Pi’erre Bourne – “Grails” review

Pi’erre Bourne is a 29 year old producer, rapper, songwriter & engineer from South Carolina who became one of the most in demand beatsmiths in hip hop today off amongst the biggest songs in Playboi Carti’s entire catalog “Magnolia”. He’s also made a name for himself on the mic by dropping 10 mixtapes as well as a couple EPs & 3 full-lengths albums, with the latest being Good Movie over last summer to mixed reception. However, Pi’erre’s looking to switch things up with his 3rd EP over here by officially releasing his biggest, most popular unreleased songs that were stashed in the vault.

“IG” sets the tone for what’s to come with it’s synthesizers & hi-hats as well as the lyrics addressing running into social media models at an Odell party whereas “Love Reeks” has a more playfully nocturnal vibe to it talking about how the grass is much greener after cutting hoes off. “Chicken & Waffles” for a TLoP4 leftover might be my favorite on the EP with it’s cloudy, bassy instrumental & the braggadocio throughout prior to “George Lopez” pulling together some synth-strings talking about feeling like Biggie with the more problems that arise when having more paper.

The final leg of the EP starts off with the cloudy “NY in June” telling his lover to simply follow him while the song “Tabloid” talks about a bitch that’s all up in him kin to the titular newspaper with a compact page size smaller than broadsheet accompanied by a psychedelic trap beat. The penultimate track is [a sequel] to “Honeyberry” with an instrumental that gives me 8-bit video game vibes discussing an ancient love & the wavy “Lessons” ends the EP talking about fucking bad hoes for practice.

I know some people like to dismiss Pi’erre as an MC as distinct of a producer he is but as someone who’s been following him for the past 6 years, Grails is easily the best EP he’s ever put out for a collection of previously unreleased leaks in contrast to the mediocrity of Good Movie & will keep everyone satisfied until Made in Paris drops. His improved songwriting is more catchier as opposed to the excessive horny subject matter throughout the previous album that gets annoying rather quickly & his production game remains unmatched.

Score: 4/5

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Rae Sremmurd – “Sremm 4 Life” review

Rae Sremmurd are a trap duo from Atlanta, Georgia consisting of real life brothers Swae Lee & Slim Jxmmi. However, many forget that they came up as a quartet in 2009 alongside Bobo Swae & Lil Pantz under the name Dem Outta St8 Boyz & dropped their only mixtape 3 Stooges with Lil Pantz would departing the group prior due to legal issues & Bobo following suit after to focus on his studies in Florida. P-Nazty would go on to introduce Swae & Jxmmi to revered trap producer Mike WiLL Made-It, who took the Brown brothers under his wing by making them the first act to sign to his Interscope Records imprint Ear Drummer Records rechristened as the names they’re known by today. After beginning to turn heads with hits like “No Type” & “Throw $um Mo” featuring Young Thug, it was enough for Rae Sremmurd to properly introduce themselves on the full-length debut SremmLife a month after the final single & the sophomore effort SremmLife 2 the following summer finding them to artistically expand more. Especially considering that “Black Beatles” featuring Gucci Mane is unquestionably the duo’s biggest hit to date. Their previous album however SR3MMLIFE in the spring of 2018 had a pretty strong start as it contains some of their best songs like “T’d Up” or even “CLOSE” featuring Travis Scott, but each of the Brown brothers’ respective solo debuts that were attached to it Swaecation & Jxmtro were both underwhelming at best which is a shame because I really was intrigued by the whole Speakerboxxx / The Love Below concept/homage except it’s 3 discs instead of simply 2 & the first one actually has new music from the titular duo. But after 5 long years, Swae & Jxm are returning with their 4th full-length outing.

“Origami (Hotties)” is a synth-trap opener produced by none other than Mike WiLL Made-it as the Brown brothers asking if you can see the others that’re surrounding them & to fold the paper whereas “Royal Flush” works in some horns & hi-hats courtesy of Chopsquad DJ as Thugger tags along so the trio can talk about dropping cash on land along with making grandmaster plans that’re complex. “Mississippi Slide” has a more shimmery approach sonically thanks to Zaytoven so Rae Sremmurd can pay homage to the titular state leading into the piano/trap “Not So Bad (Lean’s Gone Cold)” interpolating “Thank You” by Dido on the hook talking about the racks stacking up too tall.

