Eminem – “MUSIC TO BE MURDERƎD BY” review

This is the surprise 11th full-length album from Detroit icon Eminem. His first 3 major label albums The Slim Shady LP, The Marshall Mathers LP & The Eminem Show are considered by many to be the holy trinity in discography. The last few years have been rough for Marshall though, as Revival is widely considered to be one of the worst albums of the 2010s. The follow-up Kamikaze was actually a solid return to form & he’s continuing that with Music to Be Murdered By.

The opener “Premonition” sees Em taking a jab at his critics over a surprisingly haunting trap beat from his mentor Dr. Dre while the next song “Unaccommodating” with Young M.A. of all people sees the 2 discussing their titular attitude referencing WWE Hall of Famer Snoop Dogg over a generic trap beat & a very cringey hook. A lot of people are complaining about the Ariana Grande line too, but let’s not forget when Em referenced Columbine on The Marshall Mathers LP. The track “You Gon’ Learn” is a Bad Meets Ǝvil reunion where Em & his partner in rhyme Royce da 5’9″ discuss some of their internal conflicts over a boom bap beat with a mesmerizing soul sample. After the “Alfred” interlude, the song “Those Kinda Nights” reflects on his golden years over a bouncy d.a. got that dope/Fred again.. beat & a needless Ed Sheeran hook while the track “In Too Deep” is packed with relationship melodrama & the beat is pretty uneventful too.

The song “Godzilla” talks about how much of a monster Em is referencing the late WWE Hall of Famer Bobby Heenan over a vibrant trap beat & while I’m surprised to hear the late Juice WRLD on the hook, it’s not bad. The track “Darkness” talks about depression over a bleak instrumental while the song “Leaving Heaven” talks about who he is now over a guitar & some drums going off like gunshots. Also, Skylar Grey’s performance on here is tasteless as she usually is. The track “Yah Yah” sees Bad Meets Ǝvil getting with Black Thought to remind us of their places in the culture as elite MCs over a cluttered beat from dEnAuN.

After the “Stepdad” intro, we get into the actual song “Stepdad”. Where Marshall disses a man who was abusive to him & his mother Debbie when he was younger over a grimy beat from The Alchemist. I get where he’s coming from, but the hook on here is patience testing. The track “Marsh” talks about being out of this world over a trap beat with some plinky keys while the song “Never Love Again” is a sappy breakup song backed-up by a mediocre Dre beat.

The track “Little Engine” talks about losing control over an eerier Dre & Blu2th instrumental while the song “Lock It Up” with Anderson .Paak sees the 2 talking about almost losing it & it sounds like there’s a Chinese sample in the beat. The track “Farewell” talks about his ex-wife Kim over a punchy beat while the song “No Regrets” talks about his come-up over an abrasive beat. Before the “Alfred” outro, the final song “I Will” finds Marshall reuniting Slaughterhouse sans Joe Budden to talk about homicide over a boom bap beat with a haunting organ.

Personally, this is a step-up from Kamikaze. The hooks & the mixing could’ve been better at points, but it’s like a modern day update of the criminally underrated Relapse just 11 years back from Dr. Dre returning behind the boards to the Aflred Hitchcock homages throughout. Hope Marshall continues to go down this path towards redemption.

Score: 3.5/5

EARTHGANG – “Mirrorland” review

The EARTHGANG is a duo from Atlanta, Georgia consisting of Olu & WowGr8 that’s been at it since the very beginning of the decade. They dropped 3 mixtapes, an EP & 2 studio albums independently until J. Cole signed them to Dreamville Records in 2017. They promoted this new association with a decent trilogy of EPs & not even 2 months after appearing on Revenge of the Dreamers III, the time has come for their highly-anticipated major label debut.

The opener “LaLa Challenge” finds the duo flexing over an instrumental that starts off slow, but then breaks into a faster pace by the end. The next song “UP” brush off their doubters over an oracular instrumental while the track “Top Down” challenges their opponents over a bassy trap beat. The song “Bank” of course talks about the paper over an immense instrumental while the track “Proud of Up” with Young Thug sees the 3 paying tribute to women all across the world over a gleaming beat.

