IDK – “Even the Devil Smiles” review

Bowie, Maryland by way of Clapham, London, England, United Kingdom rapper, singer/songwriter & producer IDK making his Rhymesayers Entertainment debut with his 5th mixtape. Beginning to make waves in the spring of 2014 off his first 3 mixtapes profile began to significantly increase in 2017 when he signed to Williams Street Records in order to put out a 4th tape IWasVeryBad to critical acclaim. He continued the grind by putting out a debut EP IDK & Friends as well as the full-length album Is He Real? & his 2nd EP IDK & Friends: Basketball County, but the sophomore effort USEE4YOURSELF was very underwhelming. Simple. however fully produced by KAYTRANADA wound up being his strongest body of work to date & F65 was a decent conceptual effort. Coming off BRAVADO + INTiMO a couple Halloweens ago, he’s reminding us all that Even the Devil Smiles.

After the JASON MiLLS” intro, the first song “HALO” produced by No I.D. hooks up some prominent synthesizers talking about how he keeps winning & stays running checks whereas “DEViL” jumps over a Madlib instrumental so he can warn everyone near him to run if they see him walking up to them. “P.O” featuring Black Thought takes the boom bap route thanks to KAYTRANDA beating up the block 24/7 leading into “CLOVER” featuring Joey Valence & Brae talking about the trio wanting to fall in love.

“C.O.P.” shifts back towards a boom bap vibe taking a more conscious approach to his songwriting giving middle fingers to the feds while “S.T.F (START TO FiNiSH)” aggressively sets out to make some paper because he’s a monster with it. “SCARY MERRi” keeps it dusty courtesy of Conductor Williams talking about every day being a holiday to him just before “Cell Block Freestyle (CD On)” drumlessly suggesting he’d make things heavier if his music career don’t take off.

As for “Flakka”, we have IDK talking about not resorting to violence & getting caught up in the wrong place at the wrong time while “MiSOYGNiSTiCAL” combines synths with kicks & snares explaining why he wants his first love to fail. “LiFE 4 A LiFE” featuring Pusha T grittily talks about everyone around their parts knowing neither of them fuck around but after “Everybody Knows :)” points out that we all know a fraud when we see one, “SCRAMBLED EGGS – TBC :(“ spends the last 3 minutes talking about being in situations others haven’t come back from.

Until I get to my closing thoughts regarding Even the Devil Smiles, I want to send my deepest thoughts & condolences to the people over at Rhymesayers Entertainment’s headquarters over at Minneapolis, Minnesota during these weird & scary times they’re experiencing right now. Regarding the music on here however, it’s easily the most I’ve enjoyed IDK’s music since Simple. & makes a great debut for a label that’s been on a run since 2025 that deserves the same respect Mass Appeal Records got. The production is a huge improvement over his last couple solo projects & the guests compliment him outstandingly.

Score: 4.5/5

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42 Dugg – “Part 3” review

Detroit, Michigan rapper & singer/songwriter 42 Dugg back with his 5th mixtape. His breakout debut EP 11241 Wayburn in 2018 would catch the attention of both Yo Gotti & Lil Baby, who jointly signed him to their respective labels Collective Music Group & CBFW Records shortly after. Dugg’s profile continued to grow in a year later when he dropped his debut tape Young & Turnt, which was followed up last year by the sequel Young & Turnt 2& the mature Free Dem Boyz. He returned last summer dropping 4eva Us Never Them, closing out the 11241 Rayburn AND the Young & Turnt trilogies combining the final chapter of both throughout Part 3.

“I.D.B. (I Done Been)” moderately starts off talking about his experiences of previously being shot past muhfuckas whereas “Fake Friends” produced by 30 Roc taking shots at those specific type of people. “It Is What It Is” featuring Lil Baby & Rylo Rodriguez finds the trio talking about the real ones always catching Ws leading into “No Fakin’” featuring EST G reunites the 2 so they can give off more gangsta rap vibes lyrically although the Republican line at the end of EST G’s verse seems kinda tacky.

