Masta Ace – “Richmond Hill” review

Brooklyn, New York emcee, songwriter, producer & record executive Masta Ace back with Toronto, Ontario, Canada beatsmith Marco Polo for his 9th full-length LP albeit their 2nd together. Breaking out in the late 80s as a member of the Juice Crew collective, his solo debut Take a Look Around became a Cold Chillin’ Records gem, the next couple SlaughtaHouse & Sittin’ on Chromewere accompanied by Masta Ace Incorporated, the Interscope Records-backed Disposable Arts is a classic concept album about enrolling in after realizing how bad the situation in Brooklyn is, his M3 Records debut A Long Hot Summer is another conceptual piece except this one’s about venturing through his hometown before going out on tour with Fats as his unofficial manager, MA_Doom: Son of Yvonne was basically him freestyling over the Special Herbs beats paying tribute to his mom & The Falling Season focused more on his high school years. However with the 5 year anniversary of A Breukelen Story produced by Marco Polo passing by this fall serving as a near-perfect love letter to the planet, Ace is taking it to Richmond Hill for the sequel.

After the “December 26” skit, the first song “Brooklyn Heights” is a boom bap opener with Ace telling y’all where he’s broadcasting from whereas “Certified” featuring Coast Contra takes a funkier approach instrumentally talking about their respective certification in the rap game. After the “Cartunes” skit, “Hero” featuring Inspectah Deck brings back the kicks & snares in full effect likening themselves to vigilantes just before “Life Music” featuring Speech & Stricklin’ finds the trio in their grown man bag over a dusty yet atmospheric beat.

“Below the Clouds” featuring Blu ruggedly advises to get your head out the clouds & after the “St. Roberts” skit, “Heat of the Moment” is an acoustic/boom bap hybrid continuing to provide wisdom such as making your decisions clear since they don’t want to understand what they fear. “Jordan Theory” mixes synths with kicks & snares explaining that you have to give up your soul to cross this bridge, but then “Money Problems” featuring Che Noir gives off an orchestral boom bap flare tackling financial issues.

After the “Scarborough” skit, “P.P.E.” takes it back to the basement talking about junkies & pushers being everywhere while “Outside In” featuring C-Red & E Smitty has to be one of the weaker tracks on here respectfully as we’re being treated to a piano-driven love ballad. “Connections” shows passionate hunger by keeping his status high until he’s satisfied over a sample-heavy boom bap beat while the jazzy “Plant Based” talks about how he’s been eating better these days. After “December 25” skit, “All I Want” featuring Wordsworth following the by wanting freedom for Christmas while the bonus track “Al Dente” asks when will we realize we’re equal.

Much like how A Breukelen Story was mainly inspired by Ace’s upbringings, this time we’re being treated to a conceptual album based on Marco Polo’s childhood growing up in the titular neighborhood in Ontario & one that reaches the bar that was set by it’s predecessor over 5 years ago. They take the issues of the day head-on with clarity so Ace can use his decades-worth of rapping experience to slice through the producer’s warm soul samples & crisp percussion.

Score: 4.5/5

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Benny the Butcher – “Everybody Can’t Go” review

Buffalo emcee Benny the Butcher ending the first month of 2024 by releasing his 4th full-length LP & major label debut under Def Jam Recordings. Being in the game for 2 decades already, it wouldn’t be until 2016 where he alongside his cousins Westside Gunn & Conway the Machine would take the culture by storm off projects like Tana Talk 3 & The Plugs I Met. Harry Fraud came in for a sequel to the latter following the mature Burden of Proof & finally, Tana Talk 4 took it back to the basement a couple years back. But for the butcher’s Def Jam opus, he’s having Hit-Boy produce half of it & leaving the other half to The Alchemist.

“Jermaine’s Graduation” sets the tone of what’s to come with a luxurious instrumental explaining that he doesn’t need a trophy because he is the trophy whereas “Bron” goes into a triumphant boom bap direction likening himself as the LeBron James of this rap shit. “Big Dog” featuring Lil Wayne works in this reversed loop talking about being too dogs, but then the title track featuring Kyle Banks on the hook giving back to the game accompanied by a soul sample & some kicks & snares.

