Jerry – “lovemesooner” review

Trenton, New Jersey emcee, singer, producer & music video director Jerry celebrating Valentine’s Day by releasing his 2nd full-length studio LP. You may know him for coming up as 1/2 of the duo MellowHype alongside Left Brain in the mid/late 2000s under the original moniker Hodgy Beats & later simply Hodgy prior to helping I Smell Panties, Casey Veggies & The Jet Age of Tomorrow form the impactful albeit now defunct alternative hip hop collective Odd Future. He was also the first person in the Wolf Gang to put out a solo effort, dropping his debut mixtape The Dena Tape only 9 months after the crew put out their 1st tape as a unit The Odd Future Tape. would go on to expand his solo discography with 2 more mixtapes & 3 EPs prior to his full-length debut Fireplace: TheNotTheOtherSide a day before my 20th birthday which to this day, I still think it’s possibly the most criminally overlooked offering that we’ve gotten since OF’s disbandment due to how much growth was shown on that album. Entitled was a solid comeback EP a couple years ago experimenting with contemporary R&B on top of a predominant west coast trap sound, but Higashi Miyagi reinventing himself once again going by Jerry & is looking to make lovemesooner a broader reintroduction.

“the letter I wanted to write” is a head-on acoustic opener produced by Benja finding Jerry singing about finding time whereas “i’ll say it here” tackles the idea of empty vices & asking if you want to sip cough syrup on top of both Chester Hansen & Leland Whitty of the production trio BADBADNOTGOOD help Benja maintain a stripped-back sound. “an obsessed woman” sings about a woman who’s tired of his games over more acoustics leading into “i became her” confessing that he lost a best friend & isolation blending these melodic background vocals with elements of folk music.

Meanwhile, “to you” has a bit of this acoustic R&B/pop rap tone directing it towards someone who picked their poison destroying what they had together & even their own heart just before the boom bap-inflicted “when you willingly” tell the flight attendant to come with him inside his head cautioning it’s in fact a scary place. “showed your hand” continues to strip things back sonically once more reflecting on a story he had read with no solution in the midst of driving around Hollywood that is until the downtuned “i placed my brain inside it” sings about being all over the place.

“kept my heart for myself” makes it known that he’d rather have her look him in the eyes & kill him slowly or tell him that they simply weren’t meant to be together while the folky “you chose to leave” is an open letter to London asking how they’re doing. “facing the worst fears” instrumentally continues to expand on the folk music influences melodically confessing to having suicidal thoughts while the acoustic “known to man” sings about being the star near the sun you worship.

I love the passionate vocals on “care is given to show” about remaining undefeated & tomorrow being a day repeated although the production remains stripped-back while “us how fucked we are” brings some woodwinds into the fold sings that distance makes the heart getting on some bitter ex-boyfriend shit. “time is measured” tells y’all to save the fuckin’ drama for yourself over a piano-driven boom bap until “to tell us 2” returns to the acoustic ballad callin’ out someone who went behind his back.

The penultimate song “move along” begins the encore of the LP by singing over acoustics yet again that you can take everything from him but his dreams & finally to round out Jerry’s sophomore full-length body of work, the title track hooks this jangly guitar & melodic vocal performances about fighting like a Jedi along with trophies/awards weighing less on his mind with all his might.

I respect that Jerry stepped out of his comfort song on Entitled by showing off his singing voice more & even making a predominant showcasing of it on this new album over here but as someone who’s been following him since the OF days, it’s just ok. Some of the acoustic cuts can feel a bit samey at times & he still shows his hip hop roots although in a diminished capacity, it’s that some of his sung vocals can sound eerily reminiscent to that of alternative R&B pioneer & fellow Odd Future member Frank Ocean.

Score: 3/5

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¥$ – “Vultures” review

¥$ is a superduo consisting of Los Angeles, California singer/songwriter, multi-instrumentalist & producer Ty$ alongside Chicago, Illinois rapper, singer/songwriter, one of my top 10 producers of all-time, fashion designer & former G.O.O.D. Music founder Ye formerly known as Kanye West. We’ve seen them together a handful of times for nearly a decade on tracks like “Guard Down”, “Real Friends”, “Ego Death” & “Everything We Need”. However with my favorite Ye album The College Dropout turning 20 today, ¥$ are officially kicking off the Vultures trilogy ahead of the sequel in March & the final chapter in April.

