Scatz – “F.T.O.S. (Fuck the Other Side)” review

Flint, Michigan rapper Scatz with his 7th EP & his 2nd project since signing to M.I.N.E. Entertainment. Introducing himself Halloween 2022 with his debut EP Kyriee Krazy followed by the debut mixtape Yung N***a World, his next 5 EPs SharkLoto, Gift of Gab, Yung Dirty Bastard, The Biggest & Yung Dirty Bastard all the following year caught the attention of Rio da Yung O.G. & signed the 6 Ward Lord to M.I.N.E. behind bars. Almost 3 months later, Scatz is looking to apply further pressure by giving a finger & saying F.T.O.S. (Fuck the Other Side).

“Soul Searchin’” was a nearly 2 minute Detroit trap intro talking about riding around with 2 switches taking lives whereas “Free the Innocent” calls for those who’re incarcerated for crimes they never committed to come home over 808s & an airy backdrop. The title track heavily incorporates some bells to speak on the gangsta lifestyle he endures himself into until “Fully” reflects on being young & dumb tryna get a kill.

Moving on from there, “Go Dumb” comes out the gate by telling a bitch to prove her love for him when she told him only for the relationship to completely dissolve & his twin never missing with the glock prior to “W.B.Y.I. (What Bag You In?)” tryna figure out the deal with this guy runnin’ up tellin’ on others. “$50K” featuring Lil Nook marks the first of 2 collabs on the EP ruining a dark Detroit trap instrumental asking what your momma would do if she was sent that much.

“Topside on a Sunday” kicks off the final leg of F.T.O.S. (Fuck the Other Side) by telling people to question his legitimacy in the hood to know if he really drills anyone like that poppin’ 10s while “1 Click” pulls off some Mobb undertones talking about keeping no bitches around him. “Spike” featuring Ducko & PaidLife Zar closes the EP with 1 last Detroit trap collaboration that I like a little less than the other despite the piano-heavy beat.

6 War Lord was a complete step up from Scatz’ early EPs & mixtape sounding hungrier than he did compared to when he started out & that same hunger transitions onto F.T.O.S. (Fuck the Other Side). His production choices keep getting better & I preferred the guest list on the predecessor a few months ago, but the Flint native continues to feel right at home realizing Money Is Not Everything or Music Is Never Ending speaking of his upbringings.

Score: 3.5/5

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The Hoodies – “Nobody Bigger Than We” review

Ellenville, New York duo The Hoodies consisting of siblings E-Class & Young Poppa are back for their 3rd EP. These guys have been taking over the local underground scene for the past 6 years off the strength of their debut mixtape Blood Thicker followed by their first couples EPs both Where Should We Land & What Pressure Makes. However, their full-length debut studio album Hidden Gems entirely produced by Kid Capri last fall wound up becoming their most acclaimed body of work yet from both critics & fans for it’s take on the past & present New York hip hop sounds. And with its anniversary coming in a few weeks, they’re reminding everyone that Nobody Bigger Than We.

“Closer” is this sample drill opener with a chipmunk soul flare talking about being underrated, but still scoring just like the Cleveland Cavaliers whereas “Love Birds” continues with the soulful flips instrumentally flexing that they really Soulja Boy since they’ll pop out with the Draco in reference to the Big Draco nickname from the first rapper to do everything. “Despise Me” featuring their manager Ms. Tiff has a solemner approach atmospherically bouncing off one another on the mic collecting that money & “Not the Same” ends the EP sampling “All the Man That I Need” by Whitney Houston trying to teach the lessons of their predecessors.

I’m usually very selective when it comes to artists in the Brooklyn drill scene, but there’s no question that E-Class & Young Poppa are both skilled enough lyrically to do that style justice & that’s exactly what they do over the course of Nobody Bigger Than We. Granted that we already heard them dabble with this sound (case in point: “Top of N.Y.”), they embrace it a lot more here to the point where they’re also fusing it with elements of sample drill & chipmunk soul in a captivating fashion reaffirming their status as the biggest in Ellenville.

Score: 3.5/5

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The Alchemist – “The Genuine Articulate” review

Beverly Hills producer, DJ & rapper The Alchemist following up the Flying High EPs with his 12th EP. Beginning 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. 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 & Eminem to Travis Scott & even Drake. Gangrene got back together this spring for Heads I Win, Tails You Lose & The Genuine Articulate is refusing to slow down.

“Ferraris in the Rain” featuring ScHoolboy Q is this jazzy, drumless opener with both of them asking for the rain to remove them from all the pain they’re going through in their lives whereas the first 3 Uncle Al solo joints “Something Light” delivers it hardcore over a futuristically rugged self-produced instrumental. “Minnesota Fats” featuring Action Bronson finds the pair over a rock sample pledging allegiance to the fellowship while “Scientology” featuring Havoc displays how hard-headed they are.