Meanwhile, “T.M.V.T.L. (Trust More Valuable Than Love)” has some dynamic production throughout expressing the importance of trust over love just before “Back Again” returns to the boom bap with additional vocals from WWE Hall of Famer Snoop Dogg talking about being gangstas. “1 Foot In” featuring Stove God Cook$ starts the 2nd leg of the album admitting he was a foot out the game after that freestyle with Funkmaster Flex over a hard-hitting beat leading into “Buffalo Kitchen Club” featuring Armani Caesar blending these piano chords & hi-hats together reminding that nobody fucking with them.

“Pillow Talk & Slander” featuring Babyface Ray & Jadakiss sees the trio telling their older selves to watch out for these hoes over a rich trap instrumental while “How to Rap” takes it back to the basement showing everyone how it’s done. “Griselda Express” featuring Conway the Machine & Rick Hyde begins the encore of the LP by saying they ain’t stopping on top of a solemn beat & “Big Tymers” featuring Peezy ties things up with 1-last trap cut boasting their current statuses.

A lot people who started with Benny or played a part ain’t make it since some are no longer with us, in prison, taking other paths or others that just weren’t built for it. With the help of Hit-Boy & Uncle Al, he puts the biggest lesson he took from that on full display for his major label debut. The production is versatile, the guests match his intensity & the Butcher inviting y’all to his world.

Score: 4.5/5

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Crimeapple – “El León” review

New Jersey emcee Crimeapple enlisting New York producer Preservation for his 12th studio LP. 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 Cortar. However coming off a sequel to the Kilómetros EP few months ago, El León to me personally was already destined to become the most I’ve enjoyed Crime’s music in nearly a year & a half.

The title track starts the LP with heavy horns & pianos saying he doesn’t care if he was acquired for your tastes or not whereas “Don’t Mention It” featuring Sadat X keeping it drumless talking about how this shit isn’t a joke to them at all. “Lion vs. Panther” has this crazy vocal flip comparing himself to a lion & everyone else in his way as panthers prior to “Hunting Methods” bringing this infectiously drumless loop flexing that he doesn’t wait in line.

“Melena Dorada” featuring RLX talking about how blessings are all copious over some strings just before “Fumemos” goes into a stripped-back direction dedicating this one to all the smokers. “Camino Solitario” talks about traveling down a lonely road over a boom bap instrumental, but then “Vida Mantequilla” hooks up these kicks & snares with heavy horns having fun with a blonde on a Friday.

The song “Paw Prints in the Sand” wants to know how anyone is qualified to go up against him over a nightly beat while the penultimate track “Quanto Te Quiero” shifts into more delicate territory talking about a romantic interest. Finally to end the album, “Bulevar” is a deadpan closer dodging stress in favor of catching fish on a boat & might even give you some game if you ask him correctly.

It’s been quite some time since I personally have covered a project of Crime’s as his discography tends to be a little hit or miss sometimes, but El León unquestionably lived up to my expectations becoming the most I’ve enjoyed a project of his in a year & a half. Preservation’s predominately drumless production is more consistent than a lot of his output in 2023 & we get a metaphorical beacon for the unyielding hunger that the lyrical predator has always shown.

Score: 4.5/5

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Static-X – “Project: Regeneration 2” review

Static-X is an industrial metal band from Los Angeles, California now consisting of frontman Edsel Dope, bassist Tony Campos, lead guitarist Koichi Fukuda & drummer Ken Jay. Formed by their original frontman Wayne Static, their 1999 debut Wisconsin Death Trip would become a breakthrough for them in the nu metal era & went on to release 5 more albums until Wayne tragically passed away in the fall of 2014. They reformed in Wayne’s memory in 2020 on their last LP Project: Regeneration mixing old sounds with new along with their new frontman Edsel Dope recording brand new vocals mixed with posthumous Wayne vocals that I found myself liking as much as their debut. So with the 25-year anniversary that & the 10-year anniversary of Wayne’s passing, they’re commemorating it with a sequel to their previous album.

