tana – “London” review

This is the 7th EP from Atlanta, Georgia up-&-comer tana. Coming up in 2018 as a member of the plu2o9 collective under the original moniker BabySantana, he would go on to drop his first 2 EPs Recreation! & Planet Sosa alongside his debut mixtape Quan a couple years later & eventually signed to Lil Tecca’s very own Republic Records imprint Galactic Records the next fall. But coming off his last 3 EPs n(n) as well as Santana & it’s sequel, tana’s rang in 2023 by making an impressive major label debut off his last EP Gaultier at the beginning of the year. So considering that, I went into London to hear where he’d take it from there ahead of a self-titled body of work next month.

Things start off with a cloudy 2 & a half intro talking about being unable to prioritize a bitch over a bag despite wanting her badly whereas “nan” takes it a step further by detailing having to cut off his last girl because she was fucking with his head backed by a booming trap instrumental. “bool” talks about running the bucks up accompanied by a spacious beat with some 808s, but then “up” shoots for a glitchier trap approach sonically admitting he fucked up but he knows how to fix it.

“kould tell” psychedelically points out that the one he’s seeing now has clearly never been with a rockstar before leading into the trillwave-infused “cheque” encouraging shawty to rock with him even though he doesn’t play guitar. “rn (right now)” makes it clear that he don’t pop out when it’s bright out over a pluggnb instrumental that is until “ainmean.” strips the drums completely telling her that he didn’t mean to hurt her feelings. “pop it.” wraps up London by blending synths & hi-hats telling his lover that he’ll buy anything in the stores for her.

Gaultier quickly became the best EP in his discography once the year started & London is already right behind it on top of raising my expectations for self-titled next month. The production’s on par with tana’s major label debut continuing to expand on his pluggnb, cloudy pop rap sound & he’s continuing to deliver some of his strongest performances.

Score: 3.5/5

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Smoke DZA – “Flying Objects” review

This is the 20th EP from New York emcee & songwriter Smoke DZA. Starting out over 2 decades ago as 1/2 of Smoke & Numbers, he would eventually go on to achieve a cult following of his own by dropping 7 albums as well as 10 mixtapes & a plethora of EPs along the way. My personal favorites include the sophomore tape George Kush da Button, the Pete Rock-produced 4th album Don’t Smoke Rock & the whole 183rd-produced Ringside EP saga. But when it was announced that Flying Lotus was being brought in behind the boards throughout Flying Objects, I just knew it was destined to be the best thing DZA has done in a while.

“Spiritual” is a psychedelically futuristic opener to the EP talking about faith in the man upstairs whereas “Painted Houses” featuring Conway the Machine takes the eerie boom bap route with both of them coming together excellently cautioning to treat lightly since their respective teams the Smoker’s Club alongside Drumwork & Griselda stay strong. The latter 2 in particular. “Zelle Transfers” takes a calmer route instrumentally spitting a charismatic, 1-minute freestyle & “Drug Trade” featuring Black Thought & later Conway the Machine on the remix was a phenomenal choice for a lead single to the EP with the woodwinds, kicks, snares & mafioso lyricism.

The closer “Harlem World ‘97” featuring Estelle on the hook rounds it all out with elements of deep house & synth-funk trying to school the apple of his eye professing their love for one another. The first of 2 bonus tracks “Beyond Spiritual” featuring Big K.R.I.T. & Wiz Khalifa happens to be a sequel to the opener with the longest reigning AEW World Champion, former CZW Wired Champion, CZW World Heavyweight Champion,アイアンマンヘビーメタル級チャンピオン, MLW World Tag Team Champion, the inaugural MLW World Middleweight Championship & the current reigning ROH World Tag Team Champion MJF on the intro & the other finishes the deluxe run with a “Zelle Transfers” sequel.

I went into Flying Objects under the impression that it was gonna be a full LP, but I still came away from it looking at it as one of the best EPs I’ve heard this year. One of if not the strongest in his whole entire discography other than the Statue of Limitations collab EP with Benny the Butcher & Pete Rock obviously. FlyLo’s production is magnificently diverse in sound from boom bap to deep hip house & I really can’t remember the last time I heard DZA himself as focused as he is on here.

Score: 4.5/5

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Maajins – “teenage feelings.” review

Maajins is an up-&-coming 15 year old producer & recording artist who since the pandemic has been turning heads by lacing singles for the likes of tana & Pasto Flocco to Autumn! & even Yeat. However since February of last year, he’s been branching out into a solo career & has already put out a total of 10 EPs in just that short amount it time. And only 3 months after his last one Retaliation Tapes & then !@ another 3 months before that, we’re already kicking off September by delivering an 11th EP.

