Scum – “Bad Uncle” review

This is the 3rd EP from Denver based Russian-American emcee Scum. Emerging as the founder of the seminal horrorcore label Lyrikal Snuff Productionz, he’s gone on to release 14 albums & a couple EPs on his own, the last 3 full-lengths being in a trilogy called the Dyin’ World Chroniclez. But coming off the Blame Us collab effort with Smallz 1 last summer, the Gorefather’s teaming up with Chapter 17/Psychopathic Records in-house producer Devereaux for his 3rd EP.

The title track is an orchestral trap opener to the EP talking about hearing about a party that he wasn’t even invited to whereas “Way 2 Foul” featuring Smallz 1 finds the 2 recapturing the chemistry of Blame Us by jumping on top of an instrumental with a terrifying atmosphere to it detailing how disgusting or dirty both of them really are. “Lozt” works in some bells & hi-hats confronting those running they mouths that is until “Sick Puppy” featuring LSP alumni/C17’s latest signing Darby O’Trill wickedly promising that those who cross them will get fucked up over a booming trap beat.

“Beyond Salvation” works in some heavy horns & hi-hats warning not to fuck with him or even try to pull up on him prior to “The Selectaz” featuring Chapter 17 founder/Psychopathic recording artist Ouija Macc declare themselves as exactly that over a synth-laced trap beat. “Whatcha Gon’ Do?” nears the end of Scum’s best EP to date with suspenseful wicked shit banger & “Awld Goat” by M.M.M.F.D. comes through with an aggressive closer advising to stay away from old goats with new tricks.

It’s been over a decade since the Gorefather’s first EP Mr. Zipperface & the follow-up Grim Zipper is approaching the 10-year mark next spring, so it only makes sense to make Bad Uncle a charm because it’s easily the best of the 3 he’s dropped to date. Devereaux continues to elevate himself as one of the underground wicked shit scene’s most in-demand producers in recent memory, Scum lyrically is at some of his most grotesque in the best way possible & the features all perform on his caliber.

Score: 4.5/5

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Madopelli – “Stories from the Sanctum” review

This is the 3rd full-length album from California City horrorcore duo Madopelli. Consisting of M.A.D & Ant Dog, the pair have also gone on to drop a couple of mixtapes & EPs ever since forming in 2016. But their Lyrikal Snuff Productionz debut albeit sophomore effort from last fall No Bluffin’ proved itself to be Madopelli’s most refined work to date both lyrically & sonically to the point where they were instantly accepted within the Gorehop realm. However as they get ready to hit the road on the Shadow Snuff tour next week, they’re returning to tell Stories from the Sanctum.

“Welcome to the Sanctum” really sets the tone of what’s to come with some pianos & hi-hats greeting those who dare to enter the sacred place whereas “O Yea” takes a more synth-based route instrumentally talking about being gone with the top rolled down & a blunt in hand. “Cali Grown” has a funkier boom bap flare to it as they pay tribute to their west coast roots leading into “Been Straight” featuring Cody Manson jumping on top of hi-hats as well as sub-bass & twinkling keys getting on their California snuff shit.

Going forward from there, “They Don’t Know” gives me a bit of a Memphis rap feel to the beat addressing those who don’t know a goddamn thing about them whatsoever just before “Reflectionz” is a cannier groove asking how they got this far letting & go of the past. “Lost” is more guitar driven getting on some more depressive subject matter, but then “Dark Souls Creep in the Swamp” featuring former LSP alumni & Chapter 17 Records’ newest signee Darby O’Trill goes into rap metal turf bringing it to you hardcore.

“Warning Ya” featuring the Beastmode Warriors goes into cavernous trap territory cautioning that they gon’ find your ass if you slip up while “Pain is Real featuring J Dunja shifts gears by dabbling with a cloudier sound choosing to be something instead of nothing. “Bitch We Smoking” comes through with a euphoric weed smoking banger produced by C17/Psychopathic Records in-house producer Shaggytheairhead while “Look What You Made Me Do” fuses these strings & hi-hats blaming others for their own lives being fucked.

The Gorefather himself Scum reserves his guest verse for last on the minimal trap cut “Chances We Take” pleading not to let your opportunities pass you by while “Problem to the Game” returns to the trillwave by talking about hip hop being unsafe with them around. The final song “Smile Through the Pain” keeps it atmospheric surviving the hard times while the M.A.D. solo cut “Gutted When You See a Scrub” pondering why people feel the way they do over a chill boom bap instrumental. Ant Dog then ties up the album with his own solo joint “Sadistic Symphony” switching up into the trap lane declaring that black magic’s in the wrong hands.

