¡MAYDAY! – “Justus” review

Miami, Florida trio ¡MAYDAY! surprise-dropping their 9th studio LP albeit the first under their very own label ¡MAYDAY! Music distributed by It Goes Up Entertainment & Strange Music. Formed in 2003 by keyboardist/guitarist Plex Luthor & emcee Bernz, the duo released their self-titled debut in the fall of ‘06 before adding 4 more members into the fold: emcee/producer Wrekonize, bassist Gianni Ca$h, percussionist NonMS & drummer L.T. Hopkins in 2009. Together, they would begin to rock the underground off 2 EPs & their sophomore album Stuck on an Island. This would catch the attention of Kansas City veteran Tech N9ne, who signed the group to his independent powerhouse Strange Music in 2011. They would go on to cement themselves as a flagship act on the label’s roster off critically acclaimed projects like Take Me to Your Leader, Thrift Store Halos, Believers & Future Vintage. However since 2016, ¡MAYDAY! has maintained it’s current lineup consisting of Wrek, Bernz & NonMS. Their first album as a trio Search Party was a decent sequel to Stuck on an Island & the heavily reggae-influenced South of 5th was slightly better, but Minute to Midnight wound up to easily be ¡MAYDAY!’s best in 6 years. They have since remained tied to Strange by forming ¡MAYDAY! Music & signing a distribution deal with Strange Music co-founder Travis O’Guin’s own subsidiary It Goes Up Entertainment. Now as far of The Thinnest Line series, the independently released first installment is my favorite & the follow-up backed by Strange was simply decent. Minute to Midnight was a return to form for them & are returning a little over a year after The Thinnest Line III to drop Justus.

After the “Top of the World” intro, the first song “Just Us” produced by NonMS starts us off by asking what will happen when it’s only them left whereas “Black Lemonade” talks about refusing to ever ride the wave at any point in their career. “Unapologetic” reunites with Gianni Ca$h & Plex Luthor behind the boards to discuss their aptly mentioned mindset leading into the whistling “Acting Grown” talking about them simply acting grown & the inner child basically.

“Misinformed” goes for a bit of a melodic rap rock vibe observing coming down quicker than that of a middle just before the heavily melodic “Cold Shoulder” reunites with former Strange Music in-house producer MIKE SUMMERS a.k.a. 7 to sing about hoping one doesn’t forget now. “No One’s Around” gets back on on the rap rock tip telling everyone to turn up & get down, but then the acoustic “Silver Linings” featuring Mike SB finds them driving in the late night.

The song “Ain’t for Them” nears the conclusion of ¡MAYDAY!’s official It Goes Up debut responding to those saying that the group has been aging firing back by pointing out the mere fact of the world changing by each & every day that goes by while “I Don’t Wanna Know” featuring kaub decently brings a tropical flare to the table. “Ceilings” featuring Mike SB ends with them assuring that hard work does pay off in the long run.

All the singles we’ve dropped since starting ¡MAYDAY! Music as a fully independent venture has lead us to this moment & their debut under the It Goes Up/Strange distributed imprint retains everything that made the group so beloved within the underground scene to begin with the in-house production or Mike SB improving on his feature game & the versatility that they’ve always been known for whether it be rap rock cuts or the pop rap tracks.

Score: 4/5

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¡MAYDAY! – “The Thinnest Line III” review

Miami, Florida trio ¡MAYDAY! preluding their upcoming 9th full-length LP albeit the first under their very own label ¡MAYDAY! Music distributed by It Goes Up Entertainment & Strange Music with their 5th EP & the 3rd installment of The Thinnest Line trilogy. Formed in 2003 by keyboardist/guitarist Plex Luthor & emcee Bernz, the duo released their self-titled debut in the fall of ‘06 before adding 4 more members into the fold: emcee/producer Wrekonize, bassist Gianni Ca$h, percussionist NonMS & drummer L.T. Hopkins in 2009. Together, they would begin to rock the underground off 2 EPs & their sophomore album Stuck on an Island. This would catch the attention of Kansas City veteran Tech N9ne, who signed the group to his independent powerhouse Strange Music in 2011. They would go on to cement themselves as a flagship act on the label’s roster off critically acclaimed projects like Take Me to Your Leader, Thrift Store Halos, Believers & Future Vintage. However since 2016, ¡MAYDAY! has maintained it’s current lineup consisting of Wrek, Bernz & NonMS. Their first album as a trio Search Party was a decent sequel to Stuck on an Island & the heavily reggae-influenced South of 5th was slightly better, but Minute to Midnight wound up to easily be ¡MAYDAY!’s best in 6 years. They have since remained tied to Strange by forming ¡MAYDAY! Music & signing a distribution deal with Strange Music co-founder Travis O’Guin’s own subsidiary It Goes Up Entertainment. Now as far of The Thinnest Line series, the independently released first installment is my favorite & the follow-up backed by Strange was just decent. However since Minute to Midnight was a return to form, the latest entry had to be better in my mind.

