K.A.A.N. – “Anger Management” review

Columbia, Maryland emcee/producer K.A.A.N. dropping off his 28th LP. He’s delivered numerous standouts in his ever-growing discography like Black Blood, the Ski Beatz-produced Requiem for a Dream Deferred, the Big Ghost Ltd.-produced All Praise is Due, Mission Hillz, The Death of a Rapper & The Nightly News both produced by former Strange Music in-house producer MIKE SUMMERS a.k.a. 7, Peace of Minds and Delusions of Grandeur & In Due Time both produced by DJ Hoppa. Only a few months after the poorly received Yesterday, he & Hoppa are going to Anger Management.

The title track works in a flute with some kicks & snares to talk about being a problem child wylin’ whereas “Back to It” keeps a boom bap vibe instrumentally so he can see who’s really tough or not. “I.D.C. (I Don’t Care)” brings some organs into the fold to take 3 & a half minutes of not giving a fuck just before “What Do You See?” asks if one feels like him whenever you look in his eyes.

Coyote makes Anger Management’s sole guest appearance on the single “Breaking Bad” paying homage to my favorite show of all-time leading into “Smoke & Mirrors” talking about shit not being what it really seems. “Ego Death” has an eerier boom bap vibe addressing the kind whose thoughts are controlled by their self-esteem while “The Infamous” keeps it in the basement elevating above the minimals.

We get a sequel to “The Problem” where K.A.A.N. talks about having a bone to pick while “Illin’” feels like a full 90s throwback proclaiming to be the illest. “Comment Section” jazzily suggests to keep whatever they have to say in the social media comments while “Fuck ‘Em Up” suggests everyone else mind their own business. “Point of No Return” finishes the year-long trilogy by admitting he didn’t learn much & possibly erupting.

Some feel like K.A.A.N.’s whole trifecta with DJ Hoppa has overstayed it’s welcome & I would have to disagree with that because Anger Management can certainly hang with Delusions of Grandeur & In Due Time amongst the Maryland chopper’s greatest material of his entire career. Hoppa’s boom bap production is a huge upgrade from Yesterday’s & lyrically, Knowledge Above All Nonsense does a fine job of holding the fort by himself other than Coyote’s appearance.

Score: 4.5/5

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DJ Hoppa & Johnny Slash – “Shadows in Sound” review

This is a brand new collaborative LP between Panorama City deejay & producer DJ Hoppa as well as Long Beach, California producer Johnny Slash. One of whom I became a fan of during my high school years after becoming an in-house DJ/producer for Funk Volume during their heyday & the other I first heard of when G-Mo Skee freestyles over a few of his instrumentals at the end of his gaming streams. K.A.A.N. just dropped 2 back-to-back albums produced by Hoppa over the summer Delusions of Grandeur & In Due Time maintaining the acclaim of some of his more recent output, but hearing Hoppa & Slash coming together for Shadows in Sound was interesting as someone who respects both producers’ artistries.

“Damn!” by Kail Problems is this dusty boom bap opener talking about being raised rugged in a city full of broad day muggers whereas “Microdose” by Wrekonize stands as one of my favorite tracks here working in more kicks & snares realizing that he’s definitely high taking more than what was supposed to be a minimal amount. “Lost!” by K.A.A.N. proves to be another highlight keeping it boom bap & the Maryland chopper setting a heinous tone lyrically just before “Funeral Pyre” by Body Bag Ben takes it further down the basement warning that the dysfunctionalists will leave y’all in permanent tourniquets.

The instrumental on “Bullsh!t” by Marley B. kinda radiates this funky boom bap vibe to it airing out all the cap that comes his way leading into “Smoke 1st” by Coast LaContro having a bit of a jazz rap influence so Coast can provide a banger for all the smoker’s out there. “Aim” by Cole Z hooks the kicks & snares up once again cautioning that he’s got the guns blazing when he’s out here working, but then the gorgeous sampling throughout “Can’t Save Me” by Rollen Poole finds him talking about them saying he’s out his mind.

