Big Sean – “Better Me Than You” review

Detroit, Michigan rapper & singer/songwriter Big Sean returning after 3 years to release his 7th LP. Coming up as a protege of Chicago icon Kanye West & signing to his Def Jam Recordings imprint G.O.O.D. Music, he generated some buzz in the late 2000s by dropping the Finally Famous mixtape trilogy, but it wouldn’t be until 2011 when his profile significantly increased when Sean dropped a 4th installment as his full-length debut. This was followed up the next year with the highly acclaimed Detroit mixtape & then a sophomore album the year after that entitled Hall of Fame. However, his next 2 full-lengths Dark Sky Paradise & I Decided. were both mediocre in comparison to all those past efforts. Now the last time Big Sean dropped a project was in late 2017 with Double or Nothing which had INCREDIBLE production from Metro Boomin’ top to bottom, but Sean himself was SEVERELY lacking. His G.O.O.D. Music contract was fulfilled with the surprisingly mature Detroit II & the Hit-Boy produced What You Expect? was better, but is coming back addressing some leaks over a month ago brushing off that it’s Better You Than Me.

After the “Pressure” intro, the first song “Iconic” that by BNYX of Working on Dying alongside Hit-Boy, Rogét Chahayed & Tom Levesque of Vanguard Music Group cooked up together starts us off on some trap rock shit flexing his icon status whereas “Typecast” takes the cloudy trap route instrumentally showing off the pimpin’ in his blood feelin’ like Jerry Buss in the arena. “Break the Cycle” featuring Uncle Charlie Wilson of the Gap Band on the hook has a funky boom bap flare that Leon Thomas III provides callin’ out those who believe more than what actually happened, but then “Who You Are (Superstar)” brings a triumphant trap vibe to the table calling his #1.

“Yes” was an mediocre 2-part trap single that FNZ helped put together with an annoying ass hook telling us the way he responds when muhfuckas say no just before “It Is What It Is” featuring Gunna picks things back up from the synth-trap beat from Turbo to the lyrics about how this is only as big as it gets. “Apologize” is a self-produced drumless open letter to Sean’s mentor Ye which isn’t surprising since Kanye talked mad shit about him in that 2021 Drink Champs interview & after the “Clarity” skit, “On Up” has an old school west coast sound that FF for Def Entertainment in-house producer KeY Wane brings to the table dedicated to his son Noah.

Meanwhile on “Something”, we have Syd of The Internet & originally Odd Future joining the Sean Don for a subdued trap/pop rap joint reminding the listeners that we all have our different bullshit that we’re each going through in our lives until Thundercat provides a psychedelic tone for “Black Void” being done with the disrespect. “This n That” featuring Bryson Tiller & Kodak Black ruins a heavenly Hit-Boy instrumental talking about taking psychedelic mushrooms & 1,000,000 Pieces” featuring Larry June likens their lives to a puzzle broken down to so many pieces over a mellowly dusty instrumental.

“Get You Back” featuring Cash Cobain gets into the sexy drill style that the latter sample drill pioneer has become known for in regards to his solo work with the help of WondaGurl talking about ex while “Certified” featuring the late D12 leader Proof’s son Nasaan vibrantly boasts their certifications in the rap game. After the “Focus” skit, “Boundaries” points out that time ain’t running out when it’s really life running its course while “Precision” was a decent trap/chipmunk soul hybrid.

As we approach the final moments of Sean’s first full-length outing since leaving G.O.O.D. Music, the official closer “My Life” finds KAYTRANADA backing Sean with synths & an outro skit “Happiness” that really should’ve been separated into a track of it’s own telling us he had to boss up & the bonus cut “Together Forever” makes me want The Alchemist to do an entire project for Sean in the future whether it be the gospel flip or the Detroit star saving some of the best lyrics for last.

Better Me Than You surges beyond the sentimental to embody something altogether more meaningful regarding the man behind the mic & I respect that he’s at a point in his life where he lets things happen when they’re supposed to happen, yet I didn’t enjoy it as much as Hall of Fame or Detroit or even the sequel & What You Expect?. All 4 of which are my favorites in his discography. Even if some of the production & guests falter, I can’t dismiss the newfound perspective.

