The Kid Laroi – “The First Time” review

The Kid Laroi is a 20 year old rapper & singer/songwriter from Waterloo, New South Wales, Australia who emerged as a protege of the late Juice WRLD. Subsequently, he signed to Grade A Productions & Interscope Records. He eventually introduced himself to a wider audience on his debut mixtape Fuck Love receiving mixed-to-negative reviews & even going on to release not 1 but 2 deluxe EPs off it for whatever reason over the course of the COVID-19 pandemic. But for his debut full-length LP over here, Laroi has since jumped ship to Columbia Records interestingly enough.

“Sorry” is this airy opener produced by FNZ & BoogzDaBeast apologizing for getting stuck while high whereas “Bleed” dabbles with alt-pop & indie pop this time around tackily asking how others’ hearts mend so easily when his is still bleeding. “I Thought That I Needed You” has one of the better instrumentals throughout the LP thanks to both BNYX & F1LTHY of Working on Dying singing about a love that was lost nearly a year ago, but then “Where Do You Sleep?” mixes some synthesizers & even a soul sample with co-production from Dez Wright asking a nameless ex partner where she be staying these days.

Central C & Jung Kook both join Laroi for the contemporary R&B/pop rap hybrid “Too Much” that Emile helped cook up asking if those they’re no longer seeing would wanna kick it with them again leading into “Tear Me Apart” melodramatically apologizing for hurting this woman over some acoustics from John Cunningham. Clams Casino brings a psychedelic vibe to “Nights Like This” after the “Strangers” interlude even though I don’t care for the lyrics about him needing the love of his life with him just before “What’s the Move” featuring BabyDrill & Future brings the trio together over a soulful trap beat telling the significant others to marry them.

After another “Strangers” interlude, “Call Me Instead” featuring YoungBoy Never Broke Again goes into a piano-driven direction addressing lovers whose heart they no longer have full grasp on while “Deserve You” brings more soul samples & hi-hats together singing that this chick doesn’t deserve him whatsoever. “What Went Wrong???” gives off a more hard hitting instrumental reminiscing on a previous relationship that came to an end while “The Line” featuring future teenage murderer d4vd turns into stripped back territory as the duo take a trip down memory lane tackling the themes of past relationships.

“What Just Happened?” switches gears in flavor for an alt/pop-rock cut admitting he doesn’t know if they just crossed the line ‘cause he don’t even know what just happened while “You” is peppier joint with keys, kicks & snares talking about how they weren’t workin’ out ‘til we ended up workin’ out. “Love Again” tediously paints the image of a toxic-love hate relationship although I appreciate the folk pop instrumental while “Where Does Your Spirit Go?” is this average adult contemporary singer/songwriter jam dedicated to his late mentor.

After the “You Never Forget Your First Time…” interlude, the closer “Kids Are Growing Up”actually ends Kid Laroi’s debut album on a profoundly mature note opening up to the world on top of displaying his personal growth & vulnerability over an aquatic beat. He does this by namely addressing the loss of his uncle Wayne, dropping out of school in 9th grade & expresses gratitude to his mother for her resilience during difficult times.

“Baby I’m Back” produced by Rogét Chahayed starts the deluxe run sampling “Baby Come Back” by Player reflecting on the past year whereas “Stick with Me” further butchers “Set Adrift on Memory Bliss” by P.M. Dawn expressing his grievances over an imbalanced relationship. The synth-heavy “Pick Sides” expresses jealousy over his ex-girlfriend’s new boyfriend & questions if she still thinks about their time together while the sequel to “Nights Like This” starts out as much as the predecessor.

Lil Yachty joins Kid Laroi for the pop rap/trap cut “Hatred” opening up about their love lives while “Girls” was a cool pop rap, hip hop soul, hyphy & contemporary R&B single exploring themes of freedom & fun in relationships. “1,000 Miles” acoustically sings about his journey through recent relationships, sharing troubles he has with them & the final bonus track “Heaven” was an underwhelming finish to the deluxe mutating pop & singer/songwriter with adult contemporary & soft rock reminiscing on a journey of change.

