Alla Xul Elu – “WHellcome Home” review

Portsmouth, Ohio horrorcore trio & Long Live Evil founders Alla Xul Elu’s celebrating Halloween with their 8th studio LP. Consisting of Billy Obey as well as Joey Black & Lee Carver, they broke out a decade ago as a duo by releasing their first 2 albums Head of Horns & Sci-Co that same year. This was followed up with their 4/20-themed debut EP Necronomichron in 2017 & adding Carver into the fold shortly after, but it wasn’t until Twiztid signed them to Majik Ninja Entertainment in 2018 when the Xul Boys’ music got increasingly better. Their MNE debut The Almighty is unquestionably the greatest horrorcore album of the 2010s, their 2019 EP Church of Xul took a much darker approach, Mauxuleum made it in the top 10 of my Best Releases of 2020 list despite them ditching their signature boom bap sound for a more industrial, trap metal direction & Necronomichron 2: Dead by Bong was a superior sequel to their 4/20 EP. The Magic Xul Bus preluded their final MNE offering Gods of Evil Rise produced by Mike E. Clark, opening for Psychopathic Records & Juggalo Championship Wrestling (JCW) founders the Insane Clown Posse last Hallowicked. Coming off No Masters & Universal Perverts however, WHellcome Home is here 2 months after its initial announcement on the eve of Nic Nemeth becoming the new JCW World Juggalo Heavyweight Champion.

Following the “Introvert” intro, “Ancient Evil” comes out the gate with a hellish boom bap opener talking about the LLE never expiring whereas “All is Dead” makes themselves at home in a place where there’s absolutely no peace whatsoever. “F.Y.I.T.A.X.E. (Fuck You It’s The Alla Xul Elu)” named after a signature catchphrase of theirs expresses their love for the wicked shit keeping it dusty leading into “Doombaptism” talks about the style of music they play called “doom bap”, similarly to Necro inventing “death rap”.

“Dark Daze” moves on from there sharpening the knives they write with every single evening just before “AKA the Grave” keeps the doom bap vibes rollin’ talking about putting people 6 feet below the ground. “Dances with Worms” featuring the newest member of the Long Live Evil family Malakeye finds all 4 of them reminding us death’s everywhere while “Corpsegarden” begins the 2nd half waking up the deceased arising from parts unknown.

As for “Faith”, we have Xul reiterating the trust they continue to put putting in the Church of Xul until the danceable “AXE Slaps Hacks Backs” talking about chopping people up with an axe. Things return to the doom bap for the group to let out all of their “Invasive Thoughts” & explaining how fucked their brains are in process while “Freezer Burnt” talks about someone being left in the cold so long that they wound up getting frozen, unable to adjust the temperature.

The title track appropriately winds down the last act of WHellcome Home asking if anyone will go after them straight down to Hell’s Pit while “SINsation SELLebration” immediately talks about throwing the hottest party Hell’s ever had, spitting the wicked shit over an EDM instrumental. “Future is Fire” featuring Jahred Gomes takes it back to their signature doom bap style informing those who want to return home of the harsh reality that it won’t happen & “Homebody” finishes the full-length militantly talks about confronting their demons for their own happiness.

These guys have been on an absolute ROLL this year whether it was the clarification of Alla Xul Elu having No Masters & of course the raunchy Universal Perverts EP we got 4 weeks earlier, WHellcome Home comfortably places itself at the hierarchy of everything they’ve done in 2026 & hearing Billy announcing through social media of them having so much more material coming down the pipeline rivals the output of Chapter 17 Records CEO Ouija Macc in keeping the scene alive for generations to come.

Score: 4.5/5

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Alla Xul Elu – “Universal Perverts” review

Kicking off the 4th quarter of the year with Portsmouth, Ohio horrorcore trio & Long Live Evil founders Alla Xul Elu’s 4th extended play. Consisting of Billy Obey as well as Joey Black & Lee Carver, they broke out a decade ago as a duo by releasing their first 2 albums Head of Horns & Sci-Co that same year. This was followed up with their 4/20-themed debut EP Necronomichron in 2017 & adding Carver into the fold shortly after, but it wasn’t until Twiztid signed them to Majik Ninja Entertainment in 2018 when the Xul Boys’ music got increasingly better. Their MNE debut The Almighty is unquestionably the greatest horrorcore album of the 2010s, their 2019 EP Church of Xul took a much darker approach, Mauxuleum made it in the top 10 of my Best Releases of 2020 list despite them ditching their signature boom bap sound for a more industrial, trap metal direction & Necronomichron 2: Dead by Bong was a superior sequel to their 4/20 EP. The Magic Xul Bus preluded their final MNE offering Gods of Evil Rise produced by Mike E. Clark, opening for Psychopathic Records & Juggalo Championship Wrestling (JCW) founders the Insane Clown Posse last Hallowicked. Coming off No Masters however, they’re dropping Universal Perverts in preparation for WHellcome Home at the end of the month.

