Kofi Stone – “A Man After God’s Own Heart” review

Here we have the sophomore effort from Birmingham, West Midlands, England, United Kingdom emcee Kofi Stone. Coming up battle rapping in the schoolyards as an adolescent, he would eventually put out his debut single “Stories in Pyjamas” in the summer of 2017 looking back at the lives of individuals close to him & his challenges growing up in an inner-city community. His official full-length studio debut Nobody Cares ‘Till Everybody Does came out a couple years later months prior to the 2020 COVID-19 pandemic & has returned after 5 long years to drop A Man After God’s Own Heart.

The title track subtitled “Life Won’t Kill Me” produced by former Low Life Records in-house producer Harry Love kicks things off with a rich boom bap instrumental refusing to let the hardships of existing weigh him down whereas “May Sound Crazy” featuring the late Benjamin Zephaniah talks about raising consciousness from 1 generation to the next. “Black Joy” leans towards a chipmunk soul vibe delivering a celebration of African Americans across the entire globe leading into “Lavender” talking about his belief in love.

Joe Corfield brings in these jazzy piano chords during “These Years Are Golden” encouraging everyone listening to simply be themselves just before “Made for This” talks about holding onto the affection he has for a woman he met in Paris in 2021. “Closer” hits the midway point of the album treading the soulful boom bap waters carrying over the romantic subject matter while “Colours in My Mind” replaces the soul with more keys thanks to Talos expressing his gratitude for still being alive.

“King David Flow” likens his cadence to the biblical monarch of the same name cautioning that anyone going against him will automatically lose once Kofi steps inside the ring over 1 last Harry Love beat & after the soothing “You Deserve Love” runs it back with Joe Corfield talking about giving this individual everything he feels like they’re lacking, “You’ll Be Okay” assures anyone who’s going through something that everything will be fine in the end.

The song “I Owe It All” winds down A Man After God’s Own Heart’s final moments talking about owing every single good thing that’s ever happened to him to God while “A Mother’s Love” pens a heartfelt love letter to Kofi’s mom. “People” finishes up taking the orchestral boom bap route instrumentally courtesy of Pitch 92 talking about the population making the world go round, suggesting they keep things peaceful going forward rather than turning evil.

Kofi Stone’s guest appearances on Truemendous’ debut The Misdiagnosis of Chyvonne Johnson as well as Eva Lazarus & Pitch 92’s respective sophomore efforts Brandy Kisses & Intervals had me hoping for him to come back & A Man After God’s Own Heart feels like it hasn’t even been 5 years. The production puts more emphasis on the jazzier, lo-fi elements of it’s predecessor compellingly confronting topics ranging from love to religion & politics.

Score: 4/5

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ClockworC – “Have a Vice Life” review

ClockworC is a 34 year old MC & producer from Gilroy, California who caught my attention is 1/2 of Gorilla Voltage formerly The Damn Dirty Apes with Mr. Grey putting out their last 2 full-lengths Ape-X and more specifically Gods & Claws through Majik Ninja Entertainment until going on a hiatus that surprisingly ended last weekend. Clock has since formed the MC/producer duo Them Chains with Tomás Carrillo dropping a handful of singles as a unit & is now releasing a full-length solo debut studio album that he mostly produced by himself other than 2 tracks.

The self-produced title track kicks things off perfectly with a settle beat telling us that you can have a vice life just like him especially after everything he’s been through whereas “Critical” takes the soulful trap route instrumentally wanting y’all to let him know when to go since he been too far gone. “Boomstick” marks a turn into boom bap territory to talk about living lawlessly while “‘Til the Sky Turns Black” promises to live every day like it’s the last pretty much.

Moving forward from there, “Get Lost” gives off a bit of a rap rock vibe to the beat making it clear he doesn’t want to be found if he winds up lost just before the catchy “Down” admits to feeling like dancing on landmines pleading not to stand by. Them Chains reunite for a brief moment with the dreary trap banger “Keanu” talking about wanting everyone on the pronto leading into “The Menu” returns to the boom bap so he can tell everyone who isn’t going up so long.

