DMX – “Let Us Pray: Chapter X” review

Yonkers, New York icon DMX posthumously releasing a brand new EP of unreleased material. Originally started off as a beatboxer for Ready Ron as a teenager in the mid-80s, it wasn’t until 1998 when X saved Def Jam Recordings from bankruptcy by dropping 2 of the most critically acclaimed hip hop albums of that decade back to back: It’s Dark & Hell’s Hot and Flesh of My Flesh, Blood of My Blood. The follow-up …And Then There Was X at the tail-end of the next year was just as great in my opinion but from there, the next 4 albums from Ruff Ryders Entertainment’s flagship artist would range from average at best or hideous at worst. Exodus 1:7 was posthumously released a couple months after his death to mixed reception although I can definitely tell it was completed before his passing & wanted to give Let Us Pray: Chapter X a chance since I have nothing but respect from the greatest to ever come from the hometown of the inaugural AEW Continental Classic winner, former CZW World Heavyweight Champion, 2-time CZW World Tag Team Champion, アイアンマンヘビーメタル級チャンピオン, EVOLVE Tag Team Champion, 新日本プロレス強無差別級チャンピオン, IWA World Champion & ROH World Champion Eddie Kingston.

“Favor” produced by Warryn Campbell is this orchestrally drumless intro talking about being God’s favorite child & thanking Him for making X as righteous of a person as he was while “Bear with Me” featuring Lecrae works in some pianos hi-hats to get on the spoken word tip for 3 & a half minutes. “1 Life to Do It” featuring MC Lyte continues the spoken word delivery over drumless strings & “Until I’m Gone” featuring WWE Hall of Famer Snoop Dogg ends with a bare jazz instrumental speaking on a unique kind of love.

What a lot of people including myself initially thought was gonna be 4 gospel rap tracks that DMX had left in the vaults for an unspecified amount of time turned out to be a disappointing cash-grab from Def Jam that I like even less than Exodus 1:7. There’s absolutely nothing wrong with Warryn Campbell’s production whatsoever, but the spoken word performances from the guests & even DMX himself seems like a significant letdown reminiscent to The Rose That Grew from Concrete that 2Pac’s estate put out 24 years back.

Score: 2/5

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Valee – “Great Sky London” review

New York producer Evilgiane teaming up with Chicago, Illinois rapper Valee for the latter’s 7th EP. Making his name known by releasing 3 mixtapes & a couple EPs from the span of 2015-2018, it wasn’t until one of my top 10 producers of all-time Ye formerly known as Kanye West signed him to a joint deal with G.O.O.D. Music & Def Jam Recordings. The next 2 EPs G.O.O.D. Job, You Found Me & Runnin’ Rich helped spread plugg music to a mainstream audience despite both receiving mixed reception to the point where he would go his own way from Thersday onward. I should also mention that Valee additionally has 2 EPs with AYOCHILLMAN as the duo The TrAppiEst as well as 2 more with ChaseTheMoney as the duo VTM & 2 with Stan Lane as the duo Vlane. His full-length debut Virtuoso produced by Harry Fraud from last summer won me over on him & Partridge produced by Black Noi$e from this spring reached that same caliber & increasing my excitement for Grey Sky London.

“Why Not” is this sample drill opener that he & WTM Niketech put together talking about being in Malibu & a bitch gotta catch him even though this ain’t the MLB whatsoever in addition to taking the backstreet whereas “Up Here” co-produced by Harrison takes a cloudier direction instrumentally asking the hoe what type of time she on since he has the same clock. “Hi Hater Maino” promises that he’ll break up with his girl if he finds out she’s broke & “Elbow” kinda has a plugg vibe to the beat from Eera talking about pulling a hoe for lean, but then “By da Way” ends the EP by refusing to chase a hoe & stopping at Chase Bank instead.

It’s incredible to think that the same guy Ye signed to G.O.O.D. Music for 15 minutes nearly 7 years ago by now would be going on a full redemption arc starting with Virtuoso, only for Partridge & now Great Sky London to expand on. Evilgiane’s cloudy, sample drill & plugg-influenced production is a welcoming change of pace compared to the experimental vibes that Black Noi$e brought to Partridge over 7 months ago & Valee’s own performances maintains the laser-focus that were prominent throughout the other 2 previously mentioned projects he’s given us in the past year & a half.