The song “This Side” talks about paranoia over a settle yet dark instrumental while the track “Swivel” that originally appeared on Revenge of the Dreamers III a couple months ago talks about overcoming their insecurities over a funky beat. The song “Avenue” gets confessional over a groovy instrumental while the track “Tequila” with T-Pain of all people is a dedication to the titular alcoholic beverage over a Latin instrumental.

The song “Blue Moon” gets sensual over an instrumental with an amazingly charming vibe to it while the track “Trippin’” with Kehlani is of course a lust anthem with a playful instrumental. The song “Stuck” finds the duo simping over a boom bap beat with a down-tuned guitar lead while the penultimate track “Fields” talks about never changing over a MOSTLY skeletal beat. The album then finishes with “Wings”, where the EARTHGANG talk about their hustle over a psychedelic beat.

Personally, this is the duo’s best work yet. The instrumentals are decent, but the hooks & the verses are mostly pretty great. If you wanna hear Johnny & Dot continue to hone their unique style, then give this a listen.

Score: 3.5/5

Dreamville Records – “Revenge of the Dreamers III” review

Dreamville Records is a record label founded in 2007 by J. Cole & his manager Ibrahim Hamad. They released their first showcase compilation in 2014 & followed it up at the tail end of 2015. But now with an ever-growing roster, they’re coming through with a 3rd showcase comp that was recorded in only 10 days.

The album opens up with “Under the Sun”, where J. Cole gets with Lute & DaBaby flex over a soulful trap beat. The next song “Down Bad” by Cole, Bas, J.I.D, the EARTHGANG & Young Nudy talk about their origins over a Bomb Squad-inspired instrumental from Pluss while the track “LamboTruck” by Cozz & Reason talk about being underappreciated over a decently relaxing instrumental. The song “Swivel” is a chilled out preview of the EARTHGANG’s upcoming 3rd album Mirrorland while the track “Oh Wow…Swerve” sees Cole talking about his current spot over an atmospheric beat, but then Maxo Kream talks about trapping over a gritty trap beat. The song “Don’t Hit Me Now” by Bas, Buddy, Cozz & Yung Baby Tate spits that gun talk over a mellow beat while the track “Wells Fargo” by Buddy, the EARTHGANG & J.I.D talks about robbing a bank over a vibrant beat.

The song “Sleep Deprived” by Lute, Mez & Omen talks about coming up from nothing over a somewhat funky boom bap beat while the track “Self Love” by Ari Lennox, Baby Rose & Bas is an ode to just that over a mellow beat. The song “Ladies, Ladies, Ladies” by J.I.D & T.I. is basically the modern version of JAY-Z’s “Girls, Girls, Girls” while the track “Costa Rica” by Bas, Buddy, J.I.D, Jace, Mez, Reese LAFLARE, Ski Mask the Slump God & Smokepurpp sees everyone getting boastful over a lavish trap beat. The song “1993” by Buddy, Cole, Cozz, the EARTHGANG, J.I.D & Smino talks about alcohol over a fittingly intoxicating boom bap beat while the track “Remembrandt…Run It Back” sees J.I.D & Cole paying homage to the iconic YoungBloodZ joint “Damn!”, but I also really love how the beat switches from a druggy vibe to something more energetic as soon as Vince Staples starts rapping.

The song “Sunset” by Cole & Young Nudy fire back at those who want smoke over an eerie trap beat from Pyrex Whippa while the track “Got Me” by Ari Lennox, Dreezy, Omen & Ty$ is a decently moody love anthem. The song “Middle Child” is pretty much J. Cole taking a jab at doing a Drake joint while the penultimate track “PTSD” by Mereba, Deante Hitchcock & Omen sees the 3 talking about simply just kicking it over a fitting instrumental. The compilation then finishes with “Sacrifices”, where Cole & the EARTHGANG team up with Smino & SABA to talk about their sacrifices over a funky beat.

I don’t know what else to say beyond that, this was disappointingly mediocre. The production was just decent & while I can appreciate they brought outside features in on this one, but it doesn’t help the fact that there are WAY too many cooks the kitchen.

