The Blog Era Boyz are a superduo consisting of Cleveland, Ohio rapper, singer/songwriter, musician & actor MGK alongside Pittsburgh, Pennsylvania rapper, singer/songwriter, actor & entrepreneur Wiz Khalifa. Both of whom achieved their own individual levels of popularity during my adolescence even if I’ve always been more of a Wiz fan than MGK. However after initially crossing paths on “Mind of a Stoner” over a decade ago, they’re dropping an eponymous debut under Taylor Gang Entertainment & Interscope Records.
“family > everything” wasn’t all that exciting of a cloudy trap intro despite talking about catching Ws for the sake of those they love whereas “everything tatted” goes for a more boastful vibe expressing the love both of them have for tattoos. “MPH” finds the Blog Era Boyz trying to “rock out like it’s heavy metal” over this generically atmospheric beat until “fill my pockets” ruins a sample of “Scar Tissue” by the Red Hot Chili Peppers to end the 1st half.
Kicking off the 2nd leg, “girl next door” comes through with this corny pop rap anthem sampling “KKMJ” by Sweet Trip just before “stoned” produced by FNZ & Jim Jonsin sings & raps about smoking weed. “passport” finds the 2 moderately going back-&-forth with each other doing it better than “fill my pockets” but after “grind everyday” talks about hustling daily over a Sledgren beat, “fiberglass” finishes with both members addressing those who ain’t on their side.
I tend to look back at the blog era very fondly since I was an adolescence during that timeframe, but MGK & Wiz Khalifa aren’t necessarily the first people who come to mind when I think of that specific period. Maybe to some it’ll make better sense as to why they formed the Blog Era Boyz since both of them came up primarily rooted in the pop rap style, except I can actually take Wiz seriously unlike MGK & would call it almost as bad as genre: sadboy.
New surprise mixtape & the CBFW Records debut from Detroit, Michigan rapper Veeze. Emerging back in 2019 off the strength of his debut extended play Navy Wavy, he would go on to blow up in the summer of 2023 after dropping his full-length debut Ganger under Warner Records. He has since spent the last few years making guest appearances for several projects & felt like Y’all Won only announced 24 hours prior through social media would cement Veeze as the greatest signing on the entire CBFW roster.
“Tesla Pill” begins with a cloudy trap instrumental talking about him not hanging it up until he becomes a billionaire whereas “Wrong Place, Wrong Time” embraces the Detroit sound so he can discuss keeping it lit for the city. “Bruce Wayne Coupe” talks about how there should be 1,000 people kissing his ring considering people take a lot from him just before “Malice in the Palace” sticks out as a favorite from the Taurus beat to the boastful lyrics.
Meanwhile on the significantly darker “New Clothes”, we have Veeze detailing him being rich without any problems prior to another highlight track explaining that he doesn’t talk about “Old Shit” & tana producing a cloudy instrumental that I’d consider to be amongst Y’all Won’s strongest. “Listen to Me” describes giving advice to bosses over this soulful trap beat while “Still Grinding” talks about this shit historically being in his blood.
“IDK” winds down the last act of the tape observing that the reason all these muhfuckas are broke is simply because they don’t have any aura & his main bitch being unapproachable while “Birdman” compares himself to the Cash Money Records co-founder of the same name way he stunts in addition to staying around shottas whenever he’s in the hood. The outro “Lose It All Today” takes up the last 4 minutes hopping over a sped-up vocal sample talking about making bands flip.
Ganger already made it pretty clear that Veeze ranks amongst the 2020’s finest Detroit trap artists alongside the likes of Lelo & Y’all Won marks Veeze’s comeback with a respectable half hour letting the world know what makes him more appealing than Rylo Rodriguez or Lil Dann & Noodah05. Not even gonna mention EST G & 42 Dugg because they’re both on CMG too, but I respect that he held it down without any guests even if some of the production could be better.
