Tezzus – “Mømma Bøyz” review

Atlanta, Georgia rapper Tezzus back for his 12th extended play. Introducing himself with his first few EPs Hard2Kill as well as Hellraiser & Everyday’s Halløween, his 2024 debut mixtape Tezzus Khrist would significantly elevate his profile locally as did the handful of appearances he made on The XA Tape. He later gave us the Søufside collaborative EP with Percaso, Backrooms, King Phønk, I Phønk, U Phønk and Tezzy Pendergrass until Young Thug signed him to YSL Records following 9 Vicious’ departure. ##FilthyLikeMax was a solid debut for the label & the eponymous Uy Scuti Bøyz tape left audiences including myself divided until The Resurrectiøn made up for it. 5 months later & Mømma Bøyz has finally arrived.

After the “New Vøicemail” intro, “Smøking & Driving” produced by PROJECT4PLAY kicks things off letting Sk8star handle the sole verse depicting the gangsta lifestyle whereas “Mama Søn” featuring Sk8star & Sir Untre talks about the reason they can’t love any bitches. “1986” by the Uy Scuti Bøyz featuring Percaso finds the trio linking up to spit braggadocio just before “B.A.L.A.B. (Broke Ass Lil Ass Bitch)” by the Uy Scuti Bøyz featuring southsidesilhouette & Yung Fazo flexes their wealth over an instrumental from Internet Money Records in-house producer.

“Whateva” feels a lot more like an undeveloped diamond* solo track leftover from the Bling Slime era considering Tezzus only does the hook similarly to “Smøking & Driving” but after “Da 1” featuring RJmrLA & Young Thug brings all 3 of them together to talk about their mothers nicknaming them “the gift” after looking at everything they’ve been doing, the self-produced “Teletubbies” continues the 2nd half boasting his diamonds of various colors. “Fuck Everbødy” featuring Pz’ gives middle fingers to everyone now they’ve been becoming richer. “Snakes & Føxes” by the Uy Scuti Bøyz featuring Fox BD & YTB Fatt ends the EP with a mediocre gangsta rap single.

I still believe The Resurrectiøn remains Tezzus’ best material of his career & since his YSL deal came to fruition at large, but Mømma Bøyz in preparation for The Resurrectiøn 2 had me coming away from it a little torn with the final results due to a combination of having a guest on nearly every song except for 1 & half of the production. Which is disappointing because the ØWay co-founder’s tribute to his mother is presented in such a cohesively endearing manner.

Score: 3/5

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BabyBartier – “Die Thuggin’” review

2nd offering of 2026 & the 5th extended play overall from Los Angeles, California rapper BabyBartier. Emerging off his debut EP Baby Blanco a year ago followed by Diablo a little over a month later, his popularity would continue to grow over the course of the summer after Awe$ome & Terror respectively became his most acclaimed EPs. Coming off his moderately received debut album Nightmare on Rodeo under Internet Money Records alongside Mercury Records & Republic Records, he’s outdoing it with Die Thuggin’.

The title track produced by Nash begins talking about going out like a G whereas “Steppin’ Out” over a plugg instrumental so he can unload the clip right when he hops out the whip. “BabyNDO” properly introduces to the duo of the same name comprised of him & NDO D accompanied by a hyper Patrick Garza beat just before “Never Sober” takes a more wavier approach instrumentally thanks to PROJECT4PLAY talking about addiction.

406ahmad jumps behind the boards for the plugg-infused “Skateboard” proclaiming himself to be a rockstar who’s always on the grind while “Maui Wowie” talks about getting fed up with all the heartbreak so much, that he might consider his drug stash his true soulmate. “Hit Your Phone” airs out his disappointment towards someone who he thought would have his back after saying so & the rage-inducing “Babyface” ends the EP expressing his refusal of letting a bitch bring him down.

He must’ve heard the feedback Nightmare on Rodeo got 7 months because not only do I think Die Thuggin’ dethroned Awe$ome to join Terror in ranking amongst BabyBartier’s greatest EP but needless to say: A huge improvement above his Internet Money/Mercury/Republic debut earlier this spring & would love for his sophomore effort to maintain this same energy when it arrives next year mainly due to the the improved production making his performances resonate more.

Score: 4/5

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Bruiser Wolf – “The Dealer Wins” review

Detroit, Michigan emcee Bruiser Wolf returning for a brand new extended play. A member of the Bruiser Brigade collective, his 2021 solo debut Dope Game Stupid would become an experimentally gangsta & comedic gem although the sophomore effort My Story Got Stories was more moderately received a couple years ago. Both of his last couple albums Potluck & Made by Dope produced by Harry Fraud respectively have become his most celebrated material thus far, coming off the polarized response of Push & Paint to have Conductor Williams fully produce The Dealer Wins.

