Ski Mask the Slump God – “11th Dimension” review

Orlando, Florida rapper Ski Mask the Slump God returning for a sophomore LP. Coming up as the co-founder of Members Only alongside the late XXXTENTACION, he then dropped a couple EPs & a great mixtape called Drown in Designer in 2016 before signing to Republic Records the following year with his 2nd tape called YouWillRegret being his first outing on a major label. This was followed up with Beware the Book of Eli, the full-length debut Stokeley in 2018 & Sin City about 3 years later. Fast forward another 3 years, Ski’s returning to take us to the 11th Dimension almost 5 months since Moose became a 3-time TNA World Champion at Hard to Kill V.

“DragonTooth” opens up the LP with rage beats from Trgc only needing 1 shot whereas “Monsters Inc.” featuring Future named after the classic Pixar film works in a bassy trap instrumental from ATL Jacob putting their gang over everything else referencing the National Geographic subsidiary of The Walt Disney Company. “By Myself” talks about moving in stealth with Synthetic of Internet Money Records returning to the hypertrap sound just before “Earwax” works in a vocal sample, a rubbery bass-line & hi-hats provided by Swaggyono of Working on Dying feelin’ like he’s going to lose control.

Things take the chaotic trap route for “Full Moon” likening himself to a werewolf when the clock strikes midnight leading into “Part the Sea” talks about dying in a mosh pit over a monstrous rage beat from BEAUTIFULMVN. After “Jah’s Interlude” reusing X’s verse from the “Hope” freestyle off the ? deluxe, “WDYM” picks up from there calmly asking his romantic interest to stay for a bit longer while “Tuk-Tuk” produced by DJ Scheme is this fun braggadocious banger.

“Wake Up!” featuring the late Juice WRLD demonstrates speedier flows from both of them accompanied by minimal trap production talking about being mutants, but then “Hulk” ends the first half of 11th Dimension with ilykimchi & Oogie Mane of Working on Dying going for a hypertrap direction once more drawing comparisons to the iconic Marvel hero. “Headrush” is this skull-smashing trap metal banger to start the 2nd leg of the album to talk about being up prior to the rubbery albeit cloudy “Frozen One” talking about being chosen.

Meanwhile on “Killstreak”, we have Ski boasting that he’s hard to find over a quirky trap instrumental with bells while “From Yard” featuring Skillibeng comes through with a decently blaring anthem paying homage to his Jamaican background. “Him Jung Un” mixes the sounds of pots & pans with hi-hats so he can pop tags while “Let It Breathe” psychedelically talks about being cerebral.

“Mandalorian” takes it back to his roots thanks to Ronny J going huntin’ on the mic while the cacophonous “Jump” feels like a modern homage to “Pass the Courvoisier Part II” by Busta Rhymes & Puff Daddy, which as good of a song is bad timing since P. Diddy & later Diddy has gone down quicker than TKO Group Holdings co-founder Vince McMahon. Especially after the security footage of him assaulting Cassie premiered on national television & subsequently got arrested. The penultimate track “Shibuya” is this rage/pop rap hybrid showing his appreciation for the titular city in Japan & finally, “Go!” featuring Corbin ends 11th Dimension awkwardly singing over synthesizers.

I’ll still maintain that I was unsure of where Ski was gonna take it after Sin City when you think about the hardships he’s faced in the last 6 years, but 11th Dimension officially marks his return in the form of his most ambitious project to date. It revolves around a loose concept centering multiple characters that he created himself representing the man in each dimension & the production ranging from rage to even alternative rock.

Score: 3/5

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Charli XCX – “brat” review

Charli XCX is a 31 year old singer/songwriter from Cambridge, England, United Kingdom who one might remember for her feature on Iggy Azalea’s biggest hit “Fancy” a decade ago. Her solo material would go on to step leaps & bounds beyond hers with highlights including her 3rd & 4th mixtapes #1 Angel & Pop 2 respectively alongside her 4th & 5th LPs Charli & How I’m Feeling Now. Her previous full-length Crash was the last to be released through Asylum Records about 27 months ago & a decent one at that, so I most certainly had high hopes for Charli’s 7th album backed by Atlantic Records.