“Can’t Lose” featuring 4toda5to is this decently slick rap rock cut with both of them refusing to stop while “Pain” featuring C-Mob offers the best guest verse of the 2 on the LP as they passionately want to let everyone listening feel the pain that they’ve experienced. “Hilarious” ends Have a Vice Life by reassuring everyone that he’ll be laughing until they bury him since there’s no need to cry whatsoever going forward.

As someone who’s been following him since the GV days during the Christmas of 2016 where it was announced that they had signed to MNE, hearing that Clock mostly produced this all by myself increased my anticipation for it & it’s some of the most personal music of his entire career. It’s a good mix of boom bap & trap, reserving a few guests to join him in at showing a vulnerable side to him.

Score: 4/5

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Powers Pleasant – “Life Sucks” review

This is the official full length debut studio album from Brooklyn, New York producer & DJ Powers Pleasant. A member of the Pro Era & Beast Coast collectives, he’s had a hand in the instrumentals on some of the latter’s output from The Underachievers’ 3rd mixtape It Happened in Flatbush in 2016 to Joey Bada$$’ politically charged sophomore album ALL-AMERIKKKAN BADA$$ in 2017. Powers even came out with his own EP Life is Beautiful & has signed to Mass Appeal Records for the sequel Life Sucks.

“Entro” by Denzel Curry is this cutthroat boom bap opener flexing that he’s the King of the Hill & this Mike Judge his rap skill whereas “Rumble” by Joey Bada$$ works in some horns & hi-hats so he can get violent. “Galore” by DC the Don has some of the weaker performances on the album despite it’s cloudy trap instrumental talking about being allergic to catching feelings, but then “Shmoke” by A$AP Ferg & Armani Caesar finds the pair over a soul sample & hi-hats warning y’all don’t want beef with them.

Denzel Curry, Meechy Darko & Soulja Livin Tru get together for the atmospheric trap joint “Bandoe” flexing that all 3 of them are still boomin’ out the back door just before Joey Bada$$ & SABA team up on the laidback “Ball Alone” talking about not needing any help. “Know Me Now” by DC the Don acoustically sings that he wants to love with no control leading into “That’s Tough” by $not mixing trap & rock discussing doing shit himself tryna find his way.

“Pamper Pamper” by Mike Dimes brings a soulful trap flare to the table pulling out with his homies while “Baby Boy’s Drunk” by AG Club & Audrey Nuna comes through with this annoying attempt at a club banger. “I’m the Shit” by Guapdad 4000 & P-Lo hops over pianos & hi-hats to get boastful while “Wassup” by Jasiah & Tkay Maidza sees the 2 asking what the deal is. “SMH” by Aaron Rose, CJ Fly, Joey Bada$$ & Nyck Caution ends the album repping Pro Era.

The predecessor from 5 years ago Life’s Beautiful was a decent look at what Powers Pleasant’s solo discography could look like going forward & regardless if I didn’t enjoy Life Sucks more than the last EP, I can’t say it’s any worse either if that makes any sense. Powers’ production start to finish is absolutely fine primarily basing itself around a trap sound, the performances during the 36 minute runtime on the contrary tend to be hit or miss.

Score: 3/5

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Ouija Macc – “Psycho Babbel” review

This is the 5th studio LP from Las Vegas emcee Ouija Macc. Breaking out in the fall of 2017 after the Insane Clown Posse signed him to Psychopathic Records shortly after putting out his debut EP Trashfire independently, Ouija has since proven himself as the hatchet’s biggest solo act dropping his last 3 full-lengths, 2 greatest hits compilations, 8 mixtapes & 5 EPs all in the span of nearly 7 years. He even started his own label Chapter 17 Records & made the big homie HEXXX the first signee to putting out his first 2 classic west coast wicked shit albums Demon Season & Tales of a Cursed G before amicably fulfilling all contractual obligations with the Psychopathic subsidiary last fall. Darby O’Trill is now the only C17 artist other than Ouija, teaming up with each other back in April for the excellent collab effort Anemoia & is coming off the darccest material of his career Darcc Planet to release Psycho Babbel coinciding the announcement of Psychopathic Records’ upcoming Train of Terror Tour with a livestreamed JCW Lunacy show.

