Rome Streetz – “Trainspotting” review

London, England, United Kingdom born & Brooklyn, New York raised lyricist Rome Streetz enlisting Conductor Williams for his 10th studio LP. Emerging in 2016 off his debut mixtape I Been Thru Mad Shit, this was followed up by a plethora of projects with the most notable being the Noise Kandy tetralogy & Headcrack. These past couple years however we’re probably his biggest ones yet, as he dropped some of the best work of his career from the DJ Muggs-produced Death & the Magician or the Futurewave-produced Razor’s Edge to the Ransom-assisted collab effort Coup de Grâce & the Griselda Records deal that followed. His debut with the Buffalo powerhouse Kiss the Ring alongside the Big Ghost Ltd.-produced Wasn’t Built in a Day both made the top 10 spots of my last couple Best Of lists & Hatton Garden Holdup produced by Daringer became a flawless spot in my top 5 of 2024 last winter. Mass Appeal Records in the midst of their upcoming 7 album series has locked in with both GxFR acts to go Trainspotting.

“Andre Agassi” sets the tone with a gully boom bap instrumental making reference to one of the greatest tennis players of all-time whereas “M*A*S*H” homages the Paramount Skydance Corporation-owned CBS sitcom of the same name holding the record for the most-watched series finale of any TV show. “Runny Nose” dustily gets in his pyrex bag talking about moving weight until “Ricky Bobby” featuring Method Man takes it’s name after the main character of the classic film Talladega Nights.

Meanwhile on “Blood in Boogers”, we have Rome running more laps around the whole game lyrically maintaining the traditional boom bap sound instrumentally while the single “Rule 4080” reiterates what A Tribe Called Quest taught everyone 3 decades ago. “Died 1,000 Times” aquatically suggests to stack more instead of spending the income quickly just before “Heartbreaker” chops up a soul sample to talk about breaking another hearts once again.

“10 Toes” featuring Jay Worthy psychedelically unites the pair to discuss their commitment to the game leading into “Connie’s Revenge” talking about putting your favorite rapper’s neck on the chopping blocks. “99 Attributes” soulfully gears up to smoke whole entire record labels comparing his bars to coke while “Joe Pesci” makes comparison to the actor & best friend of Robert De Niro in the Martin Scorsese classics Goodfellas, Casino & The Irishman.

The song “Electric Slide” works in a slickly drumless rap rock vibe talking about being in the best form he’s been at in his whole entire career & pushing the output in his discography to prove it, but then “Resource Room” finishes Trainspotting with a woozily jazzy reminding everyone that he’s been on for a grip & I can certainly confirm since I started reviewing him when Joyeria came out on my 23rd birthday 6 years ago already.

Verifying the reality of Rome being on the grasp of fully realizing his potential, Conductor directs the Trainspotting trip & it pushing him closer to a space where when spirited debates around “top 10 MCs lists” are being held. The Heartbreakers member’s production is heavily rooted in the boom bap sound with secondary influences of jazz rap, drumless & rap rock to make Rome’s distinct fashion of putting rhymes together the backdrop they couldn’t deserved more.

Score: 4.5/5

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Powers Pleasant – “Life Sucks” review

This is the official full length debut studio album from Brooklyn, New York producer & DJ Powers Pleasant. A member of the Pro Era & Beast Coast collectives, he’s had a hand in the instrumentals on some of the latter’s output from The Underachievers’ 3rd mixtape It Happened in Flatbush in 2016 to Joey Bada$$’ politically charged sophomore album ALL-AMERIKKKAN BADA$$ in 2017. Powers even came out with his own EP Life is Beautiful & has signed to Mass Appeal Records for the sequel Life Sucks.

“Entro” by Denzel Curry is this cutthroat boom bap opener flexing that he’s the King of the Hill & this Mike Judge his rap skill whereas “Rumble” by Joey Bada$$ works in some horns & hi-hats so he can get violent. “Galore” by DC the Don has some of the weaker performances on the album despite it’s cloudy trap instrumental talking about being allergic to catching feelings, but then “Shmoke” by A$AP Ferg & Armani Caesar finds the pair over a soul sample & hi-hats warning y’all don’t want beef with them.

