Axe Murder Boyz – “Fatality” review

The Axe Murder Boyz are a duo from Denver, Colorado consisting of brothers Young Wicked & Bonez Dubb. The 2 have been making music together since the late 90s, but didn’t make their breakthrough until the mid-2000s when the Insane Clown Posse signed them to Psychopathic Records. They went on to release 3 albums & an EP with them before signing to Twiztid‘s label Majik Ninja Entertainment on New Year’s Eve 2016. Last we heard from the siblings was in 2018 with their 8th album Muerte & as we get close to the halfway point of this year, they’re back with their 6th EP following their Astronomicon debut.

After the intro, we get right into the title track. Where Young Wicked & Bonez Dubb talk about killing their competition over a bassy trap beat from Young Wicked himself. The song “Cantfxckwittus” with Jamie Madrox sees the 3 talking about how MNE’s running the underground over a morbid instrumental while the track “Nothin’ 4 Free” talks about how nothing in hip hop is ever granted to you over a flute-inflicted trap beat.

The song “Murda Shit” gets on the horrorcore tip over over a trap beat with some creepy bells while the penultimate track “Runnitup” is a celebratory banger about their hustle. The EP finishes off with “We Up”, where the siblings talk about their success over a punchy beat with haunting piano loop.

AMB’s been one of my favorites out of Colorado for a while now & this EP just goes to show it. Young Wicked’s production continues to elevate over time as does the chemistry with his brother Bonez Dubb. If they have a new album together in the chamber & this is just a taste of what’s to come, then I’m really looking forward to see what they do on there.

Score: 4/5

Twiztid – “Mad Season” review

This is the surprise 13th full-length album from Detroit hip hop duo & Astronomicon founders Twiztid. Originally starting off as members of the House of Krazees with The R.O.C. before disbanding in 1997, Jamie Madrox & Monoxide were taken eventually under the wings of the Insane Clown Posse & signed to Psychopathic Records shortly after. They ended up staying with them for 15 years & sporadically wrestled during the first few years after Juggalo Championship Wrestling (JCW) was formed, leaving at the end of 2012 to form their own label Majik Ninja Entertainment in 2014. They’ve released 3 full-length albums on their own since & with the 1 year anniversary of their previous one Generation Nightmare coming this weekend, Jamie & Mono decided to hit us with Mad Season out of the blue.

The opener “Off W/ They Heads” finds the demented duo talking about the occult over a nocturnal trap beat from Young Wicked whereas the next song “Do This 1 More Time” talks about being mentally unstable over a bombastic instrumental. The track “Everything’s Cursed” stays on the horrorcore tip over a rubbery, supernatural beat while song “That’s What They Be Telling Me” airs out the things being heard to them over a groggy trap beat from Godsynth.

The track “F Feelings“ tells their opponents to do their worst over a suspenseful instrumental then the song right after is the latest installment of the “Wasted” series of party anthems that Twiztid does & it’s just as decent as the previous 3. The track “Follow Me” with Hyro the Hero sees the trio talking about feeling electrified over some unsettling bells backed by a set of snares & then there’s the “Hungry Like the Wolf” cover, which Jamie & Jimmy Urine both do a great job at surprisingly.

The song “Never Change” finds Monoxide declaring himself a rebel & Jamie addressing the duo’s falling out with ICP over an haunting piano-trap beat from ScatteredBrains while “Fuck Wit Us” is a Triple Threat cut about smoking weed over an instrumental with an uncanny feel to it. The song “My Bible” with Stevie Stone & Young Wicked sees the 4 talking about bringing smoke over a prominent organ loop while the penultimate track “Slo-Mo” talks about being under the influence over a woozy boom bap beat. The album finishes with “4Get U”, where Twiztid hooks up with Ekoh & Young Wicked to fall about being done dirty in the industry over these icy keyboards.

As solid as Generation Nightmare was, this new album is even better in my personal opinion. I really like how the demented duo sound angrier & return to a more hip hop-based sound on here in contrast to the previous effort attempting to appeal to that Warped Tour crowd.

