Conway the Machine – “You Can’t Kill God with Bullets” review

Brand new LP & the 5th overall from Buffalo, New York emcee Conway the Machine. Blowing up a decade ago as part of the 3 OGs of Griselda Records alongside his brother Westside Gunn & their cousin Benny the Butcher, the trio have had hip hop on lock ever since their arrival by their constant work ethic balancing quality & quality as well as vividly detailing their lives in the streets. Con’s full-length debut From King to a God was my Album of the Year for 2020 & the Shady Records-backed sophomore effort God Don’t Make Mistakes is the most personal he’s ever been. Last we heard the Drumworm Music Group founder by himself was S.F.K. (Slant Face Killah), marking his Roc Nation Records debut with You Can’t Kill God with Bullets.

“Lightning Above the Adriatic Sea” produced by the J.U.S.T.I.C.E. League after the “Gun Powder” intro talks about this being the musical equivalent to the Super Bowl whereas “B.M.G. (Black Man is God)” goes for a soulful boom bap vibe thanks to Sndtrak so he can discuss African American excellence. “Diamonds” featuring Roc Marciano references former WWE Intercontinental Champion, WWE United States Champion & 2-time WWE tag team champion Carlito over a Conductor Williams beat while “Hell Let Loose” featuring Tony Yayo admits that being called names doesn’t mean shit to them.

Timbaland’s instrumental on “Crazy Avery” was fortunately better than I had initially expected it to be due of his recent AI shenanigans talking about his mind being deeper than the deepest river just before “The Painter” reunites with Daringer breaking down all the problems others don’t need in their lives. After the “Undying” interlude, “Nu Devils” featuring G Herbo takes the trap route courtesy of both araabMUZIK & Beat Butcha spittin’ that gangsta shit together while “Otis Driftwood” talks about him getting better with time over a JR Swiftz beat.

“Mahogany Walls” continues the 2nd half promising that Drumwork will reign for all of eternity bringing Conductor’s lo-fi boom bap sound back in the fold while “Parisian Nights” takes a moment to celebrate success over an E. Jones instrumental with chopped & screwed vocals at the backend of it. The lead single “17.5” goes for a drumless direction stylistically using the pen to paint imagery of the gangsta lifestyle while “Attached” featuring Lady London talking about the future being nonexistent when you’re living in the past.

Apollo Brown chops up a soul sample throughout “Never Sleep” adding some kicks and snares into the picture, asking God to forgive him for his foul ways while “Hold Back Tears” talks about the feeing of losing someone in your life that was close to your heart. The Alchemist strips the drums 1 last time during “Organized Mess” detailing the life money has brought him for the past 10 years & the closer “Don’t Even Feel Real (Dreams)” sends it all off on the soulful boom bap tip talking about his success being surreal to him.

Conway taking more time with You Can’t Kill God with Bullets than he did Won’t He Do It & S.F.K. (Slant Face Killah) was a very smart idea in my opinion because as much as I love both it’s predecessors, I can certainly tell you that this is the most I’ve enjoyed an album from him since God Don’t Make Mistakes. He takes a relatable approach to songwriting relating to whatever many are doing in life whether be celebrating, dating, lost someone special or struggling with mental health all whilst maturing the feeling of Reject 2 & G.O.A.T. (Grimiest Of All-Time).

Score: 4.5/5

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Conway the Machine & Ransom – “Chaos is My Ladder 2” review

This is a brand new collaborative LP between Buffalo, New York emcee/entrepreneur Conway the Machine alongside Jersey City wordsmith Ransom. One of whom came up with his Hall ‘N Nash cohort Westside Gunn as well as Benny the Butcher as Griselda Records’ core 3 artists & the other started as 1/2 of the A-Team except he much like Benny saw renewed interest in their careers when 38 Spesh signed them to TCF Music Group for a period of time. Both of these guys have collaborated with each other previously on “Stab Out” off Conway’s 3rd album Won’t He Do It & are teaming up for a sequel to Ransom’s 5th solo album Chaos is My Ladder produced by V Don, who’s staying behind the boards on the follow-up.

