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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Dead Players – “Faster Than the Speed of Death” review

The Dead Players are a hip hop trio from London, England, United Kingdom consisting of producer Ghosttown alongside emcees Dabbla & Jam Baxter. Making their eponymous full-length debut in the summer of 2013 under High Focus Records, they would later follow it up in the fall of 2015 with a sophomore effort called Freshly Skeletal until they embarked on an indefinite hiatus. They’ve surprisingly decided to reunite 1 last time for their 3rd & most likely final studio LP a few weeks away from former アイアンマンヘビーメタル級チャンピオン, EVOLVE Champion, 2-time 新日本プロレス世界認定TVチャンピオン, 3-time IWGPタッグチャンピオン, PWG World Champion, 2-time GHCジュニアヘビー級タッグチャンピオン, 4-time RPW British Heayweight Champion & 3-time RPW British Tag Team Champion Zack Sabre Jr. facing the current 2-time IWGPヘビー級チャンピオン内藤哲也.

“The Sooner We Die, the Sooner We Can All Go Home” begins with a sample-driven trap intro talking about what they’ve been up to since we’ve heard from them last whereas “Alaska Spearfishing” embraces a back-&-forth style of delivery wittily trading 8 bars with one another. “Just Above Water” talks about their ability to not let their struggles weigh them down while “Refried Nights” promises to stay weird throughout this final year of activity.

As for “Dustbowl”, we have Ghosttown going for a more somber vibe instrumentally so Dabbla & Jam Baxter can advise to never split your winnings with a thief leading into the 2-parter “Major Curse / Icepick” starting boisterously until hooking up a woodwind during the beat switch talking about coming back so they can crush some cities & switch it up again. “Bloodsuckers” however puts their chemistry in the spotlight once again to finish off the 1st half asking how those kind of people feel.

“Welcome Back Oh Cruel, Cruel Behemoth” kicks off the last leg of their coda sampling some violins & mixing it with some hi-hats talking about death not really being all that convincing to them while the 2nd single “Death by 1,000 Cocktail Sticks” speaks of the 1st life always being free of charge, hence why they’re living theirs quickly. The 3rd & penultimate single “Gasoline Sazerac” on the other hand advises to do your thing regardless of the world getting sapped of all meaning.

The lead single “Cherry Turbo” dropped 14 months earlier as a way of celebrating 10 whole years Players’ foundation going back-&-forth with each other without the need of a hook while “Neon Soup” talks about their thumbs ringing when they’re high whilst their lives flash in their faces. “Blue Crab Linguine in the Frosty Underworld” bittersweetly wraps up the album asking if everything sorted itself out the way they hoped.

Celebrating their evolution & staying true to the previous iterations of themselves, what could very well likely be the last time the Dead Players get back together sounds a lot more trap-oriented than self-titled & Freshly Skeletal were in earlier 2010s maintaining the signature abstractly hardcore lyricism that’s always made them stood out. Living up where the predecessor left off thematically, Faster Than the Speed of Death gives a peek at where the trio is now in their lives as they look back at their old selves along the way. Can’t forget to compliment Telemachus’ engineering either.

Score: 4/5

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Cardo – “MADeMAN” review

Cardo is a 40 year old producer & rapper from St. Paul, Minnesota notable for lacing a couple standout tracks on Wiz Khalifa’s best mixtape Kush & Orange Juice. He would later go on to become one of the most in-demand beatsmiths in recent memory, producing hits ranging from “THat Part” by ScHoolboy Q featuring Ye formerly known as Kanye West to “goosebumps” by Travis Scott featuring Kendrick Lamar or more recently “euphoria” by the latter serving as the first of 4 Drake disses. To celebrate his 40th birthday though, he’s stepping out as a rapper more for a debut album.

