Summrs – “What We Didn’t Have” review

This is the 9th full-length album from Lafayette, Louisiana recording artist Summrs. Starting out as a member of the Goonie-founded SlayWorld collective, his presence has been known predominantly in the plugg scene by constantly dropping projects whether it be his last EP What We Have or even the Fallen Raven LP, both of which I highly recommend listening to if you wanna get into his music. But coming fresh off his last couple albums Stuck in My Ways & Ghost from earlier this year, Rino’s looking to bring back the plugg elements that Ghost lacked on the official What We Have sequel What We Didn’t Have.

“Overdosing on Toxicity” sets the tone of what’s to come by telling his lover to save him & that he’s been feeling crazy over some pianos, synths & hi-hats whereas “The Healing” gives off a bouncier flare instrumentally talks about curing his soul. “Rehab” works in more synthesizers & hi-hats from Goyxrd making it clear that we all know Summrs is the MVP leading into “Feel Dumb” takes the psychedelic route a bit confessing that he’s sick of everyone showing him fake love or those who be making up their lives.

Meanwhile, “International” shows off Louiveedee’s new btich who just so happens to be nasty behind closed doors over some icy synths & hi-hats prior to the 2-parter “Playin with a Demon / Jokes on U” reminding the hoe who’s been cheating him exactly who she’s fucking with starting off playfully prior to a shimmery switch-up. “The Talk” addresses some bird business & being as dark hearted as he is backed by an atmospheric beat, but then “Xanax / Burnt Memories” talks about deserving my flowers today as opposed to when he’s no longer here to smell them over some synths & hi-hats with a bassy instrumental switch.

“Til Death Do Us Part” gives off a bit of an intergalactic atmosphere to it calling out a bitch for trying to get in the middle of his money & that she knows damn well of Rino being a player while “If Ya Wanted 2 Know” weaves these wavy synthesizers into the fold opening up about us being the reason that he goes. “Top Off” starts off by pulling up stuntin’ over a peppy instrumentally while “House Arrest” later admits that he can’t have his pole with him since he got an electronic ankle tag on him taking it back to the pluggnb sound.

“Auntie Cat” keeps the synths & hi-hats in tact paying homage to his late aunt of the same name knowing that his grandmother’s fucked up over her passing trying to get her back while the Asian rock-infused “How Dare You” talks about not dying from drank. “Martin & Gina” featuring Autumn! finds them comparing themselves & their Glocks with a switch to that of the titular couple from one of the greatest sitcoms of all-time going straight plugg while “Chasing Your High” featuring Desire encourages their lovers to stay the night since they makes theml feel right.

“It’s Nothing” marks the beginning of the end for the best album of the 3 that Rino has dropped this year declaring that he & his crew keep them Draco’s out without fucking around over a booming yet futuristic beat, but the “Spiritual” outro really wraps everything up by by drawing from regalia clarifying that he still goin’ through pain cause we were with him through everything.

What We Have is the best EP in Summrs catalog, so I went into What We Don’t Have expecting it to be his finest full-length LP surpassing Fallen Raven & that’s pretty much what we got here. The pluggnb production is more consistent than his last couple albums we’re truthfully & you can really hear the pain that he’s experienced in his voice delivering the most personal subject matter of his career.

Score: 4/5

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City Morgue – “My Bloody America” review

This is the 4th & final full-length album from New York trap metal outfit City Morgue. Consisting of ZillaKami & SosMula on the mic alongside honorary 3rd member Thraxx on production, I first caught wind of them due to ZillaKami’s verse on Denzel Curry’s classic 3rd album TA13OO & their debut that followed shortly after Hell or High Water completely stopping me in my tracks. Mostly because prior to that album, I never heard anyone fuse trap with metal music in the way that they did. This was followed up with the worthy sequel As Good as Dead, the mediocre debut EP Toxic Boogaloo & their previous album Bottom of the Barrel following SosMula & ZillaKami’s respective solo debuts 13 Songs 2 Die 2 & DOG BOY. However after several delays, they’re officially making My Bloody America their last hurrah.