The penultimate Alchemist solo track “Everybody’s Favorite Uncle” strips the drums once more further elaborating on the Uncle Al nickname Earl Sweatshirt gave him a decade ago on Doris that is until “Diego Mardona” featuring Conway the Machine heinously talks about the scenery only getting intenser & darker. “Details” featuring Larry June hops on top of this bare soul sample boasting anyone can do this, but then “Seasons Change” was a remarkable Father’s Day single from this summer & the best closer imaginable.

On the contrary to a lot of Alchemist’s previous solo material that I’ve covered in the past, this is probably the most that I’ve heard him vocally since he’s performing on every single track including with the guests & I welcome that since he’s been ripping mics before he even became a top 10 producer of mine. He maintains his signature sound & holds his own weight lyrically with a cast of high-profile MCs.

Score: 4/5

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O.T. the Real – “Cost of Living” review

Philadelphia emcee O.T. the Real following up Moving Base O.T.’s eponymous debut in the form of his 8th EP. Getting his start in the underground back in 2016 after coming home from prison & dropping his debut single “Papercuts”, his profile began to grow from there after showcasing his skills on radio stations or dropping 7 albums as well as a mixtape & his last 7 EPs. My favorites being the Heatmakerz-produced 3rd EP The Irishman& the DJ Green Lantern-produced 3rd album Broken Glass that dropped on my 25th birthday & the Statik Selektah produced Maxed Out. No Matter What, Desperation of December, It’s Almost Over & Red Summer were all hit or miss for me until O.T. finally signed to Black Soprano Family Records & enlisted araabMUZIK for Zombie to critical acclaim. Prepare for War & Pale Horse were ok, but Nickel Plated producing Cost of Living happened to peak my interest.

“Kicked” begins by hopping on top of this eerie boom bap instrumental putting listeners on game teaching that there are only 3 types of people in this world whereas “Mahomes” works in more kicks & snares with eerie piano chords referencing the titular Kansas City Chiefs quarterback. “Eminem” morbidly talks about having a white girl in the trunk much like the titular Detroit icon’s now deceased alter ego Slim Shady just before “Footstep” declares putting his trust in the scales over bitches.

Finishing the Cost of Living’s first leg, “Blow” ruggedly suggests getting rid of the cocaine while “Yet” starts the other half talking about how you can’t be out here drawing if you wanna keep continuing to win in the streets. After the “241” skit, “Naked” pays homage to those who never made it or never saved it when they had it while “Bridesburg” represents the titular neighborhood in his hometown. “Amputate” closes the EP cautioning that hoodie season’s coming over pianos.

Zombie was the most I’ve enjoyed a project from O.T. in nearly 2 years, the Moving Base O.T. album from a few months ago showed us the duo’s tightly raw chemistry & now this 10 track EP running at almost 19 minutes joins the latter 2 in further redeeming O.T. some of the more lackluster offerings he’s has given us in the last year & a half. Nickel Plated gets a chance to shine by cooking up a consistent batch of beats for the Philly lyricist to body.

Score: 4/5

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Alemeda – “FUCK IT” review

Alemeda is a 24 year old Sudanese-Ethiopian singer/songwriter from Phoenix, Arizona who became inspired to make music after watching the High School Musical trilogy as a heavy Disney pop-punk kid growing up. However, it wasn’t until her feature on the Hit-Boy produced highlight “Fallacy” off Ab-Soul’s 5th album Herbert at the end of 2022 were many including myself first caught onto her. Almost 22 months later, she’s celebrating her new joint deal with Top Dawg Entertainment & Warner Records by releasing her debut EP.

“I hate your face” starts on the groovy R&B tip singing that she wants to speak to whoever raised these ignorant, uneducated haters whereas “Don’t Call Me” takes the alternative rock route telling an ex of hers that she made his problems important to her & not to contact her. “Guy’s Girl” comes to the realization that the guy she used to see won’t ever change over a pop rock instrumental, but then the rock/R&B crossover “I already dug your grave” asks if he regrets the things he’s done when he’s alone.

To kick off the other half of FUCK IT, “1st Love Song” fuses pop rock with post-punk revival & bedroom pop admitting she was pissed on the evening of her partner’s birthday while “Gonna Bleach My Eyebrows” swaps out the pop rock & post-punk revival influences in favor of 2-step & alternative R&B talking about being a new artist with a new style. Below the Belt” feels young as she’s ever been & old enough to know this individual never really gave her a chance over warm guitar shredding & “Not Asking for Much” is a down-tuned closer needing some summertime.