After the “End” intro, the first song “Hate to Love You” is an incredibly catchy pop rap opener to The Thinnest Line III cooked up by NonMS coming to terms how hard it is to admit that they’re in love with these individual partners whereas “Warning Signs” takes the acoustic route thanks to MIKE SUMMERS a.k.a. 7 talking about having fun pretending what they had was permanent. “Pull Up” has a groovy self-produced instrumental as ¡MAYDAY! & Mike SB refuse to stop until they’re in the car with the windows down as Mike gives the weakest feature of the 2 but I still liked it, but then the futuristically funky “Last Night” picks things back up asking what you doin’ out here tonight. “At Least We Tried” shifts into summery turf refusing to say goodbye & “Hit My Line” featuring Trizz concludes The Thinnest Line III with an atmospheric trap flare advising to give ‘em a call.

This recent installment of the Miami trio’s trilogy has to be the best since the first one & it’s more than enough to hold fans off until their ¡MAYDAY! Music debut album because much like Minute to Midnight, what we have on The Thinnest Line III is another example of their recent output continuing to improve. The production’s more consistent than The Thinnest Line II’s was primarily due to letting one of their best collaborators handle 4 of the 7 tracks leaving the other 3 being in-house mixed in with versatile performances from ¡MAYDAY! themselves & 50/50 features.

Score: 4/5

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¡MAYDAY! – “Minute to Midnight” review

This is the 8th full-length album from Miami-based trio ¡MAYDAY!. Formed in 2003 by keyboardist/guitarist Plex Luthor & emcee Bernz, the duo released their self-titled debut in the fall of ‘06 before adding 4 more members into the fold: emcee/producer Wrekonize, bassist Gianni Ca$h, percussionist NonMS & drummer L.T. Hopkins in 2009. Together, they would begin to rock the underground off 2 EPs & their sophomore album Stuck on an Island. This would catch the attention of Kansas City veteran Tech N9ne, who signed the group to his independent powerhouse Strange Music in 2011. They would go on to cement themselves as a flagship act on the label’s roster off critically acclaimed projects like Take Me to Your Leader, Thrift Store Halos, Believers & Future Vintage. However since 2016, ¡MAYDAY! has been a 3-piece consisting of Wrek, Bernz & NonMS. Their first album as a trio Search Party was a decent sequel to Stuck on an Island & the heavily reggae-influenced South of 5th was slightly better, but it’s been a little over 2 years after the release of their previous EP The Thinnest Line II, the 3 are getting back together for Minute to Midnight.

After the “In Due Time” intro, the title track that truly kicks the album off talks their patience being tested as well as divine new moralities over some wavy synth-lines & live drumming from ¡MAYDAY! themselves whereas the next song “Make Noise” talks about how “them boys won’t let you live in peace” over a Carribean-flavored trap beat from MIKE SUMMERS a.k.a. 7. The track “See You Smile” motivates the listener to stay strong in the midst of the ongoing COVID-19 pandemic over some bass & acoustic guitars while the song “Hard to Leave” details relationship issues over a moody beat from Bernz with co-production from The Pushers.

The track “Words Get in the Way” picks up where the previous cut left off as Bernz & Wrekonize talk to their partners about trying to change over an instrumental kin to a 70’s blaxploitation film while the song “Golden Hour” talks about meeting their lovers in “that place where the night moves slow” over a funky beat. The track “Lost Cause” talks about the reason why women do them wrong over a cavernous trap instrumental & then UBI provides the album’s only guest verse on the song “All In” as he & ¡MAYDAY! talk about being fully committed over a cloudy beat from NonMS.