“jesus piece” is a self-produce woozy trap kickstarter to the EP talking about always having to catch his ice before going out on stage every single night alongside a syrupy outro whereas “stop me” instrumentally reminds me a lot of a calming retro video game boasting the fact that he always be going off the way he does. “outlaw” has a spacey, trap/rock groove to it calling himself a fugitive without y’all that is until “malibu” moves forward by cooking up a psychedelic tribute to the titular city in Los Angeles.

Meanwhile, “your fault” blends some synthesizers patterns & hi-hats telling his ex off that he has a new woman in his house with him now prior to “phase” confesses that he ain’t in the mood over a tropical beat. “x6” probably has the most peaceful instrumental on the EP flexing that he’s been on the move just before “hold tht” dabbles with some rage undertones thanks to Paulo making this the only track here Maajins wasn’t behind the boards for talking about needing more cash & that your girl is throwing it back for him. Those hypertrap elements come full effect on the closer “meds” featuring Bandanna$aint confessing that they high out of their minds.

I‘ve been familiar with his production work for a couple years now, but have yet to cover a solo EP from him out of nearly a dozen in the span of almost 2 years up to this point & I can say that teenage feelings could very well be my favorite one of the batch yet. His songwriting & deliveries are on point yet sonically, one could say it’s a lot more versatile than previous efforts from rage beats to some elements of plugg or even the rock influences on “outlaw”.

Score: 4/5

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Scum – “Bad Uncle” review

This is the 3rd EP from Denver based Russian-American emcee Scum. Emerging as the founder of the seminal horrorcore label Lyrikal Snuff Productionz, he’s gone on to release 14 albums & a couple EPs on his own, the last 3 full-lengths being in a trilogy called the Dyin’ World Chroniclez. But coming off S.O.S.’ debut album Blame Us last summer, the Gorefather’s teaming up with Chapter 17/Psychopathic Records in-house producer Devereaux for his 3rd EP.

The title track is an orchestral trap opener to the EP talking about hearing about a party that he wasn’t even invited to whereas “Way 2 Foul” by S.O.S. recaptures the chemistry of Blame Us by jumping on top of an instrumental with a terrifying atmosphere to it detailing how disgusting or dirty both of them really are. “Lozt” works in some bells & hi-hats confronting those running they mouths that is until “Sick Puppy” featuring LSP alumni/C17’s latest signing Darby O’Trill wickedly promising that those who cross them will get fucked up over a booming trap beat.

“Beyond Salvation” works in some heavy horns & hi-hats warning not to fuck with him or even try to pull up on him prior to “The Selectaz” featuring Chapter 17 founder/Psychopathic recording artist Ouija Macc declare themselves as exactly that over a synth-laced trap beat. “Whatcha Gon’ Do?” nears the end of Scum’s best EP to date with suspenseful wicked shit banger & “Awld Goat” by M.M.M.F.D. comes through with an aggressive closer advising to stay away from old goats with new tricks.

It’s been over a decade since the Gorefather’s first EP Mr. Zipperface & the follow-up Grim Zipper is approaching the 10-year mark next spring, so it only makes sense to make Bad Uncle a charm because it’s easily the best of the 3 he’s dropped to date. Devereaux continues to elevate himself as one of the underground wicked shit scene’s most in-demand producers in recent memory, Scum lyrically is at some of his most grotesque in the best way possible & the features all perform on his caliber.

Score: 4.5/5

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The Doppelgangaz – “Went Left” review

The Doppelgangaz are an East Coast hip hop duo from Orange County, New York consisting of MCs/producers Matter ov Fact & EP. Within the last 15 years, they’ve gone on to make waves in the underground by dropping a total of 8 full-length albums as well as 7 EPs & 6 beat tapes. Standouts include their breakout sophomore effort Lone Sharks, the follow-up Hark, their 5th album Dopp Hopp the follow-up to that Aaaaggghh. But coming fresh off their 8th LP Black Cloak Lifestyle last winter, they’re going left on their 8th EP.

“Easy Street” is a g-funk opener to the EP looking to get everyone’s hands up in the air & recite a prayer from the 2 cloak players that stay representing Groggy Pack Entertainment whereas the title track delves further into the g-funk realm justifiably flexing that they really did turn left here considering their East Coast roots. “Cloakland” takes the spacious route with some heavy synthesizers & more g-funk influences during the hook welcoming you to the titular city, but then “Cloak Life” ends the EP with 1-last g-funk banger as both Matter ov Fact & EP themselves talk more about the Black Cloak Lifestyle they live.

Considering the title of Went Left, I went into it expecting to be a change of pace for the New York duo & sure enough: I was highly impressed with what they delivered on here. Quite possibly the riskiest EP in their whole entire catalog. Instrumentally, they ditch the traditional boom bal sound they became known for in favor of showing their love & appreciation for the west coast by recapturing what made g-funk so special 3 decades ago meshing that well with more vibrant lyrics.

