Yung Kayo – “Holy Grails +++” review

Washington, D.C. rapper, songwriter & model Yung Kayo celebrating his 21st birthday by putting out his debut mixtape ahead of his sophomore effort D.F.T.K. 2 (Down For The Kount 2). His first 3 EPs + + + as well as – – – & Sweet 16 in 2019 would catch the attention of Young Thug, who signed Kayo to YSL Records at the beginning of the following year. Work in Progress came out the following summer preluding his debut album D.F.T.K. (Down For The Kount), the latter of which would become a standout in the rage scene. 19 was a cool celebration of his 19th birthday & exactly 2 years later, some Holy Grails are being dug up.

“rockstar” gets the tape going with this averagely intoxicating trap intro that longtime collaborator Warpstr laced rapping about going too hard these days whereas “flex” produced by Pi’erre Bourne stands out as a favorite of mine in the tracklist from the cloudy instrumental to the boastful lyrics getting a bag. “taycan key” takes a bombastic approach to the beat explaining that he wants to know what’s too see leading into “jedi” hopping over synths & hi-hats to get in your mind.

As for “tony hawk”, we have Kayo talking about his whip being jurassic in addition to skating on bitches in the same vein as the greatest skateboarder of all-time whom this track is named after while “in my room” gives off a bit of an experimental trap vibe instrumentally admitting that he can’t control himself feeling like he’s on the verge of going insane. “generous” hooks up these prominent sirens talking more than Ellen DeGeneres, but then “robin hood” gets back on an ethereal trap vibe talking about protecting your heart.

“heads or tails” brings some rage-inducing undertones throughout clarifying that he has 2 personalities as if he’s YNW Melly just before “run that” talks about coming from rags to riches denying a comeback. “hellofaman” samples “Flowers” by PinkPantheress flexing that he got a sure bitch although the money talks while “bye” was an enjoyable trap single talking about seeing what he wants at the store & buying it eventually.

Another favorite has to be “cold” whether it be Maaly Raw cooking up one of the best beats on the entire tape or Kayo bragging that he jumps in the snow with a Moncler coat on since he’s that cold while “psych out” goes for an appropriately chaotic trap atmosphere wanting to know what these muhfuckas gon’ do when the lights go out. The synth-based “energy” talks about time being the only thing stopping him wanting to know why people are copying his swag & “all in” rounds it all out optimistic that all is right.

“fujiwara hiroshi” starts the deluxe run of the tape heading for a pluggier direction hoping that he don’t leave with anyone tonight while “prada shirt” has a bit of a Whole Lotta Red-era Playboi Carti bite to it with this distorted rage instrumental talking about the suit being linen. “come in” featuring A1 finds them on an experimental trap tip coming from nothing & having to run in while the hypertrap joint “sight” warns that he got a 30 round on his right side. The final bonus track “coma” ends with him playfully whippin’ the bands

Yung Kayo basically compiled all of his most anticipated snippets that’ve surfaced online ever since he initially signed to YSL almost 5 years ago & give them an official release is actually a really smart move that feels reminiscent to the Grails EP that Pi’erre gave us a year & a half ago ahead of Made in Paris whenever it finally comes. However, I’d say Grails is a more consistent listen than Holy Grails & that it’s a minor step down from D.F.T.K. (Down For The Kount). You still get the trap/rage sounds that made his debut exciting except it’s a bit of a mixed bag with slightly more hits than misses.

Score: 3/5

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RRoxket – Self-Titled review

Here we have the eponymous sophomore mixtape from up-&-coming 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. Almost 5 months later, he’s dropping a self-titled effort on Black Friday after officially signing to Sony Music.

“Goyard” gets it all goin’ by jumping over a plugg instrumental showing off the new bag that he copped from the titular French luxury goods brand whereas “Wockhardt” hooks up a delicate backdrop with some hi-hats from Hariroc knowing the spot hot since he got fires going on there. “Pizza Box” featuring 2sdxrt3all keeps the plugg vibes going thanks to Whyceg flexing that their Glocks be talkin’ to one another just before “Serious” advises to drop the addy since he’s going huntin’ sampling “Astrothunder” by Travis Scott.

