Yeat – “Luh Leakyz” review

New surprise mixtape & the 4th overall from Portland, Oregon rapper Yeat. Emerging in 2018 off his debut EP Deep Blue $trips, he’s been dominating the mainstream since 2021 whether it be him dropping a plethora of projects or receiving cosigns from the likes of Drake & Earl Sweatshirt. He eventually signed to Geffen Records, who backed his sophomore effort albeit major label debut 2 Alivë few years ago & it’s companionable deluxe EP Gëek Pack shortly after. Lyfë, Aftërlyfe, the experimental Capitol Records debut 2093, Lyfestylë, Dangerous Summer and A Dangerous Lyfë & A Dangerous Love all followed & has come off last month’s Cocoon to drop Luh Leakyz.

“Lil Krazy” brings in the bells thanks to Trgc so Yeat can talk about the way he lives & former associates betraying him whereas “Time Passëd” produced by Internet Money Records in-house producer Synthetic brings a quirkier trap vibe to the table flexing the tall money he’s earned himself. “Liv Dis Lyfe” made for one of the more decent tracks regardless of him looking back at the times when he was down bad while “Real Trendsettër” digs up a Lyfestylë outtake talking about being the one they copy.

Meanwhile on “When tha World Ends”, we have King Tonka explaining that he can’t trust a soul in this world & bots making up a great chunk of his detractors while “Marching” reunites with BNYX of Working on Dying to talk about being so high to the point where he hasn’t touched the ground yet. “Sklub” looks to fuck up the game & dismisses anyone who thinks they can do this shit better than him while “U Could” assures this woman she could fuck a boss if she wanted to.

“X with the Boot Up” experiments with an EDM sound talking about mixing all sorts of drugs he enjoys taking where it’s dropping a percocet inside his cup of lean or combining 2 different forms of ecstasy but after “Diseasë” flips his haters’ criticism directly back at him asking why he’s so rich if his motion’s fizzled out over a futuristic venny beat, “HeliMAn” talks about him frequently using private jets for traveling.

The song “Countup” featuring Summrs finds the pair trading bars with each other over a trap instrumental with some heavy synthesizers admitting their not worried regarding finances because they’re already achieved wealth without any advances while “Martian” brushes off any critics since he’s right where he wants to be. “Last Day” concludes Luh Leakyz making it clear he doesn’t give a fuck what anyone fucks with or does.

Yeat goes through the vaults & compiles 14 previously unreleased tracks onto a 40 minute mixtape in preparation for his upcoming 7th album Reborn set to arrive at some point during the new year, kinda like what Lucki did with Last Laugh the previous weekend except there’s a chance I could prefer Luh Leakyz of the 2 & would welcome a sequel if it ever happens in addition to placing it above the Cocoon EP he gave us only 4 weeks earlier.

Score: 3.5/5

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Hit-Boy – “The Chauncey Hollis Project II” review

Here is the 8th mixtape & 2nd of 2026 from Fontana, California producer, MC & singer/songwriter Hit-Boy. Emerging after Polow da Don took him under his wing by signing him to his Interscope Records imprint Zone 4 Records, his early production credits range from “Stronger” by Mary J. Blige to “Drop the World” by Lil Wayne & Eminem, but wasn’t until the winter following the last 2 jams where he would catch the attention of the Chicago jeen-yuhs himself Ye formerly known as Kanye West by producing his Christmas posse cut “Christmas in Harlem” & becoming an in-house producer for G.O.O.D. Music for 2 years approximately 5 months after that. It was there that he would cookup some notable bops such as “N****s in Paris” by The Throne as well as “Cold” by Ye & even “Backseat Freestyle” off Kendrick Lamar’s sophomore album albeit major label debut good kid, m.A.A.d. City. He then launched his now defunct Interscope imprint HS87 Music as his tenure under Kanye’s wing was coming to a close, continuing to build a reputation for himself by working with the likes of Beyoncé or Drake & Travis Scott. But it’s no secret that this decade has easily been Hit-Boy’s most prolific yet considering his work with Big Sean, Benny the Butcher & of course Nas. His own solo debut Surf or Drown would arrive in 2023, coming off HITStory 2: Success is a Dirty Word earlier this summer to drop a sequel to The Chauncey Hollis Project.

