Matt Martians – “Matt’s Missing” review

Matt Martians is a 35 year old producer, illustrator & singer/songwriter from Atlanta, Georgia notable for being a founding member of the now defunct Odd Future collective as well as 1/2 of the production duo The Jet Age of Tomorrow with Pyramid Vritra & the co-founder of The Internet alongside Syd. He also made up 1/3 of The Super D3Shay with Ace Hashimoto on the mic & The Jet Age of Tomorrow behind the boards alongside 1/2 of the MC/producer duo Sweaty Martians with Earl Sweatshirt. Also for almost 7 years, Matt’s been building a solo career for himself beginning with the full-length debut The Drum Chord Theory followed by the sophomore effort The Last Party & not 1 but 3 EPs in 2021. However ahead of The Internet’s upcoming 5th album, Matt’s returning after a few years for a 4th EP.

To start us off, “B Like That” sings over a funky beat for this chick that caught his eye in to get at him & that he’ll see her soon whereas “Rushback” takes a trippier route instrumentally talking about feeling her from across the room. “Perfect Warning” gives off a groovier vibe admitting that he & his significant other could grow old together hoping she feels the same way leading into the soley self-produced “Play” taking the mellower route asking if he can mess around.

“The Reason” despite it’s chilled out atmosphere plays with the idea of stalking a romantic interest that Matt will have love for just before “Bassline” picks things back up with a slick ballad about having to get it running coming with exactly that. “Best Girl” has a summery, funky start to the beat with a switch-up during the 2nd half telling her he wouldn’t know what to do if she left his side while the catchy “Don’t Think About It” talks about wanting her to stay.

“Adjust” starts the encore of the EP by admitting that he’s been having to adapt as of late & this woman being all up in his head until “Sick n’ Tired” rounds out Matt’s Missing by experimenting with funk rock making it clear that he’s at the point now where he’s simply fed up with the lies, the hate, everybody telling him what to do & being down altogether.

Drum Chord Theory has to be my favorite solo LP out of the 2 that Matt has given us thus far but when it comes to his EPs, Matt’s Missing might be my favorite since Going Normal & that includes the 4-track deluxe. He expands his the neo-psychedelic soul sounds of his solo material generally beyond neo-psychedelia altogether, hypnagogic pop, abstract hip hop & funk music.

Score: 3.5/5

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Gloom Unit – “Come Heavy” review

The Gloom Unit are a West Coast horrorcore duo consisting of Acetone Boogie & Frankie Goldie. One of whom comes straight out of Tucson, Arizona & the other representing Sin City Las Vegas, Nevada respectively as part of the Swamp Society collective. Acetone’s been putting it down for the underground for over a decade at this point putting out a total of 3 solo LPs as of me writing this review & Frankie has been establishing himself artistically by doing a couple features & even releasing 2 solo singles. But after coming together in the fall & preluding their debut EP in the form of a few singles, Acetone & Frankie are looking to Come Heavy by properly introducing themselves to kick off the new year with Chapter 17/Psychopathic Records in-house producer Devereaux behind the boards start to finish.

After the intro, the first song “Anna in da Attic” is an occult trap opener paying homage to the Insane Clown Posse’s best storytelling track ridin’ dirty with the chromes “Amy’s in the Attic” whereas “Blood on My Chucks” instrumentally gives off more of a west coast vibe to spit the wicked shit with the bells calling back to “Real G Shit” off of Blaze Ya Dead Homie’s self-titled debut EP & I just wanna say I mean that as a compliment. “Dead Ringer” shifts back into trap turf trying to figure out why they hatin’ just before “Bury da Bones” works in some pianos & hi-hats talking about how no one else like them. “LeanGutt” then closes out the EP on a triumphant trap note with elements of chopped & screwed dedicated to the thuggalos.

These guys have only been getting better with each single they’ve been giving us, so it was more than enough to convince me that Come Heavy was gonna be a promising introduction to who the Gloom Unit really is. Now that we finally got their debut EP to start 2024, it should absolutely please the juggalos & maybe even some G*59 fans too. Devereaux’s production is chiefly trap-oriented with additional elements of west coast hip hop or even chopped & screwed mixed in leaving it up to both Acetone Boogie & Frankie Goldie to further hone in their chemistry.

