The Musalini – “The Don & Eye” review

The Musalini is a 34 year old MC from New York City who’s been making noise in the underground since 2018 after dropping his debut mixtape Musalini Season. He would go on to release 3 full-lengths & 1 more tape before signing to TCF Music Group, where he’s made himself home since then by dropping a couple EPs & Return of the Oro in the early part of this decade. But to follow up his 38 Spesh-produced 3rd EP In God We Trust that came out over the fall, he’s enlisting 9th Wonder behind the boards throughout his 5th album right here.

Planet Asia tags along for the charming opener “Summer League” spitting that fly shit on top of a guitar whereas “Skyview” has a more rich, boom bap quality to it talking about how he still gets around. “Been a Minute” goes into a more calmer route telling his lover that he ain’t like other guys, but then “Paid in Full” works in an incredible jazz sample talking about how even the blind can see the whole different sequence.

Meanwhile on “Don Music”, we have 38 Spesh joining Mus on top of some horns of course getting in their mafioso bag leading into the soulful “Cat Daddy” talking about the girl he sees in his dreams being all on him now. “Deja Vu” is a cool little anthem detailing that nobody can stop his crew just before “Sun Child” has a more drumless feel to it talking about how he’s that dude.

The song “Tunnel Vision” with Izzy Hott incorporates some strings taking aim at those who tried to break them down while the penultimate track “Miami Vice” with Ice Lord mixes a vocal loop with some keyboards to spit that braggadocio. And to round it out, King Draft & Swank come into the picture for “Sincerely” once again going into jazz territory to remind listeners they spit the shit they do because they live it.

For all the readers out there who’re fans of both parties, then you’re gonna absolutely be enamored by this album. The features at the back end of it can be hit or miss & a few of the songs could’ve been more fully fleshed out in my opinion but nonetheless, 9th cooks the best production of any Mus project & the latter scorches everything in his path lyrically.

Score: 4/5

Curren$y – “Pilot Talk IV” review

Curren$y is a 40 year old rapper from New Orleans, Lousiana that first got his start with No Limit Records in 2002. He would then hop over to Young Money Entertainment & Cash Money Records in 2006, but eventually branched out in 2008 with his own label Jet Life Recordings. Since then, the man made a name for himself by dropping a handful of projects every single year with the latest being the Cash Fargo-produced Land, Air, Sea EP last month. However, Spitta’s celebrating Christmas Eve by dropping the 4th installment of his renown Pilot Talk series as his 17th full-length album & it’s only right for him to bring Ski Beatz back along for the ride.

“Big Game Fishing” is a pleasantly jazz boom bap opener paying tribute to his city & his homies who came up out of there whereas “Audio Dope 6” mixes these triumphant horns with some saxes talking about pledging to get the whole world high keeping the titular series going strong. “Non Fungible” takes a more spacious route to smoothly spit that braggadocio, but then “There It Is” has a tenser almost funkier sound challenging anyone to step to him bar for bar.

Meanwhile on “Workers & Bosses”, we have Spitta going back into cloud rap territory talking about wins turning into losses just as things start taking off leading into “The Scene” brings the saxes back in to chase away the bad vibes. “Memory Lane” is a soulful ballad with reflective lyricism while the string-laced “So Easy” factually talks about how it’s not hard to say you’re a g. The penultimate track “Under the Wings” slickly details stealing your girl with his Rolls Royce & finally, “Finger Roll” ends the album on a rap rock note telling all the clowns out there to wrap it up.

I hold the original Pilot Talk trilogy amongst the best material of Curren$y’s prolific career & this 4th installment definitely lived up to my expectations. Ski Beatz sticks to the jazz-influenced sounds of it’s predecessors & it’s still an incredibly great match for Spitta’s notoriously calm flow.