“Stay Alive” is this great industrial metal opener with Wayne & Edsel sharing the mic talking about seeing red & needing this person in their lives whereas “Z0mbie” continues to incorporate the abrasive & heavy sound from industrial music into a heavier context by using elements from post-industrial like synthesizers & drum machines so Edsel describing a psychotic bitch. Wayne & Edsel link back up on “Jic Boi” admitting they’re strung out experimenting with cyber metal leading “Black Star” finds Wayne bringing the band back to their signature industrial metal sound solely talking about losing his mind over the course of what time he had left.

Moving on from there, “Kamikaze” screamed by Edsel kinda gives me a nu metal vibe a bit looking to go Hiroshima just before “No Hope” dabbling with alternative metal so Wayne can talk about needing something to die for. “Take Control” sees Tony Campos & Edsel on vocals together continues to fuse industrial & metal music in their stylistic fashion suffering from hallucinations, but then “Tone” delves further into industrial metal with Wayne talking about all that ever knew was fear along with joy & destruction.

“Run for Your Life” switches it up by going cyber metal again & Edsel confessing to being the enemy that’s dead inside while both Wayne & Tony join him for “Dark Place” so the 3 can sing about individuals searching for something to take away from tomorrow’s sorrow returning it to their industrial metal wheelhouse. “Disco Otsego” with Edsel on vocals is a cyber metal dedication to the titular city of this reviewer’s home state of Michigan while “From Heaven” hauntingly takes a darker tone & Wayne morbidly likening his life to a disease.

The penultimate track “Terrible Lie” begins the encore with this boring industrial/nu metal cover of the 9 Inch Иails song of the same name with some cyber metal undertones to it that both Edsel & Wayne sing together prior to the closer “Groove Yoda Data 14” ending Project: Regeneration 2 by putting a bigger emphasis on cyber metal & both of them talking about no pain killing them & that it’s cold inside.

Before I begin my concluding thoughts: It made me happy that Twiztid opened for these guys on the Rise of the Machine Tour as someone who considers ”Push It” to be such a classic single & as a Detroit juggalo who’s been following the Majik Ninja Entertainment founders since their Psychopathic Records days. As for the music itself, this sequel expands on everything that made the predecessor great. They continue to balance the sounds they came up on & dabble with new ones along the way with Wayne & Edsel continuing to show chemistry 1 last time.

Score: 3.5/5

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Lil Dicky – “Penith” review

This is the sophomore full-length LP from Pennsylvania rapper, actor & “comedian” Lil Dicky. Appearing on the iconic 2016 XXL Freshman Class list, his debut album Professional Rapper was panned in 2015 & his debut EP I’m Brain in 2017 was also panned except to the point here you could argue that it might be the worst EP of all-time. “Freaky Friday” featuring Chris Brown became a hit too even though that wasn’t a good single either. However, he’s returning to release the soundtrack to his FX series Dave which was actually pretty well received running for 3 seasons.

“Brand New” is an industrial trap opener produced by Dylan Brady & benny blanco pulling from Yeezus a bit where Lil Dicky talks about feeling reborn which is fine, but KiD CuDi did it better on “New Mode” off Entergalactic. “Honestly” though works in an aquatic loop with hi-hats talking about how he’ll probably shock everyone when he drops whereas “Mr. McAdams” was actually a decent pop rap cut serving as a love letter to Rachel McAdams.

Corny bars like “Women shave they pussy smooth, lookin’ like a Ken doll” over generically thunderous trap production is what we get next on “HAHAHA” prior to the acoustic “Ally’s Song” focusing on his failed relationship with his ex-girlfriend of the same name. “Harrison Ave” samples “Wrapped Up Tight” by Delilah Moore based on the titular 2nd episode of the 3rd season, but then “Burst” is a poorly sung ballad about being a hopeless romantic.