“A New Day” gets the ball rollin’ by hopping over a guitar & organs bringing the chaos together for roughly 3 & a half minutes whereas “Limitless” aggressively talking about making sure everything they do is past the point of having any limitations. “Photo Bomb” works in pianos to discuss everyone over the age of 40 making party anthems calling those lil gangbangers Childish Gambinos just before the boom bap-laced “Shell Fish” wanting to know who else brings the chaos like they do.

Meanwhile on “Mid Life Crisis”, we’re treated to the first of 2 Ransom solo joints soulfully talking about not stopping the party & continuing to celebrate for him just before “Commandments” eerily declares that they can’t fuck with them since they got too much hustle. After the “Anarchy” interlude, “Born Again” brings a soulful trap flare to the table stressing out thinking of their homies who ain’t here while “Higher Killer” featuring Lloyd Banks was a murderous choice of a single. “Nefarious” by Ransom ends Chaos is My Ladder 2 basing it on Outwitting the Devil by Napoleon Hill.

Chaos is My Ladder almost 2 years later has to be one of my favorites in Ransom’s entire discography, so the sequel here had me anticipating it as much & him linking up with Conway the Machine makes it a step above Pain Provided Profit with Jae Skeese & on par with Coup de Grâce with Rome Streetz as one of the best collab efforts from either one of them. V Don’s production remains consistent as it was on the predecessor, allowing the 2 east coast artists to elevate their chemistry.

Score: 4.5/5

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Conway the Machine – “S.F.K. (Slant Face Killah)” review

Buffalo, New York emcee Conway the Machine is back with his 4th LP. Blowing up in late 2015 as part of the 3 OGs of Griselda Records alongside his brother Westside Gunn & their cousin Benny the Butcher, the trio have had hip hop in a headlock ever since their arrival by their constant work ethic balancing quality & quality as well as vividly detailing their lives in the streets. Con’s full-length debut From King to a Godwas my Album of the Year for 2020 & the Shady Records-backed sophomore effort God Don’t Make Mistakes is the most personal he’s ever been. Won’t He Do It just celebrated it’s 1-year anniversary last weekend & coming fresh off the Conductor Williams-produced Conductor Machine from last winter, Won’t He Do It 2 is now being scrapped in favor of S.F.K. (Slant Face Killah).

After the “Despertar” intro, the first song “Mutty” featuring Stove God Cook$ is a dusty boom bap opener produced by Conductor Williams explaining that those who fucked with them ain’t here to talk about it whereas “Give & Give” takes the soulful route instrumentally thanks to Cool & Dre needing something to hold on to. “Milano Nights, Pt. 1” works in some pianos, kicks & snares to break down overcoming all trials & tribulations just before “Kin Xpress” featuring Larry June psychedelically strips the drums talking about being unfuckwitable.

“Meth Back!” featuring Flee Lord, Method Man & SK da King brings the quartet together returns to the boom bap thanks to Daringer talking about this being a stickup leading into “Ninja Man” going into a luxurious direction courtesy of Swizz Beatz addressing those out here who stay talking. Joey Bada$$ joins Conway for the grimy 2nd single “Vertino” with Camoflauge Monk & Sadhugold behind the boards boasting how raw they are, but then “10 / Rya” featuring Key Glock is this 2-part trap joint that Don Cannon laced talking about being on 10.

“Dasani” throws these pianos & hi-hats into the picture talking about having this bitch running while “Raw!” featuring Tech N9ne finds Cardo pulling inspiration from the Memphis scene boasting their lyrical ferocity. “Surf & Turf” featuring Ab-Soul, Jay Worthy, T.F & 2-11 brings everyone together for some jazzy gangsta shit referencing WWE Hall of Famer, former 6-time WWE Champion, 2-time WWE Intercontinental Champion, 2-time WWE United States Champion, 5-time WWE Tag Team Champion & NWA World Tag Team Champion Stone Cold Steve Austin while “Karimi” comes with a hazy boom bap flare talking about wanting the bread. “The Red Moon in 大阪” ends the album with climactic closer produced by The Alchemist including a bar referring to the Los Angeles Dodgers’ designated hitter/pitcher 大谷翔平.

