tana – “bana” review

Atlanta, Georgia up-&-comer tana coming off a string of EPs by releasing his full-length debut studio album. Starting in 2018 as a member of the plu2o9 collective under the original moniker BabySantana, he would go on to drop his first 2 EPs Recreation! & Planet Sosa alongside his debut mixtape Quan before signining to Lil Tecca’s very own Republic Records imprint Galactic Records the next fall. tana then preluded bana by putting out Gaultier as well as London & Dale. Nearly 6 months after the latter, we’re finally being treated to the main course.

“Decatur” produced by Zaytoven has to be my favorite opening track to a tana project yet jumping over a rich trap instrumental talking about his current mentality paying tribute to the titular city in Georgia whereas “Never Sober” takes the atmospheric route thanks to Rio Leyva working in some hi-hats as well boasting that his clients are always under the influence. “Because of Me” is this piano/trap hybrid asserting his position over those who turned his back on him after teaching them everything they know leading into the pluggnb infused “Cut Ties” telling his old hoes he ain’t interested in them no more.

Meanwhile on “Helluva Night”, we have BabySantana luxuriously describing an eventful evening that he’s had just before the club banger “couple$$$” that Internet Money Records in-house producer Synthetic laced talks about the high status he’s reached as result of his position as an artist. “stfu” breaks down life on the road & being too busy to have conversations with others unless it’s about money accompanied by a harp & hi-hats, but then the heavenly “Designer Thangs” begins the 2nd half of the album by talking about tana’s commitment to his craft.

“Slide” makes it clear to his current romantic interest that he’s in her city for the night on top of a spacious backdrop & rattling hi-hats while “Jesus Piece” is this synth-trap fusion looking back on the early stages of his career since he was introduced to the industry at a young age. “YSL” playfully talks about having her leave in new Saint Laurent while “VTMNTS” mixes a guitar & hi-hats talking about the Swiss luxury fashion house. “Feng Shui” clouding prays for better days & “wake up” ends Santanaromani’s first LP by psychedelically hoping she’s still there when he gets up.

Of all 4 projects we’ve gotten from tana in the last year & a half ever since he signed to a major label, bana stands out differently than Gaultier or even London & Dale did. Not only is he continually progressing artistically here but this time, we get what could possibly be his most cohesive body of work thus far. It’s more well-produced refining his signature pop rap/trap/pluggnb stylings & as far as the subject matter goes, you get a clearer look at who tana is personally.

Score: 4/5

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Mike Dean – “4:24” review

Houston, Texas producer, songwriter, multi-instrumentalist & one of the greatest audio engineers of all-time Mike Dean continuing to further establish himself as an artist by releasing his 5th full-length studio album. Pioneering the dirty south sound in the 90s as an in-house producer for Rap-A-Lot Records, one may also know him for engineering nearly all of Ye formerly known as Kanye West’s output up until his 2022 antisemitic meltdown calling himself a Nazi on InfoWars. 4:20 was a 90 minute exploration into progressive electronic & the nearly 2 hour sequel 4:22 continued towards that trajectory. Smoke State 42222 went for more of a straight-forward electronic sound with additional elements of space ambient & even Mike’s last LP 4:23 went head-on synthwave, landing a spot on my Honorable Mentions of 2023 list as a result of being more well-put together than his last couple solo efforts. Considering that, I went into 4:24 expecting it to reach the bar its predecessor had set.

“Subdivision of Time” begins by incorporating these synthesizers that only get grander & grander in the span of a little over 3 minutes whereae “3 AM” goes into space ambient territory starting off reminding me of the scene in one of my top 5 shows of all-time Rick & Morty where Rick’s traveling universe-to-universe searching for Rick Prime, but feels like an out-of-body experience during the 2nd half. “It’s in the Water” gives off a straight up progressive electronic vibe that I can imagine hearing in a sci-fi movie trailer just before “Don’t Fast Forward Life” incorporates some jazz influences towards the end that I love.