LSP went on one of their most prolific runs ever last year & No Bluffin’ was really a fresh ass way to round it out, but Stories from the Sanctum really takes Madopelli’s artistry to another level & those who have yet to give these guys a shot should be pretty impressed by what they did on their Gorehop sophomore effort. Only a couple features that underperformed, but the stories Ant Dog & M.A.D. tell are more personal than last time as they brought a whole new sound of their own to the underground wicked shit scene.

Score: 4/5

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Mikahl Lawless – “Gangri-La” review

York, Pennsylvania rapper Mikahl Lawless dropping his debut album under Lyrikal Snuff Productionz. Introducing himself in the summer of 2019 off his debut EP Pen to Paper, he would go on to follow it up with Overture for the Ill & Broken Hearted as well as 13 & Kisses to Nowhere until Cody Manson made him a member of his Trife Life collective. Cody eventually introduced Mikahl to Scum, impressing The Gorefather enough to give him an LSP deal of his very own & introduce himself as part of the roster on Gangri-La.

“Stripped” begins with a trap instrumental demanding to put the money in the bag whereas “Snuff the Light” talks about repping Trife Life & Lyrikal Snuff until his very last breath. “Grey” goes for a boom bap vibe incorporating some pianos along the way carrying a curse until he finds his final resting place leading into “Wicked Shit” gets back in his trap bag talking about bringing that horrorcore to your speakers.

As for “Dagger”, we have Mikahl ending the 1st half of his inaugural LP cautioning that he has the temper of a maniac & lifting the clubs up whenever he steps up in that bitch while “On Go” talks about seeing it in the eyes of those who haven’t experienced real grief that they hate him. “Hollow” vents the frustration of feeling angry & fragile at not receiving the real answers he’s been looking for out of others just before “Becoming the Ghost” talks about transforming into a specter.

“Gang” featuring Cody Manson starts the final moments of Gangri-La with both of them living that Trife Life, explaining that their hearts are comprised of love along with anger & pain. “Leave the Planet” sends off the full-length calling for the demons to cleanse the Earth’s evil cancer & to be removed from the world we’re living in. The “forever juggalo” line has also stirred controversy because he used to represent the confederate flag & Insane Clown Posse had a highlight off their debut album Carnival of Carnage called “Fuck Your Rebel Flag”, but I digress.

For a half hour collection of 3 newly recorded songs & 7 tracks that’ve already been released previously as singles within the past couple years, Gangri-La welcomes Mikahl Lawless as newest member of Team Snuff with a full length debut that surpasses his earlier EPs. The production mixes old & new sounds together from boom bap to trap, wickedly holding down the mic by himself throughout a good portion of it aside from the very person who helped him secure a record deal obviously.

Score: 3.5/5

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Madopelli – “No Bluffin’” review

Madopelli is a California City-based duo consisting of M.A.D & Ant Dog. The pair have gone on to drop a full-length debut as well as a couple of mixtapes & EPs ever since forming in 2016, with the last being Everybody’s Poison about a year & a half ago at this point. However after signing to Lyrikal Snuff Productionz this past spring, they’re returning with a sophomore effort backed by the Denver horrorcore powerhouse.

The title track is a trap-laced opener talking about buying themselves straps first thing in the morning with a raspy ass hook whereas “Shoot for the Stars” aggressively disses all of those who said they’ll never make it as far as they have with some great back & forth delivery. Lex the Hex Master tags along for the boom bap-laced “Perfect Chaos” talking about being on the roll, but then The Gorefather himself Scum comes into the picture for the haunting “Snuff Anthem” repping their crew.

Meanwhile on “Straight to the Underground”, we have Madopelli confessing the demons inside taking control of them over an atmospheric instrumental just before “Time is Lost” talking about that being the reason why they be looking up to a killa & the sample throughout is incredibly unique to me. “War is Coming” fuses trap with rock for a couple minutes ready for smoke leading into “Time to Ride” works in an organ talking about fucking the game up.

Insane Poetry accompanies the duo for the eldritch “A Killer’s Diary” getting in their wicked shit back prior to the song “Falling Off” has a more fiery flare to it talking about not taking any Ls anytime soon. The stripped back trap banger penultimate track “We Up Next” finds the duo celebrating the fact that it’s all from here & “Mission Complete” brings the organs back for 1 last hurrah talking about being known to rock stages time & time again.

If you haven’t heard these guys by now, then PLEASE give No Bluffin’ a listen because it’s another reminder of the amazing run that LSP’s been having this year. The production that M.A.D & Tilli Mack cook up together is some of their craziest thus with the lyricism from the duo rightfully sounding ready to take on the world lyrically.