“Protect the Innocent” by Seuss Mace nears the conclusion of Shadows in Sound by layering this synth/boom bap hybrid with conscious lyricism pleading for a safer tomorrow for our children to start today & the grisly “Code Red” by Big Renz properly closes out what is set to be a promising series of collaboration efforts from DJ Hoppa & Johnny Slash coming back to work after going rogue for a month as if he never had to leave in the first place.

If you highly enjoy what both of these guys have to offer behind the boards killing it for quite some time individually as west coast bred boom bap producers & they come together for a pretty solid collaborative effort. Their production over the course of 27 minutes is absolutely flawless with the guests ranging from established veterans like Wrekonize & K.A.A.N. to up-&-comers like Seuss Mace or Broken Complex Records signees Kail Problems & Marley B., both of whom dropped a collab EP earlier this summer.

Score: 3.5/5

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K.A.A.N. – “In Due Time” review

Columbia, Maryland emcee/producer K.A.A.N. back with his 26th LP. Over the past decade or so Knowledge Above All Nonsense has been delivering numerous standouts in his ever-growing discography like Black Blood, the Ski Beatz-produced Requiem for a Dream Deferred, the Big Ghost Ltd.-produced All Praise is Due, Mission Hillz, The Death of a Rapper & The Nightly News both produced by former Strange Music in-house producer MIKE SUMMERS a.k.a. 7 or even Peace of Minds from just a few months ago. Los Angeles producer/deejay DJ Hoppa was brought in to produce Delusions of Grandeur a few months ago & is sticking around for In Due Time.

The title track starts by sampling soul music & throwing hi-hats into the equation boasting that he’s in a whole different category than everyone else whereas “C.T.T.S. (Can’t Touch This Shit)” goes full-blown boom bap talking about nobody being able to touch him lyrically. “Cautionary Tale” works in a soulfully dusty beat telling us what happens when you’re consumed by greed while “Weight” demonstrates a speedier flow trying to get rid of this baggage.

“Bon Appetit” returns the boom bap feeling like he’s about to be unleashed murdering everything in his path just before “Another Play” hooks up a woodwind talking about how much of a shame it is people are lost in the maze of the same game. “Warm It Up, K.A.A.N.” continues get in his chopper bag continuing to go at the throats of other rappers leading into the symphonic trap-flavored “Succession” advising everyone to get back.

Meanwhile on “Status Symbol”, we have K.A.A.N. over more strings swapping out the hi-hats in favor of kicks & snares likening the rap game to a petty bitch while “Stay Blessed” substitutes the orchestral elements with pianos spreading the titular message. “It Ain’t Easy” has a generally old school sound detailing the struggles while “Expectations” ruggedly tells us what some people look for all around the world.

“Enough of the Filler” pushes towards the end of the Delusions of Grandeur sequel In Due Time expressing his frustration over how much filler is packed into some of these artist’ projects in the digital age while the boom bap-tinged “Rat Race” lastly closes the 3rd consecutively amazing offering of K.A.A.N.’s this year alone talking about the weak being unable to survive.

For almost a little over 12 months now, K.A.A.N. has steadily been putting out some of the best material of his entire career & as much as I loved Delusions of Grandeur, I think In Due Time stands out as a sequel that’s better than the original. DJ Hoppa’s production is still boom bap heavy except you got some more trap undertones compared to last time & the Maryland chopper sounds hungrier.

Score: 4.5/5

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Stoney Point – “Stoney Point 4” review

Stoney Point is an MC/producer duo from Los Angeles, California consisting of Demrick & DJ Hoppa. One of whom came to my attention after linking up with Ca$his who was on Shady Records at the time for a collab mixtape called Homeland Security & the other for being a former in-house producer for Funk Volume up until the label tragically imploded on itself. They first teamed up as Stoney Point for a self-titled debut in 2015 followed by the 2018 sequel & the 2021 trilogy chapter. Another 3 years later, they’re continuing the tradition releasing their 4th album together almost a decade after the eponymous debut.