After the “Hell” intro, the first song “Skull & Bones 322” marks the beginning of the end by cautioning to either phone home or start duckin’ on top of a bombastic trap metal instrumental with some industrial undertones whereas “Sauna” works in some rage beats talking about bringing the drama. “Haha Waco” features co-production from Taz Taylor so the City Morgue can eerily threat their opposition over an industrial/horror synth hybrid just before “Boy in the Box” talks about catching bodies taking it back to their signature trap metal sound.

“Welcome to the Hatman” dives right back into hypertrap territory delivering some demonic performances in the midst of all the sonic chaos leading into “Funny” being one of my favorite cuts on the album due to Powers Pleasant’s trap metal production being one of the best instrumentals on the album & the lyrics about how no one wanted them to succeed. After the “Counting Casualties” interlude, “Pros” boasts that they only hang with the best on top of more heavy guitars & hi-hats that is until “Vacant” asks how the fuck exactly you gon’ die with it over another rage beat.

Meanwhile, “Wicked” advises that you can’t walk around when they’re in your town over a heinous instrumental & “Locksmith” goes into psychedelic territory talking about being a problem. “Stupid Games” is another highlight for me as their honorary 3rd member Thraxx takes it back to their signature sound for old time’s sake asking if you want to die, but then the final song “Russian” prior to the “Tide” outro delving into hypertrap ending their 7 year saga by talking about hearing their competition is food & that it’s time for supper.

Hell or High Water stands as a landmark in the trap metal subgenre & As Good as Dead was a great sophomore effort, but I think Kami & Sos went out by delivering a long-awaited improvement over Bottom of the Barrel couple years back. They try out some new sounds while keeping their trap metal roots in tact & the fact there’s not a solo song on here is interesting since these guys display their chemistry 1-last time. I wish them nothing but the best in their solo careers.

Score: 3.5/5

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Puff Daddy – “The Love Album: Off the Grid” review

Puff Daddy a.k.a. P. Diddy or Diddy & more recently Love is a 53 year old record executive, rapper, singer/songwriter, “producer”, entrepreneur, actor, television producer, sex trafficker & racketeer from Harlem, New York getting his start as the talent director at Uptown Records before founding his own label Bad Boy Entertainment. He would also have a huge role in the commercialization of hip hop culture on top of cultivating artists from The Notorious B.I.G. to Mary J. Blige & Usher. As for his own catalog, Puffy has dropped 5 solo albums in the span of 26 years despite the common knowledge that he doesn’t write his own lyrics or even produce. Although his debut No Way Out is widely considered to be the best, the next 3 he would put out Forever as well as The Saga Continues… & Press Play all received harsher reception in comparison. The last time we heard Puff in a full capacity was the winter of 2010 when he introduced the world to Dirty Money on the moderately received Last Train to Paris, but is returning after 13 years by signing a 1-&-done deal with Motown Records for his 6th album.

“Brought My Love” featuring The-Dream & Herb Alpert is a funky, R&B/pop rap crossover produced by Mario Winans & Stevie J of The Hitmen setting the tone of what’s to come with Puff dropping corny lines like “In the future, we’re both fine. I just gotta write a ticket with no fine” whereas “What’s Love?” featuring NOVA WAV finds the latter singing & P. Diddy rapping about what the purpose of love is if you can’t drown in it. “Deliver Me” by Dirty Money & Busta Rhymes is possibly THE best track on here since Puffy himself hardly appears on it letting Dawn Richard & Kalenna shine as well as the previously unreleased J Dilla instrumental drawing from electronic music & especially Busta’s verse at the end, but then “Stay Awhile” finds Diddy on mic once more with Nija asking to their significant others to stay with them for a bit longer over a groovy beat from Lil Rod.

Jozzy comes into the picture for “Homecoming” cautioning of a lover that’s not good to one another over a dreamy boom bap instrumental & Puff hilariously starting his verse by saying he kicks flows & busts down doors for her when everyone knows he’s never written any of his raps throughout his whole career just before “Pick Up” by Fabolous & Jacquees finds P. Diddy taking the backseat on the mic in favor of adlibs once again so Fab can outperform Jacq over slow instrumental talking about their partners being the ones they want. “Tough Love” by Swae Lee doesn’t have any Diddy presence whatsoever asking if it’s real or if she’s alone also with some twangy guitar licks & hi-hats leading into “Stay Long” by Summer Walkergoing for a magical sonic approach thanks to Timbaland & London on da Track talking about wanting nobody in her business.