If any of you enjoyed the “Fallacy” feature like I did & have yet to check out Alemeda’s own discography, this EP is the truest expression of who she is artistically & personally. She makes her case as the newest welcoming addition of the TDE roster letting go of what doesn’t serve her & embracing the chaos and beauty of being unapologetically real through the styles of contemporary R&B, alternative rock, pop rock, post-punk revival, alternative R&B & 2-step.

Score: 3.5/5

Shakewell – “Dangerously Close” review

This is the 3rd EP from Los Angeles, California emcee Shakewell. Coming up in the spring of 2017 off his debut EP Keystone Prince, he followed it up a year later with his 2nd EP Big Juice tha Sip resulting in the $uicideboy$ signing him to G*59 Record$ right when the pandemic started & releasing the full-length debut album Pray 4 Shakewell. 2 & a half years later, he’s coming off the Shameless $uicide & Kevlar Money Bags collaborative EPs with $B & Germ respectively to get Dangerously Close.

“Grimace Shake” is this synth-driven trap opener feeling like the Prince of Keystone calling back to his breakout debut EP whereas “Life at tha Moment” kinda gives me a Mobb vibe instrumentally telling us how life’s been at that exact point recording the shit. “.40 Talkin’” featuring Ramirez grimly works in keys & hi-hats getting on the gangsta rap tip lyrically while “Gun Louder” goes off-the-top boasting he has more mags than the New York Times does. “My Beanie Gone (Lame Killer)” morbidly looks to exterminate the lames & “When “My Way” Kills” featuring SXMPRA keeps the heat for every partner in case people want beef.

Big Juice tha Sip happens to be my favorite EP in Shakewell’s discography excluding Shameless $uicide & I was hoping for him to come out with something in 2024 due to the fact it’s almost been 2 & a half years since introducing himself to the G*59 audience but if Dangerously Close is his way of holding everyone off until the official Pray 4 Shakewell follow-up, then I’ll gladly take it. Instrumentally, it’s matches the bar that his full-length set & letting people know what’s been going on since we last heard from him.

Score: 3.5/5

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Mumm Ra – “Autogod” review

This is the 2nd EP albeit Dirtcore Music debut from Chicago, Illinois emcee Mumm Ra. A member of the Mission: Infect collective, he eventually made his solo debut in 2008 with Remember the Name & the sophomore effort The AboM:Ination. His debut EP Clash of the Titans: The Return of 3rd Earth & his 3rd album The God Complex both came out back-to-back a decade ago, which later resulted in him following those up with Wrath of the Titans & House of M respectively. Madd Maxx just put out his new EP Dirtcore 24 at the beginning of the month celebrate his birthday, so it makes perfect sense to have The God kick off the Autogod trilogy.

After the “Chapter 1” intro, the first song “You Can’t Get Rid Me” produced by Crossworm is this incredibly dark opener addressing everyone who thought he was done making music whereas “Come On” talks about loyalty not being what it once was anymore over an electronic trap instrumental. “Had Enough” takes the apocalyptic trap route expressing his frustrations with rappers frontin’ while “King Omega” embraces the boom bap discussing his range being a beautiful thing. “1 Time” ends the EP dustily promising he’ll annihilate your squad.

Dirtcore has been steadily proving itself to be a dominant force within the underground ever since Crossworm started signing other artists to the label & Autogod not only proves my point further, but it has me feeling confident that the rest of the EP trilogy will go on to become some of the most important material in his discography. It’s more well-produced than some of his past material & you can really hear the reignited passion through Mumm’s verses.

Score: 4/5

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Molly Santana – “Masonic Musik” review

This is the 3rd EP & major label debut from Los Angeles, California up-&-comer Molly Santana. Originally a streetwear influencer, the Fontana native began making music in 2021 by releasing her debut EP Molly’s World as well as her debut mixtape Neptune & her 2nd EP Mélange. Her eponymous full-length debut studio album just came out this spring to moderate reception, resulting in her signing a joint deal with Victor Victor Worldwide & Capitol Records. 5 months later, she’s continuing to apply pressure on Masonic Musik.

Supah Mario & Synthetic of Internet Money Records’ psychedelic trap production on the opening track “Greenlight” is actually a fun way of kicking things off talking about not wanting to take it slow with her lover on top of turning the world into her brand new speaker whereas “Want” works in some hi-hats & even some elements of dance music thanks to Noah Mejia & Vendr telling her new man that he’s the only one she wants encouraging him to open up as to exactly what he’s been running from.

“Nothing Like This” goes for a bombastic approach instrumentally with co-production from Tom Levesque of Vanguard Music Group to talk about people never seeing anything like the shit she’s on while “So Lost” has these rage undertones shrugging off that she knows everything that’s goin’ on when others say she don’t know a lot. The trap/dance-pop hybrid “Windows Up” talks about people turning on her & “Tell Me Nun” and ends the EP refusing to let anyone knock her off her spot over a cloudy trap beat.