As for “Abnormal Pedestrian”, we have RRoxket over more plugg beats boasting his Red Ranger steppin’ up for his gang & lettin’ out his anger leading into “Backwards” giving off a hazier vibe instrumentally keeping a stick on him as if he’s in battle & going shadow by putting on all black. “Free GBE” compares his trap to a lair with the way the chemistry be going on in there leading into “Flying” maintaining a plugg flare to count green as if he’s Irish.

“Bag Shipped” starts the final leg of the tape with the percs making him do backflips while “Brandon Ingram” brings some dark plugg undertones to the table weighing the dope in grams ahead of “Demon Takeover” produced by Goxan referencing WWE Hall of Famer, former 2-time WWE world champion, ECW World Television Champion, 6-time WWE Intercontinental Champion, 5-time WWE Tag Team Champion, 4-time & the final WWE Hardcore Champion, TNA World Champion & TNA X Division Champion Rob Van Dam.

Pushing further towards the final moments of the tape, the song “Bizurk” stands out with one of my personal favorite beats on the tape assuring that ain’t nothin’ takin’ off despite RRoxket’s moniker in addition to pullin’ up with the drums as if there’s a marching band out here & callin’ a homie Tity Boi as if he’s 2 Chainz while the shimmery trap closer “Who That Is” boasting that he’s a lamb since he’s not a goat quite yet & a real deal geeker.

There’s been a lot of buzz generating around this guy ever since this past summer when Red Ranger initially dropped & although I’m not embarrassed to admit I wasn’t all too familiar with RRoxket’s music until this eponymous mixtape came out, I can definitely see why he’s been becoming popular within the plugg & dark plugg subgenres of trap music making witty references & detailing the street mentality he’s had coming up.

Score: 3.5/5

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Young Nudy – “Sli’merre 2” review

Atlanta, Georgia rapper Young Nudy back for his 10th mixtape. Despite being cousins with 21 Savage, he eventually carved a lane of his own in the last decade with his last 9 mixtapes (the most notable one being the Pi’erre Bourne-produced Sli’merre) & 3 full-lengths. Rich Shooter & EA Monster were the last projects of his that I covered, coming off Gumbo from a year & a half to reunite with Pi’erre for the highly awaited Sli’merre 2 ahead of his next album fully produced by Metro Boomin’.

“Come to My World” is this syrupy trap intro talking about Nudy being way too geeked up as it is whereas “Get Fucked Up” works in some synthesizers & hi-hats once again not shying away from making it known that he’s under the influence. “Money” pushes forward with an uncanny trap atmosphere instrumentally stacking his bread all the way up to the ceiling prior to “I’m Big Dawg” hookin’ the synths back up in order for him to flex his current status in the rap game.

Moving on from there, “Breakdown” kinda has this bubbly trap flare to the beat talking about doing shakedowns taking everything since he’s #1 & everyone else is right behind him just before “Bang Pistols” pulls a bit from the plugg scene showing off his mob ties. “Loaded” is another synthesizer-heavy trap joint boasting that he’s sitting on millions leading into “Splash” sampling “NEVEREVER” by Destroy Lonely addressing the theme of lust.

“10pc Teriyaki” kicks off the 2nd half of Sli’merre 2 on a playful tip maintaining a synth-trap edge talking about being a star in the subgenre & smiling at his opps while “Gotta Salute” flexing that his clique remains bulletproof on top of broke muhfuckas being unable to do what he does. The prominent woodwinds throughout “Save Myself” featuring BabyDrill are a uniquely distinct touch getting on their gangsta shit referencing current AEW performer & commentator as well as former 7-time WWE world champion, 11-time WWE Tag Team Champion, WWE Intercontinental Champion, WWE United States Champion & 3-time WWE Hardcore Champion Paul Wight while “4Slime” cloudily talks being a stone cold killer.

