Jae Skeese – “40 Hours” review

Buffalo, New York emcee Jae Skeese is back for the 4th EP in his discography. Starting in 2010 off his debut mixtape W.A.C.K. (Women, Alcohol, Cash & Kicks), it wasn’t until a decade later where he & 7xvethegenius gained wide exposure as the first signees to Conway the Machine’s very own Drumwork Music Group. The Big Ghost Ltd.-produced 3rd EP Authenticity Check & the sophomore effort Abolished Uncertainties both elevated Skeese’s popularity in the last couple years. Coming off the Superior-produced Testament of the Times & elevating from Ground Level though, he’s starting 2025 right by putting 40 Hours in.

“Balance Inquiry” is this jazzy boom bap intro wanting to know what the holdup exactly is whereas “Rotary Phone” talking about the real ones always breaching through the walls at the end of the day. “Buffganistan” featuring Glueski dabbles with trap trading back-&-forth refusing to go broke while “FedEx” works the kicks & snares back up to talk about piecing it all together.

The song “Strike!” featuring K Pi$tol & Lil Jonezy reaches the backend of 40 Hours vibrantly boasting that this shit be larger than life itself leading into “Way Up” featuring Scoop Dolla fusing soul & jazz rap 1 time for ya mind. “Round & Round” concludes the EP hopping over a sample to read between the lines talking about finding once you set out to seek. The first bonus track “Toast Up” links with Ill Tone warming up for something greater & “Banditland” featuring Chasè Scanz ends the deluxe with a triumphant ode to Buffalo.

Looking to put on a handful of local artists & a couple producers, Skeese delivers vibes & bars for the Drumwork fanbase although I personally find myself gravitating towards the Ground Level mixtape that he delivered last summer. The production a lot like that previous body of work balances boom bap & trap except its predecessor contains stronger feature performances.

Score: 3/5

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Tha God Fahim – “Dump Gawd: Hyperbolic Time Chamber Rap 4” review

Remember when I said Tha God Fahim & one of the best producers of this decade Nicholas Craven wrapped up the Hyperbolic Time Chamber Rap trilogy couple weeks ago? They’re picking up where they felt off on Fahim’s 50th EP. Starting as an affiliate of Griselda Records as well as being 1/3 of the Dump Gawds alongside Mach-Hommy & Your Old Droog, we also can’t ignore the massive discography that he’s managed to build for himself, some of the standouts include Breaking Through tha Van Allen Belts & Dump Assassins. That said: He’s been on a CRAZY ass run in 2023 with the standouts being the Camoflauge Monk-produced Dark Shogunn Assassin, the Nature Sounds-backed Iron Bull & the Nicholas Craven-produced Dump Gawd: Shot Clock King series, the Oh No-produced Berserko, Dump Gawd: Rhyme Pays produced by Mike Shabb, Tha Supreme Hoarder of All Pristine Wealth. Supreme Dump Legend: Soul Cook Saga produced by Cookin’ Soul & Machine Gun Vocabulary produced by Cartune Beatz. Continuing the Dump Gawd: Hyperbolic Time Chamber Rap saga that later had a 2nd & 3rd installment of their own however, Dump Gawd: Hyperbolic Time Chamber Rap 4 is now upon us.

“GFY” is this sample-driven opener flexing that he fathered some of these styles in the underground with a resume that very much checks out whereas the soulful “Got Game” reminding everyone that it’s about what you bring to the table. “I Don’t Care” hooks up some strings so he can call himself the final boss of rap & the classy “Muscle Mass” talks about seeing people do a whole switch.

The song “Plot Armor” gets the other half of the EP going for a soulful boom bap route instrumentally referring to himself as a metric ton being compared to grams while “Questions & Answers” keeps the kicks & snares in tact to talk about his colossal posture sampling soul music once more. “Righteous Skills” wraps up Dump Gawd: Hyperbolic Time Chamber Rap 4 with a jazzier sound flexing that he’s turned negatives to positive many times in his career.