On the other hand, “Tanisha (Pump That)” feels like a Slim Jxmmi solo cut featuring Swae on the hook despite the electro undertones throughout the instrumental & the lyrics describing how no one can do it the way she does just before the Murda Beatz co-produced “Bend Ya Knees” brings back the keys & hi-hats so they can ask their lovers to forgive them for their rich tendencies. Future joins Rae Sremmurd for the cloudy “Activate” talking about not being normal anymore, but then “Flaunt It / Cheap” delivers a well sequenced 2-parter encouraging the the party girls to get if started & nearly spending a dozen.

“Sexy” is an irresistibly catchy pop trap jam that 30 Roc helped Mike lace describing how physically attractive they both are while “YMCA” weaves some synth horns & hi-hats talking about how the conduct will quickly become disorderly now that they in the place. “Something I’m Not” has more acoustic groove to it as Rae Sremmurd gets more introspective on the lyrical front while Sonny Digital gives the song “Torpedo” a more atmospheric vibe so the duo can take off the the cash. The penultimate track “Diamonds Dancing” reminds everyone they’re here to stay over a trap beat from DJ Sremm with a reversed loop & “ADHD Anthem (Too Many Emotions)” sends off the album with some rage beats from Ronny J & Dynox of Internet Money Records talking about being misunderstood.

Considering the 5-year gap between this & Rae Sremmurd’s last album, I was intrigued to hear where both these guys would take it with the comeback effort & I think fans will find Sremm 4 Life to be more salvageable than SR3MM was. I admire how the approach & content are both a little different than before, Mike WiLL & company bring some consistent trap production to the table, Swae & Jxmmi both sound more focused than they did on their respective solo debuts that were attached to the predecessor & they didn’t go overboard with the features.

Score: 3.5/5

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Westside Boogie – “Live at the Novo” review

Westside Boogie is a 33 year old MC from Compton, California who broke out onto the scene in 2014 with his debut mixtape Thirst 48. He would go on to follow it up with The Reachexactly a year later as well as Thirst 48 II the year after that before catching the attention of Detroit icon Eminem & signing to his Interscope Records imprint Shady Records in late 2017. His full-length debut Everything’s for Sale at the beginning of 2019 was a solid way to introduce himself to a wider audience & the sophomore effort More Black Superheroes did it’s job encouraging the world to embrace their powers, but is returning 9 months later in the form of his debut EP.

“Cold as Love” is a spacious trap opener with Superblood Boog talks about being in his head & pondering why one feels so safe yet shady can’t save him after invading his space while the penultimate track “Tell Me” works in a chipmunk soul sample & some hi-hats so Anthony can describe all the things that he wants to be told such as never hearing any kind of sucka shit again or how to fix the hood if he ain’t never in the hood. “Mood” on the other end sends off the EP with Ratchet Boog over a piano trap instrumental dropping some braggadocio for dat azz.

Everything’s for Sale gave a wider audience a good look as to who he really is & the concept of More Black Superheroes is still compelling to this day in my book but if Live at the Novo is only a prelude for his upcoming 3rd album, then I think it’s a solid offering to keep listeners satisfied until then. He delves more into himself lyrically whilst introducing his 2 alter-egos & the trap undertones of his 2 full-lengths are more prominent here than they were in the past.

Score: 3.5/5

Glorilla – “Anyways, Life’s Great…” review

Glorilla is a 23 year old rapper from Memphis, Tennessee who broke out off the viral & undeniably fun single “F.N.F. (Let’s Go)” this past spring. This ultimately resulted in local veteran Yo Gotti signing her to his Interscope Records imprint Collective Music Group a little over a week before they dropped their 2nd showcase compilation Gangsta Art a few months later, making her the very 1st female recording artist on the label. So the stakes were high for her 2nd EP albeit CMG debut over here.

“No More Love” starts the EP by airing out people left & right who used to be in her life over a cloudy trap instrumental from ATL Jacob whereas “PHATNALL” featuring Lil Durk on the remix goes into Detroit trap territory comparing her pussy to fentanyl referencing Tesla CEO, SpaceX founder, Neuralink founder & Twitter owner Elon Musk. The “Tomorrow” remix with Cardi B is just ok from the keys & hi-hats to the lyrics basically talking their shit, but then “Unh Unh” returns to the Detroit trap sound once more to my surprise acknowledging that they don’t wanna see gangsta bitches winning.