Won’t He Do It had its high points despite not being one of my favorite projects in Con’s discography, but what was supposed to a sequel tot get previous LP we got from La Maquina over a year ago makes improvements in the departments where it was lacking. The production is a mix of boom bap & trap generally, we have an interestingly versatile guest-list & the Drumwork founder passionately explains why they call him the S.F.K. (Slant Face Killah).

Score: 4/5

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Conway the Machine – “Palermo” review

Buffalo emcee Conway the Machine following up his best release of 2023 at the beginning of the month Conductor Machine by putting out his 12th EP only days before Christmas. As you may already know by now since late 2015, as part of the 3 OGs of Griselda Records alongside his brother Westside Gunn & their cousin Benny the Butcher, the trio have had the culture on lock ever since their arrival by their constant work ethic balancing quality & quality as well as bringing the underground to the mainstream or vividly detailing their lives in the streets on top of boom bap, drumless, jazz rap & even trap production. Con’s full-length debut From King to a God was my Album of the Year for 2020 & the Shady Records-backed sophomore effort God Don’t Make Mistakes is the most personal he’s ever been. Organized Grime 2 & Big Ghost Ltd.-produced What Has Been Blessed Cannot Be Cursed were both great EPs, but his latest full-length Won’t He Do It received more moderate reception even though it was the beginning of a new era for him & like I said out the gate: Conductor Machine was the best thing Conway has done this year, but is now teaming up with German lo-fi producer Wun 2 resulting in Palermo.

After the introductory interlude, the first song “Carduni” really starts off the EP with a dusty ass boom bap instrumental getting on his Pyrex shit whereas “Mind Tricks” talks about his mind playing tricks on him over and over unsettling beat with some kicks & snares. “Brick by Brick” reminds how exactly he built his whole career taking a more lo-fi approach to the traditional boom bal sound, but then the drumlessly jazzy “Cold Dish” featuring Goosebytheway flexes that they both have all the intangibles.

“Cosca” tells all the haters to stay in their lanes going for a groovier vibe with kicks & snares but following the “Zisa” skit, Goosebytheway returns for the uncanny boom bap infused “Montagna” reminding that everyone knows the way they be movin’. “Bianca” continues to push near the end of Palermo by bringing back that lo-fi flare so La Maquina can boast & finally to wrap up the EP, “Gaspare” featuring Goosebytheway sends things off with 1 last boom bap joint telling their competition to give it up.

I was already familiar with Wun 2 heading into Palermo because of his collaborations with Hus Kingpin or Tha Connection, so I was undeniably interested in what was gonna come out of this EP & I still enjoy it although not as much as the last EP we got a few weeks ago. The production fuses his lo-fi sound with boom bap along with Italian samples so Conway can built its concept around the themes of both resistance & truth.

Score: 4/5

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Conway the Machine – “Conductor Machine” review

Here we have the 12th EP from Buffalo emcee Conway the Machine. Blowing up in late 2015 as part of the 3 OGs of Griselda Records alongside his brother Westside Gunn & their cousin Benny the Butcher, the trio have had hip hop on lock ever since their arrival by their constant work ethic balancing quality & quality as well as vividly detailing their lives in the streets on top of boom bap production kin to that of RZA & Havoc in their music. Con’s full-length debut From King to a God was my Album of the Year for 2020 & the Shady Records-backed sophomore effort God Don’t Make Mistakes is the most personal he’s ever been. But coming off Organized Grime 2 as well as the Big Ghost Ltd.-produced What Has Been Blessed Cannot Be Cursed & Won’t He Do It, we’re now being treated GxF in-house producer Conductor Williams of The Heartbreakers fully producing Conductor Machine.