The title track sets the tone of what’s to come with this smooth west coast style beat talking about being a made man whereas “Thinking of Wayz” featuring Payroll Giovanni takes the g-funk route instrumentally trying to come up with ways to making straight up cash. “Bankroll” kinda gives off a Mobb vibe to talk about getting money being the only thing he knows, but then “Can’t Stop” returns to the g-funk refusing to slow down.

“Never 2 Much” featuring Seafood Sam has this synth-funk vibe generally talking about being out here making that fetti just before the exuberantly groovy “Thumbin’” calls out people trying to speak to him when it has absolutely nothing to do with making the bread. “Woke Up Ballin’” has a summary trap flare talking about the money always calling him leading into the atmospheric west coast jam “Nameless” featuring Larry June refusing to be around anyone broke in their lives.

Kamaiyah joins Cardo on “Paper” continuing to flex their grind over a spaciously funky instrumental prior to the atmospheric “Mac Dre Flow” paying homage to one of the greatest Bay Area emcees of all time, the late Thizz Entertainment founder Mac Dre. “When You See Me” gets back on the Mobb tip a bit opening up more of having to get it on his own while the synth-driven “C-Bo Flow” featuring Payroll Giovanni gives their flowers to C-Bo of The Regime.

“Ain’t No Way” pushes towards the final moments of Cardo’s official full-length debut LP by hooking the g-funk sound back up pointing out that trying to come up with plots to stop this shit on his end is simply an impossibility & the outro featuring Payroll Giovanni ends MADeMAN with 1 final Mobb joint advising that you have to manage the money in order to master it, even having more income as a result of both of them changing their habits up.

Disregarding the fact that we’ve hardly heard Cardo on the mic as much as we have up until this point, MADeMAN as a producer album altogether happens to be a much more salvageable debut than the new Southside album Break the Silence or even the Pyrex Whippa album Sincerely, Rex. His production hones in on the west coast sound whether it be g-funk or Mobb music, his performances are stronger than both 808 Mafia members on their respective debuts & the minimal guests are well-selected.

Score: 4/5

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MC Lyte – “1 of 1” review

MC Lyte is a 53 year old emcee from Queens, New York who is widely regarded as amongst the pioneers of female rap. Her first 4 albums Lyte as a Rock, Eyes on This, Act Like You Know & Ain’t No Other were released through First Priority Music/Atlantic Records to positive reception as was her Elektra Records debut Bad as I Wanna B. Responses towards her 2nd & final Elektra offering 7 & 7 were more mixed while Da Undaground Heat & Legend are both regarded as the weakest entries in her discography. Nevertheless, I was still curious about her 9th LP since 2024 has been the year of the comebacks.

After the titular intro, the first song “Thank You”featuring Muni Long is this lavish opener produced by Nottz talking about lighting the fire whereas “Life & Luxury” takes the soulful boom bap route instrumentally thanks to DJ Scratch talking about an ungrateful adversary. “King King” featuring Queen Latifah continues to chop up the soul samples paying homage to men & after the “Sunni Block Barber Shop” interlude, “To Rock the Mic” works in a funkier groove to the beat from Warryn Campbell promising to keep ripping it lyrically.

The 2 & a half minute hardcore hip hop anthem “1-5” talks about how it takes skills to rip microphones & it’ll pay your bills if you’re lucky enough just before “Make a Livin’” boasts that she’s the live art in the gallery. “All Day All Night” with Easy Mo Bee behind the boards ends the first half of the album by tackling themes of romance, but then “Lyte Ghost Lil Mama” featuring Ghostface Killah & Lil Mama finds the trio over a dusty boom bap beat talking about the game being unattractive to them.

“Kick Back Relax” goes for a calmer approach telling everyone bringing negativity her way to kick rocks & after the “Vote 4 Change” interlude, “Change Your Ways” featuring both Common & Stevie Wonder has to be one of the most thought-provoking cuts here encouraging to make a change in your life. The captivating lead single “Woman” featuring Big Daddy Kane & Salt talks female empowerment while the soulful “Alright” that Cory Mo laced encourages that all will be fine. The final song “Music Is” following the Easy Mo Bee interlude ends 1 of 1 by telling us it’s all she does.