Score: 3.5/5

The R.O.C. – “Monsters Ain’t Real” review

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The R.O.C. is a horrorcore veteran from Detroit, Michigan who got his start as a member of the House of Krazees with Jamie Madrox & Monoxide. When the latter 2 went onto form the duo Twiztid & sign with Psychopathic Records, The R.O.C. hooked up with Skrapz to put out 1 last album under the HOK name before starting a duo of their own called HaLFBrEEd. Although they would only release 1 official album under the HaLFBrEEd name titled Kontamination, it would go on to become a horrorcore classic. Then in 2008, he signed to Psychopathic’s now defunct Hatchet House sub-label & put out his Welcome to the Darkside EP before “retiring” the following year. Eventually, The R.O.C. returned to making music in 2012 & signed to Majik Ninja Entertainment in 2014. His long awaited 3rd album Digital Voodoo finally saw the light of day in 2017 & would go down as his magnum opus in my personal opinion but 2 & a half years later, the Astronomicon mainstay is treating fans with his 6th EP.

After the “Have Some” intro, the first song “From Beneath” finds The R.O.C. comparing himself to a demon to over an orchestral trap beat. The track “A Dream” talks about being in a nightmare over a frightening instrumental from Eric Davie while the song “The Chase” talks about being hunted down over a demented instrumental. And then before the “Next Time” outro, the title track paints a vivid picture of insanity over an electronic-tinged instrumental.

If we’re getting a new full-length album from The R.O.C. in 2020, then this is a fantastic appetizer for the main course because he’s really been putting it down for the 313 for a long ass time yet doesn’t get the props he deserves. He’s always been the most underrated of MNE & this is no exception of proving that from his lyricism getting better with time to his ever-so chilling production skills. Really looking forward to a follow-up to Digital Voodoo whenever that time comes.

Score: 4/5

Alla Xul Elu – “Church of Xul” review

Alla Xul Elu is an Ohio based horrorcore trio consisting of Billy Obey, Joey Black & Lee Carver. They started off as a duo, releasing their first 2 albums Head of Horns & Sci-Co in 2015. 2 years later, Lee joined & they dropped their debut EP Necronomichron that same year. However, it wasn’t until last year that the Xul made their biggest break to date with Twiztid signing them to their label Majik Ninja Entertainment. Their latest album/MNE debut The Almighty that dropped last fall is a modern horrorcore masterpiece in my eyes & now to accompany Twiztid’s brand new album Generation Nightmare, the 3 are back with their 2nd EP following their appearance at the 2nd annual Astronomicon.

After the “Welcome” intro, the first song “In the Church of Xul” slowly yet sinisterly tells us what goes in their world whereas “We Are One” advises you to believe over a nocturnally atmospheric boom bap fusion. “Preay” gets more murderous lyrically over a nocturnal instrumental while “To the Tome of the Black Tongue” hauntingly talks about possession. “The Goddamned” nears the conclusion by continuing the murderous themes & “Xuligans” finishes with a tribute to their fanbase with an old school boom bap approach to the beat.

Despite being an EP, this is just as fantastic as The Almighty & would prefer this over Generation Nightmare since it exemplifies why Alla Xul Elu has become the most exciting horrorcore act in the past year or so. It sounds a lot darker than that previous album & I love how they hold it on their own to prove that they’re really are bringing a breath of fresh air in such an underrated subgenre of hip hop.

Score: 4.5/5

Twiztid – “Generation Nightmare” review

Twiztid is a horrorcore duo from Detroit, Michigan consisting of Jamie Madrox & Monoxide. The duo started off as members of the House of Krazees with The R.O.C. before splitting off in 1997, eventually being taken under the wings of the Insane Clown Posse & signing to Psychopathic Records shortly after. They ended up staying with them for 15 years & sporadically wrestled during the first few years after Juggalo Championship Wrestling (JCW) was formed, leaving the hatchet at the end of 2012 to form their own label Majik Ninja Entertainment in 2014. But now coming off the final Vans Warped Tour last summer as well as the 2nd year of their own annual pop culture convention a couple months ago, the demented duo & Astronomicon founders are back on the scene with their 12th full-length album.

After the “Live Forever” intro, we dive into the first song “Phlegm in the Windpipe”. A rap metal fusion where Jamie & Paul pretty much take a jab at society. The track “Speak Of” talks about being unique over an instrumental with some rubbery bass & a quirky synth while the song “Something New” speaks of changing the game over an abrasive beat from MIKE SUMMERS a.k.a. 7.