Score: 3/5

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Strick – “All Time High” review

Atlanta, Georgia rapper & songwriter Strick releasing his sophomore full-length studio LP after a few delays. Following his debut mixtape Risk=Reward & it’s sequel, this resulted in Young Thug signing him to YSL Records putting out 3 more tapes as well as the debut album Strick Land & more recently the 2Late 2Apologize. 21 months later, he’s at an All Time High regardless of YSL’s ongoing R.I.C.O. case & is ready to share it with the world as fall’s getting ready to start in 3 weeks or so.

The synth-driven “Chess Not Checkers” starts by singing about living like a star ever since signing to YSL whereas “Kisses Make Sure” featuring James Blake & Young Thug gives off an acoustic trap/pop rap vibe so the trio can tackle the themes of love. “Neat Freak” keeps the mellow trap production rolling flexing his current status while the cloudy “Cr@sh” featuring Travis Scott recalls the previous night where shit got too crazy.

“Lacrosse” moves on from there with 110 second trap cut talking about always keeping a stick on him just before “Nightcrawler” hooks up a stripped-back loop & hi-hats getting boastful lyrically. “Recipe for Love” featuring Future has a syrupy flare to the beat calling out their partners for doing them bad, but then “Party @ 4am” moodily talks about turning up in the early hours of the morning.

Meanwhile on “Fighter Jet”, we have Strick over another acoustic trap hybrid beating the odds letting y’all see for yourselves the way he’s living now leading into “Complete You” starting the 2nd leg of the album on the melodic pop rap tip. “On Your Line” intoxicatingly keeps the subject of romance in mind while “Come Alive” featuring 6LACK fuses trap, pop rap & R&B talking about their partners being enlivened during sex.

“Higher Living” serves as this lavish ode to living better while “Vase” produced by ATL Jacob atmospherically tells everyone listening to not let the fast life change you whatsoever. “Voice & Laugh” samples soul music throwing hi-hats into the equation learning a lot about loyalty & missing his ex while “ILY.” hops over a crooning beat talking women & people stealing his style.

Nearing the conclusion of the LP, the penultimate track “Slurricane” goes off-the-top for little over a minute telling his new bitch that he can get her in the mood & he isn’t anything like her previous man in any way shape or form while “Point Proven” ends the album talking about being a rockstar over a horn-laced trap beat.

YSL’s output in last year or so has been extremely hit or miss & I actually happened to enjoy All Time High more than Gunna’s last 2 post-incarceration efforts A Gift & A Curse and One of Wun combined. Mainly because it’s produced better, the guest-list is stronger than Strick Land almost 3 years ago & Strick himself lets everyone know where he’s at in his life currently.

Score: 3.5/5

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Josiah the Gift – “Lavish Language” review

Brooklyn, New York emcee Josiah the Gift returning 6 & a half months after The Glorious Si’s eponymous debut to release his 6th solo LP. Starting out in the late 2010s by releasing his first 2 EPs Jack Johnson & Raw, he later broke out within the underground back in the summer of 2020 off his acclaimed debut album Iron Mic. His profile continued to elevate with the debut mixtape Remain Raw, the sophomore effort Mightier Than the Sword as well as the sequel, the True Cipher-produced TOGO & his previous album God’s Gracious. A year & a half after the lagger, the Gift of The Umbrella is returning to speak that Lavish Language.

“Rep” starts us off with an orchestral beat talking about the reputation proceeding, elevating & focusing on his goals demonstrating whereas “Hommy” works in some background vocals suggesting that you should lay low if you catch a body because the case will be closed if they find it. “Wolvez” embraces the boom bap sound instrumentally letting everyone know who y’all be fuckin’ with prior to “Mulsanne” maintaining those kicks & snares refusing to introduce himself since they should know by now.

The guitar/boom bap hybrid “Take II” finds him evening out the butters wondering where all his homies stumbled at musically & his mom being out in the streets during the 80s, but then the exuberantly dusty “Karhu Sneakers” talks about never disrespecting him since he the reason people even on the guest list showing off his kicks from the titular brand. “Florence Cathedral” featuring HooksArthur samples soul music wanting their flowers givin’ ‘em love just before “True Story” takes it back to the basement instrumentally talking about being the one you can call for peace.