“Payday” hooking up a crooning sample with pianos for a 105 second intro talking about having 0 regrets & shooting his shot every time whereas the lead single “Ain’t Got Time” soulfully explains that he has more money than availability these days. The 2nd & final single “The Score” featuring Marv Won references the late WWE Hall of Famer Bobby Heenan & after the chipmunk soul-tinged “Dig Some Jive” echoes his own personal motto, “Transportation” talks about having locations to rinse the money off.

Kicking off the 2nd half, we have Bruiser looking back at a time when he used to spend his live living “In Danger” retaining the chipmunk soul vibes for a couple minutes leading into “State Property” talks about the minds of the poverty-stricken not functioning properly. “New Game, Same Rules” makes use of witty football wordplay since he played in the AFL when it existed & once “For You” dedicates itself to anyone who’s fumbled or hustled, “The Story of DeVaul Neal” rounds out The Dealer Wins on a more introspective note.

Looking to end 2026 strong ahead of reuniting with Harry Fraud for a Made by Dope sequel as as well as having Nicholas Craven produce an entire collection of material & even a collaborative album with Twista all coming within the new year, Bruiser Wolf makes up for the polarized reception Push & Paint received 8 months earlier combining the off-kilter delivery & inventive storytelling that’s made him unique with Conductor’s soulful production to make The Dealer Wins a 4th quarter buzzer beater of an EP.

Score: 4.5/5

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Mozzy – “BMX” review

Sacramento, California emcee Mozzy back for his 5th extended play. Becoming a fan in the summer of 2017 off his debut 1 Up Top Akh & he went on to be featured on the soundtrack for Black Panther only 6 months later & drop 6 more full-lengths through his EMPIRE-backed Mozzy Records prior to Memphis veteran Yo Gotti landing him a contract with Collective Music Group/Interscope Records. His major label debut Survivor’s Guilt was more poignant than what Mozzy had done previously & Children of the Slums exemplified growth in his rap career & personal life, although Brash Dummies became a letdown. Last time I reviewed him was when some Intrusive Thoughts were revealed, enlisting Mr. Green to fully produce BMX.

The intro “Poppin’” kicks things off with this soulful beat talking about a conversation being cute if it doesn’t regard thousands of dollars whereas “Never Get Enough” takes the symphonic boom bap route instrumentally suggesting to give it all here. “Get Back” continues the sampling of soul music talks about having a couple bands on deck & after the crooning “Be Bool” tells a homie of his to chill, “Do the Business” ends the EP admitting he handles the work side of things.

Some of Mozzy’s output for the past year & a half hasn’t really caught my interest if I have to be truthful, so hearing Mr. Green was fully producing BMX raised my expectations & I’m firmly adamant of the possibly that it could become his greatest EP. The soulful boom bap production is a breath of fresh air compared to the trap/nervous sounds were used to hearing from him & that makes more than enough room to deliver 8 & a half minutes of hunger. Would be remised if there are some concerns of whether or not 60% of it was AI generated.

Score: 3.5/5

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Shenseea – “Catalyst” review

Mandeville, Manchester, Jamaican singer/songwriter & deejay Shenseea back for a brand new extended play of material. Putting out a handful of singles since 2015 like the Vybz Kartel-assisted “Loodi” or “Run Run”, she then signed to Interscope Records prior to the pandemic & got her biggest push yet after appearing on the “Ok Ok” remix off Ye formerly known as Kanye West’s final Def Jam album DONDA. Her own debut Alpha under Interscope Records further solidified Shenyeng as dancehall’s most exciting new artist & looks to make up for the sophomore effort Never Gets Late Here’s lukewarm reception to drop Catalyst in celebration of her new contract with Columbia Records.

The 2nd & final single “Vulnerability” kicks things off with this dancehall intro seeking susceptibility whereas “Playtime” featuring Asake instrumentally embraces a more atmospheric vibe so they can sing about a situationship. “Danger” moves on from there telling this guy to push up on her enough to bring the wildness out of her prior to “Garden” singing about turning off the lights before she & her lover get down to business despite the usage of AI ruining it.