“2nd Coming” calls himself “the next Kanye West” over a bassy trap beat when Ye is a top 10 producer of mine with 2 of the greatest albums of all-time in The College Dropout & My Beautiful Dark Twisted Fantasy under his belt when Lil Dicky is known for having an FX show better than both Professional Rapper & I’m Brain combined. “I Love Myself” goes drumless surprisingly talking about self love when I’d rather listen to “Self Luh” by Mach-Hommy while “Kareem-Abdul Jabbar” is from season 2 episode 4.

The concept of getting older on the melodic “Going Gray” isn’t anything new, but the way Lil Dicky paints it here doesn’t move me emotionally as Stevie Nicks during “Landslide” by Fleetwood Mac. The “Batman & Robin, it’s comical how I’ll keep runnin’ from problems” bar on “I Met a Girl” is one of the worst on the album & the singing is worse than it was on the previous cut. After the YG interlude from the pilot, “No Fruits & Vegetables continues the 2nd half of the LP with an obnoxious ode to cunnilingus from the 9th episode.

“I’m Drunk” goes into spacey pop rap/trap direction talking about being intoxicated on top of Cashmere Cat cooking one of the best instrumental on the album while “Morning After” takes place directly after the events of the previous joint except it has a more chilled out sound thanks to Tom Levesque of Vanguard Music Group & that Lil Dicky’s talking about intercourse. The bassy “My D!ck Sucks” admits to his dick being shoddy which I didn’t need to know & the settle “Still Freestyling” outro talks about turning 30.

To begin the 4 bonus tracks: the FNZ laced “Jail (Pt. 1)” is taken from the 10th & final episode of the first season while the trap-infused “Hearsay” continues to drop eye-rolling lines like “no capping with this paper like a Magic Marker”. “Hi, I’m Dave” is the theme song to the show & lastly “We Good” featuring GaTa ends the LP by going back & forth with each other exactly like the way they did it in the season 2 finale.

Other than a few cuts that sound okay within the context of the show that premiered the FX network owned by The Walt Disney Company, I really didn’t get a whole lot else out of Penith. The production mostly handled by benny blanco is the best thing the album has going for it blending pop rap & trap with additional elements of contemporary R&B but much like everything else in his discography, Lil Dicky’s take on comedy rap isn’t funny.

Score: 1/5

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Super Famous Fun Time Guys – “I’ll Tell You When I Want to Laugh By Laughing” review

Ohio self-deprecating horrorcore duo Mr. 8 Legz & Whipstick professionally known as the Super Famous Fun Time Guys have returned with their 4th full-length LP & their 2nd under Long Live Evil. Emerging in 2018 off their debut album Our Album, they would follow it up with the Super Dudes Crooning the Tunes EP that same fall freestyling over songs like Yasiin Bey’s “Mathemathics” or even Earth, Wind & Fire’s “September”. Following their sophomore effort How Do You Fit a Cassette in a Discography? & their solo debut EPs, they became the very 1st act to sign to LLE & their 3rd album Don’t Hug Me from the Front quickly won a lot of people (including myself) over with how well it mixed horrorcore with comedy. They continued to further establish themselves in the underground by putting out a Christmas EP Holiday EP: Advent & the critically acclaimed Lost Lake Estates collaborative effort with their mentors Alla Xul Elu, they’re beginning the 2nd half of January 2024 by simply saying I’ll Tell You When I Want to Laugh By Laughing.

After the “I’m Intro Bro” intro, the first song “Laugh Now Maybe” is a spacious boom bap opener essentially serving as the title track to the album whereas “More Things Same” works in some woodwinds reminding that they’re here to piss you off 1 pussy at a time referencing former 2-time WWE Women’s Tag Team Champions Damage CTRL. “We”R”Us” sets out to ruin your day because it’s simply what they are asking if you’ve ever noticed that record-setting 3-time ROH World Champion, ROH World Tag Team Champion, ROH World Television Champion, the longest reigning NXT Champion, the inaugural NXT North American Champion, NXT Tag Team Champion, PWG World Champion & CZW World Jr. Heavyweight Champion Adam Cole and former AEW Women’s World Champion Britt Baker look alike over an plucky, eerie loop attached to these kicks & snares just before “FanDUHlism” gives off an EDM vibe instrumentally responding to those telling them to grow up & leaving blood behind as if they’re 8-time WWE tag team champions The Usos.