Concluding the first half of the album, “Distorted Time” brings the synthwave influences back into full effect leading into “Space Brains” admirably venturing out into electronic rock a bit. “Black Holes Echoing” returns to the large, throbbing synthesizers & upbeat percussion that retro electro is known for that is until “Swimming Pools & Movie Stars” presents these cinematic synths for a minute & a half. “Fast Forward Life in Rewind” pushes near the end of 4:24 by going space ambient again for 6 minutes, but then “I Like” closes the LP shooting for a ghostly atmosphere.

Everything that made 4:23 more enjoyable than Mike’s first couple albums manages to make their way onto this new one here & I find it to be as tightly crafted as the predecessor over a year ago already. He puts a bigger emphasis on the progressive electronic style predominantly throughout his solo catalog once more in the midst of maintaining the synthwave & space ambient elements although in a lesser capacity.

Score: 4/5

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Scum – “Anti-Human” review

Denver, Colorado emcee & Lyrikal Snuff Productionz founder Scum moving on from the Dyin’ World Chroniclez trilogy by releasing his 15th full-length solo LP. Starting as a member of an experimental grind/noise band called Down Syndrome about 28 years ago, his solo debut Enter the Asylum just turned 20 this past winter & has outdone himself plenty of times since. Case in point: The Gorefather, Out with the Old & recently his 3rd EP Bad Uncle fully produced by Chapter 17/Psychopathic Records in-house producer Devereaux last summer. I also found myself enjoying the previously mentioned Dyin’ World Chroniclez trilogy of course too & was certainly interested in the outcome of Anti-Human.

M.M.M.F.D. gets us started with “This Pain” morbidly talking about losing an addiction battle & doubting that heaven would let them in if they even try walking through the pearly that is until “Revenge is Cheap” grabs the ski mask & makes them bleed rather quickly over this gruesome trap instrumental. “The Past” takes the trap metal route stylistically blowing up in people’s faces similarly to that of an explosive barrel, but then “Float or Sink” featuring Big Hoodoo works in kicks & snares talking about swimming for your life.

“What U Leave Behind” has more of a cloudy trap flare to it tackling the idea of forgetting things that one may now regret as time passes by while “Bloody Mess” works in some guitars & hi-hats talking about leaving them curled up in a ball bruised & abused. The piano-heavy “When I’m Gone” featuring Madopelli presents self-mutilation at it’s finest clarifying it’s about those who’ll remember you when the hype is through as opposed to who’ll show up at your funeral just before “Unsobriety” goes trap metal again talking about being fucked up to cope with anxiety.

S.O.S reunites on “Pull Up” going for a cloudy trap vibe thanks to Fiasco Andretti advising to come through just to be murdered leading into “Cold One” featuring Lyte menacingly breaks down simply how cold both the Gorefather & the Psychopathic MonStar can be. “Guilty” wickedly talks about sitting in this motherfucker with a shotgun while “Daaamn” produced by Godsynth calls out an individual that he heard stole from those that you should never steal from in the first place & severing ties in the process.

“No More” featuring JP tha Hustler, Mista Doesha & Slyzwicked begins the final moments of Anti-Human in the form of all 4 MCs desecrating everyone who pushed them to the limit returning to the boom bap in the process while “Heavy Lies the Crown” continues the encore of the album with a synth-trap fusion talking about too much pressure steady caving in on his skull now. “Voicemail” ends the LP getting relatable over on top of kicks & snares needing someone to talk to as soon as possible rather than leaving a voice message.

Over 2 decades of giving the underground nothing but straight-up gore hop & Anti-Human continues to make that the case for the Gorefather himself. The overall sound is predominantly trap, yet you also get hints of trap metal & even boom bap so Scum can bring some his LSP brethren & even a couple Psychopathic Records alumni keeping the underground wicked shit scene alive & thriving in the distinctive styles of all performers involved.