Score: 4/5

Boldy James – “Super Tecmo Bo” review

Boldy James is a 39 year old MC from Detroit, Michigan who broke out in the fall of 2013 off his Alchemist-produced debut M.1.C.S. (My 1st Chemistry Set). He would later go on to land a contract with Nas’ independent label Mass Appeal Records for a little while before getting locked up but once Boldy came home, Uncle Al would help get his name back out there once getting out by dropping the Boldface EP around Christmas 2019 & then the sophomore album The Price of Tea in China at the beginning of last year. This was followed up with the Sterling Toles-produced Manger on McNichols which was as equally fantastic, but the Griselda Records-backed Versace Tape EP was a tad bit disappointing given how rushed it was. He & Alchemist just dropped Bo Jackson to widespread acclaim over the summer, but are returning together out of the blue for Boldy’s 4th EP.

“Level Tipping Scales” sets it off well by spitting that pyrex shit on top of an atmospheric instrumental whereas “No Laughing Matter” follows it up by warning listeners that the drug dealer life ain’t no joke & the upbeat production is just fly as fuck to me. “Hot Water Tank” has these cool little whistles throughout the beat as well as how it details the gangsta mentality even though ICECOLDBISHOP’s verse is wack as fuck, but then “Bumps & Bruises” takes things into jazz territory & it’s nice to hear him getting more insightful through his lyrics.

Meanwhile on “Great Adventures”, we have Boldy on top of a silky yet drumless beat vividly detailing getting the gang tied up just before “Moth in the Flame” talks about being true to the game & the theatrical production enhances the seriousness of it very well. The song “300 Fences” compares his Concreatures crew to that of the infamous Black Mafia Family on top of an apprehensive instrumental while the penultimate track “Guilt” incorporates in some weepy strings talking about someone not being built for this life. “Francois” then ends the album with a gritty dedication to the thugs out there.

Bo Jackson has quickly become the best work of Boldy’s career in my personal opinion & for them to follow it up as quickly as they did, Super Tecmo Bo is very close to being on that same caliber. I respect that they toned it down on the features even though I wasn’t feeling the only one on the EP at all, but both parties continue to bring the best out of one another both lyrically & sonically.

Score: 4/5

Jae Skeese – “Revolver Ocelot” review

Jae Skeese is a 31 year old MC from Buffalo, New York who first emerged in 2010 off his debut mixtape W.A.C.K. (Women, Alcohol, Cash & Kicks). However, it wasn’t until a decade later where he & 7xvethegenius got their biggest break thus far after the very first signees to Conway the Machine’s very own EMPIRE Distribution imprint Drumwork Music Group. But with only a few dates left on the Love Will Get You Killed Tour, he’s dropping a precursor to his upcoming sophomore effort Abolished Uncertainties in the form of his 7th mixtape.

“Seek/Find” is a soulful, jazzy boom bap opener about how he translates what he sees into music whereas “No Bricks, No Airs, No Rimmys” works in some vibraphones & harmonizing to look for the perfect shot on his opponents. Conway the Machine & OG Sole come into the picture for the vibrant, shit-talking trap banger “Chessmen” leading into the Loveboat Luciano-assisted “Calm Bapes” which Cartune Beatz helps make feel like something out of a perfect crime flick.

Meanwhile on “Stolen Benz”, we have Toney Boi joining Jae Skeese on top of a smooth instrumental to call out those who weren’t there for them when they needed it just before “EKIN” brings in a bare vocal loop from EYEKETYSON to flex his lyrical prowess for a minute & a half. “Grindin’” serves as an ode to his dedication with a psychedelic Camoflauge Monk beat while the song “She Threw Her 4’s Up” tells the story of a woman he met & I love the enticing sample throughout.

The penultimate track “Mandarin Manuscript” has a bit of a futuristic boom bap sound with the help of none other than JR Swiftz as Jae comparing his music to that of fine art & “All In” with 7xvethegenius is a jazzy finisher to the tape motivating the listener by reminding them it’s either all or nothing. Conway only pops up at the end delivering a spoken word bit about Drumwork taking over the industry which I wasn’t expecting, but it’s still really cool.

If you loved his verses on “Crack in the 90’s” & “Sister Abigail”, then I think you’re really gonna dig this tape. It’s a proper way to reintroduce himself to the new fans as he basically guides you through as to who he is personally & artistically. At this rate, Abolished Uncertainties is destined to be the crown jewel of Jae Skeese’s discography.