“Lavish” featuring Bless Picasso takes a funkier approach to the beat comparing the chef in the kitchen that’s cookin’ up the drug supply to Guy Fieri additionally suggesting that root of evil is necessary & love being secondary while “Patra” returns to the boom bap telling the story of a homie of hos who ends up getting shot to death. “The Glory” rawly talks being satisfied with life even though he’s not a millionaire while “You’re Gonna Die” strips the drums details another homie that’s moving with no fear of death.

Pushing towards the final moments of Lavish Language, the instrumental on “The Filth” sorta gives me a capacious vibe pointing out the fact that everyone comes from nothing on top of being tired of seeing others strugglin’ or his mind still being wired to hustlin’ that is until “The Chosen” ties up the LP soulfully feelin’ his spirit leaving him fantasizing of owning Benz’ & jet skis seeing one’s future in different directions.

5 years in the making damn-near & what Josiah the Gift presents to us here stands out differently than what he’s done previously, joining Iron Mic & The Glorious Si album as one of the 3 essential standouts in his discography. Bishop cooks some of the most thorough beats of his career, the 2 guests strongly contribute to their verses hold their own weight & Josiah’s performances maintain the laser-focused hunger of both full-lengths I mentioned earlier.

Score: 4/5

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Juicy J – “Ravenite Social Club” review

Memphis, Tennessee rapper, songwriter, producer & record executive Juicy J coming off the Mental Trillness duology to release his 8th solo LP. Rising to stardom in the 90s as the co-founder of the seminal Three 6 Mafia alongside his Tear Da Club Up Thugs cohorts DJ Paul & the late Lord Infamous, he’s also had the most successful solo career out of everyone in the Mafia whether it be the Taylor Gang Entertainment/Columbia Records-backed Stay Trippy & Rubba Band Business: The Album or more recently Crypto Business & Mental Trillness. The latter & it’s sequel noticeably taking on a more serious tone than some of Juicy’s latest material, taking a good chunk of it’s time coping with Gangsta Boo’s untimely passing. Further diverting from the norm, he’s going jazz rap in the Ravenite Social Club.

After the “Provider” intro, the first song “The Higher Ups” further sets the tone of what’s to come hopping over a jazz boom bap instrumental from longtime Griselda affiliate JR Swiftz dissing corporate America whereas “Don’t Go Out” works in some pianos as well as kicks & snares advising not to go out the way Paul Castellano of the Gambino crime family did. “That’s Gangsta” keeps it boom bap explaining how hard it is to be splitting 50/50 with his bitch, but then “Everything All Good” has a warmer trap approach telling us he’s been doing ok.

“Fucked Up Era” hooks up some horns describing what he was living in for the past year & a half or so that resulted in both Mental Trillness albums prior to “Thought It Was” strips the drums completely boasting his luxurious ways of living. “Deserve It” has this orchestral boom bap flare to the beat dedicating it to all the independent shawties ahead of “The Past is the Past” colorfully leaving everything behind him for approximately 116 seconds.

The self-produced “Consequence” mixes these pianos with kicks & snares reminding the listeners of the most valuable lesson a person can learn in their lifetime while “Payment” swaps the keys out in favor of synthesizers admitting The Notorious B.I.G. wasn’t lying when he said “Mo Money, Mo Problems” using his own experiences. “1 in 1,000,000” hops on top of more horns advising what a dangerous lie it is that you don’t have to work just before the soulfully drumless “Suicide Doors” featuring Cordae warns to get a bag before you beef since you’ll need money for war.

“The Bottom Line” continues to chop up the soul samples smoking & drinking 1 for old time’s sake while the 4 minute “To You” pays tribute to Lord Infamous, Koopsta Knicca & Gangsta Boo over Robert Glasper playing piano. “Sometimes” further pushes the closure of the Ravenite Social Club for the night soulfully asking if you needed someone to talk to & no one was there while “Things Changed” promising he’ll be there when his baby falls automatically telling her yes if she ever calls him.