“It Belongs to You” by Jozzy brings back the funk singing that her man knows that he has her while “Another One of Me” finds Puff back in the fold with French Montana, The Weeknd in what’s said to be his final feature ever & 21 Savage for a spacey trap jam declaring that part of them won’t come around again with the best verses going to Abel & 21 respectively. After the “Intermission”, the following song “Moments” by Justin Bieber sings over some live drums about how patient he’s been while “Need Somebody” by Jazmine Sullivan dives into mellower turf with co-production from KeY Wane singing that everybody needs somebody even if this shit ain’t right.

Kehlani & Ty$ share a heartwarming duet together on “Mind Your Business (Bosses in Love)” singing about doing whatever they want because they’re both bosses in their own rights & after the “Nasty” interlude from Jozzy, we have Coco Jones filling in Kehlani’s spot for “Reachin’” so she & Ty$ once again join forces on top of a cavernous trap beat encouraging one another to keep calling. Puffy returns with K-Ci from JodeCi as well as Kalan.FrFr for “Stay” jumping on top of pianos, gospel vocals & hi-hats for a pop rap cut pleading for their partners not to leave while “I Like” by Mary J. Blige sings about seeing him calling & is thankful he’s thinking of her over a sample-heavy beat.

“Closer to God” by Teyana Taylor fresh off her role in the A24 Films hood drama 1,001 sees the former Star Trak Entertainment/G.O.O.D. Music recording artist proclaiming she’s at peace when she’s with her husband Iman Shumpert over a blatant reggae instrumental while “Boohoo” by Jeremih proclaims it hurts when you’re gone but he still ain’t done with that over another funky beat. After the Burna Boy interlude, the DJ Camper co-produced penultimate track “Kim Porter” by Babyface & John Legend is a genuinely profound 7-minute tribute to P. Diddy’s first wife who passed away in the fall of 2018 with Timbaland behind the boards once more & “Space” by H.E.R. ends the album with bare pianos from Infamous telling her man to come her way.

Diddy doesn’t sing at all on The Love Album: Off the Grid as many including myself initially thought he would & only recites rap verses that people in the studio wrote for him on 6 of the 23 songs, so he’s pretty much playing DJ Khaled for the most part on here curating a bunch of mid contemporary R&B/pop rap hybrids after saying last summer that R&B is dead. The production truthfully isn’t too bad for both of those particular styles of music & unlike much of Khaled’s output, but the performances from the guests come with mixed results even though Puff gets washed on every song he raps on pretty much. I also feel that he called it Off the Grid to spite Kanye West since he went on IG last fall saying Diddy’s with the feds even though Ye technically wasn’t wrong.

Score: 2.5/5

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Izaya Tiji – “Alexandria” review

This is the sophomore LP from Ohio recording artist & producer Izaya Tiji. Emerging as a founding member of the Slayworld colllective, he would go on to build an extensive solo catalog for himself standing at a full-length debut alongside his last 22 EPs & 3 mixtapes. My personal favorite being his last previous tape Know Nothing Else 2 over 2 years ago at this point. But coming off Before Alexandria couple months ago, Izaya’s finally delivering the main course.

“Envy” is an atmospheric trap opener targeted towards those who’ve become jealous of how far Izaya’s come in his career up to this point whereas “Face Shot” takes the cloudier route boasting that he has the flash on without any cameras around the premises. “I Eat Humans” works in a shimmery backdrop & hi-hats discussing that he got Jew ties as well as giving a finger to the facists, by then “Rockt” gives off a more psychedelic trap edge this time around firing back at those who said he flopped.

Meanwhile, “Elysium” produced by SOULJASPIRITS dives back into trillwave turf talking about his own blissful heaven leading into the moody trap cut “Shy” discussing the whole concept of shyness altogether. “Can’t Stop 3” with thr6x moves forward with a triumphant tribute to the late Takeoff of the Migos who was gunned down the day after Halloween last fall just before “Cold Nights” gives off a ghostly feeling insteumentally tackling the metaphor for the feeling of isolation & detachment from others.

