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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diamond* – “Bling Slime” review

Mechanicsville, Virginia rapper diamond* making his official YSL Records solo debut with a brand new mixtape. A member of the ØWay collective, his full-length debut Nø Idøls last summer caught the attention of Young Thug around the same time he signed Tezzus & their eponymous debut as the Uy Scuti Bøyz a few months earlier was met with disappointingly mixed reception. The Resurrectiøn recently became Tezzus’ most celebrated material & Bling Slime looks to join the conversation.

“Man øn the Møøn” gets things going talking about being the flyest artist his age in the room over some synthesizers & hi-hats whereas “Almighty Dølla” has a more hypertrap vibe instrumentally boasting his thick pockets & his refusal of backing down. “WYD2” produced by both thr6x & Zaan gives us a sequel to a 2024 single the latter also produced just before “4s” featuring Young Thug talks about pouring up Sprite with the guy over more rage beats.

Pz’ appears on “Hedis n Pelles” to energetically put dope in the pot & let it marinate leading into “GG” embracing a bit of a pluggier sound talking about rocking out shows. “Hørsebit” featuring Lil Righteous references the WME Group-owned TKO Group Holdings division WWE’s Big 5 pay-per-view events the Royal Rumble while the cloudy “3 Wishes” lets Sk8star handle a bulk of the rapping, likening himself to Derrick Rose in the 4th quarter.

“STFU” winds down the last few moments of Bling Slime talking about not beefing with anyone because his squad likes to spin over a hypertrap instrumental with a pitched vocal sample while “Burgers n Fries” featuring southsidesilhouette finds the pair promising to kill anyone who touches their chain, which is ironic because of the recent incident between che & 9 Vicious. “Matter øf Time” ends the tape talking about sticking to the script since it’s what got him here while “All Star” featuring Pz’ & southsidesilhouette starts the deluxe run linking up over a rage beat to tackle romantic topics.

Whyceg combines elements of both trap & plugg for “Ferrari” talking about fucking up anyone who touches his chain while “Splurge” featuring EA TJ links up over a Goxan instrumental flexin’ they been poppin’ shit since birth. “Tattøøs All Summer” featuring Pradabagshawty runs it back with Whyceg to talk about getting baddies tatted up while “Fucked Up” gets in his gangsta bag lyrically. “Sickø” talks about his whole team being fresh & the final bonus track “Møntreality” concludes with a decent freestyle.

Bling Slime to me seemed like it had the possibility of dethroning Nø Idøls but even if that album still does a better job at displaying diamond*’s artistic range, it’s a still worthy prelude to his sophomore effort Jubilee next month. The production’s a lot less experimental & cloudy, maintaining the elements of trap along with rage & plugg. I also felt like a great deal of the guests other than an underwhelming selection or 2 delivered.

Score: 4/5

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WTM Solid – “Touropean 2” review

This is the latest mixtape from Detroit, Michigan rapper WTM Solid. A member of the WRLD Tour Mafia, he also embarked on a solo career of his own a few years back with the debut EP Originatour followed by both Matter of Time & What’s the Difference?. Bigg as well as the full-length debut Imagine That at the beginning of last year elevated himself as an individual amongst the rest of WRLD Tour, coming off Street Gospel & $uper Amazing $uper Rich to drop a Touropean sequel.

“7 Words for You” opens up with a cloudy trap intro basically giving middle fingers to anyone who hating on his squad when they’re not doing shit themselves whereas “Foreign Dude” combines some synthesizers & 808s talking about unloading clips after making a bag. “Back on Bull$hit” instrumentally brings a darker vibe to the table treating hoes like the road while “Hard Tour Choose 1” atmospherically talks about getting it out the mud.