Many people regard the original Hyperbolic Time Chamber Rap trilogy to be mid, but he’s continuing the saga by ending 2024 strong & coming in 2025 even stronger since it’s general sound is more very compared to its predecessors. Nicholas Craven’s sample-heavy production draws inspiration from boom bap to drumless, chipmunk soul & jazz rap dumpin’ lyrical heat for 17 minutes.

Score: 4.5/5

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Diamond D – “The Diam Piece 3: Duo” review

The Bronx, New York emcee/producer Diamond D continuing the final installment of The Diam Piece trilogy. A mentor of Jazzy Jay, he would then form the D.I.T.C. collective alongside Lord Finesse & Showbiz in ‘92 only to put out his classic full-length debut Stunts, Blunts & Hip Hop shortly after. D went on to drop 6 more albums & a couple mixtapes of his own, the latest being Gotham’s acclaimed self-titled effort & The Rear View. The Diam Piece & it’s sequel left most of the rhyming to the guests, coming off Initium from this summer by putting out Duo.

“I’m Not Crazy” by B-Real & Everlast is this rap rock intro suggesting that the whole world’s insane whereas “T.S.N.Y. (The Sound of New York)” by NEMS, Prayah, Saigon & Tons takes the boom bap route instrumentally telling everyone who ain’t with the vibes to get lost. “My DJ Spits Betta Than U” by Da Inphamus Amadeuz, Doo Wop & Kid Capri samples “Monochrome” by Alan Parker boasting that the DJs are better on the mic than a lot of these guys nowadays leading into “Casket Fresh” by Chip Fu, Kardinal Offishall & Peedi Crakk brings the trio together to make sure you look good when they bury you.

Diamond D himself temporarily joins Sadat X on the funky, flute-tinged “Get with It” talking about everyone being a rapper now just before “Hyenas” by Reef Hustle, Shortee Sha & Tek returns to the boom bap bringing it hardcore. “Weed, Sex & Cars” by Camp Lo playfully expresses their desire for all those things leading into the synth-driven “It’s Up 2 Me” by Junk & 4-IZE talking about being here for a while. “Ride the Wave” energetically shares the mic linking up with Aftermath Entertainment in-house producer Focus… telling everyone to approach them with caution prior to “Keep on Steppin’” by Boog Brown, Camari & Lady Luck finishing it up with a cool gospel flip as the ladies speak to the Higher Power.

Of the 2 installments of The Diam Piece trilogy chapter, I find myself preferring Initium still in comparison although I still very much enjoy it whether it be continuing the series’ knack for allowing Diamond D to take a backseat as an MC with a few occasional spots here & there allowing a myriad of guests to do what they do best over his signature boom bap production. I’d finally be remised if I didn’t mention there are some dope influences of rap rock along with funk & a hint of gospel music including a sample I haven’t heard since one of my all-time favorite 7L & Esoteric cuts “Watch Me” off their classic sophomore effort Dangerous Connection.

Score: 3.5/5

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Doggystyleeee – “Blame It on My Crippin’” review

San Bernardino, California emcee Doggystyleeee linking up with longtime collaborator AC3Beats for his 4th EP. Emerging in the fall of 2019 off his full-length debut Into Somethin’, he would go on to put out his last 3 EPs as well as 5 mixtapes & a couple more albums garnering interest to the point where WWE Hall of Famer Snoop Dogg whose cousin Mercedes Moné is the current AEW tbs Champion, 新日本プロレス STRONG女子チャンピオン & now RPW British Women’s Champion this past week following the current AEW International Champion 竹下幸之介 becoming the new NEVER無差別級チャンピオン at レスリング • キングダム19 almost signed him to Death Row Records not too long after purchasing the label from MNRK Music Group to revive it. His last tape No Features Needed dropped last summer holding down a half hour’s worth of material by himself without any guests.

“Nightmare Off Evan’s St.” samples the Halloween theme for a g-funk intro warning that you’ll get shot if you fuck around with him whereas “Bacc on My Bullshit” throws it back even further to the early 90s west coast scene refusing to hang with lames. “Don’t Claim Me” clarifies that he doesn’t have a bitch currently while “Footsteps” embraces the g-funk sound further telling his new romantic interest to keep it g.

