Cordae – “Just Until….” review

This is the debut EP from North Carolina emcee Cordae. Emerging in 2014 as a member of the now defunct YBN collective, the 23 year old released a total of 3 mixtapes under his original moniker Entendre before catching mainstream attention 4 years later by dropping the J. Cole response “Old N****s”. After landing a spot in the 2019 XXL Freshman Class, the kid continued to turn heads by dropping a potential-filled debut album The Lost Boy & is returning after 2 years with a 4-track prelude to his sophomore effort.

“More Life” is a funky, boom bap opener produced by Q-Tip as Cordae proclaims life being an antidote while the next song “Dream in Color” talks about his boldest dreams over some vocal harmonizing hanging behind him from Terrace Martin & Raphael Saadiq. Young Thug hops on the Take a Daytrip-laced “Wassup” for a flashy party starter & then the EP rounds out with “Thornton Street”, which returns to that boom bap sound as Cordae recalls his childhood.

I know he said on Twitter that none of these joints will appear on the upcoming album, but it has me excited for it nonetheless. With his artistry continuing to grow at a rate like this, I geniunely think his potential is being fully realized & he could possibly top The Lost Boy.

Score: 3.5/5

Anybody Killa – “Smoke That Up” review

This is the 10th EP from Detroit veteran Anybody Killa. Coming up as a member of the Krazy Klan with his childhood friend Lavel, it wouldn’t be until 2000 when the Native Funk dropped his official solo debut Rain from the Sun. 2 years later, he made his big break in the underground when the Insane Clown Posse signed him to Psychopathic Records & released his sophomore album Hatchet Warrior to universal acclaim amongst the juggalos. This was followed up in 2004 with Dirty History & the debut EP Road Fools a year after, but ABK decided to form his own label Native World Inc. in 2006 & he even left Psychopathic temporarily so he could focus on building his own brand. His 2008 comeback Mudface ended up being a total mess on all fronts, but he would eventually team up with Brian Kuma in 2010 to make up for it with Medicine Bag. Then after a 9-year hiatus, ABK left Psychopathic to focus on Native World once again & put out a party-themed comeback album Tampon Juice to mixed responses. But as he’s currently prepping for A.B.K. (Always Bringing Knowledge) & supposedly Shapeshifter, Killa is celebrating 4/20 by putting out Smoke That Up produced entirely by DJ Hazey.

“Pre-Session” is a short, bass-heavy introduction warming up the listener for what’s to come where’s the next song “Smoking In Common” goes into a more g-funk direction sound-wise as ABK dedicates this to all the like-minded tokers out there. The title track is a synth-laced banger encouraging listeners to light one up & then “We Smoking” is a more groovy, melodic cut about wanting them to leave him be as he gets high.

I know this is just a 4/20-themed EP, but I actually come to enjoy it significantly more than Tampon Juice & has me looking forward to both A.B.K. (Always Bringing Knowledge) & Shapeshifter whenever either one of those actually come out. The production from Native World in-house producer DJ Hazey is sincerely amongst the best I’ve ever heard from him & the playful vibes that ABK traditionally delivers in his performances have improved.

Score: 3.5/5

Yelawolf – “Slumafia” review

This is the 6th EP from Alabama rapper, singer/songwriter, fashion designer & entrepreneur Yelawolf. Coming up in 2005 off the mediocre debut album Creekwater, it wouldn’t be until 5 years later when Catfish Billy caught the mainstream’s attention off the strength of his 4th mixtape Trunk Muzik before signing to Shady Records in 2011. After dropping a total of 4 albums under the Eminem-owned Interscope Records imprint, he fulfilled his contract just a couple years ago to focus on Slumerican Records & dropped his 6th full-length effort Ghetto Cowboy a little over 8 months later. But to continue his streak of dropping a project every week for this entire month, Yelawolf is hooking back up with longtime collaborator DJ Paul for Slumafia.

“Trans Am” is a gritty opener co-produced by TWhy spitting about going from the gutter to being rich over some hi-hats & plinky keys, but then Paul jumps on the next cut “Tote the Bag” to charismatically boast on top of a shadowy instrumental. The track “Lucchese” is a devilishly-produced killer anthem that I would’ve enjoyed more without the Badd Wolf feature referencing 2-time WWE Hall of Famer, former 16-time WWE world champion, WWE Intercontinental Champion, 6-time WWE United States Champion, 6-time WWE tag team champion & 9-time NWA World’s Heavyweight Champion Ric Flair whereas “Still the Man” bigs himself up & the beat on here is probably the darkest on the entire EP.