“Stars” co-produced by Digital Nas, FNZ & most importantly JPEGMAFIA samples “Good Luck” by Dijon to begin things talking about ripping up contracts & keeping “a few Jews on the staff now” in reference to Ye calling himself a Nazi on InfoWars whereas “Keys to My Life” takes the hazy trap route thanks to Timbaland explaining that it wasn’t always like this. “Paid” explains they’re only here to stack bread as KAYTRANADA & Wax Motif flip “Brighter Days” by Cajmere leading into “Talking / Once Again” featuring Ye’s oldest daughter North West finds her dad’s mentor No I.D., Swizz Beatz, DJ Camper & even James Blake help blend alternative R&B, jersey club rap, gospel, pop rap & art pop as they address that “the clouds are gatherin’ to release what they held in”.

Meanwhile, “Back to Me” featuring a jaw-dropping Freddie Gibbs verse details their sexual desires including Ye referencing Jay & Silent Bob in Dogma or a bar Freddie had about Twitter owner, Tesla CEO, SpaceX founder & Neuralink founder Elon Musk over YZY SND’s head of music 88-Keys sampling “Rock Box” by Run-D.M.C. just before “Hoodrat” dabbles into rap rock territory overdoing it with the Latarian Milton vocal chops & ¥$ continuing the themes of romance by expressing the divine beauty they see in both of their current partners Bianca Censori & Zalia respectively. “Do It” featuring a Nipsey Hu$$le intro & a YG verse near the end mixes these strings & hi-hats thanks to Wheezy, DJ Mustard & Cubeatz as they try to make a movie just before the heavily distorted “Paperwork” featuring Quavo talks about getting their paper right.

“Burn” might be my favorite on the LP speaking on a dangerous kind of love as Chicago veteran The Legendary Traxster & Leon Thomas III sonically throw it back to the Late Registration days while “Fuk Sum’n” featuring Playboi Carti & Travis Scott is this experimental trap 2-parter looking to do exactly that. Havoc’s remix of the title track featuring Bump J & Lil Durk is the only version of it that exists to me going for a cloudier vibe as opposed to the Chicago drill influence of the original except the “How I’m antisemitic? I just fucked a Jewish bitch” line is still trash, but then the aptly titled “Carnival” featuring Playboi Carti & surprisingly Rich the Kid samples “Hell of a Life” off my 2nd favorite Ye album My Beautiful Dark Twisted Fantasy talking about her “riding the dick like a carnival” ride.

Starting the last leg of the album, “Beg Forgiveness” with co-production from London on da Track has to be one of the most tiring moments heavily building itself around “Gabriel” by Joe Goddard for nearly 6 whole minutes while “Good (Don’t Die)” picks things back up with will.i.am sampling “I Feel Love” by Donna Summer talking about their hearts being ice cold & the thoughts that keep them up all night. “Problematic” talks about feeling like they beat a murder case over Chad Hugo’s horns & the epic closer “King” addresses that they thought the headlines were Ye’s kryptonite when it’s really his antisemitic behavior.

KIDS SEE GHOSTS’ self-titled debut & even The Throne’s only album Watch the Throne are superior in comparison, but that’s not to say I didn’t enjoy a pretty solid amount of Vultures & I’m hoping the next 2 installments of the trilogy are superior. The first chapter has a predominant experimental hip hop & pop rap sound with additional elements of trap music, hip house & alternative R&B as Ye breaks down everything that’s happened these last couple years although I don’t like the way he handled the backlash that he got for the antisemitic comments.

Score: 2/5

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Booba – “AD VITAM ÆTERNAM” review | Booba – « AD VITAM ÆTERNAM » revoir

Sèvres, Paris, France emcee Booba has returned with the 11th full-length LP in his discography. Coming up 1/2 of the duo Lunatic with Ali after starting as a b-boy, they would go on to release a critically acclaimed debut Mauvais Œil & a moderately received sophomore effort Black Album until disbanding. Booba’s solo debut Temps Mort much like Mauvais Œil considered to be a landmark in the French hip hop scene, with Panthéon & Ouest Side also being positively received. 0.9 & Lunatic wound up getting mixed reactions until returning to form on the next few albums Futur, D.U.C, Nero Nemesis & Trône. Ultra has gone on to be considered by many to be the Tallac Records founder’s worst full-length outing yet, so I went into AD VITAM ÆTERNAM hoping it would be the most I’ve enjoyed something from him in 7 years.