Trizz joins Doggystyleeee on “I Bet You Never Had” maintains a g-funk flare as they tell the women that they’re currently seeing they ain’t never had anyone like them just before “Nothin’ Like Yo Last” featuring Big Motion, Judy Drama, Rae Monique & $inClar3 comes off as a female counterpart of the previous track. The song “On Safety” brings the g-funk vibes back tryna find his way & “Nothin’ 2 Somethin’” ends by reflecting on his success.

Gearing up for his upcoming 4th album set to come later on in the year, Blame It on My Crippin’ preludes it with Doggystyleeee got one of the very producers who’s always brought the best outta him since he started to blow to help him craft a 24 & a half minute 8-track EP putting a bit of a new school twist on the g-funk gangsta rap that dominated the westside 3 decades ago.

Score: 4/5

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The Inner Realmz – “Mass Collide” review

This is a brand new EP from California production team The Inner Realmz. Founded by Masta Cypher Devine & Goomson, they’ve been making waves in the west coast underground scene since the beginning of the current decade off their first 2 beat tapes SP 1000 and Build & Destroy followed by Low End Wizards as well as it’s sequel & Digital Chains. Goomson so happened to team up with Broke a year & a half ago for a collaborative beat tape Heavy Wreck displaying Broke’s talents behind the boards for Side A & of course Goomson on Side B except for Masta Cypher Devine doing the closer. Omnipotent masterfully selected & arranged jazz samples catching my attention this spring so with that in mind, it had me interested in where Mass Collide was gonna take it.

After the dusty “Fuck ‘Em” intro built around sampling a piano, the first track “Roughneck Reality” starts us off with a 4-minute boom bap instrumental that Goomson cooked up himself whereas “Passin’ Thru” feels like an old school beat that sounds like it was made in the early ‘90s. The keys throughout “Stress” feel every exuberant with the kicks & snares giving it a raw edge, but then “Don’t Shut Down on a Player” is ends the first half of the EP with a nostalgic vibe.

“Funky on the Track” lives up to it’s name excellently for 119 seconds blending elements of funk music & boom bap while “Misery” by Sirrealist & Vel 9 is the only cut on here with performed vocals, bringing them together talking about only seeing unhappiness & affliction. “Outra Vez” serves as the official outro hooking up a mellow backdrop with kicks & snares, but then the bonus track serves as a sequel to “Kick a Freestyle” off Chapter 1.

Masta Cypher Devine left the group a little while ago hence why he didn’t have any involvement in making these beats at all & even Goomson saves his production skills for a couple joints, but Jon Deliz alongside Mike B & Ripe143 take up a bulk of the 23 minute listening experience by showing off what they’re capable of doing as producers & keeping The Inner Realmz’ jazzy boom bap sound going strong.

Score: 3.5/5

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Tha God Fahim – “Dump Gawd: Hyperbolic Time Chamber Rap 3” review

Tha 70 Tape Legend himself Tha God Fahim getting back with Nicholas Craven for his 49th EP. Starting as an affiliate of Griselda Records as well as being 1/3 of the Dump Gawds alongside Mach-Hommy & Your Old Droog, we also can’t ignore the massive discography that he’s managed to build for himself, some of the standouts include Breaking Through tha Van Allen Belts & Dump Assassins. That said: dude has been on a CRAZY ass run in 2023 with the standouts being the Camoflauge Monk-produced Dark Shogunn Assassin, the Nature Sounds-backed Iron Bull & the Nicholas Craven-produced Dump Gawd: Shot Clock King series, the Oh No-produced Berserko, Dump Gawd: Rhyme Pays produced by Mike Shabb, Tha Supreme Hoarder of All Pristine Wealth. Supreme Dump Legend: Soul Cook Saga produced by Cookin’ Soul & Machine Gun Vocabulary produced by Cartune Beatz. We got a 2nd AND a 3rd installment of Tha Myth Who Never Quit couple months ago but coming off Dump Gawd: Hyperbolic Time Chamber Rap & the sequel, it’s time to close out the trilogy.