Meanwhile on “Blessed”, we have Glorilla over another piano-trap instrumental telling us that’s exactly how she’s feeling while “Get That Money” with Niki Pooh weaves a whistling sample into the fold as they encourage women not to be scared to as their men for money. The song “Nut Quick” is basically a Memphis version of the Missy Elliott joint “1 Minute Man” while the penultimate track “F.N.F. (Let’s Go)” happens to be a great addition to the EP despite the controversy surrounding it. “Out Loud Thinking” though finishes the EP by getting her thoughts out there over a glistening beat.

For a debut EP, it’s a pretty solid way for Glorilla to introduce herself to a wider audience because I think she’s one of the best signees on CMG alongside Mozzy & 42 Dugg. She definitely has potential as shown by her performances & songwriting throughout the 26 minutes of our time that she’s given us, but the production is just mostly average & the 2 features are hit or miss.

Score: 3/5

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Grip – “5 & a Fuck You” review

This is the 2nd mixtape from Atlanta, Georgia emcee Grip. Coming up in 2017 of his debut mixtape Porch, he would go on to drop his full-length debut Snubnose along with 2 EPs Halo & Proboscidea prior to Detroit veteran Eminem signing Grip to his very own Interscope Records imprint Shady Records last summer. His sophomore effort I Died For This?! the following month was an impressive major label debut showing his potential, so I was excited going into 5 & a Fuck You when he announced it out of the blue a couple nights ago.

“Cook Up” is a booming yet dark trap opener with Grip talking about needing a week to do exactly just that whereas “‘94 Flow” takes the boom bap route to spit some aggressive battle bars. Marco+ tags along for trap-laced “Static” calling out those who don’t want smoke with them, but then “Popular Demand” returns to the boom bap with an organ sample laced with the help of DJ Khalil addressing his return.

Moving on from there with “Da Benzo”, we have Grip delivering a shrilling trap ode to Mercedes-Benz leading into “The F Word” switching it back into boom bap turf talking about giving no fucks. “Value Mall” has a more atmospheric vibe to it explaining how you can ball on a budget just before Tate228 tags comes into the picture for “Cory ‘N Mel” telling the story of 2 robbers of the same name with some chilling soundscapes.

The song “Good” is a soulful celebration of how far we’ve come in this life while the penultimate track “Many Thanks” has a more twangier aesthetic to it with Grip sincerely expressing his gratitude to everyone listening for being the reason why he’s even here for a little over 8 minutes. “Ain’t Ok” though happens to be a solemn closer to the tape talking about the kids not being alright.

If this is something to warm people up for his next full-length, then I think it’ll be even bigger splashes than I Died For This?! as impressive of a major label debut was when it came out a little over a year ago. It’s a lot more rawer in sound, his penmanship is continuing to get better & he’s starting to come into his own artistically.

Score: 3.5/5

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Pi’erre Bourne – “Good Movie” review

This is the 3rd full-length album from South Carolina producer, rapper & engineer Pi’erre Bourne. Becoming one of the most in demand beatsmiths in hip hop today off Playboi Carti’’s “Magnolia”, he’s also made a name for himself on the mic by dropping 9 mixtapes along with a couple EPs & LPs within the last dozen years or so. He just dropped the 5th & final installment of The Life of Pi’erre series last summer & then the TM88-produced Yo88! in the winter, but is coming fresh off the Space Age Pimpin’ collab album with Juicy J by dropping Good Movie.

The first song “Shorty Diary” following the “Opening Scene” intro kicks off the album with some synths & a rattling bass-line detailing a relationship that’s beyond repair & after the “Logline” interlude, “Ex Factor” takes a more calmer route talking about not wanting sloppy seconds. After the “Intro to Love” interlude, “Love Drill” comes through with a catchy yet atmospheric banger confessing that he wants something real whereas “Hop in My Bed” goes into peppier territory talking about a bitch that wants to fall in love with him a little.

“Superstar” works in these incredible string harmonies to tell his girl who she fucking with even though the hook’s trash leading into “Where You Going?” shooting for a moodier aesthetic talking about the love he has with this woman being priceless. “What I Gotta Do” vigorously asks his girl why she likes him to begin with, but then “DJ in the Car” dives into futuristic territory calling his girl a DJ in the Uber.