“Freakenstein” after the “Meet the Monsters” intro references former 3-time CWA Tag Team Champion, WCW World Heavyweight Champion, 2-time WWE United States Champion, 10-time WWE tag team champion, 2-time WCW World Television Champion, 2-time IWGPタッグチャンピオン & 2-time TNA World Tag Team Champion Scott Steiner whereas “Wackula” puts a comedic spin on the idea of masturbation over a boom bap instrumental.

The song “Woofman” winds down the last few moments of Universal Perverts talking about someone they know whom they’ve coined the titular nickname to while “Yummy Gummy Cummy Mummy” spends a couple minutes describing a mummy who’s addicted to performing oral. The beat during the outro reminds me of some 90s hip hop shit, concluding the EP describing a “Creature from the Crack Lagoon” using wordplay to discuss eating ass.

Some would consider Tunnel of Love to be ICP’s freshest sideshow EP although I’d personally put Beverly Kills 50187 above it, but Universal Perverts will certainly appeal to Xuligans in the same way Tunnel of Love did to juggalos or Kool Keith & Necro’s respective 2nd & 4th albums Sex Style & The Sexorcist if you wanna take it a step further since there are underground heads who still revisit tracks off those. That being said: It’s not my favorite EP they’ve made & anticipate WHellcome Home almost 4 weeks from now.

Score: 3/5

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Malakeye – “The Fallen Choir” review

Yes, the newest Long Live Evil recording artist Malakeye has properly introduced himself to the underground wicked shit scene for his full-length studio debut. Not much is known about him past this point other than the almighty Alla Xul Elu signing them to their independent label a few months ago & The Fallen Choir would be arriving the weekend prior of the 26th annual Gathering of the Juggalos organized by Psychopathic Records, which gives the world some time to get familiar with him until LLE performs a collective set at the festival.

After the “Sci Co City” intro, “Halo in the Fire” opens up with a boom bap beat produced by Billy Obey talking about being an angel in the streets whereas “Sorrow in a Smokey Room” passionate talks about a weight on your chest that makes one feel like they’re choking. “A Funeral Tune” has a cumbersome boom bap tone instrumentally singing for the dead & realizing he ain’t making it back to heaven just before “Lullabyes for the Lost” talks about his death fracturing time itself.

“A Liar’s Promise” was a wigsplitting lead single admitting that he feels insane because of him constantly walking with his screaming demons leading into “Afterlife of Ashes” returning to the boom bap with some organs talking about being one’s impending doom. “Faithful Lies of Mine” discusses the possibility of facing the very monster he’s become while “Fallen from Grace” continues the 2nd act of the LP talks about seeing people becoming fearful when looking at him.

Meanwhile on “Death’s My Shadow”, we have Malakeye passionately discussing the grim reaper following him everywhere he goes while “Too Late for Us” talks about the desire everyone has of erasing all of the mistakes they’ve made throughout their lives. “Don’t Let Go of the Light” brings a guitar into the fold singing of holding onto pieces of ourselves that we can’t seem to leave behind us & “Running in Place” concludes The Fallen Choir talking about feeling misplaced in life.

Choosing to exile from Heaven, the latest addition to the Long Live Evil roster Malakeye ascends again to the stage having the voices of angels in his head who he calls The Fallen Choir accompanying him for the beginning of what I believe will be an exciting career for him. He prepares to join Xul, the Super Famous Fun Time Guys & S.O.N next week by artistically establishing himself to be significantly melodic than his LLE counterparts & the production whipping up a new sound for the Evil empire.

Score: 4/5

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Lee Carver – “A Night 2 Dismember” review

This is a brand new extended play from Dayton, Ohio emcee Lee Carver. Following his 2015 solo debut Massacre Mask, he later became the 3rd & final member to join the almighty Alla Xul Elu & the Long Live Evil founders have been sending shockwaves across the underground wicked shit scene since 2018 known for combining sharp horrorcore lyrics with boom bap & industrial hip hop instrumentation. His sophomore effort Meathead: Satanic Steakhouse came out this past winter & he’s back once more for A Night 2 Dismember.