Meanwhile on “$olid Shakespeare”, we have Solid letting a woman who ain’t seen much spend an entire day with him leading into “Not Mine (My Turn)” having somewhat of an atmospheric flare to the beat talking about his haters wanting to see him fail. “Top of the Morning” reaches the halfway point of the tape talking about his preference for boring bitches just before “Livin’ 2 Fast” speaks of going from last place to working towards the top spot.

“N.L.M.B. (Never Leave My Babies)” talks about always being there for his children no matter how bigger he becomes musically while “$paceship” boasts of him having more power than the government itself. “Drama Call <3” advises someone who speaks too much around bosses to play it cool while “Lean on Me” talks about dropping projects for the love of the game. “Tyson Fury Fight” produced by WTM Niketech advises to turn your feelings off in order to achieve success & “Don’t Think Too Hard” giving a fuck less about who’s mad at him.

The original Touropean last summer was inspired by WTM Solid’s trip to France & for the follow-up, I don’t see myself coming back to it as much as the other 2 projects he’s dropped this year even if he carries over everything that made the predecessor so distinct 11 months earlier from the lyrics representing his squad overseas except he’s visiting the UK this time around to the Detroit trap production. BUT if he plans on continuing the series in the midst of visiting other countries, of course I’d be welcoming of it.

Score: 3.5/5

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Maxo Kream – “O.Y.N. (Old Yung N***a)” review

Houston, Texas emcee & songwriter Maxo Kream enlisting JPEGMAFIA to fully produce his 5th mixtape. Breaking out in the beginning of 2018 off his full-length studio debut Punken following his first 4 mixtapes, this resulted in him signing to RCA Records for the sophomore effort Brandon Banks & of course Weight of the World. Last we heard from him was Personification under his own label Persona Money Global in late 2024 & is joining EMPIRE Distribution to describe his O.Y.N. (Old Yung N***a) status.

6 Months Clean” kicks things off admitting that he relapsed after trying to quit poppin’ percs & sippin’ lean whereas the title track works in some sampling techniques so Maxo can talk about being that muhfucka. “30 N Dirty” has somewhat of a cloudier vibe instrumentally referencing the late WWE Hall of Famer Muhammad Ali & after “This Shit Going On” eerily talks about him being fed up with strippers, “Time Out” reaches the halfway point suggesting he needs to take a break for a bit.

Kicking off the 2nd leg, “Cum Over” has a more seductive flare to it encouraging his lover to pull up on him while “Fake Jeezy” featuring Denzel Curry talks about their hopes of not running into any opps & being old school gangstas. “How I’m Coming” featuring Cartel Bo & Josh Kream incorporates some horns to discuss running up bags while the outro “How TF I’m Lucky” concludes the tape looking back at the past 15 years of his career.

I completely understand why people were disappointed by Tyler, The Creator not having any beats on here considering his chemistry with Maxo Kream, but O.Y.N. (Old Yung N***a) had me thinking it could join Personification in becoming some of his best material based off the teasers & now it’s officially my favorite tape in his discography. JPEGMAFIA’s production more experimental than the H-Town artist’s usual stuff & he spends less than a half hour detailing his legacy.

Score: 4/5

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Tierra Whack – “Whack’s Museum” review

Philadelphia, Pennsylvania rapper & singer/songwriter Tierra Whack has returned for her 2nd mixtape in time for the summer. Breaking out in 2018 off the strength of her debut tape Whack World after signing to Interscope Records, she would go on to drop a trilogy of EPs showcasing her artistry: Rap? as well as Pop? & R&B?. Her full-length debut Worldwide Whack was more moderately received compared to Whack World although I appreciated it for what it was, taking us through Whack’s Museum a couple years later.

“Whack Job” produced by Chris Keys & Conductor Williams breaks the door down responding to the people saying she should rap more whereas “Wax Paper” takes the boom bap route instrumentally talking about feeling too generous at times. “Brazilian Wax” soulfully asks herself why some are intimidated by her presence until “Wiggidy Whack” runs it back with Conductor talking about leaving any & all competitors scorched.