Score: 3.5/5

The Alchemist – “This Thing of Ours 2” review

The Alchemist is a 43 year old producer, DJ & rapper from Beverly Hills, California who started out as 1/2 of the duo The Whooliganz in 1993 with Scott Caan. They would only disband a year later after recording a debut album that eventually got shelved & Scott went onto acting like his father, but Mudfoot on other end quickly established himself as one of the greatest producers in hip hop history with a resume including ranging names from Mobb Deep to even Eminem. Over this past spring, he produced the latest Armand Hammer album Haram to universal acclaim & followed it up his 9th EP This Thing of Ours a month later. But now in light of the confirmation that he’ll be producing the next Earl Sweatshirt album, Uncle Al dropping a sequel to his latest EP hopefully as a little warm up.

“Miracle Baby” by MAVI is a heavenly opener proclaiming himself as such whereas “Lossless” by MIKE serves as a jazzy boom bap follow-up talking about never losing. The song “Flying Spirit” by the Bruiser Brigade works in a drumless loop for the group to proclaim their work isn’t done while the penultimate track “Wildstyle” by ZelooperZ has a more ominous sound showcasing his wordplay. “6 5 Heartbeats” by Vince Staples ends the EP by somberly recalling his youth.

Uncle Al has made it known that he’s one of the most consistent producers in the game & it’s no surprise that This Thing of Ours 2 wound up being a little bit more enjoyable than the predecessor. Another notable factor of it is that he brings in some less-bigger names into the fold & give them the exposure they truly deserve.

Score: 4/5

Stanwill – “Full Auto” review

Here is the 3rd solo EP from Detroit, Michigan rapper Stanwill. Coming up as 1/3 of the ShittyBoyz with Babytron & TR Dee signing to Lando Bando’s own The Hip Hop Lab Records, he eventually branched out on his own during the COVID-19 pandemic off last summer the debut EP $camwill as well as it’s successor Gifted turning 1 this winter & the debut mixtape Van Gundy earlier this year. However, he’s looking to completely go Full Auto in preparation for a full-length debut studio album.

The self-produced “Slime Ball” starts by talking a whole lot of gang shit whereas “Ándale” flexes that he & the rest of the Dog $hit Militia collective will slide in ア・ベイシング・エイプ, which is one of my favorite clothing brands personally. “Max Payne” references the Rockstar Games-owned franchise of the same name & promising a mugger he’ll get his ass beat if he tries him while “Fast Lane” talks about living in the fast lane.

“Been That” gives a shoutout to Louis Vuitton men’s creator, Off-White founder & RSVP Gallery founder Virgil Abloh for the fit leading into “8 Phones” talking about not giving a fuck regarding the little guns or petty stacks because they got bigger sticks & longer money. “Kick Ass” finishes the Full Auto experience by talking about receiving slow head because the whip’s too fast, spending a total of $400 on 2 steaks.

I wouldn’t rank Full Auto above $camwill or Chosen, but it’s still a worthy Detroit trap solo EP from Stanwill displaying what he’s capable of doing by himself ahead of his inaugural LP whenever he decides to put it out. Production isn’t as interesting as the Van Gundy tape or his first couple EPs, except I like that he holds down the mic by himself as opposed to the guests on Full Auto’s predecessors.

Score: 3.5/5

Lucky 7 – “Lucky & the Laser Gun” review

Lucky 7 is a 35 year old MC/producer from Buffalo, New York who I first started noticing after he laced what I personally believe is one of the mort underrated Conway the Machine singles ever: “Temple”. But he’s dropped a total 2 albums, a mixtape & 3 EPs since then before signing to Drumwork Music Group over the spring of this year. And now with only 8 dates left on the Love Will Get You Killed Tour, it’s only right for Lucky to prelude his upcoming debut on Con’s very own EMPIRE imprint with his 4th EP.

After the intro, the first song “Nuke Dropper” works in a blaring boom bap instrumental to tell his opposition to get the fuck out of his way whereas “You Gotta Make It” has a more uptempo vibe encouraging listeners to getting theirs. “Motorbike Music” takes a more luscious turn with Luck & Elcamino proclaiming themselves as rebels, but then Flee Lord tags along for the morbid “Orange Soda” talking about their young shooters.