Sèvres, Paris, France maître de cérémonie Booba est de retour avec le 11e album de sa discographie. Faisant partie de la moitié du duo Lunatic avec Ali après avoir débuté en tant que b-boy, ils sortiront ensuite un premier album acclamé par la critique, Mauvais Œil, et un deuxième effort moyennement reçu, Black Album, jusqu’à leur dissolution. Le premier album solo de Booba, Temps Mort, tout comme Mauvais Œil, est considéré comme une référence sur la scène hip hop française, Panthéon & Ouest Side étant également accueillis positivement. 0.9 & Lunatic ont fini par susciter des réactions mitigées jusqu’à revenir en forme sur les prochains albums Futur, D.U.C, Nero Nemesis & Trône. Ultra est considéré par beaucoup comme le pire album du fondateur de Tallac Records à ce jour, alors je suis entré dans AD VITAM ÆTERNAM en espérant que ce serait le plus que j’apprécierais quelque chose de lui en 7 ans.

“Rebel” starts the album by talking about how everything goes through force & that we’re acquired by right on top of a murky trap instrumental whereas “Saga” switches gears into this pop rap ballad boasting that he’s always surrounded by models & the world is his. “Dolce Camara” featuring SDM finds the pair describing their handsomeness on top of synth-horns & hi-hats prior to the underwhelming trap single “Sport Billy” telling us where he hid the weapon bag.

« Rebel » commence l’album en parlant de la façon dont tout passe par la force et par laquelle nous sommes acquis juste au-dessus d’un instrument de trap sombre tandis que « Saga” passe à la vitesse supérieure dans cette ballade pop rap vantant qu’il est toujours entouré de modèles et que le monde est son. « Dolce Camara » avec SDM trouve le duo décrivant leur beauté au-dessus de synthés et de charleys avant le single trap décevant « Sport Billy » nous disant où il a caché le sac d’armes.

Concluding the first half of the album, the lead single “Signé” isn’t any better unfortunately fusing pop rap with afro trap & funk brasileiro explaining that he’s always been told to go elsewhere since he wasn’t awarded as a shooter leading into one of the better cuts “6G” being a decent continuation of the series of songs that began on D.U.C nearly a decade ago. “G.M. (Gyèt Manmanw)” featuring Evil P & Gato is this cringey trap cut dedicated to not having girlfriends since they only knowing big sluts, but then “Abidal” featuring Sicario talks about being in the flagship waiting for the signal giving off more of a generically dark trap vibe.

En conclusion de la première moitié de l’album, le premier single « Signé » n’est pas meilleur malheureusement fusionnant pop rap avec afro trap & funk brasileiro expliquant qu’on lui a toujours dit d’aller ailleurs puisqu’il n’a pas été récompensé en tant que shooter menant à l’un des meilleurs morceaux « 6G » être un continuation décente de la série de chansons qui a commencé sur D.U.C il y a près de dix ans. « G.M. (Gyèt Manmanw) » avec Evil P & Gato est ce fastidieux coupure piège dédié au fait de ne pas avoir de copines puisqu’elles ne connaissent que de grosses salopes, mais ensuite « Abidal » avec Sicario parle d’être dans le vaisseau amiral en attendant le signal dégageant davantage une ambiance de piège génériquement sombre.

“Bénigni” nears the encore of the LP by making Booba feel like a featured artist on his own album since USKY takes up a majority of it as they both ride alone in the city feeling inhabited over these piano chords that is until “C.V.B.S.P. (Ça Va Bientôt Casser)” concludes AD VITAM ÆTERNAM with this twinkling drill track admitting that it’s all inevitably gonna break soon & asking why he should wait as a result of that.