“On a Streak” begins with an R&B sample so he can lay some braggadocio on top of it whereas “Politickin’” talks about his success & his refusal to rest on his honors. “Lunch Line” featuring The Alchemist brings back those Goldfish vibes they gave us 52 weeks earlier over this summery beat & after “It’s Over” clocks another $1M, we have Hit fondly looking back at childhood memories during “Cannonball” remembering those who were later murdered in cold blood.

03 Greedo appears for “P.O.P. (Purpose Over Pride)” so they can talk about putting motives above ego while Don’t Let Them Stress You” by Half-a-Mil links up over a boom bap instrumental to talk about not allowing anyone bring you down. “Tech Decks” advises those who ain’t tryna face him to get the fuck up out his way & “Overdid It” ends The Chauncey Hollis Project II on a more layered note that starts off with some melodic piano chords suggesting maybe he could change the ending.

Scaling back the number of catchy hooks & radio friendliness, The Chauncey Hollis Project II does feel like an extension of sorts to it’s 2020 predecessor telling us what’s been going through Hit-Boy’s mind instead of looking to pack up the dance floors. There’s more variation to the production bringing secondary influences of chipmunk soul & jazz rap into the picture although HITStory 2: Success is a Dirty Word’s balance between boom bap & trap doesn’t lose itself as Hit gets some stuff of his chest.

Score: 3.5/5

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Lucki – “Last Laugh” review

Here we have the 8th mixtape from Chicago, Illinois rapper & occasional producer Lucki. Beginning to turn heads in the summer of 2013 when he released his debut mixtape Alternative Trap to critical acclaim, he would later go on to give his fans 6 more tapes & a dozen EPs with the last one being the F1LTHY-produced Wake Up Lucki a week before my 25th birthday in December 2021. The full-length debut Flawless Like Me saw Lucki finding his style & the sophomore effort s*x mon*y dr*gs was the most I enjoyed Tune’s music in a while, coming off Gemini as well as Daysb4bad* & dr*gs r bad having the Last Laugh.

“what it is” incorporates some 808s to open up the tape talking about no longer putting sad songs over thots leading into “all wock” going for a syrupy trap vibe instrumentally discussing his love for lean. My favorite track here easily goes to the Flawless Like Me outtake “60 mgs” talking about touring, his drug use & unpleasant relationship experiences just before the runner up “overseas” cloudily admits the fame hasn’t resolved his internal conflicts.

Moving on from there, “replica’s n capper’s” talks about how these muhfuckas be actors & that nobody can touch him as long as he feels like they don’t love him while the cloudy “high together” ends the 1st half detailing a relationship that’s being kept low-key. “psycho truck” kicks off the 2nd leg talking about spending money right when he gets up & raising his prices if his heart gets broken while “nun like y’all” flexes that he’s wealthier now than he’s ever been in his life.

“total” boasts that he has a bitch so bad, she’ll do a number on ya & the inability of sleeping because of a group of individuals waiting for him while “okay, copy!” energetically talks about putting his heart in this only to receive payback in return. “super brazy” includes a really great line in the middle of Tune’s verse where he says “Money ain’t rеaler than God but money’ll make n****s treat you like Him” until “knew what it was” finishes the Last Laugh talks about getting love & doing drugs everywhere he goes.

Now that he’s no longer signed to EMPIRE Distribution, the next phase of LUCKI’s career under Interscope Records gets preluded by digging up 12 grails that’ll simultaneously impress those who’ve never heard Tune’s music until now & the Day 1s who’ve stuck around from the beginning who’ll remember hearing these previously unreleased tracks being previewed regardless of some idiot in Interscope labelmate Playboi Carti’s entourage stabbing him at ComplexCon at the beginning of the month.