PC Music co-founder A.G. Cook mixes bubblegum bass, electropop, pop rap, Atlanta bass & dance-pop into 1 on “360” starting us off singing about going her own way whereas “Club Classics” maintains the primary bubblegum bass sound of the opener with additional elements of bassline, new beat, Jersey Club, fidget house & acid house talking about that being all she wants to hear. “Sympathy is a Knife” takes the hyerpop route instrumentally to tackle themes of self-doubt ahead of “I Might Say Something Stupid” singing over bare pianos thanks to Gesaffelstein about being unsure if she belongs here anymore. Former G.O.O.D. Music in-house producer Hudson Mohawke of TNGHT jumps behind the boards for the undeniably catchy electropop jam “Talk Talk” asking for this man to talk to her that is until the electro house, electropop, dance-pop, Dutch house & electroclash-flavored “Von Dutch” later becoming the official theme song for WWE Royal Rumble XXXVIIII assures that it’s ok to simply admit of one’s jealousy/envy of her.

“Everything’s Romantic” continues to go for an EDM vibe for the beat discussing endlessly falling in love prior to “Rewind” goes electropop once more wishing that she could turn back certain moments of her life. “So I” continues the 2nd half of Brat in the form of a profound dedication to Charli’s late collaborator SOPHIE just before “Girl, So Confusing” featuring Lorde on the remix turns the electronic dance music influences back up opening up about the confusion it is to be a woman at points. “Apple” keeps the upbeat grooves going reminding that the apple certainly doesn’t fall far from the tree whatsoever, but then “B2B” futuristically talks about going back to back.

The hyperpop song “Mean Girls” takes inspiration from Dasha Nekrasova exploring societies’ fascination with mean women worshipping Lana Del Rey in her wireless Apple Inc. Bluetooth earbuds AirPods while the penultimate track “I Think About It All the Time” brings a dance-pop flare to the instrumental fearing that she’s running out of time. Finally, the closer “365” ends Brat hypnotically alluding to the never ending cycle of partying. “Hello goodbye” begins the deluxe embarrassing herself in the midst of introducing herself to a potential partner sticking to the PC Music sound while “Guess” featuring Billie Eilish on the remix has that signature electroclash style The Dare is known for expressing Charli’s sexual desires. “Spring breakers” concludes the bonus track run sampling “Everytime” by Britney Spears chockfull of references to the 2012 film of the same name.

Crash was an average way for Charli to fulfill her Asylum contract couple years back & as we enter further into the summer, Brat reveals to be the most aggressive & confrontational yet most vulnerable album in her discography so far. The production is mainly club-centered evoking & channeling the illegal London rave scene through electropop, EDM, bubblegum bass, electro house, dance-pop, electroclash, pop rap, Atlanta bass, bassline, new beat, Jersey Club, fidget house, acid house & hyperpop providing introspection that might come to you in the midst of a party or the insurmountable dread of the morning after.

Score: 4.5/5

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Tha Dogg Pound – “W.A.W.G. (We All We Got)” review

Long Beach, California emcee/producer Daz Dillinger & Philadelphia, Pennsylvania emcee Kurupt together known as Tha Dogg Pound returning to Death Row Records now distributed by gamma. for their 9th LP. I really shouldn’t have to say much about their 1995 full-length debut Dogg Food since it’s widely recognized as one of the last great albums that Death Row ever put out, but their comeback effort DPG 4 Life from a few years ago was easily their worst due to being plagued by tacky pop rap tunes. Nevertheless, I was certain W.A.W.G. (We All We Got) had to be the duo’s true return to form.

After the intro, the first song “Smoke Up” featuring WWE Hall of Famer Snoop Dogg produced by Rick Rock is this banging g-funk opener for all the west coast heads to light one up to whereas the title track featuring Tha Eastsidaz unites both groups together for the first time talking about having only each other. “Imma Dogg” takes the g-funk route once again thanks to DJ Battlecat reminding themselves of the Doggs they are leading into “Need Some Space” talking about needing their space over a cloudy Mike & Keys instrumental.

“Favorite Color Blue” is this playful club banger dedicated to their roots as Crips while “Inside of Her” picks up from there with a chilled out pop rap jam. “House Party” featuring Snoop Dogg pulls inspiration from Zapp a bit talking about going to the clubs, but then “After Hours” featuring DaBaby & Snoop Dogg warmly expresses their desire for it all even though my only complaint about it being DaBaby’s unnecessary verse at the beginning.

The electronic influences on “LA Kind of Love” featuring will.i.am on the remix feel outdated despite the west coast lyricism while “Grown Up” featuring Snoop Dogg heading for a delicate trap direction to the beat talking about everyone wanting to be grown. “The Weekend” featuring Jane Jane Handcock & October London turns the g-funk influences back up courtesy of Soopafly making time for their partners while “Always on My Mind” featuring Snoop Dogg bouncily refuses to give up. “Who da Hardest?” by the N’Matez & Snoop Dogg ends the album jumping over a DJ Premier instrumental flexing their prowesses.