Score: 2.5/5

ScHoolboy Q – “CrasH Talk” review

ScHoolboy Q is a 32 year old rapper from SoutH Los Angeles, California wHo came up at tHe beginning of tHe decade as 1/4 of Black Hippy. He released His first 2 albums Setbacks and Habits & Contradictions independently, but it wouldn’t be until 2014 tHat He would make His major label debut witH Oxymoron. THis would be followed up witH Blank Face LP a couple years later, wHicH I personally consider to be Q’s best work yet. However, 3 years Have passed & He’s now returning witH His 5tH full-lengtH album.

THe opener “Gang Gang” details His drug dealing past over an eerie trap beat from DJ Fu wHile tHe next song “Tales” takes a look back at Q’s criminal past over a somber DJ DaHi & Jake One instrumental. THe track “CHopstix” is a painfully boring “club banger” if you wanna call it tHat & even tHougH I do enjoy tHe gritty lyricism on “Numb Numb Juice”, it sounds unfinisHed & tHe beat is dime a dozen. THe track “Drunk” is a moody alcohol antHem wHile tHe song “Lies” witH YG takes a jab at tHe people wHo’ve said false tHings about tHem over an atmospheric beat from Sounwave. THe track “5200” gets murderous over a vibrant beat tHat doesn’t quite matcH tHe lyricism wHile tHe song “Black Folk” is a jab at an unnamed fraud over a cloudy beat.

THe track “Floating” witH 21 Savage talks about being on drugs over a murky beat wHile tHe song “Dangerous” describes the famous lifestyle over a psychedelic instumental. THe track “Die wit ‘Em” gets murderous over a monstrous Cardo beat wHile tHe song “CrasH” talks about going on over a Boi-1da instrumental tHat cHops & screws PRHyme’s “Boom”. THe penultimate track “Water” witH Lil Baby is an awkward brag despite tHe godly feeling in Cardo’s production & tHen tHe album finisHes witH “Attention”, wHere Q talks about praise & passion over a decent boom bap beat.

I don’t know what else to say, this is EXACTLY what I expected. It’s a lot more commercial which isn’t necessarily a bad thing, but it sounds just as forced as Jay Rock’s last album Redemption was.

Score: 2.5/5

Yelawolf – “Trunk Muzik 3” review

Yelawolf is a 39 year old rapper, singer & producer from Gadsden, Alabama who first came onto the scene in 2005 with a mediocre debut album Creekwater. It wasn’t until the kickstart of 2010 with the release of his breakout tape Trunk Muzik that he would gain attention, eventually signing to Shady Records/Interscope Records & releasing his sophomore album Radioactive: Amazing & Mystifying Chemical Tricks the following year. A focused grouped, yet still fun major label debut. He then returned in 2015 with Love Story, where he started to incorporate country & rock music into his style. But when his childhood friend Shawty Fatt passed away at the tail-end of 2016, it caused him to disappear from the scene for a while. He fortunately returned with his previous album Trial by Fire, which is pretty much a self-produced & refined sequel to Love Story. Now after dropping a total of 8 vicious freestyles, he’s returning with his 5th full-length album & his last with Shady/Interscope.

The intro kicks things off fantastically, as it pretty much serves as a sequel to Trunk Muzik‘s title track from Yelawolf’s angry bars down to WLPWR sampling the original “Trunk Muzik” song itself. The next track “Catfish Billy 2” of course is a gritty follow-up to the cut that introduced the world to Yelawolf’s alter ego to begin with & even though I appreciate the song “Rowdy” for being a description of coming from the gutter as well as an abrasive beat from DJ Paul (who also provides an adrenaline pumping hook), the MGK verse is laughable. The track “Special Kind of Bad” is a violin & bass-heavy love ballad that’s goes over very well, but the next song “Like I Love You” is a cringey follow-up to it with a moody trap beat. The track “Drugs” is a look at addiction over a somber beat while the song “Trailer Park Hollywood” talks about looking country fresh & the beat is perfect for the whip.