Here is the 7th mixtape from Newark, New Jersey musician Jane Remover. Aside from the 3 full-lengths under deadAir Records including Frailty as well as Census Designated & most notably Revengeseekerz, they have also released the Ghostholding mixtape on the label & 4 tapes pioneering the Dariacore sound. Coming off the Indie Rock mixtape last summer & Young Dabo’s sickeningly transphobic “Bleed” diss towards them however, Jane’s back to give the world some Status Update Music.
“If You Think I’m a Bitch, You Should Meet Jane Remover” blends Dariacore, hybrid trap, industrial hip hop, deconstructed club, xtra raw, jerk & complextro for an energetic intro mentioning underscores whereas “XO Tour Llif3” experiments with hyperphonics, speed house, electro house, hybrid trap, electro house, future bass & complextro to distinguish itself from Lil Uzi Vert’s biggest hit.
Brostep, Dariacore, rawstyle, EDM glitch hop, complextro & hardstyle all collide on the emotional “I Did This for Us” single while “…Like Watching a Zombie Turn” would debatably be amongst my top 3 tracks here due to the way future bass, changa tuki, UK hard house, brostep, psystyle & power soca are all mixed with hyperflip. “Crowdkilling 101” on the other hand explores bass house, electro-industrial, hard techno, complextro, speed house & French electro whilst maintaining the hyperphonics elements.
“Nothing Lasts Forever (Every Detail U Have Ever Told Me)” was a too 5 moment personally expanding beyond Dariacore in favor of rawstyle, speed house, hybrid trap, bubblegum bass, complextro, future riddim, festival progressive house, alternative rock & bass house while the manically dense “Chase This Feeling” bringing secondary influences of hyperflip, future bass, speed house, bubblegum bass, changa tuki, hard trance, rawphoric & rawstyle to the table.
Dariacore, deconstructed club, complextro, changa tuki, electro, nu skool breaks & bass house each have their own distinctive presence throughout “#BoyLetMeKnow” kick off the 2nd half of Status Update Music while “The Summer I Pretty” comes through with a mechanical melting pot of bass house, industrial techno, hyperflip, deconstructed club, complextro, Detroit techno, electro-industrial, hard techno, French electro, bass house & tearout.
“Right Nowww (Tear Me Apart)” would be my 2nd favorite song on the tape maximally meshing Dariacore, happy hardcore, hard trance, freeform hardcore, speedcore, buchiage trance, UK hardcore, hyper techno, psytrance, nightcore, midtempo bass, hardtek & bouncy techno while “L.A.M.B. (Love.Angel.Music.Baby.)” bears it’s name after Gwen Stefani’s timeless solo debut despite being stylistically rooted in brostep, hyperphonics, rawstyle, tearout brostep & hybrid trap.
The rhythmically buzzy “I Belong to Nobody (But Tonight I’m Yours)” keeps pushing boundaries of Dariacore drawing further inspiration from neoperreo, deconstructed club, digicore, lento violento, snap, jerk, trap, xtra raw & rawstyle prior to “Get Ugly” containing it’s individual sections varying between French electro, electro-industrial, hyperflip, drumline, industrial metal, ballroom, Jersey club, deconstructed club, neoperreo, midtempo bass & rawstyle.
“In Every Lifetime (Together Like This)” nears closer towards Status Update Music’s conclusion with a melodically polyrhythmic bass house, Dariacore, alternative R&B, hard techno, bubblegum bass, indietronica & speed house while the outro “Summer Fling” ends in the form of this perfect dance-pop, contemporary r&b, funky house, Baltimore club, akishibu-kei & 2-step anthem in time for next month.