“Fritos” compares his white Molly to that of a hot tub & having old money sitting at the bottom of my bag looking like the titular snack over an airy trap beat while the dreamily produced “Hiccup” talking about people knowing he’s here for the big bucks & having to put back someone who got out for being too wild. “My Twins” hooks up these piano chords & hi-hats addressing an adversary he doesn’t see eye to with no more while “Simba” is a bell-infused trap cut talking about feeling like the titular Disney character.

Moving on from there, “At Last” brings back the keys & hi-hats once more saying at least he has his family with him even though he needs to kick the habit of substance abuse while the luxurious trap flavored “Empty” talking about being possessed by the money. To start the 2nd leg of the album, “Smushed” featuring YSK finds the pair teaming up over a delicate loop & hi-hats flexing that they so hard that they made their cities fly while “Infinite” gives off a more energizing vibe instrumentally talking about how they gon’ take you down.

“Got That” goes into glossier territory with the trap beat telling his homie not to talk back since he ain’t his bitch while the ghostly “Ain’t Faint of Heart” vents about a woman that wound up breaking his heart. “Vacant Trap” keeps it trillwave by pointing out an empty trap house that he just so happened to come across by while “Mac & Cheese” whips up a peaceful trap instrumental boasting that he got the check & letting these little motherfuckers continue to run their mouths for entertainment purposes.

Reaching the end of the 3rd leg of the album, “Cauterized” acknowledges that he can hook people up with a 4 piece & that he’s rolling up in a donkey over a spacious backdrop & hi-hats while “Butterfly” starts the 4th & final leg on a pillowy note talking about having to grow up on top of showing off the kind of doors that he has on his new whip. “Blackouts” admits that he’s lost some people & going haywire as of late backed by more spacey trap production while “Big Hat (Eye for an Eye)” hops on top of a subtle beat talking about not to worry since he knows the way.

“Half” has these cool electronic undertones throughout pointing out that every single thing he got ain’t recently ain’t all for him yet he ain’t dividing it all in an even portion while “Space from Reality” talks about people pushing down as if it’s the UFC, whose parent entity Zuffa was merged with the WWE to form TKO Group Holdings a few days ago after Vince McMahon’s sale of the historic septuagenarian professional wrestling promotion to Endeavor was finalized over a euphoric instrumental. The atmospheric penultimate track “That’s My Dawg” is a straight-up dedication to the people in his life whose backs he’ll always have & “Call of Duty” closes the album by hopping out with the sticks with a beat that gives off a godly aura.

The prelude that we got back in July ended up being one of Izaya’s best EPs in a while, so that alone was enough to increase the anticipation I already had for Alexandria & it’s quite truthfully on the same caliber if not better than his previous album 2020 only less than 2 months before COVID shut the whole world down. Tad bit too long, but he expands on the cloudy plugg/pluggnb trap sound that made a name for himself as well as sounding impressively focused & even improving his flows a bit.

Score: 4/5

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Nas – “Magic 3” review

Nas is a 50 year old MC from Queensbridge, New York known for being the son of jazz cornetist/guitarist Olu Dara as well as his breakout debut illmatic & the equally classic sophomore effort It Was Written going on to be widely acknowledged as some of the greatest albums in hip hop history. I also enjoy stillmatic, The Lost Tapes, God’s Son & Life is Good. Then there was the Kanye West-produced NASIR & The Lost Tapes II, which I felt like they were fine additions to his catalogue even though the overall consensuses were polarizing. But for the last 3 years, Nas has been working exclusively with Hit-Boy since the COVID-19 pandemic & both of them are a good fit for each other. King’s Disease earned Esco his first Grammy, but the sequel as well as Magic & the conclusion to the King’s Disease trilogy each took their chemistry to new heights. But coming off the incredibly solid Magic 2 over the summer, Nas is celebrating his born day by making his 17th album the final installment of the Magic trilogy & the last in his historic 3-year run with Hit-Boy behind the boards.