The track “Siamese Amazement” is a throwback to the punk sound that they dabbled with on Mutant, Vol. 2 while the song “Sick Mind” talks about being insane over a bass-heavy trap beat from Godsynth. The track “Here with the Dead” vents about their stresses over an empowering instrumental while the song “Disappear” talks about escaping drama & the chaotic beat is perfect.

“Bring Me Back” serves as an energetic companion to the previous joint while the song “Magic Spellz” is pretty much a refined sequel to Twiztid’s last attempt at going nu metal on “Nothing to You”, which landed on their previous album The Continuous Evilutions of Life’s ?’s. However I don’t know if it’s just me, but Monoxide kinda sounds like he’s impersonating Eddie Vedder on here.

The track “Livin’ @ the Bottom” talks about celebrating themselves over a Three 6 Mafia influenced trap beat & after the short but motivating Jamie solo cut “Skit 17”, the song “Let It Flow” boasts about their skills over a minimalist beat. The track “Don’t Be Hatin’” with Young Wicked pretty much speaks for itself over a bouncy instrumental while the song “Role Models” makes clever references to all of the celebrities who’ve committed heinous sexual acts lately over a gloomy beat.

“Wreck” to me sounds like a cliched rock song that you can find in a sports video game while the song “If It Matters What I Think Now” is a dedication to people who have their backs over an acoustic guitar passage with some drums thrown in. The track “4 the Nightmare Children” is a grimy ode to the outcasts & after the “End of the Beginning” outro, the final song “Strike” is a gruesome showcasing of Twiztid’s newly formed supergroup with Alla Xul Elu called the Venomous 5.

At first in felt that Generation Nightmare was better than Fearless Fred Fury because I was disappointed with it altogether even after the fact that parts of the “Fury!” video were filmed at my uncle’s store. However the more I’ve sat with it, I happen to find myself going back to Fearless Fred Fury & even it’s bonus EP Flip the Rat a lot more comparison. The production is kinda catered to that Warp Tour sound which makes sense considering that they performed as part of last year’s Warp Tour lineup & they previously performed in ‘03 Warp Tour, it’s that the results are decent.

Score: 3/5

Gorilla Voltage – “Gods & Claws” review

Gorilla Voltage is a hip hop duo from San Jose, California consisting of Mr. Grey & ClockworC. They originally came up as The Damn Dirty Apes in 2015 & released their self-titled debut that same year, changing their name after Twiztid signed them to Majik Ninja Entertainment on Christmas Day that following year. Their sophomore album Ape-X was released a couple months later & now to kick off 2019, they’re delivering their 3rd full-length album after appearing at the first annual Astronomicon a year ago next month.

The album kicks off with “Handful of Matches”, which talks about arson over a bass heavy beat. The next track “Ape Shit, Pt. 2” serves as a menacing sequel to a highlight off their 2015 debut while the song “Let Go” with Dot Bundini reflects on their past over a boom bap beat with some sinister horns. The track “Good Die Young” talks about how ruthless they are over a boom bap beat with some strings while the song “War Zone Dome” talks about internal conflict over a chaotic beat. The track “Generation Fool” is an adrenaline pumping take on rap metal while the song “Westilence” is filled with vicious battle bars over an instrumental with a prominent tuba.

The track “Feeding Time” brags about them taking over the game over a sinister beat while the song “Rocks in My Socks” talks about drug dealing over a hyphy beat. The track “Spaz Out” is a flawless mosh pit anthem while the song “Doomsday” vividly describes an apocalypse over a booming instrumental with some 8-bit synths. The track “Mad Scientist” with Kung Fu Vampire is a lyrical onslaught over a thumping beat while the song “Pub Crawl” is a flawless display of the duo’s chemistry over a chaotic beat. The penultimate track “No Rivalry” tells the story of a robbery over a monstrous beat & then the closer “Hatefuck” is a beautifully slow, smooth & melodic love anthem.

Ringing in the new year for MNE by delivering their best work yet, Gods & Claws makes some great improvements above Gorilla Voltage’s debut a couple years earlier a while after securing their label deal & dethroning The Damn Dirty Apes. There are some occasional weak spots here & there, but the production & lyricism have both stepped up for the most part & I also love how ClockworC & Mr. Grey take on many different styles of hip hop on here.