The track “Let You Tell It” talks about letting their loved ones speak their minds over a reggae-tinged instrumental while the song “Flatline” is a rap rock anthem about chasing death. The track “1 Eye Open” is a piano-boom bap ballad calling out the fact that everyone says they’re woke nowadays & then the song “Flowers” expresses their hope of being appreciated while they’re still here over an instrumental with some heavy jazz undertones.

The track “Empty” is a stripped-back, catchy look into depression while the song “Can’t Do That Anymore” talks about wandering down a windy road over a disco-flavored beat. The track “Get There” talks about how they’re not sure where they’re going over a pillowy instrumental while the closer “Foul Out” goes back & forth dismissing all the bullshit being said about them over some punk-like guitar riffs & drums. But then there’s the bonus cut “Hit’s Different”, where Bernz & Wrekonize talk about trying to break out of a cycle over a plaintive instrumental from Wyshmaster.

Even though their last couple projects have been just ok to me, I was very excited for this given how much I enjoyed Wrekonize & Bernz’ latest solo albums Pressure Point & Sorry for the Mess. At the end of the day, this is the best ¡MAYDAY! album I’ve heard since Future Vintage. The songwriting is some of their most captivating ever & the way the trio fuses together all the sounds they’ve ever dabbled with into 1 continues to show how unique they are.

Score: 4.5/5

Bernz – “Sorry for the Mess” review

Bernz is a 42 year old MC from Miami, Florida most notable for being a co-founder of the band ¡MAYDAY! alongside Plex Luthor in 2003. But after bringing a co-frontman & 3 other instrumentalists into the fold by the end of the decade, Kansas City icon Tech N9ne signed the group to his evergrowing independent powerhouse Strange Music in 2011 & have remained on the label since. However, it wouldn’t be until 2016 where Bernz branched out into a solo career & dropped See You on the Other Side. Fast forward 4 years later, he’s enlisting MIKE SUMMERS a.k.a. 7 to produce his sophomore effort in it’s entirety.

Things kick off with the title track, where Bernz apologizes to the listener for what they’re about to hear over a dreary instrumental. The next song “Don’t Wait on Me” then tells this woman to walk out the door over a boom bap beat with an acoustic guitar while the track “On My Way” talks about how this woman makes him feel over a jam session-like instrumental. The track “Necessity” with his ¡MAYDAY! partner in rhyme Wrekonize sees the 2 getting confessional over a piano & some explosive drums while the song “Outchea” talks about keeping things on pace over some blissful guitar melodic & some handclaps.

The song “Limited Time” with Futuristic finds the 2 talking about out of town romance over a funky ass beat while the track “Done” talks about waking up from the wrong side & still feeling good over a tropical trap instrumental. The song “Slow Dance” is a beautiful foot tapper backed by a sensual beat with some heavy drums while the track “Old Cutler Drive” looks back on his younger days as a hungry artist over a trap instrumental that kinda has a jazzy flare to it.

The song “In My Mind” opens up on being epileptic over a lugubrious beat while the track “Party in My Room” talks about sex over a fast-tempo instrumental. The song “Lie to Me” talks about not wanting to hear any hard truths over a rhythmic beat while the track “Sunny Rain” talks about what it’s like for him to love this woman over a warm instrumental.

The song “Hold On” teams back up with Wrekonize as they tell their partners not to let go of them over a calming instrumental while the track “Double Down” talks about getting back up when you’re on the ground over a psychedelic beat. The closer “Let You Down” talks about getting lost in his thoughts over an acoustic instrumental & then the bonus cut “Late Checkout” is essentially Bernz doing dumb shit in the club over a beat that I almost wanna say is a bit Latin flavored.

Strange Music has been constantly staying busy all year & if this is the last full-length album we’re getting from them until 2021, then what a damn-near perfect way to finish it off because Bernz really took it to a whole nother level on here in comparison to [i]See You on the Other Side[/i]. The lyrics are most personal yet & his chemistry with 7 is just astounding, as the production on here is incredibly versatile.

Strange Music has been constantly staying busy all year & if this is the last full-length album we’re getting from them until 2021, then what a damn-near perfect way to finish it off because Bernz really took it to a whole nother level on here in comparison to See You on the Other Side. The lyrics are most personal yet & his chemistry with 7 is just astounding, as the production on here is incredibly versatile.