After the “New Release” intro, “The House Demands a Host” opens up welcoming everyone back to the hellhole over a boom bap instrumental whereas “Serrated” expresses the hatred he has for humanity. “Mr. Meathook” has a quirkier vibe to the beat describing an individual who takes your wishes as his command while “Bump in the Night” featuring Mutanoid Underground Dwellers dedicate itself to the sickos who don’t give a fuck.

“Rotting Flesh Rewind” begins the 2nd half of the EP spitting some bloodcurdling wicked shit filled with gruesome imagery & after “Blood Shed” takes a slower yet morbid approach instrumentally so Carver can continue talking about murder, the final song Corpse Funnel” preceding the “Satanic Steakhouse Theme” outro takes it back to the traditional boom bap sound combining that with more horrorcore lyricism for 4 & a half minutes.

In preparation LLE’s medley set at the 26th annual Gathering of the Juggalos later this summer & the Skinner Family’s next member being introduced, my personal favorite Alla Xul Elu member Lee Carver continues the story of Meathead: Satanic Steakhouse titular character whom we were intended to 6 months earlier through A Night 2 Dismember as well as using it as an opportunity to flesh out his story & give it more context over dark production with a decent guest appearance.

Score: 4/5

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Alla Xul Elu – “No Masters” review

Portsmouth, Ohio horrorcore trio & Long Live Evil founders Alla Xul Elu ending the 1st month of 2026 with their 7th LP. Consisting of Billy Obey as well as Joey Black & Lee Carver, they broke out a decade ago as a duo by releasing their first 2 albums Head of Horns & Sci-Co that same year. This was followed up with their 4/20-themed debut EP Necronomichron in 2017 & adding Carver into the fold shortly after, but it wasn’t until Twiztid signed them to Majik Ninja Entertainment in 2018 when the Xul Boys’ music got increasingly better. Their MNE debut The Almighty is unquestionably the greatest horrorcore album of the 2010s, their 2019 sophomore EP Church of Xul took a much darker approach, Mauxuleum made it in the top 10 of my Best Releases of 2020 list despite them ditching their signature boom bap sound for a more industrial, trap metal direction & Necronomichron 2: Dead by Bong was a superior sequel to their 4/20 EP. The Magic Xul Bus preluded their final MNE offering Gods of Evil Rise produced by Mike E. Clark, opening for Psychopathic Records & Juggalo Championship Wrestling (JCW) founders the Insane Clown Posse this past Hallowicked. A couple weeks after JCW Lunacy head writer Vince Russo crowned Facade of The Neon Blondes & Ken Anderson the new JCW American Champion & JCW World Juggalo Heavyweight Champion respectively, A.X.E. are dropping No Masters.

After the “SINTRO”, the title track begins jumping over this horror-sounding trap instrumental talking about them bowing down to no one whereas “BRINGTHEVIOLENCE” goes for a boom bap vibe & getting gorier with their pens for the Xuligans’ sake. “ONEXONE” blends industrial hip hop & trap talking about converting people at the Church of Xul leading into the 33 second Billy Obey solo cut “FROMAXE” advising to cop a shotty if anybody got a problem with someone.

“INLOVEWITHAGHOST” has a funkier vibe to the beat showing a more lustful side of Xul regarding the horror movie queens from their darkest dreams & an outro reminiscent of “Rigor Erectus” but after the “BUCKYFUCKNERS” skit, “Black” takes a darker boom bap route instrumentally talking about blackening out the sun. “FUCKLIFE” gives a middle finger to all the bullshit they’ve been fed up with & no longer looking at things on the brighter side while “CHURCHBURNER” infernally talks about being fire breathing shell blazers.

Kicking off the 2nd half, “DIEONEDAY” goes for a vintage boom bap approach stylistically reminding us that every living being will soon meet it’s demise while “REALFAKEAI” talks about the rise of AI these past couple years getting to the point where people don’t know what’s real anymore. After the “WORKOUTPLAN” skit, “UNDERNEATHTHEFLOORBOARDS” gives flowers to the horrorcore subgenre they’ve been representing for a decade while “OPPOSITEOFCHRIST” talks about there being nothing like what the Church provides.