“Blessings of the King” is a soulful opener to the EP charmingly showing off how ill & fly he is whereas “Believe Me” gives of a jazzy boom bap flare to the instrumental declaring that the real is back. “Noir” works in some pianos, kicks & snares asking what exactly it is that you want from him leading into “Higher” taking a more psychedelic route to the beat talking about shit getting spooky up in here once again.

One of the first Drumwork Music Group signees 7xvethegenius joins Con for “Flame” hoping on top of a soul sample dropping some hardcore lyricism prior to “Church Fan” featuring the label’s first recording artist Jae Skeese pulling from gospel music spitting that higher power rap with his mentor La Maquina. “Love the Lord” though ends the album with some heavy vocal chops justifiably comparing his rhymebook to national treasure.

West’s Pray for Paris sequel And Then You Pray for Me is pretty much his La Maquina, but Conductor Machine is the best thing that Con has done this year in my opinion. Conductor coming fresh off his For All the Dogs production credit further showcasing why he’s one of the biggest beatsmiths today & the performances are equally consistent.

Score: 4.5/5

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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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Drumwork Music Group – “Drumwork: The Album” review

Drumwork Music Group is an independent hip hop record label based in Buffalo, New York founded by Conway the Machine in 2020 distributed by EMPIRE with Jae Skeese & 7xvethegenius as their first signings. La Maquina has since expanded the roster by bringing Goosebytheway, Lucky 7, SK da King & Shots Almigh all on board. So considering the squad is gradually growing, it only makes sense to conceive their very 1st showcase compilation.

“Hov Numbers” by Conway the Machine, Goosebytheway, Lucky 7, SK da King & 7xvethegenius is a 6 minute opener to the compilation with an airy trap instrumental from the label’s only in-house producer Unique declaring they’re still in their bag whereas “Lonely” by Jae Skeese, Lucky & SK dives right into boom bap turf sonically as the trio talk about getting it. “Lalo” by Conway featuring Benny the Butcher & 38 Spesh works in some woodwinds, kicks & snares from Graymatter as the trio discuss drug money leading into “City Grill” by Goose, Jae & 7xve has a slicker quality to the beat talking about how things get surprising because it’s mesmerizing.

“Rory Joint” by Jae Skeese & 7xvethegenius finds the label’s first 2 signings returning to the boom bap promising to leave y’all painted on some art shit just before Shots Almigh joins Jae & Goosebytheway for “Blue Glass” layering these kicks & snares on top of a vocal loop talking about having to get the bands to survive. “Take It Back” by Goose, Lucky 7, SK da King & 7xve has these crooning vocals in the background that I like with the 4 talking about throwing it back to the old days prior to “Elephant Man” by Conway the Machine, Goose, Heem, Rome Streetz & SK brings the quintet together over a cinematic boom bap beat admitting their minds are made up.

Goosebytheway, Jae Skeese, Lucky 7 & SK da King the final leg of the comp by linking up for “This is War” returns to a more soulful quality to the instrumental making it clear that none of them can be another casualty while the song “Crown for Queens” is an empowering 7xvethegenius solo cut about no one being able to stop her. The song “Andre 3000” by Conway the Machine & D Smoke goes into jazzier boom bap territory thanks to Bangladesh telling y’all to look how far they’ve been brought while the penultimate track “Sudan” by Con, Goose, Lo Profile & Shots Almigh intimidatingly talks about not playing around where they’re from. “Far Away” by Con & Elcamino is a minimally produced closer with Beat Butcha behind the boards discussing the game they play.

I’m sure we’re gonna get more showcase comps from the Drumwork camp in the near future, but their first over here definitely makes it seem like that it’s only the beginning of their dominance. The production’s tight, the features from their affiliates/outside collaborators are all well picked out & each artist on the label’s current roster all have their own distinctive characteristics that they each display with the hunger that continues to grow from within everyone.