Score: 4/5

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Lelo – “When It’s Over” review

This is the 6th EP from Detroit, Michigan up-&-comer Lelo. Signing to 10K Projects earlier within the year following his first 3 EPs, he would make his presence known more widely in the local trap scene by putting out his 4th EP Nightingale not too long after landing a record deal & gained even more exposure a month later by dropping the single “No Contempt” on SoundCloud. LifeAfterDogshit just so happened to come out a month ago & exactly 30 days later, he’s picking up exactly where he left off on When It’s Over.

“Broken” starts by mixing a rubbery bass-line with hi-hats talking about his top shelf status & being in it forever whereas “Get It Together” takes the cloudy trap route instrumentally talking about trying to get everything all in order. “Manga” has a cool symphonic trap vibe advising not to compare him to anyone he’s better than while “Dresser” cautions that all the extra shit is gonna result in y’all getting lined up.

To get the other half going, “Evangelion” talks about his desires of becoming rich & not trying to come off as being too brash while “Game” speaks on racing his idols out here rather than looking up them & callin’ a fuck boy his child since he raised him. “Numbers” nears the end of the EP by talking about having hoes leading into “Real Dogshit” closing up shop pointing out some of these dudes be actin’ tough & not seeing any action.

Whenever the time comes for Lelo to put out an official full-length debut, I really do think it’s gonna elevate him to the next level because I can say with confidence that When It’s Over has to be the most enjoyable EP in his discography other than Nightingale. The production maintains the consistency of the EP that he gave us only a month ago, once more holding off on any guests to make way for him rippin’ mics by himself.

Score: 3.5/5

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Autumn! – “##B4B2MR” review

Louisiana rapper, singer/songwriter & producer Autumn! preluding Back 2 My Roots with his 22nd EP. Gaining traction off all 21 of his previous EPs & a full-length debut on SoundCloud since 2018 prior to signing to Victor Victor Worldwide & Republic Records following the Not Much Left EP, he made his major label debut nearly 2 years ago with his sophomore effort Antagonist! as well as following it up with the last 2 installments of the Golden Child trilogy & Midnight Club. Wick just delivered a sequel to Solitary in the spring & You Never Was Mine over the summer, but is surprise-dropping ##B4B2MR ahead of the main course.

“Something New!” starts with a psychedelic, self-produced plugg intro talking about not doing any 9-5s since his money be ridin’ tryna show his girl some new shit while “Laws of Power!” works in some synthesizers to talk about 10 rules that he lives by daily. “Both Ways!” heads for a cloudy trap direction instrumentally likening his hoes to Cullinan doors since they’re bisexual flexing that he’s still talkin’ hot & “Did It Again!” finishes the EP by keeping it atmospheric promising that this is only the beginning for him.

Wick’s last couple offerings Solitary 2 & You Was Never Mine were both welcomed to mixed feedback having less of a plugg emphasis to them focusing more on pop rap, trap & Chicago drill containing highlights that demonstrate his artistic range. However considering Back 2 My Roots’ title & the prominent plugg direction he goes for on this prelude, these are huge indications that Autumn!’s next body of work will mark a return to form to the sound that blew him up.

Score: 3.5/5

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GT – “Great Timing” review

GT is a 33 year old rapper from Detroit, Michigan who got his start at the beginning of 2018 by releasing the debut mixtape Relentless along with both his full-length debut Timeless & the sophomore effort Relentless during the 2020 COVID-19 lockdowns. He would later follow these up with 2 more albums Call Me GT & Motion, his first EP Money Counter Music spawned his own label of the same name & the sequel became the 5th LP in his discography. GT’s previous album Owe It to Myself got mixed reception the summer prior & is returning with a month left in 2024 for his 2nd EP.

“I’m Straight” produced by Pooh Beatz is this cloudy opener assuring everyone he’s been doing good whereas “Get ‘Em Back” works in a rubbery bass-line & pianos talking about being the same despite being stressed. “Stay Low” cautions those coming in your life with bad intentions just before “Money, Power & Respect” stand sour from the Helluva instrumental to the boastful lyricism.

Landstrip Chip joins GT on “The Streets Dead” clarifying that both of them can break down how deep shit can get while “Prayed for It” heads for a sample-driven Detroit trap vibe speaking his dreams into existence & finally being fortunate enough to be in a place where he can finally live them out. “This Life of Sin” featuring Streetlord Juan ends the EP with 1 more Detroit trap cut calling themselves living legends.

Right when you thought that the Detroit trap star wasn’t gonna drop anything in 2024, he came in the game during the 4th quarter & dropped off an 18 minute EP reaching the same caliber as both Money Counter Music offerings along with Timeless in being essential listens for those new to his discography. The features are alright, but the productions sees some notable improvements & GT sounds focused ahead of whatever he’ll do next.