14 with a Dream, Fuck Love & even both of the deluxe EPs that followed suit have all done very little to win me over on Kid Laroi’s music up to this point. The First Time however is a slight improvement over those previous bodies of work. Although it’s quite possibly the most well-produced I’ve heard him sound fusing alt-pop as well as folk pop & chipmunk soul into his pop rap stylings, the features are ok & I still find Laroi to be an underwhelming performer.

Score: 2/5

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Sonnyjim – “Ortolan & Armagnac” review

This is the 6th studio LP from Birmingham, West Midlands, England, United Kingdom emcee/producer Sonnyjim. Making his debut in the summer of 2011 with The Psychonaut, he would go on to drop 4 more albums as well as 14 EPs & a mixtape, most notably the No Vi$ible Means of Income duology produced by Giallo Point or the Buckwild-produced Coke Le Roc & the Illinformed-produced The Chemistry Must Be Respected. However, he’s signing to Blah Records & having its founder Lee Scott entirely producing Ortolan & Armagnac.

“Sakuraba” depicts himself as a former 10 pound drug dealer’s been trying to recover over a calmingly eerie beat whereas “Tommy Lee Scott” featuring Crimeapple finds the 2 kickin’ full-fledged facts together. “Lo Mein” featuring Heems & Your Old Droog strips the drums so all 3 of them can drop hardcore verses without the need of a hook leading into “Dude, Where’s My Car?” talking about building a house using his bare hands & fearing nobody.

Reaching the halfway point, we have Sonnyjim telling everyone to “Pay Attention” over a boom bap instrumental with some jazz influences leading into “Herb McGruff” featuring Beni Laylo & King Grubb bringing the trio together so they can talk about the mafioso lifestyle. “Barry McGuigan” goes off-the-top for 84 seconds over a piano-woven beat speaking of his specialization in enterprising while “Fetch My Mink” talks about doing what he wants whenever he pleases.

The title track featuring Lee Scott spends a couple minutes sharing the mic together dropping hardcore verses over a drumless loop explaining that you gotta defeat the man to become the man just before “Phonejacker” sends it all off with this psychedelically syrupy boom bap vibe instrumentally talking about people trying to call or text him for an entire week when his reasoning for not responding was because he shut his line off, eventually having to get a new number.

If you’re a fan of either of Sonnyjim’s previous output that I mentioned in the opening paragraph or the Camoflauge Monk-produced Money Green Leather Sofa & the Leaf Dog-produced How to Tame Lions to name a couple more extended plays from him that I like, you can add Ortolan & Armagnac to the same A/S tier rankings of the Birmingham artist’s discography. I wouldn’t put it above White Girl Wasted either, but an entire full-length with him over Lee Scott production wound up becoming as dope as I would’ve thought.

Score: 4/5

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P.H.D. – “P.H.D. (Poor, Hungry, Determined)” review

P.H.D. was a 41 year old MC from Detroit, Michigan who started as 1/2 of Da Bash Brotherz with local MC/producer Foul Mouth. They would put out a mixtape together in the spring of 2010 & Foul would go on to become one of the city’s most in-demand beatsmith as well as co-founding Middle Finger Music with Pat Deegan. P.H.D. however tragically passed away in the spring of 2020 a couple months after the COVID-19 pandemic lockdowns began. But when it was announced a week ago that Foul would be joining Jimbo Slice & Pig Pen in producing his posthumous solo debut over here, I knew it was gonna be a genuine thing as opposed to how other posthumous albums get handled these days.

“The Check’s in the Mail” kicks things off with an angelic boom bap beat from Pig Pen & the late Motor City emcee tearing up adversaries from beyond the grave whereas “Time 2 Shine” takes the mellower route thanks to Jimbo Slice talking about how far he had come until his passing. “Beware” works in some organs, kicks & snares continuing to body rappers like it ain’t nothing just before the groovy boom bap infused title track explains the significance of P.H.D.’s moniker.

B-Side comes into the picture for the heartfelt “Gold” so both of them can stay determined leading into “Money, Money, Money” featuring his niece Vae Vanilla finds 2 discussing family affairs over an orchestral boom bap instrumental. “Zoo Gang” featuring Guaranteed pulls from jazz rap this time around doing it big, but then “Psychopath Talking” featuring Dagda & Spit the Supreme Being sees the trio getting aggressive over a darker beat.