Score: 3.5/5

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Zukenee – “Blunts & Blades” review

Brand new mixtape & the 3rd overall from Atlanta, Georgia rapper/producer Zukenee. Starting in the spring of 2021 off his debut EP Undiscovered, he would continue to make a name for himself in the underground by putting out a couple more EPs in Castle & Playful alongside the debut mixtape Stop Playing. Subsequent exclusive singles like “OJAYS” & “Chest” would later become amongst his best singles since both of them were released in the span of a year & a half preceding Player Slayer. Guillotine, Birth of St. Slay, Slaytanic, Knight Shift, Eye Love U, Zuminati & the Trapped in the Dungeon series have all followed since. B4BB came out over a week ago & the main course Blunts & Blades is here sooner than anticipated.

“Kelly Chanelly” opens up talking about feeling like a monster soon as he hops out of the Jeep over a minimally dark Cade beat whereas “Mixinggg” goes for more of a standard trap vibe instrumentally speaking of combining lean & xanax in his cup. “Break My Scale” talks about exposing all these bitch-ass wannabe thugs for who they are leading into “Calibrated” runs it back with Cade to flex he’s gotten so dirty, that his cleanliness has become an urgency.

As for “50+50”, we have Zukenee talking about spending hundreds of dollars on guns & drugs while “Walked Out” calls for all his young shooters to continue robbing all these pussy ass rappers. “Who DF” ends the 1st leg of Blunts & Blades talking about how it took him a long time to get to where he’s at in his career presently just before “Funky Monkey / Characteristics” kicks off the 2nd half with a 2-parter boasting of being the type to drop a bag & get it back.

“Kisses of Molly” keeps the tape going talking about all of his bitches keeping it solid & staying on some slick shit while the trap/pop rap single “?” asks what he’s supposed to do with his chopper. “Skreet Bitch” incorporates some chaotic synth melodies to break down his preference in women who got a little hood in them while “Face in Pillow” advises not to take it personally if he leaves & leads one one because he’s a youngin’ increasing his revenue.

The song “Jeffrey” talks about making deposits into his bank account every single morning when he wakes up & slimin’ muhfuckas like Young Thug while “French Tip” goes for a crunk sound so he can keep showing off his wealth. “Rags to Rick” produced by BNYX of Working on Dying was a great way to end Blunts & Blades, talking about going from not having shit to wearing Rick Owens & hoping this chick he considers the one doesn’t wind up lying to him.

Trapped in the Dungeon & it’s sequel each have some of Zukenee’s craziest songs yet like “Qooler” or “Start the Day”, but the disappointment I had for B4BB over a week earlier gets put to rest since I enjoyed a great deal of Blunts & Blades. It’s probably the most experimental thing he’s done so far with Cade’s 40% share of the production & the outro being the most enjoyable moments of the bunch, coming off the feature he did for KARRAHBOOO’s newest EP Not da 2 for his most gratifying 2026 offering & only drawing closer to the Cardo-produced Zudo.

Score: 3.5/5

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9 Vicious – “Sedition” review

Here we have the 2nd mixtape from Atlanta, Georgia rapper & producer 9 Vicious. Breaking out in 2024 off the single “U Fancy” despite releasing his debut tape Naz in 2020, he would go on to further introduce himself on B4SA & the full-length debut Studio Addict helped him gain more exposure to the point where Young Thug signed him to YSL Records after B4TM dropped & Tumblr Music wasn’t that bad of a debut for the label other than “Clout Demons”. B4FN & For Nothing have both become the best things he’s made since the YSL deal, leaving when the Uy Scuti Bøyz consisting of diamond* & Tezzus signed. B4EM & Emotions were both welcomed to mixed reception, coming off his beef with che & Ken Carson recently dissing him to drop Sedition ahead of Sex Money Power & Life’s Beautiful.