Score: 4/5

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Conway the Machine – “Palermo” review

Buffalo emcee Conway the Machine following up his best release of 2023 at the beginning of the month Conductor Machine by putting out his 12th EP only days before Christmas. As you may already know by now since late 2015, as part of the 3 OGs of Griselda Records alongside his brother Westside Gunn & their cousin Benny the Butcher, the trio have had the culture on lock ever since their arrival by their constant work ethic balancing quality & quality as well as bringing the underground to the mainstream or vividly detailing their lives in the streets on top of boom bap, drumless, jazz rap & even trap production. Con’s full-length debut From King to a God was my Album of the Year for 2020 & the Shady Records-backed sophomore effort God Don’t Make Mistakes is the most personal he’s ever been. Organized Grime 2 & Big Ghost Ltd.-produced What Has Been Blessed Cannot Be Cursed were both great EPs, but his latest full-length Won’t He Do It received more moderate reception even though it was the beginning of a new era for him & like I said out the gate: Conductor Machine was the best thing Conway has done this year, but is now teaming up with German lo-fi producer Wun 2 resulting in Palermo.

After the introductory interlude, the first song “Carduni” really starts off the EP with a dusty ass boom bap instrumental getting on his Pyrex shit whereas “Mind Tricks” talks about his mind playing tricks on him over and over unsettling beat with some kicks & snares. “Brick by Brick” reminds how exactly he built his whole career taking a more lo-fi approach to the traditional boom bal sound, but then the drumlessly jazzy “Cold Dish” featuring Goosebytheway flexes that they both have all the intangibles.

“Cosca” tells all the haters to stay in their lanes going for a groovier vibe with kicks & snares but following the “Zisa” skit, Goosebytheway returns for the uncanny boom bap infused “Montagna” reminding that everyone knows the way they be movin’. “Bianca” continues to push near the end of Palermo by bringing back that lo-fi flare so La Maquina can boast & finally to wrap up the EP, “Gaspare” featuring Goosebytheway sends things off with 1 last boom bap joint telling their competition to give it up.

I was already familiar with Wun 2 heading into Palermo because of his collaborations with Hus Kingpin or Tha Connection, so I was undeniably interested in what was gonna come out of this EP & I still enjoy it although not as much as the last EP we got a few weeks ago. The production fuses his lo-fi sound with boom bap along with Italian samples so Conway can built its concept around the themes of both resistance & truth.

Score: 4/5

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Snotty – “Boy George Dreams” review

New York City emcee Snotty making his 11th EP the 4th & final project that he’s given us in 2023. Establishing himself by dropping his last 10 EPs along with 3 mixtapes & The Steiner Brothers’ eponymous debut, he would go on to join the Umbrella collective with likes of Jay Royale or Mickey Diamond & even his Steiner Brothers cohort Pro Dillinger to name a few. I’ve also heard his features throughout the Gucci Ghost series as well as The Final Sniff of the No Cosign, Just Cocaine saga & even some of Hus Kingpin’s material within the last few years (most notably Portishus). But coming off the Chapter II EP couple months ago, Snotty is helping close out the year by putting out Boy George Dreams.

“Everybody Eats” is an orchestral-tinged opener likening it a soup kitchen whereas the soulful “190E 2.5” admits that he feels like part of him has changed & that shit’s hardly been the same for him ever since the love been gone. “Obsession” has a bit of a boom bap flare instrumentally detailing his obsession with enterprising prior to “Apartment 1C” featuring fellow Umbrella collective member Mvck Nyce works in this solemn sample taking things to the streets.

The beat on “Dapper Dan Jaccet” pays homages to Daringer’s whole style explaining how hard be flexing that Gucci, but then Daniel Son of the Brown Bag Money collective teams up with Snotty for the grimy “Felonious Food Courts” reminding that the streets know the names & they don’t have to say it twice. “Tuxedo Enterprise” shoots for a smoother instrumental bragging that they invented fly & “Shrimp Dinner” by The Steiner Brothers eerily talking about out they’ll Hudson River shrimp dinner someone.