Starting us off, “Keep Moving” hops over a piano/boom bap instrumental to admit that a lot’s changed in Demrick’s life over the course of the last year & striving to push forward whereas the psychedelic “Golden” works in more kicks & snares to talk about doing just fine these days. “Look for the Smoke” has a jazzier flare to the beat knowing it’s time to re-up when the bag’s starting to feel light just before “Taking Chances” lavishly talks about being careful for what he wishes for reflecting on simpler days.

“Nothing Stays the Same” picks up further from there with it’s symphonic boom bap production discussing that change is always constant leading into “That’s How It Goes” featuring Kail Problems with co-production from Moo Latte fuses acoustics with kicks & snares so they can set the trends instead of following them. “What’s Left of Me” soulfully talks about being giving a duck less what they think of him after going through a lot, but then “Safety Pins & Soda Cans” jazzily admits to doing drugs as much as the common man.

“Hotbox the Room” marks an eerier approach to the beat asking who got the weed & shrooms while the piano-driven “Keep Building” talks about taking it day by day & brick by brick so you can build up to what you want in life stacking higher than the ceiling. “Forever Faded” brings the keys, kicks & snares back to stay lifted all day every day while “The Recipe” has the LP’s best feature from K.A.A.N. over a soul sample never letting the game get the best of them.

Beginning the 4th quarter, “About a Bag” instrumentally feels reminiscent to Zapp explaining that’s exactly what it’s gotta be this day in age while “MVP” refers to himself as the Most Valuable Poet” over an orchestral boom bap beat. The penultimate track “Purple Peak in the Air” has a classy trap vibe generally getting higher than a bitch up in the slot & lastly, “The Plan” ends the album doing everything he can while he’s still here.

DJ Hoppa’s just produced Kail Problems & Marley B.’s latest collab EP Shot Clock from a few weeks ago, but the 4th installment of the Stoney Point saga sure enough joins Delusions of Grandeur back from May in being another consistently great project in the Broken Complex canon this year. The production varies from boom bap to trap, jazz rap, soul music, classical, pianos & acoustics providing the soundscape for De to put a current twist to the duo’s titular lifestyle.

Score: 4/5

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K.A.A.N. – “Delusions of Grandeur” review

Columbia, Maryland emcee/producer K.A.A.N. staying consistent by releasing his 25th album. Over the past decade or so Knowledge Above All Nonsense has been delivering numerous standouts in his ever-growing discography like Black Blood, the Ski Beatz-produced Requiem for a Dream Deferred, the Big Ghost Ltd.-produced All Praise is Due, Mission Hillz, The Death of a Rapper & The Nightly News both produced by former Strange Music in-house producer MIKE SUMMERS a.k.a. 7 or even Peace of Minds from just a few months ago. Looking to continue to apply pressure though, Los Angeles producer/deejay DJ Hoppa is being brought in to produce Delusions of Grandeur.

The morbid boom bap opener “Can’t Help It” confesses to kidnapping other rappers only for the fun of it whereas “Insane” works in a flute with kicks & snares admitting he has conversations with the voices in his head quite a bit. “Nightmare” takes a darker route instrumentally taking a different path & being built to last, but then “What Can I Say?” dustily breaks down his process breaking down the beat & digesting since everyone else ran out of time.

“The Crown” keeps things in the boom bap wheelhouse cautioning not to look down if you’re afraid of heights while the orchestrally dusty “Dark Night” finds him losing his own cool playing by his rules & being anti-social. “The Plot Thickens” kinda has some jazzy undertones to the instrumental talking about the bullshit not concerning him & moving with a sense of urgency like it’s an emergency, but then “Got One” shifts into trap territory to run it up.

Starting the album’s final leg, “Countdown” returns to the boom bap dancing with his demons at high noon while the song “Destiny” flips a vintage sample on top of kicks & snares to talk about being at war. The title track advises that what doesn’t break you makes you stronger & using his own experience of dark days to get his point across that is until “Kiss the Ring” finishes the album explaining this that shit that make ‘em go up.

K.A.A.N. has absolutely been on a ROLL with the output we’ve been receiving from him throughout the duration of these past 6 months & Delusions of Grandeur very much continues that momentum. DJ Hoppa’s production is primarily grounded in the traditional boom bap sound as opposed to Peace of Mind back in February balancing that with trap & the Maryland emcee bringing more of a hardcore tone lyrically.

