UFO Fev – “Strapped” review

Harlem, New York emcee UFO Fev teaming with Fredro Starr to produce his 8th LP. Coming up in 2014 off his full-length debut Around My Way, it wasn’t until 2020 when he saw his biggest year yet by dropping not 1 but 3 well received projects: the Statik Selektah-produced sophomore effort Fresh Air along with the Termanology-produced debut EP From El Barrio, With Love & the Big Ghost Ltd.-produced 3rd album The Ghost of Albizu. This was all followed up with Magnum Opus along with the Vanderslice-produced Enigma of Dalí & 4 EPs: The Most HighPrayer, Weed & MusicE Pluribus UnumSunsets in the Ghetto & of course the Finn-produced Blood on the Bills. A year & a half after Painting Houses though, expectations for Strapped were up there.

After the titular intro, the first song “Best Dressed” is a drumlessly crooning opener & a full circle moment for Fev himself whereas “Batumi” dives headfirst into boom bap territory doing exactly what he’s supposed to do right on schedule. “Can We All Get Paid?” works in a soul sample with kicks & snares asking if everyone can make bread in order to live better days ahead of “Bullets” featuring Red Inf recapturing the energy of their Vanderslice-produced collab EP Chemistry about 3 months ago.

“Fast Life” atmospherically breaks down the lifestyle he lives of being at his level within the underground just before “UFO Teknology” featuring Teknology brings the trio together over a soulful beat so they can reassure everyone knows the game & the subsequent outcome of it. “Peace God” takes a jazzy approach attempting to teach his youth some knowledge leading into “Sade X” calmly showing off his new glow.

Nearing the conclusion of Strapped, the penultimate song “Free Rice” returns to the boom bap with a spacious twist instrumentally listening to b-sides as well as building a catalog & dodging bullets in the matrix prior to “Visiting Hours” officially wrapping up Fev’s best album in a couple years mixing pianos & crooning background vocals bringing fresh flowers to his old girls behind bars wiping his tears away assuring him they’re ok.

Fredro Starr has really been elevating his game behind the boards these last couple years & much like how he gave SmooVth his best album in recent memory with Project Near You, he helped Fev deliver what has to be the most I’ve enjoyed a project of his since Blood on the Bills a year & a half ago. The general sound expands beyond boom bap in favor of jazz rap & drumless while Fev shows the audience a personal side to him.

Score: 4.5/5

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James Blake & Lil Yachty – “Bad Cameo” review

Here we have a new collaborative LP between James Blake & Lil Yachty. One is a singer/songwriter & producer from London, England, United Kingdom & the other happens to be a rapper, singer/songwriter & producer coming straight outta Atlanta, Georgia. Both of whom I’ve covered individually in the past ranging from projects like Assume Form to Michigan Boy Boat & of course Let’s Start Here., the latter being Yachty’s very own 808s/IGOR moment venturing out into a psychedelic rock direction. Neither one of these guys have ever worked with each other previously, so my curiosity around Bad Cameo got a hold of me needless to say. Especially after James’ comments back in March about streaming services devaluing music & has since been trying to help improve streaming rates for artists, hence why Pharrell released his latest album Black Yacht Rock: City of Limitless Access through its own web domain on his birthday along with ¥$ planning to release Vultures 2 exclusively through a YZY app & Metro Boomin’ recently saying his next album might be the last on DSPs. Those & Bandcamp are the best solutions.

“Save the Savior” starts off headed towards an ambient direction rapping & singing about the savior needing to be saved whereas “In Grey” hopes to be picked back up by Valentine’s Day if they fall by then bringing a future garage vibe to the table behind the boards. “Midnight” takes the neo-psychedelic art pop route instrumentally knowing that the shore will speak even though you’re the only one who saw while “Woo” fuses hip house & alternative R&B wanting to know if their partners really love them.

The title track produced with BNYX of Working on Dying goes ambient once again hoping not to head down towards a significantly dark path ever again just before the ambient house-infused “Missing Man” finds both of them vulnerably feels broken down into pieces. “Twice” continues the 2nd leg of Bad Cameo in the form of this perfectly balanced 2-parter describing a simple equation you can count on them for prior to the progressively ethereal “Transport Me” samples “The Vibes is Right” by Barrington Levy wanting to know your story.