Beginning the deluxe run, the drumlessly jazzy “In Plain Sight” disses the haters for wanting to see him torn down legalizing products to sell at the same price while “Fit the Mode” featuring Project Pat puts a mature spin on trap generally talking about the best thing in the world being a woman by your side. “Could’ve Been Worse” goes boom bap reminding that you only get 1 chance to make it while “Enemy Lines” angrily warns what happens once you cross a specific path.

“Just Listen” jazzily advises everyone who’s still tuning in for them to take care of their business while “Dizzy” drumlessly reflects on spending most of his time denying what the heavens planned & refusing to fake the funk anymore by letting the prophets come true. The final bonus track “Point ‘Em Out” featuring Remy Ma goes trap for a dedication to all the real women & not trying to risk being around the bitches who’re fake.

Both installments of the Mental Trillness duology were greeted to mixed reception although I personally appreciate them for being more introspectively serious than some of Juicy’s past solo material & now that we finally got Ravenite Social Club after 8 months in the making, it could very well be my favorite of his since branching out on his own & he’ll even tell you that himself. It’s a change of pace with its production building upon the sounds of jazz rap, boom bap, drumless & chipmunk soul focusing less on trap taking the overall maturity a step further.

Score: 4.5/5

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Heems – “Veena” review | हीम्स – “वीणा” समीक्षा

This is the 3rd full-length solo LP from Queens, New York emcee Heems. Emerging in 2008 as 1/3 of the alternative hip hop group Das Racist, he put out a couple mixtapes Nehru Jackets & Wild Water Kingdom as well as the full-length debut album Eat Pray Thug following their disbandment in 2012. Hima started up his own Mass Appeal Records imprint Veena Sounds & joining forces with the new label’s in-house producer Lapgan on the critically acclaimed sophomore effort Lafandar, now looking to go back-to-back with Veena.

यह क्वींस, न्यूयॉर्क एम्सी हेम्स का तीसरा पूर्ण-लंबाई वाला एकल एलपी है। 2008 में वैकल्पिक हिप हॉप समूह दास रेसिस्ट के 1/3 सदस्य के रूप में उभरते हुए, उन्होंने 2012 में अपने विघटन के बाद कुछ मिक्सटेप नेहरू जैकेट्स और वाइल्ड वॉटर किंगडम के साथ-साथ फुल-लेंथ डेब्यू एल्बम ईट प्रेयर ठग भी निकाला। हिमा ने अपनी खुद की शुरुआत की मास अपील रिकॉर्ड्स ने वीना साउंड्स को छाप दिया है और समीक्षकों द्वारा प्रशंसित द्वितीय प्रयास लफंदर पर नए लेबल के इन-हाउस निर्माता लैपगन के साथ जुड़ रहे हैं, अब वीणा के साथ बैक-टू-बैक जाने की सोच रहे हैं।

After the titular intro, the first song “Ratatouille” is a colorful boom bap opener talking about feeling more confident than ever whereas “Manto” featuring Vijay Iyer works in more kicks & snares turning the jazz influences all the way up treating this shit like as if it’s his mission. “Bourdain” featuring Mr. Cheeks keeps things in the basement instrumentally talking about staying alert & after the “Underbelly” skit, “Rakhi” featuring Ajji & Pavvan dabbles with drill a bit getting boastful.

टाइटैनिक इंट्रो के बाद, पहला गाना “रैटटौइल” एक रंगीन बूम बैप ओपनर है जो पहले से कहीं अधिक आत्मविश्वास महसूस करने की बात करता है, जबकि विजय अय्यर की विशेषता वाला “मंटो” अधिक किक और स्नेयर में काम करता है, जो जैज़ प्रभावों को पूरी तरह से बदल देता है, जैसे कि इस गंदगी का इलाज करना। अगर यह उसका मिशन है. मिस्टर चीक्स की विशेषता वाला “बोरडेन” बेसमेंट में चीजों को सतर्क रहने के बारे में बात करता रहता है और “अंडरबेली” स्किट के बाद, “राखी” जिसमें अज्जी और पाववन की भूमिका है, थोड़ा घमंडी हो जाता है।

“Flowers” featuring Navz-47 goes for a hypnotically spacious Middle Eastern vibe talking about love & after the “Juhi” interlude, the song “Dame” shoots for a dancier groove flexing that he’s wiser than Master Splinter from the Teenage Mutant Ninja Turtles. And prior to the “Righteous” outro, the final song “Banshee” featuring Cool Calm Pete slickly finds the 2 bossing up.