I personally haven’t enjoyed an MC Lyte project since Bad as I Wanna B almost 28 years back & her first offering in nearly a decade proves to be a 2nd coming of age now that she’s at a different place spiritually as well as yet another example of hip hop’s veterans returning to form. She showcases her signature blend of love, braggadocio & storytelling to inspire, uplift & educate listeners over some of the best production that I’ve heard backing her in quite a while.

Score: 4/5

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Katy Perry – “143” review

Katy Perry is a 39 year old singer/songwriter & television personality from Santa Barbara, California who started in 2001 by releasing a Christian rock album under her birth name Katy Hudson. She later signed to Capitol Records for the sophomore effort One of the Boys & 3rd album Teenage Dream launched Katy into international superstardom. PRISM, Witness & Smile were all released to mixed reception & some of the singles building up the Unsub Records founder’s 7th LP here had me interested.

“Woman’s World” starts with what is easily one of the worst songs that I’ve heard all year uglily mutating dance-pop, synthpop, synthwave & hi-NRG despite the themes of female empowerment whereas the poppy trap duet “Gimme Gimme” featuring 21 Savage finds the 2 getting lustful. “Gorgeous” featuring Kim Petras gives off an electro dance-pop flare shouting out the girlies for looking stunning just before “I’m His, He’s Mine” featuring Doechii works in elements of pop rap, Atlanta bass, contemporary R&B & trap getting possessive towards their lovers.

Meanwhile on “Crush”, we have Katy singing over a house beat about falling in love leading into “Lifetimes” going dance-pop, garage house, diva house, Euro House & future house paying tribute to her daughter Daisy. “All the Love” maintains the house vibes instrumentally accepting that love wasn’t for her until Daisy came into her life prior to “Nirvana” expressing Katy’s desire to be taken to a spiritual place of perfect peace & happiness through her current partner through sexual intimacy.

“Artificial” featuring J.I.D nears the conclusion of 143 in the form of this dance-pop/pop rap hybrid wanting to know who’ll save them from losing their minds while the song “Truth” demands transparency within a relationship even if it hurts her over an atmospheric trap beat & I can definitely tell that she’s referring to Russell Brand. The closer “Wonder” ends the album the eponymous wonder in everything no matter the age & no matter the circumstances that the wonder finds itself in.

Starting the deluxe run, “I Woke Up” is this happy go-lucky dance pop tune singing about having another day not doing the relatable theme of life not being promised any justice while “Has a Heart” tries way too hard to preach it’s message to the world of sharing the prospect of love to one another. “No Tears for New Year’s” embraces a synth-pop vibe refusing to let anyone cry soon as New Year’s Day begins & the final bonus track “OK” finishes by remaining optimistic ahead of the 2024 presidential election.

It’s crazy to think that the same woman who had damn near every single song on her major label sophomore effort like “California Gurls” featuring WWE Hall of Famer Snoop Dogg or even “E.T.” featuring Ye formerly known as Kanye West has now given us what many including myself are now regarding as the worst body of work in her entire discography. I have no doubts that she wrote it from a sincere place since it’s named after what she calls her angel number, the biggest flaw here is the production playing catch-up to the dance party trends.

Score: 1/5

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Jamie xx – “In Waves” review

Jamie xx is a 35 year old musician, DJ, producer & remixer from Wandsworth, London, England, United Kingdom notable for being 1/3 of The xx or producing the title track off Drake’s best full-length album Take Care. He even put out a critically acclaimed solo debut In Colour during the summer of 2015 shortly after I graduated high school prominently based around UK bass with elements of future garage, deep house, downtempo & alt-pop included additionally. However, he’s FINALLY returning for a sophomore effort.