Most would say Dariacore 2: Enter Here, Hell to the Left is the best thing Jane Remover had done under the leroy moniker, but Status Update Music surpasses it 5 years later. Their production nearly perfects the Dariacore subgenre of hyperpop & EDM microgenre Jane created eclectically mixing it with hints of hard dance, hybrid trap, industrial hip hop, deconstructed club, xtra raw, jerk, complextro, speed house, electro house, future bass, rawstyle, EDM glitch hop, hardstyle, changa tuki, UK hard house, brostep, psystyle, power soca, bass house, electro-industrial, hard techno, French electro, bubblegum bass, future riddim, festival progressive house, alternative rock, hard trance, rawphoric, nu skool breaks, industrial techno, Detroit techno, tearout, happy hardcore, freeform hardcore, speedcore, buchiage trance, UK hardcore, hyper techno, psytrance, nightcore, midtempo bass, hardtek, bouncy techno, tearout brostep, neoperreo, digicore, lento violento, snap, trap, drumline, industrial metal, ballroom, Jersey club, midtempo bass, bass house, alternative R&B, indietronica, dance-pop, contemporary R&B, funky house, Baltimore club, akishibu-kei & 2-step.
Here we have the 8th mixtape from Washington, D.C. emcee/producer Ankhlejohn. Breaking out off his Big Ghost Ltd.-produced sophomore effort Van Ghost, he’s given the underground his last 7 tapes as well as 8 EPs & 7 full-lengths in almost a decade. Other favorites of mine in his discography include the Navy Blue-produced As Above, So Below, the Rome Streetz collaborative effort Genesis 1:27, the Cookin’ Soul-produced The Michelin Man & the August Fanon-produced Live! at the Disco last summer. A whole year later & V Don’s producing Everything Beautiful Died Early.
“Origins” gets things going with a 125 second intro talking about being paid to prove cases over a drumless orchestra backing him whereas “No Specifics” goes for a boom bap vibe instrumentally referencing The Sopranos, which is one of my top 3 shows. $ha Hef joins Lordy so they can talk about some “Monyun” over a sample & some drums while “Trauma or Tragedy” incorporates a more laidback beat to talk about being there when the powder was still stone.
Babymaine joins Ankhlejohn on “Inglorious” for a gangsta rap/boom bap crossover detailing their experiences living in The Bronx & the DMV just before “Stoneisland” wraps up the 1st half of Everything Beautiful Died Early looking back at when Juelz Santana was a big inspiration to him. “Vegan Goose Down Silence” kicks off the 2nd leg talking about making this tape because he felt like the game needed him leading into “King, Pawn & Rook” featuring Crimeapple breaking down the mafioso lifestyle.
“Solar Faxx!” aggressively talks about his desire of making educating ourselves more mainstream while “Laugh & Cry” once again touches base regarding the subject of the gangsta life, explaining that it’s pretty much a cycle. “Day 1” talks about his refusal of disrespecting the plates he came from & his knowledge of the game dating back since the beginning while “Packback” ends by observing the amount of love since his youth that’s faded.
Next fall will be a whole decade since Ankhlejohn introduced himself by taking the underground on a trip through The Red Room & for the past 14 months, he’s been dropping the greatest output of his entire career from The Michelin Man to Live! at the Disco & now Everything Beautiful Died Early. There are only a small handful of guests on this one rather than Lordy holding down the mic all by himself throughout the predecessor last spring, but they’re all carefully selected since everyone flows well over V Don’s distinct production style.
Windsor, Ontario, Canada emcee/producer J Reno finishing The Dirttape trilogy with his 4th mixtape. Introducing himself over 2 decades ago off his debut tape 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. His debut for the Grand Rapids label The Dirttape & it’s sequel have both come out over the course of these past 5 months, building us up for this final chapter.
“Returned” hops over an eerily self-produced trap instrumental talking about becoming amongst the dead whereas “Outsider” shifts towards a symphonic boom bap vibe explaining that the industry can be cancerous when I don’t hear any lies. “They Want More” featuring Samson Samson finds the 2 aggressively talking about their coldblooded tendencies leading into “The Villain”combining rap metal & boom bap so he can get a bit more antagonistic.
Meanwhile on “Wreck Yo Self”, we have J Reno warning people that he’ll check anyone who disrespects him while “The Facade” not to be confused with the current JCW American Champion talks about fearing no wanksta over a west coast beat. “Stirring” by Misery Coast reunites the duo to talk about causing destruction together once this series is exhumed prior to “Dopamin” posing the question of what’s left once the rush fleets.
