The Cure – “Songs of the Lost World” review

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

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

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

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

Score: 4.5/5

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DaeMoney – “The Godson” review

This is the 3rd full-length studio LP from Detroit trap star DaeMoney. Coming up as the nephew of one of the 2 biggest artists in the city right now Babyface Ray as well as a now former member of the WRLD Tour Mafia collective, he broke out on his own by dropping his debut mixtape Young Sexual Misconduct & his debut EP Slae Season accompanied by his 2nd EP Rockstar Lifestyle & Slae Season 2. Slae went on to sign to EMPIRE Distribution couple summers ago & celebrated in the form of his Slayer’s Coming EP fully produced by Trees shortly after as well as the final installment of the Slae Season trilogy & a sequel to Rockstar Lifestyle. He was surprisingly dismissed from WRLD Tour this spring due to scamming through Slam A Slut Records & is returning as The Godson.

The title track sets the tone of what’s to come with this mafioso trap instrumental letting y’all in on the family business & explaining the way he got out of the hood whereas “Snotball” featuring Babytron brings the 2 together for a Detroit trap highlight. “All My Sons” featuring Peezy continues to apply pressure under Detroit trap tip showcasing both the subgenre’s different generations while “Fuck Slae” hooks up pianos & 808s getting smarter with age.

“SpongeBob & Patrick” has this energetic Detroit trap vibe throughout flexing that his naysayers can’t stand it when he be goin’ hard just before the wavy “King of the Hill” talks about coming from the trenches. “Vice City” has a meditative trap atmosphere rockin’ 20 venues straight leading into the cloudy Detroit trap hybrid “07 Melo” compares himself to Carmelo Anthony in his prime.

Rally joins Slae for the slow-tempo “Sam Called Me Billy” talking about how late really far from the millions while the synth-driven “Kurt Cobain” produced by LulRose flexes a bitch blowing brains exactly like the iconic Nirvana frontman. “Manifest” pushes further down the 2nd half of The Godson doing everything differently prior to “Painting” explains the streets being dangerous due to the snitches & snakes.

“Can’t Sleep” gets the final leg of the LP going on a psychedelic note boasting that there’s no trading for the WRLD Tour Mafia even after the fact that him & Rafa had fallen out with each other while “Superstar” takes a couple of minutes of our time to show off his current status. “Game Winning Speech” ends by reflecting on going from chillin’ in the projects to where he is now.

Becoming a fan of WRLD Tour about 2 & a half years ago when DaeMoney was still a part of the group, I still look at him as one of the most talented members & will continue to support him on his solo endeavors as is the same with Slam A Slut. What about The Godson? It’s another consistent Detroit trap project that you’d expect from him. He pretty much breaks down his titular position playing a significant role in his success & the production mainly basing itself around the city’s unique take on trap.

Score: 3.5/5

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Bishop Nehru – “Solace in Shadows” review

New York emcee/producer Bishop Nehru self-producing his 3rd LP. Starting out dropping a couple beat tapes before emerging in the underground off the solid debut mixtape Nehruvia, he profile would only begin to increase in 2014 by signing to Mass Appeal Records & form the duo NehruvianDOOM alongside the late MF DOOM & putting out an overlooked self-titled effort together that same fall. Bishy would leave Mass Appeal a couple years later to drop 2 full-lengths Elevators & My Disregarded Thoughts on his own, both of which I look at as some of the best shit he’s ever done. He would also drop 7 EPs & 5 more mixtapes, the most recent being Kult Life: From Pain to Paintings. To start November though, Nehru’s finding Solace in Shadows.

“Seeking Solace” is a heavy sample-driven opener talking about Bishy Chulo searching for comfort whereas “I Don’t Know” soulfully promises to make everything all his despite if he doesn’t know if the vision’s seen. “Been So Cold” takes the boom bap route instrumentally flexing how long he’s been in the game killing shit leading into “Defying Odds” keeping the kicks & snares in tact making it to the stages after days in the hallways.

Meanwhile on “Vanilla Frosting”, we have Nehru sampling a woodwind taking a break from the mic for 135 seconds so he demonstrate his sampling skills flipping a prominent woodwind prior to the “Breaking the Rules” talking about tryna take it to the next level over a bagpipe & later the hardcore “Rap Leonardo da Vinci (So Please)” flexing his artistry. “I Don’t Care” boasts him taking the unclear road, but then the crooning “Good Thing I Know” promises you won’t come back if you cross him.

“Mr. Pessimistic” starts the encore of Solace in Shadows admitting that life’s been crazier than a Tesla in the fast lane while the orchestral boom bap hybrid “Look Within” telling you how you can change outside. “Mind over Matters” takes it further down the basement explaining the only thing that really matters while “All in the Plan” soulfully reassures that this God’s plan. “The Best Me” ends by talking about giving y’all the best version of himself.