Reaching the halfway point, “Still on Dat” featuring G Herbo trades verses with one another without the need of a hook portraying the gangsta lifestyle once more just before “Thick One” featuring Skilla Baby joins forces over a Helluva beat talking about their preference in women. “We Not Done” makes it clear he’s still trapping’ even after his music career has taken off continuing to sell bricks & pints while “To the Side” featuring Glorilla employs a back-&-forth delivery again, except I like it more than “Still on Dat”.

“Going Through It” winds down the last few minutes of Part 3 taking a more introspective approach to his songwriting, talking about missing all of his friends & children admitting that he has no idea if he’ll get the chance of seeing a couple of them ever again while “It Get Deeper 3” featuring Doughboy Clay finishes with a Detroit trap cut where they’re sharing the microphone & trying to triple their bags since street money’s the only thing either one of them have come to know.

Being somebody who considers 42 Dugg to be amongst the greatest CMG signings alongside Glorilla & Mozzy, I have to admit Part 3 being the conclusion of the 11241 Rayburn and Young & Turnt series left me somewhat disappointed considering some of my favorite songs appear on those earlier installments although it’s very much average at best. I commend him for revisiting the concepts of that earlier material, but the overabundance of guests & some of the production choices can be somewhat spotty.

Score: 3/5

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J Reno – “The Dirttape” review

J Reno is a 39 year old MC/producer from Windsor, Ontario, Canada introducing himself over 2 decades ago off his debut mixtape Ground 0 as well as the full-length debut Unleashed & the sophomore effort The Lunatic’s Back. He would follow it up with 6 more albums preceding Crossworm signing him to Dirtcore Music: Lost in the Dark, Politikilla, Into the Fire, Welcome Home, Blood, Guts & Boom Bap and Me & My Demons. Coming off Misery Coast’s eponymous debut EP this previous Hallowicked weekend, he’s making his official debut under Dirtcore with the inaugural entry of The Dirttape trilogy.

After the “Meet the Maker” intro, the self-produced “Exhumed” begins with an eerie boom bap opener talking about this whole saga of tapes coming with a curse whereas “Kill Flow 2” works in some strings & pianos for a sequel to one of the finishing moments off Lost in the Dark. “In the Ring” featuring Sleep Lyrical embraces the darker vibes even further talking about being undefeated for a reason while “The Juice” shrugs off him receiving hate because he’s got motion when they don’t.

“City of Fiends” talks about a once promising town shaping into it’s current form inhabited by zombies while “Should’ve Been” hints at him committing crimes instead of having a music career because we’re pitiful slaves to the rich. “NBT4LYFE” featuring Krimmy Van Skull decently combines boom bap & horrorcore lyricism despite Krimmy’s verse being alright to me personally while “Kill at Will” talks about acquiring a set of skills throughout the course of time that allow him to murder anyone at anytime.

After the “Voicemail” skit, “FU” contains what could most likely be my favorite beat here sounding like some 90s east coast shit explaining that rappers & their opinions are the only 2 things in the underground that haven’t changed at all while “Stand on Biz” featuring Bukshot finds the pair warning those who don’t take responsibility for themselves they’ll take everything plus interest. “What You Fighting For” goes full-blown rap rock talking about oligarchy prior to him discussing the kind of people who don’t know what it’s like to be “The Man”.

Shaping up to be the most ambitious body of work in J Reno’s solo discography with almost 26 more tracks spread across The Dirttape & assuming the next couple installments are gonna divide those songs, the beginning of this new era in his career makes some major improvements over Me & My Demons almost a couple years ago and it’s a great way for Dirtcore Music to kick off 2026 wiping a clean slate after a difficult 12 months. The production’s mostly boom bap centered other than a couple hints of rap rock & trap, there are fewer guests & the lyrics conceptually introduces us to a character named the Tape Keeper.