“Body Language” produced by London on da Track might be my favorite here from the beat to the lyrics cautioning things are on the verge of getting freakier while “Private” featuring Loe Shimmy sings & raps about staying up conversing online & layin’ up with each other in person. “2 Face Gyal” airs out a woman who she feels is envious towards her & the lead single “Talk to Me Nuh” featuring Vybz Kartel wraps up Catalyst reuniting with the icon who believed in her from the start.

The divisive reception Never Get Late Here got makes more sense to me now that it’s been confirmed that it was Shenseea’s last offering under Interscope, but Catalyst celebrates this new era of her career by reminding the world of her place amongst dancehall’s most dominant forces in recent memory & expanding her sound with secondary influences of R&B & Afrobeats now that her new label has granted her more freedom on the creative aspect of things.

Score: 3.5/5

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Jack Harlow – “Sweet Action II” review

Here we have the 3rd extended play from Louisville, Kentucky rapper, singer/songwriter, producer & actor Jack Harlow. Breaking through when the pandemic started off the single “What’s Poppin’?”, this resulted in DJ Drama & Don Cannon signing him to their Atlantic Recordsimprint Generation Now Entertainment as well as them putting out a mediocre full-length debut with That’s What They All Say that same winter & who could forget the arduous listen of a sophomore effort Come Home the Kids Miss You in 2023. Coming off Jackman. & Monica, he’s dropping off a sequel to Sweet Action.

“Signora” begins the EP sampling “Ideally Yours” by Ideal responding to a woman wondering why he’s acting so laid back whereas “Too Soon” shifts towards a Disney Channel vibe instrumentally to pose the question of whether or not it’s untimely for him to fuck another bitch. “She Gets Me” confesses that he’s been seeing another woman & feeling like she understands him better than his old chick did while “610 Magnolia” talks about wanting to show her who he really is.

The song “Hold Back” produced by Rogét Chahayed might have my favorite beat here because of the way he samples “Hold N’ Back” by Marques Houston even if bars like “I can tell you must think I just wanna paint your face, Cirque du Soleil” feel grossly tacky while “Pressure” flips “ego talkin’” by Saint Harison acknowledges his imperfections. “Move On” ruins “That Was Then” by Lalah Hathaway to end Sweet Action II wining over an ex-girlfriend.

It was pretty great seeing Jack Harlow getting clowned for the neo-soul direction Monica went for when he dropped it back in March & regardless of the pop rap elements from the original Sweet Action being retained, the trap influences being swapped out in favor of Monica’s neo-soul sound & contemporary R&B makes Sweet Action II feel like a collection of outtakes that were originally meant for his latest album whether it’s the obnoxious usage of R&B samples or Jack’s corny songwriting.

Score: 1.5/5

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Ella Mai – “3²” review

This is the 5th extended play from Mitcham, London, England, United Kingdom singer/songwriter Ella Mai. Signing to DJ Mustard’s very own Interscope Records imprint 10 Summers Records over a decade ago. Her first few EPs Time as well as Change & Ready were all solid preludes ahead of her acclaimed eponymous full length debut, following up her sophomore effort Heart on My Sleeve with 3. Her 3rd album Do You Still Love Me? came out earlier this year & she’s dropping 3² to celebrate her birthday week.

“Favourite T-Shirt” produced by none other than DJ Mustard begins the 3-pack with a contemporary R&B intro singing about the father of her child Jayson Tatum while “Over & Over” bridges the 3 sequel admitting that she finds herself falling in love with Jayson all over again right when she feels like they’re through. “All I Know” sends off the EP incorporating some rich piano chords so she can sing about affection being the only thing she’s familiar with.

Do You Still Love Me? still remains the most intimate statement in Ella Mai’s entire discography so far considering that she gave the world her new outlook on the complexities of love & life altogether, but I don’t see myself coming back to 3² as much as it’s predecessor 24 months ago or even the new LP we got from her back in February & that’s primarily because it wouldn’t be much of surprise to find out if the 10 minutes of material here were originally intended for what we got 9 months earlier.

Score: 3/5

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NDO D – “YL5” review

This is the 7th extended play from Atlanta, Georgia rapper NDO D. Releasing his first couple EPs No Dayz Off & Hi 5 in 2022 respectively, he would go on to follow it up a year later with the Running Out of Time EP along with his debut mixtape Lord & the King Whor3 EP. Coming off his full-length debut Life After Death along with the Free YL EP & more recently the Bombsquad 4 Life EP back in August, he’s dropping YL5 a week after he announced it on his Twitter.

