$weet-T – “Sweeten the Pot” review

Michigan rapper $weet-T quickly following up his full-length studio debut Sweet Talk with a sophomore effort. Introducing himself alongside $kid for the collaborative EPs Monkey Business & Fancy Off Fiends respectively, it wasn’t too long thereafter when Lando Bando signed him to The Hip Hop Lab Records & properly introduced himself with a debut album earlier this spring. Exactly 90 days have passed & the newest ShittyBoyz affiliate is looking to Sweeten the Pot up a little bit.

“Sweet Chaka” starts by peakin’ off the boomers in contrast to those wasting their lives on on the Meta Platforms-owned Instagram whereas “The Whole Pie” featuring Babytron & Brezden finds the trio excitingly trading the microphone back-&-forth with each other. “Peep the Receipts” produced by Danny G & Jakesand cautions that he’ll make anyone obsolete if he & the gang pop out while “Federal Offenses” featuring Certified Trapper makes another attempt at a back-&-forth chemistry although not as great.

$kid reunites with his partner in rhyme on “Otis” throwing it back to the Fancy Off Fiends era a little dismantling their competition leading into “Spot Test” talking about making the pot burst with all the pressure he has on him. “7 Horses” brings $kid back in the fold for 1 more collaboration that I like less than the first one just before “Nebuchadnezzar” references the Discovery Global subsidiary Cartoon Network owned [adult swim] hit series Rick & Morty.

“Seasick” featuring BandGang Biggs links the 2 up to talk about ballin’ in contrast to others barely gettin’ by while “Hot Potato” dismisses those with puny vocabs & making people think he went to a university the way he articulates himself. “Callin’” taps in with Carlo Anthony to talk about the money hitting his line while “Cape Cod” speaks of plugging people in with God & airing out a whole team of broads.

ScrumbleMan’s appearance on “Dionysus” is one of the weaker guest performances on the LP even with them trading verses with one another while “Money Mission” featuring J1Hunnit makes up for it with both labelmates talking about their assignment of getting the bread. “Merlin” boasts that he keeps a 45 auto tucked like he was fightin’ the fascists while “Knockin’” makes reference to both Flynn White & Huell Babineaux from my favorite shows Breaking Bad & Better Call Saul.

“Good Run” pushes towards the conclusion of Sweeten the Pot by referencing future WWE Hall of Famer, former 6-time WWE world champion & 4-time WWE Tag Team Champion Dave Bautista while “Filthy” featuring GlockBoyz TeeJaee kicks off with a nod to EMPIRE Distribution founder Ghazi Shami & later the 2004 NBA Finals MVP Chauncey Billups. Couldn’t forget to mention the line about the Paramount Skydance Corporation subsidiary Nickelodeon hit series SpongeBob SquarePants almost halfway.

J1Hunnit comes back 1 last time for “Block Party” with a bar out the gate referring to former 3-time WWE world champion, 5-time WWE Intercontinental Champion, WWE United States Champion, 3-time WWE Hardcore Champion, 3-time TNA World Champion, ΩCW Heavyweight Champion, 9-time WWE Tag Team Champion, ROH World Tag Team Champion, HoG Tag Team Champion, 2-time ΩCW Tag Team Champion, 2-time TNA World Tag Team Champion & The Crash Mundial Parejas Campeon Jeff Hardy.

If you’ve ever wanted a spiritual successor to Fancy Off Fiends in the sense that Danny G’s handling most of the production, Sweeten the Pot would be it except it’s the most exciting that $weet-T has sounded by himself. Jakesand & Carlo Anthony’s contributions behind the boards are all on par with Danny’s beats since they’re amongst the best in Detroit sound & even if the guests are a little 50/50, the flows that $weet-T hits us with still makes up for it.