“Wanna” is this calming instrumental opener that rightfully sets the tone whereas the 2nd single “Treat Each Other Right” pulls from future garage, UK bass, progressive breaks & chipmunk soul talking about how that’s all we gotta do. “Waited All Night” by Oliver Sim & Romy maintains the future garage & progressive breaks elements throwing a hint of alternative R&B in the mix prior to “Baddy in the Floor” featuring additional vocals provided by Honey Dijon dabbles with garage house, funky house, speed garage & French house telling the baddies to let loose on the dance floor.

The fusion of future garage, UK bass, alternative R&B, neo-psychedelia, Atlanta bass & deconstructed club on “Dafodil” only remembering the lovely sweetness in the air after being with a beautiful female in London for the night while “Still Summer” serves as another instrumental piece for you to play during the final moments of summer itself. “Life” by Robyn borrows from funky house, Latin house, dance-pop & ballroom singing about her man making her feel alive just before “The Feeling I Get From You” lives up to it’s name by incorporating a warmer atmosphere.

“Breather” starts the final leg of In Waves with this epic 6 & a half minute kinda giving off a progressive house vibe while “All You Children” produced with The Avalanches celebrates the joy of community, connection & the transformative power of dance through tech house, melodic house & melodic techno. After the “Every Single Weekend” interlude, “Falling Together” featuring Oona Doherty on spoken word ends with what’s actually the song “Pale Blue Dancer” teased at Coachella almost 2 & a half years ago.

The deluxe run begins with Erykah Badu getting on the house-driven “F.U.” talking about being in the club calling for all the laddies & the brothers to get wild while the repetitive “It’s So Good” was a loose from last January fusing UK funky, funk brasileiro & IDM. “Do Something” dabbles with New Orleans bounce a bit while “Let’s Do It Again” crosses over in favor of progressive house, funky house, future garage & melodic house. “Kill Dem” ends the collection of bonus tracks returning to a UK funky sound 1 more time removing the funk brasileiro & IDM undertones in favor of ragga & stutter house

Almost a decade after his debut solo masterpiece, we get a melancholy paradise of bliss alongside heartbreak & introspection that eclipsed the heights of its predecessor somehow making all supernatural adjectives & analogies seem understated. He replicates the emotional crescendos & thrilling volatility of an almost mystical night out telling the story of a journey where you merge into the divine pulse of shadows, light & dance floor rhythms or a strobe light epiphany about the illimitable possibilities & spiritual capacities of humanity.

Score: 4.5/5

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Blu & Exile – “Love (the) Ominous World” review

One of the most well regarded Los Angeles, California hip hop duo Blu & Exile are back for the 4th album in their discography. Their 2007 full-length debut Below the Heavens: In Hell Happy with Your New Imaginary Friend is rightfully considered by many to be one of the best hip hop albums to come out within the past 15 years, receiving a nod on “Radio” off Vince Staples’ final Def Jam Recordings album Dark Times a few months ago. They went on to release a follow-up in 2011 with Give Me My Flowers While I Can Smell Them as well as the 2017 rarities compilation In the Beginning: Before the Heavens & the previous LP in the B&E canon Miles: From an Interlude Called Lifeserved as their last to be distributed by Fat Beats Records. 4 years later, Dirty Science Records is now joining forces with Soulspazm Records to help put out Love (the) Ominous World.

“Hello L.A.” perfectly begins sampling soul music talking about life in south central whereas “Undisputed” takes the boom bap route instrumentally going for a hardcore approach from a lyrical angle on top of it. “Smack” featuring Fashawn is this dusty jazz rap collab leaving muhfuckas on the curb mumbling their last words, but then “Homies” featuring Cashus King & Pistol McFly serves as a soulful dedication to their dogs & their squad.

Moving on from there with “Sugaz & Buttaz”, we have Blu & Exile joined by Rae Khalil for a summery ballad about missing the lovin’ from their respective partners in life just before “Gold” returns to the boom bap refusin’ to take a break since he got all his chains on looking to stay fly. “Chucks” featuring Kurupt & KXNG CROOKED ruggedly serves as an ode to their Converse Chuck Taylor All Star sneakers leading into “Suge” aggressively expressing his frustration with some of these dudes acting like bitches.