Score: 4.5/5

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The Horde – “Paradigm Sync!” review

This is the 3rd mixtape from southern horrorcore superduo The Horde consisting of Boondox & Bukshot. One hailing from Covington, Georgia signing to the Insane Clown Posse’s Psychopathic Records in the mid-late 2000s & the other puttin’ it down for Louisville, Kentucky since ‘97 by founding the independent hip hop label Mobstyle Music. The pair started worked with each other for over a decade now continuing to do so after the scarecrow left PSY to form his very own Krimson Crow Entertainment following his 4th album Abaddon eventually signing to Majik Ninja Entertainment couple years later whether it be their first 2 mixtapes Hell’s Kitchen & Paradigm Shift as well as their debut EP Overdrive or even their work with Claas as The Underground Avengers. Almost 3 years since their debut The End is Nigh, they’re linking back up for a Paradigm Sync!.

“Like Yuh” produced by MIKE SUMMERS a.k.a. 7 opens up shop trading the mic back-&-forth with each other over this chaotic trap instrumental whereas “Fallen” warns those who want them to fail that they won’t stay down, vowing they’ll get back up. “Paradox” goes for a Hellish trap vibe opening the path to war because they stopped giving a fuck just before “I Stay Wicked” featuring Twiztid finds the quartet talking about repping the wicked shit for those who think they’ve abandoned their horrorcore origins.

Reaching the halfway point, “The Vanishing” goes for a boom bap direction seeing it in the eyes of their victims that their demise has come leading into “This Dope” featuring Seuss Mace talking about pulling up with chips on their shoulders. “Nothing” pulls from rap rock a bit talking about nothing breaking them & after “We Can Get Gangsta” paints imagery of the gangsta lifestyle, “Ain’t Going Out Like That” featuring Crucifix & Str8jaket ends on some hardcore shit with a cringey “mumble rap” line coming a decade late.

Assuming that we could get another full-length studio album from The Horde at some point in the future, Boondox & Bukshot begin the new year for the underground wicked shit scene reuniting to make a Paradigm Shift sequel that I could debate is better than the predecessor a little over a month succeeding when the ongoing decade had began. Paradigm Sync!’s production’s a lot harder, it has fewer guest appearances & they lean back towards the gangsta rap themes of Paradigm Shift rather than continuing The End is Nigh’s themes.

Score: 4.5/5

King Chip – “Gift Raps 2: Rapping Paper” review

King Chip is a 39 year old rapper from Cleveland, Ohio notable for being 1/2 of The Almighty GloryUS alongside KiD CuDi. In almost 2 decades, he’s also carved a path of his out by putting out 7 mixtapes as well as a couple full-lengths & EPs with the most recent being the 2023 sophomore effort Charles Worth. For his 9th mixtape however, Chuck Inglish of The Cool Kids has locked in with Chip tha Ripper for a sequel to the latter’s most celebrated body of work on Christmas Day: Gift Raps.

“Take Your Turn” begins with a synthesizer-based boom bap instrumental drawing a line between either being with him or standing in his way just before Denzel Curry, Larry June & for some pointless reason MGK all join Chip for the 4th installment of the “Fat Raps” saga. “Don’t Ask Me for No Money” smoothly makes it clear that doesn’t want anybody coming up to him if the only thing they want is the cash while the funky “Jake” talks about not hanging around weirdos.

As for “These Days”, we have Chuck sonically shifting things back to a boom bap vibe so Chip can tell the audience how he’s been living lately just before “Put Your Seatbelt On” rambunctiously speaks of acting wild for an entire weekend. “I’m Like” featuring Symba takes the pop rap/trap direction in general going through their partners’ phones & after the “Cleveland Bih” interlude, “Toss It” pushes the 2nd half forward with an 109 second strip club anthem.