Score: 3.5/5

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Chocc – “Journals to Johnny” review

Chocc is a 25 year old singer/songwriter from Los Angeles, California notable for being the daughter of Long Beach icon, Death Row Records owner & WWE Hall of Famer Snoop Dogg. She first made her appearance on wax with the “No Guns Allowed” single off her father’s 12th album Reincarnated foraying into pop reggae & after releasing 4 singles under her original moniker Cori B in the span of over a decade, she’s dropping her debut EP ahead of her dad’s 20th album Missionary produced by his mentor & Death Row co-founder Dr. Dre next weekend.

After the “Just Like You” intro, the first song “Did You Mean It” starts with a fun dance-pop opener whereas “Johnny Don’t Break My Heart” stands out as a favorite in my personal opinion stripping the drums completely going for a R&B vibe aesthetically & pulling it off. “Move” continues to show her artistic range by dabbling with a bit of pop rock while “Escape2Vegas” properly finishes the EP singing over an acoustic guitar about escaping to Las Vegas, Nevada.

The talent has always been there & I’ve noticed that myself personally when I first heard her on “No Guns Allowed” back during my sophomore year of high school, but fast-forward a decade later & her putting out a debut EP on Death Row now disturbed by gamma. is a welcoming introduction to her musically. The production bases itself around dance-pop, R&B, pop rock & singer/songwriter showcasing how much Chocc has grown in the last 12 years & giving a glimpse of her future in music.

Score: 3.5/5

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C. Ray – “Ray Al Ghul” review

Pasco, Washington emcee, singer/songwriter & producer C. Ray releasing his 5th EP on Bandcamp without any warning. Notable for Twisted Insane signing him to Brainsick Muzik over a decade ago, he would go on to become one of the label’s biggest artists dropping a total of 8 full-length studio albums along with his last 4 EPs & a mixtape in almost 14 years. But with the 2-year anniversary of both Ray Day & Know0n3 approaching this upcoming spring, Ray Al Ghul has finally returned.

“Oblivion” begins with an apocalyptically self-produced instrumental clarifying that he doesn’t even speak without contemplating whereas “N.T.T.S. (No Time to Stop)” brings more of a general trap flare to the beat talking about how he don’t have time for slowing down. “In My Bag” works in some horns & hi-hats making way for him to get in his element for 3 & a half minutes ahead of “Here We Go” making it known not to fuck with him.

Meanwhile on “All That”, we have C. Ray expressing his dislike for everything being all cap over more trap production while “Hold Up” talks about never hanging with heroes & fighting to make it out a deep hole. “Bombay” pulls from reggae for a weed smoking anthem while “Halo” featuring Jag mixes g-funk & trap layin’ low whilst being in the clouds. “Watching” ends the EP with a hardcore boom bap heater reserving some of the hardest bars for last.

Light Born has quickly become my favorite full-length in C. Ray’s discography since he initially put it out a year & a half ago, but Ray Al Ghul maintains that high level of quality revealing itself as his best work since & his finest EP yet. His production pulls from boom bap to trap or even both g-funk & reggae music to lesser extents demonstrating his versatility as a performer with his flows & captivating lyrics.

Score: 4/5

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Roy Wood$ – “Rolling Stone” review

Roy Wood$ is a 28 year old rapper & singer/songwriter from Brampton, Ontario, Canada whom Drake signed to OVO Sound a decade ago already. He has since gone on to release a total of 3 full-length studio LPs & 3 EPs, with the most notable of the handful being the 2015 debut EP Exis & of course the debut album Walking at Dawn the following winter. Following the sophomore effort Say Less, his output since then has been welcomed to generally mixed to negative responses across the spectrum & I wanted to go into his 4th EP open minded.

“Solo” is this mediocrely melodic trap opening talking about the way this bitch be freakin’ him whereas “She Don’t Care About My Name” feels like a throwback to his earlier stuff from the atmospheric instrumental to the heartbroken lyrics explaining that this particular romantic interest could give a fuck less of getting to know him more. “Rockstar Baby” hooks up some pianos & hi-hats to talk about his new chick being so down while “Outside” hops over a generic trap beat tryna take this woman out of the party.

The song “Hold Still” reaches the starting point of Rolling Stone’s final leg by heading for a cloudy direction instrumentally & laying these thirsty ass lyrics on top of it prior to “Bring It to the Room” hilariously ripping off The Weeknd, who Drake almost signed to OVO & fell out with him after dissing on the We Still Don’t Trust You highlight “All to Myself” this spring. “Nobody Else” featuring 03 Greedo ends the EP talking about a woman who doesn’t want anyone else loving her & Greedo going the hardest.