“Windows Down” talks about pulling up to cities blasting his system pulling inspiration from the west coast again while “Demons & Heathens” featuring the Even Heathens leans back into the horrorcore side of things. “Earn Some” discusses him grinding without taking a single day off & what to do if one wants respect while the final song “Enemynd” preceding the “Back to Dust” outro finishes The Dirttape saga talking about mental health, basically saying that your own mind can be your worst enemy sometimes.
The Dirttape 2 still had quality performances & beats from J Reno even if most of the features weren’t doing it for me personally, but The Dirttape 3 ends on a stronger note putting itself behind the one that started it all when 2026 began & raises anticipation of where he goes from here as a part of the Dirtcore roster. The guest list is more consistent than the predecessor back in March & he finishes the Tape Keeper arc hitting us with a primary boom bap sound.
Charlotte, North Carolina recording artist BigBabyGucci preluding his next LP with his 5th mixtape. Starting almost a decade ago off his debut EP ART HOE Collection, he would continue to build a name for himself by putting out 19 more EPs as well as 7 full-lengths & his last 4 tapes along the way. When U Wake Up, When You Go to Sleep, Baby 5 & the heavily alternative ANTI have all become his strongest material of the 2020s although I can’t the same for Isolation 2.5 a month after the latter. Internet Explorer was a fun redemption for himself & 5 months later, following up And When I’m Alone & Serotonin to fall Asleep at the Wheel.
“Bound” begins with him talking about smoking blunts & poppin’ bottles right when he gets up in the morning whereas “Glass Table Girls” samples “Don’t Play” by Travis Scott featuring Big Sean & The 1975 to describe the kind of women who get high every night. “Kiss & Tell” works in some synthesizers to talk about a type of love that’s on fire leading into “Still Around” confronts somebody for hanging around lames.
To finish the 1st half, “Is It a Dream?” talks about him still kicking it with thugs & still having aim even when he’s under the influence of drugs while “Alpina” gets the 2nd leg going confessing whilst drunk off tequila that the reason he has trust issues is because of all the real ones wanting to fuck with his girl. “Sonny Liston 2” comes through with a sequel to one of my favorite Universe 2 songs, refusing to give the ball back to anyone who crosses him.
“Fake Friends” wraps up Asleep at the Wheel’s final moments talking about the kind of people only come around in your life when it makes sense to them while “Chardonnay” likens himself to the Sunday paper hence why he doesn’t entertain old news & preferring lean over wine when I don’t drink either. “Prevail” spends the last couple minutes of the tape blaming him for being different as the cause of why he doesn’t fit in, admitting he isn’t doing so well.
Tha Leak was an intriguing collection of previously unreleased tracks between 2019-2022 & not only has he confirmed that there’ll eventually be a sequel, but we’ll get 2 more albums called Side Effects & 1 Long Trip by the end of the year with Asleep at the Wheel confirmed to be a prelude to either one of those. House of Mirrors & Mint Colored Stones are supposedly still coming too, conceptually taking us on a 26 minute car ride soundtracked by a producer he’s been bending genres with since 2019 already.
Hartsville, South Carolina rapper Trap Dickey making his Top Dawg Entertainment debut by dropping a brand new mixtape a month after signing. Carving a path for himself artistically after getting shot in the face as a result of a crossfire, his full-length debut Trap or Die would eventually arrive in the spring of 2021 & he has since spent the last several years building up anticipation for The Ville through numerous teasers. However in light his new deal, he’s ready to make a broader introduction under a major label.
“Sonny” produced by Sonny Digital was actually an impressive southern trap intro talking about him always looking up to the dealers whenever he watched gangsta movies whereas “Slidin’” mixes a guitar & some hi-hats to spit that g shit. “Jacker” brings a more energetic vibe to the table asking this woman if she’s ever fucked with a gang member until the 5th single “Don’t Trip” explains the reason a lot of rappers leave their hood is because they really don’t run the city.