नेव्ज़-47 की विशेषता वाला “फ्लावर्स” प्यार के बारे में बात करते हुए एक सम्मोहक रूप से विशाल मध्य पूर्वी वाइब के लिए जाता है और “जूही” इंटरल्यूड के बाद, गाना “डेम” एक डांसर ग्रूव के लिए शूट करता है जो दर्शाता है कि वह टीनएज म्यूटेंट निंजा टर्टल के मास्टर स्प्लिंटर से अधिक बुद्धिमान है। और “राइटियस” आउट्रो से पहले, कूल कैलम पीट की विशेषता वाले अंतिम गीत “बंशी” में दोनों को जोर से दिखाया गया है।

Lafandar was such an incredible comeback & Mass Appeal Records debut from the former Das Racist member, but Veena matches if not surpasses the same caliber as he did with the previous album he put out at the beginning of the year. Lapgan splits the production fairly with Sid Vashi so Hima can deliver a tribute to his mother.

लफ़ंदर पूर्व दास रेसिस्ट सदस्य की ओर से एक अविश्वसनीय वापसी और मास अपील रिकॉर्ड्स की पहली फिल्म थी, लेकिन वीना उसी क्षमता से मेल खाती है जैसा कि उसने पिछले एल्बम के साथ किया था जो उसने साल की शुरुआत में पेश किया था। लैपगन ने सिड वाशी के साथ उत्पादन को निष्पक्ष रूप से विभाजित किया ताकि हिमा अपनी मां को श्रद्धांजलि दे सके।

Score: 4.5/5

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X-Raided – “A Sin in Heaven” review

Here we have the 18th full-length studio LP albeit Strange Music sophomore effort from Sacramento, California veteran X-Raided. Exploding onto the scene in 1992 off the strength of his full-length debut Psycho Active, he was shortly after sentenced to 31 years in prison on murder charges, only to be granted parole in the fall of 2018 & continued to build his discography by dropping a little over a dozen more albums whilst incarcerated. The Nefarious Loc surprisingly signed to Strange in 2022 & his previous offering A Prayer in Hell was a true blue return to form, so A Sin in Heaven had me expecting no differently.

“2400” is a trap opener airing out everyone for getting here late & flexing that he got here early whereas the rapid-fire “Sacrilegious” discusses not understanding the dark if you ain’t ever been in the light. “Can’t Hold Us Down” has a gospel trap vibe to the beat looking to ball in the midst of them tryna keep his people broke, but then “California State” featuring Locksmith is a cloudy tribute to the state out in the west coast that raised them.

Meanwhile on “Boy Meets World”, we have X over a much more bouncier beat from Mario Casalini talking about wanting to become a banger as he was growing up just before the groovier “P.T.S.D. (Passing The Story Down)” talks about his story being passed on to his children. “A Favor for a Favor” featuring Nox finds the 2 coming together so they can tell a hustler’s story but after the “Waste Management” interlude, “A Cold Day in Hell” featuring C-Mob & Joey Cool refuses to choose hoes over his bros supposing that’s the way life goes.

“Olly Olly Oxen Free” featuring Bleezo, Tech N9ne & T-Nutty has these nervous undertones throughout stepping on these muhfuckas in a real way acknowledging that only the top MCs be fuckin’ with them while “The Sunken Place” produced by Wyshmaster solemnly lives in a drunken state. “Anymore” strips the drums completely hopping over pianos asking if it’s too late to admit he’s broken & “Pray” hooks the trap vibes back up talking praying when all else fails.

Moving on from there, “Conception (Aneraé’s Song)” produced by Matt Phoenix atmospherically looks to break all generational curses in his family tree while the trap-driven “Invigorated” featuring Ellis Prescott as well as Macntaj & Trizz talks about the feeling of being revitalized. “It’s Up” featuring KXNG CROOKED & Ras Kass sees the trio coming together for a 3 & a half minute west coast barfest while “Juggernaut” goes drill refusing to ever stop now that he’s home.