Score: 4/5

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$uicideboy$ – “I No Longer Fear the Razor Guarding My Heel V” review

The $uicideboy$ are a revered duo from New Orleans, Louisiana consisting of Ruby da Cherry & $crim. Together, they’ve released a plethora of projects within the last decade whether it be the Kill Your$elf saga & Eternal Grey or even I WANNA DIE IN NEW ORLEANS & the Travis Barker-produced Live Fast, Die Whenever. The boy$‘ sophomore effort Long Term Effects of Suffering followed as did their last album Sing Me a Lullaby, My Sweet Temptation over the summer & are coming fresh off the Yin Yang Tapes tetralogy by saying fuck Grey Sheep III in favor of a new installment of their widely acclaimed I No Longer Fear the Razor Guarding My Heel series.

“Not Even Ghosts Are This Empty” starts the EP with a sample-based trap banger produced by $crim & Dynox of Internet Money Records talking about not being able to feel their faces no matter how hard it gets at times whereas “Finding Shelter In My Larynx” confessing that everything is black to them now over a more trillwave instrumental. “A Little Trauma Can Be Illuminating & I’m Shining Like the Sun” actually ends the EP by depressingly confessing that they still can’t sleep at night even though they playa.

The Yin Yang Tapes were ok even though I still go back to a couple cuts on there, but my expectations for I No Longer Fear the Razor Guarding My Heel Vwere very high the second it was announced & easily the best EP the boy$ have dropped all year. They take it back to the signature cloud rap sound of the predecessor & some emo subject matter on top of it

Score: 4/5

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Rick Hyde – “Lupara” review

Rick Hyde is a 34 year old emcee/producer from Buffalo, New York notable for being a flagship artist on Benny the Butcher’s very own MNRK Music Group imprint Black Soprano Family Records. His debut album Plates that came out at the very beginning of 2019 was pretty solid on top of 9 EPs & a sequel to his full-length debut, which the last we heard from him being the Stima EP that celebrated it’s 1-year anniversary this past. However, he’s now enlisting Chop-La-Rok & Rare Scrilla for a 10th EP.

“Rick Rhude” is a killer opener to the EP with it’s guitar passages & pianos promising that no one wants any of the smoke he’s bringing prior to “Eastside” featuring Elcamino works in a sample-based boom bap instrumental talking about another summer on the titular side of their respective hometown. “Weight Watchers” featuring Heem blends these keys & drums together advising not to come out unless you’re ready that is until “Change My High” comes through with a laidback weed smoker’s theme.

Fuego Base comes into the picture for the violin-infused “PTSD” cautioning not to speak of what you saw as this is a different type of law just before “1 Brick Minimum” featuring Benny the Butcher & Malik finds the trio aggressively getting in their hustler bags. “Knock Down” featuring Boldy James goes into a more alluring boom bap vibe calling out those who thought they were down, but then “Streets Ain’t the Same” featuring Benny sends off the EP as both of them emotionally talk about the streets being different these days.

B$F has undeniably been leaving a hot trail throughout 2023 whether it be Loveboat Luciano’s latest sophomore effort Parole or Fuego Base whom I mentioned earlier revealing himself to be the Biggest Since Camby. However, Lupara stands as my favorite project to come out of the Black Soprano Family camp as we reach more than halfway through the year. Ricky lets Chop-La-Rok & Rare Scrilla handle all the production paying tribute to the golden era so he can further cement his status as one of the strongest links on the label roster.

Score: 4/5

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Gibby Stites – “Off Air” review

This is a brand new self-produced EP from Millville, New Jersey emcee/producer Gibby Stites. Getting his start in the music industry nearly a decade ago, he wouldn’t catch my attention until performing a set during Netfest On Your Couch during the 2020 COVID-19 lockdowns. Later that fall, he signed to Majik Ninja Entertainment & I had the honor of interviewing him shortly after the deal was made public. The 13th Wonder pretty much showcased Gibby to the juggalos as Jamie Madrox’ protégé & Welcome to iLLViLLE several months later took listeners through exactly where he comes from, but decided not to renew his MNE contract to form his own label iLLViLLE Worldwide shortly after. Now I’ll admit that it’s been over a couple years since I’ve covered Gilberto’s music track-by-track & that’s nothing personal at all because I know there are some juggalos out there that give him flack, but my morbid curiosity about Off Air got the best of me to make the time to break it down. Especially considering his return behind the boards for the first time in a grip.

The intro is a chilling, 75 second boom bap opener with Gibby talking about doing it for fuck’s sake that is until “The Man” works in some strings as well as kicks & snares admitting that he feels like that motherfucker now. “Heartbreak Kid” shifts into more summery boom bap territory opening up about being the one they start shit with just before “Blueprint” has a more weepier atmosphere instrumentally acknowledging that he knows for a fact that he’s the one.