As for the 7th & final single “Tell Me Why”, we have Trap Dickey confronting someone regarding the purpose of them fucking with him & the 6th single “Down South” featuring Key Glock was quite possibly my favorite of the bunch from FNZ sampling “Darkest Light” by the Lafayette Afro Rock Band to both artists calling to stop hatin’ on the wrong hitters. “Keep Going” featuring K Camp was a mediocre way to conclude the 1st half despite the messaging just before the 2nd single “No Love” featuring BigXthaPlug flips “Nothing But Love” from The 5 Heartbeats for a moderate gangsta rap cut.
“Blue Devils” featuring DaBaby on the remix trades verses with each other representing both Carolinas for the lead single while “LA Nights” samples “Island in the Sun” by Weezer to talk about spending evenings out in the west coast. The 3rd single “Gettin’ Money” featuring OJ da Juiceman has some cool strings & bells even if the “this shit gon’ stay on me like babies, please don’t pamper me” line was a bit trite while “Morning” samples “Easy” by the Commodores to provide some introspection.
YTB Fatt makes an appearance on the gospel trap crossover “Glory” referring themselves to be the big dog rookies of the year despite the fact that neither one of them are beginners while the 4th single “Day Shift” fuses a bluesy guitar & hi-hats talking about putting on for everything that’s in the streets along with no longer being a hitter due to the money that’s on his head. “New Philly” ties up the last few minutes of The Ville with a passionately drumless outro.
There are only a select few artists on the TDE roster that I would have to put in the C tier like Lance Skiiiwalker & Zacari, but you could add Trap Dickey to that same category considering that a great deal of The Ville was mediocre to me personally. Even if the guest list & production both falter at times, I can totally understand why Anthony “Top Dawg” Tiffith signed him because his whole style’s like a preacher’s grandson speaking directly to the audience.
Richmond, Virginia rapper & songwriter Nettspend surprise-releasing his 2nd mixtape on his SoundCloud. Blowing up in 2023 off his debut EP Kickdoor, he would also team up with Hooligan Lou for the poorly received collab EP 3rd Knock preceding him signing to Grade A Productions & Interscope Records a few months afterwards. His debut mixtape Badass Fucking Kid was welcomed to divisive feedback although I personally enjoyed it more than Kickdoor or Nettgenes’ eponymous debut EP. Coming off the introspective Early Life Crisis a couple months ago, him looks to prepare us for the next era.
“kriss kross” opens up with him talking about not having any friends & for his sidekick to slide back over a rage beat whereas “sumthin’ different” describes him taking 10s all day to the point where he feels like he’s spinnin’. “medicine taste like shit” produced by che sticks out amongst my personal favorites on the tape detailing his dislike of fentanyl & cocaine until “strong” samples “hey, hello” encouraging this person to take hard-hitting drugs with him over yet another hypertrap instrumental.
We get a cross between plugg & cloud rap on “bliss” suggesting the problem between him & this woman was him waking up & asking her which drugs he should take prior to “change on me” bringing the rage beats back into the picture talking about having the ability to steal hoes before becoming famous. “goin’ dumb” embraces a more prominent digicore sound discussing all the hoes knowing exactly how hard he’s been going while “team x” shifts towards a pluggier direction again getting on his gangsta shit.
“high off life” contains one of my favorite hypertrap instrumentals on the tape courtesy of gyro advising for this individual to never hit up his line again going forward & if I had to pick a least favorite track, “breesh breesh” takes the cake talking about having guns & drugs inside his bag. “$ MF” blends cloud rap & plugg again moderately flexing his cash flow while “H.Y.W.D.S. (How You Wanna Do Shit)?” goes full Chicago drill to talk about having no time for the power.