The track “No Such Thing as Free” with Caskey & Doobie is a jab at people who talk crazy over an eerie beat while the song “We Slum” with Shawty Fatt & Big Henri is self-explanatory over a banger beat. The track “Box Chevy VI” with Rittz & DJ Paul is a tribute to old school Chevrolets over a vintage Paul instrumental while the song “All the Way Up” with MopTop & Cub da Cookup Boss is a look at their feelings on fame over some keyboards & skittering snares. The track “Over Again” is a somber breakup anthem with a cloudy beat while the song “Addiction” tells the depressing story about a friend of Yelawolf’s over a piano infused boom bap beat. The album then closes out with “Over Here”, where Yelawolf disses rappers who’re only out for the fame over a settle guitar & some thumping kick-drums.

With Yelawolf’s tenure at Shady Records being over, this is the best full-length album he’s released yet. The features are hit or miss, but it’s a great return to form of his earlier work from his deadly lyricism all the way down to the menacing production. Really looking forward to the future as he is now a fully independent artist.

Score: 4/5

Juice WRLD – “Death Race for Love” review

Juice WRLD is a 20 year old rapper from Chicago, Illinois who started blowing up just about a year ago due to the release of his debut album Goodbye & Good Riddance. I personally thought it was just average, because I feel like he’s pretty much Post Malone making Lil Uzi Vert & Trippie Redd songs. He then followed it up with a VERY awkward collab tape with Future called WRLD on Drugs but now, he’s returning with his sophomore album.

It all starts off with “Empty”, where Juice vents about being lonely over a piano & clap driven instrumental. The next song “Maze” talks about losing his sanity over a somber trap beat from Boi-1da while the track “HeEmotions” talks about another day in the life of Juice WRLD over a gloomy beat from Hit-Boy. After the “Demonz” interlude, the song “Fast” talks about his new life, but it literally sounds like a Post Malone joint down to the Louis Bell & Ging instrumental.

The track “Hear Me Calling” talks about a breakup over an infectiously rhythmic Purps instrumental while the song “Big” gets boastful over a spacey Hit-Boy beat. The track “Robbery” is another breakup tune except this one feels forced & corny while the song “Flaws & Sins” talks about seeing light through the darkness over a bland beat. The track “Feeling” is pretty much a boring rehash of the opener while the song “Syphilis” is a sex ode with an eerie trap beat from Cardo.

The track “Who Shot Cupid?” details more ex-girlfriend shit with a beautiful acoustic-driven instrumental from Purps while the song “Ring Ring” is about doing drugs with a dime a dozen beat. The track “Desire” is on some stalker shit over an atmospheric Purps beat while the song “Out My Way” gets back on the braggadocious tip over an abrasive Hit-Boy beat.

“The Bees Knees” is a fiery club banger while the song “ON GOD” with Young Thug sees the 2 talking about being in their bags over some prominent hi-hats. The track “10 Feet” is a boring diatribe about being high while the song “Won’t Let Go” talks about the girl of his dreams over a Purps beat with some rubbery bass.

The track “She’s the One” is a trippy follow-up to the previous joint while the song “Rider” sees Juice telling this chick to prove her loyalty to him over a generic beat. The album then finishes off with “Make Believe”, where Juice talks about how he say this breakup coming over a Boi-1da instrumental that beautifully uses the same sample that J Dilla used on “Runnin’” by The Pharcyde.

This wasn’t as bad as I thought it was gonna be, but it’s still a mixed bag. The production has gotten better & Juice is only as half melodramatic this time around, but it really didn’t need to be 22 tracks & 72 minutes long.

Score: 2.5/5

Westside Boogie – “Everything’s for Sale” review

Westside Boogie is a 29 year old MC from Compton, California who first broke out onto the scene in 2014 with his 1st mixtape Thirst 48, eventually following it up with The Reach exactly a year later as well as Thirst 48, Pt. II the year after that. This would eventually catch the attention of Detroit icon Eminem, who signed Boogie to his Interscope Records imprint Shady Records in late 2017. He then gained even more exposure with a pretty great feature on “Dumb” off of Royce da 5’9”’s latest album Book of Ryan but now almost 9 months later, he’s ready to deliver to his full-length debut.

Things kick off with “Tired (Reflections)”, where Westside Boogie talks about what he’s sick of over a mellow beat. The next track “Silent Ride” talks about being detached over a flute-heavy instrumental while the song “Swapmeet” is an pretty, acoustic love ballad. The track “LOL SMH” talks about his baby momma over a smooth beat with a nice switch-up during the 2nd half while the song “Soho” with J.I.D sees the 2 talking about being sick of people tryin’ to be cool with them now that they’re famous over a banger beat. The track “Skydive” is another acoustic love tune while the song “Live 95” talks about being broke & the beat has a great vintage West Coast vibe to it.