“Paranoia” featuring Tech N9ne blends a guitar & hi-hats allowing them to demonstrate speedier flows revolving around the theme of being paranoid referencing WWE Hall of Famer Drew Carey & after the “All or Nothing” interlude, the psychedelic rock/trap hybrid “No Conversations” tells everyone to hold their breaths as he balls. “Baby Mama Music” wittingly expresses his gratitude to be free while “Water” featuring Ellis Prescott, Jerome Dillard, Laza & Macntaj takes a delicately melodic approach.

Pushing further towards the end of A Sin in Heaven, the penultimate track “Elevating” featuring Don P is this gospel/trap hybrid finding both of them talking about constantly evolving from an artistic standpoint while MIKE SUMMERS a.k.a. 7 laces the closer “Gladiator” featuring C-Mob & King Iso finding all 3 of them coming together passionately referring to themselves as being trained to fight with weapons against others.

Only the 2nd release from the Strange Music camp this year following Tech’s first Collabos album in a long time C.O.S.M. (Class of Strange Music) after signing a new distribution deal with both RBC Records founder Brian Shafton’s new label Compound Interest Entertainment alongside Virgin Music even last summer & it’s a worthy successor to what has already become X’s strongest body of work in recent memory. He takes things full circle experiencing joys in life now that he has crafted a life he could only have imagined just a few years ago.

Score: 3.5/5

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Rock & Ruste Juxx – “Crownsville” review

Brooklyn, New York emcees Rock & Ruste Juxx teaming up for a brand new collaborative LP. One of whom is a member of the Boot Camp Clik as well as the now defunct subgroups Heltah Skeltah & The Fab 5 alongside the late Sean Price while the other was a protege of Ruck making his debut on Heltah Skeltah’s sophomore effort Magnum Force. They’ve crossed paths with one another countless times in the span of 26 years & to commemorate almost a decade of Sean’s passing, they’re getting together to take us through Crownsville.

The title track is a morbid boom bap opener representing Brownsville & Crown Heights respectively whereas “Black Out” has a soulful flare to the beat proudly wearing the borough that made them on their sleeves. “Vehicular Manslaughter” produced by D-Block Records in-house producer Vinny Idol works in more kicks & snares laying out some of their hardest verses on the album prior to “Crash Ya Whip” aggressively making y’all choose one of the 6,000,000 ways to die.

After the Bernadette Price Speaks skit, “Sean Lives On” serves as a sincere tribute to P with a ghostly boom bap instrumental while “B-83” sorta dabbles with trap feeling like an open hand palm slap so they can flex their status as nuclear bomb threats. “Ruck Down” brings a rap rock vibe to the table thanks to Bumpy Knuckles representing Sean’s independently owned Duck Down Music Inc. subsidiary Ruck Down Records, but then “Change Nothing” featuring Frankie Storm as well as 9th Uno behind the boards finds the trio linking up advising the listener to not switch-up.

“Dust Pan” has a fun back-&-forth chemistry from Rock & Ruste cautioning that your whole team will get swept fucking with them for roughly 135 seconds while “Kings County” pulls inspiration from rock music again instrumentally shouting out the titular Brooklyn county. “Wotcha Call Strength” by the Boot Camp Clik finishes Crownsville by having the collective reuniting for the first time since 2007 for a high-energy 6 minute closer that The Arcitype laced.

Knowing both artists’ individual history with Sean Price, it’s only right that they joined forces for the duration of an entire album & one that would make Sean proud if he was still with us today. Rock & Ruste elevate their chemistry over the course of 33 minutes other than a couple guests backed by the sounds of boom bap, a hint of trap & of course samples of rock & soul music.

Score: 4/5

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Nezzy – “Hall of Infamy” review

This is the sophomore full-length studio LP from Sandusky, Ohio emcee/producer Nezzy. Emerging within the underground in 2022 off his first 2 EPs Subject to Change & Pyramids, he went on to follow this up last year by releasing the debut album Hippie Thug in the spring & subsequently his 3rd EP New World Disorder in the fall. However coming fresh off of opening for Psychopathic Records alumni Anybody Killa & DJ Clay at the co-headlined Welcome Home Party couple weeks ago, Nezzy’s looking to further spread exposure by taking everyone through the Hall of Infamy.

