G-Mo Skee is a 30 year old MC from Richmond, California coming up as a member of the Inf Gang. He would drop 2 mixtapes Got Filth & Got Filth II: The Great Adventures of G-Mo independently before Twiztid signed him to Majik Ninja Entertainment in 2016, his full-length debut My Filthy Spirit Bomb coming out that same winter. But I personally think G’s sophomore effort Chaly & the Filth Factory is his best work so far because of it’s incredible concept & the instrumentals accompanying it (mostly handled by former Strange Music in-house producer 7). But to celebrate his 30th born day & amicably leaving MNE to do his own thing, G-Mo is back on the scene for his highly anticipated 3rd album.
“Hate to Love” kicks things off with some plinky keys going at the throats of everyone who despises him whereas “Kick Rocks” shoots for somber boom bap sound a telling those to want him to dissolve to sick his dick. “Return of the Filth” has these heinous organ harmonies with the title speaking for itself in terms of content just before the eerie Stu Bangas joint “Geeloo” explains why the culture needs him.
Meanwhile on “B.A.M.F. (Badass Muthafucka)” we have Blind Fury assisting G-Mo over a somewhat Middle Eastern-tinged instrumental to say they’ll never conform with a hilarious reference to South Park: Bigger, Longer & Uncut at the very beginning leading into him proclaiming himself as the “Underdog” with a beat that sounds just like the one from “Bully” by Eminem.
I can definitely see “Smash” being a moshpit starter whenever he starts performing live again given that everything about it makes you wanna punch someone in the face while “Pinkies Up” serves as an violin-induced ode to his team. “Take 2 Puffs” is a more depressive cut saying he’s afraid of the future & might need counseling, but then the Jae Harmony-assisted “Rich City” is a cinematic tribute to their hometown.
“You Know Who” compares himself to Voldermort with some hypnotic background vocals that C-Lance throws in the mix whereas “Prolapse” is a trap banger basically saying “fuck the world” & the Half Baked tribute at the beginning is hilarious. The title track has a bit of a horror flick vibe in terms of sound with G telling y’all haven’t heard anything like this, but then Tech N9ne & Trizz aggressively come in on “Fuck It All Up” to talk about taking over the game.
The song “Brody” is easily the most heart-wrenching on the entire album with G detailing the story of his brudda’s downward spiral & the perfect beat to kick the emotions up to over 9,000 while the penultimate track “Can’t Fuck With It” has a bit of a Bay Area sound opening up about the things he doesn’t like. Lastly, the Nobe/produced closer “Flying Cars” goes back into trap territory addressing his departure from MNE & almost quitting a couple Christmases back.
A lot of people (including myself) waited 3 long years for this day to come & it was absolutely worth it. This dude exemplifies why I truly believe he’s one of the best lyricists I’ve heard in the last decade & for it being the first time mixing his own shit, he did a fantastic job.
After dropping the raw & very creative 8 Bit Filth EP a little over 4 months ago, Richmond MC G-Mo Skee is back with his highly anticipated sophomore album. Following up the highly slept-on My Filthy Spirit Bomb that was dropped at the very end of 2016.
After the “Moldy Ticket” intro that parodies, the first song “Ocarina of Crime” sees G spitting some gritty battle bars on here over an eerie instrumental from 7 (who produced a bulk of the album). I also love the g-funk synthesizers that pop up during the hook. The next track “Filth Factory” takes the listener inside of his head over a punchy instrumental with some keyboards while the song “Filthy Wonka” has a flute-tinged boom bap beat as well as hilarious bars like a wack rapper’s album going triple styrofoam & getting jumped if you’re hating on him front row at his concerts. Coincidentally, G was on tour with the CES Cru earlier this year & there was an incident where a hater made it past the security gate in front of the stage & G literally kicked him in the face.
The track “Ninja Money” is about his filthy style as well as how the game is fucked up now because they paid him over a murky beat while the song “Mad Hatter” is a jab at all of those biting him over an instrumental with a more vintage West Coast feel to it. The track “Ghost Town” sees him cursing out those who doubted him & did him wrong throughout his career over a somber beat while the song “Front Seat” gets murderous over an eerie instrumental. After the hilarious Oompa Loompa song parody during the “Midget Army” skit, we go into the track “Laughin’ At You”. Here, G-Mo hooks up with the album’s mixer The Jokerr alongside the legendary Vinnie Paz talks how they don’t take you seriously over a killer rap rock beat.
The song “Grouch” talks about how he woke up mad over some bass & a Latin guitar while the track “Bring It On” is an Inf Gang posse cut that’s just overall nasty & in-your-face. The song “Wavedash” with Kevin MacLane sees the 2 talking about enjoying the better days over a smooth instrumental while the track “Don’t Wait” compellingly advises the listener not to let their dreams go to waste over a booming instrumental with some gloomy keys with some synthesizers added during the hook. The song “I’m Underground” tells you how filthy he is over a sinister piano-boom bap beat from C-Lance & before things finish with a 40 second outro, the final song “Filthy Imagination” is about how insane he is with a hilarious hook parodying the “Pure Imagination” song.