Score: 4/5

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Donnie Menace – “Chainsaws & Boomsticks“ review

Donnie Menace is a 34 year old MC/producer from Stratford, Connecticut who emerged in 2008 off his debut mixtape The Threat & as the leader of the Nitebreed collective. Then came his full-length debut Wrath of a Menace a couple years later, which was followed up with his 2nd tape The Threat 2: Audio Sickness & his sophomore effort Bonded by Chaos. But considering that Russian-American horrorcore veteran Scum signed Donnie to Lyrikal Snuff Productionz & his mentor dropped the Blame Us collab effort with Smallz 1 last weekend, it was only right for him to deliver his highly anticipated LSP debut.

“Talk to the Boomstick” is an organ/boom bap infused opener mixing the wicked shit some some braggadocio whereas “Who Slashed Ya?” is a cool lil horrorcore rendition of the classic Biggie joint “Who Shot Ya?”. “Around Here” returns to the boom bap warning that you should’ve never popped up near his parts, but then the “Theatrikill” remix with J Reno & Lex the Hex Master has the same verses & a new instrumental from Donnie himself that lives up to the O.G.

Meanwhile on “Violating”, we have Donnie over some chilling production talking about people looking at him like he’s Satan himself just before the Nitebreed comes together for the dusty “Brude” to talk about how you’re gonna find out what really happens when titans clash likening themselves to The Brood consisting of Gangrel alongside WWE Hall of Famer, former 11-time WWE world champion, 14-time WWE tag team champion, 5-time WWE Intercontinental Champion & WWE United States Champion Adam Copeland and former 2-time NWA World’s Heavyweight Champion, TNA World Champion, 4-time WWE world champion, 4-time WWE Intercontinental Champion & 9-time WWE tag team champion Christian Cage. “Do You Hear Me Now?” ruggedly calls out his detractors, but then Scum tags along for the grotesque “I’m Choppin’ ‘Em Up” talking about dismembering bodies.

“Low Life” brings back the organs & dusty drums to look back on his success thus far while “Devil in Me” with Claas & Smallz 1 goes into trap territory confessing they don’t know how much longer they can hold their stress inside them. “The Executioner” gets in his storytelling bag with a hair-raising beat while the penultimate track “I’m a Creep” by the Nitebreed is a rowdier cut confessing they can no longer deny being creeps. As for the “Luv 2 Kill” remix with Mr. Grey & M.M.M.F.D., it’s a great closer & my favorite remix of the 2 throughout the album

LSP’s been making a whole lotta noise in the underground this year & the Nitebreed leader’s debut with the label proves that he fits right in with everyone else over there. The production is a step up from his last outing, Donnie himself sounds hungrier than he’s ever been & the performances from the just about every feature that he takes with him for the ride are on par too.

Score: 4/5

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Scum & Smallz 1 – “Blame Us” review

This is the new collaborative album between Russian-American horrorcore veteran Scum & his New Mexico-based protégé Smallz 1, who has been a longtime signee to Lyrikal Snuff Productionz for the last 15 years or so. Of course they’ve been working with one another for a long time & always killed it whenever they popped up together, so it was only a matter of time they dropped Blame Us a week after headline the first night of the Gathering of Dreams.

“Victim” kicks off the whole album with a symphonic boom bap beat attacking those with a victim’s mentality whereas the apocalyptic title track confessing to be the root of every issue. “Never” works in some rock undertones reminiscing on the times one had to lose it all just before the rebellious “March” talking about the Army of Beasts they have.

Meanwhile on “Blood”, we have Smallz & her mentor over some g-funk production detailing a bloodbath prior to “The Tab” embracing a funereal sound confessing to pay such in order for issues to be resolved. “That Kind of Shit” is a piano/string infused banger basically beeping the wicked shit leading into “Needful Things” asks about selling your soul over a glistening trap instrumental.

“Would That Be Alright?” shoots for a more deranging aesthetic expressing their desire to stab while “Rage” aggressively goes back & forth with one another stomping a motherfucker out. The song “What They Say” has a more jazzy, boom bap vibe talking about never giving a fuck about what others think of them while the penultimate track “Hate” is a livid diss towards all their enemies. “Off the Juice” however ends with a depressing tune about drinking & their inner demons.

I knew it was only a matter of time that they put this out on DSPs & if you love all the songs they’ve worked on since 2007, then I highly recommend listening to Blame Us. Scum & Smallz bring the best out of each other lyrically accompanied by some gruesome production.