« Bénigni » s’approche le fin du LP en faisant sentir Booba comme un artiste invité sur son propre album puisque l’USKY en reprend la majorité alors qu’ils roulent tous les deux seuls dans la ville en se sentant habités sur ces accords de piano jusqu’à ce que « C.V.B.S.P. (Ça Va Bientôt Casser) » conclut AD VITAM ÆTERNAM avec ce morceau de forage scintillant admettant que tout va inévitablement bientôt casser et se demandant pourquoi il devrait attendre à cause de cela.

It’s blatantly obviously to say Booba won’t make another album like Temps Mort ever again although he came close to reaching that caliber a couple times on Ouest Side & Nero Nemesis, but wow it’s very unfortunate that AD VITAM ÆTERNAM was even a step below of the album that he gave us almost 3 years ago. Although I fully understand that he intentionally made it less than a half hour long due to the constraints of streaming, it just feels rushed ultimately.

C’est évident de dire que Booba ne fera plus jamais un album comme Temps Mort même s’il a failli atteindre ce calibre à plusieurs reprises sur Ouest Side et Nero Nemesis, mais wow c’est vraiment dommage que AD VITAM ÆTERNAM soit même un cran en dessous de l’album qu’il nous avait offert il y a presque 3 ans. Bien que je comprenne parfaitement qu’il l’a intentionnellement fait moins d’une demi-heure en raison des contraintes du streaming, cela semble précipité finalement.

Score: 1.5/5

Score; 1,5/5

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$crim – “Lonely Boy” review

This is the sophomore full-length solo LP from New Orleans, Louisiana rapper, producer & deejay $crim. Coming up as 1/2 of the $uicideboy$, the duo has been impeccably consistent since their formation over a decade ago & Wetto here was actually the first one to branch out on his own by dropping the solo debut A Man Rose to the Dead during the COVID-19 pandemic to mixed to negative reception including from myself. However since Ruby da Cherry’s been grinding with a couple of skate punk EPs since last summer, it’s only right for Budd Dwyer to introduce us to the Lonely Boy.

“destination: home” is a cloudy trap opener co-produced by G*59 Record$ in-house producer Dynox encouraging to dream on whereas “a boy whistling in the graveyard” displays a more melodic delivery over an atmospheric instrumental with some hi-hats hoping that he gets right. “maserati slick” shows off the new whip that he just copped accompanied by a psychedelic trap beat leading into “who saves the savior?” asking who could love what he’s become going for a Memphis-influenced sound this time.

Meanwhile, “night gallery” continues forward by working in this vast instrumental keeping the hi-hats into the fold just before “demo demon” looks to pull up on his opposition. The synth-heavy title track goes into territory addressing the loneliness that he feels, but then the meditative “don’t know why” rides around town so fucked up to the point where he can’t even see

“blam!” experiments with rage beats talking about unloading the chopper on anyone who goes against his set prior to “4muhslime #freethug” paying tribute to Young Thug & the beat giving off a solemn vibe. “devil’s revenge using god’s subjects” sets out blow all these racks with a bitch blowing his high shooting for a moodier aesthetic while “i just hope that my death makes more cents than my life” delves into hypertrap turf flexing that his money keeps going up.

Starting the 2nd leg, “new glock 4 my opps” continues to blend buzzing synths with repetitive chord progressions & melodic synth leads looking to make the block hot while “1st things first” admits that he doesn’t go outside much although everyone should pray whenever he does returning to a relaxed, dream-like & reverb-heavy production style. “north pontchartrain blues” suggests to come spend the night & never leave him over a slick trap instrumental while the bass-heavy lead single “paradise” describes his ideal place.

“just because you’re paranoid doesn’t mean you’re wrong” atmospherically laces $crim’s feelings with drugs clarifying he can’t help but go when they call him while “a man touched the sky” talks about refusing to take any chances over another trillwave beat. “all graves go unvisited in the end” dejectedly confesses to people betraying him when he never thought they would while “nightmare on the northside 2” is a worthy sequel to a highlight off A Man Rose from the Dead.

Moving on to the final quarter of the LP, “chrome cowboy” looks to do whatever it takes to keep catching those Ws trying to give off a vibrant approach generally while the rage-inducing “die4me” asks if anyone’s loyal to him. “1-800-PAIN” is cloudy a reminder that shit ain’t sweet when you look in his eyes while the trippy “marlboro country” talks about a whole new vibe he’s been on. The angelic/trap crossover “a nice place to visit” heads back west & lastly, “levitate” ends Lonely Boy on an upbeat note riding & dying by his shawty.