I did enjoy the first entry of the Kult Life series of EP & several months later, Bishop has outdone himself by putting out an album that lives up to both of it’s predecessors. The production that he cooked up all by himself is a step above the previously mentioned EP that we got from him early into 2024 & conceptually, he’s taking us through the experiences of him finding comfort within the shadows.

Score: 4/5

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Freddie Gibbs – “You Only Die 1nce” review

Indiana emcee Freddie Gibbs returning after Halloween for his 5th LP. Coming up in 2004 with his debut mixtape Full Metal Jackit. he would then sign to Interscope Records for a brief period of time until he left without dropping an album with them. This was made up for with the mixtapes The Miseducation of Freddie Gibbs & Str8 Killa No Filla, which would catch the attention of Jeezy & land Freddie a contract with CTE World in 2011. However, Gibbs eventually left CTE the following year after releasing the tapes Cold Day in Hell & B.F.K. (BabyFace Killa). In 2013, he decided to form his own label E$GN Records & finally dropped the full-length album E.$.G.N. (Evil $eeds Grow Naturally). He & iconic Oxnard producer Madlib would drop their MadGibbs debut Piñata the year after that, which is EASILY one of the greatest hip hop albums of the previous decade. Gibbs continued to grow his profile after that with Shadow of a Doubt, You Only Live 2wice, Freddie, the Curren$y collab EP Fetti & who can forget MadGibbs’ sophomore effort Bandana or Alfredo produced by The Alchemist? E$GN signed a new distribution deal with Warner Records in tandem with $oul $old $eparately to positive reception & returning to that You Only Live 2wice essence on You Only Die 1nce.

“Status” is this drumless intro talking about currently being at the throne of the rap game whereas “Cosmo” works in these exuberant ass piano chords continuing to win as long as everyone else keeps singin’. “Wolverine” produced by 454 stays in the castle since the streets ain’t worth the hassle hookin’ up some layering & background vocals, but then the soulful trap crossover “Brick Fees” gets in his hustler bag.

Moving on from there, “Rabbit Island” discusses life being exactly what you make of it over this calming & crisp instrumental while “It’s Your Anniversary” offers a west coast flare likening his MCing abilities to that of a crack attack. After the “Nobody Like You” interlude, “30 Girlfriends (Yeah Yeah)” shifts into a lush trap direction refusing to let anyone make a move on him just before the highlight “Steel Doors” that BNYX of Working on Dying laced with iloveit! seals his legacy.

“Walk It Off” starts the final leg of You Only Die 1nce on the symphonic trap tip courtesy of 454 pointing out how everyone wants to see us against each other while the chilled out “Ruthless” featuring Leon Thomas III on the remix thanks to Freddie’s manager Lambo interestingly talks about maintaining the titular mentality. “Origami” finds BNYX excellently dabbling with boom bap so Gibbs can try to get paid & “On the Set” gives his flowers to the late Rich Homie Quan.

Starting the deluxe run, “Outside” talks about staying strapped whenever he’s out in the streets while “Axxtion” after the “Pain from Paradise” interlude samples “Flex” by Mad Cobra encouraging a woman to get in his 2-seater to fuck. “Immigrants” details laughing to keep himself from crying & a homicide staying on his mind over a Boi-1da beat while “Summertime Homicide” brings in a Swaggyono instrumental to talk about driving with the top off regardless of the weather.

“Torture” confesses that the fame has left him scarred & being unable to handle it but after the “Heartbreak in Heaven” interlude, “Rabbit Mode” boasts the fact that his shows have been selling out when Instagram constantly banned him for the wild memes he posted. The final bonus track “Nobody Like You” ends on a more self-reflective note talking about his childhood experiences & relationships with women.

Coming off one of the best verses of his entire career on “Back to Me” off ¥$’ debut album Vultures at the beginning of the year, You Only Die 1nce proves quite the treat for devotees for his razor-sharp raps. The production ranges from boom bap to drumless, jazz rap & trap holding off on having any guests join him, giving himself further room for the Freddie Kane persona’s return now that he’s off Warner.

Score: 3.5/5

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Westside Gunn – “Still Praying” review

Here we have the 8th studio LP from Buffalo, New York emcee, songwriter, entrepreneur, curator & now professional wrestling promoter/booker with the foundation of his own 4th Rope independent circuit promotion Westside Gunn. Proving his legend status & that he’s to be a force to be reckoned with all in nearly a decade whether it be running one of the hottest hip hop labels in recent memory to his first 2 full-lengths FLYGOD & Supreme Blientele. He just put out the 11th installment of his infamous Halloween mixtape series Hitler Wears Hermes yesterday & is now following up And Then You Pray for Me with Still Praying.