As for “Totem”, we have Tierra embracing some trap vibes so she can discuss getting what she wants leading into “Godda” ending the 1st half returning to the boom bap courtesy of Swaggyono from Working on Dying talking about making some money. “Siren” kicks off the 2nd leg of Whack’s Museum so she can let get a bit more goofier & joyous with her wordplay while “Candle Wax” strips the drums to talk about her going out being herself: Amongst the greatest to ever do it musically.

“Queen’s Crown” retains her signature sense of humor dropping 4 straight verses without a hook over a soul sample while “Earwax” talks about choosing not to play the game despite her knowledge of it over another drumless loop. “215” shouts out the city that made her the person she’s becoming once again getting humorous with her pen & the outro “Flowers” ends Whack’s Museum demanding her props from those who ain’t giving ‘em to her.

Starting the deluxe run, “Bet Her” includes a dope bar shouting out one of WWE Hall of Famer Snoop Dogg’s most iconic singles “Beautiful” promising things will improve while “Recognition” talks about now being the time to recognize her greatness. “Strawberry” represents the Strawberry Mansion neighborhood out in Northern Philadelphia while “?” asks if she’s the only one counting blessings & telling the world to live their lives over a Conductor & FNZ beat.

“Payday” poses the question of how someone counted her out when they knew she’d eventually make her way in & seeking revenge upon them while “Scarecrow” talks about being a fashion killa who got employed at the cemetery burying those who’re fresh to death. The final bonus track “Liar Liar” samples the unreleased “Keep On Driving Down That Funky Road” by the late James Brown figuring out whether or not anyone will ride or die for her.

Little Simz & Doechii have been widely regarded as some of the greatest women to touch a microphone in recent memory, but Tierra Whack has already proven herself to be in that same category from her Lil Boat 3 feature to her recent appearance on Jill Scott’s latest album To Whom This May Concern several months earlier. Her lyrics are more abstract & occasionally conscious than usual with the production varying between boom bap, jazz rap & pop rap.

Score: 4/5

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Boldy James – “Trapper’s Alley 3: Hell or High Water” review

Brand new mixtape & the 7th overall from Detroit, Michigan veteran Boldy James. Breaking out in the fall of 2013 off his Alchemist produced debut M.1.C.S. (My 1st Chemistry Set), there was a point where Nas’ independent label Mass Appeal Records had them on their roster for a little while before getting locked up. Once coming home, Uncle Al would help get his name back out there once getting out by dropping the Boldface EP around Christmas 2019 & then the sophomore album The Price of Tea in China. Manger on McNichols produced by Sterling Toles was as equally fantastic & the Griselda Records-backed Versace Tape EP was a tad bit disappointing given how rushed it was. Bo Jackson though would become his most critically acclaimed work to date & Super Tecmo Bo was almost as great for an EP. Fair Exchange No Robbery produced by Nicholas Craven, Penalty of Leadership, Mr. 10-08 produced by Futurewave, the Conductor Williams-produced Across the Tracks the Harry Fraud-produced The Bricktionary & the Carlo Anthony-produced Hidden in Plain Sight were all welcomed to warm reception additionally. Token of Appreciation produced by Chuck Strangers was much better than both Murder During Drug Traffic & Permanent Ink, the Antt Beatz produced Hommage left people divided although I didn’t mind it, although the V Don-produced Alphabet Highway along with the Killing Nothing sequel Conversational Pieces & Late to His Own Funeral were more positively received. Coming off his Roc Nation Records debut Criminally Attached, he & Craven are running it back for Trapper’s Alley 3: Hell or High Water.

The 2nd & final single “Summer’s Eve” kicks things off with a soul sample talking about seeing so many leave to the point where he no longer fears death whereas “Mama Maxine” featuring 218bojay keeps the drumless vibes going ensuring anyone who fucks with them will end up in the trauma unit. “My Last Try” blends chipmunk soul & boom bap talks about trying to put wings on a brick to make the glass fly prior to “Beautiful Snow” featuring Chip$ & Dave Hill getting in their coke rap bags.