Score: 4.5/5

Wrekonize – “Pressure Point” review

Wrekonize is a 37 year old MC & producer based in Miami, Florida who’s been around for almost 20 years at this point. Starting out in the battle circuit, he eventually put out a total of 3 mixtapes throughout the 2000s before coming out with his full-length debut A Soiree for Skeptics in 2010. However, it wouldn’t be until the following year when he signed to Strange Music as a solo artist & as a member of the group ¡MAYDAY!. His 2013 sophomore effort The War Within would go onto receive critical acclaim & was followed up in 2017 with Into the Further. But as we approach near the end of 2020, Wrekonize is completing the trilogy by dropping his 4th full-length album.

After the “We’ll Be Waiting for You” intro, we get into the first song “The Fallen”. Where Wrek talks about being in Hell over a settle trap beat from The Xtraordinaire$. The next song “Be Me” talks about uniqueness over a rock-flavored instrumental & after the “Tell Me Your Symptoms” skit, the track “Lights Off” talks about his mind always movin’ over a trap beat from MIKE SUMMERS a.k.a. 7 with a plinky xylophone.

The song “Wits’ Ends” talks about being more anxious than ever over a bleak instrumental while the track “For the Likes” takes aim at clout chasers over acoustic trap beat. After the “State of the World” skit, the song “Low Water” gets on the wisdom tip over an scary-sounding beat while the track “Sedentary Moments” talks about how he used to sit & dream as a kid over a laidback boom bap beat.

The track “Anyweigh” is literally a spousal argument on wax backed by a woozy instrumental from Leonard DStroy while the song “High Water” talks about breaking free from the cage of stress over a trap beat with some psychedelic guitar passages. The track “Simple Back Then” looks back on his childhood over a soothing instrumental while the song “Oakland” is a slow, R&B jam written towards his partner. After the “Separate Yourself” skit, the track “Zombies” talks about freeing the listeners’ minds over a foreboding trap instrumental while “The Man Under the Bridge” talks about homelessness over a funky beat.

The self-produced “Call for My Name” pays tribute to Valerie Ryan over some prominently knocking drums & after the “Couple Last Stories” skit, “The Coldest Dish” is a tearjerking tribute to Wrek’s parents & brother backed by a trap beat with some somber piano-chords. The closer “Still Around (Down) talks about his desire to live without fear over a grungy trap instrumental & then the bonus cut “Detonate” with Tech N9ne & UBI finds the trio talking about losing their minds over a full-blown dubstep beat.

Wrekonize has always been one of the most standout artists on Strange Music & to me, this is right behind The War Within for his magnum opus. The production choices have improved greatly in comparison to Into the Further, the concept is so articulately put together & does a fantastic job of showing the listener where he’s at right now mentally.

Score: 4.5/5

¡MAYDAY! – “South of 5th” review

¡MAYDAY! is a hip hop trio from Miami, Florida consisting of 2 MCs & a percussionist: Wrekonize, Bernz & NonMS. They signed to Strange Music as a sextet, dropping their magnum opus Take Me to Your Leader in 2012. They followed it up with 3 more albums & just 364 days since their last one Search Party, they’re coming back with their 7th full-length album.

After the intro, we go into the first song “Next to Go”. Here, Wrek & Bernz get motivational over a reggae instrumental. The track “Shelter” sees the 2 getting spiritual over a reggae/trap beat from MIKE SUMMERS a.k.a. 7 while the song “We Ain’t Sleeping” is a love tune with a ska beat. The track “Run Up” with Tech N9ne sees the 3 advising to watch your step over a reggae/trap beat while the song “New Blessings” pretty much speaks for itself over a ska beat. The track “Unfamiliar” talks about this woman who’s changed into someone they don’t even know anymore with a moody beat while the song “Magic in the Smoke” talks about finding oneself over a funky beat.

The track “Lifetimes” talks about being held down by the world over an acoustic instrumental while the song “Damaged Goods” vents about their demons over some prominent drums. The track “Broken Mirror” then talks about feeling higher than ever over a guitar & finger snapping while the song “Time is Up” talks about haters saying the trio is done just to sway them over a soothing beat with punchy drums. The album then closes with “Close So Far”, where Wrekonize vividly reflects on his childhood & Bernz seeing the end coming over an instrumental with a prominently mellow guitar throughout.

I’m a little confused as to why the trio chose to release this at the end of the summer instead as opposed to the beginning off the summer but other than that, this is one of ¡MAYDAY!’s best albums yet. The lyrics are thoughtful & I find the way that they fuse reggae into their sound to be organic & really fun.

Score: 4/5