The rage lets itself loose once more during “young ho” detailing him being at the point in his life where he’s used to hearing gunfire & what he refers himself to be instead of an O.G. while the Early Life Crisis outtake “pocket bag” incorporates some jerk undertones confessing that he isn’t playing for keeps. “killin’” emphasizes the jerk influences with a bit of a plugg twist talking about being a real villain while “sallys” cooks up another outstanding hypertrap instrumental from CXO shouting out the place he dyes his hair.
“problems” spends almost a couple minutes colliding cloud rap cautioning for everyone near him not to test your luck since he has the ability to leave muhfuckas dead but after ”Snapchat” swaps out the cloudier elements in favor of standard trap music talking about women sending him nudes through the social media app itself, “sonder” experiments with mixing characteristics of emo rap & jerk asking if the chick he’s addressing meant what she said.
The last 3 songs all have their own rage-inducing auras to them, except “10k ona dogg” talks about his savagery & making out of the rap shit off the rap shit itself while “beep beep” calls out the crowd of individuals who stay envious of him experiencing the lifestyles of the rich & famous from his Range Rover to his fit. “shootin’” finishes him by posing the question of why things have gotten worse for him in the midst of trying to find a way out of this dead end while “fuck tsa” starts the deluxe run dissing the TSA over a jerk beat.
“mona lisa” talks about having bitches who’re works of art the way he see thems & money making their worlds spin while “u not a demon” calls back to both “plan b” & “paris hilton” off the last album. “forever never” might be my favorite bonus track of them all talking about his plans of replacing everything that’s was built & ironically, the weakest of the bunch “maybach” reserve my least favorite for last bulletproofing his luxury car in case he runs into some haters.
Wasn’t anticipating Nettspend to drop again so soon, but I suppose it makes up for the delays Early Life Crisis faced taking a couple leftovers from those sessions & throwing some unreleased material in there ahead of his upcoming sophomore effort Slut vindicating why he’s been him. I’d even put him above 2slimey when it comes to that experimental rage style & there’s more variety between jerk, trap, cloud rap, plugg, digicore, Chicago drill & emo rap than the hardcore/pop raps of his debut.
Brand new 2-disc collaborative mixtape & their 3rd together overall from New Orleans, Louisiana rapper, songwriter & record executive Curren$y as well as Pittsburgh, Pennsylvania rapper, singer/songwriter, actor & entrepreneur Wiz Khalifa. Proving themselves to be hip hop’s Cheech & Chong of the late 2000s when the Jet Life Recordings & Taylor Gang Entertainment founders dropped their How Fly mixtape, they would return a decade later for the 2009 album & are back again 7 years later to have Cardo & Harry Fraud respectively produce each side of Roofless Records for Drop Tops by themselves.
“Close Your Eyes” was a psychedelically cloudy intro talking about getting it because they’re going the hardest until the wheels fall off whereas “Jet Life Taylor” represents each of their respective crews over a calmly nocturnal beat. “So Many Flavors” kinda has this smooth west coast vibe instrumentally talking about having several different strains of weed leading into “Stoned & Leave” going for a pop rap direction wanting their partners to pull up to get high.
Cardo makes a turn for cloudy trap territory during “Bounce Back” so Spitta & Wiz can talk about feeling down bad sometimes & coming back from it by catching more Ws prior to “How Could I Lose?” suggesting that others are right when they say both artists are running the game. “The Same One” has a more subdued tone to the beat telling their lovers they can’t be at their houses unless there are no neighbors while “Live Fast Burn Slow” explains the way the game goes.
“Ashes Out the Window” experiments with somewhat of a pluggier sound calling for everyone moving slow to pick up the pace while “Rrari Twins” ends the 1st leg flexing their Ferraris & meaning big business whenever they pull up to the spot. “Pink Panther” gets the 2nd half going over a jazzily drumless loop taking a more sensual approach to their songwriting while “The Coin Toss” express a desire of making their families rich by the end of the summer.