“I’m OK” featuring Jake Knew hooks up a vocal sample assuring the ones they love that they’ll be home soon & they’re doing well while “4 MCs, 1 Fam” by Da Bash Brotherz featuring Aztek the Barfly & Joey Beeps gives off a hardcore flare talking about being family. The symphonic “Questions” featuring Drunken calls out someone who was plotting against him from the very start & after the interlude, “MASH Unit” featuring Lee Harvey shoots for a cloudier feeling promising to never entertain their foes again.

To start the final leg of the LP, “Gotta Move On” has to be one of the most introspective moments on the album seeking to stay strong in the end while the soulful “One of Them” vulnerably talking about how he never thought the love of his life would replace him with another man. The penultimate track “I Know” advises to never start a war you can’t finish like Viet Cong over a luxurious boom bap instrumental & “If You See Me, Pt. 2” closes out the posthumous effort with a sick Detroit posse cut.

Back Again was such a solid tape from the beginning of the previous decade & it’s unfortunate that P.H.D. passed away during a scary time even though some look back on it weirdly & understandably so. That being said: I was sure there had to be some music he made before his untimely death & this posthumous debut is a good look as to who he was. The production is remarkable & the features are tight, appropriately telling the story of the Poor, Hungry, Determined.

Score: 4/5

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Kevin Abstract – “Blanket” review

Corpus Christi rapper, singer/songwriter, producer & director Kevin Abstract back with his 5th solo LP. Making his debut in 2014 in the form of MTV1987, he followed it up 2 years later with the fantastic American Boyfriend: A Suburban Love Story & rose to stardom as the de facto leader of the now defunct BROCKHAMPTON collective the year after. Both of Kevin’s solo efforts since then ARIZONA baby & The Family were solid although I liked the latter more for it’s chipmunk soul heavy sound. However almost a year after BROCKHAMPTON’s disbandment, it seems like Kevin’s going for a new vibe on Blanket.

“When the Rope Post 2 Break” opens the album with some guitar passages from Romil Hemnani whispering to stay put whereas the title track is a mediocre indie rock cut with elements of noise pop & slacker rock which doesn’t sound bad, just feels extremely underwritten. “Running Out” draws inspiration from emo pop & even post-punk revival to not take time for anyone that this point in his life right now that is until “The Greys” comes through with an upbeat jam about not needing the rest of the party.

Meanwhile, “Voyager” goes into a synth-based direction with a bit of a Kanye influence so Kevin can admit that he feels himself growing older for the first time ever just before “Madonna” mixes bedroom pop with indie folk & indietronica singing about rewriting the past & not looking back on it from hereon out. The indie rock infused “Today I Gave Up” doesn’t really need any further explanation with the subject matter, but then “What Should I Do?” gives off a predominant indie pop flare to it talking about telling ghost stories to friends through fences.

After the “Mr. Edwards” interlude, “Scream” singing over a delicate beat to someone that he can only hear through the whispers of the trees while the catchy “Real 2 Me” apologizes for inviting himself & being spellbound by a friend. The stripped-back “Heights, Spiders & the Dark” checks his muses’ world every night to see if they’re alright making him so confused to keep all of them & “My Friend” is an acoustic closer singing that you’ll never understand the way Kevin feels about this individual.

This dude has so much talent & will easily have the biggest solo career out of everyone in the BROCKHAMPTON camp even though I just enjoyed the new Ameerlyn EP Slime in the Ice Machine from last weekend. However, Blanket is a complete stylistic departure from what we got on The Family. Romil’s production is more centered around indie rock & indie pop with elements of bedroom pop & slacker rock as Kevin has more than enough vocal chops to pull it off.

Score: 4/5

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Jeezy – “I Might Forgive…But I Don’t Forget” review

Double disc 13th full-length LP from Atlanta, Georgia rapper, songwriter, trap pioneer & actor Jeezy. Emerging in the early 2000s off his full-length debut T.U.I. (Thuggin’ Under the Influence) & the sophomore effort Come Shop wit Me, his biggest breakthrough wouldn’t come until 2004 where he began a partnership with Def Jam Recordings that’s going on strong to this very day & dropped the classic Thug Motivation 101: Let’s Get It the following summer. Subsequent discography highlights would include Thug Motivation 102: The Inspiration, The Recession, Thug Motivation 103: Hustler’z Ambition, Seen It All: The Autobiography & even The Recession 2 that came out the day after his Verzuz battle against longtime rival Gucci Mane during the COVID-19 pandemic. He went back to basics with the help of DJ Drama last fall on his 14th mixtape Snofall & a year later, Jeezy’s departing Def Jam after nearly 2 decades to state that I Might Forgive…But I Don’t Forget.