“Admit 1” is a raw boom bap opener talking about being the real deal out here whereas the self-produced “Teeth Markz” keeps it rugged pointing out the fact it’s time to crown the king & everyone obeying the emperor. “Cutter” featuring Jarren Benton & Psyonik sees the trio coming together over a grisly beat to flex their lyrical abilities for 3 minutes just before “Ready, Fire, Aim!” keeps it in the basement instrumentally talking about shooting first & thinking later.

Johnny Slash cooks up one of my favorite beats on the Hall of Infamy for “Muzzle Flash” featuring Vincent, the Owl hopping over a sample mixed with kicks & snares for 109 seconds handling things their way going forward while the triumphant trap cut “Dog Eat Dog” featuring Jimmy da Gunna talking about demons intervening every day & having chips on their shoulders. “Undercurrent” soulfully finds perfection in the worst moments, but then “Salute” strips the drums cautioning he’s only warming up.

“Headless Horseman” featuring Diamond Dezjuan & Phe returns to the boom bap referencing 2-time WWE Hall of Famer, former 5-time WWE world champion, 11-time WWE tag team champion, WWE Intercontinental Champion & TNA World Tag Team Champion Kevin Nash while the crooning “Ayahuasca Retreat” prays that his discography leaves a legacy by the time he’s no longer here in the flesh fueled by passion. “Bongwater” hops over pianos, kicks & snares refusing to settle for any small offers while the cutthroat “Optionz” featuring Pohnny talks making their scales break weighing their options out.

The song “Freethinker” nears the conclusion of the LP advises that he isn’t the one you wanna bet against & playing the role of his own success over another boom bap instrumental while the penultimate track “Malice in Wonderland” has a cloudier trap vibe feeling on the verge of freaking out losing his shit. “The Godfather” closes up shop telling everyone to leave his name out of the discussion if it ain’t centered around the greatest.

Truthfully, I’ve been familiarizing myself with Nezzy ever since it was first announced a couple months ago that he was warming the stage up for the Native World Inc. & Armed Robbery Entertainment founders and his sound can only be summed up as a distinct blend of hardcore vulgar references & deeply introspective conscious rap full of uncompromising rhyme schemes & thought-provoking choice of words. Hall of Infamy though as an album conceptually builds itself around the idea that once you enter, there’s no turning back.

Score: 3.5/5

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Lil Poppa – “Wee Are Who We Are” Review

Lil Poppa is a 24 year old rapper from Jacksonville, Florida emerging in 2019 off his full-length debut Almost Normal followed by the sophomore effort Blessed, I Guess to more mixed responses. Heavy is the Head & Half Man, Half Vamp went on to be received more favorably to the point where Yo Gotti signed him to his Interscope Records imprint Collective Music Group & is making Poppa’s 4th album his official major label debut.

“Reintroduction” is a melodically drumless opener to get us started reintroducing himself to the CMG fanbase whereas “Wee” take a summery trap route instrumentally showing a more carefree side to himself. “Stop Grieving” featuring Baby Drill cloudily talks about the fact that bitches will leave with you nothing in the end just before the guitar-driven “Nowhere Fast” confesses to putting up with her bullshit because he wants her.

Meanwhile on “Bust Fire”, we have Poppa turning the rock trap hybrids up to 11 thanks to Dez Wright acknowledging that things’ll never be the same again & he knows it leading into “Feel the Same When You’re Sober” featuring DeJ Loaf has this pop rap ring to it tackling the themes of romance. “Pin a Tail” hooks up these piano chords throughout flexing that he got bulletproof car doors like Pablo Escobar, but then “Untamed” featuring a reunited Boosie Badazz & Webbie breaks down the untamable personalities all 3 of them possess.

“Quiet Storm” finishes the 1st half of the album on some delicate trap shit putting his trust in these guns while “More Than Enough” talks about feeling the stab wound from being betrayed getting deeper. “No Sympathy” drearily reveals he’s the reason these pussies be laid out on the ground while “IDK What to Say” featuring Blac Youngsta & Spinabenz keeps the trap vibes going promising the streets ain’t safe.