Score: 3.5.5

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Chetta – “Sacrifice & Sabotage” review

Here we have the 4th full-length studio LP from New Orleans, Louisiana emcee/producer Chetta. Starting out a decade ago with his debut mixtape Nino White, this was followed up with 18 EPs as well as 11 more tapes & a full-length debut, but gained significant attention off his G*59 Record$ debut Been Here Forever a couple summers back. Falling Off went on to be an equally dope prelude to the previous album Playboy, which also maintained the level of consistency as those previous projects since signing to G*59 as did Sick Bitch almost 5 months ago. That said: Expectations for Sacrifice & Sabotage raised exponentially after learning that $crim of the $uicideboy$ fully produced it.

“You’re Gonna Die Tonight” gets the ball rolling by mixing bells, a vocal sample & hi-hats asking exactly who wants to meet their demise risking their souls whereas “1 of 1” follows it up with a piano-trap banger talking about never folding since he’s locked in & they know how he be rockin’ it. “Millennium” goes full-blown rage beats to discuss feeling the exact same after poppin’ pills leading into “God, Can You Hear Me?” incorporating more keys & hi-hats into the picture explaining that he’s never scared.

The Memphis influences that G*59 is known for make their way onto “Born Under a Bad Sign” talking about always being him & not playing games at all prior to the riot-inducing “Horus” finding himself in his zone getting throwed unable to be saved because he doesn’t need anyone. $crim himself joins Chetta on the guitar-trap driven “Meet Me At My Worst” talking about being way too high for this shit, but then “Vera Wang” jumps on top of a crooning loop & hi-hats breaking down having hoes in every state.

“*Crash Out*” continues the 2nd half of Sacrifice & Sabotage by going for a creepy trap atmosphere sonically talking about drug use prior to the Memphis sound returning on “While I Burn” so he can ball on the right key & boast the fact that he’s tapped in. “KillKillKill” turns up the bass to 11 feelin’ like he could easily blow $100K while “…What a Letdown” tells a bitch that it’s on for her to hate him by now over what could possibly be the most upbeat instrumental on the entire album.

The dreary yet bouncy “Claymore” begins the last moments of the LP by talking about being tired & asking not just why they hatin’, but what they’re running from on top of it. “Missing<>Link” goes into cloudier turf asking a lil hoe what they missing so he can actually go get it next to just living out all that wishing she does & “As If Everything Wasn’t Enough” ties everything up by solemnly yet exuberantly getting all up in his bag.

36 projects overall in his discography in the span of 10 years & this most recent entry has not solely joined Been Here Forever as my one of favorite albums of Chetta’s that he’s put out since being signed, but even as one of my new favorite LPs of his whole entire discography period. $crim has evolved as a producer since Been Here Forever balancing old & new sounds together, so it’s right for him & Chetta to take themselves to a higher level than the G*59 debut.

Score: 4/5

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Brother Ali – “Love & Service” review

Minneapolis, Minnesota activist & battle emcee Brother Ali teaming up with Oakland, California producer Unjust for his 8th full-length LP only 4 & a half years after the Evidence-produced Secrets & Escapes. Exploding within the underground off his 2003 sophomore effort Shadows in the Sun & of course his 2007 follow-up The Undisputed Truth, he would continue this string of acclaimed releases with Us as well as the Jake One-produced Mourning in America & Dreaming in Color and All the Beauty in This Whole Life. Can’t forget to mention Ali’s debut EP Champion turning 20 in a couple weeks & his debut mixtape Left in the Deck either. It’s been a few years since we last heard from him on his 4th EP Brother Minutester which marked his departure from Rhymesayers Entertainment after nearly 2 decades. So with Love & Service being his first album through his very own label Traveler’s Media, that & seeing some of the features nevertheless kept me interested.

After the “Chapter 1” intro, the first song “Ottomans” is a boom bap opener welcoming y’all to the extravaganza & informing everyone listening that they’re now rockin’ with a true & living master except the “mumble rap” jabs are cringe since this isn’t 2016 anymore whereas “Awaken” mixes together these woodwinds & strings talking about sleepwalking through our days. “The Collapse” calling out those who were dazzled by the warning signs flashing continuing to dance in the midst of it all collapsing over an instrumental with a summertime-flare, but then “Manik” featuring Aesop Rock & Casual brings the trio together getting in their battle rap bag for 4 minutes.