Granted it kinda seems like $crim heard Destroy Lonely’s last album If Looks Could Kill since it was also 26 tracks & nearly 90 minutes long when we first got it last spring, yet Lonely Boy still shows significant improvements over A Man Rose from the Dead. It’s refreshing to hear Budd experimenting with new sounds & his performances actually sound invigorated as opposed to being monotonously boring on the predecessor.

Score: 3.5/5

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K.A.A.N. – “Peace of Minds” review

Maryland emcee/producer K.A.A.N. reuniting with Aftermath Entertainment in-house producer Dem Jointz for his 24th full-length studio LP. a name for himself in the underground over the course of the past decade by delivering standouts in his ever-growing discography like Black Blood, the Ski Beatz-produced Requiem for a Dream Deferred & the Big Ghost Ltd.-produced All Praise is Due, Mission Hillz or recently The Death of a Rapper & The Nightly News both produced by former Strange Music in-house producer MIKE SUMMERS a.k.a. 7. But after being teasing Peace of Minds since September, it’s only right for the Maryland lyricist & the Compton producer to link back up to start the 2nd month of the new year.

After the “Wake Up” intro, the first song “Corner Store” is a 2-part trap opener talking about how they wanna see him fall whereas “A.S.C. (Ain’t Shit Changed)” keeps the hi-hats in tact making it known that things are still the same with him. “Living n Fear” has a groovier vibe to it explaining that his whole house on fire prior to “Destination” shifts into boom bap territory talking about what you get when you follow false prophets.

“Dying Breed” goes into a drumless direction likening himself to a group of people that’re slowly fading away as time goes on leading into “Hurry” bringing the kicks & snares back into the picture manically getting in his hardcore bag lyrically. “Basque” is an organ boom bap hybrid produced by Black Milk asking what the fuck he’s gotta do to prove who’s who, but then “Prize” aims to keep his eyes on the finish line over more trap production.

To start the 2nd half of the album, “Designer Drug” goes into a psychedelic direction admitting that he went down the rabbit hole for all the wrong reasons just before the atmospheric “Smoking Section” slides through for an anthem dedicated to the smokers out there. “F.Y.F. (Fuck Yo Feelings) says it all conceptually over a dusty instrumental while the rock-inspired “Past That” talks about moving on from the bullshit.

“Footsteps of Greatness” begins the encore of the LP by speaking from experience on top of an unsettling & lastly, “Katch Up” closes out Peace of Mind by hooking up this delicate back drop with some hi-hats thanks to fellow Aftermath in-house producer Focus… so K.A.A.N. can get into his shit-talking bag 1 last time talking about all the ways that people be envying him ever since his career took off really.

Mission Hillz was more trap-based unlike both Black Blood & Pure Intentions, so it doesn’t really surprise me to hear that Peace of Mind continues to expand on the sounds of the previous LP that K.A.A.N. & Dem Jointz did with one another. The latter’s production continues to show progression over the last 7 years of working together dabbling with psychedelia, boom bap, drumless & a hint of rock suiting the Maryland emcee’s potent topics.

Score: 4.5/5

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Mvck Nyce – “Nyce to Meet You” review

Detroit emcee Mvck Nyce of the Umbrella collective picking up where the predecessor left off almost 11 months ago with his sophomore LP. Emerging in 2018 off the full-length debut InMyDarkestHour, he has since continued to turn heads by continuing to release a couple EPs Supernyce & Lord Be Whit Me along with the Circa ‘16 compilation more recently as the 1-year anniversary of that approaches next month to be exact. I was also anticipating Nyce to Meet You considering some of Mvck’s recent features for Bizarre of prior D12 fame, Dango Forlaine or even his Umbrella brethren Mickey Diamond, Substance810 & Snotty.

“Master” is a morbid boom bap opener calling anyone to try to master his style whereas “Hockeytown” explains that this the type of shit that gets motherfuckers icy over a rugged instrumental. “Ghetto Gold” works in more kicks & snares with this eerie backdrop boasting that these try-hards can’t even fuck with him or his set leading into “Professionals” going for a solemn boom bap vibe grinding all night long until the sun comes up & calling out those sounding unconfident in their raps.