“I Might Forgive” sets off the 2-disc effort with a triumphant trap instrumental addressing those who say the Snoman fell off & that he needs another hit whereas “My Name” hooks up some melodic background vocals & hi-hits talking about not letting anyone throw dirt on his name hence the title. “No Complaining” gives off a ghostly trap vibe thanks to the J.U.S.T.I.C.E. League & TM88 making it clear that he ain’t buggin’ since he came a long way that is until the orchestral-trap “They Don’t Love Me” produced by ATL Jacob admits he feel like the streets don’t love him anymore.

Moving on from there, “Trust No One” says it all hoping over pianos & hi-hats to declare that he ain’t trusting nobody since everyone out here’s getting killed just before “Sad” brings these unexpected bagpipes into the fold talking about the way his competition is going out. “Couldn’t Lose If I Tried” shows plenty of charisma for 3 minutes flexing that he can’t take no L’s, but then the piano-trap driven “Rewrite History” talks about still celebrating of his victories to this day.

“Never Had a Bad Day in My Life” pretty much says it all as it’s simply a W for him to wake up in the morning over a reversed loop & hi-hats from Cubeatz while “This Too Shall Pass” has this chilling vocal sample throughout providing advise to those that don’t wake up without a bag. “Don’t Deserve Me” gives off an ominous trap flare saying he feels like the rap game don’t deserve him prior to the victorious “If I’m Being Honest” once again talking about how it’s a win he isn’t dead or in jail.

The smooth “Don’t Cheat” has to be the most mature song on the first disc declaring that real ones aren’t unfaithful to their significant others & the soulful “Shine on Me” promising that it’ll be ok in the end. “Keep the Change” ends the first disc of I Might Forgive…But I Don’t Forget on spacious note calling out someone he always thought the best of & how much of a real shame it is. To start the 2nd disc or the But I Don’t Forget half of the album with J.U.S.T.I.C.E. League production top to bottom, “Delusional” is a jazzy start asking why they let the submarine implode.

“Nothin’ to Prove” blends in these horns & hi-hats asking what’s the matter since he ain’t letting them have it their way while the epic trap banger “Titanic” advises that this type of shit isn’t for the weak. “Everything About Me is True” asks what if he told y’all exactly that over a shimmery trap beat while “Expectations” gives of a mystical atmosphere declaring the first mistake is actin’ like you really enemies with him kinda sounding as if he was almost trying to do a 2Pac impression when he said that.

The sample throughout “Claim to Fame” is absolutely stunning explaining that winning, losing & bouncing back is all part of the game while the groovy “What I Gotta Do” talks about how this is a real song as opposed to a chill song oxymoronically. “My Intentions” is more of a slow jam dissing those who be throwing shit his name all day & the spacious trap cut “Never Be a Fan” cutting off those who he ain’t vibing is or even going as far as to telling them the truth if they really don’t know what love is.

“Sade” shows a more sensual side to Jeezy talking about bumping the smooth soul icon & sampling her own music appropriately on top of that, but the cloud rap/trap hybrid “Don’t Let Up” talks about being fucked over as a youth & that it left him with too much trauma. “Since Pac Died” glamorously confesses he hasn’t shed a year since the day 2Pac passed while “Free Champagne” mixes these pianos, guitars & hi-hats declaring a toast to tomorrow. “No Choice” ends the 2-disc full-length by warmly telling y’all to go get it.

I personally like to refer to Jeezy, Gucci Mane & T.I. as the Big 3 trap pioneers & I already went into I Might Forgive…But I Don’t Forget expecting it to be a step above Gucci’s latest double album Breath of Fresh Air from a few weeks ago especially considering that the J.U.S.T.I.C.E. League fully produced disc 2. Sure enough, that’s exactly what we got. The first half of it is cool, but man that 2nd disc joins The Recession 2 & Snofall amongst the best material Jeezy has done this decade. Now let’s see how T.I.’s upcoming double album & supposedly his last Kill the King does.