“The Intent of Vengeance” kicks off Hyperbolic Time Chamber Rap 3 with a soulful boom bap instrumental talking about having to get right because shit could possibly change tonight whereas “Bullet Proof Confidence” works in some keys, kicks & snares flexing that his self-assurance is indestructible. The piano sample on “Senzu” feels reminiscent to “On My Block” by Scarface to talk about him still having it lyrically just before “Not for Sale” wants to know if you’re a foe or friend to him.

Getting the other half going, “Heavy Handed” brings a soulfully dusty flare back to the table comparing his longevity to current Los Angeles Lakers player LeBron James while “Kumite” Keeps it in the basement instrumentally promising to waste y’all like it’s Grand Theft Auto. “Makankosappo” ruggedly promised to take everyone’s words regarding him & making them eat ‘em at the end leading into “A Step Further” closing it out telling everyone to be good sports watching him making half court shots.

Ending his 2024 with a bang, the Dump Gawd teases big things coming down the pipe throughout 2025 by completing another trilogy of projects with one of the greatest producers of this current decade firstly. Nicholas Craven’s production carries on the boom bap emphasis both prior installments of the Hyperbolic Time Chamber Rap series had put on themselves 6-7 weeks ago & Fahim outdoes himself from a lyrical standpoint.

Score: 4.5/5

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WTM Miles – “Road Music” review

Here we have the 4th EP from Detroit, Michigan rapper WTM Miles. A member of the WRLD Tour Mafia, he would properly introduce himself at the beginning of this current decade off his first couple EPs I Shoulda Been Dropped & Trapped n L.A. ahead of the full-length debut studio album Crackhouse Mafia. Miles’ previous EP Cross State Lines celebrated its 1-year anniversary this fall & is preluding the upcoming Shortstop mixtape by dropping off some Road Music.

“Shandeur Sanders” is this stellar Detroit trap opener produced by WTM Niketech boasting that he got more bags than Michael Kors whereas “Cup Dirty” puts a morbid flare to the Motor City’s unique take on trap music talking about a woman letting him know she’s worthless by looking for a come-up. “Future Bright” has a dark Detroit trap atmospheric remaining optimistic regarding his future while “Bad Habits” featuring Homealone Drock trades the mic back-&-forth over a Carlo Anthony instrumental. “Racing to Ms” ends with a 1 more Detroit trap joint talking about being on track when it comes to getting closer making millions.

I can only assume that we’re gonna get Shortstop at some point following R.A.F.A. (Rockstars Are Fuckin’ Awesome) in a few weeks until we get to crossing that bridge, Road Music will hold off fans well enough. The production primarily bases itself around the Detroit trap sound that the group he’s a part of made a name for themselves off & giving a taste of what’s to come in the form of a gift before the year ends.

Score: 3.5/5

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Boldy James – “Hidden in Plain Sight” review

This is the 8th EP from Detroit veteran Boldy James. Breaking out in the fall of 2013 off his Alchemist produced debut M.1.C.S. (My 1st Chemistry Set), the Detroit lyricist would later go on to land a contract with Nas’ independent label Mass Appeal Records for a little while before getting locked up. Once coming 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. 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. Bo Jackson though would become his most critically acclaimed work to date & Super Tecmo Bo was almost as great for an EP. Fair Exchange No Robbery produced by Nicholas Craven also became another essential until Penalty of Leadership surpassed it & Mr. 10-08 produced by Futurewave is up there too as is the Conductor Williams-produced Across the Tracks at the beginning of the summer & The Bricktionary produced by Harry Fraud. A month after the latter, Carlo Anthony’s joining him for Hidden in Plain Sight.

“I.S.D.A.M.L. (I Sold Dope All My Life)” starts the EP with a drumless, funky instrumental talking about being in the drug game forever whereas “Dirty Dancing” reminds us that no one wins when the family feuds & wants to make sure y’all bring your dance shoes. The title track featuring Conway the Machine & Styles P brings a jazzier vibe to the beat spittin’ that gangsta shit & after the “Wire Taps” skit, “1st & 15th” featuring King Hendricks goes for a cloudy boom bap flare talking about supplying the coke.