Denzel Curry, Meechy Darko & Soulja Livin Tru get together for the atmospheric trap joint “Bandoe” flexing that all 3 of them are still boomin’ out the back door just before Joey Bada$$ & SABA team up on the laidback “Ball Alone” talking about not needing any help. “Know Me Now” by DC the Don acoustically sings that he wants to love with no control leading into “That’s Tough” by $not mixing trap & rock discussing doing shit himself tryna find his way.

“Pamper Pamper” by Mike Dimes brings a soulful trap flare to the table pulling out with his homies while “Baby Boy’s Drunk” by AG Club & Audrey Nuna comes through with this annoying attempt at a club banger. “I’m the Shit” by Guapdad 4000 & P-Lo hops over pianos & hi-hats to get boastful while “Wassup” by Jasiah & Tkay Maidza sees the 2 asking what the deal is. “SMH” by Aaron Rose, CJ Fly, Joey Bada$$ & Nyck Caution ends the album repping Pro Era.

The predecessor from 5 years ago Life’s Beautiful was a decent look at what Powers Pleasant’s solo discography could look like going forward & regardless if I didn’t enjoy Life Sucks more than the last EP, I can’t say it’s any worse either if that makes any sense. Powers’ production start to finish is absolutely fine primarily basing itself around a trap sound, the performances during the 36 minute runtime on the contrary tend to be hit or miss.

Score: 3/5

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Heems – “Veena” review | हीम्स – “वीणा” समीक्षा

This is the 3rd full-length solo LP from Queens, New York emcee Heems. Emerging in 2008 as 1/3 of the alternative hip hop group Das Racist, he put out a couple mixtapes Nehru Jackets & Wild Water Kingdom as well as the full-length debut album Eat Pray Thug following their disbandment in 2012. Hima started up his own Mass Appeal Records imprint Veena Sounds & joining forces with the new label’s in-house producer Lapgan on the critically acclaimed sophomore effort Lafandar, now looking to go back-to-back with Veena.

यह क्वींस, न्यूयॉर्क एम्सी हेम्स का तीसरा पूर्ण-लंबाई वाला एकल एलपी है। 2008 में वैकल्पिक हिप हॉप समूह दास रेसिस्ट के 1/3 सदस्य के रूप में उभरते हुए, उन्होंने 2012 में अपने विघटन के बाद कुछ मिक्सटेप नेहरू जैकेट्स और वाइल्ड वॉटर किंगडम के साथ-साथ फुल-लेंथ डेब्यू एल्बम ईट प्रेयर ठग भी निकाला। हिमा ने अपनी खुद की शुरुआत की मास अपील रिकॉर्ड्स ने वीना साउंड्स को छाप दिया है और समीक्षकों द्वारा प्रशंसित द्वितीय प्रयास लफंदर पर नए लेबल के इन-हाउस निर्माता लैपगन के साथ जुड़ रहे हैं, अब वीणा के साथ बैक-टू-बैक जाने की सोच रहे हैं।

After the titular intro, the first song “Ratatouille” is a colorful boom bap opener talking about feeling more confident than ever whereas “Manto” featuring Vijay Iyer works in more kicks & snares turning the jazz influences all the way up treating this shit like as if it’s his mission. “Bourdain” featuring Mr. Cheeks keeps things in the basement instrumentally talking about staying alert & after the “Underbelly” skit, “Rakhi” featuring Ajji & Pavvan dabbles with drill a bit getting boastful.

टाइटैनिक इंट्रो के बाद, पहला गाना “रैटटौइल” एक रंगीन बूम बैप ओपनर है जो पहले से कहीं अधिक आत्मविश्वास महसूस करने की बात करता है, जबकि विजय अय्यर की विशेषता वाला “मंटो” अधिक किक और स्नेयर में काम करता है, जो जैज़ प्रभावों को पूरी तरह से बदल देता है, जैसे कि इस गंदगी का इलाज करना। अगर यह उसका मिशन है. मिस्टर चीक्स की विशेषता वाला “बोरडेन” बेसमेंट में चीजों को सतर्क रहने के बारे में बात करता रहता है और “अंडरबेली” स्किट के बाद, “राखी” जिसमें अज्जी और पाववन की भूमिका है, थोड़ा घमंडी हो जाता है।

“Flowers” featuring Navz-47 goes for a hypnotically spacious Middle Eastern vibe talking about love & after the “Juhi” interlude, the song “Dame” shoots for a dancier groove flexing that he’s wiser than Master Splinter from the Teenage Mutant Ninja Turtles. And prior to the “Righteous” outro, the final song “Banshee” featuring Cool Calm Pete slickly finds the 2 bossing up.