Score: 4/5

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Insane Poetry – “Violent Art” review

This is the 9th full-length album from Los Angeles horrorcore pioneer Insane Poetry. Originally composed of 6 members members from 1988-2003, the named would be carried on solely by their Day 1 frontman Cyco ever since. But since 2010, he’s made himself quite at home with Lyrikal Snuff Productionz. Especially his last album Wicked Killagraphy a year & a half ago, which is already being followed up by Violent Art in light of The Generations of Snuff Tour.

“Museum Stabbing” is a soulfully produced opener thanks to the homie Dead Heat with Insane Poetry talking about how there’s no limits to this kind of art which I respectfully agree with to a certain extent, but then “I Wrote a Book About It” works in a misty boom bap instrumental telling the listeners what he did to leave them under the Earth or to make your jugular squirt. Donnie Menace tags along for “I Spent a Whole Summer” shoots for a more cinematic approach in terms of sound to talk about strategizing whereas the Cody Manson assisted “8 Weeks” returns to soul territory confessing they hear this woman’s voice in their head even after she’s been dead for that long.

As far as “On Demon Time” goes, we have Lex the Hex Master accompanying Cyco over a beat with some rock undertones to it to belittle their lyrical competition leading into M.M.M.F.D. spitting that wicked shit on “What’s the Body Count” returning to the boom bap. “Out the Cage” with Claas switches onto the trap lane talking about their killer instincts being let loose while the song “Who” takes a dustier route revealing himself to be the one who has everyone tuned in his art of violence. “Lay ‘Em Down” brings in some attracting piano melodies promising to body you where you stand & “Mask Down” is a soulful closer telling the wankstas that this isn’t their vacation.

LSP’s been on a ROLL this year now that Darby O’Trill dropped his Devereaux-produced 4th album Gully & even Cody Manson putting out his sophomore effort E=MC Skelter last Friday. Now that we have Violent Art, it’s an equally great follow-up to Wicked Killagraphy. I think his production choices are still continuing to improve & the performances from not only him, but every feature deliver some consistently murderous verses.

Score: 4/5

Cody Manson – “E=MC Skelter” review

This is the sophomore album from Cleveland emcee Cody Manson. For the last few years now, he’s been on one Hell of a meteoric rise in the underground whether it be him signing to Lyrikal Snuff Productionz or dropping his full-length debut Psychoactive on Christmas Day a couple years back to widespread acclaim. But in light of his birthday & The Generations of Snuff Tour kicking off last weekend, Cody’s celebrating by dropping E=MC Skelter.

“Shiv” is an explosive trap opener produced by Devereaux & Lex Luger of all people talking about fucking people up whereas “Snuff Flick” with Darby O’Trill finds the 2 eerily proclaiming that they’ll turn your party into a horror movie real fast. “Un-Birthday” takes a more vibrant trap route thanks to $crim of the $uicideboy$ welcoming everyone to his funhouse, but then Slasher Dave laced up the bombastic “Gross” detailing a figment of Cody’s imagination.

Meanwhile on “Goat”, we have Cody returning to the trap sound talking about having to get his paper right leading into “No Talkin’” ominously following up the “Free Huncho” spoken word interlude by advising everyone that you gotta be taking risks to win the game. “Jackie Chan” aggressively talks about him kicking doors down in the same vein as the titular actor just before “Hockey Bag” fuses some bells & hi-hats reminding that he really got it out the gutter.

“Voices” has this incredibly hellish atmosphere to the production talking about being on the brink of insanity prior to Ghostemane tagging along for the heinous “Feeble” with both MCs confessions their demons got the best of them. The song “Thrillz” shoots for a morbid aesthetic explaining the things we do to chase such while the penultimate track “Love Me” is a trap-heavy ballad touching on heartbreak. “Tears of a Clown” however ends the album with some groovy guitar licks admitting he can’t hide from attention or run from fame.

I always love seeing artists outdo themselves with each album they put out & that’s exactly what Cody does on E=MC Skelter. The production has improved tremendously compared to Psychoactive, the lack are a features are a nice touch since they were all over the debut & Cody lyrically is the best he’s ever sounded.

Score: 4.5/5

Darby O’Trill – “Gully” review

Darby O’Trill is a 29 year old MC from Key Largo, Florida who came up in the fall of 2018 off his full-length debut Blood, Guts & a Whole Lotta Love. This was followed up with Fester almost a year later, but it wasn’t until a few months after the pandemic hit where Darby enlisted Chapter 17/Psychopathic in-house producer Devereaux to fully produce his 3rd album Piecemeal to critical acclaim & I’ll forever be grateful that he gave yours truly a shoutout on the closer. But in light of him signing to Lyrikal Snuff Productionz over the fall, Darby & Devereaux are back at it again for his 4th full-length outing.