After the minute long “CANTSAVETHEMALL” intermission from Billy Obey kinda like what “FROMAXE” was, “NOREASONWHY” featuring S.O.N. & the Super Famous Fun Time Guys brings the modern day Dark Lotus together for an LLE posse cut while “TIMEBOMB” comes across as another interlude using the same structuring “CANTSAVETHEMALL” & “FROMAXE” did. “MASKMAKER” ends No Masters talking about the Forever Faces got their name because they’re eternal, although “IGETITTWIZTID (DEALWITHTHEDEVIL)” was a nasty Twiztid diss.

Warming up for this new chapter in Alla Xul Elu’s prolific career where they have No Masters doing their own thing under Long Live Evil for all of eternity by having Billy Obey & Lee Carver going solo with both Rhymebook of the Recently Deceased & Meathead: Satanic Steakhouse this past fall, the production’s like a mix of all the sounds they’ve explored from boom bap to industrial hip hop & trap with Billy, Lee & Joey Black lyrically declaring their independence.

Score: 4.5/5

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Lee Carver – “Meathead: Satanic Steakhouse” review

Dayton, Ohio emcee Lee Carver returning over a decade after his solo debut Massacre Mask to drop a sophomore effort. Becoming the 3rd & final member to join the almighty Alla Xul Elu, they have become a groundbreaking act within the underground wicked shit scene since 2018 known for combining sharp horrorcore lyrics with boom bap & industrial hip hop instrumentation. Billy Obey wound up making his solo debut Rhymebook of the Recently Deceased a few months earlier & for my personal favorite of the group to drop Meathead: Satanic Steakhouse less than a couple weeks left of 2025 felt like a great way for Xul to finish their year.

After the “Dead Air” intro, the first song “What’s on the Menu?” begins with an eerie boom bap instrumental welcoming customers to Skinner’s Family Steakhouse leading into “Meathead’s Theme” serving as the soundtrack tune of the Meathead character that Carver’s portraying. “Spill the Blood” gives off a demonic boom bap atmosphere talking about a severed pig’s head in the closet surrounded by candles while “VHS” continues the horrorcore themes chopping up bodies.

“Mooder’z Kidz Club” suggests for all the children to laugh at the silly cow dinner theater so he can direct his focus towards drowning out all the screams of his victims just before “Taxidermy” embraces a hellish boom bap vibe talking about the world being so cold that it should be on a meathook. “Get Back Here, You Bitch!” after the “Serial Killer Support Group” skit turns up the eeriness stalking women who’re hard to get while “The Microwave Massacre” slaughtering people in a spectacular fashion.

The track “Time 2 Eat” begins the last 8 minutes of Massacre Mask’s spiritual successor talking about being stuck in this continuous cycle that doesn’t even feel like reality from his perspective & prior to the “End Credits” outro, the final song “Dear Policeman” appropriately finishes up delivering Meathead’s manifesto in the midst of him getting chased by authorities & declaring that he has no remorse for all that he’s done.

A lot has changed for Lee Carver both artistically & personally within the last 10 years, but I had already expected Meathead: Satanic Steakhouse to surpass Rhymebook of the Recently Deceased & that’s what it pretty much did although I’d very much say the latter isn’t too far behind. The production is more centered around the traditional boom bap sound as opposed to secondarily incorporating some of Alla Xul Elu’s industrial influences & Carver’s cohesive concept makes it feel like a horror movie in audio form.

Score: 4.5/5

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Billy Obey – “Rhymebook of the Recently Deceased” review

Portsmouth, Ohio emcee/producer Billy Obey celebrating his born day with his official solo debut. Known for being a founding member of the almighty Alla Xul Elu, he alongside Joey Black & later Lee Carver have spent the past 7 years building up their independently owned Long Live Evil record label as a brand you can trust within the underground wicked shit scene with the Super Famous Fun Time Guys & S.O.N. joining LLE’s roster. In preparation of Xul’s upcoming 7th album No Masters, the Rhymebook of the Recently Deceased is getting cracked open.

After titular intro, “Never Trust the Living” opens with an occult rap rock/boom bap crossover going 187 on all these other rappers whereas the industrially raw “Creepin’ It Real” talks about being an artist when it comes to murder. “Ugly on the Inside” poses the question of whether or not one sees a good person or someone like him when looking at the mirror while “Snake Oil Salesman” talks about searching for something that isn’t soil.

“Saviour Save Your Breath” hits the halfway mark by suggesting that nothing can be said to change his ways since he’ll always be the same while the infernal boom bap cut “Hell’s Wear the Heart Is” talks about being a certified psycho born & raised staying higher than his city’s abortion rate. “Life Sentence” makes it a mission to let the world know he’s writing his life away when he goes while “Family Portrait” talks about still being out of place even in frame.