Don Toliver tags along for the cloudy “Psane” to get raunchy & after the “Kingdom Hall” skit, the actual “Kingdom Hall” song itself has a more sensual vibe to it comparing to his girl popping up at his place to that of a Jehovah’s Witness believer. Also, the guitar near the end was unexpected yet interesting. After the “Witty” skit, “Kevin Heart” brings some delicate synths into the fold talking about putting all his problems in a blunt just before “SossHouse Party” dives into bop turf to rep SossHouse Records.

Meanwhile on “Safe Haven”, we have Pi’erre talking about chilling in his hideout with some rage undertones while “Rounds” jumps on top of an airy backdrop & some finger-snaps to describe a bitch wanting to get fucked up off the alcohol & dropping a corny Star Wars reference during the first verse. “System” weaves some synths along with hi-hats more finger-snaps explaining to his lover that she got a real one with her while Young Nudy comes into the picture for the heavenly-produced “Moving Too Fast” to talk about sex. The title track however was a great choice of a single with it’s up-tempo instrumental referencing Tesla CEO, SpaceX founder, Neuralink founder & Twitter owner Elon Musk with the closer “Heart Say” bringing some unexpected rock undertones to the beat telling his girl to speak from the heart.

As much as I respect Pi’erre for both his talents behind the boards & on the mic, I’m pretty indifferent on Good Movie to be quite honest & would personally prefer Yo88! over this. The production is dope don’t get me wrong on that whatsoever & I’m not against romantic subject matter in hip hop songs in any way shape or form, but it’s so excessive to the point where it gets annoying & at some moments cringey for me personally.

Score: 2.5/5

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J.I.D – “The Forever Story” review

This is the 3rd full-length album from Atlanta, Georgia emcee J.I.D. Emerging in 2010 off his debut mixtape Cakewalk & joined the Spillage Village collective lead by the EARTHGANG around that same time frame, he dropped 2 more mixtapes as well as then an EP after that & signed to J. Cole’s very own Interscope Records imprint Dreamville Records in 2017. He has since made himself home there with The Never Story & DiCaprio 2, but is returning after 4 long years in the form of The Forever Story.

After the melodic “Galaxy” intro, the first song “Raydar” kicks off the album with a heavy bass-line & some hi-hats provided by Nonstop da Hitman talking about how “when it rains, it pours” prior to the beat switching up into more dramatic saying he’ll “steal the cattle then burn the farm”. “Dance Now” however samples “Yoel’s Niggun” by Zusha talking about making ‘em dance with his 9 whereas “Crack Sandwich” takes a more rugged route acknowledging that you can tell that he never had shit.

The EARTHGANG tags along for the KAYTRANADA/JD Beck-laced “Can’t Punk Me” reminding everything that nothing will stop them leading into Baby Tate & 21 Savage coming into the picture for the chipmunk soul/trap banger “Surround Sound” produced by DJ Scheme talking about putting the rap game on their backs & snatching crowns. “Kody Blu 31” incorporates a crooning sample in the mix encouraging listeners to swang on, but then the Lil Durk-assisted “Bruddanem” shoots for a more mellow aesthetic thanks to DJ Khalil talking about loyalty.

Meanwhile on “Sistanem”, we have J.I.D over some spacious boom bap production describing the tour life leading into the romance-driven “Can’t Make U Change” that starts off with a funky instrumental from Dreamville in-house producer Elite & switches into a melodic vocal loop. “Stars” opens up with a hazy BADBADNOTGOOD beat & J.I.D talking about having his goals set with E. Jones changing it up into boom bap turf as well as a stellar Yasiin Bey verse for the outro while “Just in Time” with Lil Wayne takes a more symphonic approach talking about having the time today.

“Money” throws a guitar & some live drums courtesy of Khrysis into the mix dissing the inaugural IWGPヘビー級チャンピオン, former 12-time WWE world champion, WWE tag team champion & 2-time WWE Hall of Famer Hulk Hogan while the song “Better Days” weaves some piano chords into the chord talking about balancing the highs & lows. The closer “Lauder Too” is a futuristic sequel to a highlight off The Never Story laced by James Blake & Thundercat with the bonus cut “2007” ends the album is a 7 & a half minute epic looking back on J.I.D’s life throughout the past 15 years.