“Maxwell House” ponders if the signal goes beyond what we know over a cold trap instrumental from none other than Devereaux saying this ain’t for the bustas whereas “Clown Curse” takes more of a hypnotically bassy trap route to the beat talking about having the curse of the wicced clown. “Kicc da Wiccit” throws it back to the days of Dr. Dre’s debut album The Chronic with it’s g-funk sound kiccin’ da wiccit shit as appropriately titled, but then “Absent Minded” offers a morbid trap flare haunting the beat like a fuckin’ ghost wanting to know where his mind went.

On the single “Fire Buggalo” released earlier this week with footage of Ouija’s performance at this year’s Gathering of the Juggalos, we have Ouija himself talking about burning shit down over a grisly backdrop with hi-hats courtesy of both Brian Kuma & Devereaux just before “‘86 from da Mall” eerily paying homage to the Memphis scene declaring himself as the new Esham, giving his flowers to his 3-Headed Monster counterpart along with Violent J. “Delusions” uncannily discusses the results of such to pure psychosis prior to the unsettling “A New Rune Cometh” cautioning to listen to the morals being told.

“Hell Raiser” featuring Darby O’Trill gives off a trap metal vibe boasting that the bands you’re flexing on Instagram isn’t even a lot pleading to do everyone a favor by fixing your face with a straight razor leading into “The Great Fall” gets in his storytelling bag explaining to us all how the floor started to crack in the midst of him chillin’ on his couch. “Ain’t It Mane” cloudily throws up his set showing disregard as to what they say while “Another Summer” talks about spending the titular season in Hell’s Pit of The Wraith.

Starting the final leg, “Hatchet on my Dresser” once again gives C17’s respect to the Memphis hip hop scene representing Psychopathic as always while the trippy “Let’s Just Ride” assures that everything’s ok. “B.I.D.N.G.A.F. (Bitch I Do Not Give A Fucc)” aggressively reassures that he gives 0 while “Pazuzu” named after Professor Farnsworth’s gargoyle in Futurama blends sampling & hi-hats causin’ a ruckus. “Summoning da Mane” ends on a darkly charming note talking about people knowing his name.

Only been a little over a couple months since Darcc Planet quickly became my favorite Ouija Macc album behind Stalewind, he maintains the consistent grind that he’s always had balancing quantity & quality except that I’ve been well-documenting his artistic evolution in the last 5 years since Resistance: The Walk to Wasteland & his evolution continues to reveal itself. You still get the Insane Clown twist on the SoundCloud trap aesthetics mixed with the recent trap metal sounds & even giving g-funk a shot for the new wave of juggalos that he forefronts.

Score: 4.5/5

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Consequence – “Nice Doing Business with You” review

Consequence is a 47 year old MC & songwriter from Queens, New York notable for being the cousin of Q-Tip as well as appearing on nearly half of A Tribe Called Quest’s 4th album Beats, Rhymes & Life. He later went on to release a total of 8 mixtapes before one of my top 10 producers of all-time Ye formerly known as Kanye West signed him to a joint deal with G.O.O.D. Music & Columbia Records for the well-received debut album Don’t Quit Your Day Job! in the spring of 2007, going on to drop 5 more tapes & an EP since then. An official sophomore effort following up Don’t Quit Your Day Job! has been teased since the summer of 2022 & now we’re finally getting it after almost 2 & a half years.