नेव्ज़-47 की विशेषता वाला “फ्लावर्स” प्यार के बारे में बात करते हुए एक सम्मोहक रूप से विशाल मध्य पूर्वी वाइब के लिए जाता है और “जूही” इंटरल्यूड के बाद, गाना “डेम” एक डांसर ग्रूव के लिए शूट करता है जो दर्शाता है कि वह टीनएज म्यूटेंट निंजा टर्टल के मास्टर स्प्लिंटर से अधिक बुद्धिमान है। और “राइटियस” आउट्रो से पहले, कूल कैलम पीट की विशेषता वाले अंतिम गीत “बंशी” में दोनों को जोर से दिखाया गया है।

Lafandar was such an incredible comeback & Mass Appeal Records debut from the former Das Racist member, but Veena matches if not surpasses the same caliber as he did with the previous album he put out at the beginning of the year. Lapgan splits the production fairly with Sid Vashi so Hima can deliver a tribute to his mother.

लफ़ंदर पूर्व दास रेसिस्ट सदस्य की ओर से एक अविश्वसनीय वापसी और मास अपील रिकॉर्ड्स की पहली फिल्म थी, लेकिन वीना उसी क्षमता से मेल खाती है जैसा कि उसने पिछले एल्बम के साथ किया था जो उसने साल की शुरुआत में पेश किया था। लैपगन ने सिड वाशी के साथ उत्पादन को निष्पक्ष रूप से विभाजित किया ताकि हिमा अपनी मां को श्रद्धांजलि दे सके।

Score: 4.5/5

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Ghostface Killah – “Set the Tone (Guns & Roses)” review

This is the 16th full-length solo LP from New York veteran Ghostface Killah of the almighty Wu-Tang Clan. One of hip hop’s most prolific storytellers & easily the most consistent member of the Clan exemplified by Ironman, Supreme Clientele, FishScale, Apollo Kids, 12 Reasons to Die & Sour Soul just to name a few. Ghost’s last album Ghostface Killahs in the fall of 2019 stands as one of the only few duds in his discography along with More Fish & went into his Mass Appeal Records debut Set the Tone (Guns & Roses) here hoping he would make up for that.

Wu-Block links up for the opener “6 Minutes” featuring Jim Jones jumping over a lavish instrumental giving competitors that exact amount of time whereas “Pair of Hammers” featuring Method Man works in some horns cautioning that they throw people in comas & make vegetables in the process. The self-produced “Skate Odyssey” featuring Raekwon with October London on the hook takes a smoother route overall talking about no one comparing to them, but then “Scar Tissue” featuring Nas ruggedly talks the about sun rising to break the day & lifts for a while to give us warmth.

“Kilo in the Safe” chaotically gets in his hustler bag & after the first skit, “No Face” featuring Ye or formerly known as Kanye West returns to the boom bap during the DONDA 2 sessions so both of them can talk about having the ability to take down your whole entire squadron. “Champion Sound” featuring Beniton picks up from there with a decent reggae fusion being able to tell by one’s persona that their mommas used to keep them in the house a lot when they were growing up just before “Cape Fear” featuring Fat Joe brings back the keys, kicks & snares calling themselves the finest in New York.

After the 2nd skit, “Plan B” comes with more of an atmospheric vibe instrumentally to pretty much say on wax that Ghost is done having kids at this point in his life while “Bad Bitch” featuring Ja Rule might be my least favorite song on the album coming off as a tacky pop rap ballad. “Locked In” featuring AZ gets the ball rolling once again smoothly talking about being connected for life & after the final skit, “Touch You” featuring Shaun Wiah fusees pop rap with R&B showing a romantic side to Starks once more.