Nearing the end of Wee Are Who We Are, the song “Scared of It” hops over keys & hi-hats talking about showing love to those who might bust his head while “Xoxo” gives hugs & kisses assuring he don’t love these bitches. “3am in Baltimore” featuring YG Teck finds the 2 telling us what goes down in the early hours of the titular Maryland city while the 2-parter “New You < I Hate Poppa Too” breaks down the new him & people who hate him. Lastly, the closer “Letter to Jook” finishes the LP with an open letter to Poppa’s homie.

Poppa as of me writing this happens to be the most recent addition to the CMG roster & his debut under Yo Gotti’s mentorship refines himself artistically compared to his earlier material. The southern trap & pop rap production that the Floridian artist became known for gets refined conceptually building itself around understanding & acceptance.

Score: 3.5/5

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Sabrina Carpenter – “Short n’ Sweet” review

Sabrina Carpenter is a 25 year old singer/songwriter & actress from Quakertown, Pennsylvania notable for being the niece of Nancy Cartwright also known as the voice of Bart on the Fox Corporation’s flagship property’s longest running animated series The Simpsons & starring in the Boy Meets World spinoff Girl Meets World alongside Milo Murphy’s Law on The Walt Disney Company owned Disney Channel. She later signed to Hollywood Records for her first 4 studio LPs Eyes Wide Open, EVOLution, Singular & Singular II until moving over to Island Records for Emails I Can’t Send. She has since become one of the most popular artists in the world & capitalizing off some recent hit singles with her 6th album.

“Taste” was a great pop rock single further pulling from new wave, jangle pop & power pop singing about revenge & betrayal whereas “Please Please Please” featuring Dolly Parton on the remix & produced by Jack Antonoff brings together soft rock, yachty rock, urban cowboy, boogie & synthpop addressing themes of affection, frustration & concern. “Good Graces” fuses dance-pop & trap asserting the importance of setting boundaries in a relationship just before “Coincidence” pays homage to “Big Yellow Taxi” by Joni Mitchell continuing the concept of romantic betrayal.

Elements of contemporary R&B, pop, sophisti-pop, synthpop, boogie & yacht rock seep their way over to “Bed Chem” addressing Barry Keoghan while the smash-hit “Espresso” likens herself to the coffee as her partner can’t sleep when he’s with her fusing nu-disco, dance-pop, boogie & funktronica music. “Dumb & Poetic” reminisces on what her ex lover used to be until ultimately realising he’ll ruin her heart & her life through lies, but then “Slim Pickins” sings about trying to find the right man although unsuccessfully.

“Juno” named after the 2007 film goes over her desire to be pregnant by someone who truly cares about her & her future concept of having a family while “Lie to Girls” sings that men don’t have to deceive women due to the fact that if they like a man, they’ll simply lie to themselves & asking if she knows it better than anyone else. “Don’t Smile” ends Sabrina’s finest work yet mixing bitterness while longing calling back to the intro during the hook while “Needless to Say” starts the deluxe run attacking the lowlifes criticizing her urging them to do something better with their time & lives.

There’s a bit of an AꓭBA influence on “Busy Woman” detailing her willingness to make a change in her everyday-life in order for her new romantic partner to be with her while “15 Minutes” sings about doing a lot on that short amount of time reflecting on how she finds herself at this point in her career with her increasing popularity. “Couldn’t Make It Any Harder” tells an ex that his actions have been making her more detached from him & the final bonus track “Bad Reviews” rounds it out with a commentary on those who don’t like her music & a couple bad gut feelings regarding previous lovers.

Continuing the creative freedom of Emails I Can’t Send, Sabrina’s artistic potential from her debut single “Can’t Blame a Girl for Trying” to Short n’ Sweet is truly a night & day comparison. She explores her love life & her perspectives on dating in the 2020s nearly at the halfway point of the current decade through the sounds of pop, dance-pop, contemporary R&B, pop rock, folk, nu-disco, bubblegum pop, sophisti-pop, synthpop, boogie, yacht rock, funktronica, urban cowboy & trap.

Score: 3.5/5

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