“Anytime” begins with a rage beat from Patrick Garza for some mediocre gangsta rap bars whereas “Cracker” obnoxiously talks about him having sex with a white person. “Mind Racing” rambles on regarding a woman who he’s constantly thinking of & claiming to be the biggest in the game leading into “Sing to Your Heart” includes a hilarious bar about him having a good heart considering all of the controversies he’s constantly getting himself in.

As much as I love Patrick’s instrumental on “Roq & Kobe”, I can’t say the same for 9’s lyrics claiming to be freakier than Kevin Gates or having a girl who “eat the dick like a big back” while “Classy Girls” preludes Sex Money Power in the midst of talking about his women having class. “Stranger Things” denies OsamaSon’s claims that he pulled up to his house to end the 1st half of the tape while “Ace & Nicky / Casino” opens up the 2nd leg with a 2-parter.

“Chateau Moment” talks about pulling up to the wedding venue out in Clayton County with a bunch of hoes by his side while “Zone 3” splits itself into 2 separate portions touching base regarding his wealth. “Fuck Flags” responds to the backlash he got for waiving an Israeli flag onstage at a show in Prague a couple months ago while “U.O.E.N.O.” featuring NDO D homages the Rocko single of the same name that came out back when I was in high school.

The song “Sardinia” winds down Sedition’s final moments talking about being out in Italy with his toes out & a couple baddies accompanying him while “Go Bestie” produced by R8 of Vanguard Music Group discusses having sex in the back of a car & spending 20 in exchange for a neck piece. “To Be Continued” sends off the tape with 1 last 2-parter talking about all of his struggles fading away whenever he looks in the eyes of his partner & encouraging her not to let anyone else convince her she isn’t the biggest.

It is somewhat refreshing for 9 Vicious to let Patrick Garza handle most of the cloudy trap/rage production aside from R8 doing the last couple joints & a few other exceptions but unfortunately, Sedition doesn’t stick out any more than Emotions did although in no way shape or form does that imply that I’m looking forward to Sex Money Power whether it drops within the newest or in 2027 mostly because of the below average songwriting & of course his antics.

Score: 1.5/5

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Valid – “The Bronko Tape 2” review

Detroit, Michigan emcee Valid surprise-dropping his 2nd mixtape. Introducing himself properly over a decade ago with Reach High, he would follow it up in 2019 getting more personal on the sophomore effort Mihajlo which I personally would recommend to anyone as the best place to start for anyone who wants to get up on Valid’s music & eventually the Plum Brandy EP only 9 months later. Coming off The Bronko Tape & Peach Brandy, he’s preluding this next chapter of his career with a Bronko Tape sequel.

“See It Twice” hops over a synth-driven boom bap beat Pig Pen cooked up talking about the rap game making him fatter than he’s ever been whereas “Gitchya Money” produced by Big Tone continues from there with a funky 2 & a half minute ode to making bread. “Riverwalk” embraces a smoother yet spacier vibe instrumentally talking about chillin’ close to the river staying fresh while “Debt Free” asks the world if anyone has the luxury of having no debts to pay off.

Huey 11 appears on “Champaign Knights” taking a more seductive approach from the subject matter to the Simple Cuts beat just before “Once in a Blue” featuring Kool Keith hits midway point admitting to smoking weed occasionally. “Live My Life” featuring eLZhi & Mikri Maus acknowledges those envious of the trio’s lifestyles while “Matter of Respect” featuring Jon Connor feels like the Michigan version of former NWA World Tag Team Champions, 2-time IWGPタッグチャンピオン, inaugural 2-time TNA World Tag Team Champions, WWE Hall of Famers & former 18-time WWE tag team champions The Dudley Boyz.