The aptly titled “Hound Flow” has a mellower sound admitting that he’s feeling like he’s back just before “Fully Automatic” brings the kicks & snares back in the picture talking about getting with it or getting lost at the end of the day. “Yesterday” flips a gospel sample confessing he doesn’t know where to go even though he did his thing & made his lane, but then the instrumentally dejecting “Cups & Carats” talks about how many want to calm him down.

“Dirty” begins the encore of the album by telling y’all to shut the fuck up & sit the fuck back over a dusty ass beat while the jazzy “Gotham Nights” talking about the fact that everybody tryna be a hero. The eerie boom bap closer “Me Against the World” properly sends off Nyce to Meet You with one of the best songs I’ve ever heard from him passionately rapping that he let his demons out in broad day hoping that it would work.

Considering the 7 year gap between Nyce to Meet You & InMyDarkestHour along with the feature performances that I had mentioned at the beginning, I was highly anticipating to hear how much the Nycest of the Umbrella collective has grown since then & he definitely didn’t pull any stops on that at all here. Unlike that previous compilation, we have a more well thought-out & linear reintroduction from the Detroit emcee to the public eye altogether.

Score: 4/5

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Icewear Vezzo – “Live from the 6” review

Easily one of the biggest names in the Detroit trap scene today & Iced Up Records founder Icewear Vezzo finally releasing his Quality Control Music debut album although the 4th full-length overall in his discography. For over a decade now, this dude has been making waves locally by releasing the Rich Off Pints trilogy of LPs & over a dozen mixtapes. The previous Paint the City hosted by DJ Drama over a year ago being Vezzo’s first project to come out though the Motown Records imprint & it was a solid prelude, so it definitely increased anticipation for his major label debut Live from the 6.

After the intro skit, the first song “Class of 2024” starts off with some synthesizers & hi-hats so Vezzo can remind us all that he inventing sippin’ mud despite the fact that he’s clean these days whereas the atmospheric “Projects” flexes that he’s a multi-millionaire in the trenches. “Perfect” featuring DaBaby is anything but since the latter’s appearance might be the weakest on the album although I do appreciate the luxurious instrumental & Vez’ braggadocio, but then “Rap Game takes the soulful Detroit trap route celebrating like a parade goin’ down.

“Momma Mil” goes for a darker approach to the vibes of the previous cut minus the soul sample making it clear that his mother didn’t raise no hoes & the “Motion” remix featuring Babyface Ray is superior to the original boasting that that’s exactly what they got over a synth-based Detroit trap beat. “Ain’t Enough” gives off an eerier atmosphere explaining that he needs $2M since $1M isn’t enough just before “Come Outside” featuring YTB Fatt is another underwhelming collab although the message of people dying out here in the D is accurate.

Picking things back up, “I Ain’t Mad at Ya” fuses cloud rap & Detroit trap addressing all the “fuck n****s” out there leading into “Chose Me” featuring Chuckie CEO talking about choosing himself over a ghoulish instrumental & Chuckie punching under his weight. Beginning the encore of the album however, “Different Day” almost has this pluckier tone to the beat talking about the concept of “same shit, different day” & “I’m the One” closes Live from the 6 with this futuristic trap banger talking about being him.

Vezzo’s verse on the “Detroit vs. Everybody” remix made me a fan of his when it came out on my 18th birthday & this major label debut similar to Paint the City continues to show improvement in Vezzo. Yeah the features are kinda underwhelming for the majority of it, but it’s more well-produced than some of his previous material & I admire that he pays homage to 6 Mile as a fellow Motor City native myself.

Score: 3.5/5

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Confucius MC – “Stop Signs” review

London, England, United Kingdom wordsmith Confucius MC teaming up with Dublin, Ireland producer Pitch 92 for his 3rd studio LP. Known for being 1/2 of the Old Paradice and CoN & KwAkE, he introduced himself in 2014 off his full-length debut The Highest Form followed by The Artform a few years later & the sophomore effort Somewhere another few years after that. Familiarizing myself with him through his features throughout several High Focus Records projects over the years, it only makes sense to have one of the label’s in-house producers coming in the picture for Stop Signs.