Meanwhile on “Bloody”, we have Nudy beginning the final leg of the tape by cautioning that he’ll shut down your trap the second he pulls up speaking the truth on wax since it’s beyond rap while the synthesizer-driven “Hakuna Matata” gets down & dirty. The lead single “Right Now” remains in the trap house tryna beat it ’til it down & finally, “How It Be” ends with more synths telling everyone who ain’t getting money to get the fuck off his dick.

Over 5 years since the original, Sli’merre 2 recaptures the essence of what made Sli’merre the best mixtape in Nudy’s catalog since Nudy Land & joins it’s predecessor as one of the most essential bodies of work in his catalog. Granted you can never go wrong with Pi’erre’s 1-of-a-kind production style top to bottom, but I most importantly appreciate the fact Nudy got lesser guests than he did last time he did a tape with Pi’erre & mostly held it on his own.

Score: 4.5/5

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Ab-Soul – “Soul Burger” review

This is the 3rd mixtape from Carson, California emcee Ab-Soul. Coming up as 1/2 of the duo Area 51 alongside Snake Hollywood, Soulo would go on to sign to Top Dawg Entertainment after their disbandment & has remained under Top Dawg’s wing since. Dude’s first 2 mixtapes Longterm & Longterm 2: Lifestyles of the Broke & Almost Famous would begin to turn heads & I can’t forget about his first 2 full-lengths Longterm Mentality & Control System going on to become the Black Lip Bastard’s most acclaimed efforts to date, but These Days… & Do What Thou Wilt. were both released to mediocre reception from many including myself. Herbert marked a return to form for him a couple years ago & is now remembering Doeburger throughout Soul Burger.

“9 Mile” is a drumless/boom bap 2-parter sampling the iconic Mobb Deep single “Shook Ones, Pt. II” talking about how caine never really left his side whereas “Paiday” takes the trap route instrumentally demanding he gets paid. “All That” featuring Jason Martin & produced by Tae Beast goes for a bit of a gangsta rap vibe representing their west coast street ties just before the sample-driven “California Dream” featuring Vince Staples with 9th Wonder behind the boards shows love to their home state.

Moving on from there, “B.U.C.K.O. Jr.” returns to a trap sound touching on his soldier mentality leading into Doechii joining Soulo for “I, Myself & Me” brings back a bit of a boom bap edge talking about it simply being themselves. “DND” featuring Notorious N.I.Q. pulls inspiration from the trap scene once more thanks to Beat Butcha & Sounwave running the checks up tryna pay the price, but then the symphonic trap hybrid “Don Julio 70” by Soul Fre$h demonstrates the duo’s chemistry.

“Go Pro” featuring Ty$ starts the 2nd half of the tape boasting that the real ones are back in style while the catchy “Saudi Sweats” makes it clear that if it ain’t about the money, he ain’t really having it. “Squeeze 1st 2” is this jazzy sequel to the JAY-Z joint “Squeeze 1st” letting the gun off & asking questions later while “Crazier” featuring J.I.D brings the 2 together for a drumlessly experimental ride showing off abstract lyricism.

The song “Peace” featuring Lupe Fiasco & Punch strips the drums once more showing a bit of a conscious side to them for 5 & a half minutes while the penultimate track “The Sky’s Limitless” heads for a psychedelic trap direction courtesy of Terrace Martin whom Kendrick Lamar mentioned on “The Day The Party Died” encouraging listeners that they can have & be whatever they want in this life. “Righteous Man” properly ends the tape on some hardcore shit keeping a bullet with your name on it.

For his 1st mixtape in nearly 14 & a half years, Soulo maintains the consistency of Herbert by cooking up a homage to Doeburger that I feel does his memory justice. The production ranges from boom bap to trap & drumless with the lyricism offering a look at the gangsta life, consciousness & even a hint of abstract through use of metaphors along with symbolism & cryptic meanings.

Score: 3.5/5

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Conductor Williams – “Conductor, We Have a Problem 3” review

Conductor Williams is a 42 year old producer from Kansas City, Missouri notable for being 1/3 of the Griselda Records in-house production trio The Heartbreakers. His popularity in recent memory has been growing exponentially, earning himself a chance to work with those from Drake & J. Cole to more recently REi the Imperial for his Operation: Flamethrower EP last month. This ultimately resulted in the 3rd installment of the Conductor, We Have a Problem series having guests perform on every song as opposed to previously releasing beat tapes up until this point.