Score: 4/5

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Conway the Machine – “Won’t He Do It” review

Conway the Machine is a 41 year old MC & entrepreneur from Buffalo, New York who blew up in late 2015 as part of the 3 OGs of Griselda Records alongside his brother Westside Gunn & their cousin Benny the Butcher. Ever since the trio have rose to prominence, they’ve had hip hop on lock by their constant work ethic balancing quality & quality as well as vividly detailing their lives in the streets on top of boom bap production kin to that of RZA & Havoc in their music. Con’s full-length debut From King to a God was my Album of the Year for 2020 & the Shady Records-backed sophomore effort God Don’t Make Mistakes is the most personal he’s ever been. But coming off Organized Grime 2 & the Big Ghost Ltd.-produced What Has Been Blessed Cannot Be Cursed, the Machine is now making up for the delays surrounding his long-awaited 3rd album by dropping it ahead of a sequel later this month supposedly.

“Quarters” lets it off with a boom bap instrumental courtesy of Khrysis talking about how everyone knows the way they rock & catch you comin’ out your bitch spot whereas “Brucifix” gets on some good ol’ Hall ‘N Nash shit with Daringer dabbling with drumless bare loops talking about how neither he or West don’t rock with any of these industry motherfuckers. “Monogram” has a more luxurious approach to it expressing his desire to sell cocaine forever just before Ransom comes into the picture for “Stab Out” to smoke everybody over some pianos, kicks & snares courtesy of JR Swiftz:

Moving on to “Flesh of My Flesh”, we have La Maquina confessing it’s still hard to fathom what over done with Daringer pulling from rock music a bit with the beat leading into “Kanye” literally gives everyone something to talk about considering Hall ‘N Nash’s stellar feature on “Keep My Spirit Alive” (the original KayCyy version all day. He should’ve never fucked with it) off DONDA a couple summers ago & both of them in the studio with Dr. Dre last August around the 1-year anniversary saying he had some convos with the my 6th favorite producer of all-time that he’ll simply keep to myself over a piano instrumental from the J.U.S.T.I.C.E. League.

Jae Skeese comes into the picture for “The Chosen” sampling “Above & Below” by Charlie Steinnman displaying the strong chemistry that we got a couple months ago on their recent collab EP Pain Provided Profit prior to GooseByTheWay & Dave East sliding through for “Water to Wine”, which is an exquisite ballad that E. Jones laced for the girls that just wanna have fun. “After the “Kill Judas” interlude, “Brick Fare” acknowledges that he’s been a shooter comparing his lyricism to former 2-time UFC Heavyweight Champion Stipe Miocic alongside 2-time WWE Hall of Famer, former 16-time WWE world champion, WWE Intercontinental Champion, 6-time WWE United States Champion, 6-time WWE tag team champion & 9-time NWA World’s Heavyweight Champion Ric Flair over a spooky boom bap beat while “Brooklyn Chop House” with Benny the Butcher & Fabolous ditches the drums for a bare string instrumental talking about their progress being impossible to stifle.

The song “Tween Cross Tween” works in some kicks, snares & a flute from Graymatter saying you can play all you want as he stays grinding while the title track with 7xvethegenius comes through with a buried sample from Cozmo & G Koop talking about trying to get more cheddar even though people are envious of them. “Super Bowl” featuring Sauce Walka was the lead single to this album & ends the album with a decent trap banger produced by Juicy J dropping braggadocio.

God Don’t Make Mistakes happens to serve as the bridge to the next phase of his already decorated career that begins with Won’t He Do It & it’s a super solid look into what the future holds for him even though he never disappoints to begin with. The hooks are kinda iffy, but the production is a fine melting pot of the sounds he’s dabbled with up to this point & Con’s bars absolutely make up for it.