After the “Waly Fay” intro & the “Justin Roberts” skit provided by the AEW Yapper Dapper who started in WWE over 2 decades ago, the first song “Beef Bar” produced by Denny LaFlare & Statik Selektah is a lavish boom bap opener welcoming everyone to the lifestyles of the rich & famous whereas “Max Caster” named after the former AEW World Tag Team Champion & AEW World Trios Champion of The Acclaimed dustily worries about the almighty dollar. “Dr. Britt Baker” featuring Brother Tom Sos named after the former AEW Women’s World Champion keeps it in the basement thanks to DJ Muggs introducing y’all to the dentist who gave them multi-million dollar smiles & “I Know Verdy” maintains a boom bap edge refusing to show pity.

“Speedy 40” hopped over this slow, morbid instrumental from long-time Griselda in-house producer Daringer talking about being too greedy while the cutthroat “Duran Duran” that JR Swiftz laced salutes Jeff Hardy of the current 3-time TNA World Team Champions The Hardy Boyz. “Runway Pieces at the Last Supper” works in a mellow backdrop mixed with kicks & snares reflecting on the war they used to have while “Free Shots” by Hall ‘N Nash or hip hop’s equivalent to former 2-time AEW World Tag Team Champions, ROH World Tag Team Champions, AAA Mundial Parejas Campeons, IWGPタッグチャンピオン, & 5-time WWE tag team champions FTR after “Bike Air” interlude pays homage to incarcerated Drumwork Music Group artist Shots Almigh over a Conductor Williams beat.

The title track featuring Benny the Butcher, Boldy James, Conway the Machine & Stove God Cook$ pushes towards the final moments of Still Praying with this insane 7-minute Griselda posse cut while the song “Underground King” featuring Rome Streetz returns to the boom bap talking about how both of them are the greatest of all shit talkers including a reference to former 2-time WCW World Heavyweight Champion, 2-time WCW World Television Champion, 3-time WCW World Tag Team Champion & 5-time WWE United States Champion Lex Luger. “LeSalle Station” properly finishes the album by reflecting on all the people that he’s lost back to back.

Coming off the most personal project that West has ever made Hitler Wears Hermes XI only 24 hours ago, he’s continuing the hot streak with a follow-up to And Then You Pray for Me that I think people are gonna like a lot more than the predecessor. The production is rooted in the traditional boom bap sound Griselda is known for in contrast to the trap heavy influences of last time & the guests all maintain his level on the mic.

Score: 4/5

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Lil Uzi Vert – “Eternal Atake 2” review

Philadelphia, Pennsylvania rapper & singer Lil Uzi Vert starting November with their 4th LP. Becoming a household name in the trap scene with their 2015 mixtape LUV is Rage & then Lil Uzi Vert vs. the World the following year, Uzi has been entangled with a nasty legal battle with Generation Now Entertainment/Atlantic Records from their debut LUV is Rage 2 until the sophomore effort Eternal Atake came out in March of 2020 to moderate reception & followed it up a week later with the far superior Lil Uzi Vert vs. the World 2 that spawned the deluxe version trend where artists would drop a “deluxe version” of their newest project that’s basically an entirely new album. Red & White was a solid prelude to The Pink Tape which received mixed feedback, so they’re making an Eternal Atake sequel to fulfill their long-standing Generation Now/Atlantic contract.

“We Good” produced by WondaGurl & Cashmere Cat perfectly begins with this booming trap instrumental admitting they’ve been going through a Nitrous addiction much like Ye formerly Kanye West did whereas “Light Year (Practice)” works in a rage beat from Brandon Finessin’ of Working on Dying to talk about their love for ratchet bitches including a reference to the great one Wayne Gretzky of the Edmonton Oilers & Los Angeles Kings. “Meteor Man” samples the theme from the Halo video game series flexing their aura just before “Paars in the Mars” talks sipping wock with a bunch of vocal effects.

Meanwhile on “The Rush”, we have Big Time Rush of all groups joining Uzi for the psychedelic trap vibes so Uzi can pay homage to them getting high feelin’ like he’s flyin’ until “Not an Option” goes into hypertrap territory once again telling everyone to stop saying they don’t got guap. “She Stank” atmospherically explaining why they ain’t wanna fuck this bitch, but then the triumphant “Mr. Chow” flexes the check.

“Lyft ‘Em Up” starts the 2nd half of EA2 runnin’ through shit over a rich trap beat from BryceUnknwn while the bombastic “Chips & Dips” applies further pressure likening their bands to braids referencing AEW’s newest signing Bobby Lashley of The Hurt Syndicate who was also a former 4-time TNA World Champion, TNA X Division Champion, 3-time WWE United States Champion, 2-time WWE Intercontinental Champion & 4-time WWE world champion. “Black Hole” pulls a bit from the drill scene reflecting on the days when they were broke & doing better now while the mellow “Chill Bae” gets in their breakup bag tackling a relationship that feels like a chore at this point.