“Run Away from the Rabbit” nears the conclusion of the collaborative LP that we never thought we needed to hear wanting to be blinded over an ambient instrumental & “Red Carpet” closes it out with 1 more ambient cut talking about never wanting to walk the red carpet on top of everyone seeing new versions of them right in front of us & late night thoughts make it hard for either one of them to sleep at night.

Yachty’s evolution throughout the last year & a half putting out some of the best material of his career has been one of the most beautiful things I’ve ever witnessed in my life especially when you had the heads who genuinely don’t fuck with him at all coming clean that Let’s Start Here. or “The Secret Recipe” are incredible & Bad Cameo stands as a historic crossover for fans of both him & James. It’s prominently art pop & neo-psychedelic with additional undertones of alternative R&B, ambient house, ambient, experimental hip hop, future garage & UK bass.

Score: 4.5/5

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The Underground Avengers – “Oblivion” review

This is the 3rd & final full-length studio LP from Arlington, Texas emcee Claas alongside Louisville, Kentucky/Covington, Georgia duo The Horde consisting of Bukshot & Boondox or collectively known as The Underground Avengers. Forming in 2012 off an eponymous debut EP, they got back together in the summer of 2018 to have Majik Ninja Entertainment back their debut album Anomaly 88 & returning almost a year later for the sophomore effort Dark Matter. A 2nd EP The Gateway was released in the fall of 2022 & coming off an appearance at Astronomicon 7 couple months ago, they’re taking us to Oblivion after 12 years in the making allegedly.

After the “Judgment is Upon You” intro & the “Reassembled” skit, the unhinged first song “Who Dat?!” produced by MIKE SUMMERS a.k.a. 7 who did UGA’s coda in it’s entirety leaving everyone running when the trio comes through whereas the morbidly flavored trap joint “Diablo” telling the haters to keep it moving. “Without a Trace” takes the aggressive trap route instrumentally making them learn when they do wrong & after the titular interlude, “Sideshow” angrily talks about being ready for rapture.

“Smash” brings an unsettling trap flare to the beat detailing the asshole nature all 3 of them possess while “Predators” featuring Mr. Grey sees the quartet devilishly talking about ripping the spine out your back. After the “OPLAN” interlude, “Snake Eater” hooks up an eerie atmosphere once again looking to make the final feature just before “Be Warned” grimly cautions listeners of UGA’s wrath.

After the “Reaping” interlude, “Other Side” delivers an adrenaline inducing hardcore trap banger leading into the grisly “‘Til the Music Stops” looking to ride until the wheels fall off the muhfucka. After the “Collision” interlude, “A Little Crazy” goes boom bap to talk about their craziness while the bouncy “Bring It Back” runs from the law grinding & getting dirty.

“When or Whenever” uncannily talks about everyone else watching them take the lead & after the “Dissassembled” outro, “Alibi” weaves organs & hi-hats wanting to be labeled as the bad guys when they’re gone while “Scab” is an insane rollercoaster ride of an underground 8 minute posse cut. After the “Black Hole” interlude, “Can’t Find Me” by The Horde finishes by shows a serious side to Boondox & Bukshot since the end is getting nearer.

Understandably, I can see why we’ll more than unlikely get another Underground Avengers album going forward since everyone’s already established individually in their own rights & Oblivion was the greatest note for them to leave on that took a dozen years for us to hear. The production’s primarily trap centered & the apocalypse concept throughout pretty much suits the fact that this is the last time we’ll hear them assemble.

Score: 4/5

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YN Jay – “Flint 2 Detroit” review

YN Jay is a 24 year old rapper from Flint, Michigan emerging in the late 2010s/early 2020s off his first 3 EPs MVPCoochie Land & Watch This as well as the subsequent trilogy of mixtapes Ninja WarriorCoochie Chronicles and Young, Wild & Free. His profile began to grow from there, following those up with the full-length debut Album Mode, preluding the sophomore effort Coming 2 Coochie Land with a 4th tape Coochie Goat. Looking to bounce back from the mixed to negative reception of Life Before Death & Been Havin’ last summer however, the Coochie Man returns for his 3rd album.