The song “Taking Me Places” begins the Rhymebook of the Recently Deceased’s final pages by discussing how creativity has taken him farther than he could’ve ever imagined & daydreaming of slowing down just before “When I Saw You” talks about the only way he’d ever leave this woman he’s obsessed with is in pieces. “Someone Else, Somewhere Else” finishes the LP by tackling the difficulty of accepting the timeline we’re living in no matter the hand you’re given.

It was hard to tell whether when or if Billy Obey would ever release a solo project since Lee Carver previously dropped Massacre Mask & The Backstabber’s Handbook prior to him joining Alla Xul Elu but regardless of whether or not Joey Black decides to put out a solo effort now that Xul left Majik Ninja Entertainment couple months ago, Rhymebook of the Recently Deceased makes for a properly great introduction of what Bill Now the Science Cow can do on his own with the industrial boom bap sound A.X.E. is known for & their lyrically wicked lyricism.

Score: 4.5/5

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Alla Xul Elu – “Gods of Evil Rise” review

It’s finally here! The 6th studio LP from Ohio horrorcore trio Alla Xul Elu. Consisting of Billy Obeyas well as Joey Black & Lee Carver, they broke out a decade ago as a duo by releasing their first 2 albums Head of Horns & Sci-Co that same year. This was followed up with their 4/20-themed debut EP Necronomichron in 2017 & adding Carver into the fold shortly after, but it wasn’t until Twiztid signed them to Majik Ninja Entertainment in 2018 when the Xul Boys’ music got increasingly better. Their MNE debut The Almighty is unquestionably the greatest horrorcore album of the 2010s, their 2019 sophomore EP Church of Xul took a much darker approach, Mauxuleum made it in the top 10 of my Best Releases of 2020 list despite them ditching their signature boom bap sound for a more industrial, trap metal direction & Necronomichron 2: Dead by Bong was a superior sequel to their 4/20 EP. The Magic Xul Bus was a dope prelude to a body of work that’s been a long time & Mike E. Clark has finally teamed up with them to watch the Gods of Evil Rise.

After the intro, the first song “Paint the Town Red” is this rap rock intro talking about leaving 36 muhfuckas dead in their city whereas the 2nd & final single “Horns Over Halos” references 2-time WWE Hall of Famer, former 6-time WWE Champion, 2-time WWE Intercontinental Champion, 2-time WWE United States Champion, 5-time WWE Tag Team Champion & NWA World Tag Team Champion Stone Cold Steve Austin and NXT commentator, 2-time WWE Hall of Famer, 6-time WWE world champion, 4-time WWE United States Champion, 14-time WWE tag team champion, 2-time WWE Hardcore Champion, RoW Tag Team Champion & TNA World Tag Team Champion Booker T.

“The Cleansing” infernally talks about the sky being cracked in half with absolutely nothing we can do about it whatsoever prior to the lead single “‘Till We Meat” wickedly gets in their storytelling bag discussing the names of the people they’ve killed looking at the Tinder app. “Light Up My Life” describes the feeling of being trapped in one’s own skin as a prisoner & hiding in another’s playing the songs they liked while “Let It Burn” calls out the hypocrisies of the churches.

As for “Suicide Drive”, we have Xul menacingly talking about commuting vehicular suicide since the death mobile needs a ride & they can be caught at a high speed just before “God Damaged” turns up the rap rock influences suggesting this being unavoidable & enjoy it sitting back. “Make Believe” talks about the possibility of the trio never making it to heaven & I can relate to that theme personally when I’m at my lowest, but then “Spill Your Guts” feels more like a skit.

“Herd the Horde” fuses g-funk, horrorcore & boom bap together asking what you’re praying for & to sign your life away while “The Saints” talks about the only guideline in the shadow of death being all life remaining forbidden along with raising the murder rates. “From the Heart” makes a dedication to the lost & lonely ones assuring they’re not alone whatsoever surviving amongst their better judgments & “Wave Goodbye” serves as this humorous skit used as an outro.

Being in the works for several years at this point & many thought it wouldn’t ever see the day, it lived up to my expectations reaching the bar The Almighty had set 7 years ago with another generational horrorcore classic & their final MNE release to focus on continually building LLE as it’s own thing. Mike E. Clark’s production top to bottom is still as creative when working with Psychopathic Records founders Insane Clown Posse & Top Dog Records founder Kid Rock’s, bringing Xul’s well-crafted horrorcore lyrics to life soundtracking it.