“Nom De Plume” kinda goes for more an uncanny atmosphere talking about part of dues having to be paid in order for him to even offer you this news making it rain blood & tears on any stage he rocks while “Cadillac” fuses these organs & guitar licks discussing his father-in-law’s titular yellow tinted whip. “Gauntlet” featuring Roc Marciano goes into a jazzier direction talking about both of them being on some other shit their whole entire lives pretty much leading into “Howlin’ Wolf” hopping over a brass sample to rock & moan much like the blues icon of the same name.

Quelle Chris joins Ali Newman for the spacious “Ghosts” pleading to not let them walk on their own just before the title track smoothly talks about how it’s all simply Love & Service at the end of the day. “Worthy” continues near the end of the album by affirming that every single one of us is worthy of love accompanied by a peppy beat & lastly to finish up Ali’s first full-length in nearly 5 years as of this upcoming fall, “Inside” finishes up the album by vulnerably talking about being unable to hold his tears back.

A good majority of Brother Ali‘s discography is exceptionally high in quality & although this isn’t one of my favorite projects from him, I still find it to be absolutely tolerable. Unjust provides a warm & unquantized sound chopping & flipping educational children’s movies from both the 70’s & 80’s using an ASR-10 sampler cohesively bedding Ali’s dense & poignant musings on God, death, empire & beauty in the process.

Score: 3.5/5

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Stanwill – “4ever $hittin’” review

This is the 3rd proper solo album from Detroit, Michigan rapper Stanwill. Coming up as 1/3 of the ShittyBoyz with Babytron & TR Dee signing to Lando Bando’s own The Hip Hop Lab Records, he eventually branched out on his own during the COVID-19 pandemic off the debut EP $camwill as well as it’s successor Gifted & the debut mixtape Van Gundy. He also went Full Auto for his 3rd EP making his full-length debut with Big $hitter followed by the 4th EP Big $hitter: Lost Files & of course the sophomore Still $hittin’ celebrating it’s 1-year anniversary last weekend, it makes sense for him to clarify that he’s 4ever $hittin’.

“Neverland” start off with a bit of a psychedelic plugg vibe talking about being the weatherman whereas “Paramount” named after the Paramount Skydance Corporation works in some pianos to discuss the only thing that he’s really concerned of is the paper. “Standing Ovation” takes the spacious trap route instrumentally thanks to Danny G & Jakesand talking about playing the dirtiest game while the synthesizer infused “Live & Learn” humorously boasting that his wrist 41 & the cougar bitch he bagged being 42 providing the clique scoring 2 pointer.

Tay B joins Stan for “Be Fr” gives off a suspense-raising Detroit trap flare to the beat talking about both of them always keepin’ it 100 leading into “Cockadoodledoo” mixing 808s & pianos flexing that he can do this shit in sleep every single day of the week. “Smithereens” brings back the plugg influences that we heard at the very beginning so he can talk about those laughing at his losses cheering for his victories, but then “Sexyy Red” featuring T Bone go back on forth on a Detroit trap instrumental wanting bitches similar to the rising St. Louis trap star.

“Whack-a-Hoe” hooks up these orchestral elements with 808s saying that if the money makes the world go round, then he’s the reason that Earth’s spinning prior to Certified Trapper dropping off the worst feature throughout the entire album on “Brothers” despite the synth-trap beat & the lyricism talking about riding & dying for their brothers. “Make It Last” going for more of an electronic trap approach with the instrumental likening his squad to a marching band with the AR drum attachments while “AR in My Goose” returns to the Detroit trap sound cautioning to duck before he taps you in the head.

My favorite feature on 4ever $hittin’ is easily TR Dee on the luxurious “Simple” talking about how simple this shit really is to them prior to “Bases Loaded” in actually serves as a solid freestyle over the “They Losing Me” by Big Homie Dre Cash beat. “Chop Suey” featuring Drego contains the LP’s 2nd best guest appearance eerily talking about the barking gonna be dead if they end up biting that is until “Ahh Haa” gets back in his Detroit trap shit laughing at one of his brodies shooting an opp.