After the “Modus Operandi V” intro, the first song “Paint Pictures” by Evidence uncannily starts us off talking about fitting it less the more that he does whereas “Get Away!” by Rome Streetz was a great choice of a lead single attacking their opposition for being washed. After the “Board 40” interlude, “Hell in a Hellcat” by eLZhi takes the boom bap instrumentally to talk about being an anomaly prior to the soulful “Space Heater” by Domo Genesis points out that this ain’t what they thought it’d be.

“Ecstasy” by Russ has this underwhelming, melodic delivery throughout that just kills the vibe for me personally leading into the dusty “Hold You” by Benny the Butcher & Wiz Khalifa making up for it by telling everyone who ain’t in the game to stay in the bleachers. After the “Skin” interlude, “Guilty” by Leon Thomas III shifts gears in favor of a passionate R&B ballad just before the sample-driven “Down Bad” by Bishop Nehru preludes his upcoming self-produced album Solace in Shadows later this weekend.

The penultimate track “Necessary Cherry” by Wiki pushes towards the final moments of the 3rd installment of the Conductor, We Have a Problem trilogy talking about shipping, mundane & amazing at the same time “Kent” by Elijah Hooks ends with the latter singing on top of this subdued instrumental promising his lover that he’ll be there when they call him.

Other than a couple performers who punch under their weight, this is damn near everything that I would’ve expected from Conductor Williams making a producer project. The overall sound mostly sticks with the signature hardcore boom bap aesthetics that many know him for with a hint of R&B thrown in on the side with a primarily well-curated list of artists joint him for the ride.

Score: 4/5

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Lloyd Banks – “Halloween Havoc V” review

This is the 19th mixtape from Queens emcee Lloyd Banks. Gaining notoriety in the 2000s for his witty punchlines along as well as being an original member of G-Unit alongside childhood friends 50 Cent & Tony Yayo, he kept himself busy for a little while after the group’s disbandment in 2015 by releasing A.O.N. 2 (All Or Nothing 2): L.I.U. (Live It Up) & Halloween Havoc 3: 4 Days of Fury just before taking on a 5-year hiatus that really lasted until he received a song placement on the soundtrack for Griselda Records’ theatrical debut Conflicted a year & a half ago along with the whole Course of the Inevitable album trilogy gaining renewed interest in the PLK himself. A year after Halloween Havoc IV: The 72nd Hr, Lloyd’s keeping the saga alive.

“You Have My Word” produced by Ron Browz eerily starts off by telling anyone who crosses him to make sure that they stay crossing him for the rest of their lives whereas “Complications” takes the Hellish boom bap route instrumentally talking about being careful of when you speak before you get all the facts. “Season of the Psychos” with Haas Almahdi morbidly promises that he can handle his own weight, but then “Connoisseur” takes us back in the basement calling himself the top seed when he gets on.

Meanwhile on “Broken Hearts”, we have Lloyd over more kicks & snares from Cartune Beatz to talk about the city of heartbreak just before “Double Up” maintains a somber boom bap flare to the beat calling victory the love of his life. “Love is Love” dustily seeks to fuck up the arguments & hypothetics of someone he used to know that fell off musically leading into “Choose Wisely” ruggedly, talking about how there ain’t no money behind these fake pages.

“Resources” rawly observes that everything’s strange now & everyone feeling his energy the second he sets foot in the room while the cold-blooded “Taking Notes” talks about the fact that where he comes from ain’t no joke to him whatsoever. “Shooting the Messenger” aggressively check the temperature since he’s burning up again while “Seminar” publicly expresses his frustration towards everyone else out here & he’s pretty much sick of ‘em.

Starting the 5th installment of the Halloween Havoc series’ final leg, “Regrets” looks at all the possibilities in his future & going broke not being an option while “In the Mix” kinda has some trap undertones talking about expecting a snitch since this life’s a bitch. “Keep It Solid” pushes further to the end keeping it legit & “Graduated” viciously ends reminding that what goes around comes around.