“Thirst Trap” gives off a bit of a synth-funk flare to the beat Uno card reversing bitches wanting to break their hearts leading into “Cumulonimbus Cerebrum” talking about how no one’s safe when they open the clouds they keep their heads with a reference to current Monday Night Raw superstar, former 6-time WWE world champion, WWE Intercontinental Champion, WWE tag team champion, inaugural ROH Hall of Famer inductee, 2-time AEW World Champion, ROH World Champion and 2-time ROH World Tag Team Champion CM Punk who later albeit unsuccessfully competed in the UFC division of the Endeavor-owned TKO Group Holdings over a west coast instrumental. “We’re Waaaack” by Mighty Morphin’ Wackness shifts into dustier territory giving us a look at 4 guys who don’t know how to act right, but then “Hatemail” featuring McNastee assures the listener that everything will be ok over some piano chords.

The 2nd & final single “Charity Case” admits to getting drunk & fall asleep so they can leave the hate they’re bottling behind over some guitars while the lead single “Quirky Pop Punk Song (Existential Dread)” featuring Stray has some incredibly tight production from Billy Martin in the titular vein feeling like time is starting to wear thin. “My Friends Can Beat Up Your Friends” featuring Alla Xul Elu as well as Long Live Evil’s newest recording artist S.O.N. brings the sextet together for a boom bap-infused LLE posse cut referencing lucha libre popularized by the Lutteroth family-owned Consejo Mundial de Lucha Libre (CMLL)& it’s rival promotion in the Peña–Roldán family-owned Lucha Libre AAA Worldwide (AAA) while “1 Botched Brooks Finisher” dabbles with trap delving into their villain arcs.

After the “I’m Outro Tho” skit, “Sote2nelF” serves as the first of 2 bonus tracks to end I’ll Tell You When I Want to Laugh by Laughing by making peace with the dark over a drearier beat & the other bonus cut “Idk Might Cry Later” ties up the greatest tag team to never set foot in the ring’s sophomore effort with Long Live Evil talking about falling into darker places masking their pain on top of some solemn acoustics.

Since first being announced at the 2nd annual Camp Xul, I was hoping that Billy Obey was gonna fully produce it because I feel like hearing Legz & Whip over his production start to finish would make for something really special one day. However, they haven’t let me down in the 3 years that I’ve been a fan of theirs & we still got a solid LP regardless. The overall sound is a melting pot of different & interesting ideas as the chemistry amongst both MCs remains humorously animated.

Score: 4/5

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Hus Kingpin – “The Supergoat” review

If I’m not mistaken, I believe this is the 8th proper full-length studio LP from New York underground veteran Hus Kingpin. In addition to being 1/2 of Tha Connection with SmooVth, he has also built up over both a dozen mixtapes & EP in his discography all in the span of over 15 years with my personal favorites being Cocaine Beach produced by Big Ghost Ltd. & the Portishead-inspired Portishus. However when it was announced that 9th Wonder was gonna fully produced The Supergoat, I had a feeling it was going to surpass both of those as his strongest album.

“Rewind” is a great kickstarter with a luxurious sample cooking up a sunrise song for those slidin’ on motherfuckers whereas “King is Born” featuring fuckin’ Rosco P. Coldchain takes the drumlessly jazzier route likening themselves to that of royalty. The title track shifts into soulful territory telling y’all how to address him, but then “Friends” gives off a spacier boom bap flare to the instrumental showing a more sensual side to Hus.

Meanwhile, “Behind the Scenes” hooks up these strings with kicks & snares spilling some behind the scenes sex on the set shit just before “Famous Poet” fuses chipmunk soul & boom bap talking about not being misunderstood amongst those in serendipity figuring he would know it. “What It Is” featuring The Musalini strips the drums once more saying everyone knows exactly what the fuck it is leading into “The Waviest” returning to an orchestral vibe boasting that he really is the waviest of them all.