Score: 4/5

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Earl Sweatshirt – “Voir Dire” review

This is the 5th full-length album from Santa Monica emcee, producer & singer/songwriter Earl Sweatshirt. Beginning his career in 2008 under the name Sly Tendencies as the son of Cheryl Harris & late poet Keorapetse Kgositsile, he posted a handful of tracks for a mixtape called Kitchen Cutlery on MySpace, but the tape would never be released to this day. Then he formed a rap trio with 2 of his friends called The Backpackerz & planned to release a mixtape together titled World Playground, but they disbanded sometime in 2009. Shortly after, he joined Odd Future & appeared on their 2nd & final mixtape Radical that May. 10 months later, he put out his only mixtape to date Earl with OF’s de facto leader Tyler, The Creator producing a bulk of it. The tape received a lot of buzz, but Earl’s mother would send him to a therapeutic retreat school for at-risk boys in Samoa sometime after until February of 2012. He was then granted his own Columbia Records imprint Tan Cressida Records & released his full-length debut Doris a decade ago to critical acclaim right before I started my junior year of high school for his clever rhyme schemes & the gritty production from The Neptunes to even the RZA. He then formed the duo Hog Slaughta Boyz with OF affiliate Na’kel at the beginning of 2015 & released his sophomore album I Don’t Like Shit, I Don’t Go Outside. a couple months after. Many of which consider to be better than Doris for it’s darker aesthetic. Some Rap Songs not only wound up being my favorite album of 2018, but also the best work of Earl’s career as I look at it as the bastard child of one of my all-time favorites album: Madvillainy. But after dropping a small handful of SRS leftovers in the form of Feet of Clay through a new distribution deal Tan Cressida signed with Warner Records & then his full-length debut on the label Sick! about 2 & a half years ago, Earl’s enlisting one of my top 10 producers of all-time The Alchemist to speak the truth hence the Voir Dire title after a decade of working together. Especially since Earl coined the Uncle Al nickname.

“100 High Street” opens the album with some strings, kicks & snares so Earl can talk about how it wasn’t easy even though he’s a grown man now reaping everything he’s sowed in whereas “Vin Skully” goes for a more sample based groove remembering the cold & shrugging ’til he was sore inside the crib with a better understanding. “Sentry” featuring MIKE works in a crooning loop dropping bars like “Freddie Hubbard sing through the acts, chop another piece off the branch. “Memories careen out the past, halt me to a screech in they tracks” or “You remember I’m feelin’ like Aubrey. There ain’t real n***a higher involved than me, I was there on a small façade. No need actin’ surprised when you call me”, but then “All the Small Things” has a more delicate sound talking about holding your breath.

The mellower vibes of “My Brother, The Wind” from the synths & melodic sample are incredibly soothing dropping wig-flipping bars like “My brother, like Sun Ra, we all need you. Godspeed You! Black Emperor” leading into the bluesy boom bap hybrid “27 Braids” showing off exactly how many brains he’s rocking nowadays & referencing becoming a father himself couple summers ago. “Mac Deuce” gives off a more lusciously shimmery edge instrumentally filling all the vacancies like the brightest star just before blissfully drumless “Sirius Blac” comes out swinging with “Roc Marciano told you it don’t last, get you a snack. Photocopies of my shit hittin’ the net, n****s is ass. I nicked my hand on a backboard glass, shattered it like Shaq” explaining that only big fish surround their pond.

The song “Geb” talks about being the man over a heavenly beat with the standout bar to me personally being “It’s on tuck like Doubtfire, close as a secret. My mouth shut ’til the bag wired then I release” while the penultimate track “Dead Zone” flirts with death to curve em & watch him work bringing in these lavish piano chords starting his verse perfectly with “Have the pull-out like a flatbed, get it cracking like cueballs. Plastered on the wall like a fathead in a pool hall”. “Free the Ruler” couldn’t have been a better choice for a closer from the soulful chops to the lyrics talking about how “it’s not normal, but I swear this shit is regular”.

The streaming version of this LP contains 3 bonus cuts & I’ll go over them right now. “Heat Check” starts things off with heavy synthesizers admitting that he couldn’t cope with the dope fiend shit looking to leave on the highest note, but the remaining 2 both feature Vince Staples interestingly. The first of which “The Caliphate” goes for a cloudier sound getting on their abstract shit lyrically & the other “Mancala” concludes the bonus track portion of the album with pianos as Earl confesses he’d be remiss to try & go at least without a blick ’round him.

Despite the fact that Sick! is widely considered to be the uknowhatimsayin¿ of Earl’s discography, my expectations were already very high going into Voir Dire as someone who’s been listening to him since the Odd Future days & it is without a shadow of a doubt that it’s the best thing he’s done since Some Rap Songs. It will also go down as one of the best albums of his career & the strongest of the 3 projects we’ve gotten from him since the Warner deal. I literally have no complaints about it whatsoever from Al’s drumless jazzy production to the intricately abstract wordplay that Earl is known for.

