Decksterror – “Love & Honour” review

This is the debut extended play from London, England, United Kingdom producer Decksterror. Originally known under the moniker G-Man, he would form Hollow Sun Records alongside Cosm in the spring of 2020 a couple weeks after the COVID-19 pandemic began & eventually made his full-length solo debut with Black/Gold Stash a couple years later. However, he has since signed to the Croydon underground imprint Hidden Hobby Records as an in-house producer & is looking to make his debut for the label with Love & Honour.

“Tom Clancy” by C.o.N-Vers starts with a horn-heavy boom bap instrumental portraying himself as an assassin but after Cosm & Hus Kingpin join him on the rap rock-inflicted title track so all 3 of them can talk about holding the aces high even if the stakes have never been any higher, “Invisible Man” by Ash the Author & JabbaThaKut reaches the halfway point speaking of both artists making moves of their own & still running from the men in black.

King Kakarot gets the 2nd half going by landing a track of his own Move Back” talking about the lack of rebelliousness these days when I don’t entirely agree with that since there are artists whose music captures that mentality well while “Running for the Shade” by C.o.N-Vers speaks of living in the good & bad days. “Dark Speed” by Ill Sykes ends the EP talking about being the sum of things to come & letting shells roll of his tongue much like he’s firing an automatic firearm.

Considering that this guy produced the penultimate single from Montener the Menace’s latest album The Miserable Git Next Door & one of my personal favorite tracks on there “Tomorrow’s Never Promised”, it’s not so much of a shocker to hear Decksterror joining Hidden Hobby & his debut for the rising underground imprint has me excited for the sequel he’s already begun working on. His sample-lenient boom bap production created using an MPC solidifies himself amongst the UK’s greatest producers & the briefer guest list is more consistent than Black/Gold Stash’s.

Score: 3.5/5

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Vritra – “Amber” review

Vritra is a 32 year old rapper, producer & visual artist from Baton Rouge, Louisiana known for formerly being 1/2 of The Jet Age of Tomorrow, 1/3 of The Super D3Shay & a member of the influential Odd Future collective before focusing on his own crew that he’s the de facto leader of NKR. He’s also released 7 LPs, 19 EPs & 4 mixtapes as a solo artist with the best ones being Pyramid & the Stones Throw Records-backed Indra. Matt Martians put out his latest solo EP Matt’s Missing a month ago & that was the best thing he’s done by himself in a while, so Vritra releasing his 20th EP over the weekend had me wondering how it was going to hold up.

Things start off with a trip hop instrumental sequel to “Wool Glasses” off the Jet Age of Tomorrow’s only album God’s Poop or Clouds? whereas the self-produced “Walking” gives an experimentally glitchy approach continuing to venturing out of his department. “Tether Me” featuring Jay Cue brings these synths into the fold talkin’ about being down for the block like it’s Tetris prior to jazz/soul fusion “Silverado” stripping the drums advising to let it burn similarly to the way the doobie is.

After the “Non Fiction” interlude, “Proximity” by Wilma Vritra begins the 2nd half of the EP by bringing a psychedelic flare to the beat acknowledging that people around his vicinity are getting bold while “Grey Matter“ sonically feels like a breezy, summer day admitting he didn’t know how to approach the situation initially. “Insomnia” draws inspiration from industrial music addressing a woman he goes insane thinking of & lastly, “Running” featuring Eyedress is a jazzy closer talking about stacking cheese & counting proceeds in the back.

Hal said himself on Twitter shortly after Amber was released that it would the last body of work of his to be put out under the Vritra moniker & however he reinvents himself artistically going forward, I can tell you that he gave us the strongest EP in his discography since Palace a decade ago already. He sounds recharged after taking a year off & his experimentally cloudy, west coast sound has additional undertones of drumless, jazz, soul, glitch hop & trip hop.

Score: 3.5/5

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¡MAYDAY! – “The Thinnest Line III” review

Miami, Florida trio ¡MAYDAY! preluding their upcoming 9th full-length LP albeit the first under their very own label ¡MAYDAY! Music distributed by It Goes Up Entertainment & Strange Music with their 5th EP & the 3rd installment of The Thinnest Line trilogy. Formed in 2003 by keyboardist/guitarist Plex Luthor & emcee Bernz, the duo released their self-titled debut in the fall of ‘06 before adding 4 more members into the fold: emcee/producer Wrekonize, bassist Gianni Ca$h, percussionist NonMS & drummer L.T. Hopkins in 2009. Together, they would begin to rock the underground off 2 EPs & their sophomore album Stuck on an Island. This would catch the attention of Kansas City veteran Tech N9ne, who signed the group to his independent powerhouse Strange Music in 2011. They would go on to cement themselves as a flagship act on the label’s roster off critically acclaimed projects like Take Me to Your Leader, Thrift Store Halos, Believers & Future Vintage. However since 2016, ¡MAYDAY! has maintained it’s current lineup consisting of Wrek, Bernz & NonMS. Their first album as a trio Search Party was a decent sequel to Stuck on an Island & the heavily reggae-influenced South of 5th was slightly better, but Minute to Midnight wound up to easily be ¡MAYDAY!’s best in 6 years. They have since remained tied to Strange by forming ¡MAYDAY! Music & signing a distribution deal with Strange Music co-founder Travis O’Guin’s own subsidiary It Goes Up Entertainment. Now as far of The Thinnest Line series, the independently released first installment is my favorite & the follow-up backed by Strange was just decent. However since Minute to Midnight was a return to form, the latest entry had to be better in my mind.