“The Town” begins off the 4th quarter of The Bronko Tape 2 combining kicks, snares & vibraphone taking through the Motor City where nothing’s unheard of while “Burying You” shows off Peace of Mind’s ear for sampling talking about a someone smacking up a hoe at 4 in the morning after learning she was fucking someone else until she slits his throat in self-defense. “Pašteta” featuring Noti Limun once again takes a few moments to show more love towards Valid’s Balkan heritage while “Passing Down” advises against being like him losing the ones you love the most.

Valid takes it back to what made The Bronko Tape such an exciting listen coming up almost 3 years ago in preparation for his upcoming European tour set to kick off at the end of the month making further comparisons to to Bronko Lubich who competed in the Billy Corgan owned National Wrestling Alliance (NWA), the Hart family-owned Stampede Wrestling, the WWE Hall of Famers Von Erich family-owned WCCW, the Crockett family-owned JCP & WWE Hall of Famer Verne Gagne-owned AWA from the early 50s to the early 70s considering their Serbian background & building their reputation behind the scenes.

Score: 4/5

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Jay Worthy – “Generation P” review

Vancouver, British Columbia, Canada born albeit Compton, California raised emcee Jay Worthy showing some love to Parliament-Funkadelic with his 6th mixtape. Coming on my radar in 2017 after The Alchemist produced his debut EP Fantasy Island from top to bottom, he would go onto drop 5 more EPs & a fantastic collaborative effort with Larry June called 2 P’z in a Pod even though initial plans of putting it out through Griselda Records fell through for whatever reason. Harry Fraud produced You Take the Credit, We’ll Take the Check & DJ Muggs did What They Hittin’ 4 to significant acclaim, but the Roc Marciano-produced Nothing Bigger Than the Program was still good despite having too many features & the DāM-FunK produced Magic Hour improved on that as did The Tonite Show 2 produced by DJ Fresh. Coming off his double solo debut Once Upon a Time last fall, he’s taking it upon himself to shine a light on Generation P.

After the “Holly Wants to Go” intro, the 2nd single “Knee Deep” featuring WWE Hall of Famer Snoop Dogg kicks things off with a g-funk opener talking about both of them being freaky whereas the 3rd & final single “P of the Week” featuring Larry June finds the pair on their playa shit. The lead single “Atomic P” tells us the story of nasty street dogs who happen to be famous while “1 Nation” featuring The Game & YG on the remix flips the Funkadelic track of the same name seeing nothing other than bankroll.

“Oh I” goes for a soulfully jazzy direction thanks to Terrace Martin asking this person who never learns from their mistakes how they’re comin’ & goin’ just before “Allegiance” looks back at idolizing O.G.s when he was a kid. “Adolescent” featuring Curren$y talks about making it after choosing their own paths but once “Chasers” featuring 03 Greedo discusses making flower children smile, “What It P Like?” featuring Aceyalone & Del the Funky Homosapien preceding the “Holly Wants to Leave” outro talks about having class.

P-funk’s forefather George Clinton narrating Generation P to me is only the bow on top of the present because what really makes this such a lovely tape for me is the performances from both Jay Worthy himself & the multitude of west coast veterans joining him for a half hour celebration of the very style of funk music that subsequently birthed the west coast’s g-funk era in the early 90s, which the production strictly caters to rather than containing various different sounds.

Score: 3.5/5

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Dog $hit Militia – “C.T.T.C.” review

The Dog $hit Militia is a Detroit trap collective consisting of Babytron, Stanwill, TR Dee, Beannskii, Fordio, MJPaid, 72 Reezy & JuSleaze. I also can’t forget to mention that the late $camaurion, ScrumbleMan, T Bone & TurkeyMan were all apart of the crew at some point until the latter 3 departing & $cam’s untimely passing. Everyone apart of the current lineup except for JuSleaze has released solo material of their own & are surprise-releasing their debut mixtape almost immediately after Maya World, Andrade El Ídolo & Willow Nightingale ended 志田光, Mark Davis & テクラ’s respective reigns as AEW tbs Champion, AEW National Champion & AEW Women’s World Champion.