Score: 5/5

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Bermuda Yae – “The 5th” review

This is the full-length debut album from Atlanta, Georgia up-&-comer Bermuda Yae. Making his presence known by dropping 3 EPs & a couple mixtapes, this would all lead up to the immensely talented South Carolina producer/recording artist Pi’erre Bourne signing Yae to his own Interscope Records imprint SossHouse Records. And considering that Pi’erre’s began a run producing albums for the artists he’s signed after putting out his critically acclaimed Grails EP this past spring, but Bermuda Yae is pleading The 5th & becoming the 3rd SossHouse artist to introduce himself on an LP of his own after both J Billz & Kura respectively.

“Tomato” starts off Yae’s very first album with a spacious trap instrumental thinking of a masterplan whereas “Back in Dis Bitch” takes a bass-heavier approach talking about his return to the scene of course. “One of Dem” confesses to being one of those dudes with a wavy, booming quality to the beat just before “Reminisce” gives off a more delicate vibe sonically in order for him to reflect on the lyrical side of things.

Meanwhile, “South Dekalb” works in a rubbery bass-line describing the southern party of the titular county in Georgia leading into the airy trap cut “Boosie” paying homage to the titular Pimp C protege from Baton Rogue. “Einstein” on the other hand keeps the rattling bass & hi-hats in tact to talk about having a lightbulb go off in his head, but then “So Fly” gives off a lively feeling this time around obviously lacing his lyrics with braggadocio if you couldn’t tell by the title.

“Big 4” almost had a rage-inducing quality instrumentally looking to beat the block while “4 Life & Kites” shoots for a woozier aesthetic acknowledging that he’s already known about people not saying shit in their lyrics or copying him blatantly. “Freak Nik” has one of the quirkier instrumentals on the album & more sexually charged subject matter while “Fuckumean” can talk about him going crazy over these paired set of strings & hi-hats.

Pi’erre cooks up a more suspenseful vibe on “Wild Wild East” painting a picture of what it’s like to grow up in the Eastside of Atlanta, Georgia while the inebriating “John Deere” talks about rolling with no one but by his lonely. “Headphones” should’ve been combined into 1 instead of being split in half with the beat starting with some cheerful synthesizer melodies & hi-hats prior to swapping the synths out in favor of a shimmery backdrop advising to put on headphones for this particular cut, but “Preciate Y’all” is a cloudy finisher thanking everyone for sticking by him up to this point.

It makes me happy to see Pi’erre finally giving Bermuda Yae a chance to shine much like how when he produced both Streetz Hottest Young’n & Born Seditionary only a couple months ago. Similar to both of those debut albums, we get a closer look as to who Yae is both artistically & personally except each of the 3 introductory LPs have their own story & the production from his mentor is leagues better than those early EPs/mixtapes.

Score: 3.5/5

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Soul Assassins – “Soul Assassins III: Death Valley” review

This is the 5th full-length album from West Coast-based hip hop collective the Soul Assassins. Founded in 1992 by DJ Muggs, their debut Chapter Iwould become a bonafide classic & would follow it up with the equally solid II. This was followed up almost a decade later with Intermission & another 9 years later when they got back together on Dia del Asesinato. But coming fresh off producing a plethora of albums for a wide range of different artists, Muggs is looking to close out the trilogy that began Chapter I & pick up where II left off by taking everyone to Death Valley.

After the “Time Has Come” instrumental intro, the first song “It’s On” by Boldy James sets it all off talking about how he & the Concreatures bleed the block over a lusciously groovy beat whereas “Check In” by Jay Worthy gives off a more blaxploitation inspired sound as he flexes the chess moves he’s been making. “Sicilian Gold” by Ghostface Killah & Westside Gunn gives off a more triumphant vibe so Starks & the FLYGOD can brag about their drip, but then the piano-heavy “67 Keys” by Meyhem Laurenas well as Roc Marciano & Rome Streetz finds the trio getting in their coke rap bag.

After the “Mr. Cartoon” interlude, “Joker’s Wild” by CeeLo Green shifts into boom bap turf taking pride in being Chicano just before “Shell Casings” by T.F goes for a darker atmosphere advising that those who try to play hero will get shot. “Street Made” by Freddie Gibbs & Scarface weaves more kicks & snares into the fold talking about being made by their respective hoods that is until “Where We At” by Boldy James gives off a drumless edge this time basing the subject matter around one of his most famous adlibs.