Score: 4/5

G-Mo Skee – “Chaly & the Filth Factory” review

This is the sophomore effort from Richmond, California lyricist G-Mo Skee. Emerging as a member of the trio Stampede & later the Inf Gang. He would drop 2 official mixtapes Got Filth & Got Filth II: The Great Adventures of G-Mo independently before Twiztid signed him to Majik Ninja Entertainment in 2016. His full-length debut My Filthy Spirit Bomb coming out that same winter to significant acclaim & coming off the 8 Bit Filth EP that dropped after the first annual Astronomicon, it’s time for Chaly & the Filth Factory.

After the “Moldy Ticket” intro that parodies, the first song “Ocarina of Crime” sees G spitting some gritty battle bars on here over an eerie instrumental from MIKE SUMMERS a.k.a. 7 (who produced a bulk of the album). I also love the g-funk synthesizers that pop up during the hook. The next track “Filth Factory” takes the listener inside of his head over a punchy instrumental with some keyboards while the song “Filthy Wonka” has a flute-tinged boom bap beat as well as hilarious bars like a wack rapper’s album going triple styrofoam & getting jumped if you’re hating on him front row at his concerts. Coincidentally, G was on tour with the CES Cru earlier this year & there was an incident where a hater made it past the security gate in front of the stage & G literally kicked him in the face.

The track “Ninja Money” is about his filthy style referencing 2-time IWGPタッグチャンピオン, inaugural 2-time TNA World Tag Team Champion, NWA World Tag Team Champion, WWE Hall of Famer & 18-time WWE tag team champion D-Von Dudley while the song “Mad Hatter” is a jab at all of those biting him over an instrumental with a more vintage West Coast feel to it. The track “Ghost Town” sees him cursing out those who doubted him & did him wrong throughout his career over a somber beat while the song “Front Seat” gets murderous over an eerie instrumental.

After the hilarious Oompa Loompa song parody during the “Midget Army” skit, we go into the track “Laughin’ At You”. Here, G-Mo hooks up with the album’s mixer The Jokerr alongside the legendary Vinnie Paz talks how they don’t take you seriously over a killer rap rock beat. The song “Grouch” talks about how he woke up mad over some bass & a Latin guitar including a reference to 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 while the track “Bring It On” is an Inf Gang posse cut that’s just overall nasty & in-your-face.

“Wavedash” with Kevin MacLane sees the 2 talking about enjoying the better days over a smooth instrumental while the track “Don’t Wait” compellingly advises the listener not to let their dreams go to waste over a booming instrumental with some gloomy keys with some synthesizers added during the hook. The song “I’m Underground” tells you how filthy he is over a sinister piano-boom bap beat from C-Lance & before things finish with a 40 second outro, the final song “Filthy Imagination” is about how insane he is with a hilarious hook parodying the “Pure Imagination” song.

I’ve been very open about Majik Ninja Entertainment being one of the hottest labels out right now & not only is this one of my favorite albums from them, but I’ll even say it’s the best thing G-Mo Skee has ever done. He truly crafts his magnum opus with a humorous concept parodying the classic 1973 film Willy Wonka & the Chocolate Factory with selected fans portraying the 5 ticket winners & refining the hard-hitting production & sharp lyricism that were present on his last album

Score: 4.5/5

Boondox – “Dirty Days of Night” review

Boondox is a 40 year old rapper from Covington, Georgia who first came onto the scene in the Early 2000s as Turncoat Dirty. He then changed his moniker after signing to Psychopathic Records from 2005 & remained with them until 2015. Eventually he would sign to Majik Ninja Entertainment in 2016 & is still on the label to this very day. Since about 2012, Boondox has been teasing the idea of making music under his original Turncoat Dirty moniker & he is now finally doing it with his 3rd EP

After the intro, we go into the first song “Frank Castle”. Here, he talks about doing Satan’s bidding over a murky trap beat. The next track “Excuses” is pretty gritty in terms of songwriting & the production, but I don’t like the execution. The song “Desert Evil” gets murderous about over some a trap beat with a somber guitar in the background while the track “The Rage” with Redd sees the 2 talking about fighting over a rap rock instrumental & it’s just ok. The song “Knockin'” is about the devil coming for him over an eerie instrumental & the penultimate track “Unstable” issues warning not to mess with him because of how crazy he is over a thunderous beat. The EP finishes with “Chronicle”, which is a story about murdering someone over an instrumental a gloomy piano instrumental.

