Emeril Picasso is an MC/producer from Austin, Texas who originally came up under the moniker Teek a few years back. However, he has decided to completely reinvent himself & properly introduce himself to the masses in the form of a debut EP.
“Trippin’” is a psychedelic trap opener about working hard to live in peace whereas “Don’t Matter” eerily goes at those who doubt him. “Make It Work” takes a more sensual route on all fronts just before “Naples” is the complete opposite, somberly telling the story of someone in a past life.
After the “Chaplin” interlude, “Bliss” serves as a moody romance tune while the song “Wake Me Up” works in a ghostly instrumental talking about his internal conflicts. The penultimate song “Mean That” has a more playful tone saying he has no fear in him & the title track finishes it off with a mellow beat talking about Hell freezing over.
For this being the first project of Emeril’s, I can definitely see potential in him granted that this is only the beginning. I like the hazy production & how he puts his struggles with mental health on display to introduce himself to listeners.
This is the 21st EP from New Orleans veteran Curren$y. Getting his start with No Limit Records in 2002, would then hop over to Young Money Entertainment & Cash Money Records in 2006 before branching out in 2008 with his own label Jet Life Recordings. He has made a name for himself by dropping a handful of projects every single year, the most recent being an EP trilogy with Harry Fraud that was released throughout the 2nd half of 2020. However 3 months later, we’re diving right into Collection Agency.
The EP starts out with “Kush Through the Sunroof”, where Spitta talks about being in an armored Mercedes over a bluesy trap beat from Trauma Tone. The next song “Smiled on Me” talks about his ancestors looking down on him from above over a glamorous instrumental from DJ Fresh while the track “Arrival” talks about pulling up stoned over a jazzy beat from Harry Fraud himself. The song “I Don’t Call” talks about the shit he has that never uses over a synth-laced trap instrumental from Purps while the track “Jermaine Dupri” boasts over a glossy beat.
The song “Closing Date” gets in his shit-talking bag over a smoked out instrumental while the track “Shout Out” with Larry June finds the 2 showing love to the real over a comatose beat. The song “Ferrari Engine” talks about leaving the block trembling over a stripped-back instrumental while the penultimate track “Above the Law” talks about how they don’t want a war over a soul sample provided by Rrsonist of The Heatmakerz. The EP finishes off with “Misty”, where Curren$y talks about how the Chevy’s on switches over a trap beat with some horns laced in.
It’s not one of my favorite projects Spitta has ever put out, but I do find Collection Agency to be an enjoyable EP for the most part. He still manages to do a good job at balancing quantity & quality as his flows are still silky smooth this deep into his career & his ear for production remains top notch.
This is the 10th EP from Buffalo emcee Elcamino. Blowing up in 2017 off his self-titled EP with Griselda Records, his profile increasingly grew after being followed up by Walking on Water mixtape in the summer of 2018 along with dropped 2 studio albums & a few EPs the year after that. But after dropping 3 EPs in 2020, he’s teaming up with German producer TrickyTrippz for On the 3rd Day.
“The Deal” that kicks the whole EP off talks about his boys catching their first bodies & filling his book-bags with Ben Franks over a sorrowful instrumental whereas the next track “40 Belows” talks about doing the most over a supernatural-sounding beat. The song “Extra Baggage” talks about keeping an automatic on him over an instrumental with a dope orchestral sample while the track “I’m the Blame” sings about losing all his money to the dope game over a dramatic beat.
The song “Door Steps” talks about making a killing off crack over a boom bap instrumental with some luxurious keyboard melodies while the track “Stainless Steel” reflects on his past & talks about where he is now over a glum beat. The song “Grimey” advises the listener to leading their life over a cinematic instrumental while the penultimate track “Paying Taxes” talks about rising from the bottom of the pit over a rich beat. The EP finishes off with “Still Remember”, where Elcamino talks about how you wouldn’t believe half the shit he’s done over a bare soul sample.
I wouldn’t be surprised if dude has a few more projects coming down the pipe later on in the year, but this is a solid way to kick it all off. TrickyTrippz comes correct behind the boards & his production is done justice with the help of Elcamino’s unfiltered street tales.
This is the 10th EP from Texas emcee Vino La Mano. Breaking out a couple years ago after Benny the Butcher signed him to his E1 Music imprint Black Soprano Family Records, he’s been staying busy ever since by dropping a total of 9 EPs. But just a month after his previous one Circle of Trust, we’re already being treated to the follow-up Blood & Fire.
The EP starts out with “Live from the Krooked”, where Vino talks about trying not to get caught up in the game over a cavernous boom bap beat. The title track talks about going broke & starting back over a rock/boom bap fusion while the song “You Don’t Know What It’s Like” talks about having shit on his mind that he doesn’t show over an icy beat.