Meanwhile, “Don’t Need a Cup” serves as a slowed-down ode to his Creekwater whiskey brand & even though I understand that the title track is meant to be a Slumerican/Three 6 crossover, the only features that captivated me were Gangsta Boo & the Seed of 6 because Big Henri’s verse was ok & BRAY’s was hands down the weakest. “Super Geek” is a bass-heavy crowd mover about only giving a fuck once in his life & “Head Banger” is an explosive closer that sounds like it could’ve been on Yelawolf Blacksheep. I mean PRETTY SHY’s verse at the start is uneventful, but Caskey kills his in the middle.

Of all of the projects Yelawolf has dropped in 2021, I’d have to say Slumafia is my favorite thus far. Paul’s signature sound is always great to hear & it definitely brings some of the best out of Catfish Billy, but my biggest problem that I had with TURQUOiSE TORNADO makes it’s way onto here: the features.

Score: 3.5/5

RiFF RAFF & Yelawolf – “TURQUOiSE TORNADO” review

This is a brand new collaborative EP between Houston, Texas rapper RiFF RAFF along with Gadsen, Alabama rapper, singer/songwriter, fashion designer & entrepreneur Yelawolf. Both of whom came up in 2011, except one of them was a former reality star & the other being an Eminem protege. Even though Catfish Billy saw much success with Shady Records (most notably the albums Radioactive: Amazing & Mystifying Chemical Tricks as well as Love Story & Trial by Fire), it wasn’t until 2014 when JODY HiGHROLLER dropped his full-length debut NEON iCON under Mad Decent. Their paths first crossed last summer when Yelawolf was featured on RiFF RAFF’s previous album VåNiLLå GöRiLLå but they’re trying to take it to the next level by joining forces for TURQUOiSE TORNADO.

“MOSSY OAK” is an ass-kicking opener as both parties express their fondness for the outdoor lifestyle company of the same name & the DJ Paul instrumental is the epitome of evil. The next track “HUMAN LAMBORGHiNi” has a plinky trap instrumental with the duo comparing themselves to the titular luxury car, but the Danny Swift verse is wack & Peso Peso’s verse at the beginning of “MONCLER JACKET” is no better. Except on here, he joins RiFF RAFF & Yelawolf to talk about making $1M over some hi-hats & a slick bass-line.

The song “ALCOHOL & WEED” is of course a party anthem with a Struggle Jennings verse that makes up for the features we heard on the last 2 cuts & an atmospheric trap instrumental whereas the title track taps in Paul Wall to freestyle about materialism with a somewhat quirky beat. The penultimate track is a mediocre 4th installment to “TiP TOE WiNG iN MY JAWWDiNZ” with an awkward 80’s synth-wave instrumental but then the EP finishes off strong with “MiLLiON DOLLAR MULLET”, which contains some of the flashiest lyricism on the entire thing & the Ronny J production is so gargantuan.

Even though I like TURQUOiSE TORNADO more than I did Yelawolf Blacksheep, it isn’t by a whole lot. I think Yelawolf has a much better chemistry with RiFF RAFF than he did with Caskey, but they kinda overdid it on the features & they can be hit or miss.

Score: 3/5

Milano Constantine – “Eating But Still Hungry” review

Milano Constantine is an MC from New York City originally coming up in the early 2000s as a D.I.T.C. affiliate. However, it wouldn’t be until 2015 when he dropped his official debut album The Believers. Since then, Milano had built up an impressive solo catalogue by putting out a total of 4 albums & an EP. But coming fresh off his collab album with Body Bag Ben entitled Write It In Blood, the East Coast vet is tapping in Showbiz for his 2nd EP.

“Cavili Champ” is a great way to kick the whole thing off with it’s blaxploitation-like instrumental as well as Milano’s bars about “only giving soul music like Donny Hath”, but then the next song “Bank Stopper” incorporates some horns into the beat as he proclaims his magnificence. The track “Come On” goes into detail about the streets not playing fair on top of a heavenly vocal loop whereas “Gin Rummy” contains a triumphant beat & delving into why it ain’t it safe to play in the streets.