After the “End” intro, the first song “Hate to Love You” is an incredibly catchy pop rap opener to The Thinnest Line III cooked up by NonMS coming to terms how hard it is to admit that they’re in love with these individual partners whereas “Warning Signs” takes the acoustic route thanks to MIKE SUMMERS a.k.a. 7 talking about having fun pretending what they had was permanent. “Pull Up” has a groovy self-produced instrumental as ¡MAYDAY! & Mike SB refuse to stop until they’re in the car with the windows down as Mike gives the weakest feature of the 2 but I still liked it, but then the futuristically funky “Last Night” picks things back up asking what you doin’ out here tonight. “At Least We Tried” shifts into summery turf refusing to say goodbye & “Hit My Line” featuring Trizz concludes The Thinnest Line III with an atmospheric trap flare advising to give ‘em a call.

This recent installment of the Miami trio’s trilogy has to be the best since the first one & it’s more than enough to hold fans off until their ¡MAYDAY! Music debut album because much like Minute to Midnight, what we have on The Thinnest Line III is another example of their recent output continuing to improve. The production’s more consistent than The Thinnest Line II’s was primarily due to letting one of their best collaborators handle 4 of the 7 tracks leaving the other 3 being in-house mixed in with versatile performances from ¡MAYDAY! themselves & 50/50 features.

Score: 4/5

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Little Simz – “Age 101: Drop 7” review

London, England, United Kingdom emcee, singer & actress Little Simz returning with her 10th EP & the 7th installment of the Age 101: Drop series. Getting her start at the beginning of the previous decade, she would go on to drop 4 mixtapes along with her 9 previous EPs & 5 full-lengths LPs. GREY Area showed some serious artistic evolution, S.I.M.B.I. (Sometimes I Might Be Introvert) wound up being my 2021 Album of the Year after giving it a perfect 10 & No Thank You was a late AOTY contender in the following winter. However after 4 years, Simz is returning to put out a successor to Drop 6.

“Mood Swings” starts things off dabbling with hip house a bit talking about her mood abruptly changing on the regular whereas “Fever” tells the story of being in São Paulo, Brazil with her friend over a more tribal beat. “Torch” gives off a glitchy EDM trap vibe a bit advising not to be afraid of the bounce & that she’s trying to be the force but after the 3-minute instrumental cut “SOS”, we have Simz explaining that “they gon’ have to give me more of your soul when I’m needin’” over cloudy trap production. “Power” gives us off-the-top verse for nearly a minute as it sonically gives me a bit of a misty vibe & “Far Away” ends the EP with a jazzy UK drill fusion singing for her lover not to wait around for her.

Little Simz is by far my favorite UK artist in recent memory since S.I.M.B.I. (Sometimes I Might Be Introvert) is one of the best albums of this decade & No Thank You was near-flawless in it’s own right, but this has to be amongst the best installments of the Age 101: Drop EP series in my opinion. She’s demonstrating her range as an artist by rapping AND showing her singing voice as the overall sound here draws from electronic dance music, funk mandelão & of course grime.

Score: 4/5

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B.A.R.S. – Self-Titled review

B.A.R.S. is an underground quartet consisting of V Sinizter, Zitro, Tierre Diaz & Clifton Derrell. One of whom is a Saginaw, Michigan native releasing his debut EP Hunting Season in 2003 under Psychopathic Records, Zitro is one of the newest members of the hatchet family coming straight outta Detroit, Tierre hails from Boston, Massachusetts coming fresh off signing to DJ Clay’s very own Armed Robbery Entertainment last summer & finally Clifton represents the Windy City of Chicago, Illinois as an overly smart punk who experienced his first electric moment when Eric B. & Rakim’s rhythm hit him. So considering their histories intertwining with juggalo culture, it only makes sense for all 4 emcees to form a supergroup & introduce themselves as a unit on their debut EP.