“Difference” featuring Kash Doll & Tay B begins with the trio over prominent bells & hi-hats comparing & contrasting themselves to their opposition whereas the only song without a guest “I Ain’t Done Yet” stands out for it’s cloudy Detroit trap flare to the beat talking about being nowhere near finished musically. “US 23” featuring Grindhard E & Rio da Yung O.G. takes a bit of a rubbery turn instrumentally vividly painting images of the gangsta lifestyle, but then another highlight “She the 1” featuring Babytron & Baby Money talks about the special women in their lives over more upbeat 808 percussion.

Sada Baby & Skilla Baby join YN Jay on the distorted, string-laced “Hangover” energetically passing the mic to one another nonstop breaking down their lifestyles for almost 4 minutes leading into “Boss” featuring Payroll Giovanni jumping on top of 808s & pianos to spit that G shit. “Stupid & Crazy” featuring Icewear Vezzo displays an exciting back-&-forth chemistry for 100 seconds keeping the keys & upbeat percussion in the fold while “Figure It Out” featuring Drego brings the bells back to discuss getting it on their own referencing WWE’s 2nd flagship program SmackDown.

“Dear Rio” featuring Peezy serves as a touching open letter to Rio da Yung O.G. since already he’s incarcerated for a while just before “Rich Ugly Motherfuckers” featuring Babyface Ray humorously talks about being wealthy & unhandsome. “Cup Holder” featuring BandGang Lonnie Bands mixes strings & 808s for an ode to lean while “3 Stooges” featuring Los & Nutty likens themselves to the titular comedy trio.

Cash Kidd appears for the penultimate track “I-75” referencing the interstate that runs north–south from Miami, Florida to Sault Ste. Marie in the Upper Peninsula of Michigan and “Flint Stones” featuring Babyfxce E, BFB da Packman, Grindhard E, Krispylife Kidd, Louie Ray, RMC Mike& YSR Gramz ends with a 6 minute posse cut representing some the finest artists in Flint currently. Standout verses excluding Jay’s for me are Krispylife’s, Ray’s & Mike’s.

Normally I get skeptical about projects with an insane amount of features top to bottom, but I didn’t mind it throughout the Coochie Man’s latest album here because I understand what he was going for & that would be a star-studded love letter from Flint 2 Detroit. Both cities are represented properly as YN Jay takes some of the biggest names in the Detroit trap scene for the ride, a lot of whom I’ve already covered in the past & the production is really what you’d expect from this style of music.

Score: 3.5/5

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Camila Cabello – “C,XOXO” review

This is the 4th full-length studio album from Cuban singer/songwriter Camila Cabello. Originally a member of 5th Harmony, I first heard her when she was featured on the diabetically lovey dovey “Bad Things” by MGK & her full-length debut Camila at the beginning of 2018 released through Syco Music & Epic Records mostly produced by Ging ironically won me over on her. Romance & Familia were both later released to mixed reception & the singles building up to C,XOXO had me hoping she would bounce back from those couple duds. Especially after learning she signed a new label deal with Geffen Records & Interscope Records.

“I Luv It” featuring Playboi Carti was a disappointing opener mixing electropop, Jersey drill, pop rap, footwork, Jersey Club & hyperpop inspired by “Cockiness (Love It)” by Rihanna whereas “Channel No. 5” decently fuses alt-pop, alternative R&B, pop rap, glitch pop, cloud rap & art pop to talk about a romantic partner being unable to resist her scent. “He Knows” featuring Lil Nas X following the “pink xoxo” interlude featuring PinkPantheress crosses over alté, dance-pop, alternative R&B, pop rap, tarraxinha, afroswing describing a chemistry that’s too strong leading into the stripped-back “20somethings” admitting to feeling like she’s living in limbo ripping off SZA.

The now disbanded City Girls consisting of JT & Yung Miami join Camila on “Dade County Dreaming” to draw inspiration from house music paying tribute to the titular county out in Miami, Florida but after the “koshi xoxo” interlude featuring BLP Kosher, “Hot Uptown” featuring Drake brings the 2 together for a melodic house duet produced by Boi-1da asking if their partners want them back topped by Drake’s annoying fake patois during the refrain further validating the colonizer line on “Not Like Us”. Drizzy even gets his own song on “Uuugly” & it might be the best one he’s put out after the beef with Kendrick Lamar, but then “Dream-Girls” warmly pays tribute to the girls learning to become women.