ZelooperZ joins Boldy on “Big Wigs” fusing chipmunk soul & trap together sitting back as they watch everything blossom after going from being at the bottom to chillin’ at the spot sittin’ on $600K prior to “Brick James” swapping out the chipmunk soul elements of the previous joint in favor of jazz rap calling for Only the Family Entertainment founder Lil Durk to come home since he got arrested last month & sending his condolences to their biggest signee King Von, who was murdered several years ago.

Carlo’s primarily known the Detroit trap scene so a lot of people were expecting it to be a lot like The Bricktionary in terms of sound, but he completely proved everyone wrong by trying out sounds that’re new to his wheelhouse. His production goes from drumless to jazz rap, chipmunk soul, boom bap & cloud rap in the span of 18 minutes so Boldy James can finish off 2024 the way he started it: Applying pressure.

Score: 4.5/5

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Peysoh – “Peysoh Did It” review

Maywood, California up-&-comer Peysoh dropping off a brand new EP with only 11 days left in 2024. Introducing himself 4 years ago already with the debut single “6 Block”, he would later sign to EMPIRE Distribution for his full-length debut Ghetto Journal at the beginning of 2022 in addition to a sophomore effort Get Rich or Life Sliding the next summer. He recently landed guest verses on Berner’s 16th album Hoffa & of course the title track of Kendrick Lamar’s 6th album GNX a month ago, preluding next album by declaring Peysoh Did It.

“Ain’t as Evil as Me” is this Mobb-influenced open or talking about how nobody out here is more evil than he is whereas “Not Me” eerily works in some pianos getting on the gangsta rap tip lyrically. “Lucky 7” embraces the Detroit trap vibes talking about his nickname & getting away with some shit while “What’s Beef?” puts a modern west coast trap twist on a homage to the iconic Biggie track. “Let ‘Em Run” goes Mobb for the final moments asking the city to tell you who be poppin’ shit.

Similarly to the new YoungThreat mixtape that came out earlier today It Gets Greater Later, we have another artist who was featured on Dot’s surprise LP coming through with a body of work that lands a step above Siete7x’s recent tape Stucc in the Hole in terms of quality. All 3 artists can very much rap, but the latter tape had too many features & the other 2 artists didn’t have to bring any in whatsoever.

Score: 3.5/5

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Elcamino – “Full Moon” review

This is the 18th EP from Buffalo emcee & singer Elcamino. Blowing up in 2017 off his self-titled EPwith Griselda Records, his profile increasingly grew after being followed up by Walking on Water mixtape in the summer of 2018 along with dropped 2 studio albums & a few EPs the year after that. They Spit on Jesus proved to be a well received Black Soprano Family Records debut becoming the first Camino project that I had covered since On the 3rd Day & that much like No Weapon Formed Against Me was an improvement over some of the material we’ve gotten from him in recent memory. 6 months after having Real Bad Man produce The Game is the Game followed by Ill Tone recently producing Built for Cuban Links named after Raekwon’s iconic solo debut Only Built 4 Cuban Linx…produced by RZA, Meech started the final quarter of the year flexing his Millionaire status & is ending it with a look at a Full Moon.

“Who Braggin’?” awkwardly kicks things off by impersonating Future for whatever reason while “Legal Money” takes the atmospheric trap route instrumentally doing shit that no one else can compared to him. “Forever” works in some background vocals & hi-hats talking about being too valuable whereas “Real” featuring Duckman vibrantly flexes that they’re still clappin’ out here. “Dat’s My Bae” feels like another Future-inspired song & so does “Back Ballin’” except it’s more playful. “Everything He Knows” lavishly ends with promising that he’ll do this shit for life.

Not trying to make it to sound like that I’m hating on the guy because I’ve been listening to Elcamino ever since he first signed to Griselda almost 8 years ago & have given him his praise in the dozen of projects I’ve reviewed him in the past, but I’m kinda torn on this EP personally. He can very much sing as well as he can rap on trap production like he can on traditional east coast sounds, it’s that the heavy-Future influences can be a little off-putting to me.

Score: 2.5/5

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