To open things up, “Fever” hops on top of a sample-based boom bap instrumental by declaring this to be prophecy & that he’s been fly for half a whole century by now whereas “TSK” works in some more kicks & snares with a gloomier loop talking about trying to stay humble yet he can take it back to Nasty if he wants to. “Superhero Status” moves forward with the art of sampling & keeps it boom bap so he can discuss how the way it’s goin’ down is simply a shame, but then “I Love This Feeling” goes for a jazzier yet soulful approach talking about outclassing people.

“No Tears” keeps it rolling by pointing out that it’s hard to find genuine lover over a tension-building beat prior to Lil Wayne coming into the picture for “Never Die” hoping over a soul-inflicted boom bap instrumental talking about both of their legacies in the culture. “Pretty Young Girl” mixes some horns with kicks & snares talking about a queen that has entered his life even though it might be the weakest cut on the album personally just before “Based on True Events” shoots for a triumphant boom bap vibe so Nas can get on his private investigator shit.

The sequel to “Based on True Events” weaves a spacious backdrop in the fold on top of kicks & snares yet again popping someone at the place of a transaction while “Sitting with My Thoughts” dives headfirst into trap territory talking about bouncing back after every loss. “Blue Bentley” encourages you to say that his life ain’t lit over a bombastic instrumental with some hi-hats while “JoDeCi Member” returns to the boom bap telling anyone to try him.

The song “Speechless, Pt. 2” conceptually picks up where the first “Speechless” left off almost 2 years back accompanied by a flute-tinged beat making it clear that you can redo the voice, but you can never read his mind while the penultimate track “Japanese Soul Bar” is a 2-parter with a woozy kickstart & a luxurious switch-up drinking scotch in a bar until the daybreak prior to the drumless “1-800-Nas&Hit” ending an era by comparing all both trilogies to that of a greatest hits collection referencing the Star Wars franchise owned by The Walt Disney Company subsidiary Lucasfilm.

I’m sure Nas is gonna take a year off to prepare for the next chapter of his career, but to say it’s been exciting to hear his chemistry with Hit-Boy evolving from the first King’s Disease to literally every album they’ve done together would be an understatement & this could very well be my 2nd favorite installment of the Magic trilogy behind the one that started it all. The production’s more soulful in comparison to the last 5 LPs they’ve done in the last 3 years & the lyricism hits harder than the predecessor did earlier this summer.

Score: 4.5/5

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3-Headed Monster – “Rampage” review

This is the sophomore full-length album from horrorcore supergroup the 3-Headed Monster. Consisting of Detroit pioneers Esham & Violent J alongside Ouija Macc hailing from Las Vegas, all 3 members each have a distinctive history of their own. The first being the unholy godfather of the wicked shit founding Reel Life Productions, the other co-founded Psychopathic Records as 1/2 of the Insane Clown Posse whom the Boogey Man was once signed to from 2002-2005 & Ouija became the hatchet’s biggest solo act in 2017 following ICP severing ties with their former protégés the demented duo Twiztid earlier that same year despite them departing Psychopathic only 5 years before that to form Majik Ninja Entertainment now continuing to gradually build Chapter 17 Records as a dominant subsidiary of the label that runs beneath the streets as he’s been their only current artist other than the wicked clowns themselves since the pandemic. But as they begin the 2nd leg of their tour promoting their full-length debut Obliteration from over the summer displaying 3 generations of hip hop’s most underappreciated subgenre, the trio’s continuing their Rampage.

The intro begins with all 3 members aggressively going back & forth with each other on the mic over a rugged trap instrumental for a couple minutes proclaiming their greatest joy in life is to crush & destroy whereas “Bulldozer” works in a shimmery backdrop & hi-hats from Shaggytheairhead cautioning that everyone’s in danger. “End of Days” gives off a more cavernous trap vibe thanks to Devereaux making it clear that there ain’t no heroes in this saga just before the “Bepis” goes into atmospheric territory so Ouija Macc can whip up a solo joint & his rhyme schemes throughout are some the craziest he’s ever jotted.