“Chaos” continues the sampling of soul music by telling a real story on wax while “Already” by Tha Connection with a melodic hook from Sweata yet again displays a sensual side to Hus except he’s joined by his partner-in-rhyme SmooVth. To tie up The Supergoat the closer “Box Office” links up with Fredro Starr of Onyx for a synth-funk/hip hop hybrid getting on some big screen type of flexing.

Cocaine Beach has been my favorite LP of Hus’ for almost 7 years up to this point, but I gotta say here that The Supergoat has now dethroned it for that spot. Not just because 9th Wonder’s production masterfully goes from boom bap to drumless & chipmunk soul, but there’s less features here in comparison & they’re all unparalleled to the waviest as he drops some of my favorite performances of his yet.

Score: 4.5/5

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KiD CuDi – “INSANO” review

Cleveland rapper, singer/songwriter, producer, actor, fashion designer, model, director & filmmaker KiD CuDi really getting New Music Fridays for 2024 rolling by putting out his 9th full-length solo LP. Blowing up in 2008 off his debut mixtape A KiD Named CuDi as well as his songwriting credits on his mentor Kanye West’s 4th album 808s & Heartbreak, his profile from there would increasingly grow off his groundbreaking debut & sophomore albums Man on the Moon: The End of the Day& Man on the Moon II: The Legend of Mr. Rager. But following the self-produced & overlooked Indicud, CuDi would leave G.O.O.D. Music amicably to form his own Republic Records imprint Wicked Awesome Records. Satellite Flight: The Journey to Mother Moon though was mediocre at best & who could forget when CuDi attempted to go alt-rock on the critically panned Speedin’ Bullet 2 Heaven? Luckily he would redeem himself on his next effort Pain & Demon Slayin’in 2016 along with the self-titled album from him & Ye as the duo KIDS SEE GHOSTScouple summers later & even Man on the Moon III: The Chosen the day after my 24th birthday despite it’s blatantly heavy Travis Scott influence. At the beginning of 2022 though, Kanye announced that CuDi wouldn’t be on the unfinished DONDA 2 due to the latter’s friendship with Skete because he was dating Ye’s hobbit ex-wife at the time & ultimately resulted in a falling out between the mentor/protege duo that always brought the best out of one another. He stormed off stage at Rolling Loud later that same year because ignorant hecklers were throwing shit at him while performing & now Mike Dean announcing on Twitter that CuDi booted him off the inaugural Moon Man’s Landing festival that just went down earlier this month due to his longstanding ties as Kanye’s engineer. Shortly after, KiD CuDi would release his previous LP Entergalactic to mixed reviews although I appreciate how he took it back to his roots on there musically. But now only a month after making amends with Ye once more, CuDi’s finally going INSANO to sign off on his longstanding Republic deal.

“Often, I Have These Dreams” begins by assuring God has your back “when there’s a punk motherfucker tryin’ to bring you down when they see you shinin’” accompanied by a psychedelic instrumental from Mike Zombie whereas “Keep Bouncin’” produced by Honorable C.N.O.T.E. goes for a electro-trap vibe encouraging everyone to bounce to this shit. “Get Off Me” by The Scotts talks about being fresher than everyone else over horns & hi-hats, but then “Most Ain’t Dennis” balances trap & rage thanks to BNYX of Working in Dying alongside his mentor Jean Baptiste & FNZ showing off a more carefree attitude giving a nod to his manager Dennis Cummings.

A$AP Rocky joins CuDi for the trippy “Wow” explaining that life is amazing for them these days as they put a blunt up in the air & that everything will only get better from hereon out just before “Electrowavebaby” sings over a synth-funk beat sampling “All That She Wants” by Ace of Base about if anyone’s here with no issues & wanting a superstar to come fly with him. “A Tale of a Knight” however brings listeners into his life with a vibrant ass trap instrumental that Tom Levesque of Vanguard Music Group co-produced backing him leading into the mind-altering “CuD Life” with Keyon Christ providing co-production referring himself as the king of Rager Town.