The track “Wolves Eat Sheep” flexes his mafioso lifestyle over an extravagant instrumental while the song “It’s Cut Throat” talks about how they gon’ acknowledge his pen over a morose boom bap beat. The penultimate track “YKTV” talks about his killers being on standby over a boom bap instrumental with a piano sample hanging in the background whereas then the closer “Gift & Curse” talks about what it took to get here over an incensed beat.
As much as I liked Circle of Trust, I think Blood & Fire is a step up from it. The Soul Monsters’ grimy production has improved quite a bit & you can really tell Vino was coming from the heart in his verses. If he’s got more EPs or even a full-length album in store for 2021, then I already know he’s gonna get better from hereon out.
MAVI is a 21 year old rapper from Charlotte, North Carolina blowing up a couple years back off his well-received debut album Let the Sun Talk. His profile began to grow the following month after being featured on “El Toro Combo Meal” off of Earl Sweatshirt’s previous EP Feet of Clay & after doing features for a good bulk of 2020, the kid is returning in full effect by dropping a debut EP.
The EP kicks off with “TIME TRAVEL”, where Mavi talks about his spaceship being at full throttle over some keys & a melodic vocal sample. The next song “1,000 MILES” discusses making it this far with his gifts & that his strengths was never an effort flipping “Lady” by Gino Vannelli while the track “METHODS” talks about mulling the ways to master his municipality over some tribal drums that later builds up into a more aggressive beat. The song “LIFE WE LIVE” talks about not feeling alive by a synth-laced instrumental & then the closer “TOWN CRIER” talks about taking this shit to the moon over a saintly beat.
From start to finish, I think this is a pretty good comeback from MAVI. He does a good job detailing his growth & even though the abstract production isn’t the most cutting edge, it’s tolerable. I’m very excited to watch what he does on his upcoming sophomore album Shango.
Gibby Stites is a 25 year old MC/producer from Millville, New Jersey who’s been making music for about a decade now at this point. However, he didn’t come to my attention until last spring when he performed during Netfest on Your Couch. But after signing to Majik Ninja Entertainment a few months back, the kid is putting out a new EP introducing himself to all the juggalos
The EP starts off with “I Heard You Got Signed”, where Gibby & Jamie Madrox talk about 77% of listeners being fans & the other 33% being jealous over an intimidating boom bap beat from Str8jaket. The next song “Rain Rain” talks about floating on that reefer cloud over a mystical instrumental while the track “Express Lane” talks about being tired of going slow in life over a rock-flavored beat from Young Wicked. “The Mission” reunites with Jamie Madrox to talk about getting money over some keyboards & a set of militant drums while the song “Bad Company” talks about chilling on his lonely over a cloudy beat with some jazzy undertones to it.
The track “U Can Miss Me” with Blaze Ya Dead Homie & Boondox finds the trio talking about dodging bullshit over a perilous instrumental while the song “I’m Good” talks about how he doesn’t feel the way he should be over a malicious trap beat from Charlie Beans. The penultimate track “Make ‘Em Smile” with Jamie Madrox over a funky boom bap instrumental & then the closer “Feel This Way” finds the duo sticking together 1 last time to talk about mental health over a desolate beat from Stir Crazy with some heavy guitars during the hook.
I was curious to hear how this would turn out & it’s not a bad EP. The production is refined compared to Gibby’s previous output & his pen-game has definitely stepped up as well. Looking forward to see what MNE has in store for him in the near future.
Sylvan LaCue is a 30 year old rapper from Miami, Florida who got his start in 2008 under the name QuESt. However, it wouldn’t be until a decade later when he dropped his critically sophomore album Apologies in Advance under his own label WiseUp & Co. with distribution by INgrooves Music Group. We haven’t heard much from Sylvan since then but after a 3-year hiatus, he’s marking his return by dropping his 2nd EP.
The EP kicks off with “Young Sylvan Back”, where the Floridian rips it up like he never left over a trunk-knocking trap beat. The next song “First 48” talks about trying to escape jumping from one trap house to the other over a euphoric instrumental before switching up into a more orchestral vibe. The track “Clam Chowda” talks about not feeling trauma coming over a spine-tingling beat while the song “M J” with Merlaku Ra sees the 2 talking about having hearts full of rage over an instrumental with some snares & bells. The closer “Backseat 2012” talks about being fresh out this bitch over a skeletal beat referencing 10-time WWE world champion, 2-time WWE Intercontinental Champion, 5-time WWE Tag Team Champion & $7 Productions co-founder The Rock.
Not as good as Apologies in Advance, but still a decent EP in my book. The blatantly heavy Kendrick Lamar influence from that previous album makes it’s way onto here & it’s very distracting. I really Sylvan shakes that off & comes into his own whenever he puts out his next full-length effort, because the dude’s talent is undeniably there.