“Shots” featuring Busta Rhymes & Serani mixes hip hop with dancehall resulting in an average club banger while another weak song on the album “Trap Phone” featuring Chucky Hollywood goes for a cloudier trap atmosphere asking their significant others who else loves them the way they do. After the outro skit, the bonus track “Yupp!” featuring Remy Ma was a lead single that I had mixed feelings over from the mediocre beat to the hardcore lyricism.

Wu-Tang is my favorite group of all-time & anyone who’s been following my platform long enough can back me up on it. That said. Set the Tone is only a couple steps above the previous LP we got from him 5 years ago. There are moments where the production can be commercial, but there are others where it’s sticking to the signature hardcore vibes the Wu is known for. Ghost noticeably sounds more focused than he did last time & the guests perform on his level although a couple of them are lackluster.

Score: 3/5

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Mez – “Loading” review

Raleigh, North Carolina emcee Mez celebrating his 34th birthday by releasing his 5th EP. Emerging in 2010 off his debut mixtape The Paraplegics, he continued to build a name for himself with the Khrysis-produced debut EP The King’s Khrysis as well as the full-length debut My Everlasting Zeal & the sophomore tape Long Live the King. Following a few feature placements on Dr. Dre’s 3rd & final album Compton: A Soundtrack by Dr. Dre, he released a trilogy of 2-track EPs called Data Plan & is returning by signing to Mass Appeal Records to put out Loading.

“Yeah Yeah” begins with a downtrodden sample & later these drums that hit you in the face like a ton of bricks talking about simply wanting a happy home whereas “Humma Time” featuring Childish Major takes the bassy trap route flexing that you can’t diss their drip & to get your own. “Call On” shifts gears into boom bap territory thanks to Tae Beast telling his significant other she’s still who he calls on just before the soulful “Hot Spot” featuring Isaiah Rashad talking about still being connected when they’re gone.

MAVI & SAINt JHN join Mez on the song “Bat Phone” brings back the kicks & snares mixed with a crooning sample explaining just how they got rich referencing UFC Hall of Famer & former UFC Light Heavyweight Champion Chuck Liddell leading into “Devil is a Judge” keeping it boom bap pondering if Satan himself really is the judge or not. Finally, the closing track “Around the World” finishes Loading on a smoother note dedicating it to every southside all across the globe.

There’s no doubt in my mind that Loading will only lead to an upcoming sophomore LP especially after returning from a 4-year hiatus to land the Mass Appeal deal & I’m confident that it’ll be Mez’ strongest studio album to date, especially now you have Loading being nearly as good as The King’s Khrysis. He joins forces with both guests & producers that share his playful sense of soulful musicality & his dedication to the grind preluding something bigger coming down the pipe.

Score: 3.5/5

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Heems – “Lafandar” review | हीम्स – “लफ़ंदर” समीक्षा

Heems is a 38 year old MC from Queens, New York emerging in 2008 as 1/3 of the alternative hip hop group Das Racist. Following their disbandment in 2012, he put out a couple mixtapes Nehru Jackets & Wild Water Kingdom as well as the full-length debut album Eat Pray Thug. However coming back from a 9-year sabbatical, Hima has started up his own Mass Appeal Records imprint Veena Sounds & is joining forces with the new label’s in-house producer Lapgan on the sophomore effort.

क्वींस, न्यूयॉर्क से 38 वर्षीय एमसी हीम्स 2008 में वैकल्पिक हिप हॉप समूह दास रेसिस्ट के 1/3 के रूप में उभरे। 2012 में उनके विघटन के बाद, उन्होंने कुछ मिक्सटेप नेहरू जैकेट्स और वाइल्ड वॉटर किंगडम के साथ-साथ पूर्ण लंबाई वाला पहला एल्बम ईट प्रेयर ठग निकाला। हालाँकि, 9 साल के विश्राम से वापस आकर, हिमा ने अपना स्वयं का मास अपील रिकॉर्ड्स इंप्रेशन वीना साउंड्स शुरू किया है और द्वितीयक प्रयास में नए लेबल के इन-हाउस निर्माता लैपगन के साथ जुड़ रही हैं।

To start us off, “Stupid Dumb Illiterate” admits to being a little bit of an idiot over a Middle Eastern instrumental whereas “I’m Pretty Cool” gives off more of a psychedelic flare talking about how everyone loves him. The album’s 2nd & final single “Sri Lanka” featuring Your Old Droog speak on doing well in the titular country over these woodwinds that is until the jazzy single “Accent” featuring Saul Williams from a couple weeks prior to that gets on the conscious tip lyrically.