“Nonstop” kinda has this chill mood to the instrumental refusing to stop since time is money after while the west coast flavored “Los Santos Customs” makes reference of the Grand Theft Auto V & Grand Theft Auto Online vehicle customization & repair shop of the same name. “Crunch Time” couldn’t of been a better choice of a climactic closing track to the album talking about chillin’ with a bitch that don’t know English for so long to the point now where he speaks in Spanish to the plug.

This last handful of solo projects we’ve gotten from Stanwill over the course of these past 3 years have been more moderate compared to Van Gundy, but there’s no debate from my point of view that 4ever $hittin’ is the most that I’ve enjoyed a solo project from him since $camwill when the world was on lockdown. Although only a couple features stood out, I love that he tries out some new sounds albeit primarily sticking to the Detroit trap wheelhouse.

Score: 4/5

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Rx Papi – “Raheem Dead, Somebody Shot ‘Em” review

Rx Papi is a 28 year old rapper from Rochester, New York originally emerging under the original moniker Lil Fleechy. Beginning his music career when he was 9, he has since build up a solo discography consisting of 3 proper full-length studio LPs as well as 15 EPs & 11 mixtapes on top of 11 collaborative projects. Essentials of Papi’s include the sophomore effort Numbers Tell a Different Story, his 13th EP Foreign Exchange, his 10th mixtape 100 Miles & Walkin’ and lastly the Pack a Punch EP with Smokingskul to name only a few. However in light of his born day next month, he’s following up My Name is My Name by releasing his 4th album.

“U Gotta Believe Me” seriously has to be one of the best opening tracks to an Rx Papi project that I’ve ever heard from the sample-laced trap instrumental to Fleechy talking about those that ever doubted him whereas “You Must Love Me” mixes a pitched soul flip & hi-hats together addressing everyone who didn’t want to see him shinin’ at all. “Melinda Told Me” has these amazingly jazzy undertones to the trap production & Rx admitting he should’ve listened to what his mother had previously told him prior to “Designa” clashing these horns & hi-hats flexing on the lyrical side of things.

Meanwhile on “When the Smoke Clear”, we have Papi talking about being paranoid & the hood loving him similarly to DJ Clark Kent since they both hail from the City of Dreams giving a Detroit trap vibe to the beat, but then “Legends Never Die” is this soulful trap rock hybrid getting high & reminiscing over a special person in his life the other day that can’t be with us today. “Collect Call” returns to that Motor City trap sound asking if you gonna press 5 when he hits you up on collect & the bells & strings on “Made Man” are a great touch asking why you want war with gravediggers.

“Riggs” goes for a bouncier trap approach with instrumentally except with crooning background vocals & Rx painting images of the gangsta lifestyle while “You Gotta Be Crazy” expressing his annoyance at naggin’ ass bitches who think they know it all & how you’re really supposed to be ballin’ out here backed by 808s & solemn sampling. “No Deal Bill” taking shots at those who wanna see him on the bench when he’s out on the courts over more 808s & looped vocal harmonies behind it just before the cloudy, self-explanatory “Love Me While I’m Here” says it all.

Papi lets out true anger all throughout “I Need All My Money” responding to a hoe that the reason he’s so heartless being due to the fact that he grew up in darkness & “Something Seem Funny” samples Sade talking about everyone quickly ducking as soon as his squad hop out of their whips. The bell-heavy albeit exuberant “You Need Your Grass Cut” promising brody that ties will be cut if he ever catch him tucking his chain that is until the grisly “N.M.N.G.H. (Nobody Move Nobody Get Hurt)” talks about putting any & all oops under pressure.

“I’m Only Gonna Say It Once” heavy builds itself around flipping “Gunz Come Out”, which happens to be my personal favorite song off 50 Cent’s officially released sophomore effort The Massacre cautioning that playing with his money will get you shot dead in your shit & the “Walked Me Into the Wild” beat is the same as “Town & Country” by Boldy James wanting an explanation for being lied to. “97 Harris St” saves the jazziest instrumental for last asking what a bitch want after getting 10 missed calls.