“Poison Around Me” talks about the difficulty of finding something to eat when he’s surrounded by nothing but toxins while “Ice Cold Night (Santa Save Me)” asks for St. Nicholas to come out & pay him for being so good as of late. “Serial Vibe Kiler” vivid takes a couple minutes to the story of a buzzkill & appropriately, the outro serves as a sequel to the original Gift Raps’ closer “The Bio” taking an introspective approach to the songwriting.

Charles Worth marked a decent return for King Chip a couple years earlier, but Gift Raps 2: Rapping Paper celebrates the holiday season with a successor to Chip’s most celebrated body of work that lives up to the hype of it’s predecessor during my adolescence when I was finishing up middle school. Chuck Inglish gives him the most consistent batch of beats we’ve heard the Cleveland artist rhyming over in quite some time & Chip tha Ripper’s at the hungriest he’s been all decade.

Score: 4.5/5

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Eddie Kaine – “12/24: The Night Before” review

Brooklyn, New York emcee Eddie Kaine celebrating Christmas Eve with his 3rd mixtape. Turning heads at the beginning of the decade off his Big Ghost Ltd.-produced debut A Tree Grows in Brooklyn, the next couple albums Wonderful World of Kaino & Chosen were both moderately received until the Finn-produced Quincy Street Blues marked a return to form for Eddie in my opinion. Last Exit to Crooklyn was a mature sequel to his inaugural full-length, coming off Crown Me Kaine & the Play for Keeps EP by enlisting Wavy da Ghawd for 12/24 sequel The Nightmare Before.

After the “Winter’s Coming” intro, the first song “Don’t Count Me Out” jumps over a jazzy boom bap instrumental to get us started officially advising that he shouldn’t ever be doubted prior to “By the Window” dustily talking about heading towards another block if shit starts to get hot. “Rare Form 2” serves as a sequel to a highlight off the original 12/24 boasting that his pen’s truly 1 of a kind while “98” talks about the game looking like the late 90s from his perspective.

“No Replacement” works in some strings so he can clarify that he & his squad are unsatisfied living basically leading into “Ace Bailey” incorporates a soul sample to talk about having to toughen up because everyone he grew up around got popped referencing the Utah Jazz’ small forward. “We on It” featuring Wish Master comes together so they can speak of having things good in the US while the “Smoke Break” feels less of an interlude & more like a brief trap freestyle.

Kicking off the final leg, “Cabin Fever / Young Veteran 2” splits itself in 2 different halves & the 2nd part of it most notably picking up where another 12/24 song “Young Veteran” left off thematically while “Never Late” soulfully talks about always being on time. “24” spends the next 76 seconds asking who else out here’s going harder than him & “Snowy Nights” finishes The Night Before recalling the cold winter evenings he spent hustling solely so he could get by.

Celebrating 5 years of 12/24 to the very day, Eddie Kaine recaptures the holiday season themes of The Night Before’s predecessor by reuniting with Wavy da Ghawd for a sequel that takes every enjoyable quality the previous entry had going for it & pushing it forward. Wish Master has the only guest verse since the other 2 features handle chorus duties for their contributions unlike the previous chapter near 2020’s conclusion, but Wavy’s production boom bap production feels like a big improvement above Play for Keeps’ earlier this spring & Kaine does a solid job at recapturing the Christmas themes.

Score: 4.5/5

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Niontay – “Soulja Hate Repellant” review

Niontay is a 26 year old rapper, songwriter & producer from Brooklyn, New York who introduced himself in 2023 off his first couple EPs Dontay’s Inferno & Demon Muppy. I was also impressed with his features across projects like MIKE’s 5th album Burning Desire or Ritchie with a T’s solo debut Triple Digit (112) & Mike Shabb’s sophomore effort Shabb Van Gogh, putting out a well received debut album of his own Fada<3of$ earlier this spring & returning 8 months later to drop off his debut mixtape.

