Mr. Key – “Green & Gold” review

This is an extended play of solo material from London, England, United Kingdom emcee Mr. Key notable for being apart of Contact Play. Someone who eventually signed to High Focus Records & dropped his full-length studio debut Yesterday’s Futures in the summer of 2015 following my high school graduation using the sounds of wonky & glitch hop with the help of Greenwood Sharps to back his abstract pen. However, they’re reuniting once again for Green & Gold a few years later.

After the “Good Intentions Paving Co.” intro, “That’ll Be the Day” truly opens up talking about keeping faith over a wonk glitch hop beat whereas “Luv is All U Need M8” embraces a cavernous vibe instrumentally suggesting that sometimes one simply needs nothing more than affection. Concluding the 1st half of Green & Gold however, “Go Outside” shifts towards a nocturnal direction confronting an individual who seeks fear & desire.

“Palace of the Sun” continues the 2nd leg of the EP talking about writing a story for himself that he doesn’t consider to be anywhere near finished & the way we see things depends on the lens while “G&G (Vonneguts)” flexing of him having the whole cosmos balanced on a pain along with the harsh reality of nothing lasting forever. The outro “Chapasa Diamantina” takes up the remaining 4 minutes talking about Key feeling incredible because it’s a brand new day & life for him.

Mr. Key offers some valuable food for thought throughout Green & Gold so much to the type of people who’re searching for endearing substance rather than the sanitized, individualized & commodified norm we’ve all become accustomed to in a troubled & busy world marred with anxieties & uncertainties even if Greenwood Sharps’ production structurally contrasts the thematic continuation of Key’s widely praised debut Yesterday’s Futures.

Score: 3.5/5

The R.O.C. – “Monsters Ain’t Real” review

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The R.O.C. is a horrorcore veteran from Detroit, Michigan who got his start as a member of the House of Krazees with Jamie Madrox & Monoxide. When the latter 2 went onto form the duo Twiztid & sign with Psychopathic Records, The R.O.C. hooked up with Skrapz to put out 1 last album under the HOK name before starting a duo of their own called HaLFBrEEd. Although they would only release 1 official album under the HaLFBrEEd name titled Kontamination, it would go on to become a horrorcore classic. Then in 2008, he signed to Psychopathic’s now defunct Hatchet House sub-label & put out his Welcome to the Darkside EP before “retiring” the following year. Eventually, The R.O.C. returned to making music in 2012 & signed to Majik Ninja Entertainment in 2014. His long awaited 3rd album Digital Voodoo finally saw the light of day in 2017 & would go down as his magnum opus in my personal opinion but 2 & a half years later, the Astronomicon mainstay is treating fans with his 6th EP.

After the “Have Some” intro, the first song “From Beneath” finds The R.O.C. comparing himself to a demon to over an orchestral trap beat. The track “A Dream” talks about being in a nightmare over a frightening instrumental from Eric Davie while the song “The Chase” talks about being hunted down over a demented instrumental. And then before the “Next Time” outro, the title track paints a vivid picture of insanity over an electronic-tinged instrumental.

If we’re getting a new full-length album from The R.O.C. in 2020, then this is a fantastic appetizer for the main course because he’s really been putting it down for the 313 for a long ass time yet doesn’t get the props he deserves. He’s always been the most underrated of MNE & this is no exception of proving that from his lyricism getting better with time to his ever-so chilling production skills. Really looking forward to a follow-up to Digital Voodoo whenever that time comes.

Score: 4/5

Crimeapple – “Viridi Panem” review

This is the 8th EP from rising New Jersey spotter Crimeapple, who first blew up in the underground with his Sweet Dreams EP that dropped on Halloween a couple years ago. This was followed up with his Big Ghost Ltd.-produced debut Aguardiente the following year but if dropping Wet Dirt with DJ Skizz & Medallo with DJ Muggs wasn’t enough for Crimeapple in 2019, he’s decided to close out 2019 with Viridi Panem.

After the “Initium” intro, we go into the first song “Lupos”. Where Crimeapple talks about being the greatest over a demented boom bap beat. The next track “Entenmann’s” compares the cocaine he’s pushing to the titular donut shop over a cavernous boom bap beat while the song “D’Angelo Vickers” gets mafioso over a gritty beat.

The track “Alium” gets romantic over a slow yet eerie instrumental while the song “Phil Spectre” goes at his competition over a ghostly instrumental. The penultimate track “Dead Gringos” of course gets murderous over an ambient/boom bap fusion & then the EP ends with “Time to Go”, where Crimeapple brags over a soulful instrumental.

This is yet another example of why Crimeapple is one of the best MCs in the underground right now. His lyricism continues to stay grittier with each release & even the production from Buck Dudley is pretty hard as well.

