just before the bluesy “True Colors” seeing those for who they really are.

After the spoken word “Memories of the Mitten” interlude, “Summertime in Michigan” profoundly reminisce is on spending hottest & brightest of the 4 temperate seasons in his home state leading into “Night Terrors” giving off somewhat of a metal vibe instrumentally to talk about every memory of his coming alive whenever he closes his eyes trying to sleep. “Elevated” comes through with a passionate ballad calling to take him higher easing his pain with every day that passes by & after the “Albuquerque Clean” skit, “All Day” goes rap rock again feeling like he’s been resurrected.

“Dirty Laundry” starts the last leg of the LP throwing it back with an old school beat venting that he’s sick of people throwing stones if they live in glasses houses, having their music criticized when they’re listening to artists who’re less more talented than he is & the constant complaining while the final song “Weathered” has this country rap flare talking about living free & never tethered. The “Dear Anita” properly sends things off with an outro remembering his sister, who’s passing in 2020 made him a better artist.

Dirty White’s been referring to Melodies of Redemption as the Mona Lisa of his discography & if you really digest it, it’s abundantly clear he spent the last 10 months giving it everything he has. His real, authentically emotional, soulful, uplifting, educational, inspiring, sobering & relatable performances matched with Stir Crazy’s electric production fusing hip hop & boom bap with other genres such as blues, rock, reggae, country & metal music makes for the wildest ride with the moral of the story being to not give up & keep pushing towards their dreams.

Score: 4/5

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Daniel Son – “Hare Brained Schemes” review

Here we have the 8th proper full-length solo LP from Toronto, Ontario, Canada emcee Daniel Son. A member of the Brown Bag Money collective, his profile began to rapidly increase in the underground off projects like the Giallo Point-produced debut mixtape The Gunners or the Futurewave-produced sophomore album Yenaldooshi. He just teamed up with Raz Fresco this spring for the spectacular collab album Northside paying homage to the roots of the Toronto hip hop scene & a few months after reuniting with Futurewave for the first time since Son Tzu & the Wav.God on Bushman Bodega over the summer, he & Finn are linking up for Hare Brained Schemes.

“Femoral” is this grungy boom bap opener talking about turning flesh into ice since he’s so cold & people wasting time like they have extra lives whereas “Missing Teeth” gives off a jazzier approach instrumentally applying pressure on everyone’s necks with their feet for deep pockets. “Capital Gains” featuring Pro Dillinger maintains a jazzy boom bap flare cautioning to recognize before they reck their lives, but then “Dance of the Drunken Mantis” briefly expresses his desire to be a Bush Doctor Millionaire.

As for “Clicqout Fountains”, we have Daniel hopping over a soulful beat boasting at the main pot to piss in was shitting on the competition leading into “Courtleigh Chemist” regularly talking about not changing shit if he were to do it all over again. “Chalk Brothers” featuring Lord Juco mixes the exuberant with the raw bodying shit together while “Iron Leash” featuring Family Gang Black finds the 2 grittily translating their pain into passion now that their music rocking overseas.

“Talon Claw” starts the final leg of the LP talking about cooking as if he was a French chef in the ‘60s while “Call Me” drumlessly reaffirms that he’ll go down as a legend when it’s all said & done saying it’s the dope everyone needs. “Sharing Needles” featuring Mooch returns to the boom bap catching the big sharks since neither one of them want to meet their demise struggling & “Fall Breeze” closes Hare Brained Schemes in the form of a dedication of those who have to stay home on the weekends because they can’t afford a sitter.

Dirty Dishes has always stood out to me as one of my favorite Daniel Son projects much like everything he & Futurewave have done with one another in the past, so that was more than enough to have me anticipating the follow up here & they sure as Hell delivered. Finn’s production here is some of the best that I’ve heard from him in a while, the features all match Daniel’s energy & the BBM standout himself lyrically keeps the same energy from the other 2 acclaimed projects I’ve covered from him this year.

Score: 4.5/5

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DJ Hoppa & Johnny Slash – “Shadows in Sound” review

This is a brand new collaborative LP between Panorama City deejay & producer DJ Hoppa as well as Long Beach, California producer Johnny Slash. One of whom I became a fan of during my high school years after becoming an in-house DJ/producer for Funk Volume during their heyday & the other I first heard of when G-Mo Skee freestyles over a few of his instrumentals at the end of his gaming streams. K.A.A.N. just dropped 2 back-to-back albums produced by Hoppa over the summer Delusions of Grandeur & In Due Time maintaining the acclaim of some of his more recent output, but hearing Hoppa & Slash coming together for Shadows in Sound was interesting as someone who respects both producers’ artistries.