“Ostrich Interior” starts the encore of Boy George Dreams on a drumlessly moodier note assuring that there’ll never be another like when it’s all said & done that is until “Trench Baby” slides through with a sample-laced sendoff to the project by Snotty telling the story of what it was like for him being born & raised out in the trenches of my 2nd favorite place to travel to in here in the States behind Los Angeles of course: NYC.

Of the 4 projects that we’ve gotten from Snotty this year: Boy George Dreams has to be my favorite solo project of his but that’s not to say it isn’t neck-&-neck with the Steiner Brothers album. The guest list is consistently unparalleled throughout the 10-track/24 minute offering, the production teeters between boom bap & drumless and I lastly find the performances from Snotty himself to be the most passionate he’s sounded so far. The Umbrella collective stays consistent.

Score: 3.5/5

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Ruby da Cherry – “Existential Hymns for the Average Sigma” review

This is the 2nd solo EP from New Orleans emcee/producer Ruby da Cherry. Blowing up as 1/2 of the $uicideboy$ alongside his cousin $crim, they’ve built up an impressively extensive discography over the last decade & even have their own Virgin Music imprint G*59 Record$ with an ever-growing roster of artists. Budd dropped his full-length solo debut A Man Rose from the Dead in the midst of the COVID-19 to mixed reviews & as Ruby comes off Tragic Love Songs to Study to earlier this summer, he’s back at it with more Existential Hymns for the Average Sigma.

After the “¯\_(ツ)_/¯” intro, the first song “Excalibur” is a punk rock opener with Ruby singing that he knows he’s gonna find a way down the line whereas “I Was a Teenage Nihilist” following the “where y’at, duckboy?” interlude features faster instrumentation talking about the nihilism he faced as an adolescence. “Pearls Are Just Oyster Puke” after the “where y’at, duckboy??” interlude continues to take things heavier assuring that he’s still breathing & after the final “where y’at, duckboy???” interlude, the final song “Heroin As a Recreational Activity” is a punk rock closer talking about his past drug addiction.

tragic love songs to study to was a solid way for Ruby to properly introduce everyone to his pop punk alter-ego because he continues to delve further into the world of punk rock music recalling back to his Vapo-Rats days. His vocals & songwriting are still on point, but I noticed a couple heavier instrumentals in comparison to the previous EP last summer & it has me wondering if he’s gonna dabble with metal music in regards to his next solo EP.

Score: 3.5/5

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Big K.R.I.T. – “Regardless, It’s Still Timeless” review

Mississippi emcee/producer Big K.R.I.T. is teasing bigger plans for 2024 with his 6th EP. Starting out by releasing a few mixtapes from the mid to late 2000s, he eventually signed to Cinematic Music Group in 2010 & his 6th mixtape K.R.I.T. Wuz Here that same year landed him a joint venture with Def Jam Recordingsalong with a spot in the XXL Freshman Class in 2011. His first 2 studio albums Live from the Underground & Cadillacticain 2012 & 2014 respectively continued to show his potential, he would go on to form his own label Multi Alumni some time after. His first outing under the new independent label was his previous album 4eva’s a Mighty Long Time in October 2017, which is the best double disc hip hop album of the 2010s without question. Following that was the T.D.T. compilation, K.R.I.T. Iz Here which was an underwhelming sequel to K.R.I.T. Wuz Here given how excessively commercial it was in comparison to the rawness of the predecessor & finally K.R.I.T.‘s previous full-length D.R.D.D. (Digital Roses Don’t Die) leaning towards neo soul a bit. I nevertheless had my curious it’s about Regardless, It’s Still Timelesssince K.R.I.T.’s one of hip hop’s most important southern artists in recent memory.