“Sinister Super Sinister” by Violent J continues to demonstrate the talents of each member of the supergroup as he hops over a trap-rock crossover declaring himself to be exactly that leading into Esham’s solo cut “Cult Leader” diving headfirst into boom bap territory with some keyboard embellishments asking if one wants to lead a cult of their own. The 3-Headed Monster reunited as a unit for the chaotic trap banger “Red Pavement” looking to leave the haters laying, but then “Cobblestone” finds Ouija on his own again blending a suspenseful loop & hi-hats talking about them Sin City killas being at your neck.

The song “Pillow Talk” by Violent J goes for a more subdued trap sound proclaiming he gets down all the time killing for real & love how his new chick never asks why his clothes are bloody even though his raspy delivery is a little off-putting while “Dinero” by Esham talks about the money over a groovy sample flip. The title track though rounds out the trio’s sophomore effort with a 5 & a half minute trap heater taking away all the sunshine & rain in favor of smoke & fire instead.

The 3-Headed Monster’s formation has to be my personal favorite thing that Psychopathic has done all year even though I stand by me being happy to see them pumping out music at the rate they’ve been doing so all year, but I actually might like Rampage better than Obliteration by a hair. They’re stepping up their chemistry together on top of getting a couple chances to shine individually again & I love how the production sounds harder than our introduction to them over the summer.

Score: 4/5

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Glokk40Spaz – “Took the Biggest Risk” review

This is the 3rd full-length album from Atlanta, Georgia recording artist Glokk40Spaz. Emerging off the Don’t Get Took Off mixtape trilogy & the debut EP Spaz&B, he would also go on to drop his very first LP 2 Glokks followed by the sophomore effort Baby Whoa with both of them receiving quite a bit of acclaim. But now in light of the EBG Records founder signing to Columbia Records, I was anticipating to hear what hear how his major label debut Took the Biggest Risk would play out.

“Enough Ammo” opens the LP with synthesizers & hi-hats advising to take precaution when you step in his trap house whereas “Forgot My Manners” works in a piano-trap instrumental some bells talking about growing up on some Adam “Pacman” Jones shit gangbanging in his city. “3rd World” embraces the plugg sound flexing that he be high as Hell just before “Different Goals” works in some hi-hats & low at synthesizers pointing out the difference in goals between him & everyone else.

Meanwhile, “Fuck Sum” has these organ-like synth melodies promising to look in the eyes of his enemies as they die referencing WWE Hall of Famer Mike Tyson leading into “Whatchu Sayin’?” making it clear that he can meet up & have a shootout with any opposition whatsoever. The trap beat from SenseiATL on “Facecard” gives me an UFO inspired feeling showing off big chopsticks that’ll make motherfuckers doing backflips, but the “Blame Us” brings back the synthesizers once more talking about potentially being coupled with a bitch that has mob ties.

“I Got an Army” layers an aggressively passionate delivery over a plugg beat acknowledging that he’s got a militant force in full effect ready to go to war for him while “Tailor Made” hooks up these wavy synth melodies & hi-hats talking about having the mind of a psychotic. “Levels 2” detours into pluggnb territory courtesy of Dylvinci delivering a sequel to one of the best cuts off the Spaz&B EP that is until “Backdoor” mixes some synthesizers & hi-hats talking about busting through the back entrance all for the bag.

Lastly, “All Black” featuring BabySolid recaptures the chemistry that made their collab tape GONE M.A.D for a dark plugg cut on their vampire shit while “8 Mile” has a more straight-up plugg groove daring these pussies to drop a diss on his squad. “Yung Killa Camp” shoots for a chilled out atmosphere taking 2 minutes out of his time to rep EBG while the pluggy “Get Wicked” looks to see what’s mobbin’ when he pops out. “Take a Risk” ties up his major label debut being more talking about risk taking over keys & hi-hats needing all the bread up front.

The deluxe has 9 bonus tracks & I’ll go over them right now. “Ace of Spades” starts with a distorted trap instrumental flipping everyone while the “Enough Ammo” remix featuring Young Nudy is actually superior to the original. “Glokk’$ on Me” goes head-on rage talking about having sticks on him while “See You Again” returns to the plugg sound making it clear that he ain’t even have to reload the Glock in his pocket.