The self-produced “Can’t Give Up” happens to be a genuinely impressive opener classily refusing to give up & continuing to push forward whereas “No Apologies” featuring Ye works in a boom bap instrumental so they can talk about how they ended up making millions. “Blood Stain” delves into the chipmunk soul that Ye helped pioneer with co-production from YZY SND Head of Music 88-Keys flexing superstardom in the hood while “The Chase 3” featuring Caiden the Crown picks up where Cons’ b-sides with ATCQ left off although I prefer both it’s predecessors.

Former G.O.O.D. Music in-house producer Keezo Kane reunites with Ray Tip on “Love You So” embracing the chipmunk soul vibes once again telling his partner why he loves her as much as he does just before the synth-driven “Overdose” talks about us going too far & the YNW Melly feature feels absolutely pointless. “Free the Guys” speeds up the soul samples again wanting more change while “I’ll Be Loving You” sensually gets back on the romantic tip.

“Relationship Advice” featuring a spoken word interlude from Chris Rock pushes towards the end of Nice Doing Business with You by jazzily asking why he doesn’t free & “Spaghetti” featuring Ye’s cousin as well as fellow early G.O.O.D. Music alumni Tony Williams of the Sunday Service Choir finishes the album maintaining the jazz rap influences from the previous cut pleading to the higher power to take him higher.

I’ve always respected Cons for his history with Tribe & G.O.O.D. Music even if I think he kisses Ye’s ass more than anyone. That said: i’d be lying if I said that this is better than the 2016 EP & debatably the most I’ve enjoyed something from him in 17 years. The production compared to his subsequent mixtapes & EP combined see high quality improvements, a vast majority of the guests manage to stick the landing performance-wise & Consequence himself sounds a lot more focused.

Score: 3.5/5

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TR Dee – “Evolution” review

This is the 3rd full-length studio LP from Detroit rapper TR Dee. Notable for being 1/3 of the ShittyBoyz alongside Babytron & Stanwill signing to Lando Bando’s own The Hip Hop Lab Records, he also began carving a path for himself as a solo artist off his first couple mixtapes Trapped in My Bag & Made for This ahead of his debut album M.I.P. (Most Improved Player). He has since given us 5 more tapes in Trapped in My Bag 2, Crunch Time, Ice Trae, Trapped in My Bag 3 & Early Mornings, Late Nights followed by the sophomore effort The Greatest until it was time for the next Evolution.

“2 Steps” hooks up a soothing sample & rattling hi-hats to get things going talking about his future looking tropical since nobody else been able to fuck with the Dog $hit Militia while “Rain on Me” cavernously discusses being in the midst of a storm. “Stars” samples “The Body” by Wale owing the fact that he doesn’t flex a lot to remaining humble just before the calm “Summer Fling” talks about some things never changing.

The sampling continues on “Passport” encouraging listeners to grab their travel documents since they heading out of the country whereas the title track flips “Girls Just Wanna Have Fun” by Cyndi Lauper thanks to Danny G talking about his growth in the last 5 years that he’s been in the game. “2050” has a dancier flare to the beat telling us he’s living a little over a quarter of a century in the future leading into synth-driven “Goated” talking about being one of the best.

“Love No Thotti3s” makes it abundantly clear over a lightheartedly carefree Detroit trap instrumental that he has absolutely no love for thots at all, but then “Favorite Pastor” officially closes out the first half of TR Dee’s Evolution hoping that he gets his flowers by the time he’s ready to hang up the mic for good & call it a career chopping up soul samples. “Role Modelz” sets out to grind for a couple millions putting his family on & giving back to the youth while the tense “Crashout Music” serves as the theme song for people to legit crash out to.

Meanwhile on “TR Dee Type Beat” produced by Jakesand, we have TR himself boasting that he’s hotter than an oven ridin’ around with 4 sticks taking the Detroit trap sound & giving it a lavish edge prior to “Top Dawg” featuring Stanwill demonstrating a back-&-forth chemistry between the 2 for only 110 seconds. “Double Double” grimly talks about knowing the opps were coming when they were out of plain sight & “Triple Double” laces these prominent bells making an expensive puddle.