The title track is an incredibly rugged opener talking about everyone watching them with all hands on deck whereas the rowdy “On Sight” sets out to start riots in every club they hit up. “The Pinnacle” begins the 2nd leg of the EP by giving off a bit of a futuristic vibe instrumentally boasting that they’re in demand & ready to bring the pain, but then “Top No More” rounds things out by calling out those who’re envious of seeing the 4 on top over these guitar licks & hi-hats.

Anyone who considers themselves to be a fan of any or all 4 of the members of B.A.R.S. has to check out their eponymous debut EP together here & it makes me anticipate hearing what the underground supergroup has coming down the pipe from hereon out. The production gives off a different vibe for everyone & although everyone has stood out in their own ways previously, hearing them together is another level.

Score: 4/5

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Kemastry – “A Delusional Guide for the Disillusioned” review

London, England, United Kingdom emcee Kemastry breaking out solo with a whole entire EP locking in with one of the UK hip hop movement’s most decorated DJs/producers DJ Jazz T to handle the beats. Notable for being 1/3 of the trio CMPND alongside Vitamin G & Wundrop, they would make their debut under High Focus Records in the fall of 2019 with Eagle Court & most recently made a sequel with the sophomore effort Long Live the Court through the Hove, East Sussex imprint. Kemastry however has opted to crack open A Delusional Guide for the Disillusioned by having the founder of Boot Records producing it for his label.

After the compositional “Mind Control” intro, the first song “Delusional” begins with this old school boom bap instrumental talking about being stick up in this rat race from the sun whereas “Apocalyptic Flows” featuring Ramson Badbonez contains the strongest guest appearance of the 2 linking with Kemastry over pianos mixed with kicks & snares spittin’ deadly cadences of their own. “Hamster Wheel” featuring Roughneck Jihad has a cloudier, almost jazzier boom bap vibe to it having no one to trust & “Stay Grounded” smoothly ends by giving that very advice.

Countering the scathing observations & multi-syllables Wundrop & Vitamin G have respectively become known for with his surreal unpredictability, Kemastry elevates that to a whole new level providing A Delusional Guide for the Disillusioned to begin carving a path for himself individually. DJ Jazz T’s boom bap production pared with the CMPND member’s signature approach to songwriting with only a couple features joining him for roughly 15 & a half minutes isn’t a bad way for him to establish himself on his own & has me anticipating where he’ll go from here.

Score: 4/5

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Sly Moon – “No Gamble, No Future” review

London, England, United Kingdom emcee/producer Sly Moon ending January with his 4th EP. A member of the Children of the Damned as well as its successor the Cult of the Damned & the Sohio Players, he made his full-length debut in 2020 with Why Am I So Sly? under Blah Records followed by the Lee Scott collab effort F.D.M.B. (Flippin’ Dough Makin’ Bread) & Banned From the Vic. The last extended play of his The Ghost of Ungar came out a year earlier & is taking a more conceptual approach to No Gamble, No Future.

After the “I’m a Compulsive Gambler” intro, the self-produced “I Don’t Know” starts with this soulful boom bap opener talking about being blinded after keeping his eyes on the prize whereas “Aces Baby” produced by Lee Scott instrumentally discussing him grinding night & day playing with higher stakes. “Tears of Joy” goes for a jazzier yet funkier vibe talking about being lonely at the top loving the view while “Back Door Key” boasts of his money speaking loudly.

“The Dream’s Over” continues the 2nd half of No Gamble, No Future with everything crashing down on our protagonist running into the wall of the house after trying to take it down over this crooning beat & after the “Spinnin’ Out” skit, “Casino Chippin’” ends the EP hopping over a boom bap beat with some strings talking about another chapter in the rat race running backwards amongst the gamblers watching people become rich only to steal food from children’s mouths.

We’ve heard a significant amount of growth from Sly Moon with every EP he’s given us since Why Am I So Sly? & the progression continues throughout No Gamble, No Future. He chronicles of the ups & downs of an addicted gambler beginning in the red & grinds his way into the green, only to go all the way back to Square 1 in a never-ending cycle that anyone who has or had a gambling addiction can relate to though it’s never been my thing personally.

Score: 4/5

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Che Noir – “The Color Chocolate” review

Buffalo emcee/producer Che Noir releasing her 7th EP ahead of the 1-year anniversary of the Big Ghost Ltd.-produced predecessor Noir or Never. Discovering her after 38 Spesh signed Che to TCF Music Group & fully produced her first 3 EPs, her Apollo Brown-produced full-length debut As God Intended & then her self-produced 4th EP After 12 during the 2nd half of 2020 where her potential began to blossom exponentially. She has since followed this up with the sophomore effort Food for Thought as well as The Last Remnants & Noir or Never like I previously mentioned, so I went into The Color Chocolate interested in hearing what is said to be the first of many projects she has this year.