“We Ain’t Playin’” by Jay Worthy, T.F & 2Eleven returns to the boom bap declaring that they ain’t fuckin’ around whatsoever while “Burn the Playbook” by Domo Genesis & Evidence sees the pair over more kicks & snares with a cloudy backdrop promising to never run slow. After the “Majik” interlude, “Crazy Horse” by Crimeapple & Roc Marciano strips the drums once more spitting their signature gangsta raps while the lead single “Metropolis” by Method Man & Slick Rick hooks the kicks & snares back up reminding that they can’t be touched lyrically all these decades later.

To start the final leg of the album, “We Coming for the Safe” by Boldy James is an eerie way to do it of course talking about breaking into safes while the track “Skeleton Bones” by Rome Streetz further demonstrating himself to be gave of the most skilled pens in the game currently by dropping lyrical acrobatics. And prior to the outro, the final song “Dump on’ Em” by Cypress Hill alongside former N.W.A members Ice Cube & MC Ren ends the 26 year trilogy with a beat kin to Cypress Hill IV repping the west coast.

Already over 3 decades since the Assassins have been around albeit over a quarter of a century since they started dropping music & 5 years after returning from a near decade-long hiatus with Dia del Asesinato, there’s not a single shadow of doubt in my mind that Soul Assassins III: Death Valley couldn’t have closed out the trilogy any better. The guests are well-balanced between hip hop veterans & of the biggest names in the underground currently as they all come together to destroy mics in their own fashion backed by Muggs’ distinctly raw production.

Score: 4/5

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Cabal – “The Pit” review

This is the sophomore full-length album from horrorcore supergroup Cabal. Consisting of Bukshotas well as Lo Key & Mr. Grey, the trio have all worked with one another individually up until a couple summers ago when MIKE SUMMERS a.k.a. 7 got behind the boards throughout the duration of their debut The Watchers. This would send shockwaves within the underground wicked shit scene & would really be the beginning of Mobstyle Music’s takeover, so for them to return 3 years later to take us into The Pitwas something I was looking toward to.

After the titular intro, the first song “Eidolon” is a dementedly uncanny trap opener about the trio waiting in the darkness whereas the piano-driven “1 Dark Night” recalls the events of a fatefully dark evening that occurred long ago. “Diamond” goes for a more uncanny atmosphere boasting that they went from horrorcore artists to being Gods within the subgenre prior to the sonically uneasy “Obey” advising to succumb to them.

“We Come in Peace” goes for a cavernous trap vibe explaining that they come with the message to be taken to the leader of this world they’ve stumbled upon & after the “Chamber” interlude, “All Rise” morbidly calls for everyone to demand their gratitude to the trio. “Philistine” delves deeper into the most misunderstood people in the ancient world over a ghostly trap beat just before the atmospherically ghoulish “Nightmar3” talks about declaring themselves as nightmares personified.

However, “Coming with Me” looks to take every last person with them showing no mercy & a beat that makes you feel like you’re listening to a horror movie on wax leading into “The Signal” pulling from trap once more talking about being world eaters. After the “Swallow” interlude, “Fire from Beyond” hooks up an apocalyptic loop & hi-hats promising that everyone will fall while “Forest Lights” draws inspiration from boom bap talks about the end creeping towards them.

“The Curse” bleakly details the curses that chase them explaining they don’t see a reason why to fight for their souls back anymore, but then the final song “Wizard of Saws” preludes the “Skulls” outro & finishes Cabal’s sophomore effort in the form of 1 last horror-inducing trap cut pointing out how their hearts be as cold as the winter season justifying that the trio’s reign of having the wicked shit in a headlock is only growing stronger.

The Watchers quickly became a modern day horrorcore classic when it was unleashed to the world a couple years ago so it was announced on the Berzerkers’ eponymous debut EP last summer, I was excited for all 3 of them to take it to the next level & that’s sure enough what they do here. 7’s masterfully dark production is being taken to a new level as is the chemistry between the members of Cabal themselves & the hardcore, gritty lyricism.

