Estee Nack – “Nacksaw Jim Duggan” review

Estee Nack is a 38 year old MC & producer from Boston, Massachusetts emerging as a member of the Tragic Allies. He also branched out on his own my junior year of high school of his Purpose-produced solo debut 14 Forms: The Book of Estee Nack & has since built a lengthy yet impressive discography for himself. Other highlights include the Sadhugold-produced Surfinongold.wav alongside it’s sequel The Order of the Golden Fleece, the Giallo Point-produced Papitas, his collab efforts with al.divino or more recently the V Don-produced B.R.A.P. (Born Rewards & Penalties). But coming fresh off the 6th installment of the #MiniMansionDust series, he’s finally unveiling his 8th full-length album & Griselda Records debut executive produced by the FLYGOD himself Westside Gunn.

“Nackman Coletrain” is a drumlessly jazzy opener to the album produced by Denny LaFlare already getting on his coke rap shit whereas “Mass Money Wires” featuring al.divino works in some pianos, kicks & snares so both of them talking about burning trees instead of bridges which as a weed smoker myself, I can absolutely relate to. “Bonductor We Have a Problem” obviously plays into Conductor Williams’ name as the KC beatsmith ditches the drums once more talking about refusing to fuck around with anyone today that is until “Angeldior” dives back into boom bap territory courtesy of JR Swiftz so Estee can make it clear that he’s been a dreamer encouraging to come get with a crowd pleaser.

On the other hand, “Green Celophane” works in a drumless rock instrumental from Camoflauge Monk talking about being in the jungle with creatures just before “Fetty Guerrero” by al.divino has a more minimal albeit morbid vibe discussing watch what they do when the torch is passed down to them. “Strawberry Milk” has a more cheerful tone sonically calling out those trying to copy the formula who simply don’t get it leading into “We Made History” following the “Knowledge Wisdom” interlude having a more shimmery quality to it courtesy of the big homie CG with the title saying it all subject matter-wise.

“Mini Mansion Bartel” dives into drearier turf saying that his homies go to war for him as if he’s the son of Chapo alongside paying the price since he got stripes like Waldo while “Tal Commando” gives off a more tense vibe this time around talking about turning into Arnold Schwarzenegger in the jungle. The song “Vanilla Skies” returns to the boom bap cautioning that it’s gonna be a hot summer while the penultimate track “Space X” laces a crooning instrumental talking about finding him in a space station with Elon. “Old NackDonald Had a Farm” featuring West is a cold boom bap closer dissing those for growing shit that ain’t as half as strong as theirs.

Considering that Ester’s lengthy history of working with Griselda, it was only a matter of time he put out an album of his own through them & it sure enough happens to be amongst the strongest in his discography. The production is rooted into the label’s signature sound & Mr. Rose’s performances throughout are on par if not stronger than B.R.A.P. (Born Rewards & Penalties)’s, which should be more than enough to satisfy longtime fans & has me anticipating his future with the Buffalo powerhouse even more

Score: 4.5/5

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Estee Nack – “B.R.A.P. (Born Rewards & Penalties)” review

This is the 6th full-length album from Boston emcee Estee Nack. Coming up as a member of the Tragic Allies, he also branched out on his own my junior year of high school of his Purpose-produced solo debut 14 Forms: The Book of Estee Nack & has since built a lengthy yet impressive discography for himself. Other highlights include the Sadhugold-produced Surfinongold.wav alongside it’s sequel The Order of the Golden Fleece, the Giallo Point-produced Papitas, his collab efforts with al.divinowith the #MiniMansionDust series. But as Estee makes up for his Griselda Records debut Nacksaw Jim Duggan being delayed, he’s enlisting V Don to fully produce B.R.A.P. (Born Rewards & Penalties).

“Opening Statements” is a grand drumless opener with Estee talking about going from riding a train to a truck & those trying to reach for his charm whereas “Penny Pinchin’” goes right into sinister boom bap attacking the type of motherfucker to play games with you. “Paperchasing” takes a more soulful route with some bass guitar to go after the bread, but then The Hidden Character tags along for the rugged “Gatpackin’” talking about guns of course.

As for “Devils Can’t Fool God”, we have Mr. Rose over a bare string instrumental to address those who still be trying to get on his good side even after the fact that a bunch of weak shit about them was confirmed leading into Primo Profit tagging along for “The Uncanny” accompanied by a blaring yet raw ass beat advising to check your own posture. “Who to Trust” has a bluesy, drumless approach to it with the Nackman talking about being unsure as to who he can genuinely trust leading into “Sang Tsung” is a attaches these synthesizers to some more kicks & snares to talk about those who ain’t got cake to blow waiting ‘til you’re famous.

The song “Vivir triumfar y morir Pt. 2” comes through with a bare orchestral loop to deliver a sequel to a joint off Joan Manuel Serrap expand on the themes of living, succeeding & eventually death while the penultimate track “Rules & Regulations” has one of the stronger feature performances from Rigz from Da Cloth as they hop on a beat with a rich boom bap quality to it talking about how it be where they come from. The closer “Exodus” has another great guest verse from Eto this time with both them sending off the album with a hypnotically psychedelic instrumental addressing being from the streets & trying to make it with their feet pressed against the sand.

Although it’s certainly disappointing that Nacksaw Jim Duggan got pushed back, that’s just how it goes sometimes. As for the album before the album right here, it’s quickly becoming amongst my favorites in Estee’s discography & reassures me that his Griselda debut will be on par if not superior to what B.R.A.P. (Born Rewards & Penalties) brought to the table. He’s always been my favorite Tragic Allies member & I’m truthfully 50/50 on the 4 features, but V Don continues to further reveal himself as an in-demand producer in the underground with his production here being the most consistent we’ve heard the Nackman spit over in a while.

Score: 4.5/5

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Estee Nack – “Balandas” review

This is the 3rd full-length album from Massachusetts emcee Estee Nack. A member of Tragic Allies, his 2015 solo debut 14 Forms: The Book of Estee Nack would reveal himself as the group’s breakout member & he has released a plethora of projects since then including Surfinongold.wav & Papitas. But after starting off his 2020 with #MiniMansion4, he’s now teaming up with Superior for Baladas.

The album kicks off with “Sammy Sosa Clean Coca”, where Estee gives some brief street knowledge over some strings & a vocal sample. The next song “Tell the Truth & Shame the Devil” talks about being a God over an instrumental with a prominent organ lead while the track “A Rock & a Hard Place” with Eto sees the 2 getting murderous over a cool saxophone sample. The song “Pop Rock Classics” with Daniel Son sees the 2 getting mafioso over an atmospheric instrumental while the track “Infinite Black Mind” gets in the faces of his competition over a psychedelic beat. The song “Ballads for the Brilliant” with Ice Lord sees the 3 getting on the five-percenter tip over a symphonic instrumental.

The track “Mango Marmalade” continues to belittle those who try to oppose him over a pretty woodwind instrumental while the song “Launch the Boat Off a Key West” over a boom bap beat. The track “Wisdom” definitely lives up to it’s name lyrically & the dream-like instrumental is great, but the Codenine feature is just ok. The song “Plegaria a un Sicario” with Ice Lord is straight up homicidal & the orchestral sample in the instrumental is a nice touch also. The album then finishes with “Yola”, where Estee talks about cocaine & the guitar instrumental on here is killer!

Dude’s discography is nothing short of consistent & this is a fine addition to it. Couple of the features were a bit spotty, but Estee’s lyricism has continuously progressed over time & Superior’s production fits him in pretty nicely.

Score: 3.5/5