The track “Rainy Days” with Eminem sees the 2 talking about not wanting to be forgotten over a monstrous trap beat from S1 & STREETRUNNER that kinda sounds like it was made during the sessions of Em’s latest album KAMIKAZƎ, but it’s still enjoyable. The song “Skydive II” is pretty much a reprise of the predecessor & while it’s not bad, but it should’ve been merged together with the first one because it seems so out of place standing by itself. The track “Whose Fault” reflects on the arguments he’s had with his baby mama over a somber beat while the song “No Warning” talks about his toxic attitude over a minimalist beat with some gloomy piano chords. The penultimate track “Self Destruction” talks about his ignorance over a nocturnal trap beat & then the closer “Time” with Snoh Aalegra is a corny duet about Boogie treating Snoh like a side-chick

Overall, this is Westside Boogie’s best work yet. The production’s more refined in comparison to his mixtapes & I feel like we get a greater glimpse of who he is. Definitely a solid beginning for Shady Records’ next big star.

Score: 3.5/5

Ice Cube – “Everythang’s Corrupt” review

Ice Cube is a 49 year old MC, songwriter, actor, film producer, CubeVision founder & BIG3 founder from Los Angeles, California who started as a member of C.I.A. in 1984 & disbanded 3 years later after gaining limited commercial success. He then became a member of the iconic N.W.A, but left after the release of their infamous debut album Straight Outta Compton to focus on his solo career. He dropped a handful of albums in the 90’s with his first 2 AmeriKKKa’s Most Wanted & Death Certificate becoming West Coast essentials. But as the 2000’s came around, he began focusing on an acting career & his musical output was shortened. However, he’s coming back from an 8 year hiatus with his 10th full-length album.

After the Super OG intro, we go into the first song “Arrest the President”. It’s no surprise that he’s going at Donald Trump on here & despite his statements being valid, the mixing on here is ass. The track “Chase Down the Bully” talks about beating up Trump supporters over a thumping instrumental while the song “Don’t Bring Me No Bag” speaks out against snitches in the drug house over a mediocre trap beat.

“Bad Dope” sees Cube comparing himself to just that over a menacing instrumental while the song “On Them Pills” is talks down on the current drug trend over a nondescript instrumental. “Fire Water” contemplates how Cube is gonna die while the song “Streets Shed Tears” talks about his respect in the hood over a churchy instrumental

The track “Ain’t Got Haters” with Too $hort sees the 2 brushing off their naysayers over a smooth instrumental from DJ Pooh while the song “Can You Dig It?” talks about being old school referencing WWE Hall of Famer Mike Tyson over a funky Hallway Productionz beat. “That New Funkadelic” serves as a pretty solid sequel to “Bop Gun (1 Nation)” off his 4th album Lethal Injection back from 1993 while the song “1 for the Money” talks about why he’s still rapping over a piano & strings.

“Still in the Kitchen” talks about drug dealing over a chaotic beat from E-A-Ski while “Non Believers” reminds the listeners to bow down to him over a thunderous beat with a sitar. The title track touches down on the political system over a bustling rap rock instrumental from Fredwreck & “Good Cop Bad Cop” advises all of the officers who do their jobs correctly to stand up for those who abuse their badge over a somewhat funky beat with some triumphant horns.

It’s been a long 8 years & while it’s not perfect, it’s a solid comeback for the West Coast icon & certainly more of a consistent listen than his previous & worst LP I’m the West was. It’s the most lyrically conscious that I’ve heard him in a while addressing the current state of politics, society & culture even if I feel like the production could’ve been better at certain points.

Score: 3.5/5

J.I.D – “DiCaprio 2” review

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J.I.D is a 28 year old MC from Atlanta, Georgia who released his 1st mixtape Cakewalk in 2010 & joined EARTHGANG’s Spillage Village collective that same year. He dropped 2 more mixtapes as well as then an EP (to which this serves as a sequel to) after that & signed to J. Cole’s Interscope Records imprint Dreamville Records last year, dropping his full-length debut The Never Story just a few weeks after the deal. But now as we reach the end of November, he’s delivering his highly anticipated sophomore album: a sequel to his 2015 EP.