“Open Cases” hops over ominous, sinister synth pads & lead melodies, skittering hi-hats & fast percussion & snare rolls detailing the gangsta lifestyle while the grisly “Good 2 Go” calls out those actin’ all hard when they really soft as shit. “How 2 Drive” talks about risking his life in East Atlanta over a booming beat while the trippy “Codeine Dreamz” featuring OsamaSon says it all. “4 Walls on an Island” ends the deluxe by rapping over the prison cell phone mixed with this cloudy instrumental.

The final installment of the Don’t Get Took Off trilogy solidified GL4Spaz as one of my 2 favorite artists in the evil plugg scene next to Smokingskul & the risks that he took on this album here will only elevate him to the next level. He continues to deliver lyrics from a gangster’s perspective whilst sonically refining the trap sounds & subgenres that he made waves off of

Score: 4/5

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Speshal Machinery – Self-Titled review

Speshal Machinery is a newly formed New York superduo consisting of Rochester emcee/producer & TCF Music Group founder 38 Spesh as well as Buffalo emcee, entrepreneur, Drumwork Music Group founder & my personal favorite of the Griselda Records roster Conway the Machine. These guys have worked with one another on numerous instances like “2 23’s” or more recently “Lalo”, but are looking to kicking things up a notch by coming together for an eponymous full-length debut album.

The intro sets it off with drumless organs so both MCs can trade the mic back & forth with one another excellently for about a minute & a half whereas “Latex Gloves” featuring Lloyd Banks goes for a groovier direction sonically talking about pushing weight. “Last Week” dives into spacey boom bap territory boasting that they were gone 3 days flat the week leading into “Been Through” featuring Elcamino finding the trio making it clear that people don’t know everything each artist has experienced up to this point over horns, kicks & snares.

The title track is sample-based boom bap heater talking about both of them being as rare form as they come just before “Fireplace” is more of a 38 Spesh solo cut lasting only a couple minutes ruggedly comparing the trap house to a place for domestic fire with an angelic loop on top of kicks & snares. La Maquina returns for the angelic boom bap single “Goodfellas” featuring Benny the Butcher so all 3 of them can air out those salty that they ain’t on their level, but then “Unruly” works some jazzy undertones into the fold explaining how disorderly they are.

“Made Bosses” draws near the end of Speshal Machinery’s eponymous debut by cooking up a luxurious boom bap ballad with Emanny on the hook boasting about the fact that both of them have made it in the industry & “We Outside” featuring Che Noir& Pharoahe Monch closes out the album in the form of a 3-minute soulful barfest.

TCF & Griselda have long maintained a mutual respect & prosperous working relationship with one another like I mentioned at the beginning, so it made since for Spesh & Con form a duo & drop a full-length album together because I’m positive that it’s a little bit better than the Pain Provided Profit EP that Conway dropped with Jae Skeese earlier on in the year. 38 Spesh’s production is stronger & he keeps up with the Drumwork founder on the lyrical end just fine.

Score: 4/5

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Planet Asia – “Sardines” review

This is the 24th full-length album from Fresno veteran Planet Asia. Emerging as 1/2 of the duo Cali Agents, he would also go on to have a very successful solo career & has made a lengthy yet consistent discography for himself. This includes The Grand Opening, The Medicine, the DJ Muggs-produced Pain Language, Abrasions, the Apollo Brown-produced Anchovies backed by Mello Music Group, the 38 Spesh-produced Trust the Chain, the Evidence-produced Rule of 3rds & more recently the Snowgoons-produced U.Z.I. (Universal Zeitgeist Intelligence) only last fall. So when it was announced that Apollo Brown was returning so he & Planet Asia could drop a sequel to Anchovies, that was more enough to go into Sardines with high anticipation.

After the “Bird Food” intro, the first song “Get the Dough Off” really opens the album with a drumless beat likening himself to a product pusher whereas “Panama Sun” featuring Detroit battle rap veteran Marv Won finds both MCs joining forces over a more sample-based instrumental admitting that their grind is deep rooted to the point where they can’t turn away. “Stones” continues to strip the drums once more in favor of strings making it clear he’s still in office like Castro that is until “Fly Anomalies” shoots for a darker approach cautioning not to be confused by the monsters.