The final leg kicks off with “Goddard Song” talking about a chick is trying to eat their swag up on top of a nostalgic trap instrumental while the trippy “PerkySex” obviously talked about having sex under the influence of percocets. “Conceited” publicly tells their girlfriend JT of prior City Girls fame that they can’t live without her & “Space High” is the highly anticipated Ebro Darden diss, which I enjoy as a diss down to the Trgc beat & since I’ve said in the past that I’m not a big Ebro fan.

The Pink Tape still very much had it’s highlights & some of Uzi’s best songs regardless of the low points on there like the shitty System of a Down cover. With that being said: Eternal Atake 2 here is basically similar to ¥$’ sophomore effort Vultures 2 except worse. Mike Dean’s mixing/mastering is perfect & Cashmere Cat producing more than half of it was a good call since I got put on him through his early EPs, it’s that Uzi’s addiction to nitrous also known as whippets or galaxy gas is really spiraling out of control. Hope they get the help they need like Ye did, who’s now currently working on his upcoming 11th album Bully in Japan.

Score: 1.5/5

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IDK – “BRAVADO iNTiMO…” review

Here we have the 4th studio LP from Bowie, Maryland by way of Clapham, London, England, United Kingdom rapper, singer/songwriter & producer IDK. Beginning to make waves in the spring of 2014 off his first 3 mixtapes profile began to significantly increase in 2017 when he signed to Williams Street Records in order to put out a 4th tape IWasVeryBad to critical acclaim. He continued the grind by putting out a debut EP IDK & Friends as well as the full-length album Is He Real? & his 2nd EP IDK & Friends: Basketball County, but the sophomore effort USEE4YOURSELF a couple summers ago was very underwhelming. Simple. however fully produced by KAYTRANADA wound up being his strongest body of work to date & F65 was a decent conceptual effort. Fast forward a year & a half later, he’s following it up with BRAVADO iNTiMO….

After the “HELLO” intro, the first song “CELiNE iN THE TRAP” starts by hopping over this guitar driven instrumental from Tae Beast bringing it to your live from the underground whereas “TiFFANY” featuring Gunna works in this boisterous trap beat so both of them can talk about their love for the Celine fashion brand. “KiCKiN!” maintains the trap vibes kickin’ doors down feeling untouchable just before “DENiM” featuring Joey Bada$$ hooks to kick & snares back up talking about never being the ones tryna ball for bitches.

“MiLES TRUMPET” comes clean that he doesn’t know how to love since he’s too young sticking with a luxuriously dusty edge instrumentally leading into “CHECK!” having a bit of a quirkier beat to talk about sticking to the door unless you got a check. “PAPERCUTS” offers a bit of a calmer atmosphere talking about people trying to fuck his paper up, but then “SWiTCH” featuring Conway the Machine brings both of them together to address the system.

The song “SUPERNOVA” featuring The Arti$t begins the encore of BRAVADO iNTiMO… by allowing both of them to get on the pop rap tip together while the penultimate track “SEE YOU AGAiN” heads for a guitar-driven direction asking this woman who could very well be the love of his life when will they see another next. “GOODBi” serves as more of an outro giving listeners a token of his appreciation while “MARiO COiNS” after the “…” intro starts the deluxe run murdering everyone in 2025.

“S U (B)” featuring Denzel Curry links up over this trap beat pleading to not make ‘em wanna switch up on them counting all the dividends together while “MiLES TRUMPET 2” talking about being way too young to fall in love this woman he has in mind. “RiCH MAN DREAMS” featuring Ab-Soul takes a jab at everyone out here acting like they know ‘em when they clearly don’t & the final bonus track “FLOW” talks about finding the answer within a verb.

Originally intended to be a 2-disc offering, the official F65 picks up from the predecessor by showing 2-different sides to the Maryland based recording artist. The production ranges from boom bap to trap & pop rap showcasing his boldness intended to impress on 1 end, allowing him to make room for the intimate & vulnerable sides of him to be shown in addition.

Score: 4/5

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House of Krazees – “31” review

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

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

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

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

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

Score: 4.5/5

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Diorvsyou – “Ashes” review

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

“Long Time” is this rage-inducing open or acknowledging the fact that it’s been a while since we’ve heard from him & that’s how life goes sometimes whereas “SoFarGone” produced by PROJECT4PLAY & Zaan takes the psychedelic trap route instrumentally talking about everything being new. “WakeUpThumb” has a bit of a cloudy trap approach flexing his lifestyle just before the booming “Leisure” talks about being so high at the moment.

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

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

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

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

Score: 4/5

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Tyler, The Creator – “Chromakopia” review

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

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

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

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

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

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

Score: 4.5/5

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