The song “Broadway Joe” reminisces about the material he’s killed over some horns & a guitar while “Night & Day” incorporates a classy instrumental as Milano gloats. The penultimate track “On My Father” is an impassioned anthem about fighting for democracy & then the closer “Save the Children” is a violin-induced banger about doing what he has to for his babies.

In my personal opinion, Eating But Still Hungry is up there with The Way We Were & Boulevard Author for Milano’s magnum opus. He & Showbiz bring the best out of each other by providing some old school, East Coast gang shit in terms of the pen game & overall sound.

Score: 4/5

Flee Lord – “RAMM£LLZ££” review

This is the 15th EP from Queensbridge emcee Flee Lord. Blowing up in 2017 off his debut EP Loyalty or Death: Lord Talk & it’s 2018 sequel, the Prodigy protege continued to grow from there by dropping subsequent projects like Gets Greater Later & Loyalty & Trust. But after dropping every month last year (the most notable ones being Hand Me My Flowers as well as The People’s Champ & In the Name of Prodigy), Flee is teaming up with DJ Muggs to drop RAMM£LLZ££.

The titular intro is a cool little skit that I had expected going in, but then the first song “Eating Never Stressing” talks about how your life will be great if you work as hard as him over a bare organ loop. The next track “SA Mobbin’” talks about holding his block down over a doleful piano instrumental while the song “Driver’s Seat” pays tribute to Capone-N-N.O.R.E. over a misty boom bap beat.

The track “Wallabies & Gucci Loafers” with Ghostface Kilah & Roc Marciano finds the trio on their fly shit over a soul-tinged instrumental while the song “Mansions in the Ghetto” with Crimeapple sees the 2 talking about giving back to their people over some guitar-picking & horns. The track “45 in My Pocket” talks about how going back to the hood is stressful for him over a rich boom bap instrumental while the song “Daleon & Delgado” with TF finds the duo talking about shooting rounds at the sky over a beat kin to Daringer.

“The Equation” talks about hoping people follow his path when he’s gone over a deranged instrumental & while the penultimate track “Queens Get the $$$” with Meyhem Lauren sees the 2 talking about all being psychos over a boom bap beat with some rapid piano-playing throughout. The titular outro talks about going from having bad to making good paper over a sample of “I’m Alive” by Johnny Thunder.

Even though 2020 was the Year of the Lord, it’s starting to look like 2021 will be the Year of Muggs because this is a damn near perfect EP. Death & the Magician is still my Album of the Year as of me writing this review, but RAMM£LLZ££ is just as enjoyable because both parties manage to bring their A-game on here lyrically & sonically.

Score: 4.5/5

Benny the Butcher – “The Plugs I Met II” review

Benny the Butcher is a 36 year old MC from Buffalo, New York who’s been making music since 2004. However, it wouldn’t be until 2016 where he alongside his cousins Westside Gunn & Conway the Machine would take the culture by storm off projects like Tana Talk 3 & The Plugs I Met. He just dropped his Hit-Boy produced sophomore album Burden of Proof this past fall & as the 2 year anniversary of The Plugs I Met approaches this summer, Benny is enlisting Harry Fraud for the sequel EP.

The EP kicks off with “When Tony Met Sosa”, where Benny talks about how the rap game saved him over a jazzy beat. The next song “Overall” with the late Chinx sees the 2 talking about winning over a grimy instrumental while the track “Plug Talk“ with 2 Chainz finds the pair talking about how they address drug shit in interviews over some harmonious background vocals hanging behind their verses. The song “Live by It” talks about living & dying by the gun over an uncanny instrumental while the track “Talkin’ Back” with Fat Joe sees the 2 responding to everything from dope money to the streets over a flute-tinged beat.

The song “No Instructions” talks about how there’s no rules to the drug game over a poignant boom bap instrumental while the track “Longevity” with French Montana & Jim Jones finds the trio talking about making sure their cash is the strongest over an alluring beat. The song “Survivor’s Remorse” with Rick Hyde sees the 2 talking about how they could’ve died or wound up in jail over a dirgelike instrumental & then the closer “Thanksgiving” tells the rap game to be grateful for him over a soul sample & an organ.

The Plugs I Met is a crown achievement in Benny’s catalog & this sequel is almost as enjoyable as the predecessor. In comparison to the mature & polished vibes that Burden of Proof gave off, he & Harry Fraud take things into much more darker territory as the dark production & the harsh realities The Butcher paints mesh well with one another.