Score: 4/5

Earl Sweatshirt – “Feet of Clay” review

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This is the new surprise EP from Chicago, Illinois born/Los Angeles, California raised lyricist Earl Sweatshirt, known for being a member of the now defunct Odd Future collective. He made his debut in 2010 with his only mixtape to date Earl which was solid, but Earl’s mother would send him to a therapeutic retreat school for at-risk boys in Samoa sometime after until February of 2012. Earl was then granted his own Columbia Records imprint Tan Cressida Records & released his debut album Doris in 2013 to critical acclaim for improving on Earl. Then came the duo Hog Slaughta Boyz with OF affiliate Na’kel at the beginning of 2015 along with Earl’s sophomore album I Don’t Like Shit, I Don’t Go Outside a couple months after. Many of which consider to be better than Doris for it’s darker aesthetic. Earl laid low until last November with his magnum opus Some Rap Songs & almost a year later, here we are with Feet of Clay.

The opener “74” is pretty much Earl shittalking over a grimy piano sample while the next song “EAST” touches down on alcoholism over an odd accordion sample. The track “M.T.O.B.” talks about the death of his father over a soulful instrumental while the song “OD” venting about loneliness over some horns & background vocals. The track “El Toro Combo Meal” with MAVI sees the 2 getting reflective over a smooth ovrkast. instrumental while the song “Tisktisk / Cookies” vents about depression over a dark instrumental. Then the closer “4N” with Mach-Hommy finds the 2 talking shit just like the opening cut & I really like the clever Michael Henderson sample on here.

This was a nice lil Halloween surprise. It feels more like a small collection of Some Rap Songs leftovers from the lo-fi production as well as the content & the brevity, but I’ll take it. Can’t wait to see where Earl takes things on the next album.

Score: 3.5/5

Kut 1 – “The Icons, Vols. 1 & 2” review

Kut 1 is a producer from Melbourne, Australia & this is the inaugural installment of a series of EPs celebrating the grimier side of underground hip hop. We got Kut paying homage to Queens veteran Neek the Exotic on the first half & then to Bronx titan 9 on the other.

The opener “Welcome to Violence” with Kool G Rap & Royal Flush sees the 3 delivering grim bars in their own unique styles over a sinister instrumental then the next song “We Do It” reclaims his prowess over a high-pitched soul sample. The track “Everything’s on Course” with Large Professor sees the 2 talking about their longevity over a boom bap beat with some luxurious keyboards & then the final Neek song “I Don’t Know” talks about the culture being his life over a blissful instrumental.

Then we get into the second half with “Basquiat”, where 9 talks about his craft over a woozy beat. The next song “When Ah Pull Up” gets into the mind of a criminal over a suspenseful instrumental while the track “Might Get Shot” gets paranoid over a gloomy instrumental. The track “Welcome to New York” is a vivid description of life in 9’s home-state over a mafia-like instrumental & then “Gimme My Money” is a cool bonus cut where 9 perfectly switches up his flow over a militant instrumental. The uncredited guest rap verse near the end was alright too.

For the first installment, this isn’t bad. Neek & 9 both go on to remind us that they’re some of the rawest NY spitters of all-time with Kut 1’s grimy production suiting their bars fantastically.

Score: 4/5

SevidemiC – “Bending Teeth” review

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SevidemiC is a rapper from Compton, California that performs his own style of music called “zombie hop”. The man has released a handful of projects throughout the 2010s, but his biggest breakthrough yet wasn’t until this year when he signed to Lyrikal Snuff Productionz & dropped his 7th EP Xenogod this past March. But with Halloween being 6 days away, Sev has decided to give fans yet another EP.

The opener “Groundfall” talks about how he came to fuck shit up over a glitchy yet moody beat & the song “Solipsistia” right after is an annoyingly repetitive club joint which I completely get, but it just doesn’t do anything for this reviewer personally. The next track “Get Off Me” though is a completely off the wall banger both lyrically & sonically while the song “Zedicine” is another party starter like “Solipsistia”, except SevidemiC’s performances are more captivating & the electro-funk instrumental is infectious. The track “Nip / Tucc” is basically a “fuck everyone” anthem over a bassy trap beat with some synths & then the closer “Amen” finds Sev comparing himself to a demon over a skeletal trap beat.

I honestly think I like this EP more than Xenogod. Bending Teeth continues to reveal how unique SevidemiC truly is to LSP’s roster with it’s synth/trap production as well as his lyricism continuing to step up. Definitely looking forward to his full-length debut with the label even more now.

Score: 3.5/5

G-Eazy – “Scary Nights” review

G-Eazy is a 30 year old rapper from Oakland, California that broke out into the mainstream with his 3rd album These Things Happen in 2014. This was followed up a year later with When It’s Dark Out as well as The Beautiful & Damned back in 2017. But to prepare listeners for the sequel to the album that got Gerald where he is today, he’s giving fans an appetizer with his 4th EP.

The title track that kicks the EP off whines about how they don’t want him to shine over a sinister Boi-1da instrumental whereas the next song “I Wanna Rock” with Gunna finds the 2 boasting over a dime a dozen trap beat. The track “Full Time Cappers” with Moneybagg Yo is as generic as it gets both musically & lyrically while the song “Big Ben” with Preme sees the 2 flexing over a comatose instrumental.