Dogg Pound really couldn’t fumble on W.A.W.G. (We All We Got) much like they did with DPG 4 Life a few years ago especially since it’s their first album of newly recorded material to be released through Death Row in almost 3 decades & thankfully, Snoop helps give Daz & Kurupt their best offering in a while. They return to their roots stylistically on top of demonstrating their growth after being in the game so long, only having each other at the end of the day.

Score: 4/5

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Crimeapple – “Bazuko” review

Big Ghost Ltd. reuniting with New Jersey lyricist Crimeapple for his 13th full-length album. Becoming a fan of his in the fall of 2017 with his 4th EP Sweet Dreams along with the Big Ghost Ltd. produced full-length debut Aguardiente that following spring, his profile in the underground grew exponentially from there. Discography standouts include the DJ Skizz-produced Wet Dirt, the DJ Muggs-produced Medallo, Cartagena, Breakfast in Hradec & Sin CortarEl León produced by Preservation from the beginning of this year became the most I’ve enjoyed Crime’s music in a while & the official Aguardiente sequel Bazuko here raised the stakes considering how essential the predecessor is to his catalog.

After the “Introducción” intro, the first song “Laugh Now” is a jazzy starter to the album telling a bitch to throw some salt over her shoulder staying in his zone roaming around the world whereas “Re-Rock” takes the boom bap route instrumental talking about the jeweler hitting him with the water. “5000 Degrees” ruggedly reminds everyone that Crime has the ability to melt you on the mic just before “Chemical Imbalances” works in more kicks & snares getting in his hardcore bag lyrically.

“Trust Issues” has a grimier tone to the beat setting out to tie up loose ends while “Pretty Girl Who Can Rap” goes into a soulful direction instrumentally thinking about all the dimes he wants to sex who so happen to be skilled MCs. “Higher Learning” has this organ-laced boom bap beat explaining it’s just him & a pair of fiends on the block, but then the grisly “Smoke Signal” talks about having PTSD from past missions.

Starting the last leg of Bazuko, “The Tropicana” turns the jazz influences back up to work on a master plan while “Las Trompetas” gives off a groovier vibe talking about hanging with the honeys. “Motorcycle Sicario School” featuring Mickey Diamond, RLX & T.F brings the quartet together over a vocal sample discussing the friends they have who come to Colombia for their g fix & “Die Later” ends the album with guitars, kicks & snares talking about someone getting balled like aluminum.

If El León was the most that I enjoyed a project from Crime in a year & a half, Bazuko here has already outdone it 5 months later. Everything about Aguardiente whether it be Big Ghost Ltd.’s distinctively raw production or the gritty hardcore lyricism from the New Jersey emcee is being recaptured & elevated to display how much both of them have grown over the course of these past 6 years.

Score: 4.5/5

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Homixide Gang – “I5U5WE5” review

These guys are a duo from Atlanta, Georgia consisting of Homixide Beno! & Homixide Meechie who began to turn heads a couple years ago after dropping their debut EP Snotty World to the point where trap trailblazer/rage pioneer Playboi Carti made them the 3rd act to sign to his Interscope Records imprint Opium Records following Ken Carson & Destroy Lonely respectively. Homixide Lifestyle was a solid debut, Snot or Not wound up being a mixed bag of a sophomore effort & their debut mixtape 5th AMNDMNT proved to be significantly rawer. Now that we’re nearing closer to the beginning of summer, Homixide’s stepping up first for Opium in 2024 to release I5U5WE5.

“Sharp Sh00ter” is a horn-inflicted opener homaging former 7-time WWE world champion, 3-time WWE tag team champion, 5-time WWE United States Champion, 2-time WWE Intercontinental Champion & 2-time WWE Hall of Famer Bret Hart’s finisher whereas “VersionF!VE” works in the rage beats pulling up in all black with fat ass racks. Lil Yachty makes I5U5WE5’s only guest appearance on “SIDE EFFExT” has one of the best instrumentals on the album from F1LTHY of Working on Dying as the trio talk about their bitches being rockstars & “FA5EBUSTER” mixes a guitar with hi-hats looking to breaking faces.