After the “305tilidie” interlude which is the 3rd & final one on the entire LP, the song “B.O.A.T. (Best Of All-Time)” atmospherically tackles the rumination & reflection stage of a breakup to start the final leg while the penultimate track “pretty when I cry” tropically wallows about how much of a pity it is that her ex left her. “June Gloom” closes out Camila’s official Geffen/Interscope debut slowly yet dejectedly asking her former boyfriend if his new girl gets as wet as she does for him moves the way she does over an FNZ beat.

“baby pink” featuring Eem Triplin’ starts the deluxe run by talking about their partners being theirs forever over synths while “Come Show Me” peppily tells this dude who’s tryna convince her that he’s changed to actually prove it to her. “can friends kiss?” spaciously talks about becoming too close to someone she considers as a friend having fantasies of them in her head at night & the final bonus track “godspeed” ends the deluxe with my favorite of the 4 new songs taking us through a ghost world through art pop, electropop, alt-pop & glitch pop.

A lot can happen in 6 years & given Camila’s last couple albums didn’t do it for me (her racist comments towards Normani in 2019 certainly didn’t help either), her new one here is better albeit not by very much. The features are ok but my biggest complaint about C,XOXO is that it feels like it’s trying to be a more commercial version of Charli XCX’s latest masterpiece brat from 3 weeks earlier with more of an contemporary R&B, alt-pop, alternative R&B, pop rap, alté, tarraxinha & afroswing vibe with additional elements of hyperpop, Jersey drill, footwork, dance-pop, Jersey club & art pop.

Score: 2/5

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Hiatus Kaiyote – “Love Heart Cheat Code” review

Hiatus Kaiyote is a neo-soul band from Melbourne, Australia consisting of lead singer/guitarist Nai Palm, bassist Paul Bender, keyboardist Simon Mavin & drummer Clever Austin. Their sophomore effort Choose Your Weapon the month I graduated high school in 2015 was my introduction to them & I loved how they fused it with soul jazz, acid jazz, funk music, nu jazz, progressive pop & neo-psychedelia. They finally returned 7 years later making their Brainfeeder Records debut on Mood Valiant maintaining the neo-soul & nu jazz elements from previously except putting a bigger emphasis on psychedelia. 3 summers later, Nai & company are returning for their 4th album.

“Dreamboat” majestically begins singing for the titular object to sail away & take her home whereas “Telescope” fuses psychedelic soul, neo-soul, contemporary R&B, neo-psychedelia, Afropiano & jazz-funk transporting listeners to an intimate crux in the universe to find solace in their shared musicality. “Make Friends” crosses over neo-soul, contemporary R&B, jazz-funk, psychedelic soul & jazz fusion exploring the concept of recognition principally in regards to gender identity leading into “Everything’s Beautiful” following the “BMO is Beautiful” interlude featuring Niki Yang working in elements of neo-soul, jazz-funk, jazz fusion & psychedelic soul finding beauty in literally everything.

Meanwhile on “Dimitri”, we have Nai over more funky production singing about everyone being “amputees of our divination” leading into what could possibly be my least favorite track on the entire album “Longcat” futuristically talking about the longest cat in the world for 105 seconds. “How to Meet Yourself” fortunately picks things back up working in pianos with the title much like “Everything’s Beautiful” speaking for itself conceptually just before the title track brings psychedelic soul, neo-soul, art pop, trip hop & neo-psychedelia encouraging to keep it handsome. “Cinnamon Temple” releases the pressure mixing psychedelic soul, experimental rock, math rock, noise rock, neo-psychedelia & progressive rock prior to the closer “White Rabbit” covering Jefferson Airplane.

In addition to providing the world a snapshot of 4 musicians dancing together on the edge, Nai & company also give us a cohesively wide-eyed yet relaxed body of work that reflects a deeper understanding of themselves & the music they wish to share with the world around them. And on the contrary of the band’s appraisal mostly stemming from their complexity, Love Heart Cheat Code has a simpler approach generally. I’d be further remissed if I didn’t mention Hiatus Kaiyote venturing out of their prominently psychedelic neo-soul sound in favor of contemporary R&B, Afropiano, jazz-funk, jazz fusion, art pop, trip hop, experimental rock, math rock, noise rock, neo-psychedelia & progressive rock.