Score: 3.5/5

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Majid Jordan – “Good People” review

Majid Jordan is an alternative R&B duo from Toronto, Ontario, Canada consisting of singer Majid Al Maskati & producer Jordan Ullman. Forming in 2011, it wasn’t until a couple years later when 40 signed them to OVO Sound & was featured on their mentor Drake’s hit single “Hold On, We’re Going Home”. Their 2nd EP A Place Like This stands to date as the best project in their catalog, as none of their 3 full-length LPs have been able to reach that caliber generally receiving moderate feedback. However, my curiosity got the best of me & I had to give Good People a shot.

“Tears in Your Eyes” is a smooth soul opener expressing how much he deeply needs this woman in his life whereas “Waiting for You” featuring OVO’s newest recording artist Naomi Sharon mixes alternative R&B with sophisti-pop & some smooth soul undertones as she & Majid both sing about hanging on to love. “Eyes Closed” is really the only song on here I don’t like sounding like Majid’s impersonating Michael Jackson over another smooth soul instrumental just before “Hands Tied” dabbles with new wave & synthpop a bit having an epiphany now that he & his significant other have found each other.

Meanwhile, “Slip” takes a more spacious route to the beat from Jordan as Majid comes clean with this woman to not leave him in doubt leading into the 7-minute “Violet” singing over atmospheric production about growing when their hearts are open. “The Message” goes for a stripped-back approach telling her that all he can offer her belongs to her while the breezy guitar ballad “Cyanide” confesses to this woman that he takes his shy away. The fittingly peaceful closer “Sunset” reminds that being here today & gone tomorrow truly with him it is a tough pill to swallow.

It’s seriously already been a decade since these guys made themselves at home with OVO & as someone who’s been listening to them since that Drizzy single they were featured on, this is the most I’ve enjoyed a whole album from them thus far & it’s the best thing they’ve done since A Place Like This. Jordan Ullman expands beyond the duo’s alternative R&B sound in favor of smooth soul, sophisti-pop, neo soul, new wave & synthpop as Majid Al Maskati assures everyone that solid individuals will be there for you whenever you find it.

Score: 3.5/5

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Majik Ninja Entertainment – “Songs of Samhain 4: The Liminal Space” review

Majik Ninja Entertainment is an underground hip hop label from Detroit, Michigan founded by Twiztid & their manager George Vlahakis in 2014 after departing from Psychopathic Records only 2 years before. However, they quickly built an empire or their own from bringing a few other PSY alumni along for the ride to help introduce G-Mo Skee & Alla Xul Elu to a much wider audience. The label’s first comp showing off their roster Year of the Swordhas to be my personal favorite of the 4 thus far with all respect to Songs of Samhain as well as the Attack of the Ninjas compilation & Songs of Samhain 2: Haunted Record Player. But as that time of the year comes around again, MNE’s following up on Songs of Samhain 3: Cult of Night by taking a trip through The Liminal Space.

After the “Liminal Space” intro, the first song “I’m the Night” by Twiztid is a rap rock opener produced by Fritz the Cat making the comparisons of Jamie Madrox & Monoxide to darkness whereas “All My Friends Are Dead” by Blaze Ya Dead Homie jumps over some pianos & hi-hats from Grady Finch talking about his homies no longer being here with him. “Deluded Dead” by Jamie gives off an industrial rock vibe musically discussing the mislead deceased, but then the self-produced “6 Feet Deep” by the artist formerly known as Young Wicked himself James Garcia of the Axe Murder Boyz ominously looks to bury motherfuckers.

“Highest High & Lowest Low” by Bonez Dubb, Boondox & Insane E finds the trio over a dark trap beat explaining that things have changed as they look to plateau leading into “Last House on Dead Street” is the prelude to an album that Blaze has been working on for the past 15 years when he was still on Psychopathic from the morbid instrumental to the gruesome performances. “If I Return” by Jamie & Zodiac MPrint heinously declares what would happen if they eventually make a return accompanied by a grueling beat just before “Merciful Fate” by the Eastside Ninjas goes for a ghoulish atmosphere talking about voices invading their minds.