हमें शुरू करने के लिए, “स्टूपिड डंब अनलिट्रेट” एक मध्य पूर्वी वाद्य यंत्र के मामले में थोड़ा-सा बेवकूफ होने की बात स्वीकार करता है, जबकि “आई एम प्रिटी कूल” एक साइकेडेलिक फ्लेयर की तरह इस बारे में बात करता है कि हर कोई उससे कैसे प्यार करता है। एल्बम का दूसरा और अंतिम एकल “श्रीलंका” जिसमें योर ओल्ड ड्रूग शामिल है, इन वुडविंड्स पर टाइटैनिक देश में अच्छा प्रदर्शन करने के बारे में बात करता है, जो कि कुछ हफ़्ते पहले शाऊल विलियम्स की विशेषता वाले जैज़ी “एक्सेंट” के गीतात्मक रूप से सचेत टिप पर आने तक है।

“Going for 6” featuring Abhi the Nomad & Sonnyjim finds the trio draws inspiration from Daringer with it’s boom bap beat boasting that they keep the coke at the crib & the 6 people who’re rolling alongside them have sticks just before “Baba Ganoush” featuring Cool Calm Pete & Lee Scott has these eerily plucky sitar tones getting in their battle rap shit. “Obi Toppin’ (Darling)” featuring Kool Keith looks to hijack this soul sample & that’s exactly what both of them get done, but then “Kala Tika” shifts into drill territory talking about being the man in Long Island.

“गोइंग फ़ॉर 6” में अभि द नोमैड और सन्नी को दिखाया गया है। जिम को लगता है कि यह तिकड़ी अपने बूम बैप बीट के साथ डेरिंगर से प्रेरणा लेती है, जिसमें दावा किया गया है कि वे पालने में कोक रखते हैं और जो 6 लोग उनके साथ चल रहे हैं, उनके पास “बाबा गनौश” के ठीक पहले लाठी है। कूल कैलम पीट और ली स्कॉट की विशेषता वाले ये शानदार साहसी सितार स्वर उनके बैटल रैप में शामिल हो रहे हैं। कूल कीथ की विशेषता वाला “ओबी टॉपपिन’ (डार्लिंग)” इस आत्मा के नमूने को हाईजैक करना चाहता है और वास्तव में वे दोनों यही करते हैं, लेकिन फिर “काला टीका” लॉन्ग आइलैंड में आदमी होने के बारे में बात करते हुए ड्रिल क्षेत्र में चला जाता है।

Open Mike Eagle & Sir Michael Rocks join Heems on “Yellow Chakra” over a Bollywood flip with kicks & snares likening their infectious bars to the COVID-19 pandemic while the raw “Porches” featuring Blu & Quelle Chris sees the trio talking about going from jumping off porches to passing torches in Porsches. The sedative penultimate track “Bukayo Saka” details the wild life he lives & “Yo Momma” featuring Fatboi Sharif ties up the LP over strings projecting their fears into their projects.

ओपन माइक ईगल और सर माइकल रॉक्स बॉलीवुड फ्लिप पर “येलो चक्र” पर हीम्स के साथ जुड़ते हैं, जिसमें किक और स्नेयर उनके संक्रामक बार की तुलना सीओवीआईडी -19 महामारी से करते हैं, जबकि ब्लू और क्वेले क्रिस की विशेषता वाले कच्चे “पोर्चेस” में तीनों आगे बढ़ने के बारे में बात करते हुए दिखाई देते हैं। पोर्श में मशालों को पार करने के लिए बरामदे से कूदना। शामक अंतिम ट्रैक “बुकायो साका” में उनके द्वारा जीते गए वन्य जीवन का विवरण दिया गया है और “यो मम्मा” में फतबोई शरीफ ने एलपी को उनके प्रोजेक्टों में उनके डर को पेश करने के लिए बांध दिया है।

Nehru Jackets always stood as my favorite Hima tape & the best solo effort in his discography up to this point, but Lafandar is a comeback with some notable improvements over the previous full-length he last gave us almost a decade ago. Lapgan’s production worthily introduces to a wider audience by giving them a look at how much he’s evolved behind the boards over the course of the last 5 years incorporating various cinematic South Asian samples top to bottom that entertainingly compliment Heems’ trademark laugh-out-loud wit & a consistent tight guest list.