“Enter the Swamps” is a bass-heavy opener talking about a spot in the swamps where the bodies rot whereas “Terrorizer” gets on his murderous shit over a morbid instrumental. Shaggytheairhead & Yung Strife tag along for the cold “Mac Meaties Burgers” talking about giving no fucks just before the bombastic “Down by the Lake” details how it’s been a long day digging graves.

Meanwhile on “Casey Becker’s Dead”, we have Darby warning everyone that you can’t escape him over an instrumental with an incredibly morbid atmosphere to it leading into “Your God’s an Awesome Fraud” going into more trap territory advising that praying isn’t gonna save you from being killed. Damien Quinn comes into the picture for the piano/bass infused “Bonechillers” returning to their serial killer bag, but then “Forget the Pigs, Feed ‘Em to the Fish” comes through with an outstanding sequel to “I Think You’d Make Excellent Pigfeed” off his last album Piecemeal.

“Puddlemane” details how disgusting he is over an unsettling beat while “Sack Full of Rotting Heads” works in some bells & pianos talking about making his victims suffer. “Sunderland’s Wunderland” has a more suspenseful tone to the production as he twists the lid off the chemicals while “Big Idiot Shit” with Cody Manson finds the 2 over some heavy bass yet again talking about breaking jaws before their balls dropped.

Following that, “Welcome to Primetime” tells the story of Darby falling asleep & seeing a man in a chair who’s been waiting for him over an occult instrumental while “3 Skulls with Blood” goes full blown trap metal talking about all his desires hurting him. “In the Kingdom of the Possums” takes a more murky trap route asking to bury him while “Swampicide” with Scum describes the voices in their head accompanied by a slow yet foggy beat.

Jigsaw Killa’s verse on “The Kirsten Dunst Experiment” has to be my least favorite feature on the entire album even though I love the concept of the problems they have as well as the rugged production while “Tainted Blood Courses Through My Veins” has an icier sound proclaiming the wicked shit will never die. Yung Strife returns for the song “Christ of the Blockheads” to get ready for combat over a blaring instrumental while the penultimate track “Body in a Void” with Insane Poetry sees the 2 talking about laying asses down in a hole over a bloodcurdling trap beat. “When Dust Becomes 1 with the Dirt” ends the album with a guitar & some hi-hats expressing his desire for the pin to be taken away.

I’ve been looking forward to this album for a little over a year now & in the end, Darby gave us his magnum opus with Gully because this is a modern horrorcore classic & further cements him as the future of the wicked shit. Devereaux’s production is a lot more darker than his more recent work with Ouija Macc & as far as Darby’s lyricism goes, he’s at his most macabre.

Score: 4.5/5

Scum – “Dyin’ World Chroniclez 3: Black Soulz” review

Scum is a 41 year old MC from Denver, Colorado known for founding the seminal horrorcore label Lyrikal Snuff Productionz. He’s gone on to release 13 albums on his own, the previous being the first 2 installments of the Dyin’ World Chroniclez trilogy Grey Skiez in the spring & then Red Groundz in the summer. But at last, The Gorefather is rounding out the trilogy with his 14th full-length offering.

After the intro, the first song “Keep It Bloody” is an apocalyptic opener getting murderous whereas “Curbside” with Cody Manson & Darby O’Trill finds the trio on some murky trap shit talking about leaving their opposition in a bag. “Dues” follows it up with a rap rock banger describing what he wants to see at his shows leading into Jade the Nightmare tagging along for the triumphant title track talking about being angels falling from the sky.

Meanwhile on “Tx4l”, we have Scum returning to trap turf continuing the themes of murder just before “Dumb” wickedly fires shots at all any stupidity that comes his way. “Mizundastood” perfectly lashes out at all those who be talking shit about juggalos, but then “Ain’t Shit” works in a bass-heavy Devereaux beat to diss any bum wanting to go up against them.

The song “Wake Up Dead” continues to delve further into the topic of death over a morbid instrumental while the penultimate track “Respekt” featuring ILLtemper & Tragik sees the trio on top of some strings talking about wanting their props. “Disrespekt” with Smallz 1 ends the album with a counterpart to the previous cut except this one’s a lot more grimier in my personal opinion.

Now that the Dyin’ World Chroniclez trilogy is complete, I’d have to say it’s amongst some of Scum’s best material in his ever-growing discography & Black Soulz is a solid finisher. I could’ve done without half the features (the only ones that really stood out to me are the 3 LSP signees), but I do appreciate how he connects the gap between the last 2 installments.

Score: 3.5/5