“False Accusations” reaches the halfway point of the tape soulfully recalling a point in his life where he was incarcerated for a crime he didn’t even commit & once “Hamburger Helper” featuring Chip$ reunites the pair to kick off the 2nd leg opulently talking about counting up all the extra money they have laying around, “Powerhouse” featuring Chip$ & Lethalias Grain finds the trio asking if having green thumbs makes them gardeners & the cocaine hitting harder than powerpunches.

Wrapping up Trapper’s Alley 3: Hell or High Water’s final moments, the song “Grinding My Gears” soulfully talks about how he wouldn’t have ever imagined making a career out of his criminal experiences while “Don’t Tell Me (Trinidadian James)” flexes that his whole entire squad’s in the heavyweight division. The lead single “Death & Taxes” finishes up with this drumless gangsta rap outro explaining there being only 2 things in this world that we can’t escape.

Boldy James never disappoints whenever he locks in with Nicholas Craven for an entire project & that’s the main reason I’m usually very praiseful of their material, but I would necessarily put Trapper’s Alley 3: Hell or High Water on the same pedestal as Fair Exchange No Robbery & Penalty of Leadership or Late to My Own Funeral if you wanna include a more recent example. Craven’s drumlessly jazzy yet soulful production & Boldy’s gangsta/coke raps are like Michael Jordan & Scottie Pippen although the guest list can be somewhat spotty.

Score: 3.5/5

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Chlöe – “Resurrection” review

Atlanta, Georgia singer/songwriter, producer & actress Chlöe enlisting Norfolk, Virginia producer Timbaland to handle all of her debut solo mixtape’s production. Coming up as 1/2 of the duo Chlöe x Halle with Halle Bailey, they introduced themselves in 2018 when Beyoncé signed them to Parkwood Entertainment/Columbia Records for their decent full-length debut The Kids Are Alright. The sophomore effort Ungodly Hour in the summer of 2020 during the COVID-19 lockdowns would prove to be their most acclaimed body of work yet but coming off In Pieces & Trouble in Paradise, I went into Resurrection hoping Timbo wouldn’t be using any AI on it.

“Talking Dirty” begins with a sultry R&B intro singing about her lustful intentions whereas “Hold It” gives off a catchier vibe altogether from the instrumental to the lyrics of being drawn into someone. “Priorities” shifts towards an alternative R&B direction stylistically airing out the people who think she’s breakable for misunderstanding her leading into “World on Fire” singing about feeling safe with her partner even if the globe’s in turmoil.

Meanwhile on “Caught”, we have Chlöe over a seductive R&B beat realizing that maybe you lose ’em how you get ’em just before “Sensitive” lusciously addresses an ex-boyfriend telling him to move on already. “Better Than She Can” leans towards a dance-pop direction trying to convince a guy to leave his current girlfriend for her to reach the halfway point while “On Your Own” slows down the pace singing about her keeping a close eye out for a specific individual.

“Believer” feels like a throwback to Timbo’s early 2000s output admitting that she didn’t mean to come off too strong while “Main Attraction” sings about wanting to get sexually active. “Mama’s Boy” sends shots a cornball whining to his mother of her being the problem in their relationship & after “Belong to You” confronts her soulmate telling him that they were meant for each other, “Jittery” ends Resurrection taking accountability for the way things panned out.

Considering that Timbaland’s recent production placements on Conway the Machine’s 5th album You Can’t Kill God with Bullets & more recently Juvenile’s 12th album Boiling Point didn’t really warrant a lot of criticism out of me, I’m happy to say that he keeps that same energy throughout the greatest achievement in Chlöe’s solo career providing her a consistently tasteful batch of R&B production & holding off on having any guest appearances compared to both of her previous LPs.

Score: 4/5

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