Meanwhile on “Metal Arm Tesuo”, we have Luck & Jae Skeese wickedly bragging about their extraordinary skills leading into “Kaneda Loves Kei” soulfully pays tribute to his lady. The song “Snoopy’s Penthouse” smoothly details the lavish lifestyle while the penultimate track “Playgrounds” has a more grimier sound with the help of Stu Bangas & Elcamino returning to help shoutout those who’ve been there since the beginning. “Goodbye to Your Life” ends with some strings & lyrics about getting the millions if you follow him.

Coming away from Lucky & the Laser Gun, it’s definitely a solid precursor to Lasertron Arcade. I think the anime concept is well executed, I fuck with the wide range of emotions throughout it’s 24 minute run & how Lucky brought in some fresh faces behind the boards for him to showcase his penmanship to new listeners.

Score: 4/5

D Smoke – “War & Wonders” review

D Smoke is a 35 year old MC from Inglewood, California most notable for being the older brother of R&B singer/Top Dawg Entertainment signee SiR. He made his full-length debut in the spring of 2006 with Producer of the Year, but re-emerged in 2019 off his debut EP Inglewood High & then the Grammy nominated sophomore album Black Habits only 4 months later. However after keeping things on the low throughout a bulk of this year, D Smoke is returning in the form of his 3rd album.

The title track is a bouncy opener saying only 1 voice matters in a world between good & evil, but then “Dirty Mercedes” has a bit of a smooth boom bap feel talking about how he got ways to go. “Shame on You” takes a mistier direction going at those who don’t understand his shit leading into the Dem Jointz-produced “Road Rage” thunderously proclaiming the streets as his.

Meanwhile on “Mind My Business”, we have D Smoke going into detail about why he stays in his own lane on top of an laidback instrumental whereas the Tobe Nwigwe-assisted “Find My Way” goes back into boom bap turf looking back on their younger days. Shady Records’ very own Westside Boogie hops on board for the stripped back “Crossover” going at those faking the funk just before “Common Sense” with SiR finds the siblings on top of some jazz shit pondering the price we pay for the titular topic.

“Why Run?” is a rich reminder that life’s what you make it & “Stay True” is a jazz trap fusion about always keeping it real. “Say Go” brings in some Viking-esque horns talking about his homies hydroplaning while “Good Thing” serves as a vibrant banger about positivity coming in many forms.

Fireboy DML pretty much dominates “Sleepwalking” getting romantic with some acoustic while the song “Better Half” is a chipmunk soul-tinged tribute to D Smoke’s lady. The penultimate track “Clockwork” is an R&B-tinged cut about being loved like the world is ending & “Free Write” rounds it out with a funky fresh freestyle.

For those who dug Inglewood High & Black Habits, I think you’re gonna like War & Wonders evenly. Sure there are some portions that’re blatantly inspired by Kendrick Lamar, but I dig the whole concept of him detailing what it was like for him growing up in the city of Inglewood.

Score: 3.5/5

Westside Gunn – “Hitler Wears Hermes IX” review

This is the 9th mixtape from Buffalo emcee, songwriter & entrepreneur Westside Gunn. At this point, what can be said about the guy now that hasn’t been said already? From running one of the hottest hip hop labels in recent memory to his first 2 full-lengths FLYGOD & Supreme Blientele, you’d be lying to yourself if you said he & the rest of the Griselda crew haven’t had the culture on lock for the last 5-6 years. Dude’s been laying low throughout a good portion of 2021 so far,, but dropped the 8th installment of the Hitler Wears Hermes mixtape series & is already dropping a 9th one.

It technically starts off with the “Brodie Lee” instrumental opener named after the former AEW TNT Champion as well as former WWE Intercontinental Champion and 3-time WWE Tag Team Champion & the “End How You Start” intro, but things really don’t get rolling until Conway the Machine & Benny the Butcher tag along for “Hell on Earth, Pt. 2” for some eerie boom bap coke slanger shit. Jay Electronica assists West for the jazzy “Free Kutter” calling for his homie to be released from the pen, but then “Richies” is a Gunnlib reunion reusing same sample as “Ontheway!” by Earl Sweatshirt asking if you’ve ever seen a corpse.