“Kill the Game” boasts that he puts up shooting with the left that you’d think it was really Tayshaun Prince while “What the Fuck is This?” addresses everybody being haters nowadays. “50 Ball” featuring M.I.N.E. Entertainment signee 3200 Tre finds the pair coming clean regarding how much the ice costed & “Grand Finale” ends the LP on a charismatic note talking about real ones coming last when it’s all said & done.

Merely 4 months since 4ever $hittin’ quickly became the most exciting that Stanwill has sounded all by himself since Van Gundy & approximately 6 weeks out from Babytron making up for Tronicles’ continuous delays, the Evolution of TR Dee isn’t too hard for me or anyone else who’s been following him this long enough to hear. After half a decade, he’s showing off his earned stripes demonstrating his growth both artistically & personally.

Score: 4/5

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Leon Thomas III – “Mutt” review

Leon Thomas III is a 31 year old singer/songwriter, producer & actor from New York City notable for getting his start as the singing voice of Tyrone on The Backyardigans as well as Andre Harris on Victorious for the Paramount Skydance Corporation owned Nickelodeon. He later started making music of his own by releasing 3 mixtapes & an EP until Ty$ signed him to his Motown Records imprint EZMNY Records, dropping his full-length debut album Electric Dusk to critical acclaim. 13 months later, he’s staying busy with a sophomore effort.

“How Fast” grandly starts off by passionately singing that he’s always been a visionary whereas “Safe Place” works in some sampling acknowledging his lover wants to settle in with him for a while even though he gets to the point that it’s not a place of safety whatsoever & that he would let her if it in fact was. “Dancing with Demons” sings about going all night in search of a feeling over this nocturnally dreary instrumental just before “Vibes Don’t Lie” featuring Big Sean on the remix groovily points out the the mouth lies more than the vibes do.

Masego joins Leon for the laidback duet “Lucid Dreams” talking about how they never officially broke up with their exes & that they’re really just taking a break from each other, but then “Feelings on Silent” featuring Wale produced by Conductor Williams is easily my favorite track here from the drumless beat to the lyrics shrugging off anything being said of them negatively. “Answer Your Phone” pushes the 2nd half of Mutt further with this crushing piano ballad pleading for this woman to pick up his calls since he really needs to speak to her while “Yes It Is” featuring Marsha Ambrosius & Muni Long on the remix talks having sensitive ears over a psychedelic soul instrumental from Lil Rod.

“Far Fetched” featuring Ty$ finds the mentor/protégé duo together for a heartbreak jam warning that it’ll be a large check of their relationships are through & after the “Sooner or Later” interlude, the title track featuring both Chris Brown & Freddie Gibbs on the remix is this R&B/boom bap hybrid asking what the rush is. “I Do” dabbles with a gospel sound praising God for taking his time with the woman of his dreams & I Used To” featuring Baby Rose soulfully finishes the LP reflecting when they were in love.

Starting the deluxe run, “Heel” crosses over boom bap & drumless asking what the deal is with his partner wanting him to move on from wounds he hasn’t healed from yet while “Party Favors” featuring Big Sean talks about doing too much for others at parties. “Not Fair” spaciously sings that he’d rather be wrong than wait long these days while “Prize” lusciously tells the woman of his life that she’s the award he wants to win.

“Rather Be Alone” featuring Halle was a fine contemporary R&B, neo-soul, alternative R&B & psychedelic soul single speaking of their preference of being by themselves instead of getting caught in a broken home while “Dirt on My Shoes” featuring Kehlani unites for a back-&-forth duet about them making each other walk around still. The final bonus track “Catch a Stray” wraps it all up singing that the girl he’s with currently is his true addiction.