Of the 5 projects that Molly has under her belt so far, Masonic Musik for only a 6 track/15 minute EP surpasses the level of quality that her self-titled debut LP had set earlier in the year & solidifies her place in the trap subgenre of hip hop. The production’s more hard-hitting than a lot of her earlier material top to bottom, enigmatically exploring mystical & urban themes along the way. Between her & Hardrock being on Victor Victor now, I’m ready for what their debut albums on the label have in store.

Score: 3.5/5

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Babystaydown – “Hate da Way Um Livin’” review

This is the 7th EP albeit Cegular Records debut from Athens, Georgia recording artist Babystaydown. Introducing himself off his debut EP PL Top Recruits as well as 1,350 and Drugz Sex & Money, the latter of which spawned a sequel of it’s own this spring succeeding 17 & preceding his final independent release Genesis later in the summer. Signing to Whyceg’s newly formed Sony Music imprint not too long ago, he’s ready to artistically take himself to the next level on Hate da Way Um Livin’.

We get a bubbly plugg instrumental on the intro “Over It” promising his hoe that they’re gonna smash once he returns from the road whereas “FaceTime” brings a cloudier trap vibe to the beat talking about there being no cap in his raps unlike all these other clowns. “Hijack” gets geeked up for 134 seconds taking the plugg route instrumentally & after “Mink Coat” talks about his preference in freaky women, “M.I.A.” produced by Ayelavish!, SOULJASPIRITS & Whyceg ends the first half explaining that he’s living better.

“Deceiving” starts the backend of Hate da Way Um Livin’ with a minimally atmospheric beat talking about a woman that he feels like having mileage whilst being self-aware of the swindling advantage looks can have while “Creole” embraces a pluggnb direction talking about wearing ア・ベイシング・エイプ shirt & Ksubi jeans. “Doomed” yearns to give a bitch shrooms & take her to the room so he can smash her leading into the title track finishing with confidence that he’ll be ok.

All that hustling Babystaydown has done on SoundCloud these past 16 months have finally paid off not simply based off the fact that he’s signed now, but also because Hate da Way Um Livin’ surpasses every single one of his earlier extended plays as the greatest one of them all musically. The plugg production has elevated significantly since the Athens artist began & his gangsta-themed lyrics have gotten sharper.

Score: 4/5

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REi the Imperial – “Operation: Flamethrower” review

This is the 4th EP from New Orleans, Louisiana emcee REi the Imperial. Known for his vibrant storytelling & witty lyrics, he emerged in 2009 off his debut mixtape Spaceships & Satellites followed by another tape Worst Rapper Alive & the full-length debut Rise of the Rejects roughly 8 years later. He has since followed this up with the sophomore effort Origins, his 3rd album Respect How I’m Comin’ & his first 3 EPs 1-833-DOWNBAD as well as Worst Rapper Alive 1.5 & Worst Rapper Alive 2. It’s only been 16 months since the latter & Conductor Williams is being brought in to produce Operation: Flamethrower to high anticipation.

After the “Mission Briefing” intro, the first song “Spirit of Excellence” is a psychedelically drumless opener reflecting on success going from around the corner to his pores whereas “Title Shot” soulfully talks about how you gotta keep going since you’re gonna look up & be up one day. “Panduricane” cloudily suggests Pootie Tang should be a correspondent for the Discovery Global-owned CNN leading into “Imperial vs. Bowser” dustily referencing the WME-owned TKO Group Holdings division WWE’s longest running flagship program Monday Night RAW on USA Network moving to Netflix in a few months alongside former ECW World Television Champion, 3-time WWE Tag Team Champion, 3-time WWE Cruiserweight Champion, WWE United States Champion, CZW World Heavyweight Champion, MLW World Middleweight Champion, 2-time BJWジュニアヘビー級チャンピオン, 2-time BJW認定タッグチャンピオン & CMLL Mundial Peso Semicompleto Campeon 田尻.

“Thelma Evans” chops up the soul samples again paying tribute to his romantic interest while “Baby Charmander” takes the uncanny boom bap route instrumentally likening himself to a younger version of the titular Pokémon. “Jessica Rabbit” jazzily tells her he doesn’t wanna play her since family comes first while “Sunzilla” hooks up a grungy rock flip making a reference to the current ROH World Tag Team Champion & ROH World 6-Man Tag Team Champion Dustin Rhodes. “Auntie Rita” featuring LG & Old Orleans ends the EP with the trio over a soulful beat talking love again.

I vividly remember this guy contacting me several years ago on Instagram & fast forward present day, he just put out the best EP of his entire career. Conductor Williams’ production is incredibly consistent top to bottom & noticeably stronger than the instrumentals on REi’s previous work, paving the way for the Reject Society leader to take his storytelling & witty bars to newer levels beyond.

Score: 4.5/5

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