नेहरू जैकेट हमेशा मेरी पसंदीदा हेमा टेप और इस बिंदु तक उनकी डिस्कोग्राफी में सर्वश्रेष्ठ एकल प्रयास के रूप में खड़ा रहा है, लेकिन लफ़ंदर पिछले पूर्ण-लंबाई में कुछ उल्लेखनीय सुधारों के साथ एक वापसी है जो उन्होंने हमें लगभग एक दशक पहले दी थी। लैपगन का प्रोडक्शन बड़े पैमाने पर दर्शकों को यह दिखाकर परिचय देता है कि पिछले 5 वर्षों के दौरान वह बोर्ड के पीछे कितना विकसित हुआ है, जिसमें ऊपर से नीचे तक विभिन्न सिनेमाई दक्षिण एशियाई नमूने शामिल हैं जो मनोरंजक रूप से हीम्स के ट्रेडमार्क हंसी-मजाक की प्रशंसा करते हैं। और एक सतत तंग अतिथि सूची।

Score: 4/5

स्कोर: 4/5

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DJ Shadow – “Action Adventure” review

DJ Shadow is a 51 year old DJ & producer from San Jose, California who came up as a member of the Quannum Projects collective. His 1996 full-length debut Endtroducing….. is a landmark in the instrumental hip hop scene & the sophomore effort The Private Press was well received too, but everything since then has been treated to moderate reception. Last we heard from Shadow was the 2-disc Our Pathetic Age, but is returning 4 years later by making a stylistic departure for his 7th LP & his 3rd under Mass Appeal Records

“Ozone Scraper” is an underwhelming choice of an opener setting the tone of what’s to come by pulling from synthwave and dancefloor drum & bass whereas “All My” draws inspiration from footwork musically although I’ve heard the late DJ Rashad do this style better on Double Cup. “Time & Space” is a longwinded IDM cut lasting at 8 & a half minutes even though it just makes me wanna listen to Aphex Twin after a while just before “Craig, Incels & Wrightson” goes back into a more synth-based groove.

Approaching near the end of the first leg of the album, “Witches vs. Warlocks” hooks up these synths & hi-hats coming off a little robotically dull leading into “A Narrow Escape” becoming one of the better tracks here going for a more energizing atmosphere this time around. “You Played Me” was the best single we got from the project drawing inspiration from synth-funk, but then “Free for All” fuses elements of wonky & rock that wind up with mixed results.

“The Prophecy” shoots for a ghoulish vibe clocking in at nearly 5 minutes while “Friend or Foe” brings the synthesizers & hi-hats back together once more with a crescendoing 2nd half. “Fleeting Youth (An Audible Life)” strips the drums completely incorporating a spacious atmosphere while the 8-minute “Reflecting Pool” feels a bit hollow to me personally. The penultimate track “Forever Changed” pushes towards near the end by giving a cloudier trap flare to the beat & “She’s Evolving” closes shop by cooking up 1 last synthwave cut.

For an album called Action Adventure, I didn’t really find it to have either of those as entertaining aspects disappointingly. There’s definitely some adventure in Shadow making a headfirst foray into electronic dance music, but it hurts me to say that it doesn’t hold a candle to previous material & could very well be the weakest thing he’s ever done. Compared to those who paved the way for EDM like Daft Punk or like I mentioned earlier Aphex Twin & DJ Rashad, his takes on synthwave alongside wonky or footwork & IDM feel very plain.