Thomas showcases his vocal prowess & lyrical talent alike during the course of Mutt’s runtime, telling stories of love lost & betrayal staggering his way through empty relationships as he looks for his soulmate. It really marks the next stage of his career since he truly comes into his own by shooting himself even further into one of the greats of the R&B genre’s modern era & further cementing his status as the best EZMNY signing.

Score: 4/5

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Kutt Calhoun – “T.D.I.A.L. (The Devil Is A Lie)” review

This is the 6th full-length studio LP from Kansas City, Missouri emcee & business executiv Kutt Calhoun. Originally a hype man for Tech N9ne & amongst the first to sign to Strange Music alongside Krizz Kaliko, he ended up dropping 4 albums & 2 EPs with the local independent powerhouse before starting his very own EMPIRE Distribution imprint Black Gold Entertainment named after his classic Strange victory lap. The only 3 projects he’s given us on his own so far are his 3rd EP Kuttin’ Loose, his 5th album Persona Non Grata: Truth Be Told & his 4th EP Residue a year & a half ago. Refusing to slow down, he’s hitting us with T.D.I.A.L. (The Devil Is A Lie).

After the “Mis-Understanding” intro, the title track featuring Stevie Stone who recently did a theme song for former Evolve Champion & The Crash Pesocompleto Campeon as well as 2-time WWE United States Champion & WWE Tag Team Champion Austin Theory finds the Black Gold Ahdasee together over a symphonic trap instrumental talking about Satan being a myth whereas “No Comparison works in more strings & hi-hats dissing those who think they flyer than him. “Hot Comb” hauntingly lets listeners know that it’s never too late to make the call & after the “Understanding” interlude, “Pandemik” featuring Yocelin Ali hops over horns talking about the plot taking form.

“2 Sides” featuring Da Real King offers a soulful trap vibe to the beat wanting to be free just before “I Can’t Complain” featuring Trap Banks hooks up these guitar licks & hi-hats saying this some shit to fly too even though Kutt doesn’t smoke weed at all. “The Undenied” featuring Bishop da Don Moshey Ben Yahudah has a bland trap tone despite the theme of not being denied any longer while “The World’s a Ghetto” featuring Ben G da Prince of Soul says it all.

After the 3rd & final interlude “Wisdom” we get to the final moments of T.D.I.A.L. (The Devil Is A Lie) starting with “Redrum-Eulogy” featuring Z_ taking the eerie trap route instrumentally getting murderous & “All I Need” featuring Irv da Phenom ends the album on a high note due to it’s soulful production matched with the subject matter of God himself being everything they need.

Residue was a solid comeback for Kutt after a 4 year hiatus & as excited as I was for T.D.I.A.L. (The Devil Is A Lie) since Bloody Kutty might as well be the most underrated artist in the history of Strange Music considering that he’s a Day 1er, I came away from the finished product a little torn on it. I don’t mind the concept or even the production, the thing with it is the overabundance of features that’re hit or miss.

Score: 2.5/5

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Bilal – “Adjust Brightness” review

Bilal is a 45 year old singer/songwriter & producer from Philadelphia, Pennsylvania emerging as a member of the Soulquarians collective & the Interscope Records-backed full-length debut 1st Born 2nd becoming a neo-soul landmark. He returned nearly a decade later for a sophomore effort Airtight’s Revenge followed by his MNRK Music Group debut A Love Surreal & most importantly, In Another Life produced by Adrian Younge in the summer of 2015 shortly after I graduated high school returning to a high level quality of his debut. Almost another decade later, Bilal’s returning for his 5th album.

The title track produced by Antman Wonder angelically starts off the LP singing about sinking or swimming into the light of day without any other choice whereas “Sunshine” atmospherically gives his flowers to the very person in his life who makes his world bloom. “Evr Chngin Nrml” takes the chill boom bap route instrumentally thanks to Karriem Riggins addressing the fact of life gradually changing as time passes while “The Story” hooks up some synths courtesy of Robert Glasper to sing about life unfolds the answers told & everybody knowing.