The EP starts with a 5th installment to the “King” series that began on K.R.I.T. Wuz Here & last left off on It’s Better This Way looking back on starting in the trenches to eventually making it out over a woozy self-produced instrumental whereas “Set ‘Em Free” takes the synth-trap route looking let off the 100 rounds that he has saved just for his opps. Shortly after is Part 6 of K.R.I.T.’s famous “My Sub” series with a bass-line & hi-hats knowing they shakin’ for that drop & “Man on the Moon” sends it all off with a funky stream of social consciousness.

K.R.I.T.’s last couple albums have been underwhelming yet I still believe that he’s more than capable of bouncing back & Regardless, It’s Still Timeless really isn’t that bad of a 4-track, 11 minute EP preluding everyone for his upcoming 6th LP next year. It’s pretty cool that he spent half of it continuing a couple series of songs that’re popular within his established fanbase & the other half by going into an upbeat direction.

Score: 3.5/5

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BigBabyGucci – “When You Go to Sleep” review

This is the 20th EP from Charlotte, North Carolina recording artist BigBabyGucci. Getting his start in the summer of 2016 off his debut EP ART HOE Collection, he would continue to build a name for himself by putting out 19 more EPs as well as his last few albums & a mixtape along the way. But coming off one of his best LPs to date When U Wake Up, he’s closing out his 2023 by putting out a 9-track EP clocking in at 21 & a half minutes nearly a week after Calvin Tankman became the DPW Worlds Champion & The Motor City Machine Guns ended The Workhorsemen’s reign as DPW Worlds Tag Team Champions.

“Alone at Night” is a spaciously drumless opener talking about how he doesn’t know what’s wrong with him whereas “Full of Sin” admits that he believed he could find myself inside the drugs & never did in the end over a guitar-driven instrumental. “Night Shift” gives off a bluesy trap groove trying not to take anything serious for real prior to “Murder Shit” coming through in some Marni shit & that everyone knows for a fact he’s stuntin’ taking a futuristic approach to the beat thanks to Venny.

To start the 2nd half of the EP, “Genie in a Bottle” turns into mellower territory feeling like this woman was a part of him just before “Do or Die” refuses to fumble under pressure & simply call it fake over kicks & snares mixed with pianos. “Wanted 4 Murder” boasts that he’s wanted for killing the pussy over a moodier instrumental prior to “Provide 4 U” featuring Tony Shhnow talks about providing for their lovers so they never need bringing a dreamier vibe. “Icebreaker” closes out the EP continuing to make things atmospheric telling her to break the ice.

When U Wake Up still stands as my favorite full-length of the 3 that BigBabyGucci has put out & even though this EP was clearly supposed to be the deluxe version of that new album, I think him putting it out as a separate counterpart isn’t too bad either. We have him expanding on his versatility trying out some new sounds beyond trap & pop rap with alternative R&B, his performances/songwriting match the caliber he reached couple months ago & the Tony Shhnow feature was as entertaining.

Score: 3.5/5

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Conway the Machine – “Conductor Machine” review

Here we have the 12th EP from Buffalo emcee Conway the Machine. Blowing up in late 2015 as part of the 3 OGs of Griselda Records alongside his brother Westside Gunn & their cousin Benny the Butcher, the trio have had hip hop on lock ever since their arrival by their constant work ethic balancing quality & quality as well as vividly detailing their lives in the streets on top of boom bap production kin to that of RZA & Havoc in their music. Con’s full-length debut From King to a God was my Album of the Year for 2020 & the Shady Records-backed sophomore effort God Don’t Make Mistakes is the most personal he’s ever been. But coming off Organized Grime 2 as well as the Big Ghost Ltd.-produced What Has Been Blessed Cannot Be Cursed & Won’t He Do It, we’re now being treated GxF in-house producer Conductor Williams of The Heartbreakers fully producing Conductor Machine.

“Blessings of the King” is a soulful opener to the EP charmingly showing off how ill & fly he is whereas “Believe Me” gives of a jazzy boom bap flare to the instrumental declaring that the real is back. “Noir” works in some pianos, kicks & snares asking what exactly it is that you want from him leading into “Higher” taking a more psychedelic route to the beat talking about shit getting spooky up in here once again.