Score: 4.5/5

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Lupe Fiasco – “Samurai” review

Chicago, Illinois emcee Lupe Fiasco is back after nearly 2 years releasing his 9th LP. Blowing up in 2005 after appearing on “Touch the Sky” off of Kanye West’s sophomore album Late Registration, he then went on to release 2 classic albums Food & Liquor and The Cool in 2006 & 2007 respectively. However, his output since then has been very inconsistent. His next album Lasers in 2011 is easily his worst yet, Food & Liquor 2: The Great American Rap Album in 2013 was just ok but then Tetsuo & Youth in 2015 was a near perfect return to form for him. Given that, I was excited to see what he was going to do in the future. DROGAS Light wound up being a disappointing mixed bag, but DROGAS Wave eventually made up for it. Drill Music in Zion produced by Soundtrakk on the other hand was a near-perfect sequel to Tetsuo & Youth, so I found him going the way of the Samurai from there to be an interesting move.

The title track sets the tone of the album by hooking up a jazzy, lo-fi boom bap instrumental comparing himself to an actual member of the powerful military caste in feudal Japan whereas “Mumble Rap” groovily talks about a woman drawn to the vibe of his remarks waking up with a song on the heart. “Cake” works in an organ & hi-hats showing his fans gratitude for sticking by him even when times were tough prior to “Palaces” bringing back the kicks & snares to talk about being tormented for so long.

“#1 Headband” jazzily kicks off the 2nd half of the album promising that he’s gonna be the one referencing WWE Hall of Famer, former 2-time WWE Champion & 2-time WWE Tag Team Champion Yokozuna just before “Bigfoot” singing the things that you’d normally keep inside your head out loud maintaining the jazz influences instrumentally.

Meanwhile on “Outside”, we have Lupe mellowly advises to wait for him out in the open nearing the conclusion of the LP leading into the piano-driven “‘Til Eternity” ending Samurai with a reference to former NWA World’s Heavyweight Champion or most notable in TKO Group Holdings as WWE Intercontinental Champion, WWE Tag Team Champion, TNA Hall of Famer & the UFC Hall of Fame’s inaugural inductee Ken Shamrock.

“High Note” soulfully starts the deluxe run by talking about the type of music he makes grabbing people by the jugular whilst referencing WWE Hall of Famer Mike Tyson during the final verse while the other bonus track “SOS” finishes the extra flavor with a jazzy, lo-fi boom bap single talking about holding down the bass similarly to Guile from the カプコン-owned Street Fighter set to be played by the current 2-time WWE Champion Cody Rhodes in next spring’s theatrical reboot.

I mentioned at the beginning of the review about Lupe’s discography being inconsistent at times in the past but if we’re continuing to get albums from him on the same quality as Samurai & Drill Music in Zion, then I’m all for it because he went back-to-back here. In contrast to the latter being a sequel to one of his most acclaimed offerings, what he gives us here is a loving & living portrait to one of his all-time favorite artists: Amy Winehouse.

Score: 4.5/5

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Stacc Styles – “Live Your Best Life” review

This is the 3rd full-length LP from Tucson, Arizona recording artist Stacc Styles. As the founder of Dope Shop Records, he introduced himself in the spring of 2015 off the debut album Inside the Ride followed by the sophomore effort Mr. Purple in the fall of 2020. Stacc has also been an affiliate of Suburban Noize Records dating back to being a roadie for the punk band Mower, eventually signing to the west coast underground label this past January. 4 singles later, he’s kicking off the summer & warming everyone up for the 2nd of half 2024 encouraging them to Live Your Best Life.

After the turntablism intro, the title track sets the tone for Stacc’s debut for Subnoize with a psychedelic west coast hip hop banger toasting to having a good time & getting high whereas “Another Day” works in pianos talking about us meant to be here to complete the holy cycle. “Gold Mine” has a bit of a funky pop rap flare with themes of romance, but then one of the 3 founding Kottonmouth Kings & the other half of Kingspade himself Johnny Richter now a member of the supertrio King Klick returns on the superior “Leave with a King” hopping over a gnarly vocal sample to steal bitches.