“Rockoutcentury” produced by Dylvinci starts off with a cloudy Detroit sound talking about cracking the code whereas “100days100nights” made for an boisterous trap single getting geeked after being let out of the kennel. “3am@tony’s” featuring Lerado Khalil teams up over a dark Mobb instrumental from Harrison & Tony Seltzer talking about them doing no pretending leading into “Cressidaway! / Tpgeek” initially going for a plugg vibe & Earl Sweatshirt delivering my favorite guest appearance of the 3 until a cloudy beat switch during Niontay’s verse.

The tape’s final feature goes to Sunny on “Soulja Hate / Mr.havemyway X Mr.beatdaroad”, which is another 2-parter instrumentally taking it’s cues from the plugg subgenre of trap throughout both halves although I prefer the 2nd half over the other just before “Larizzy’s Laire” ends the 1st leg of Soulja Hate Repellant with some 808s & synths dismissing his “opponents” since they nothing like him. “Dadecountydates” pitches Niontay’s vocals enough to make it sound like he inhaled helium prior to getting in the booth refusing to fuck with people who pick sides while “April 7 (Westside Swanging)” goes full chopped & screwed.

“Mark William Lewis Flow” begins the 3rd & final act with a summery trap beat likening his cadence to the experimental artist of the same name while “Dreamin’ (of U ;)” incorporates some heavily drumless sampling talking about a person that’s been constantly appearing in his dreams as of late. “Neymar” experiments with Miami bass referencing the Brazilian soccer team Santos’ star forward & of course the closer “Free Luigi” calls for the freedom of Luigi Mangione ahead of his upcoming trial for murdering UnitedHealthcare CEO Brian Thompson.

Soulja Hate Repellant’s finishes Niontay’s breakthrough year refining a lot of the same production styles Fada<3of$ explored whether it be the Detroit sound or trap, plugg, cloud rap & drumless with small hints of chopped & screwed and Miami bass sprinkled in the mix transitioning into one another cohesively. He may also be my personal favorite act that MIKE has signed to his growing independent label 10k Global thus far, penning some of his most emotionally sharpest lyrics of his career & using a handful of a number of different flows in only a half hour.

Score: 4.5/5

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RRoxket – “Geek Monster” review

Here we have the 4th mixtape from Atlanta, Georgia rapper RRoxket. Emerging in 2022 off his debut EP Rixhie Rixh & the full-length debut album R.I.P. RRoxket, he would go on to drop 3 more EPs Happy Birthday RRoxket as well as RRoxket Valentine and Red M&M ahead of his debut tape Red Ranger that was preluded by his last EP High School Flunky. He put out a fun self-titled effort last Black Friday after officially signing to Sony Music, coming off Rixhie Rixh II to tell the tale of the Geek Monster.

“Purple” starts with a plugg intro referencing the titular protagonist of the Warner Bros. subsidiary DC Entertainment franchise Static Shock who was not only homaged during former AEW World Champion & AEW World Tag Team Champion Swerve Strickland’s entrance at Dynasty II in April, but I can’t forget to mention Netflix’s reasonably controversial purchase of WB earlier this past weekend either. Anyway, “Last Sound” goes for more of a dark plugg vibe instrumentally talking about wanting money & wanting to go much farther.

Things go for a terror plugg approach on “Raiders” repping black & white like the Las Vegas Raiders although I’m much more of a Vegas Golden Knights fan personally prior to “WOAH!” produced by Cade sticking out amongst my favorite tracks here talking about sending shots at people’s families. “Trip” meshes gangsta rap lyricism with plugg production for a few minutes while “BLAAATTT” ends the 1st half talking about being able to quick-draw because of the Glock by his waistline.

“Rowdy” begins the 2nd act of the Geek Monster taking a moment to address his darling just before another highlight “RR” jumps over a pluggy Hariroc instrumental talking about his stick blowing up like it’s dynamite. “Sweet Angel” continues by heading towards a pluggnb direction getting more lustful in terms of lyricism while “Addy” works in a joyful plugg beat from boolymon so he can talk about taking both percocets & adderrall.