The General Monks link up on “Wizardry” jumping on top of a flute so that both members Planet Asia & TriState of the Durag Dynasty can compare themselves to wizards with both of their pens just before “Jungle Juice” brings back the soul dropping some late night rugged shit. “Wide Awake” cooks up a more smoother beat painting exotic portraits of the 3rd dimension leading into the organ-laced “Acid Rain” featuring Sick Jacken asking who else is bringing they type of pain that they do.

“Peas & Onions” weaves a bare sample into time fold reminding that it’s self explanatory & that we all know what does while “Broad Dayin’” talks about how the game is fake like these Hollywood bitches’ upper-lips ties into more heavy sampling within the production. “’88 S-Curl” featuring another Detroit vet Ty Farris brings back the drumless vibes displaying a back-&-forth chemistry with each other while “Bazookas” shoots for a creepier atmosphere boasting that he’s firing missiles in the studio. “Can You Believe It?” ends the album with some jazzy undertones pledging allegiance to his region of humble beginnings.

If Planet Asia & Apollo Brown were looking to do Sardines better than when they put out Anchovies together 6 years ago, they could very well have just done that here. Apollo expands on the drumless/chipmunk soul sounds of the predecessor with some jazzier undertones this time around & the lyricism from not just King Medallions but even the 4 features all go harder than galvanized steel.

Score: 4.5/5

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Madd Maxxx – “Kaleidoscope” review

Madd Maxxx is a 38 year old MC from Brockton, Massachusetts notable for being a member of the Mission: Infect collective. He’s also released a couple full-lengths along with a mixtape & 5 EPs on his own, with the last LP being Where thx Wxld Thxngs Are back in 2016 & more recently the Halloween’s Over EP celebrating it’s 1-year anniversary this past spring. But when it was announced that Crossworm had signed Maxxx to Dirtcore Music, I was highly looking forward to hearing what was in store for his debut for the label & 3rd album overall.

After the intro, “The Culmination” is a ghostly trap opener to the LP speaking to the congregation whereas “Hell Yeah” has a more energizing atmosphere to it this time around talking about how there ain’t no limits until the finish. “Fuck Around & Find Out” dives into boom bap territory with a message directed at all of his detractors out there just before the woozy trap cut “I’m Still Here” acknowledges that he’s still rockin’ it in the underground wicked shit scene to this very day.

“B.L.G.B. (Bad Little Goth Bitch)” continues forward with a cool ode to all the goth bitches in the haughhh that is until “2Gunz” featuring Sleep Lyrical gives off more of a somber trap vibe instrumentally asking if anyone knows who they really dealing with. “IDK?” hooks up this unsettling loop & hi-hats talking about not caring or really giving any fucks leading into “Lovecraftian featuring Doc Gruesome, Lo Key & Samson Samson finds the quartet showing their appreciation for the titular horror subgenre over an occult beat.

Problemattik & 9 Millz both join Maxxx to tell everyone what “Life on Stage” is really like for them backed by a boom bap instrumental while “The Merry Go Round Broke Down” featuring Crossworm on the remix ruggedly points out the fact that he’s putting his life into this music shit for 2 decades at this point. “She Doesn’t Love Me Anymore” tugs at the heartstrings a bit on all fronts by discussing a breakup while the dusty “No Umbrella” tackles the themes of depression metaphorically standing in bad weather without an umbrella.

The song “Single Dad” profoundly starts the final leg of Maxxx’s debut on Dirtcore with a piano & a melodic vocal sample giving us a look to what it’s like for him to raise a son by himself while the penultimate track “The Only Life I Know” blends these rich chords & hi-hats together talking about how those who ain’t a part of his life already are all the targets. “1 More Show” featuring Reverend Television rounds out the LP in the form of a inspiring trap closer dedicated to all their homies that couldn’t be here with them today.

Of the 3 full-lengths that Madd Maxxx has dropped thus far, Kaleidoscope stands as my favorite in his whole entire catalog & it has me ecstatic for his future with Dirtcore in general. The skits with his son throughout are ironic if anyone couldn’t tell but it’s well-produced, the feature list is pretty tight & you get a more personal look at one of my favorite Mission: Infect members.

Score: 4/5

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