Bizarre – “Don’t Cross the Street” review

New studio LP & the 10th overall from Detroit, Michigan emcee Bizarre. Emerging as an original member of D12 led by the late Proof, he was also among the first in the crew to put out solo efforts with his 1998 debut EP Attack of the Weirdos being a hometown classic in my eyes. Fast forward 7 years later, Biz followed it up with a worthy full-length debut Hannicap Circus & has continued to put out music on his own since. The Foul Mouth-produced He Got a Gun has since become an entire series of it’s own spanning 5 entries, coming off Basement Jazz to switch things up for Don’t Cross the Street.

After the intro, “Amityville” takes it all the way back to the Dirty Dozen’s stomping grounds accompanied by a boom bap instrumental whereas “Rise Up” continues from there with a 2-parter produced by Blizzard containing a dusty start unloading the shock value hardcore raps he’s known for & a trap switch up accompanied by an uncredited guest verse from a female rapper. “Garlic Sauce” featuring 1 Be Lo however makes up for it having both of them aggressively boasting their penmanship.

“Mercy” brings a more somber beat to the table advising everyone to stay their asses on the other side of the street just before “Get That Doe” featuring Trizz finds the pair joining forces for money making anthem instrumentally treading funkier territory. “Brightmoor” featuring Bareda & Dave Hill has the trio representing the neighborhood of the same near the northwestern border of the city while the title track featuring Chyna Baejing & Northside Lord grimly gets in their hardcore bags again.

The song “Beans” spends 120 seconds talking about always been a spot worker instead of a drug dealer & consuming a bunch of narcotics while “Sunday School” featuring Cory Gunz dismantles any opponents in a battle over a symphonic boom bap beat. “Blinking Light” featuring Dango Forlaine, D-Noe, Lokye, J-Classic, Nolaj & Tru Klassick concludes Don’t Cross the Street with a 6 & a half minute Motor City posse cut where Dango, Lokye & J-Classic deliver the hardest verses of the 7.

Some people have claimed that my appreciation for the He Got a Gun saga was ragebait when I really think it’s some of the best material Bizarre has done by himself, but Don’t Cross the Street doesn’t hit as hard mainly due to only a few guests punching under their weight midway through & Blizzard’s half of the production outshining Big Shaady’s despite appreciating both of them demonstrating their ability to create an entire sound together.

Score: 3.5/5

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Blizzard – “Devilish Killer” review

This is the 2nd EP from Detroit, Michigan producer & rapper Blizzard. Aside from the 3 instrumental projects he’s already put out, his 2021 full-length debut from the Yung Fam Mafia co-founder Duel with Death had a few moments where the Middle Finger Music in-house producer hopped on the mic in contrast to letting a cast of guests handle the performances & Iron Tiger of Shaolin capitalized more on that last spring. A whole year later & Devilish Killer looks to take it a few steps further.

After the intro, the self-produced title track compares himself to the nuke following a 25 kill-streak in Call of Duty: Modern Warfare 2 whereas “Shadowboxing” carries over the boom bap vibes talking about catching hands or the blade from him. “Midas” observes those tryna get on his same level when it’s a difficult within itself & after Foul Mouth chops up a soul sample for “Deadly Venom” talking about being a walking guillotine, “The Executioner” closes the EP by grabbing the sticks & tearing shit up.

Iron Tiger of Shaolin was the most we’ve ever heard Blizzard on the MCing side of things & instead of fully producing Devilish Killer all by himself, he takes a backseat from behind the boards except for a couple songs & holds the fort on his own disregarding the need for any features to hone in deeper on his lyricism. The sample-lenient boom bap production is still there, but it’s refreshing to hear him at his best as a performer & I’m happy he’s showing this side of him more.

Score: 4/5

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Blizzard – “Duel with Death” review

Blizzard is a 29 year old artist from Detroit, Michigan notable for co-founding the Yung Fam Mafia back in 2007 & more recently becoming an in-house producer for Middle Finger Music a little while after it’s inception. But to celebrate his born day, he’s treating fans to a full-length debut showcasing his production skills & bringing along a promising lineup of local MCs.

After the “Tao of Death” intro, the title track by Aztec the Barfly & Kid Vishis starts the album off with some angry battle bars on top of dusty drums & a haunting soul sample whereas “Flying Guillotine” by J-Classic & Ty Farris eerily proclaims themselves as the last of a dying breed. “Barrage of Tigers” by the Twin Towers vaingloriously stomps at their opposition’s necks leading into an operatic instrumental being worked in on “8 Gates” for Big Herk, Hatch Wiseguy & P.L. to talk their shit.

Meanwhile on “Lotus Leaf”, we have Blizzard taking things into a jazzier direction as A-Minus & Finale to talk about letting the hate in their hearts go just before the piano-tinged “Drunken Boxing” by Bang Belushi & Vstylez speaks on holding it down for their city. “Konichi Death Squad” by C.R.I.M. & Miz Korona brings in some horns to quench for blood, but then “Pray 4 Death” by Spoda uncannily gets on his ignorant shit.

The song “Praying Mantis” by 2 Door Coupé has a bit of a chipmunk soul flare reminding everyone that Middle Finger Music is taking over the game while the penultimate track “Slummz” by Guilty Simpson briefly but powerfully details what it’s like in his hood. “Like Water” by Isaac Castor & even Blizzard himself then finishes the album off on some spacey boom bap shit saying this ain’t for amateurs.

Of all the producer album that I’ve heard this year, I think Duel with Death could very well be the best one of them all. I love that Blizzard demonstrates his versatility behind the boards & how he brought in everyone from the OGs to the newcomers to let them do what they do best on the mic.

Score: 4/5