The song “Strangehold” by Alla Xul Elu & the House of Krazees puts the 2 generational horrorcore trios together for the first time ever cavernously spitting the wicked shit beautifully while the chaotic penultimate track “Collide” by Triple Threat talking about everything inside being a mess. “Wounded & Suffering” by Grady Finch & WackGxd ends the compilation with a decent ballad rooted in Oh! The Horror’s signature sound.

Cult of Night showed some considerable improvement over Haunted Record Player & the original Songs of Samhain so with Fright Fest coming up in a few days, the journey through The Liminal Space is once that juggalos will enjoy for future Halloween seasons. The performances are a tad more consistent as everyone displays their own artistic characteristics in their respective fashions.

Score: 3.5/5

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Verb T – “The Tower Where the Phantom Lives” review

Verb T is a 42 year old MC from London, England, United Kingdom starting out by signing to Low Life Records & briefly YNR Prorictions prior to becoming a part of The 4 Owls. However, he’s also been carving a path of his own since 2006 putting out a dozen LPs & 5 EPs throughout that span of time. But when I found out that Vic Grimes was being brought in to produce T’s lucky 13th full-length album under High Focus Records, it significantly raised my expectations to the point where The Tower Where the Phantom Lives could become my favorite solo effort of his.

“The Phantom Appeared” starts the LP fittingly by introducing us to the titular Phantom character over a dusty boom bap instrumental whereas “Tower With a View” ruggedly talks about the residential tower that this ghost resides in. “Inner Child” works in a dirty bass-line as well as kicks & snares detailing that you can’t believe in something that you pretend to be, but then “Very Superstitious” talks about this mythical feeling that T’s getting keeping it in boom bap turf.

On the other hand, “Fireworks & Flowers” hooks up these kicks & snares with vibraphones explaining the way he started & will end his career while “Forget Feelings” remains raw talking about walking with purpose. “I Guess?” is a piano/boom bap hybrid reminding everyone that you can’t make moves when you’re hands are tied while “The Invisible Fortress” describes the titular compound that happens to be unseen.

“New View” gives off a cloudy, boom bap edge to the beat visualizing a future that more secure continuing with a new story in his life while “4 Oh!” admitting that 4 decades of his life are on the horizon as he’s not ready over vibraphones, kicks & snares. “Your Heart Deserves” as a closer ties it all up by performing from a profound perspective.

As someone who’s been following this guy since my senior year of high school 8-9 years ago, The Tower Where the Phantom Lives certainly lived up to my expectations because I can firmly say that it’s the best that Verb T has sounded by himself. The conceptually has cohesively well-told & Vic Grimes couldn’t have been a better person to do the musical backings helping bring T’s story to life.

Score: 4/5

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King Iso – “iLLdren” review

This is the 6th full-length album from Nebraska emcee/producer King Iso. Coming up as a protege of San Diego chopper Twisted Insane, he would only drop first 2 albums & The Insanity Plea & Autophobia under Brainsick Muzik. Shortly after, they fell out & it prompted Iso to put out his next album DeMenTia independently in 2018. However, I was thrilled to see him sign with Strange Music the following spring & his debut on the Kansas City powerhouse World War Me has quickly become one of the label’s best albums ever. Get Well Soon & 8 P.M. Med Call both went on to be well received too, so it makes since to have Iso cap off Strange’s 2023 run by putting out iLLdren during the final weekend of the month.

After the “Welcome to iLLdren” intro, the first song “Feel” featuring Tech N9ne co-produced by Matt Phoenix works in some twangy guitar passages & hi-hats talking about how he wasn’t even a teen yet until he started puffing on that green whereas the title track talking about forming a society of outcasts over a dreary trap instrumental. “Stoned” blends a cinematic loop & hi-hats explaining that his father was never there for him, but then “CPS” featuring X-Raided gives off an eerie trap vibe talking about how murder was all they saw growing up.

“Voices” featuring Redro reflects the first time he could start hearing voices in his head over some hellish guitars & hi-hats just before “Midwest Baby” featuring Snake Lucci is an acoustic trap ballad ending the Baby Blues talking about growing up in their hometown of Omaha. “T.F.O.G. (Town Full Of Ghosts)” starts the Teen Trauma section of the album morbidly reps his set while the haunting trap hybrid “Young” talks about feeling like Pac.