Turncoat Dirty’s return has been a long time coming but at the end of the day, I think this is a solid way to hold fans off until Demonic Woods drops later this year. There are a couple mediocre tracks but the horrorcore/gangsta rap lyrics are mostly in your ace & while I didn’t expect him to take on the trap sound on a few tracks at all, the production does enhance the grittiness of these lyrics very well

Score: 3.5/5

G-Mo Skee – “8 Bit Filth” review

In front of us is the 2nd EP from Richmond, California lyricist G-Mo Skee. Emerging as a member of the trio Stampede & later the Inf Gang. He would drop 2 official mixtapes Got Filth & Got Filth II: The Great Adventures of G-Mo independently before Twiztid signed him to Majik Ninja Entertainment in 2016. His full-length debut My Filthy Spirit Bomb coming out that same winter to significant acclaim, teasing Chaly & the Filth Factory with 8 Bit Filth after making an appearance at the first annual Astronomicon.

“Final Boss 2” is a sequel to the song on his 2012 sophomore mixtape Got Filth 2: The Great Adventures of G-Mo & I think this is a lot more grimier than the original from the production to the lyricism. The next song “Skate” is filled with confrontational battle bars over an Atari-esque boom bap beat while the track “Glitch” sees G getting with the Inf Gang to talk about about making it over a spacious beat.

The song “Trouble” is an angry reminder that you don’t wanna fuck with G-Mo over a sinister beat from Godsynth while the title track is basically about his haters & his longevity over a boom bap beat. The song “Fade Up” with Crowda, Jamie Madrox & King Gordy is about weed over a murky beat while the penultimate track “Can’t Lose” is a triumphant ode to G’s success. The EP then finishes with “Final Stage”, where G spits battle bars over a sinister beat.

As a whole, this is a fantastic prelude to G-Mo Skee’s next album & in general professes itself in being a love letter he has for video games which I appreciate being someone who enjoys gaming as much as listening to music. His filthy confrontational bars are raw as ever, the guest list is & the video game samples (which is why you can only get the EP exclusively at the MNEStore website) are creatively used catering to the sound G has become notable for.

Score: 4.5/5

L.A.R.S. – L.A.R.S. (Last American Rock Stars) review

After signing to Majik Ninja Entertainment in August of 2016 & dropping a free prelude mixtape called Foul World on Devils Night of that same year, Detroit horrorcore duo L.A.R.S is now dropping their full-length debut. After a 1 minute intro, we then get into the first song “Stomp”. Here, King Gordy & Bizarre both talk about fucking people up over an eerie beat. The track “Just Got Out the County” with Fury talks about them getting arrested for doing wild shit over a menacing beat, but the hook is kinda annoying. The song “Cocaine in Miami” talks about partying in Miami over a smooth beat with some synths & the “LARS Spangled Banner” interlude sees Gordy doing his own rendition of the United States National Anthem, but it’s just so mediocre.

The track “Lit” is a club banger with a trippy trap beat & the song “California” talks about going to Cali to ease their minds over a rap rock beat. The track “Rock n Roll” with Majik Ninja founders Twiztid talks about how wild they are over a grimy beat from L.A.R.S.’ DJ & honorary 3rd member Foul Mouth. The song “Suicide” has an eerie soul sample all over it & Gordy has some funny ass lines during his verse near the end, but the first verse from Bizarre didn’t really do much.The “Moshitup” interpolation during the hook wasn’t too surprising, but I liked it generally. The track “Ganja Man” is a reggae inflicted weed song, but it’s just ok. The song “No Lights” talks about their early life in the ghetto over some smooth bass & some keys. While endearing, the reference to The Pharcyde’s “Passin’ Me By” during the hook is just ok. The penultimate track “Start a War” with G-Mo Skee, Trizz & Twista gets confrontational over an explosive trap beat & the closer “I Believe I Can Fly” gets motivational over a beautiful piano instrumental from mR. pOrTeR.

As a whole, this is one of the best releases in both King Gordy & Bizarre’s catalogues. Sure there are some weak moments, but it’s more refined than the prelude tape from the production to the duo’s performances & their ever so natural chemistry. I’ll say it here like I did in my Foul World review, but here’s to hopefully some solo albums from both members because they fit with Majik Ninja very very well

Score: 3.5/5