“Ominous World” featuring RBX finds them keeping it in the basement sonically taking us on a journey through the shadows of the trenches while the song “Precipitation” brings another soul flip to the table talking about rain being good for the health every now & then. The penultimate track “Valley of Kings” strips the drums completely talking about the possibility of having to do it all over again & lastly, Emanon joins Blu & Exile for “Love is Blu” to end the 4th classic B&E album talking about love being here over a jazzy boom bap beat.

Every single project these 2 have done with one another remains special in their own different ways & Love (the) Ominous World achieved this by brilliantly building on their soulful, reflective foundation with stunning musicality & sharp songwriting venturing into new territory while embracing & refining what made them special. It’s easily their most unique work to date since they took a different approach with the direction while still staying true to the culture their music has built with their fanbase.

Score: 4.5/5

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Lil Tecca – “Plan A” review

New York rapper, singer/songwriter, producer & Galactic Records founder Lil Tecca back with his 3rd LP. Blowing up in 2018 after signing a distribution deal with Republic Records & the viral single “Ran$om”, it would later be included on his debut mixtape We Love You Tecca that same year & would receive lukewarm reception although it’s truthfully grown on me a tad bit over the course of time. His debut LP Virgo World was released during the pandemic & is widely considered to be the weakest entry in his discography. The last time we heard from Tecca was a couple summers ago when Internet Money Records founder Taz Taylor executive produced a worthy sequel to We Love You Tecca & Tec from last fall showed maturity to the point where I recanted calling him a 1-hit wonder when Virgo World came out. Nearly a year to the day, Tecca’s commemorating by dropping Plan A.

“Taste” produced by Taz Taylor, Rio Leyva & Vendr showcases Tecca’s extensive selection of women over a cloudy trap instrumental to get the ball rollin’ whereas “Bad Time” works in some hi-hats & horns noting his dissatisfaction with the way some women in particular treat him. “120” goes for a futuristic atmosphere to beat reminding us that he’s not new & he’s been here, but then the rage-inducing “I Can’t Let Go” featuring Don Toliver locks in with Bugz Ronin to talk about still trappin’ out private projects.

The rattling trap vibes of “Vogue” are pretty fun admittedly boasting that life’s a bitch & he thought it was extortion further advising to send him your location while “24HRS” instrumentally feels skeletal despite him tryna keep his significant other on his mind. “2” cloudily brushes off Tecca’s side bitch tryna run the show & reposition herself as his main just before the atmospheric “Never Last” co-produced by venny discloses to his previous partners that they were easy to replace.

“Homebody” ends the first half of the LP on the cavernous trap tip courtesy of Noah Mejia gettin’ straight to business keeping the confidence instead of talking while the moody “Self2Self” explains everything dying soon as money gets involved & being rich longer than getting that Lawrence graduates degree. The cloudy “Separate Ways” asks if one took a different path if he’s M.I.A. switching with the technology leading into the synth-driven “Time & a Place” talking about having no time to waste whatsoever.

As for “4U”, we have Tecca dreamily telling this woman she’s lucky he even made the time for her & droppin’ dimes on her while the acoustic trap hybrid “Flowers” that BryceUnknwn cooked up confesses he didn’t know the hoe was gonna set his ass up. “Cold Girls” hooks up more at synths & hi-hats cutting off a lying bitch while the spacious “Mama” explains how risky shit got when he almost moved out west. “D1” playfully balls out telling the fakes running from life to face it & “All the Time” cloudily ends things talking about not overstepping.

Rather than making Plan A into this culmination of his career thus far, Lil Tecca instead takes the chance to reflect on the journey up to this point. Internet Money Records’ production evolves the sound that he’s spent the last few years cultivating & the general theme of his music career being all that he wants to do in life without a backup is truly motivating since you always got people talking about having a plan B.

Score: 3.5/5

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