“Too Damn High” featuring Lil Yachty embraces the rage beats even further as both of them look to get fucked up while “Getcha Gone” goes for a cloudier trap groove working all night long. The Scotts link back up 1 last time for the album’s final single “At the Party” getting live over a synthwave instrumental from Pharrell whose hook admittedly could’ve been performed a little better while “Mr. Coola” hooks up an airy backdrop & hi-hats dropping braggadocio.

Meanwhile, “Freshie” gives off a murky atmosphere with the help of CuDi’s longtime collaborator & WZRD cohort Dot da Genius joined by Plain Pat saying you can’t tell him shit whenever he pops up in the room while “Tortured” asks God to help him over a quirky trap beat from WondaGurl & Cubeatz. “X & CuD” heavily flips “Orlando” by the late XXXTENTACION underwhemingly explaining that he was born to be a grinder & that he’s doing it ill while “7” featuring Lil Wayne talking about being in heavy over more cloudy trap production cooked up by Clams Casino & Take a Daytrip.

“Funky Wizard Smoke” shouts out everyone who got that swish & some bread over an incredibly groovy instrumental while the acoustic trap-flavored “Rager Boyz” featuring Young Thug gives a middle finger to the law. “Porsche Topless” was a fun choice of a lead single & I still maintain that it’s a summertime bop even though people ripped on it at first while the warm “Blue Sky” produced by CuDi himself alongside Yachty & Sadpony goes on a quest to grind. “Hit the Streetz in My Nikes” ends CuDi’s final Republic offering groovily talking about being too cold.

I know people turned their backs on CuDi when he & Kanye were beefing for the 2nd time, but I’ve always stood by both artists throughout their careers as they’ve always brought the best out of one another & I’m more than glad they squashed it again. As for INSANO, it lived up to my expectations of being superior to Entergalactic. The production is a mixture of old & new sounds, it has a stronger feature list & CuDi is giving a toast to the ones living their best life not giving a fuck about what anyone thinks or has to say.

Score: 3.5/5

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Boldy James – “Penalty of Leadership” review

This is the 8th proper full-length LP from Detroit veteran Boldy James. Breaking out in the fall of 2013 off his Alchemist produced debut M.1.C.S. (My 1st Chemistry Set). He would later go on to land a contract with Nas’ independent label Mass Appeal Records for a little while before getting locked up but once Boldy came home, Uncle Al would help get his name back out there once getting out by dropping the Boldface EP around Christmas 2019 & then the sophomore album The Price of Tea in China. This was followed up with the Sterling Toles-produced Manger on McNichols which was as equally fantastic, but the Griselda Records-backed Versace Tape EP was a tad bit disappointing given how rushed it was. Bo Jackson though would become his most critically acclaimed work to date & Super Tecmo Bo was almost as great for an EP. The last I covered Boldy’s music was in 2022 for the well regarded Fair Exchange No Robbery produced by Nicholas Craven & Mr. 10-08 produced by Futurewave respectively. However in light of teasing Penalty of Leadership with Craven over the last couple months, we’re getting it at long last to ring in the new year.

“Formal Invite” is a soulful opener to the album assuring that every wish will be granted whereas “Jack Frost” works in another high-pitched vocal sample talking about being quick to rip the tag off after money being put on your head. “Evil Genius” goes into more synth-heavy direction wishing all the bros were here with him in this moment just before “Murderous Tendencies” says it all conceptually with yet another soul flip.

Continuing from there, “No Pun Intended” shifts into chipmunk soul territory so Bo Jack can talk about feeling like Thanos prior to the lead single “Brand New Chanel Kicks” going drumless making it clear that “this drug zone shit is so for real”. “Straight As” brings back the soulful vibes boasting that he been on his game time shit, but then “Soccer Mom” shooting for a calmer approach instrumentally talking about the 227 Concreatures being the ones.