After the “Frequency Change” intro, we go into the first song “Slick Talk”. Here, J.I.D brags about his skills over a haunting beat. The track “Westbrook with A$AP Ferg is a charismatic club banger with some nocturnal bells throughout while the song “Off Deez” with J. Cole sees the 2 viciously attacking their critics over a decent trap beat. The track “151 Rum” vividly describes life in the streets over a trap beat with a prominent vocal sample while the song “Off da Zoinkys” is an anti-drug anthem with a wavy instrumental. The track “Workin’ Out” vents about depression even with his newfound success over a prominently beautiful sample of Helen Merrill’s 1954 rendition of “Don’t Explain” while the song “Tiiied” with 6LACK & Ella Mai is a drab & corny love ballad.

However, the track “Skrawberries (For da Ladies)” does a better job at being romantic than the previous cut does. Especially with the mesmerizing instrumental from J. Cole & the late Mac Miller. The song “Hotbox” with Joey Bada$$ & Method Man is about smoking weed over a punchy piano instrumental rap while the track “Mounted Up” celebrates where he is now over a boom bap beat with some sinister piano chords.

The song “Just da Other Day” discusses his rise in the game over a bland trap beat while penultimate track “Despacito Too” angrily talks about being whatever he wants over this murky boom bap beat. The album then finishes with “Hasta Luego”, where J.I.D lets go or his painful past to become the artist he is know over a nocturnal beat from WondaGurl & Cubeatz.

Overall, this is just as solid as The Never Story & I’ll even say it’s better than the first DiCaprio. The production has stepped up for the most part & lyrically, J.I.D continues to prove each & every single one of us that he truly is the future of Dreamville Records.

Score: 3.5/5

Sheck Wes – “MUDBOY” review

Sheck Wes is a 20 year old rapper from Harlem, New York who started out in 2009 as a member of the MillYorkers at the age of 11. He eventually signed a joint deal with Travis Scott’s Interscope Records imprint Cactus Jack Records & Kanye West’s G.O.O.D. Music at the beginning of the year but now with him being on the verge to head out with Travis on the upcoming ASTROWORLD tour next month, he’s decided to drop his full-length debut.

The album begins with “Mindfucker”, where Sheck sends a message to his haters over some prominent hi-hats. The next song “Live Sheck Wes” talks about roaches in the crib over an eerie trap beat while the track “Gmail” brags about his skill level over a futuristic trap beat . The song “Wanted” gets confrontational over an instrumental with a sinister atmosphere to it while the track “Chippi Chippi” talks about his new lifestyle over a spacey beat.

The song “Never Lost” reflects on his rough past over a moody WondaGurl instrumental while the track “WESPN” laughs off at how his doubters became his believers over a spacey beat. The song Kyrie” sees Sheck comparing himself to the Boston Celtics player Kyrie Irving over a beat with some chilling bells & while it is cool, the track “Mo Bamba” takes it to a whole new level as Sheck talks about all these labels contacting him & intelligently comparing it to how his childhood friend & Orlando Magic player Mohamed Bamba was being targeted by universities when they were in highly school over a grimy trap beat with some keyboards.

The “Burn Slow” interlude is way much less of an interlude & more of an atmospheric brag while the track “Jiggy On the Shits” recalls roaming the streets at the age of 10 over another spacey beat. The song “Fuck Everyone” angrily talks about his arrival to the hip hop scene over a looped sample of a MacBook Pro start up sound & while the penultimate track “Danimals” does vent about an ex, the hook is awkward & the beat is generic as Hell. The album does end on a high note though with “Vetements Socks”, where Sheck gets introspective over a meditative yet blissful beat.

As a whole, this was a pretty solid debut. Some of the beats could’ve been better & I do appreciate Sheck Wes for holding it all on his own, but I wish we got at least just 1 Travis Scott verse on here. All that aside, this is a great beginning for the rising NY star. BITCH!

Score: 3.5/5