Score: 4.5/5

Autumn! – “Midnight Club” review

This is the 4th full-length album from Louisiana rapper, singer/songwriter & producer Autumn!. Emerging off of 19 EPs & a full-length debut on SoundCloud since 2018 prior to signing to Victor Victor Worldwide & Republic Records after the Not Much Left EP, he made his major label debut last spring with his sophomore effort Antagonist! as well as following it up with ##B4GC2 & Golden Child 2. However, he’s coming off ##B4GC3 & of course Golden Child 3 by dropping Midnight Club holding fans off until a sequel down the road.

“2 Chrome Necklaces!” is a wavy trap opener discussing his lifestyle & essentially serving as a peace offering to Yeat after they’ve been beefing for the past couple years whereas “Cocaine Diamonds!”takes a more euphoric route instrumentally talking about disappearing & reappearing like David Blaine. “She Say He Say!” however comes through with a trippy loop & hi-hats making it known who the flyest & realest couple in the game is, but then “Black Truck Greeters!” goes on to drop braggadocio over some punky drums & auto-tuned vocals.

To start the 2nd leg of the album, “Some of My!” works in some hi-hats & a shredding guitar riff getting in depth about a few of the bitches he’s had in his life that is until “Just Like Me!” details how the main woman in Wick’s life is similar to him in many ways with some cool rage undertones. “Abloh!” is the long-awaited tribute track to the iconic Off-White founder, Louis Vuitton artistic director & DONDA creative director Virgil Abloh going into more piano-driven turf leading into the atmospheric “Faith!” exploring how Twinuzis’ girl wants him to put his actual faith in her.

“Biggest Flaw!” gives off a syrupy, mellow flare finding out what’s going on in this woman’s head just before the poppy, cloudy “Chanelly & Birkin!”confessed that he’s found the perfect one for him. “4GSeller!” delving more into his lifestyle paying homage to the clothing store in New York until “Survive the Fall!” fuses elements of trap & rock to close out the album by declaring this his last call & having thoughts of suicide.

Golden Child 3 was a great conclusion to the trilogy that introduced me to Autumn! in the first place & the best full-length LP in his catalog yet. However, Midnight Club is right behind it without question. Wick’s ever-so stunning production is gradually evolving more & not only is is songwriting catchy, but so are his catchy vocal performances as he takes us through the way he lives. Twinuzis really went back-to-back in 2023 in only 5 months.

Score: 3.5/5

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NEMS – “Rise of the Silverback” review

This is the 4th full-length album from New York emcee NEMS. Coming up in the battle rap circuit, he would go on to have a brief stint with Psycho+Logical-Records in the late 2000’s before dropping the debut Prezident’s Day under Creative Juices Music back in 2010. This was followed up almost 9 years later when he & JAZZSOON teamed up for the damn near flawless Gorilla Monsoon, but the follow-up Congo received more mixed results despite it’s highlights like “Wow” & “Cousins”. But after signing a joint deal with Paul Rosenberg’s very own Goliath Records alongside distribution from Virgin Music earlier this summer, NEMS is returning to have Scram Jones fully produce Rise of the Silverback.

After the “Ascenscion” intro, the first song “Pussy” is a gully boom bap opener directed at all the bitch boys out there whereas the title track featuring Sheek Louch works in some Godzilla-esque horns as well as these kicks & snares talking about putting bullets in your mouth. “Drip” goes for a more cavernously shrilling boom bap route boasting how he got exactly that just before “Blicky” shifts gears into orchestral-trap turf paying ode to the heat.

“Demon” featuring Gunplay has a more chaotic loop with some hi-hats talking about not giving a fuck & quite possibly the most repetitive hook on the LP, but then “Don’t Ever Disrespect Me” featuring Ghostface Killah finds the 2 returning to the boom bap cautioning to never go against them. “Keep On” blends some pianos, kicks & snares looking to always move forward no matter what by telling his story leading into “Hold That” turning back into trap territory getting raunchy lyrically. Probably the weakest track on the entire album in my opinion with all respect to the Fuck Ya Lyfe General.

To begin the last leg of the album, “Gorilla on Your Back” weaves a boom bap instrumental with a gospel choir sample into the fold calling out your dreams being gone because you kept chasing dragons while “No Face” featuring Fat Joe keeps the organs, kicks & snares in tact talking about keeping it litty. The penultimate track “Dirt” featuring Peedi Crakk sees the pair hop on top of a flute-tinged trap beat declaring to be dirty dickheads & NEMS ties everything up aptly by firing “Missiles” over an eerie boom bap instrumental.