“Charlemagne” wastes no time bringing the 808s in the picture comparing all these fans talking to Breakfast Club co-host Charlemagne tha God while my personal favorite track “Calling the Hits” produced by Patrick Garza flexes that he’s the one calling shots now. “Ball” reaches the midway point talking about walking in the spot like a boss while “Pay 4 the Car” looks to turn this bitch into a party. “A$$hole” doesn’t shy away from admitting his wealth got him acting like a dick & “Rocket” ends the EP talks about sending rockets at those dissing his squad.

I didn’t mind the appearances NDO D made on “U.O.E.N.O.” off 9 Vicious’ 2nd mixtape Sedition or “Pray for Me” from 406ahmad’s latest album Life of Ahmad 3 within the past couple months, but I felt divided towards YL5 & that’s mainly because I was expecting more out of the production regardless him stepping up his songwriting & performances. If Patrick’s got more beats for him or maybe get Ahmad & Whyceg in the fold, then I think would get some of his finest material.

Score: 2.5/5

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Young Chris – “Or a Bullet” review

This is the 4th extended play from North Philadelphia, Pennsylvania rapper Young Chris. A member of the State Property crew & 1/2 of the Young Gunz subunit, he has since dropped a total of 16 solo mixtapes as well as 3 extended plays & 2 collaborative projects within nearly 2 decades, with the Cardiak-produced The Revival being my personal favorite of the bunch. Coming off the drumless Made in Philly with MadeinTYO this spring & Catch a Vibe a couple weeks ago, Or a Bullet picks up right where the counterpart left off.

Wale appears for the intro “Fly Talk” so they can spit braggadocio together over a old school boom bap beat whereas “Foreigns in the Trenches” featuring Phil Adé finds the pair talking about driving expensive cars around their respective hoods. “On My Soul” featuring Dave East, Freeway & Ransom leans toward a chipmunk soul vibe instrumentally referencing the late WWE Hall of Famer Muhammad Ali just before “The Golden Chile” soulfully talks about people plottin’ on him.

“Try My Hand” moves on from there pleading for God to not let him be misunderstood leading into “Drama Occurred” featuring O.T. the Real & Reese Bangem painting imagery of the gangsta lifestyle with O.T. having the strongest guest verse of the 2. “N****s in the Joint” talks about the very people he took extras from whenever he has enough supply for the whole town at large while “Different Kind of Animal” spends the last minutes of Or a Bullet flexing his level of lyrical skill.

I’m kinda happy that Young Chris decided to split Catch a Vibe & Or a Bullet into 2 separate halves because as much as I found myself enjoying the predecessor 14 days ago, this new EP doesn’t really impress me as much because I feel like the production’s a bit of a step down outside of a few spots & a couple guests. If he’s able to get some fire beats from people like Hit-Boy or 9th Wonder & Nicholas Craven, I feel like that would bring the best outta him.

Score: 3/5

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Blaze Ya Dead Homie – “Last Rites” review

Physical exclusive 5th extended play from Mt. Clemens, Michigan rapper Blaze Ya Dead Homie. Originally 1/2 of the 2 Krazy Devils, the Insane Clown Posse eventually signed him to Psychopathic Records & his eponymous debut EP as well as his full-length debut 1 Less G n da Hood would become some of the hatchet’s most beloved material at the turn of the millennium. Colton Grundy: Tha Undying introduced us to his alter-ego & Clockwork Gray received the same praise as his earlier material, departing Psychopathic after the Mike E. Clark-produced Gang Rags to make the sequel Reborn the inaugural release for his childhood friends Twiztid’s label Majik Ninja Entertainment in tandem with his own imprint Grundy Entertainment. It’s already been a decade since The Casket Factory but coming off Cadaver & Dead Serious, his Last Rites are being read.

“Smoke” starts us off with Blaze talking about not being the one to provoke while “Armed & Dangerous” instrumentally embraces a rap rock vibe cautioning that he has a gun on him. “Sold” experiments with trap metal airing out the people who’ve sold their souls to the Devil & once “In Between” awkwardly talks about there being no one to blame other than ourselves, the outro “No Tomorrow” ends Last Rites explaining shit ain’t been the same since he came to the game although I much prefer the Stir Crazy remix.

If you’re going into Last Rites expecting it to be a bunch of leftovers from the Dead Serious sessions kinda like what The Casket Maker was to The Casket Factory, you’ll be surprised to hear that a great deal of this EP doesn’t have as much of a Jelly Roll influence as Blaze Ya Dead Homie’s most recent album we got over the summer since the production fluctuates between rap rock along with trap metal & regular trap music to compliment the wicked gangsta performances he solely handles contrasting his longtime associates making appearances throughout Dead Serious.

Score: 3.5/5

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