“The OG’s” by the ShittyBoyz kicks things off talking about living the way they want since they no longer have to chase dreams whereas “Dubstep” by Babytron, MJPaid & 72 Reezy featuring FTOS Twan & Tae Retro finds the quintet trading bars with each other over a hi-NRG beat. “Cole Bennett” by Fordio & MJPaid takes it back to the chemistry of their Made & $tyle tape while “Chicken & Syrup” by Babytron, Beannskii & 72 Reezy featuring Project Money goes back-&-forth goes each other for a couple minutes.

Beannskii gets his own solo track with “Whitewashed” to conclude the 1st half of the tape spitting some gangsta shit over a saxophone that’s buried in the mix while “Diarrhea” by Beannskii & JuSleaze featuring FTOS Twan, Project Money, Scatz & Tae Retro produced by Danny G continues to pass the mic around even if Scatz has my favorite guest appearance of the 3 personally. “Deadman” by 72 Reezy however kinda has a wavier trap vibe talking about getting sloppy head instead of doing sloppy business

“iSeeYou” by Babytron & Fordio winds down the last leg of the Militia’s inaugural tape warning that anyone beefing with them will be discovered by archaeologists while “Egg Yolk” by Babytron, Beannskii, JuSleaze & 72 Reezy featuring Fat Mike & Luh Gary talks about having motion since they used to hit the Cobo Center over a bell-woven Danny G beat. The closing track “Beetlejuice” by Babytron featuring Fat Mike sends off the tape referencing 17-time WWE world champion, WWE Intercontinental Champion, 5-time WWE United States Champion & 4-time WWE tag team champion John Cena.

These guys have been teasing C.T.T.C. since at least 2023 but now that the Dog $hit Militia has finally made their official debut collectively, I wouldn’t have anticipated it being this average truthfully. I really don’t wanna rule out the possibility of improving themselves if they ever follow thud up with a full-length studio LP because the 5 remaining members excluding the ShittyBoyz all have their own distinct characteristics, it’s just that most of the 6 guest appearances were underwhelming & Danny G’s production towards the backend of it made for some of the half hour’s strongest instrumentals.

Score: 2.5/5

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Nosaint – “The Truth” review

Maryland recording artist & producer Nosaint dropping his debut solo mixtape. A member of the Vanguard Music Group in-house production team, he also has 4 extended plays under his belt with 3 of them showing off his abilities as a rapper & the Saint Tape taking a backseat vocally to let some of his most notable collaborators rock his beats from Hardrock to Sk8star. For the past year however, he’s been preparing to reveal The Truth to the world & time has finally come.

“Weary Souljah” opens with a majestic 3 minute intro produced by his manager Zodiac reminiscent to some of Ye & Travis Scott’s material whereas “Absolutely Fucking Brazy” instrumentally gives off a delicate trap vibe so he can talk about his glow up. “Ruger” discusses treating life like it’s a scrimmage since it’s often compared to a game within itself leading into “2Bool” let’s it known to the haters that they better start worrying about themselves.

406ahmad gets behind the boards for the 2-parter “No Dubs / Dealing with Loneliness” laying out anyone who tries him over some hi-hats & synths that later get swapped out in favor of a vocal sample to describe feeling alone just before “See What I See” ends the 1st leg of The Truth talking about putting in worn to better his life. The self-produced “Q.2.H.” (Quarter 2 a Half)” boasts of him flipping the product & making it whole until the pluggy “Pharmacy” courtesy of his Vanguard brethren R8 dismisses those riding his wave.