“Julia Lang” despite it’s brevity gets back on that yay shit with a grimy Camoflauge Monk instrumental leading into Chase Fetti, Flee Lord & Heem aligning for the disgusting 2-parter “Celine Dion” including a dope reference to the late WWE Hall of Famer Nick Bockwinkel. Following this, Mach-Hommy pops up on “Best Dressed Demons” with a dusty Daringer beat declaring themselves as rolling stones just before Armani Caesar & 2 Chainz help morbidly declare that they’ll take their words to their graves for “Forest Lawn”.

Meanwhile on “Why I Do ‘Em Like That?”, we have Westside Gunn & Billie Essco jumping on top of a luxurious boom bap instrumental getting criminal minded whereas “RIP Bergdorf” finds him & Mach going back & forth nonchalantly on top of a mesmerizing vocal loop from Nicholas Craven. He later shouts out his boys Sly & J Batters on the perilous “TV Boy” while the orchestral “Survivor Series ‘95” with Jay Worthy, Larry June & T.F. declares Griselda as the new Roc-A-Fella taking it’s name after the event where 2-time WWE Hall of Famer Bret Hart became a 3-time WWE Champion

Rome Streetz comes in for the JR Swiftz-produced “Eddie Kingston” named after the titular AEW star who formerly held the CZW World Heavyweight Championship, CZW World Tag Team Championship, アイアンマンヘビーメタル級チャンピオン & IWA World Championship saying life’s lavish & they’re beyond greatness & “Ostertag” by Stove God Cook$ makes reference to the late WWE Hall of Famer, former WWE Intercontinental Champion, 3-time WWE United States Champion, WWE Tag Team Champion & 2-time WCW World Television Champion “Rowdy” Roddy Piper.

“Munch” with Tiona Deniece has a bit of an R&B flare telling listeners to love how you want, but of course the AZ-assisted “99 Avirex” works in a melodic instrumental getting on their mafioso shit. “The Fly Who Couldn’t Fly Straight” with Tyler, The Creator takes a soulful route flexing on motherfuckers while the final song “Big Al” with Rome Streetz is a depressing tribute to MF DOOM. However, the actual closer “BYE BYE” starts off with a jazz sample & then a brief spoken word passage from none other than Keisha Plum.

As much as I enjoyed VIII last month, I gravitate towards IX more & consider it to be amongst the best in the series. There are just as many features that all come correct as the first disc did, West solidifies his icon status & I like how he went with a more varied list of producers rather than sticking with The Heartbreakers again.

Score: 4/5

Larry June – “Into the Late Night” review

Larry June is a 30 year old MC from Vallejo, California who’s been grinding his ass off for the last 15 years. My favorites of his ever-growing discography include the Lex Luger-produced Trap Larry, the Cardo-produced Cruise USA, the Harry Fraud-produced Keep Going & even his last album Orange Print got some notable buzz over the summer. But now that he has a Griselda Records-backed collab tape with Jay Worthy on the way, Cardo & Larry are getting back together for the latter’s 14th EP.

“Gas Station Run” is a flawless late night cruiser with a g-funk flare to it whereas “Either Way” works in a synth-heavy instrumental talking about a lot of shit going down in the late night. “Don’t Try It” has a more hypnotizing sound advising not to fuck with him just before “Friday Activities” serves as a slick party starter for the weekends.

The song “Bigger Risk” has some jazz undertones to the production saying he’s thinking a decade ahead while the penultimate track “Red Book Chronicles” gets back into that vintage west coast sound asking where his boys were when he was taking a lot of risks. “Saturday Night Interview” is an odd choice for a closer, but it’s still a decent romance ballad nonetheless.

Although it’s only an EP, I’d actually say that Into the Late Night is a bit better than Orange Print. Cardo’s production style on here is a lot similar to that of Payroll Giovanni’s latest album Another Day Another Dollar which is perfect given Larry’s geographical background & his chilled out flow.

Score: 4/5