One of the first Drumwork Music Group signees 7xvethegenius joins Con for “Flame” hoping on top of a soul sample dropping some hardcore lyricism prior to “Church Fan” featuring the label’s first recording artist Jae Skeese pulling from gospel music spitting that higher power rap with his mentor La Maquina. “Love the Lord” though ends the album with some heavy vocal chops justifiably comparing his rhymebook to national treasure.

West’s Pray for Paris sequel And Then You Pray for Me is pretty much his La Maquina, but Conductor Machine is the best thing that Con has done this year in my opinion. Conductor coming fresh off his For All the Dogs production credit further showcasing why he’s one of the biggest beatsmiths today & the performances are equally consistent.

Score: 4.5/5

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Atmosphere – “Talk Talk” review

Minneapolis, Minnesota duo Atmosphere consisting of Slug on the mic & Ant on the boards following up their 13th LP So Many Other Realities Exist Simultaneously. Initially a trio from the beginning of their formation up to release of their critically acclaimed debut Overcast!, they would later go on to build an independent empire with their Rhymesayers Entertainment whether that be signing acts from Brother Ali to the late Eyedea or putting out their best bodies of work like God Loves Ugly of Sad Clown Bad Dub 9.. But it turns out Atmosphere has some outtakes from the sessions of their latest album & are compiling them into Talk Talk.

“Wetter” starts the EP for all the party people down the electro-trap instrumental whereas “Attachings” works in some synthesizers advising to never change & that everything’s happening whatever that even means. “Rotary Telephone” goes for a funkier approach to the beat so he can think out loud on wax prior to the dance-inspired “Don’t Mind Me” talking about deserving some levity & that everybody gets left behind in the end.

Meanwhile, the futuristic jam “Where I’m / You’re At” asks if anyone’s in the back of the front or the front of the back while the title track is taken straight from the new full-length that Atmosphere put out this spring. “Hear Hear” experiments with trap again saying you need someone here when you got something to hear while the wavy “Hello Pete” featuring Buck 65 & Kool Keith pulls out the receipts on the titular character.

“Make Party Politics” continues to draw near the end of the 2nd body of work from Slug & Ant this year fusing trap with electro music once more detailing that you don’t even know what the Hell you’re looking at & to not hold your breath prior to “Traveling Forever” ending the EP with a calming boom bap instrumental portraying himself is an endless traveler.

So Many Other Realities Exist Simultaneouslyevoked the multiversal storytelling that’s recently vaulted into the mainstream consciousness & with this EP that came out of those very sessions, they dart across threads of space-time to grab hold of the one becoming titans of the sounds that was foundational to their youth. Ant’s production is more inspired by the likes of Kraftwerk & The Egyptian Lover so Slug can makes visions of the future from 4 decades ago seem new once again.

Score: 3.5/5

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Chetta – “Sick Bitch” review

New Orleans, Louisiana emcee/producer Chetta is returning with his 20th EP & his 3rd body of work this year. Coming up in the spring of 2014 off his debut mixtape Nino White. This was followed up with 18 EPs as well as 11 more tapes & a full-length debut, but gained significant attention off his G*59 Record$ debut Been Here Forever last summer as well as his last EP Falling Off & his latest album Playboy.

“My Misery, Your Entertainment” pretty much comes straight out the gate with it with a rage beat asking if anyone out there happens to not be entertained at all leading into “Finally Killing Myself!” talking about jumping out the window over a cloudy trap instrumental. “Y2K” works in some hi-hats & twinkling keys declaring that no one can do it like him while “Look_What_God_Did” gives off a drearier vibe talking about how we already know he slidin’. “W/orw/oyou” pushes near the end of Sick Bitch with a bombastic trap beat going through the back since he doesn’t need his ID. “Be My Permanent High” closes the EP by ghoulishly admitting that he feels alone.

Chetta to me has been continuously putting out the best material of his career throughout these last few years ever since signing to G*59 during the pandemic. The production is grounded in the southern trap sound that the New Orleans label has become predominantly known for & he gets back on his emo shit a little just like we did on Falling Off, which we didn’t hear a whole lot of on Playboy.

Score: 3.5/5

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