Score: 4.5/5

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Dizzy Wright – “Dizzyland” review

Dizzy Wright is a 31 year old MC from Flint, Michigan who actually happens to be the nephew of Layzie Bone & Flesh-n-Bone of the revered Cleveland quintet Bone Thugs-n-Harmony. He eventually broke out on his own a decade ago after signing to Funk Volume & dropping his full-length debut SmokeOut Conversations to critical acclaim. This was followed up with The Golden Age as well as State of Mind & The Growing Process by once the label dissolved, Dizzy founded Still Movin’ Records & his output since then has been hit or miss to me personally. That being said, I was very much looking forward to this 7th album of his once I found out former Funk Volume in-house producer DJ Hoppa was gonna be on the boards for the whole thing.

“Manifest” is a cloudy opener talking about writing down his goals & what he’ll die for on a whiteboard whereas “24 Hours” with Xzibit goes into boom bap territory asking listeners what they’re gonna do with their day. “Promoter” has a reggae flare to it as B-Real joins Dizzy for a weed anthem just before “Sensitive Minds” returns to glossy boom bap turf talking about coming to take what’s his.

Meanwhile on “Outlaws”, we have Dizzy over a somewhat funky beat comparing himself as such leading into Toxsikk delivering one of the weaker features during “What’s the Rush?” even though I love the solemn piano instrumental & the concept of how real ones can’t just walk away. “On the Move” with Demrick & Reezy works in a cinematic trap beat talking about collecting theirs when it’s due, but then “Let’s Talk About It” takes an upbeat route admitting that he needs to figure out what to work on & what’ll work for him.

Jon Connor comes into the picture for the dark “Ambush” sending a warning to anyone who fucks with them while the song “Escape” with Bliss n Eso is a piano ballad about using music as a form of escapism. The penultimate track “I Can’t Quit” with Omari Hardwick finds the 2 following the previous cut up by encouraging listeners to never give up & “The Ride” is a smooth closer about keeping it 10 toes down until the end.

I still maintain that Dizzy’s output in the last 7 years haven’t impressed me as much as his early work, but Dizzyland is easily the most impressive thing he’s done in a while & one of the best projects of his career. He sounds a lot more focused this time around & DJ Hoppa’s production is just what he needed given the fact that the production on his last few efforts were lacking in my personal opinion.

Score: 4/5

Gavlyn – “Say Less, Love More” review

Gavlyn is a 31 year old MC from San Fernando Valley, California who first emerged nearly a decade back off her debut album From the Art, which was later followed up by Habit That You Blame as well as Modest Confidence & Make Up for Your Break Up. But she’s been working very closely with former Funk Volume in-house producer DJ Hoppa since 2016, her last 2 outings Why Wait? & Headspace both going onto become what I believe are her best bodies of work yet. However, they’re back from a 3-year hiatus for Gavlyn’s 7th full-length outing.

After the titular intro, the first song “Creative Muscle” starts out meditatively tells the listeners to exercise such whereas “About Us” smoothly tells listeners that she feels accomplished. “Break the Mold” spaciously pleads to help define her leading into “There’s Only 1” goes into boom bap turf saying ain’t nobody like her.

Meanwhile on “Nothing To It”, we have Gavlyn soothingly reminding everyone that life comes & goes just before “Stepping Stones” serves as a piano trap banger saying she’s come to far to stop. “Self Love” is a jazzy boom bap ode to one’s own happiness, but then “Born with It” vibrantly talks about her shining like a jewel.

“Take It Slow” comes through with a sensual romance ballad while the song “Audrey May” is a twangy depiction of her life up to this point. The penultimate track “Feel a Way” goes back into boom bap territory addressing an unnamed lover & “Stop Trippin’” ends the album with another jazz-tinged cut advising not to lose your inner person.

Say Less, Love More could very well be Gavlyn’s magnum opus in my eyes. You can really hear her growth as a lyricist throughout it’s half hour runtime & DJ Hoppa continues to bring the best out of her, as he takes his production game to a whole new level.

Score: 4/5