“K I D S” with Dex Lauper talks about how neither of them ever sleep over an airy instrumental & even though the song “Hittin’ Licks” makes sappy Bonnie & Clyde comparisons over a banging instrumental from Charlie Heat. The penultimate track “Demons & Angels” with The Game sees the 2 talking to their significant others over a soulful boom bap instrumental & then the closer “A Very Strange Time” talks about losing his mind over a tasteless trap beat.

Even though this might be his darkest work yet, it’s still not very good. I understand Halloween‘s around the corner & that Gerald’s in the holiday spirit which isn’t a bad thing, but his trite lyricism & bland production from his past material all remain intact to the point of boredom.

Score: 1.5/5

Smoke DZA & Benny the Butcher – “Statues of Limitations” review

This is a collaborative EP between New York rappers Smoke DZA & Benny the Butcher. The 2 have collaborated a couple of times in the past with “Debiase Decisions” & “Luck of Draw”, but they’re now hooking up with the revered Pete Rock in order of helping them take it to the next level.

The opener “By Any Means” trading vicious bars back & forth nonchalantly over a meditative boom bap beat while the next song “Bullets” with Conway the Machine speaks for itself over a tense instrumental. The track “Smoked & Butchered” gets murderous over an enticing instrumental while the song “7:30” gets mafioso over a luxurious keyboard instrumental. The penultimate track “Drug Rap” needs no further explanation over an eerie boom bap beat & then the closer “Toast” gets celebratory over a blaxploitation-esque instrumental.

As expected, this was a damn near perfect effort. I wish Styles P & Westside Gunn had verses instead of doing the hooks on the joints they were featured on, but Pete Rock’s production is raw & the chemistry between DZA & Benny is fantastic.

Score: 4.5/5

Mars – “Murder” review

Mars is a horrorcore veteran from Pittsburgh, California that made his debut in 1998 with S.I.D.S. (Sudden Infant Death Syndrome). He would go on to drop 2 EPs in the mid-2000s, a mixtape in 2012 & his sophomore full-length entitled Glockcoma just a couple years ago. But with a new studio album Locked Up a Broad set to drop next month, Mars is warming the fans up by enlisting Bvne to produce his 3rd EP.

The opener “Small Sacrifices” is mostly a 2 minute hypnotic trap beat, but the first actual song on here “Never Get Rich” finds Mars venting about doing shit himself over a cavernous beat. The track “Undercover” gets murderous over a nocturnal beat while the song “Whiskey” talks about an ex over an acoustic trap beat. The track “Shit List” lyrically is self explanatory, but it turns out super fresh. Plus, I love the vocals in the background of the instrumental.

After the “Solicitation” skit, we go into the song “Cum Closer”. Where Mars & Koshir get flirtatious over a hyphy beat. After the “Collect Call” skit, the penultimate track “Christine” talks about a chick with the same name over a blissfully cloudy trap beat. The EP then finishes off with “In the End”, where Mars talks to his significant other over a country trap instrumental.

This is a nice little appetizer before the main course in November. Mars seems to step out of his comfort zone a lot more on this thing & I think it’s a really dope change of pace for him. Bvne’s production really does a great job in helping him with that too. It definitely has me looking forward to Locked Up a Broad even more.

Score: 3.5/5

Ameer Vann – “EMMANUEL” review

Ameer Vann is a 22 year old rapper from Houston, Texas who came up as one of the original members of the most beloved hip hop boyband of this decade: BROCKHAMPTON. He played a key-role in their SATURATION trilogy in 2017 but last spring, he was kicked out of the boyband for sexual misconduct allegations. I said this in my review of BROCKHAMPTON’s latest album GINGER & I’ll say it again right now, but his removal from the boyband was a decision that is still polarizing by many to this very day. Ameer completely disappeared after his dismissal, but now he’s coming out of the shadows with his 2nd EP.

It all kicks off with the title track, where Ameer vents about his inner demons over a rubbery bass-line from Cool & Dre of all people. The next song “Pop Trunk” compares & contrasts his past & present self over a generically cloudy trap beat while the track “Glock 19” gets violent over a syrupy instrumental. The song “Los Angeles” has a dark hip house beat from Hit-Boy that’s somewhat interesting, but the lyrics & the tone of Ameer’s voice sound like they come from a place of bitterness. You didn’t lose your friends to fame, you lost them because of your actions. The penultimate track “Sunday Night” talks about drug use over a comatose instrumental & then EP then finishes off with “Plastic”, which pretty much sounds like an unfinished demo.

And that’s the thing: For a comeback that a lot of people including myself were waiting for, the results are pretty lukewarm. It’s probably his darkest work yet granted, but it’s so 1-dimensional & monotonous. Even the beats that Cool & Dre and Hit-Boy bring to the table are just so basic, that it’s disappointing. If Ameer continues to make anymore music in the future, he can certainly do better than this.

Score: 3/5