After the “Leisure Time” intro, “Maintenance” begins with a funky beat advising to slow down whereas “Paper Champs” takes the boom bap route instrumentally seeking truth in an ocean of lies. “Missing Persons” brings the funk back with a slicker twist to it talking about someone disappearing every 2 minutes leading into “Raised by Wolves” featuring Renelle 893 links up so both of them can discuss their own upbringings.

“Loneliness in the City” has a somberness to the beat describing this epidemic around his parts & after an intermission, “Cognitive Behavior” featuring King Kashmere finds the 2 talking about being tired of the games. “Days Hours Minutes” featuring the latter’s Kingdom of Fear partner-in-rhyme Jehst speaks of time forever flying past us while “Burden” soulfully talks about not letting anything take a load on you.

Nearing the conclusion of Stop Signs, the song “Blue Skies” hops over a lo-fi boom bap l instrumental that sounds like it could’ve appeared during a bumper on the Discovery Global owned Cartoon Network late-night block [adult swim] asking for his spirits for them to tell him to read the signs & “Respite” concludes the EP with a 77 second outro structured similarly to “Leisure Time” the moment anyone giving this a spin would hear right when they press play.

The Highest Form still has it’s moments a decade later, but I truly think Stop Signs might’ve surpassed it although I’m not sure why Confucius MC didn’t have High Focus Records distribute it because it very much sounds like something that would’ve come out of the renown Hove, East Sussex imprint. Pitch 92’s jazzy production is a huge step above Somewhere carrying the torch of Jaylib’s spirit further & Confucius’ poetic lyricism is at it’s most conscious, joined by a couple of artists on the current High Focus roster & none other than the YNR Productions founder himself.

Score: 4/5

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Tha God Fahim – “Supreme Dump Legend: Soul Cook Saga” review

Tha Dump Gawd himself Tha God Fahim from Atlanta, Georgia beginning the 2nd month of 2024 by linking up with Cookin’ Soul for the 21st full-length LP in his ever-growing discography. Starting as an affiliate of Griselda Records as well as being 1/3 of the Dump Gawds alongside Mach-Hommy & Your Old Droog, we also can’t ignore the massive discography that he’s managed to build for himself, some of the standouts include Breaking Through tha Van Allen Belts & Dump Assassins. But dude has been on a CRAZY ass EP run in 2023 with the standouts being the Camoflauge Monk-produced Dark Shogunn Assassin, the Nature Sounds-backed Iron Bull & the Nicholas Craven-produced Dump Gawd: Shot Clock King 4, the Oh No-produced Berserko, Fahim’s last EP Dump Gawd: Rhyme Pays produced by Mike Shabb & even the previous album Tha Supreme Hoarder of All Pristine Wealth. So hearing that Big Size would be behind the boards to begin the Soul Cook Saga of the Supreme Dump Legend series, I was certain it had to be the best body of worked they’ve ever produced for another MC.

After the intro, the first song “Blood Sport” starts things off with this cinematic boom bap instrumental likening himself & his squad to champions whereas “Get Ur Weight Up” takes a more lo-fi route working in thee kicks & snares so tha Dump Gawd speaking on some advice that was given to him. “Economics” featuring The Musalini who signed to Jamla Records last year talks about turning rhymes into heavy cash over a boom bap beat with this infectious sample, but then “Guillotine” hooking up more kicks & snares with this psychedelic backdrop referencing 10-time WWE world champion, 2-time WWE Intercontinental Champion, 5-time WWE Tag Team Champion, United Football League (UFL) co-owner, the newest member of the Endeavor-owned TKO Group Holdings’ board of directors & $7 Productions co-founder The Rock whose daughter Ava is now the GM for WWE’s developmental NXT brand.

“Shark Biting Vampires” featuring Dano makes it clear that they don’t want anyone sounding like them on top of some woodwinds & just before “Heavy” featuring Raz Fresco makes up for Dano’s guest appearance on the previous cut which might be the weakest feature on the album. Here though, Raz & Fahim discusses the heaviness of words sometimes over this spacious boom bap instrumental. “Pedal to the Floor” kinda gives me a bluesier vibe making it clear he ain’t new to this leading into the dusty “Safe Hands” looking to make other rappers look bad. The orchestral sendoff “The Way of the Samurai” lastly portrays another day in the Shogunn saga.