I’ve gone on record numerous times saying that J.I.D’s the future of Dreamville & if The Forever Story doesn’t further prove that, then I don’t know what to tell you because it’s a great sequel to his full-length debut & I’ll even say it’s arguably better than The Never Story. I admire that he comes through with more in-depth stories throughout, the production is incredibly dynamic & the feature list is pretty tight.

Score: 4.5/5

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Destroy Lonely – “No Stylist” review

This is the 3rd mixtape from Atlanta, Georgia recording artist Destroy Lonely. The son of former Disturbing tha Peace Records signee I-20, he’s released a total of 11 EPs since originally breaking out through SoundCloud a couple years back & has even signed to Playboi Carti’s very own Interscope Records imprint Opium Records to surprise drop No Stylist in light of his ongoing tour with fellow label-mate Ken Carson.

“JETLGGD” is a futuristic trap opener that Zodiac of Vanguard Music Group cooked up talking about switching up his swag whereas “BERGDORF” takes a more triumphant route detailing the crazy life that he lives going off the top rope like former 3-time WWE world champion Rey Mysterio. “<3MYGNG” is a dance/trap hybrid expressing his love for his crew leading into the bassy “VTMNTSCOAT” showing off some new drip over an electronic-flavored instrumental.

The title track works in some retro video game like-synths bragging that he’s fresh as fuck, but then “FAKNGGAS” shoots for a more futuristic aesthetic talking about the wankstas. “SOARIN’” gives off a bassier tone admitting he doesn’t get fly no more just before “TURNINUP” is a colorful trap banger that Cxdy of Internet Money Records hooked up talking about getting lit.

“LNLY” dives into cloudy territory thanks to Clayco going into detail as to why they call him that prior to the rubbery yet atmospheric “PRSSURE” talking about how he knew he was special. “ONTHETABLE” is a bombastic ode to the bread while “SWGSKOOL” samples the Deftones joint “Beauty School” confessing that he done lost his motherfucking mind.

Following that, the vocal sample throughout “CRYSTLCSTLES” is hypnotic as fuck with Lonely comparing his girl to Alice Glass while “DANGEROUS” brings back the trap/rock combination to detail the side of Atlanta that he’s from. The guitars throughout “MKEITSTOP” are a bit more punk-inspired talking about making it all the way to the top while “ONTHEFLOOR” is cloudy trap rock crossover Y3rip fused together confessing the shit he’s seen at 20 years old.

The song “PASSAROUND” has a more quirkier feel to it talking about his preference to face his hoes while the penultimate track “OTW” rattles off some hi-hats with more mellow backdrop detailing the things that’ve been coming his way lately. “VETERAN” with Ken Carson is a rage-inducing closer as 2 Carti protégés put the lifestyles that they both live on wax while “BLITZ” starts the deluxe run psychedelically talking about being off the meds.

“HAVINMYWAY” discusses knowing what he wants from this life & already having all the secrets. “ALLURE” might be my favorite here from the cloudy beat to the bars of being in dreams like Freddy Krueger while “LOUVRE” turns the rage up again to talk about a Paris trip. The final bonus track “NEVEREVER” has to be right behind “ALLURE” for the best one serving as the theme if you ’bout that cash & them figures.

At the end of my review of Ken’s solid yet overhated sophomore album X, I said that I respectfully think Lonely is the best Opium signee yet & this new tape of his pretty much proves my point. He has more versatility than Ken as proven by the production, his vocal performances & songwriting. Very excited to see them both when they come to town.

Score: 4/5

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Mozzy – “Survivor’s Guilt” review

Mozzy is a 35 year old MC from Sacramento, California who I became a fan of in the summer of 2017 off his full-length debut 1 Up Top Akh. He would go on to be featured on the soundtrack for the incredible Marvel blockbuster Black Panther only 6 months later & drop 6 more albums through his EMPIRE-backed Mozzy Records but considering that Memphis veteran Yo Gotti signed him to his Interscope Records imprint Collective Music Group back in February, it was only a matter of time that Mozzy would drop his major label debut considering the fact that CMG’s been turning a lot of heads & getting a lot of coverage recently.

“Not the Same” is a introspective opener with it’s piano/sample infused trap beat along with the lyrics addressing those who say he’s changed whereas “If You Love Me” takes a more acoustic turn asking why he would change if people cared for him. EST. G tags along for the grim “Lurkin’” getting on their gangsta shit, but then Shordie Shordie comes into the picture for “Tell the Truth” to deliver one of the weakest features on the album despite the hyphy instrumental & the subject matter of wanting to be alone.