Score: 2/5

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Nas – “Magic 3” review

Nas is a 50 year old MC from Queensbridge, New York known for being the son of jazz cornetist/guitarist Olu Dara as well as his breakout debut illmatic & the equally classic sophomore effort It Was Written going on to be widely acknowledged as some of the greatest albums in hip hop history. I also enjoy stillmatic, The Lost Tapes, God’s Son & Life is Good. Then there was the Kanye West-produced NASIR & The Lost Tapes II, which I felt like they were fine additions to his catalogue even though the overall consensuses were polarizing. But for the last 3 years, Nas has been working exclusively with Hit-Boy since the COVID-19 pandemic & both of them are a good fit for each other. King’s Disease earned Esco his first Grammy, but the sequel as well as Magic & the conclusion to the King’s Disease trilogy each took their chemistry to new heights. But coming off the incredibly solid Magic 2 over the summer, Nas is celebrating his born day by making his 17th album the final installment of the Magic trilogy & the last in his historic 3-year run with Hit-Boy behind the boards.

To open things up, “Fever” hops on top of a sample-based boom bap instrumental by declaring this to be prophecy & that he’s been fly for half a whole century by now whereas “TSK” works in some more kicks & snares with a gloomier loop talking about trying to stay humble yet he can take it back to Nasty if he wants to. “Superhero Status” moves forward with the art of sampling & keeps it boom bap so he can discuss how the way it’s goin’ down is simply a shame, but then “I Love This Feeling” goes for a jazzier yet soulful approach talking about outclassing people.

“No Tears” keeps it rolling by pointing out that it’s hard to find genuine lover over a tension-building beat prior to Lil Wayne coming into the picture for “Never Die” hoping over a soul-inflicted boom bap instrumental talking about both of their legacies in the culture. “Pretty Young Girl” mixes some horns with kicks & snares talking about a queen that has entered his life even though it might be the weakest cut on the album personally just before “Based on True Events” shoots for a triumphant boom bap vibe so Nas can get on his private investigator shit.

The sequel to “Based on True Events” weaves a spacious backdrop in the fold on top of kicks & snares yet again popping someone at the place of a transaction while “Sitting with My Thoughts” dives headfirst into trap territory talking about bouncing back after every loss. “Blue Bentley” encourages you to say that his life ain’t lit over a bombastic instrumental with some hi-hats while “JoDeCi Member” returns to the boom bap telling anyone to try him.

The song “Speechless, Pt. 2” conceptually picks up where the first “Speechless” left off almost 2 years back accompanied by a flute-tinged beat making it clear that you can redo the voice, but you can never read his mind while the penultimate track “Japanese Soul Bar” is a 2-parter with a woozy kickstart & a luxurious switch-up drinking scotch in a bar until the daybreak prior to the drumless “1-800-Nas&Hit” ending an era by comparing all both trilogies to that of a greatest hits collection referencing the Star Wars franchise owned by The Walt Disney Company subsidiary Lucasfilm.

I’m sure Nas is gonna take a year off to prepare for the next chapter of his career, but to say it’s been exciting to hear his chemistry with Hit-Boy evolving from the first King’s Disease to literally every album they’ve done together would be an understatement & this could very well be my 2nd favorite installment of the Magic trilogy behind the one that started it all. The production’s more soulful in comparison to the last 5 LPs they’ve done in the last 3 years & the lyricism hits harder than the predecessor did earlier this summer.

Score: 4.5/5

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Nas – “Magic 2” review

This is the 16th full-length album from Queensbridge veteran Nas. The son of jazz cornetist/guitarist Olu Dara, the breakout debut illmatic & & the equally classic sophomore effort It Was Written are widely acknowledged as some of the greatest in hip hop history. I also enjoy stillmatic, The Lost Tapes, God’s Son & Life is Good. Then there was the Kanye West-produced NASIR & The Lost Tapes II, which I felt like they were fine additions to his catalogue even though the overall consensuses were polarizing. But for almost 3 years now, Nas has been working exclusively with Hit-Boy & both of them are a good fit for each other. King’s Disease earned Esco his first Grammy, but the sequel as well as Magic & the 3rd installment of the King’s Disease trilogy each took their chemistry to new heights. But ahead of KDIV, we’re preluded by a sequel to Magic.