Breadrick Douglas is said to be have Dump Goat II, 3 more projects with Monk, 3 with Craven, another one with Cookin’ Soul presumably titled Supreme Dump Legend: Soul Cook Saga 2 & a self-produced one all coming down the pipe in the future & Supreme Dump Legend: Soul Cook Saga. Cookin’ Soul’s boom bap production is consistent top to bottom, I enjoyed nearly every feature & Fahim indeed cementing himself as the strongest performer Size has worked with on a full project to date.

Score: 4.5/5

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Lyrical Lemonade – “All is Yellow” review

Lyrical Lemonade is a multimedia company founded by Illinois music video director, videographer, businessman & music promoter Cole Bennett. For over a decade now, he has directed visuals for some of the biggest names in hip hop from the late Juice WRLD to even Eminem & Drake. I’ve even experienced a couple people likening me to Bennett at least a few times over the years along with Anthony Fantano & I’ve never spoken about it publicly, but since I might as well since here we are. The Needle Drop, I can see 110% & I’ve stated numerous times that he’s the reason why I started writing reviews myself. Lyrical Lemonade on the other hand, no I never understood that. Primarily because I write music reviews as opposed to directing music videos for other artists & the fact that every video Lyrical Lemonade puts out always gets 1M views within the first 24 hours. No disrespect intended whatsoever because I’m actually a fan of Cole’s videography myself, otherwise I wouldn’t be writing this. Anyway as for the very debut compilation in front of our very eyes that’s been in the making for 5 years, Def Jam Recordings is helping back All is Yellow.

“Fly Away” by J.I.D, Sheck Wes & Ski Mask the Slump God starts the comp with a thunderous trap instrumental expressing their desire to grow wings sometimes so they can do simply that whereas “Guitar in My Room” by KiD CuDi & Lil Durk shoots for a more stripped-back vibe trying to tell everyone who they really are. “Say Ya Grace” by Chief Keef & Lil Yachty mixes a crooning soul sample with hi-hats referencing to the Superman franchise owned by the Warner Bros. subsidiary DC Entertainment just before “This My Life” by The Kid LAROI, Lil Skies & Lil Tecca experiments with drill music talking about how it’s all timing.

Cochise, Denzel Curry, Juicy J, Lil B & Teezo Touchdown all join forces on “First Night” showing off multiple beat-switches admitting that they just wanna fuck that is until “Special” by Aminé, Latto & Swae Lee talks about wishing they could un-love someone on top of this crooning trap beat. “With the Fish” by $not & the late 6 Dogs tells y’all to meet them at the mountain top over a cloudy instrumental, but then “Doomsday” by Cordae & the late Juice WRLD goes back & forth with one another sampling “Role Model” by Eminem

It only makes sense for Em to do “Doomsday, Pt. 2” as the sample from the predecessor is slowed down & he makes it clear he’s been at J. Cole’s current level for quite some time & asking who had the 2nd best verse in “Forever” when I can answer that by saying Lil Wayne prior to “Fallout” by Gus Dapperton, Joey Bada$$ & Lil Yachty shifting gears into indie/alt-pop turf with additional elements of pop rap & synthpop describing a love that’s death row while “Equilibrium” by Babytron & G Herbo brings this luscious trap beat into the fold chilling with their millions waitin’ ’til the billions come.

“Hello There” by Black Kray, Corbin & Lil Tracy is this underwhelming emo rap/alternative R&B talking about being ghosts inside their exes’ beds interpolating “I Miss You” by blink-182 while “Hummingbird” by SahBabii, Teezo Touchdown & UMI taking a settler approach promising to wait by the door telling you all their stories facing the sun. “Stop Giving Me Advice” by Dave & Jack Harlow acoustically ends the compilation on a self-explanatory note & of course Dave outrapping Harlow.

When it comes to curating albums, Westside Gunn & Metro Boomin’ been doing what DJ Khaled thinks he’s been doing this whole time & the one that Cole Bennett gives us here as much as I enjoy his music videos myself is just okay as a full-listening experience. The production is fine as far as mainstream pop rap goes, it’s that the performances from the guests themselves are hit or miss. Another compilation in the future was hinted at & hopefully it’ll be a cut above, but I’ll take the highlights until then.

Score: 3/5

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