Meanwhile on “SRT”, we have Homixide over more atmospheric trap production talking about being undefeated referencing WWE’s 2nd flagship program Friday Night SmackDown just before “SwanTon BOMB” is this insane 2-parter named after Jeff Hardy’s iconic finisher. “FiGure5” experiments with a quirky drill beat talking about how they can’t be making the wrong moves out here leading into “R50” going trap metal with Cxdy help boasting that you can’t see them. “DeathLOK” fuses rock & trap together courtesy of Galactic Records signee tana so they can talk about having nightmares with the demons while “2xTREME” finds Vendr of Internet Money Records, Toom of Vanguard Music Group & Dreamr keeping the guitars & hi-hats into the fold boasting their levels of extremity.

“00-MEGA” brings an ominous trap flare to the table admitting they have no feelings & can’t show love while “Hi-Voltage” showcases elements of gangsta rap & hypertrap with the help of Cxdy swerving through traffic with their foot on the gas. The bassy penultimate track “SMAKDWN” turns the rage back up to 11 talking about being as lit as they are & “TABLESandLATTER5” finishes the LP in favor of being on a whole different wave than everyone else in their field is over ethereal production that Census, Spaceman & Zodiac provide.

Have to clarify that although Beno & Meechie was already signed to Opium for a year & a half now, their 4th offering under Carti’s imprint also happens to be their major label debut as their last 3 didn’t have Interscope Records handling distribution like they’re doing here this time. The end result being in Homixide growing beyond the raging gangsta rap sound they artistically became known for keeping it in the wheelhouse on the occasions of venturing out into cloud rap, trap metal & rap rock.

Score: 3.5/5

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Dave East – “APT 6E” review

Harlem, New York emcee Dave East joining forces with Mike & Keys for his 4th LP. Breaking out in 2014 off his 8th mixtape Black Rose, this resulted in the man signing a joint deal with Def Jam Recordings & even Nas’ independently owned Mass Appeal Recordsas well as a spot in the iconic 2016 XXL Freshman Class. However, his full-length debut Survival wouldn’t come out until 3 years later & was very disappointing in the sense that he tried appealing to a more mainstream audience that just didn’t exist. The Harry Fraud produced sophomore effort Hoffa proved to be better as did his final Def Jam offering Fortune Favors the Bold, so I was already intrigued to hear him take it back to his independent roots on APT 6E.

After the intro, the first song “Doin’ Great” starts off with pianos & hi-hats explaining the ways to get out of this life whereas “God Produced It” hooks up a sample-laced trap instrumental talking about telling himself he could do it time & time again. “Snow White” discusses the largest gang takedown in the history of the Queens borough over a psychedelically rattling beat prior to “I.D.R.N. (I Don’t Regret Nothing)” goes into a ratchet direction so he can talk about not regretting anything.

“Me vs. Me” jumps on top of organs & soulful guest vocals from Stacy Barthe making it clear that the toughest fight of his life was within himself just before “This Lifestyle” featuring Kurupt mixes hi-hats & synthesizers as they break down the way they both living currently. “Ballin’” featuring Buddy finds the 2 cloudily smoking good & poppin’ another bottle while “Dangerous Riddim” featuring Shaggy comes through with summertime vibes top to bottom generally. 

Stacy returns on the whimsically rugged “So Much Changed” getting on his grown man shit topically, but then “Intervention” talks about going through it over pianos & hi-hats. “Can’t Even Know” hops over a soul sample making it clear that he ain’t concerned unless it’s over the guap & that he has a lot more to learn. “Out the Way” passionately explains his passion outlasted doubters & critics while the final song “I Remember” ahead of the outro ends APT 6E in the form of a profound ballad dedicated to all sorts of people.

Dave’s R&B EP For the Love produced by Scram Jones from the beginning of the year was disappointing as intrigued as I was about the idea going into it from the beginning, but APT 6E finds him reclaiming his independent spirit & has me highly anticipating Hoffa 2 since it was hinted at a while ago. Mike & Keys bring their west coast sound & mix it with Dave’s hardcore East coast lyricism.

Score: 3.5/5

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Brotha Lynch Hung – “Season of da Siccness 2: Kevlar” review

This is the long-awaited 9th full-length studio LP from Sacramento horrorcore pioneer Brotha Lynch Hung. Establishing himself with the debut EP 24 Deep & debut album Season of da Siccness, he would later regain popularity in the early 2010s after signing to Strange Music for Dinner & a Movie alongside Coathanga Strangla & of course Mannibalector an acclaimed trilogy. Bullet Maker proved to be a disappointment in 2016, so it only makes sense for him to make a comeback with Season of da Siccness 2: Kevlar & not miss the mark considering it’s importance to his discography.