I’d love an LP from Papi on the same pedestal as the Foreign Exchange EP at some point & Raheem Dead, Somebody Shot ‘Em undoubtedly takes a step above the previous one My Name is My Name regardless of Numbers Telling a Different Story remaining as my favorite full-length of his. Being more gangsta rap & trap oriented cumulatively, it’s one of if not the darkest body of work in his discography filled with interesting sample selections with additional dark plugg, Detroit trap & pop rap undertones.

Score: 3.5/5

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Mozzy – “Children of the Slums” review

Sacramento, California emcee Mozzy is back with the 8th full-length studio LP in his discography & his Collective Music Group/Interscope Records sophomore effort. I became a fan of in the summer of 2017 off his debut 1 Up Top Akh & he went on to be featured on the soundtrack for the incredible Marvel blockbuster Black Panther only 6 months later & drop 6 more albums through his EMPIRE-backed Mozzy Records prior to Memphis veteran Yo Gotti landing him a CMG contract. Mozzy’s major label debut Survivor’s Guilt in 2022 was more poignant than what he’s done previously & that alone raised my stakes for Children of the Slums.

“Damn” starts us off by calling out someone who ran when they got on the homie line over a mellow beat whereas “Still Hurt” works in a soul sample with hi-hats admitting the pain he still feels over Diaonds’ death & the love he had for Sauce on top of it. The title track comes through with this piano talking about the fact that he did so much for his hood prior to “Red Nose Bully” reminding everyone that he’s still that guy from the middle over exuberant pianos & hi-hats.

Fridayy joins Mozzy on “Lost It All” for an R&B/pop rap/trap crossover asking their lovers if they would still care about them even if everything was suddenly taken away from just before the 3rd single “Miss Big Bruh” showing genuine heartbreak over his big brody who’s no longer here in the flesh. “Ebony from 12th” gives me this mafiosi trap vibe instrumentally talking about being tired of death after seeing one too many coffins, but then “Miss You Blood” brings this angelic/hyphy fusion to the table addressing one that he often thinks of.

“Jaded” goes into a cloudier direction to discuss angels callin’ them on top of their demons still creepin’ up behind them as well prior to the soulful “Living Proof” featuring E Mozzy finding the 2 talking about being breathing examples of that your dreams can come true. “Traumatized” has this melodic vocals in the background throughout to break down an individual he once knew receiving a traumatizing sentence in court with his momma crying in court while “Lost in My Thoughts” jumps over pianos & hi-hats talking about not needing any validation.

The lead single “Free JuJu” pays tribute to someone he wanted to guide & set on the right path from Oak Park that he couldn’t save while the violin, hyphy flavored “Act a Fool” featuring Celly Ru & E Mozzy finds the trio talking about actin’ reckless. “I Can’t Go Out” passionately draws near Children of the Slums’ conclusion by refusing to go out for nothing when it’s all said & done while the atmospheric “If I Die Right Now” asking if his so-called brothers would miss him as much as the fans. “Better Without You” finishes the LP with a gloomy sample drowning behind him tired of seeing one suffer & struggle.

Much like Survivor’s Guilt, this could be considered one of Mozzy’s most personal projects to date & I certainly like it more than Glorilla’s latest tape EhhThang EhhThang from earlier this morning. He shines light on life growing up in the Sacramento community, the trials of being raised in survival & the complex lifestyle that comes with it. It further exemplifies the growth of Mozzy’s rap career & personal life, serving as an inspiration to fans that even the titular type of people can also make it out like anyone else.

Score: 3.5/5

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$weet-T – “$weet & Silent Dan” review

Michigan rapper $weet-T locking in with Danny G for his 3rd studio LP. Introducing himself alongside $kid for the collaborative EPs Monkey Business & Fancy Off Fiends respectively, it wasn’t too long thereafter when Lando Bando signed him to The Hip Hop Lab Records & properly introduced himself with the debut Sweet Talk. The sophomore effort Sweeten the Pot quickly became the finest body of work we’ve hears from him by himself, with $weet & Silent Dan looking to rival it.