My opinions on some of the OVO artists’ latest output including Majid Jordan’s 4th album Good People named after the singer/producer duo’s original moniker or Naomi Sharon’s debut album Obsidian & namely PARTYNEXTDOOR’s 4th album PARTYNEXTDOOR 4 haven’t really changed, but Rolling Stone has to be the most underwhelming body of work that the camp has put out in a while. The production is generally subpar & Roy himself sounds like as if he’s uninterested for at least 60% of the time.

Score: 2/5

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Babystaydown – “Pain Before Pleasure” review

Athens, Georgia recording artist Babystaydown back with his 8th EP & Cegular Records sophomore effort. 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 coming off his debut for the label Hate da Way Um Livin’ a few months earlier by breaking down the Pain Before Pleasure.

“Real Rich” opens with a cloudy trap instrumental talking about getting to the money has become a daily routine for him whereas “Handstand” goes for a pluggier vibe to the beat feelin’ like Marilyn Manson for fuckin’ a female rockstar. “How I Feel” produced by mxrt4lity atmospherically lets the world in as to what’s been on his mind lately while the pluggy “No Choice” assures that anyone around him can leave if they really wanted to & that they’re not being held against their will.

Jripey appears for “Taylor Port” starting the 2nd half of the EP by teaming up over a plugg instrumental from Hariroc talking about being too bad for good women leading into my favorite track “Block List” finding himself getting blocked on the Meta Platforms-owned Instagram by a baddie who was topless the night prior with an Ayelavish! & SOULJASPIRITS beat backing him. “Birthday” flexes that this fine bitch has been tryna get with what he does & “Ignoto” finishes by talking about so high that he can’t even see the bottle.

There’s only a small handful of songs I could’ve done without, but Babystaydown nonetheless comes back a week succeeding Pradabagshawty’s last EP Forever & After to drop off another short collection of plugg/trap songs that almost reach the same pedestal as it’s predecessor a couple months earlier. Now that both of Cegular’s inaugural signings have both dropped more than 1 project since getting their respective deals, I’m fairly confident 2025 could push themselves further in the plugg subgenre of trap than they’ve already reached.

Score: 3.5/5

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Nowaah the Flood – “Plans of the Diligent” review

This is the 20th EP from Dallas, Texas emcee Nowaah the Flood. Breaking out in the summer of 2018 by releasing his first EP Trill Life Mathematiks around the same time as Nas’ 11th album NASIR fully produced by Kanye West, he would go on to drop his last 19 EPs along with The Nowaah & the Dewer’s eponymous debut album and roughly 6 proper full-lengths. Standouts for me personally include the DirtyDiggs-produced Private Stock, the Estee Nack collaborative effort Planted Seeds, The Infallible, the Stu Bangas-produced Respectfully, the Giallo Point-produced Right Over Left & it’s sequel, the DJ D-Styles-produced Crème de la Crème and finally the Kyo Itachi-produced Sudan Samurai Scrolls. However, he & Stu Bangas are celebrating Thanksgiving by laying out Plans of the Diligent.

“On King David” is this hardcore 86 second intro talking about being the one to rumble with & saying fuck the humble shit since others be clockin’ his style whereas “Don’t Get Spooked Now” takes the uncanny boom bap route instrumentally cautioning everyone not to get frightened. “The Criteria” goes for a luxuriously raw vibe altogether likening the EP to 80s dope while “To the Chest” samples a piano to talk about lyrical devastation.

Meanwhile on “Wisdom of the Ages”, we have Nowaah soulfully disses all the false prophets in the game these days just before “The Hellfire”aggressively pays tribute to both 12 O’Clock & the Ol’ Dirty Bastard. “Breaking Day” acknowledges that he’s never taken an L when working with Stu leading into “1 Chance” brings the keys back in the equation to talk about still having his distinct grit. “Keep a Banga on Me” finishes by keeping a heater on him even if he’s locked down in cellblock 3.

Tinted with Biblical references throughout in time for the holiday season in Nowaah the Flood’s inimitable fashion, Stu Bangas provides the antidote to drumless beats & quiet lo-fi sounds for the faithless to find solace in the gritty stories of the streets Nowaah so expertly tells on behalf of those who’re either dead or locked behind bars doing life sentences & unable to tell their own tales as a result of the statutes of limitation not passing yet.

Score: 4.5/5

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