After the “Yaw Ready?” intro, the first song “I Can Be a Killa” is this spine-tingling opener talking about his murderous tendencies whereas “I’ve Changed” works in some strings to explain how much he’s changed in the last decade since we last heard from him. “Get ‘Em” grisly talks about a man who was trying to commit suicide jumping off a building & a bullet striking him in the midst of him falling, but then “Gangsta” featuring G-Macc turns the symphonic elements back up getting on their g shit.

After the “Start the Car” skit, “Smoke” featuring Phonk Beta & V8 brings the trio together for a west coast flavored smoking anthem just before “Ill” featuring Swifty McVay of D12 following the “Born In It” skit eerily finding both MCs boasting how ill they are lyrically all these years later. “Viral” featuring TA has a tenser vibe to the beat as they set out to become extremely popular & spread across the internet leading into “Eyes Wide Open” dropping bodies backed by guitars & hi-hats.

“Bang Bang” morbidly talks about being strapped while “Da Siccness” ominously brings gets on his wicked shit once again. “Blocc Monsta” has a dark, funky tone instrumentally explaining how much of a monster he is around his block while “Grrr” menacingly talks about cooking without the deep dish. After the “Grinding” skit, the final song “Southside” ends Season of da Siccness 2: Kevlar ends the sequel to Brotha Lynch’s debut profoundly getting introspective.

Over a decade in the making, it’s as if that Brotha Lynch Hung never took all that time off focusing on recapturing the essence of what made his first LP a west coast horrorcore classic & refining it in a modern fashion. His own production is as consistent as the Coathanga Strangla trilogy back during the Strange Music days & most importantly, he sounds recharged on the mic breaking down where he started & where he’s at in his life currently whilst keeping it ripgut.

Score: 4.5/5

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Willie Nelson – “The Border” review

Willie Nelson is a 91 year old musician, singer/songwriter, actor & activist from Abbott, Texas known for being one of the main figures of the outlaw country subgenre & being 1/4 of The Highwaymen. Standouts in his vast discography include Shotgun WilliePhases & StagesRed Headed StrangerStardustSpirit & Teatro. Looking to celebrate a month after his birthday though, Buddy Cannon is producing the 75th full-length solo LP of material from country music’s favorite stoner.

The title track that starts us off with a decent cover of “The Border” by Rodney Crowell whereas “Once Upon a Yesterday” works in some acoustics, pianos so Willie can passionately sing about getting older reminiscing that we were all children working hard at play at one point in our lives. “What If I’m Out of My Mind” has a peppier country flare to it finding the girl of his dreams & after “When I Wrote This Song for You” covering Larry Cordle, the harmonica/guitar laced “Kiss Me When You’re Through” addressing a woman who told him she wouldn’t want him if he was the last person on Earth.

“Many a Long & Lonesome Highway” covers Rodney Crowell once again to start the 2nd leg of the album, this time the lead single off his 6th album Keys to the Highway leading into “Hank’s Guitar” telling a story from the perspective of the late great Hank Williams’ very own guitar. “Made in Texas” was a solid choice of a lead single paying tribute to his home state, but then the bluesy/country hybrid “Nobody Knows Me Like You” sings about Annie D’Angelo being the only person who knows him best. “How Much Does It Cost” ends the album with a powerful country ballad asking the cost of freedom.

As I stated when I reviewed Beyoncé’s new album Cowboy Carter couple months ago: Country music one of those genres that I’m not the biggest fan of altogether with some exceptions & Willie who did an interlude for B on the 2nd act of her ongoing trilogy is most certainly one of them. Nearly 7 decades in the game & The Border elevates everything that made A Beautiful Time his best album since Teatro to new levels. Buddy improves his production from Blueglass’ to help efficiently tell the inner struggles & outer life stories of a border guard.

Score: 4/5

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Big Hit – “Blacks & Whites” review

This is the sophomore full-length LP from Los Angeles rapper Big Hit. The father of Hit-Boy, he was found guilty & convicted of a hit & run resulting in great bodily injury almost a decade ago & unlawfully being sentenced to 12 years & 4 months in prison including a 5-year GBI enhancement connected to Count 1. Last February, his petition for a writ of habeas corpus was granted & became a free man on his son’s 36th birthday. Hit would have his father join forces by making Surf or Drown 2 a collab effort tailored for Father’s Day Weekend & put out a debut album of his own The Truth’s in My Eyes only 6 months later. Blacks & Whites here raised my expectations after learning Hit-Boy was producing half of it & most importantly, The Alchemist doing the other.