“Damn!” by Kail Problems is this dusty boom bap opener talking about being raised rugged in a city full of broad day muggers whereas “Microdose” by Wrekonize stands as one of my favorite tracks here working in more kicks & snares realizing that he’s definitely high taking more than what was supposed to be a minimal amount. “Lost!” by K.A.A.N. proves to be another highlight keeping it boom bap & the Maryland chopper setting a heinous tone lyrically just before “Funeral Pyre” by Body Bag Ben takes it further down the basement warning that the dysfunctionalists will leave y’all in permanent tourniquets.

The instrumental on “Bullsh!t” by Marley B. kinda radiates this funky boom bap vibe to it airing out all the cap that comes his way leading into “Smoke 1st” by Coast LaContro having a bit of a jazz rap influence so Coast can provide a banger for all the smoker’s out there. “Aim” by Cole Z hooks the kicks & snares up once again cautioning that he’s got the guns blazing when he’s out here working, but then the gorgeous sampling throughout “Can’t Save Me” by Rollen Poole finds him talking about them saying he’s out his mind.

“Protect the Innocent” by Seuss Mace nears the conclusion of Shadows in Sound by layering this synth/boom bap hybrid with conscious lyricism pleading for a safer tomorrow for our children to start today & the grisly “Code Red” by Big Renz properly closes out what is set to be a promising series of collaboration efforts from DJ Hoppa & Johnny Slash coming back to work after going rogue for a month as if he never had to leave in the first place.

If you highly enjoy what both of these guys have to offer behind the boards killing it for quite some time individually as west coast bred boom bap producers & they come together for a pretty solid collaborative effort. Their production over the course of 27 minutes is absolutely flawless with the guests ranging from established veterans like Wrekonize & K.A.A.N. to up-&-comers like Seuss Mace or Broken Complex Records signees Kail Problems & Marley B., both of whom dropped a collab EP earlier this summer.

Score: 3.5/5

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Godspeed You! Black Emperor – “No Title as of 13 February 2024 28,340 Dead” review

Godspeed You! Black Emperor is a highly revered post-rock band from Montréal, Québec, Canada consisting of guitarist/keyboardist Efrim Menuck, bassist Mauro Pezzente, guitarist Mike Moya, bassist Thierry Amar, guitarist David Bryant, drummer/percussionist Aidan Girt, violinist Sophie Trudeau, film projector Karl Lemieux, drummer/percussionist Timothy Herzog & film projector Philippe Léonard. Their debut album F♯A♯∞ & more specifically the sophomore effort Lift Yr. Skinny Fists Like Antennas to Heaven! would become landmarks in experimental rock subgenre, disbanding for a period of time after Yanqui U.X.O. came out. They returned a decade later with ‘Allelujah! Don’t Bend! Ascend! & ‘Asunder, Sweet & Other Distress’ during my high school years followed by Luciferian Towers & G_d’s Pee at State’s End!. 3 years after the latter, GY!BE’s returning for their 8th full-length studio LP.

“Sun Is a Hole Sun Is Vapors” starts us off by taking the post-rock sound that the band is known for & fusing it with chamber music for roughly 5 & a half minutes whereas “Baby’s in a Thundercloud” epically continues to put an emphasis on timbre, texture & atmosphere over traditional conventions while often embracing Western Classical influences further. “Raindrops Cast in Lear” is another excellent chamber/post-rock hybrid to finish the LP’s first half while “Broken Spires at Dead Kapital” could be my least favorite track here although I appreciate the drone-spin on Western Classical music. “Pale Spectator Takes Photographs” primarily builds itself around these stellar, tension-raising guitars & “Grey Rubble – Green Shoots” finishes with an outstandingly melancholic post-rock/chamber music single.

Inspired by the ongoing war between Israel & Hamas that officially began a year ago this upcoming weekend, what the post-rock titans get across during the 6 track/55 minute listening experience is the old world order hardly claimed to care & this new century will be even crueler. Needless to say, it culminates in calling for everyone everyone to hold on & not give up by choosing your side in the conflict naming itself after the amount of people who’ve lost their lives 4 months after it all started since recording began during the winter of bombs. They take everything that made G_d’s Pee at State’s End! enjoyable minus the field recordings & channel their frustrations with Israeli/Palestinian conflict.

Score: 4.5/5

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