“Early Worms Get Birds” featuring Double D might be the weakest on the album despite the boom bap production & Boldy’s lyrics declaring to be a new sheriff in town in addition to the references of former IWGPヘビー級チャンピオン as well as 10-time WWE world champion & former UFC Heavyweight Champion of both TKO Group Holdings divisions Brock Lesnar & WWE Hall of Famer Junkyard Dog while the chipmunk soul-inflicted penultimate track “Speedy Recovery” advises to sit back & take notes. “All My Tokens” closes Penalty of Leadership by jumping over guitars looking to stack his tokens up.

Fair Exchange No Robbery is one of Boldy’s strongest LPs ever, so I was more excited for this considering that it was literally the very first album that he ever recorded after being released from the hospital due to the car crash he was in & did it ever. He’s pretty much saying what’s on his mind after going through a life-threatening experience & Craven’s sample-heavy production is a step above the last one he did with the Detroit icon.

Score: 4.5/5

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21 Savage – “american dream” review

London, England, United Kingdom born albeit Atlanta, Georgia raised rapper, songwriter & occasional producer 21 Savage back with his 4th full-length solo LP over 3 years since the previous one Savage Mode II. Appearing on the iconic 2016 XXL Freshman Class list, he continued to make a household name for himself in the current trap landscape by dropping his 2nd EP Savage Mode with Metro Boomin’ producing it in it’s entirety shortly after. Then came his full-length debut Issa Album & an incredible collab album he did with Offset called Without Warning the following year, but it wouldn’t be until the end of 2018 where 21 dropped his most mature work to date with i am > i was. Fast forward a little over a month later, he was arrested by ICE after it was revealed that he was born in the UK & stayed in the US on an expired visa to freed 10 days later. But as he gears up to release his own biopic this summer coming off Savage Mode II, he’s giving us the soundtrack 6 months early.

After the titular intro, the first song “all of me” is a spaciously trap opener sampling Rose Royce talking about becoming the person that he is today whereas “redrum” works in more hi-hats & an operatic vocal flip thanks to London on da Track getting on his murder shit. “n.h.i.e.” featuring Doja Cat comes through with a moody pop rap duet discussing playing by the rules prior to the cloudy “Sneaky” laced by Coupe talking about how it be every time he gets with his bitch.

“pop ur shit” featuring Metro Thuggin’ finds both 21 & Young Thug getting braggadocious on top of a dark Metro Boomin’ instrumental except the “It smell like gas, I think somebody pooped” line is cringe just before the sample-heavy “letter 2 my brudda” is a sequel to “letter 2 my momma”. Metro returns behind the boards with BoogzDaBeast for “dangerous” featuring Lil Durk telling all the fuck boys to stay out their way over some crooning vocals & hi-hats, but then “née-nah” featuring Travis Scott goes into orchestral turf talking about people getting them fucked up.

Meanwhile, “see the real” takes the atmospheric route with the help of OG Parker explaining his dog don’t want nothin’ out of life but to kill motherfuckers while “prove it” featuring Summer Walker finds Coupe flipping Faith Evans so both of them can deliver a pop rap/R&B duet. “should’ve wore a bonnet” featuring Brent Faiyaz keeps the trap/R&B fusions rolling as Cardo samples “I Don’t Want to Do Anything” by Mary J. Blige featuring K-Ci while “just like me” addresses “the judge for my crimes” over a soulful trap beat Metro & FNZ made.

The penultimate track “red sky” sees Honorable C.N.O.T.E. blending these strings as well as hi-hats to begin the encore of the american dream soundtrack matched with 21’s lyrics about tides risin’ up to new highs & finally, “dark days” featuring Mariah the Scientist on the hook is a profound note to end the album on being unable to stand the thought of losing all his dawgs. I also felt that Kid Hazel played his part in enhancing the overall emotion to the track too.

Although I wouldn’t put it on the same pedestal as Savage Mode II as far as 21’s full-lengths go, we still got a solid follow-up from him nevertheless in my opinion. The production expands his trap sound by additionally pulling from gangsta rap, pop rap & chipmunk soul so he can formally address the long-standing queries about the UK-born rapper’s origin story & the immigration troubles that ensued in the intervening years.

Score: 3.5/5

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