Score: 4.5/5

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S.O.N. – “The Bastard Son” review

This is the sophomore effort albeit Long Live Evil debut from Sharon, Pennsylvania emcee S.O.N. notable for his associations with the Legion Realm & the Hivemind movement. His popularity started to grow in the summer of 2021 after releasing his debut album Grant Us Eyes & performing at the 21st annual Gathering of the Juggalos. I got to meet him after his set at the only Gathering that I’ve been to thus far & with the news of him signing to LLE couple years ago, The Bastard Son’s time has arrived.

After the “Invocation” intro, the Billy Obey-laced title track l gives praise to the beast that weeps over an ominous boom bap instrumental whereas “Requiem” featuring Billy Obey himself finds the 2 talking about setting fire to the church at an act of remembrance. “Sulfur” discusses feeling that very chemical on his lips whenever he raps & after the “Hanged Man” skit, “Where Fear Lives” awakens in a field of blue roses no longer telling what’s real & what isn’t.

“Under My Skin” returns to the boom bap talking about producing new life just before “Tenebrous” angrily warns that the Legion Realm will always remain undefeated. “Absolution” featuring Keagan Grimm we’re all cattle for the cause left counting our scars & feeling worthless having no direction or purpose but after the “3 of Swords” skit, “Fire Walk with Me” talks about burning inside due to everlasting flames.

To get the final leg of The Bastard Son going, “The Rot” keeps it boom bap vividly painting the image of decay throwing up his arm & being in it’s clutches while “Apocalyptic” featuring Stray Withers sees the pair talking cleansing the Earth with fire. “Death” produced by Slasher Dave speaks of the sky falling & the calling being inescapable leading into “Thy Will Be Done” finishing up by letting everyone know that they are bound in blood.

Almost 4 years since his breakout debut, S.O.N.’s long-awaited LLE debut continues to usher in a new era of the wicked shit called doom bap & evolving on every redeemable quality Grant Us Eyes possessed from the horrorcore-lyricism to the traditional boom bap production revealing that the fire of truth eventually reveals the Legion Realm will forever reign supreme & Long Live Evil rightfully continuing to bring back a feeling that was lost over a decade ago.

Score: 4.5/5

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Alla Xul Elu – “The Magic Xul Bus” review

This is the 3rd EP from Ohio horrorcore trio Alla Xul Elu. Consisting of Billy Obey as well as Joey Black & Lee Carver, they broke out in 2015 as a duo by releasing their first 2 albums Head of Horns & Sci-Co that same year. This was followed up with their 4/20-themed debut EP Necronomichron in 2017 & adding Carver into the fold shortly after, but it wasn’t until Twiztid signed them to Majik Ninja Entertainment in 2018 when the Xul Boys’ music got increasingly better. Their MNE debut The Almighty is unquestionably the greatest horrorcore album of the 2010s, their 2019 sophomore EP Church of Xul took a much darker approach, Mauxuleum made it in the top 10 of my Best Releases of 2020 list despite them ditching their signature boom bap sound for a more industrial, trap metal direction & Necronomichron 2: Dead by Bong was a superior sequel to their 4/20 EP. Ahead of Camp Xul 4 weekend however, they’re getting the party started opening the doors to The Magic Xul Bus couple months after Astronomicon.

The title track is a grimy boom bap opener to start the EP with all 3 members trading the mic back-&-forth with one another taking the Xuligans on a journey on The Magic Xul Bus itself whereas “Smoke Stop” works in more kicks & snares on top of an ominous loop so they can talk about getting stoned. “Fucked Up” goes for an electronic trap direction instrumentally admitting they’ve been getting too wild at the party that is until “Buried Alive” ends the EP with pianos, kicks & snares getting on the wicked shit.

It’s been rumored for a while now that the upcoming Xul album Gods of Evil Rise produced by Mike E. Clark will be the trio’s final MNE release & hopefully we get an official update on it from A.X.E. themselves during their event at the very end of the week but either way, The Magic Xul Bus is sure to satisfy the Xuligans who’ve been waiting a tad over 3 years to put out new material excluding the Lost Lakes Estates collab effort with their protégés the Super Famous Fun Time Guys about 9 months ago. In only 12 minutes, they return to their horrorcore/boom bap stylings occasionally expanding their sound beyond trap.

Score: 4/5

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