I’ve been very open about Majik Ninja Entertainment being one of the hottest labels out right now & not only is this one of my favorite albums from them, but I’ll even say it’s WAY better than Violent J’s Wizard of the Hood EP from 2003. G-Mo Skee truly crafts his magnum opus with a humorous concept parodying the classic 1973 film Willy Wonka & the Chocolate Factory with selected fans portraying the 5 ticket winners & refining the hard-hitting production & sharp lyricism that were present on his last album
While currently touring with the CES Cru & preparing his upcoming sophomore album Chaly & the Filth Factory, Inf Gang member G-Mo Skee is warming us up his 2nd EP. The opener “Final Boss 2” is a sequel to the song on his 2012 sophomore mixtape Got Filth 2: The Great Adventures of G-Mo & I think this is a lot more grimier than the original from the production to the lyricism. The next song “Skate” is filled with confrontational battle bars over an Atari-esque boom bap beat while the track “Glitch” sees G getting with the Inf Gang to talk about about making it over a spacious beat.
The song “Trouble” is an angry reminder that you don’t wanna fuck with G-Mo over a sinister beat from Godsynth while the title track is basically about his haters & his longevity over a boom bap beat. The song “Fade Up” with Crowda, Jamie Madrox & King Gordy is about weed over a murky beat while the penultimate track “Can’t Lose” is a triumphant ode to G’s success. The EP then finishes with “Final Stage”, where G spits battle bars over a sinister beat.
As a whole, this is a fantastic prelude to his next album. His filthy confrontational bars are raw as ever & the video game samples (which is why you can only get the EP exclusively at Twiztid Shop) are flawless.
Majik Ninja Entertainment is an underground hip hop label that was founded in 2014 by Detroit hip hop duo Twiztid. The roster has been immensely growing since it’s inception of this year specifically, they’ve dropped 1 great release after another. And now to close out such a great year for them, they’re now giving the fans a compilation featuring new songs from every artist on the label. After a 90 second intro, we then get into the first song “Heads Will Roll” by Gorilla Voltage & Jamie Madrox. Here, they‘re bragging about how their skills will amaze you over a sinister instrumental. The next track “Turn It Up” by Blaze Ya Dead Homie, Bonez Dubb & Lex the Hex Master sees the 3 MCs aggressively getting in your face over a chaotic beat while the track “Fucked” by Boondox, Gorilla Voltage & The R.O.C. talks about how crazy they all are over a haunting instrumental. After a 15 second skit with “Level Up!”, we then get into the next song “Their Fault” by Jamie Madrox & Young Wicked. Here, they’re predominantly singing about those who never gave them a chance & while the vocals during the first half seem nasal, it definitely picks up on the second half. The song “Ignite” by King Gordy, Mr. Grey & Zodiac MPrint talks about how they’re never gonna fall over a killer rap rock instrumental & then “Cut ‘Em Up” by Twiztid & Young Wicked rapidly talk about killing their competition over an abrasive yet eerie instrumental. The song “Lights Out” by G-Mo Skee, Mr. Grey & Twiztid angrily talks about getting murderous on their last day alive & the rap metal instrumental on here fits the vibe like a glove. After the 30-second “Harassment” skit, we then dive into “Don’t Fuck wit Us” by ClocworC, the House of Krazees & Lex the Hex Master. The lyrics are self explanatory, but they’re delivered fantastically over this menacing yet thumping instrumental. The song “Better Than Ever B4” by the Axe Murder Boyz, G-Mo Skee, Lex the Hex Master & Triple Threat talk knowing now than ever before about over some twinkling piano keys & an organ while “Flix ‘n Chill” by ClocworC, Triple Threat & Young Wicked is a predictably decent love song with a wavy instrumental. The song “Get High” by the Axe Murder Boyz, L.A.R.S., Mr. Grey & Triple Threat is self-explanatory weed anthem with a druggy beat while “Galaxy” by G-Mo Skee, Jamie Madrox & King Gordy sees the 3 looking for a challenge over a synthesizer-heavy instrumental. The song “Don’t Tell Me” by Boondox, Gordy & Twiztid tells the haters they’ll never listen to them over a grimy yet thunderous beat & then after the 20 second “Summon the Majik Ninja” skit, we then get into the final song in the standard edition “B.N.U.” (an acronym for Brand New Underground). It’s an explosive posse cut where everyone on the label all talk about their prowess. The “Did You Unplug It?” skit is the final track on here, but there is a bonus disc with 9 tracks. All of which are new solo cuts from each signee on the label, with the exception of Lex the Hex Master’s being previously released on his latest album Beyond Redemption. As a whole, this was a great way for Majik Ninja to end their 2017 & it’s just another example of why they’re one of my favorite labels out right now. The production is gritty as usual & everyone compliments each other fantastically. Can’t wait to see them continue their string of successfully raw releases in 2018