Meanwhile, the suspenseful piano chords mixed with the hi-hats on “Teen Suicide” detailing the leading cause of death today leading into the grunge rap “Nightmare” praying that he’ll wake up from the suffering one day. “Holes” featuring Taebo tha Truth finds the 2 taking it back & keeping it current at the same time over a rowdy trap beat while “Run Away” gives off a smoother vibe talking about running from his problems.

“P.T.P.A. (Party The Pain Away)” featuring Tinywiings goes into trillwave vibe for a fun club banger & Iso showing off plenty of charisma. Especially the “Face Off” reference during the first verse as much I still don’t like The Rock’s verse on there respectfully. “Love Me” ends the 2nd leg of the LP with a pillowy trap vibe telling y’all to prove it that you love him prior to the Adult Adversaries starting off to a heartfelt tribute to “My Kids”.

Being born with Asperger’s syndrome myself, hearing songs like “Way You Are” is absolutely inspiring hearing King Iso paying tribute to one of his children that’s on the spectrum while the piano-trap “Step Daddy” pays homage to 2 individuals that he loves so much. “Attack of the Clones” featuring C-Mob has these killer synth-organs on top of hi-hats calling out biters & “Dear Mama” ends the album with a warm tribute to his mother that he reconciled with earlier this year.

Since 2019, there is no question in my mind that this dude has become the best artist on Strange Music other than Tech himself for the way he addresses topics that aren’t covered too often in hip hop today like mental health. But in comparison to Get Well Soon, iLLdren is easily Iso’s most introspective work to date. He takes us through chapters of his entire lifetime & beyond with some eclectic trap production & tight features near-flawlessly.

Score: 4.5/5

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Domo Genesis – “What You Don’t Get?!” review

This is the 3rd full-length LP from Inglewood emcee & songwriter Domo Genesis. Starting in mid-2009 as a member of the now defunct Odd Future collective, he’s gone on to give us 2 studio albums accompanied by 4 mixtapes & 4 EPs within the last dozen years, my personal favorites of which being his debut mixtape Rolling Papers, The Alchemist-produced 3rd mixtape No Idols, the Evidence-produced debut EP Aren’t U Glad You’re U? & even Doms’ last full-length Intros, Outros & Interludes. That being said, hearing Graymatter being brought in behind the boards throughout the duration of What You Don’t Get?! undoubtedly had me interested.

“Adonis” is a drumless flute-tinged opener addressing those who wonder if Domo still got it with the pen whereas “Plank Walk” taking the smoother route instrumentally simply looking to get a gage on it. “Stankwater” gives off a nocturnal flare to the beat explaining there ain’t no other option but to get it done where he’s from leading into the calming title track explaining that everything’s what it seems.

Moving on from there, the bluesy “Details” explains that he’s seen enough not to believe bullshit since he doesn’t listen to a lot of what he hears personally just before “Rick Fox” featuring 3WaySlim finds the 2 over a jazzy beat asking if they ready or not. “This 2 Shall Pass” featuring Remy Banks soulfully keeps the money on the body & the music, but then “I See U Doing U” featuring Fly Anakin chops up another soul sample talking about being out here doing your thug thizzle.

“Gifted Creatures” continues the 2nd leg of the album admitting that he has some stories that he’ll eventually take to his grave in the future while “Halfprice” gives off a kick-back feeling to the beat explaining he always keeps his enemies close only to be certain. The heavenly aural Bend” explaining that y’all must be crazy to him while the 2-part “2 Be Continued / Taking My Time” declaring to be majestic when you see it.

Pushing near the end of the LP, the penultimate track “PrettyUgly” soothingly talks about doing things that he resents even though they could never knock him off his pivot & “Until U Understand” closes out What You Don’t Get!? on a heartfelt note explaining exactly how he finds this shit to be a luxury.

Intros, Outros & Interludes still has to be my favorite LP that Doms has put out yet. That being said: I feel like anyone who enjoyed that previous album as much as I did will also come away from What You Don’t Get?! liking it too. Graymatter continuing to prove himself as a force to be reckoned with in the underground by cooking up tight production & Domo kicking it over them.

Score: 4/5

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