“Made Men” keeps the kicks & snares in tact with a bluesier loop shaking the money tree to rake it all in leading into “Goosebumpin’” switching it up with a groovy trap beat talking about how people be sayin’ they gon’ do something to him & not actually go through with it at all. “Labels” brings back the symphonic undertones calling out the music industry for trying to stick him & “Ocean” closes out the EP with a powerful ballad promising not to let anyone down.

So this is Gibby’s 3rd EP albeit 9th project overall on iLLViLLE & I’m gonna have to be honest by saying Off Air is undebatably the best he’s sounded since leaving Majik Ninja to go his own way. The production is primarily grounded in the traditional east coast boom bap sound with a couple exceptions & he continues to take a step further into demonstrating how much he’s grown artistically within the last 5 years.

Score: 4/5

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Ransom – “Deleted Scenes 2” review

This is the 9th EP from Jersey City wordsmith Ransom. Coming up as 1/2 of the short-lived duo A-Team alongside Hitchcock, he branched out on his own in 2008 following their disbandment beginning with his 2008 full-length debut Street Cinema & the Statik Selektah-produced sophomore effort The Proposal. But it’s been safe to say these last couple years have been his biggest so far whether it be the 5 EPs that he put out produced by Nicholas Craven, 7 based around the 7 deadly sins, Heavy’s the Head produced by Big Ghost Ltd., the Rome Streetz collab album Coup de Grâce, or even his last couple albums Chaos is My Ladder or Director’s Cut 4. Now that the latter finally made it to DSPs earlier this month despite being released limitedly in May, it’s only right for Ran & Nicholas to whip up a Deleted Scenes sequel.

“American Made” opens the EP with a heavy soul sample talking about motherfuckers using their brains for the dumbest antics whereas “Arrival” takes the chipmunk soul route speaks on turning his messes into messages, considering that to be his arrival to the top of the game. The track “Body of Lies” blends some victorious horns & background vocals discussing a hustler’s remorse while the final song “Homefront” officially ties up the EP on a bluesier note talking about time being too precious to fall back. We’re then treated to a remix of “Deliver Us from Evil” from the previous Deleted Scenesthat’s on par with the original.

Craven & Ran have never missed whenever they connect for a body of work as DC4 further exemplified a couple months ago. Here we are at the end of July & they did it again with what I believe is amongst the strongest EPs that 2023 had given us. There ain’t no one like Ransom lyrically & Nicholas’ production is rooted in his signature drumless/chipmunk soul sound that we’ve all come to know & love. Basically the underground Nas & Hit-Boy right now.

Score: 4.5/5

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Ty Fontaine – “Yuheame” review

This is the 6th EP from Maryland recording artist Ty Fontaine. Breaking out in 2019 off the strength of his debut EP Waiting on Ascension, he would go on to follow this up with the full-length debut We Ain’t the Same alongside a couple of mixtapes & 3 more EPs, the previous being The Revive preluding a sequel to his Internet Money Records-backed debut mixtape Ascension & more recently Black Truck Life in the spring. Now that we’re halfway through summer, Ty’s enlisting SJR to ask if Yuheame.

“Epic Disco” is an electronic-tinged opener talking big things whereas “Ma Deserves ChaNayNay” gives off more of a psychedelic trap edge so he can single out everyone that’s called him crazy up to this point. “Soso” has a more cheerful sound to it instrumentally talking about how they tried to take his heart away but after the “Tyler’s Message #FreeTheSeals” interlude, “Macaroni Sounds” featuring Migo Lee dives into plugg territory putting it all on their granny’s kids.

Meanwhile, “Fleek” goes for a moodier atmosphere saying his squad on that shit if you want it just before “Magic Magic” goes into glossy trap territory asking why his bitch being extra & not to play with his paper. “Fast” featuring MultiPlayas blends these keys & hi-hats to detail exactly the way they be living now while “On Ya Head” pulls from dance music a bit addressing a love interest of his.

The song “C’mon” featuring Joony finds the 2 gives off a victorious flare to the instrumental pointing out the fact that the money ain’t ever gon’ leave them as opposed to the women that do while the penultimate track “On Timing…” dives into syrupy territory talking about still being on that time. “Beaming” though closes out the EP out on a profound note by addressing his ever-growing popularity.

However long it may be until we reach Ascension 2, I’m more than ok with Ty continuing to build anticipation for it by further experimenting with his versatility like he did only a few months back. The performances from the few features that he brings in are pretty mild but outside of that, but his knack for catchy songwriting remains untouched & SJR’s brings a whole new vibe behind the boards.

Score: 3.5/5

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