Score: 4/5

O.T. the Real – “The Irishman” review

O.T. the Real is a 35 year old MC from Philadelphia, Pennsylvania who started out in 2016 after coming home from prison & dropping his debut single “Papercuts”. From there, his profile began to grow after showcasing his skills on radio stations as well as dropping an eponymous full-length debut & 2 EPs. His sophomore album Evil Empire just came out a couple months ago & to celebrate St. Patrick’s Day, the East Coast up-&-comer is dropping his 3rd EP produced entirely by The Heatmakerz.

“Non Fiction” is a heartfelt opener as O.T. spits about drilling it out with bars on top of an exultant instrumental & then the next song “Restitution” talks about waiting when he wanted what was his over a morose beat. The track “Carry On” talks about the hustle forever continuing on over an affluent instrumental while the song “Connected” with Jim Jones finds the 2 saying that it’s all about connections over some bongos & faint yet beautiful harmonizing.

The track “Losses” gets on the romantic tip over a stripped back instrumental while the song “Hold On” with Joell Ortiz sees the 2 asking who’s gonna be there when the laws & drugs are gone over a wraithlike beat. The penultimate track “Streets Again” talks about looking for a way to get back on his feet over some hypnotic vocal melodies & then “Relationships” finishes the EP off with some exuberant horn sections as O.T. spits about having 33 on him like Patrick Ewing.

Despite enjoying everything I’ve heard from dude up to this point, he really outdid himself on The Irishman. Not just because The Heatmakerz gave O.T. a more refined sound in comparison to his previous efforts, but the songwriting on here is the best it’s ever been before.

Score: 4/5

FlexxBabyy – “Water” review

FlexxBabyy is a 26 year old rapper from Atlanta, Georgia who came onto my radar just last year after becoming the latest to sign to Benny the Butcher’s E1 Music imprint Black Soprano Family Records. This was followed up by a plethora of stand alone singles & is going into 2021 by dropping his debut EP.

The opener “ETHER” talks about watching his back now that he’s secured a record deal over some violins & hi-hats whereas the next song “Slob” talks about sex over an industrial/trap fusion. The track “So Wet” is Flexx pretty much bragging over a cacophonous instrumental while the song “Dead” is a distorted riot inducer that slows down in tempo during the 2nd half. The penultimate track “JOOP” talks about drug use over an atmospheric instrumental with some loud, rubbery bass-lines dominating the mix & then the closer “Bussin’” gets materialistic over a bombastic beat.

This is completely unlike anything one would expect from BSF, but it’s a good short listen nonetheless. In comparison to the traditional boom bap style that a lot of the other artists on the label stick to, FlexxBabyy takes things into a more Playboi Carti-influenced direction from his flows & sticky refrains to the experimental production as heard on Whole Lotta Red & even the babyvoice that Carti is known for at times. Nonetheless, I feel like this is only the beginning for him.

Score: 3.5/5

YBN Almighty Jay – “Battling My Spirit” review

YBN Almighty Jay is a 21 year old rapper from Houston, Texas who came up as a founding member of the now defunct YBN collective. Dude has dropped a handful of singles in the span of 6 years & has now whipped up a 20 minute EP as his first official project.

The opener “Get Rich in the Hood” talks about going out like Suge before going out like Pac over an acoustic guitar & a dizzying backdrop whereas the next track “Big Check” shows off his wealth over a drab beat. The song “Murder in My Eyes” talks about how all his homies balling over an instrumental trying to rip off the aesthetics of Travis Scott’s previous album ASTROWORLD while the title track is easily the best off the entire EP, as Jay confesses that he looks at his family different & the dejecting tone of the beat is perfect.

The song “Drank Sealed” talks about going from a futon to a mansion over a guitar & some hi-hats while the track “Bring Out the Hoochies” is a mediocre attempt at making a strip club anthem. The song “Shoutout to My Dentist” talks about being flashy over a buoyant instrumental & then the closer “Red Light Special” talks about not having time for affairs over a syrupy beat.

Other than the title track, I hardly got anything out of this EP at the end of the day & I really don’t see what makes YBN Almighty Jay an appealing artist. His songwriting is insipid, the flows are pretty basic & the production is incredibly generic.

Score: 1/5