The Insane Clown Posse are a horrorcore duo, the founders of Juggalo Championship Wrestling & the longest reigning JCW World Juggalo Tag Team Champions consisting of Violent J & Shaggy 2 Dope. There have been a total of 6 members in the group since its inception in 1989, but has been boiled down to J & Shaggy since the release of their 1992 debut album Carnival of Carnage. Together, they would create an empire whether it be subsequent albums like Riddle Box & The Great Milenko or expanding the self-owned Psychopathic Records as a force to be reckoned with in the underground by signing artists from Twiztid to more recently Ouija Macc. Now I wasn’t the biggest fan of ICP’s previous full-length album Fearless Fred Fury back in 2019 because I felt like it was rushed, however I do respect how angry it was. But as they gear up for the next joker’s card Yum Yum Bedlam, the wicked clowns are preluding it by dropping Yum Yum’s Lure on Juggalo Day.
After the “Bewitching” intro produced by 1 Man Kru of the Keepaz of the Krypt, the next song “Loyalty” finds J & Shaggy detailing what it means to be faithful over an ominous piano instrumental whereas the track “Afraid of Life” might be one of the worst ICP songs I’ve ever heard, as they talk about preferring to be a zombie phantom over a rock-flavored beat from Alien Ant Farm of all people.
The song “Smell of Rain” talks about women consuming them including a reference to 新日本プロレス founder, 3-time IWGPヘビー級チャンピオン, 10–time G1クライマックス winner, WWE Hall of Famer & unrecognized WWE Champion アントニオ猪木 over a happy go lucky instrumental from Shaggytheairhead while the track “Ding Ding Doll” tells the story of a boy who buys a cursed Ecuadorian pull string doll from the dark web & the doll comes to life to wreak terror over a pillowy beat over a pillowy beat.
The song “I’ve Had It Worse” talks about how life sucks for everyone over a skeletal trap instrumental from the homie Devereaux while the penultimate track “Candyman” is a solo Shaggy cut with some of his most cringey lyrics on top of a more playful Mike E. Clark beat. The EP ends with “Clownheads”, which is a bloated & redundant advertisement for their Clownhead Paintings.
Coming from a Detroiter who’s been down with the clown since I was in middle school, I think the House Party Peep Show EP is much better because this is just as bad as The Calm & Eye of the Storm. I think the production is decent, but the execution on a good portion of these songs are terrible in my personal opinion. Really hope these songs aren’t on Yum Yum Bedlam & hopefully that album isn’t as disappointing as the material we got on here.
JPEGMAFIA is a 31 year old rapper, singer & producer from Baltimore, Maryland who broke out in 2016 with the release of his full-length debut Black Ben Carson. However, wouldn’t be until the man’s next 2 albums Veteran at the beginning of 2018 & then All My Heroes are Cornballs the following year where he would earn respect across the board & reveal himself as one of the most creative minds in hip hop today. He dropped a bunch of singles last year & compiled them onto an 8-track EP. But after signing to Republic Records last month, Peggy has cooked up another EP albeit with almost all newly recorded material.
I have no idea why the EP starts off with “LAST DANCE!” as it originally appeared on EP! a couple months back, but it’s still a great song. After the “INTRO!”, the first actual song “FIX URSELF!” talks about being too real for this shit over a cold instrumental while the next track “KELTEC!” talks about not needing industry friends over a futuristic beat.
The song “THIS ONE’S FOR US!” gets combative over an atmospheric instrumental while the penultimate track “PANIC ROOM!” talks about suckas over a lush beat from James Blake. The EP finishes off with “FEED HER!”, where Peggy flexes over a cloudy instrumental.
I was curious to hear how this would sound given that Peggy’s on a major label now, but I enjoy it almost as much as EP!. Yeah he’s going into a more pop rap territory on here, but he makes it work by putting his own unique spin on that more melodic sound.
Rapper Big Pooh is a 41 year old rapper from Raleigh-Durham, North Carolina who came up as a member of the seminal Little Brother alongside rapper/singer Phonte & producer 9th Wonder. However, he’s been building up quite a discography of his own since the man’s 2005 solo debut Sleepers. Last time we got a project from Big Pooh was in 2018 with the Focus…-produced RPM album but after taking a couple years off & to celebrate his birthday, he & Young RJ of Slum Village are unearthing an EP’s worth of joints they recorded together in the late 2000s.
“The Recipe” that starts the EP off spits about how he came to do rather than talk over a triumphant beat whereas the next song “Get It In” talks about going hard over a more rugged instrumental. The track “Money” with O-Dash & Frank Nitt finds the trio showing listeners how it is over a boom bap beat with some twinkling keyboard melodies while the song “Hello” gets on the lovey dovey side of things over a slow, enticing instrumental. The closer “Smile” pays tribute to his mother over a joyous beat.
Even though these joints were recorded a little over a decade ago, it sounds like they were all made recently. Rapper Big Pooh’s pen-game hasn’t changed a bit & Young RJ shows himself as one of the most underrated producers that the 313 has to offer.
Legends Will Never Die 