Considering NEMS’ popularity on TikTok almost reaching 1M followers on top of Eminem’s manager giving him a record deal & having Scram Jones produce his major label debut, my expectations into it were EXTREMELY high. Lo & behold: Rise of the Silverback is up there with Gorilla Monsoon for his finest body of work to day. Scram’s production balances boom bap & trap in a way I felt Congo lacked, the feature performances are more consistent & the Coney Island emcee doesn’t miss a step with the pen.

Score: 4.5/5

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Hardrock – “1of1” review

This is the 3rd full-length album from up-&-coming Atlanta, Georgia recording artist Hardrock. Getting his start over 2 years ago off his debut EP Y.N.S. (Young N***a Shit), he would continue to build up anticipation by delivering 6 more EPs ahead of the commercial debut LP Next! & the breakout sophomore effort 808 Speaker Knockerz. The latter of which contains some of his best tracks to date like “H.Y.L.M.N.? (How You Like Me Now)”, “Madonna”, “New WRLD” & “Luigi Mansion”. So when 1of1 was announced out of the blue merely days ago, one could only go into it expecting him to take his potential to new heights.

“poet” starts the album with a drumless string instrumental declaring himself as exactly that whereas “bleh” was not only the perfect choice for a single, but it’s another one of Hardrock’s best songs to date from the synth-heavy instrumental to the lyrics about being as rich as Dallas Mavericks owner Mark Cuban & how everyone he knows loves to smoke weed. The title track works in a whistling trap beat discussing his uniqueness, but then “marathon” goes for a more futuristic direction with Cxdy of Internet Money Records’ help talking about not going down & running this money.

The luxurious piano chords & hi-hats throughout the DJ Phat hosted “kickdoors” are an ear-worm as he looks to slide through & wet your shit up just before “darkness” has this retro video game-inspired loop with hi-hats & sub-bass talking about chasing his shadows. SahBabii delivers the album’s only feature on “jansport” despite it being ok compared to the mellow ass instrumental & Hardrock’s own performances leading into “WA\VE” becoming another show-stealing moment much like “bleh” except he makes it clear he don’t have smoke with nobody over an off the wall rage beat from both BNYX & F1LTHY of the Working on Dying collective.

“eye to eye” goes for a hazier vibe produced by Nosaint from Vanguard Music Group admitting that he thought he was on the same page as someone else until he was sadly mistaken while “promises” is yet another highlight by making a 180 as ReidMD brings in a joyful synth lead & Hardrock pulling off the same remarkable vocal utilizations that made 808 Speaker Knockerz so special to me. “not afraid” confesses he has no fear of death whatsoever over some solemn chords while the trillwave-inflicted “range/era” admits he doesn’t think this is love.

To start the final leg of the album, “outofplace” has a bassy albeit cloudy beat owning up to his wrongdoings while the song “barry” pulls from dance music a little bit sonically talking about being up in this bitch even though he’s still slimy. The penultimate track “complicated” with 1 more airy pop rap cut revisiting the theme of what doesn’t feel like genuine love & “penny” serves as a nocturnally cloudy closer talking about a codeine dream he had that must be rooted in some meaning.

808 Speaker Knockerz was a fantastic introduction to Hardrock for a lot of people including myself & 1of1 continues to expand on the potential that he showed everyone last summer on the same pedestal. The production incorporates elements of pop rap into the cloudy trap sound of the last album with the rage/plugg undertones still in place, his songwriting is continuing to improve & the way he regularly switches up is incredibly distinct.

Score: 4/5

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Mick Jenkins – “The Patience” review

This is the 4th full-length album from Chicago, Illinois emcee Mick Jenkins. Getting his start as a member of the YCA collective, he would eventually breakout in 2014 with the release of his GoodTalk Records-backed 3rd mixtape The Water(s) followed by his debut EP Wave(s) & the commercial debut The Healing Component. His next 2 albums Pieces of a Man & Elephant in the Room were both released to more mild reception, but I still went into Mick’s official RBC Records debut The Patience hoping it would become the strongest LP in his catalog.