The song “2 Faced” pushes further towards the back end of the tape once again combining the gangsta lifestyle imagery & plugg instrumentation while “Fuxk Blueface” obviously serves as a diss track towards Blueface, who recently came home from a 2 year prison bid last month. “Lifeguard” finishes by blending synthesizers & 808s talking about putting motherfuckers in Lost & Found if they got a firearm on them.

Something that I think should be mentioned until I get to my closing thoughts is that RRoxket has likely completed his Sony deal when Rixhie Rixh II came out this spring, so for him to finish his 2025 with an independent tape that rivals the successor to his inaugural extended play almost 4 years ago already by continuing to solidify his status in the plugg, cloud rap & dark plugg subgenres of hip hop has me looking forward to this next chapter of his career.

Score: 3.5/5

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Big K.R.I.T. – “Dedicated to Cadalee Biarritz” review

Here we have the 15th mixtape from Mississippi emcee/producer Big K.R.I.T., who started out by releasing a few mixtapes from the mid to late 2000s. He eventually signed to Cinematic Music Group in 2010 & his 6th mixtape K.R.I.T. Wuz Here that same year landed him a joint venture with Def Jam Recordings & a spot in the XXL Freshman Class in 2011. His first couple of full-lengths Live from the Underground & Cadillactica in 2012 & 2014 respectively continued to show his potential, but then he went on to form his own label Multi Alumni some time after. The inaugural outing under the new independent label being 4eva’s a Mighty Long Time, which is the best double disc hip hop album of the 2010s without question. Following that was the T.D.T. compilation & even K.R.I.T. Iz Here, which was an underwhelming sequel to K.R.I.T. Wuz Here given how excessively commercial it was in comparison to the rawness of the predecessor. D.R.D.D. (Digital Roses Don’t Die) wasn’t any better, so I went into Dedicated to Cadalee Biarittz hoping he’d return to form commemorating the 2-year anniversary of Regardless, It’s Still Timeless later this month.

After the “Cadalee Radio” intro, the self-produced “Old News” works in a sample & hi-hats talking about hearing at all at this point in his career whereas “Gotta Do It” blends cloud rap & dirty south looking to do things the way the playas did back then. After the “Grillz by Scotty” commercial, “Hi Def” shifts towards a pop rap vibe with a bit of a Zapp twist to it while “The Mileage” talks about crankin’ the volume in his big body.

“Not in the Whip” embraces a more aggressive approach in delivery refusing to touch base regarding politics or any petty bullshit thrown his way & after the “CJ Customs” commercial, “I-20” begins the 2nd half of the album with a hook reminiscent of Devin the Dude talking about spillin’ on the major east-west highway down south. “Elevated” brings a smoother beat to the fold speaking of his artistic altitude while “The Everliving Sub Knocker” featuring Karlous Miller talks about bass.

After the “Spokesnvogues” commercial, “So Far So Good” jazzily homages the late Roy Ayers while “Precious Metal” talks about appreciating life & rollin’ in a whip with old school candy paint bumpin’ the late DJ Screw. “In the Rain” dedicates itself to every sunbeam that wouldn’t leave him alone until Karlous Miller shines with a 44 second freestyle. “Celebrate the Line” featuring Killa Kyleon, Lil’ Keke, Paul Wall, Propain, Slim Thug & Z-Ro ends the album with a victorious Houston posse cut.

Shifting away from the commercialized sounds of K.R.I.T. Iz Here & D.R.D.D. (Digital Roses Don’t Die), this inaugural entry in the Dedicated to Cadalee Biarittz marks Big K.R.I.T.’s return to his dirty south roots & it has me highly looking forward to the way the rest of this series will pan out. His production also takes some inspiration from the Houston hip hop scene too & he’s a lot hungrier than he was compared to when he was forcing himself to appeal to a radio market that didn’t exist.