After the intro, the first song “Abracadabra” is a glistening trap opener with Nasty Nas promising to do those who want to try him grimy whereas “Office Hours” featuring 50 Cent finds the 2 former rivals joining forces over a soulful boom bap instrumental seeing a bunch of Fredos referencing The Godfather II of course. 50’s verse however could’ve been longer unfortunately. “Black Magic” works in some pianos asking God to protect the G’s, ladies & children just before “Motion” brings back the kicks & snares adding some bells & strings into the fold havin’ exactly that.

“Bokeem Woodbine” keeps it dusty swapping out the bells & strings with more keys providing motivation for the trappers livin’ ounce-to-ounce leading into “Earvin Magic Johnson” assuring to enterprise over a horn-inflicted trap beat. “What This All Really Means” looks back on the first time he ever saw his name on a flyer with lavish instrumentation, but then “Slow It Down” confesses he needs money everyday returning to the boom bap.

The penultimate track yet official closer “Pistols On Your Album Cover” hooks up these kicks & snares with a mellow loop reminding that he can still murder anyone on wax & forget where they’re buried chockfull of clever references that is until the bonus cut “1 Mic, 1 Gun” featuring 21 Savage blends trap & jazz together so both of them flexing that they still gonna do what they did then in the present. Not only was a great way to squash all the drama surrounding 21 & Nas last fall, but I think everyone deluded by the hip hop generation gap can learn something from it too.

Hit-Boy’s run with Nas has been absolutely special & Magic 2 continues to cement that by progressively improving on what made the predecessor alongside the 3rd installment of the KD series the best albums they’ve done together. The eclectic production demonstrates his range & with the pen, Esco feels as if he’s been reborn even though he continues to make history almost 3 decades in.

Score: 4/5

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Black Milk – “Everybody Good?” review

This is the 8th full-length album from Detroit producer, MC & songwriter Black Milk. Making his presence known as a member of the B.R. Gunnaproduction trio, he eventually went solo in 2005 with Sound of the City & followed up on 313 Day 2007 with Popular Demand. The following year, he would dabble with electronic music on Tronic & would later start incorporating live instrumentation on Album of the Year in 2010. His next album No Poison No Paradise eventually became Black Milk’s darkest work yet & it would see a solid sequel If There’s a Hell Below the year after. We saw a comeback from him in 2018 with the politically charged FEVER & is returning to ask if Everybody Good? ahead of the 4 year anniversary of DiVE less than a couple weeks.

“God Willing” starts things off is groovy opener with some angelic background vocals praying to the higher power that everything will be alright & that there’s always a light at the end of the tunnel whereas “For How Much?” works in some uncanny synths talking about the prices on all the souls that you see. The instrumental on “Wait ‘Til Fate” has a heavy Neptunes influence to it that I really like reminding that he was told that he was made to be great, but then “Downs Got Up” is more of a synth-boom bap hybrid talking about standing like royalty fixing those crowns.

The lead single to the album “Is It Just Me?”sonically reminds me of Tronic a bit as Black Milk seeks to get his mind right leading into “The Black Surf (Everybody Good)?” featuring Quelle Chris has a wavier approach talking about trying to making it work comparing life to a tidal wave. The next single “Let Me Know” goes into pop rap turf telling his significant other she’s pressure just before the 3rd & final single “Ain’t Nobody Coming Down to Save You” conceptual is self-explanatory backed by some organs.

After the “Fews & Trues” interlude produced with Karriem Riggins, the song “Feelings Don’t Feel” featuring Phonte returns to the boom bap admitting that summer as you get older doesn’t feel the way that it used to while the penultimate track “No Wish” finds Percy Miracles sticking around 1 last time this time as Raphael Saadiq plays piano & hooks up some handclaps hammering home that there ain’t no genie in the bottle. “Yeah Really” ties up the album with a warm ode to this crazy life that he lives day & night.

His solo output has been getting progressively better as time goes on & his last album for Mass Appeal albeit 3rd project overall further cements that. The concepts here are more personal & introspective in comparison to the streams of consciousness throughout Fever with the production being a melting pot of past sounds from the live instrumentation that Album of the Year began displaying to the jazz elements of his previous full-length & even the electronics of Tronic.

Score: 4/5

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