“Michelin Star” is a lavish opener to the album by Mick providing genuine words of wisdom whereas “Show & Tell” featuring Freddie Gibbs dives straight into boom bap territory with a string sample talking about how they had to proving the doubters wrong in front of their very eyes. “Sitting Ducks” featuring Benny the Butcher works in an uncanny loop with more kicks & snares saying they keep that flame with them sans the propane leading into the calming lead single “Smoke-Break-Dance” featuring J.I.D talking about puffing on that good shit.

Meanwhile, we have Mick returning to the boom bap on “007” making it clear that he fucked around & found a way out just before “2004” works in some heavy synths talking about being around the same people as he was 2 decades ago. “Roy G. Biv” produced by Beat Butcha psychedelically puts a unique spin on the concept of the acronym for the sequence of hues commonly described as making up a rainbow, but then “Pasta” takes a more atmospheric route talking about how all he sees is imposters.

The song “Farm to Table” featuring Vic Mensa goes for a mellow boom bap vibe finding both Chi-Town natives boasting that they keep baddies on their arms & they’re not bitches at all while the penultimate track “Guapanese” is a jazzy drumless crossover pointing out how money talks in a distinctive fashion. “Mop” ends the album by endless mopping his flows over a crooning loop & a bass guitar courtesy of FNZ.

I’ll admit that it’s been a few years since I’ve covered Mick’s music, but The Patience is quite possibly the most mature LP in his catalog thus far. The production is rooted in the stylistic jazz rap sounds that we’ve come to know him for, the features all have perform more consistently than Elephant in the Room & you can genuinely hear the frustration with the process of progression in his voice for the half hour duration.

Score: 4/5

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Russ – “Santiago” review

Russ is a 31 year old rapper, singer/songwriter, producer from Secaucus, New Jersey who dropped off a total of 11 mixtapes on SoundCloud until signing to Columbia Records a couple years later & made his full-length debut in 2017 off There’s Really a Wolf. Quickly becoming one of hip hop’s most polarizing figures in recent memory in the process by being a “fake activist” against drugs & then there’s his infamous 2016 interview with DJ Vlad the culture vulture where he literally said “we need to blame producers for all the wack music today”. His 2018 follow-up ZOO kinda caught my interest due to “The Flute Song”, but the end result of it being taken over by this annoyingly bitter demeanor. Shake the Snowglobe was slightly better & his debut EP CHOMP ended up being his best work so far although it’s because the features & producers carried. Funny enough, the same thing happened on the sequel & more recently the Chomp 2.5 EP this past spring, but is preluding the final installment of the trilogy with a 4th album.

“See You Soon” sets the tone for what’s to come with a half-baked, dreamy R&B ballad promising the woman he loves that he’s gonna see her sooner than later whereas “Smooth” works in a glistening boom bap beat talking about being connected to the truth even though bars like “We in Paris like we spoke French” is kinda cringe. “Fraud” shoots for a more stripped-back sound confessing that he’s lost just before “No More” keeps the acoustics in tact hideously singing about not wanting to cry anymore.

Moving on from there, “Empty” continues to delve further with the wimpy melodic performances over a self-produced guitar lead & hi-hats telling us that’s exactly how he feels inside leading into “I Love You Boy” swaps out the hi-hats for kicks & snares encouraging to run before they kill you referencing former UFC Women’s Flyweight Champion Valentina Shevchenko. “Enough” goes for a more sample-based sound feeling recharged & assured that he’s enough, but then “Adventure” starts off with more stripped back guitars talking about he’s not lost & the boom bap switch-up during the last minute or so was an unexpected surprise.

“Oasis” tackles the idea of being in his own refuge over a cloudy instrumental while “Fatima” whips up another trite pop rap ballad with decently bluesy beat. The song “Distracted” incorporates more synthesizers melodically refusing to let anything distract him while the penultimate track “Tunnel Vision” talking about priding oneself over a summers instrumental. “The Wind” though happens to be a 5-minute, hazily-produced closer consisting of him discussing needing his ultimate focus.

I stand by what I said in my CHOMP 2.5 review that that he’s trying to improve himself both artistically & personally, continuing to hope for that down the road. However, I came away from Santiago liking it less than the EP he dropped few months ago. I appreciate how he represents his mental, spiritual, physical & emotional journey to his treasure on here by getting more in depth as to exactly what his treasure is on top of his production showing some improvement. That being said: His songwriting is still mediocre at best & the vocal performances at times (particular his singing) fall flat in my opinion.

Score: 1.5/5

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