“In the Mood” takes the atmosphere trap route instrumentally airing out the plug for being late just before “Weed, Wax & Whiskey” celebration of all things cannabis remembering his friends & family that he’s lost to addiction or suicide recapturing the vintage Suburban Noize sound in the process carrying on the KMK legacy & the memory of it’s late original member Saint Dog. “Renegade” featuring Obnoxious also of the King Klick alongside battle rapper YNOT finds the trio hustling all night over mellow boom bap production leading into “DGAF Nonstop” featuring the DGAF General Chucky Chuck now a part of the newly reformed Kottonmouth Kings & produced by Eddie Ruxspin pays homage to the latter emcee’s DGAF roots.

Slumerican Records signee & Yelawolf’s longtime high school friend Big Henri links up with Stacc on the country trap fusion “Keep Going” delivering an inspiring message while “Sometimes Why” keeps the guitars & hi-hats going thanking God he’s here to see another day. After the “Staccs” outro, we are treated to a “Without a Crown” remix featuring Lethal Injektion frontman Jon Russell as a bonus track surpassing the stand alone single that came out 2 & a half years ago since it’s built around the rap metal sound that the Tucson nu metal band is known for.

When you think about how the guy went from being a fan of Suburban Noize to the Mower connection in 2005 & now officially releasing his own music through the label, I’d say that would have to be a dream come true & a full circle moment for him in his career. His unique blend of THC-infused hip hop & trademark technical precision for high-speed raps that his first couple albums he put out independently are elevated to higher levels keeping the Subnoize essence alive with the help of the King Klick individually spread across & a few outside collaborators.

Score: 4/5

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Da Beatminerz – “Stifled Creativity” review

Da Beatminerz are a production duo from Brooklyn, New York consisting of brothers Mr. Walt & DJ Evil D. Widely recognizable for their affiliation with the Boot Camp Clik during the 90s, they managed to put out a full-length debut of their own Brace 4 Impak through Rawkus Records at the end of July 2001 & subsequently the April 2005 sophomore effort Fully Loaded w/ Statik. Nearly 2 decades later, the Dewgardes are reuniting to sign a deal with Soulspazm Records & releasing their 3rd LP after a string of singles building up anticipation for it previewing an intriguing list of guests.

After the “Live from Bushwick General Hospital” intro, the first song “Seckle” by KRS-One was the best single that I’ve heard from the Blastmaster in recent memory reminding the game that he don’t fight fair over a dusty boom bap instrumental whereas “Product” by Ruste Juxx eerily reminding y’all that’s what it’s all about at the end of the day. “Back in Style” by Ras Kass gives off that funky west coast energy in lieu of the waterproof MC himself making it clear Da Beatminerz are back at it again, but then “Champion” by Mickey Factz gets back on the east coast tip excelling in hopes of seizing the moment for clientele.

“Martial Law” by Apathy rawly declares that your whole block will get popped since he’s firing missiles over a piano-driven boom bap beat just before “Fear None” by Da Villins adds kicks & snares on top of a gospel sample advising to learn early so you don’t have to fear shit. “It’s All 4 U” by Halley Hiatt & Al Skratch fuses boom bap & R&B tackling themes of romance just before the passionate “Can’t Live Without It by Marquee & Monifah prior to another “Live from Bushwick General Hospital” skit showcasing their musical inclination rapping AND singing.

Black Moon gets together on “Anti” taking back to basics since maybe it’s been too long since their outstanding comeback album Rise of da Moon even though that was almost 5 years ago while “The Birds” by Bishop Lamont jumps on top of more kicks & snares showing off crazier flows. “Adore H.E.R.” by Keith Murray hypnotically picks up from there calling women the most beautifullest thing in God’s creation while “Where You From?” by Loaf Muzik for a decent hardcore anthem about being dressed to kill.