Score: 4/5

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The Game – “Every Movie Needs a Trailer” review

Compton, California emcee, songwriter, actor & professional attention whore The Game linking up with Mike & Keys for his 16th mixtape. Originally taken under the wing of JT the Bigga Figga. His 2002 debut mixtape You Know What It Is would catch the attention of Dr. Dre & 50 Cent. Both of whom signed Game to a joint venture to their individually respective labels Aftermath Entertainment & G-Unit Records, distributed by Interscope Records. With their help, his debut album The Documentary the following year would go on to become a West Coast essential. However, a falling out between Game & 50 just months after the album’s release would result in Game moving over to Geffen Records to complete his 5-album contract. His next 4 albums Dr.’s Advocate, LAX, The RE.D. (RE-Dedication) Album & Je5us PiecE all showed that Game didn’t need Dre or 50 to make quality music. Once fulfilling his major label obligations, he went the independent route by founding his own label Numinati Records & showcasing the artists with a compilation entitled Blood Moon: Year of the Wolf in 2014. Game then put out an overloaded yet decent sequel to his debut with The Documentary 2+2.5 the next year as well as his previous album 1992 the year after & Born 2 Rap on his 40th birthday. Hit-Boy helped him come out of “retirement” again with the more consistent Drillmatic: Heart vs. Mind, although it was DONDA levels of bloated. In preparation of The Documentary III after siding with Drake in his beef with Kendrick Lamar, I was hoping Every Movie Needs a Trailer wouldn’t carry over any of that corny “Freeway’s Revenge” energy.

After the chopped & screwed “Silver Lining” intro, the first song “Caviar x Cartier” begins with a jazz rap opener talking about how you can turn around & lose it all today whereas “Can I” passionately gives us a look at the way he writes his rhymes over a soulful instrumental. “Chrome Hearts” works in some sampling to talk about him rather being feared than loved leading into “Amerikkka’s Nightmare” addressing people praying on his downfall.

“🤡🤡” takes 2 & a half minutes to poke fun at all the cornballs who ain’t poppin’ like they thought they’d be just before the sample drill/chipmunk soul fusion “Good Enough” speaks of the thin line between fatherhood & his neighborhood. “Quarter Zips x Matcha” kinda has some jazzier undertones to the beat cautioning that this real life with him instead of some corny Druski shit while “Rotation” co-produced by Jason Martin formerly known as Problem ends the 1st half with a club-oriented pop rap joint.

To begin the 2nd act, “The Coast Guard” talks about breaking down anybody who speaks ill of the Bloods calling back to Game’s origins with the infamous street gang while “Head of State” soulfully lets the world know what he’d do if he was president. “The Assassination of Candace Owens” heads towards chipmunk soul turf instrumentally talking about how people would rather be lied to & live in a fantasy world while “Left Out” experiments with an industrial hip hop sound basically giving a middle finger to everything.

“Blood Tears” featuring Mozzy jazzily talks about keeping their experienced pain to themselves while “So Contagious” offers food for thought to digest. “Just Like Me” soulfully shouts out those who made it out the trenches similarly to him prior to O.T. Genasis ruining “Scheme” despite “New York, New York” by Kurupt being flipped. “Livin’” finishes up sampling “Ain’t It Fun”by Paramore for an outro dedicated to the west coast.

Putting aside his bullshit defense of R. Kelly & Puff Daddy a.k.a. P. Diddy or Diddy at a private birthday celebration last weekend especially with The Reckoning documentary coming out on Netflix merely a few days ago, I have to admit that Every Movie Needs a Trailer was more of a stronger listen than Drillmatic: Heart vs. Mind was a few summers previously. Obviously there’s a lot less filler on here compared The Game’s last full-length, but he only brings a couple guests on board to flow over Mike & Keys’ production mostly well.

Score: 4.5/5

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