“Peaches & Herb” featuring Ransom starts things off with a soul sample advising to embrace losses since there’s some shit you gotta learn leading into “Junior High” featuring Evidence & Your Old Droog working in some pianos with a crooning vocal flip getting on the same page with one another conceptually. “Greek Scholar” featuring ICECOLDBISHOP starts the 2nd half of The Color Chocolateblending these kicks & snares with synthesizers on a race for money & power prior to “Vanilla Skies” produced by Graymatter rounding out the EP altogether with it’s lone solo cut speaking from the heart over a summery boom bap instrumental.

The Color Chocolate is said to just be the beginning of the world fully knowing Che Noir’s art along with who she is & I’m sure we’re gonna get another project from her soon that I’ll like more, but yeah this’ll hold off just fine until that time comes. The production is a mix of boom bap, soul samples & synthesizers with guests on almost every song that give equally impressive performances as one of the best from Buffalo. Highly looking forward to hearing what the rest of 2024 has in store for her.

Score: 3.5/5

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King Kashmere – “Sounds Like Home” review

This is the 4th EP from London, England, United Kingdom emcee/producer King Kashmere. Notable for being a part of several groups or duos over the last few decades ranging from Kingdom of Fear & Invisible Inc. to Gawd Status as well as Old Children & Strange U, he also has 7 full-length solo albums & a couple of extended plays under his belt through the likes of Low Life Records to YNR Productions & Boot Records. Making his debut for High Focus Records in 2016 off his 3rd album Woof, he returned to the label with TR3B & has brought Cuth in to fully produce Sounds Like Home coming off The Album to End All Alien Abductions.

“Change Your Energy” soulfully starts off talking about everyone having their own universe within ourselves whereas “Thick Bag of Slime” featuring Alecs DeLarge goes for a psychedelic boom bap vibe to speak of striving & getting little in return. The title track soulfully while talks about keeping it real when others pretend while “Door of Truth” grittily asks if one can afford losing the game of life. After the compositional “Places” intermission, the final song “Valhalla” wraps up Sounds Like Home crushingly remembering his brother Tom.

I’d have to put The Album to End All Alien Abductions & TR3B above Sounds Like Home, but I’m nevertheless grateful King Kashmere was able to give us a 6 track EP containing some of the most emotive material in a career spanning over 2 decades. Cuth’s production here leans towards a boom bap direction as opposed to Alecs’ experimentation during The Album to End All Alien Abductions providing a good soundtrack for The Iguana Man to back at simpler times, long lost friends & a new perspective regarding the beauty & brutality of the human condition.

Score: 3.5/5

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Bizarre – “Ratt Poison” review

Detroit emcee Bizarre originally the now defunct D12 led by the late Proof surprise-releasing his 3rd EP a day in advance. Amongst the first in the crew to put out a solo effort with his 1998 debut EP Attack of the Weirdos which is a hometown classic to me, the idiotic kid followed it up 7 years later with a worthy full-length debut Hannicap Circus & has continued to put out music on his own since. However, his last couple albums He Got a Gun along with it’s sequel produced by Foul Mouth have become his most acclaimed solo material since Attack of the Weirdos & Hannicap Circus. So when Biz started teasing Ratt Poison, I didn’t expect anything to be below the mark those previous LPs had set.

“Count on Me” is a soulful boom bap opener with some jazzy undertones talking about hitting your block with 100 of his homies with dynamite powerful enough to kill J.J. Walker himself whereas “Uncle” takes a more rugged approach instrumentally talking about being homicidal & looking to air out his enemies. “Heebee Jeebeez” works in some ominous piano chords as well as more kicks & snares asking if you can feel the griminess prior to “Kodak” giving off straight up horror movie vibes with the beat talking about being a drug addict.

To officially start the encore of Ratt Poison, “Potty Mouth” gets on his disgusting shit over a dusty ass instrumental while the unhinged “G.E.D.” admits to being stupid & that he chose thuggin’ over a degree. Finally, the title track featuring Young Zee of the Outsidaz collective whom both Bizarre AND Eminem were once members of from the late 90’s to early 2000s finds the 2 over 1 last boom bap beat with these chilling piano chords woven in spitting lethal hardcore bars for a couple minutes.

Pill God in the summer of 2018 was the last time to my knowledge than I can recall Peter S. putting out an EP & I feel like that was to coincide with the 20 year anniversary of Attack of the Weirdos, which Pill God just didn’t hold a candle to in terms of quality. Ratt Poison on the other hand continues the trajectory that He Got a Gun & He Got a Gun 2 headed towards. Foul’s production is consistently raw & continues to prove as a great match for Bizarre’s improved lyricism.

Score: 4/5

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