“B-Ville Pioneers” by Lil’ Fame & Steele unites 1/2 of both M.O.P. & Smif N Wessun to represent the Hell outta Brownsville while “Cheeba” by Camp Lo & Stahrr moves on from there with a chilled out theme for the smoker’s that is until “It’s All 4 U” remix swaps out Al Skratch’s verse in favor of a new one from AZ, outdoing the original. “100 Proof” by Ras Kass gets on some jazzy boom bap shit personifying alcohol & after a final “Live from Bushwick General Hospital” skit, “My Year” by De La Soul, Pharoahe Monch & Rasheed Chappell ends the album with everyone talking about the streets 1 last time.

Turns out Walt & Evil D have been working on Stifled Creativity for 15 years now in the midst of doing other things like DJing all over the world, it’s just that they were inching their way up to this point especially after the last Black Moon album. Now that we’re finally here, the duo are returning having a better grasp on reality when it comes to down to certain things & it makes a welcoming comeback. They both stick to their signature sound being the Boom Bap Ambassadors they are relying more on samples than Fully Loaded w/ Statik & a mostly solid guest-list.

Score: 4/5

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Your Old Droog – “Movie” review

Ukrainian-American lyricist Your Old Droog returning after 2 years for his 9th full-length album. Breaking out through his self-titled debut, many actually first thought he was an alter ego of Nas given that their voices are somewhat similar. He eventually became a legend in his own right off later projects such as Packs as well as It Wasn’t Even CloseTIME & the Nicholas Craven-produced YOD Wave. The 4 EPs he’s given us since YOD Stewart, Yodney DangerfieldThe Yodfather & The Shining weren’t as great in my opinion yet most certainly had their highlights at the same time. So after taking 2023 off, Droog’s releasing a Movie to get summer rolling.

“Success & Power” produced by Just Blaze couldn’t have been a better choice of an opening track from the grand boom bap production to the lyricism about rappers being in comtpetition with each other & YOD being in competition with fish in comparison whereas “Crescent Moon” keeps the kicks & snares in tact going for a rawer approach asking these John Kerry rappers “why the long face?”. Harry Fraud gives “How Do You Do It?” a soulful trap vibe instrumentally admitting that he should’ve been the one asking questions when he was younger just before the drumless “I Think I Love Her” talks about the most important woman in his life other than his mother.

La Musica de Hairy Frog returns behind the boards for the luxurious “Mantra” preaching that no matter how difficult things may get, anything is better than that leading into the piano boom bap crossover “Grandmother’s Lessons” paying tribute to his own grandmother. “Mercury Thermometers” has to be one of my favorite singles building up to the LP since we have Droog dropping more jewels than a Harvard lecture over a Conductor Williams beat leading into “What Else?” aggressively telling artists to tell their listeners an alternative to the cap with Cartune Beatz.

“The Sandbox” keeps it boom bap thanks to K-Nite 13 profoundly looking back on his younger self having no idea that he was gonna be as big as he is in the underground today & after the “Interview” interlude, “3 Milli” thunderously expresses that he’s living so good now to the point that it all feels surreal to him while “Yodi Dodi” hooks up some woodwinds with kicks & snares talking about staying in his own bubble. After another “Interview” interlude, “A Damn Shame” maintains that same energy saying a man ain’t complete without a woman while “DBZ” by Droogie Otis featuring Denzel Curry & Method Man was in my opinion THE strongest single since Madlib’s unique ear for samples come to play sampling “Deep Shadow” by Little Ann for a generational barfest.

To begin the climax of the Movie, the song “Roll Out” radiates jazzy boom bap energy from Harry Fraud telling everybody that sometimes they need to know when to dip while the title track serves as the album’s official closer soulfully promising that he’s gonna stay true to himself until the casket falls. “Care Plan” by Droogie Otis featuring Yasiin Bey on the contrary is the perfect bonus track that YOD himself announced on Twitter a year & a half ago continuing to tease a full Droogie Otis project that in my opinion would feed generations.

YOD Wave is already my favorite EP Droog has ever done & although I still maintain the 4 he put out after weren’t as great as a whole even with their own individual highs, his first LP in over 3 years by far has to be the most I’ve enjoyed a project from him in over 2. It’s more well produced improving on the sounds of jazz rap, boom bap & drumless joined by only a few deserving high profile guest spots basically likening the life he’s lived up to this moment to a feature length film.

Score: 4/5

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