Continuing on with “Murder on My Mind”, we have Mozzy over some pianos & snares explaining why he can’t sleep without no slime leading into “Burrr” weaving in a twangy trap beat talking about how things are getting icy out here. “Wouldn’t Be Us” with YG shoots for a more cavernous aesthetic as both MCs telling their significant others it’s different then they’re thuggin’ just before “Smoke Nuffin’” bringing back the keys as 42 Dugg assists the mic to keep it 100.

“4Life” is a heavenly ode to Mozzy’s affiliation with the Bloods while the weepy “Make the News” with Blac Youngsta & Yo Gotti finds the trio calling out those who don’t actually love them like they said. “What You Hollin’” with his younger brother E-Mozzy & Celly Ru sees the 3 over some pianos & thumping drums getting on their mobb shit while “Ain’t Really Real” throws some strings in the mix talking about fake love.

The song “Open Arms” has a more smoother feel to the production as Mozzy talking about the streets welcoming him very kindly while the penultimate track “In My Face” with Saweetie & 2 Chainz shows a raunchier side to all 3 of them over a nervous DJ Mustard instrumental. “Real Ones” with Roddy Ricch however is a deadpan finisher to the album by showing love to those who’re no longer here with him.

Overall, I’d say that Survivor’s Guilt is one of the best major label debuts that I’ve heard in a while & most definitely a standout in Mozzy’s ever-growing discography. I could’ve done without a couple of the features, but a good portion of them proves that he fits in with CMG with the emotion throughout the 43 minutes is truly touching.

Score: 3.5/5

Ken Carson – “X” review

This is the sophomore album from Atlanta, Georgia rapper Ken Carson. Breaking out in the SoundCloud scene & becoming a protege of Playboi Carti as one of the first artists to sign to the latter’s newly founded Opium Records, he would go on to drop a total of 5 EPs prior to his full-length debut Project X last summer. But as he & Destroy Lonely gear up to hit the road next month, Ken’s re-emerging in the form of X.

The intro kicks off the album with some Atari-like synths & rattling hi-hats letting y’all know he ain’t stupid whereas “New” works in some rage beats to show off all the shit he has now. “Gems” stays in hypertrap territory talking about his evolution from Teen X to X Man, but then “Nobody” goes into a bassier direction confession all that he really needs is the bread & nothing else.

Meanwhile on “Go”, we have Ken coming through with an energetic ballad about running all your shit up just before Destroy Lonely tags along for the rage-induced “MDMA” produced by OPM BABI & Outtatown flexing their wealth. The title track continues to bury the Teen X persona deeper into the ground over some bombastic production just before “P.D.B.M.H. (Please Don’t Blow My High)” has a more uptempo flare to it asking not to blow his high as the title suggests.

The somewhat tropical vibe of “Money Hunt” is really cool as he expresses his joy of everything in his life going up while the blobby “South Beach” lets everyone know that he’s a real one. “Goin’ Schitz” psychedelically describes a bitch feeling of ecstasy while “Same Thing” has some incredibly dancy grooves to it talking about pulling up on you & your gang.

Following that, “Freestyle 1” dismisses any kind of discussion that doesn’t involve money keeping it in hypertrap turf prior to the F1LTHY of Working on Dying-produced “Freestyle 2” perfectly picking up whether the predecessor left off talking about how you shouldn’t have fucked with his crew. “Fuk 12” is a brief yet chaotic middle finger to the feds & Destroy Lonely returns yet again for “Murda Musik”, which goes 10x rawer than “MDMA” was.

The Homixide Gang come into the picture for the quasi-mystic “Delinquent” confessing they get high until they can’t think straight while the song “Get Rich or Die” gives off a futuristically fresh aesthetic to the instrumental talking about talking about going on vacation. The penultimate track “Turn Up” is of course a synth-laced riot starter & “The End” closes out the album with some poppy undertones calling out an ex for being unfaithful.

Project X showed a lot of room for growth in Ken & now that we got X, I think it has to be the one of the best rage albums I’ve heard all year so far right behind Fallen Raven & 2 Alivë of course. The production is a little bit better than the offering we got a few years ago & I’d actually have to say Destroy Lonely is my favorite Opium signee now that he just signed to the label a few months back, but Ken really shows some admirable maturity as well.

Score: 3.5/5