“Drug Tzar” is this murky boom bap opener to the album talking about being a drug star as opposed to a rap star whereas “Only Weight I Feel” works in more kicks & snares reminding that he’s the one who sold these cats the news & gave them the rules. “Godfather, Pt. 2” featuring Boldy James is this piano-boom bap hybrid with both of them calling out the cross-artists out here just before “Heartless” goes drumless revealing that he’s suited up ready for y’all.

Moving on from there, “Foreclosure” takes the heinous route instrumentally cautioning that you better count your fingers when you shake his hand while “Temperature Check” kinda has an atmospheric flare to the beat talking about being ready for war. The title track featuring The Alchemist & Hit-Boy themselves finds the trio lavishly keeping everything black & white prior to “Champion” coming through with a warmer vibe talking about being a winner.

“Count Your Blessings” featuring Figg Rarri, Killa Twan & LongBodyy brings the quartet over more keys as they discuss keeping track of one’s blessings while “Sly, Slick & Wicked” featuring Hit-Boy’s son & Big Hit’s grandson C3 soulfully talks about disliking these n****s. “Dirtball” nears the conclusion eerily explaining that everyone else can’t keep up with him while “Gank Move” featuring Hit-Boy’s sister & Big Hit’s daughter HitgirlLena cloudily samples “Murderer” by the titular Detroit duo to end the LP detailing the gangsta lifestyle.

Big Hit’s been steadily getting his name back out there ever since coming home from the pen, but Blacks & Whites as I had anticipated takes himself to a whole new level & dethrones The Truth’s in My Eyes as the best album of his discography thus far. Hit-Boy & Uncle Al’s production are like yin & yang with their own distinctive styles, complimenting Big Hit’s gangsta lyricism stronger than the debut we got last winter.

Score: 4.5/5

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Sean Peng – “Insomniac’s Dream” review

Here we have the sophomore effort from Bristol, England, United Kingdom emcee Sean Peng. Known for being 1/3 of the Creatures of Habit & 1/4 of NLP, he made his solo debut Crazed Conductor in 2016 under Lost Scroll Records & is coming off his Creatures brethren Illinformed fully producing his 2019 debut album Trips to the Medicine Cabinet succeeding the Controlled Experiment extended play preluding it in 2017 to run it back for a dissection of an Insomniac’s Dream through Illin’ for Meds Records.

“Inebriated Halfwits” featuring Jack Jetson starts with both of them over a jazzy boom bap talking about not seeing clearly regarding what they wanna do whereas “Stranger Than Fiction” stays in the basement instrumentally addressing the people who’re afraid to face the truth. “Broken English” takes a moment to represent the crowd of people who feel broken down leading into “Better the Devil” featuring Crossbow T marking my least favorite guest appearance despite the theme of Satan being a cloak within the mirrors & smoke.

Ramson Badbonez joins Sean on the jazzy “Sick Society” talking about people losing themselves all for a hit of notoriety just before “Hidden Messages” soulfully speaks of not stressing regarding the end because he’s already see the signs & symbols. “House of the Dead” spends 92 talking about being surrounded by zombies over more prominent kicks & snares while “Raw Syllabics” featuring O.A.B. soulfully compares their minds to timeless relics off psychedelics.

“Squid Games” featuring Jack Jetson references the popular Netflix series of the same name set to end after 2 more seasons in 2025 while “Rise of the Underground by the Creatures of Habit talks about underground hip hop becoming popular due to acts like Griselda being accepted by the mainstream for example. “The Abyss” brings a ghostly boom bap atmosphere to the table putting us inside the shoes of a person residing inside the pits & “Is This Real?” wraps things up asking himself if he’ll wait to leave behind the sadness in his life.

Almost 3 months after his Creatures of Habit partner-in-rhyme Eric the Red had made his Illin’ for Meds Records debut with his 4th album Painting da Town Red, it makes sense for Sean Peng to follow suit putting out a Trips to the Medicine Cabinet follow-up reaching the same bar it’s predecessor made still residing behind Caught Red Handed regarding Lost Scroll’s top 2 projects. Illinformed’s jazzy boom bap production feels unparalleled putting it against Sean’s last full-length, but it’s refreshing the latter moved on to newer concepts rather than still dissecting prescription drug abuse.

Score: 4/5

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