“Jay & Silent Bob” featuring Danny G begins by likening themselves to the popular View Askewniverse characters of the same name whereas “Proceed with Caution” featuring J1Hunnit talks about the way both of them be living over a Detroit trap beat. “Big League Pitchin’” featuring $kid finds the pair trading verses with one another for old time’s sake recapturing the vibes of their early EPs, but “Moby Dick” featuring 1Up Tee merely doesn’t entertain me as much.

Brezden joins $weet-T for “Malcolm in the Middle” referencing the Fox Corporation’s flagship property’s early 2000s sitcom ahead of the upcoming Life’s Still Unfair miniseries premiering on The Walt Disney Company-owned Disney+ next Christmas while “Shakesphere” talks about his words rattling the globe as he keeps getting his stack on. “Ludacris Pape” takes 2 & a half minutes to flex his wealth leading into “Fishbones” talking about making it rain.

“Salt Water Taffy” featuring DJ Lucas links up over a piano instrumental co-produced by Jakesand to advise that it wouldn’t be wise to be hatin’ on their respective movements while “Big $weet” talks about doing shit that nobody else in his field could possibly do. “How Many Times” cautions of crews winding up chalked fucking with THHL & once “Tilapia” featuring Babytron references Canelo Álvarez, the closer “Chris Hansen” finishes with $weet talking about being in the deep end.

Nearly 8 months since he had to Sweeten the Pot a little, $weet & Silent Dan once again makes another example as to why $weet-T’s one of the most overlooked artists on The Hip Hop Lab’s roster. Danny G’s production here a lot like what we’ve heard from in the past cohesively sticks to the Detroit sound, bringing a stronger guest list to the table than last time to compliment Big $weet.

Score: 4/5

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Gangrene – “Heads I Win, Tails You Lose” review

Gangrene is a West Coast emcee/production duo consisting of The Alchemist & Oh No. Both of whom have already made a name for themselves by producing for other established hip hop artists both in the mainstream & in the underground, particularly Uncle Al. However, they’ve put out a total of 3 full-length albums & a couple EPs together over the past 15 years. Nearly a decade after the Mass Appeal Records-backed You Disgust Me though, they’re finally reuniting for a long-awaited 4th LP.

“Congratulations, You Lose” is a grimy opener produced by Oh No talking about how no animal is safe here whereas “Dinosaur Jr.” finds The Alchemist stripping the drums completely likening themselves as big Tyrannosaurus Rexes prehistoric flexing. The album’s only single “Oxnard Water Torture” ruggedly discusses the gang’s return & that it ain’t the same drip, but then “The Gates of Hell” featuring Ankhlejohn works in these heavy pianos talking about exposing all these sorry muthafuckas out here.

Moving on from there, “Cloud Surfing” incorporates some woodwinds comparing themselves as the Wright brothers of hip hop leading into “Espionage” following the “Free Money” interlude continues the drumless vibes boasting that their flavors are sorted individually & their rings are like Christmas tree ornaments. “Magic Dust” featuring Evidence throws these ominous chords into the picture talking about doing the dirty work & that this the way you could take theirs just before the synth-driven “Watch Out” continues to get in their hardcore bag lyrically.

“Just Doing Art” featuring Boldy James strips the drums once more defending themselves of they smear your blood & body on their canvases while the song “You Should Join the Army” hops over victorious horns asking who the fuck want what. “Royal Hand” from Flying High 2 makes it’s way here as the penultimate track & finally, the blaring yet luxurious “Muffler Lung” concludes Gangrene’s first offering in 9 years with both of them talking about them categorizing the way they spit as classical.

When you think about the gap between this new LP & the last one they did, it’ll seem like Gangrene came back as if they never took a break in the beginning. The predominantly hardcore stylings of You Disgust Me with additional elements of jazz rap & abstract lyricism make their way onto this new LP except they throw a hint of drumless in the sound too. Another worthy detail in regards to Heads I Win, Tails You Lose is that it’s noticeably more darker & cryptic than much of Gangrene’s previous material.

Score: 4/5

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