“Tell Me” gives off a smooth soul approach to the beat crooning that he’ll chase his love like prey leading into “A2Z” not needing a whole lot other than a simple life in a complex world over warm production. “Lay Around” strips the drums completely singing over a bare loop that he’s in the mood to be relaxing, but then the self-produced “Who R We Now?” groovily pleading that he doesn’t want to be locked out again.

The song “Quantum Universe” begins the encore of Adjust Brightness with another standout that Bilal laced all by himself cavernously calling to give him a holiday once the door’s open while the soothing “Conditional” thanking this woman for giving love based on the recipient meeting certain conditions set by the giver. “Micro Macro” closes up shop with 1 last atmospheric joint that Bilal wound up producing individually assuring after the storm starts again, they’ll build & destroy & build it again.

Deeply inspired by a period of musical & visual experimentation, the results of Bilal’s reemergence makes a bold step forward in his evolving sound continuing to defy genre conventions & highlight his unmatched vocal & musical prowess. It’s an intimately human record that speaks to the heart in an era of cold digital sounds conceptually based around themes of love, warmth & intimacy.

Score: 3.5/5

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Kit Sebastian – “New Internationale” review

Kit Sebastian is a neo-psychedelic Turkish pop duo from London, England, United Kingdom consisting of producer Kit Martin & singer/songwriter Merve Erdem. Dropping their only extended play Passionate Objects in the summer of 2016, their full-length debut Mantra Moderne & the subsequent sophomore effort Melodi would both become well received enough to have Flying Lotus sign them to Brainfeeder Records distributed by Ninja Tune. Needless to say, their 3rd full-length album was going to be something special.

“Faust” sets the tone with this neo-psychedelic Anatolian rock lead single & intro incorporating additional elements of psychedelic Turkish pop confessing to turning this man into a total liar whereas “Camoflauge” was conceived a year prior to Mantra Moderne, singing about the relatable paranoia & anxiousness a lot of us have been feeling regarding the state of the world & Merve’s relationship insecurities. “Ellerin Ellerimde” embraces the love they have for ’60s Turkish & Latin music singing about a woman who’s always on the verge of insanity while “Göç / Me” leans heavier on the Turkish side of things admitting that she’s been in a strange mood lately.

Merve finds herself singing in English again on the 3rd single “The Kiss”, reaching the halfway point singing to her lover that she’ll kill all of his pain no matter what he’s been through leading into “Metropolis” singing about someone projecting hope onto a new place can call home. The 4th & final single “Bul Bul Bul” taking it’s cues from neo-psychedelic Turkish pop & gamelan to describe a relationship where they’re romantic alone & apathetic in public.

“Mechanics of Love” nears the conclusion of New Internationale going full tropicália poignantly singing about the time to move on coming when the sunshine reveals the rust of memories while “Odyssey” provides only 2 brief verses wanting one to sing their prophecy to her under their wings until letting it compositionally speak for itself during the final minute. The title track officially wraps things up hooking some keys reminiscent of Stereolab asking if this is an adamant march toward catastrophe or an overture to the age of revolutionary action.

New Internationale has been widely considered by fans who’ve been around since the Mantra Moderne era to be a huge improvement above the latter & being a fan of Flying Lotus since my adolescence, it’s right behind Hiatus Kaiyote’s 4th album Love Heart Cheat Code & 長谷川白紙’s 3rd album 魔法学校 for a spot amongst the top 3 Brainfeeder releases of 2024. In fact: I’d put it on the same pedestal as Ross from Friends’ sophomore effort Tread or Genevieve Artedi’s 3rd album Forever Forever & Louis Cole 4th album Quality Over Opinion as some the label’s greatest output of this ongoing decade. Secondary influences of Anatolian rock, Turkish pop, psychedelic rock, Tropicália & yé-yé make their way through them quantizing the neo-psychedelic pop style they’ve become known for both parties are at their most precise.

Score: 4/5

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