Score: 4/5

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Conway the Machine & Jae Skeese – “Pain Provided Profit” review

This is the brand new collaborative EP between Buffalo recording artists Conway the Machine & Jae Skeese. One being Westside Gunn’s brother & Benny the Butcher’s cousin with the other becoming the first to sign to La Maquina’s very own EMPIRE Distribution imprint Drumwork Music Group a couple years back. Both of them have worked with one another a handful of times since, but are joining forces to deliver Pain Provided Profit ahead of Con’s upcoming 3rd album Won’t He Do It at the end of the month & & Jae prepping his sophomore album albeit Drumwork debut Abolished Uncertainties after coming off his critically acclaimed 3rd EP Authenticity Check last spring.

“Cocaine Paste” is a bluesy opener produced by Graymatter detailing the way Drumwork be landsliding whereas “Metallic 5’s” takes a more rawer approach from the boom bap instrumental referring themselves as 2 of the illest at large. “Stefon Diggs 2” dives into jazzier turf explaining that their story is motivation leading into “Le Chop” displaying a killer back & forth chemistry between the 2 talking about how they gon’ ride for their freedom over some keys, kicks & snares.

The song “Immaculate Reception” is essentially a Jae Skeese solo cut keeping things in boom bap turf acknowledging that they watch his current position in the game while the penultimate track “Promise” is a more inspiring ballad from the beat to the lyrics about grinding for the paper. “Food” with Goosebytheway, SK da King & 7xvethegenius however ends things with a ruthless posse cut advising to get out their way.

Every time we’ve heard Con & Jae on the same song together, it’s always been nothing but pure heat & that’s exactly what I expected going into this EP right here. Lo & behold: It’s most certainly worth the listen for any hardcore Griselda fan like myself to the point where my anticipation for both Won’t He Do It & Abolished Uncertainties have increased as well. The production is hard yet rich as the student & teacher ping off each other as wonderfully as I could’ve imagined. The Drumwork takeover has officially begun & I’m all for it.

Score: 4/5

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Conway the Machine – “What Has Been Blessed Cannot Be Cursed” review

This is the 11th EP from Buffalo emcee & entrepreneur Conway the Machine. Blowing up in late 2015 as part of the 3 OGs of Griselda Records alongside his brother Westside Gunn & their cousin Benny the Butcher. Ever since the trio have rose to prominence, they’ve had hip hop on lock by their constant work ethic balancing quality & quality as well as vividly detailing their lives in the streets on top of boom bap production kin to that of RZA & Havoc in their music. Con’s full-length debut From King to a God was my Album of the Year for 2020 & just dropped his Shady Records-backed sophomore effort God Don’t Make Mistakes back in February, which is the most personal he’s ever been. He just dropped Organized Grime 2 a few weeks ago & is reuniting with Big Ghost Ltd. for What Has Been Blessed Cannot Be Cursed.

“Salutations” is a grim opener talking about whacking motherfuckers whereas “It’s a Green Light works in a piano & a harp admitting that he’s more confident than ever. “Bodie Broadus” takes a richer albeit drumless route calling out those who waited until he blew up to reach out to him leading into Jae Skeese tagging along for bloodcurdling “In My Soul” talking about people wanting them gone. “Y.B.C.M. (Your Bitch Chose Me)” goes into more soulful territory saying they know the game just before “Why You Ain’t Move on Me?” eerily gets on his murder shit.

Meanwhile on “Sunday Sermon”, we have Conway reuniting with Jae Skeese to go back & forth with each other over yet another soul sample bragging about their legendary status while the song “Scared II Death” with Method Man is a ghoulish boom bap banger taking a shot at those who be afraid of them. The final song “Big Drum” comes through with yet another Drumwork posse cut except he’s showcasing damn new the full roster at this point & “Dog Food” ends the EP with an outro from the skit gawd himself Lukey Cage.

No One Mourns the Wicked & If It Bleeds It Can Be Killed have quickly become some of the best EPs that Con have put out yet, so I had very high hopes going into into What Has Been Blessed Cannot Be Cursed & I’m very satisfied with it. As raw as Organized Grime 2 was, the production from Big Ghost Ltd. is much spookier & Con’s lyricism remains unmatched in today’s hip hop climate.

Score: 4.5/5