“Chocolate Rain” spends 90 seconds talking about a person who never had it figured Lucy over a piano-inflicted trap beat while “Toosie” after the compositional “Palmy” interlude admits to hiding his heart behind his jewelry. “Youngest O.G.” nears closer towards the conclusion of the tape talking about sticking to the code since everyone else ain’t shit compared to him & following the “Masaka Choirs” intermission, “Psalm 13” wraps things up shrugging off muhfuckas who’re all bark with no bite.

Becoming a fan of his production work after hearing “slatty” off the Mogul EP near the end of 2022, I truthfully haven’t heard much of Nosaint as a rapper up until this point & was surprised at how much I enjoyed a good chunk of The Truth. I understand why he only self-produced a couple tracks, but I’d be interested if he continues to spit over his own instrumentals going forward even if the tracks R8 as well as 406ahmad & the mixtape’s engineer Zodiac all cooked up stood out to me the most.

Score: 3.5/5

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SosMula – “Yung Plane Krash” review

Manhattan, New York rapper SosMula enlisting Shadow Wizard Money Gang to host his 2nd mixtape. Coming up as 1/3 of the now defunct City Morgue alongside fellow emcee ZillaKami & producer Thraxx, they’ve released 2 full-lengths & an EP together up before branching out on their own for a little bit. Sos was the first to step up to the plate by dropping 13 Songs 2 Die 2, which was a bit of a disappointment in my opinion due to the features & production. ZillaKami followed it up a month later with HIS solo debut Dogboy & the duo reunited to drop Bottom of the Barrel the month after that, both of those I found much more tolerable. 2 High 2 Die was better than its predecessor & the Sleez Machine EP that fall was the worst solo effort of his yet. Signing to Limosa Nostra Records & Atlantic Records succeeding the divisive reception of his final Republic Records offering Sleez Religion, he made it out of Kamp Krystl Lake last Halloween & has dropped Yung Plane Krash hot off some mediocre teasers.

“‘Till the Last Star Dies” pledges his heart to the dark lord declares that he stands with the shadows over a trap beat with some 808s whereas the lead single “Running Man” talks a him dashing through the trap & the racks even if the instrumental still doesn’t blow me away. “Sportmode” embraces a ghostlier vibe about throwin’ bullets at car doors until “Flash Gordon” hits us with some of tight rhyme schemes despite more below average beats.

Moving on from there, “St. Peter” spends a couple minutes aggressively flipping birds at both Republicans & Democrats just before “Goodyear” featuring Ricky Hil finds the pair linking up so they can talk about maintaining legendary status when both artists eventually pass away. “Cocaine” hits us with a 3 minute freestyle recalling his days of selling crack prior to making music while “Bloodsport” featuring Lil Speedy reaches the halfway point talking about killing their opps.

“Bangout” cautions not to press him since he’ll pull out the stick & unloading clips over the course of the final single while the 2nd single “Krakk Star” featuring Rocket Rese references former UFC Light Heavyweight Champion Rampage Jackson in the midst of their coke-fueled bars. “Hiccups” featuring Lil Speedy reunites both of them chaotically dropping cringey lines like “Making bitches bleed like maxipads” while “My Face Off” talks about being a renegade.

Ricky Hil returns for the trap metal-infused “Hate Me” produced by Thraxx surpassing “Goodyear” to become their best collaboration throughout Yung Plane Krash while “Purified” keeps the heavy guitars & hi-hats coming talking about sacrificial scriptures of slaughter. “Chrome Spikes” featuring Dialryckx links up for a bilingual industrial trap song boasting of everything they own being chrome & the trap metal outro “Blood Bath McGrath” talks about wanting to see bloodshed.

I still maintain that Kamp Krystl Lake was a highly enjoyable Limosa Nostra debut for SosMula, but unfortunately I can’t say the same for Yung Plane Krash since I’d consider it to be his worst offering on the label thus far. The backend of it contains some of the hardest hitting tracks on the whole thing thanks to Thraxx’s production, which makes me hope that he’ll produce an entire album for Sleezy at some point whenever the timing’s right.

Score: 2/5

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