We have the jazz rap influences making their back in the spotlight on “🍾🍾🍾” talking about smoking wherever they go & hosting meetings chillin’ inside of yachts but after “Smoke N’ Pray” combines some keys with more hi-hats to detail the complications that come with their boss statuses as well as wakin’ up early being an obligation, “Long as You Live” expresses the way they feel over a predominant woodwind instrumental talking about how touching $1M doesn’t mean shit to them.
“Storm Shadow & Snake Eyes” winds down the last 7 & a half minutes of Roofless Records for Drop Tops incorporating this bluesy guitar to discuss riding around their sports cars stoned as fuck & commending those who’re actually wise enough to stay out of their way while “z28” luxuriously talks about shit being far from sweet out in their hoods & people knowing your whip before your name because the game’s dirty like that. As for the final song “Palm Island”, it cloudily ends the mixtape boasting their expensive habits 1 last time.
Similarly to Jay Worthy’s debut album Once Upon a Time last fall, I choose to wait until both sides of Roofless Records for Drop Tops were officially released so that way I could cover the whole tape start-to-finish & I’m happy I did considering the mixed reception Disc 1 generally got at the end of the month will likely be reevaluated now that the other half’s here. It could potentially become amongst Curren$y & Wiz Khalifa’s greatest material as a duo since I’m at it, trading verses depicting their stoner rap escapades over Cardo & Harry Fraud production varying from trap to drumless & jazz rap.
Yes, this is the 6th mixtape from Carson, California rapper Reason. After releasing his first 4 tapes, Top Dawg Entertainment signed him in the middle of 2018 by reissuing the one that landed him the contract in the first place: There You Have It. However, his official full-length debut album New Beginnings received more mixed reception when it came out the fall where COVID had the whole world shut down & Anthony “Top Dawg” Tiffith’s son Moosa subsequently got into a heated exchange of words with Reason the week Porches dropped saying former employee & pgLang co-founder Dave Free regrets even signing him in the first place. I Love You Again under his own label Do More Records reignited his passion & Everything in My Soul_Blue was alright, looking to top that with Moving Love Towards_Pink.
“La La Intro_PINK” rides over a drumless loop 2 about trying to swim for once after drowning in guilt for so long over a drumless loop whereas “Give It All 4 My Bitch_PINK” goes for a chipmunk soul vibe detailing that he’d give everything for his soulmate. “If This Ain’t Love_PINK” kinda feels unfinished since the let the instrumental ride out during the 2nd half of it despite it’s playful atmosphere & melodic delivery while “Humble ‘Em_PINK” looks to put someone in the dirt for cheating on his girl for a woman who doesn’t measure up.
We have Reason refusing to let any hoe throw him off his steeze on “Something ‘Bout Us_PINK” admitting that he feels like his life’s way too open leading into “Doin Too Much_PINK” featuring Isaiah Jaay blends R&B & pop rap telling their partners not to break a sweat. “I’ll Be There Idea_PINK” starts the 2nd half with another track that seems half baked leaving another open verse towards the backend of it just before the cloudy “Money Cash Hoes_PINK” talks about trying to fuck bitches & get money.
“Tired of Fuckin’ Deez Hoes_PINK” featuring Guapdad 4000 & Kembe X brings all 3 of them together making it clear that they’re fed up with all the bitches in their circle while “Tell Me_PINK” expresses hope for this person to come back & get him. “F.U.T.V_PINK” featuring Kalan.FrFr incorporates some cool sampling chops encouraging those they’re addressing to do their thing & after “Where Do We Start_PINK” talks about wanting to protect this woman, “Who TF You Blaming Outro_PINK” airs out a chick who tore his heart to pieces.
Now that we’re official halfway through this whole color series that Reason kicked off 5 months earlier, I already made it pretty clear that I enjoyed Everything in My Soul_Blue less then I Love You Again & unfortunately came away from Moving Love Towards_Pink enjoying it no less or better than it’s predecessor last fall. There is improvement within the production department & I appreciate the cohesiveness breaking down the 4 different stages of love, but the amount of guests is a bit excessive.
Legends Will Never Die 