Cartune Beatz has been getting a lot of attention as of late & only a couple weeks after fully producing Machine Gun Vocabulary for Tha God Fahim, he produces nearly half of Halloween Havoc V improving on the predecessor that we got 365 days ago exactly. The production is prominently built around the traditional boom bap sound, refined from The 72nd Hr so the former G-Unit member can go even harder with his signature punchlines.

Score: 4/5

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Icewear Vezzo – “Live from the 6, Pt. 2” review

Detroit trap veteran & Iced Up Records founder Icewear Vezzo releasing a sequel to his Quality Control Music debut album although the 4th full-length overall in his discography Live from the 6. For over a decade now, this dude has been making waves locally by releasing the Rich Off Pints trilogy of LPs & over a dozen mixtapes. The previous Paint the City hosted by DJ Drama over a year ago being Vezzo’s first project to come out though the Motown Records/Virgin Music imprint & it was a solid prelude. The major label debut proved to be a well-crafted collection of songs that detailed life in 6 Mile & he’s taking us back on Devil’s Night.

“Musty” starts with an occult Detroit trap beat talking about going from $5,000,000 to $10,000,000 & being a real demon whereas “Add It Up” takes the standard trap route instrumentally boasting that he’s still with the same people that he was with back then aside from everything else. “Money Counter” once again puts the Motor City’s unique take on trap music on full display feelin’ like Blade Icewood with all the jewelry while “Family Ties” hooks up some bells & hi-hats bringing one of his children on the mic for the opening verse.

Moving on from there, “Chosey One” kinda has this cold atmosphere professing himself to be the chosen one representing IUR in the midst of it just before “6 & Daisy” featuring Los & Nutty finds the trio coming together for a Detroit trap banger clarifying that this shit ain’t only rap. “Musty 2 (Shit on ‘Em)” brings more bells & hi-hats in the fold for a sequel to the opener maintains that occult edge, but then “Nobody” featuring Lauryn Amore on the hook takes a jab at pop rap showing a romantic side to Vezzo.

“Different Day” starts the final leg of Live from the 6, Pt. 2 talking about how he’s still the same person as he’s always been except his bag’s much bigger now while “Basquiat” offers a triumphant trap flare to the beat referencing graffiti artist Jean-Michel Basquiathomaging the oldest of the 4 hip hop elements. The suspenseful tone of “Walk Down” featuring Bankroll Freddie is cool even if I wasn’t too big on the latter’s guest appearance walkin’ everyone down hence the title & finally, “Mudd Baby” serves as a bonus track since it originally saw the light of day on Rich Off Pints 2.

Live from the 6 earlier in the year has since become one of my favorite projects in Vezzo’s entire discography & almost 6 months later to the very day, he’s done it again except it’s solely through his own imprint that’s thriving since I’ve already reviewed Iced Up Records signee Krispylife Kidd’s last couple projects. The production is prominently Detroit trap based with trap & pop rap undertones, the few features were ok & the IUR founder breaks down the madness of the city the day before Halloween.

Score: 3.5/5

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03 Greedo – “Hella Greedy” review

Pioneering Detroit trap producer Helluva producing the 17th mixtape in Los Angeles emcee, singer/songwriter & producer 03 Greedo’s discography. Emerging under the original moniker Greedy Giddy, he went on to release a total of 14 tapes ahead of his DJ Mustard-produced debut album Still Summer in the Projects & the Kenny Beats-produced sophomore effort Netflix & Deal both receiving significant acclaim. He has since dropped 1 more LP in Load It Up as well as 5 EPs & a couple more mixtapes, the most recent being the Fucc Everybody EP from this spring. That said, I felt Hella Greedy could be Greedy’s strongest since his first EP Meet the Drummers produced by Travis Barker.

“Still in Shocc” is a Detroit trap opener flexing that he went from Steve Urkel to Stefan Urquelle like it’s Family Matters whereas “If I’m Scared” has a ghostly atmosphere to the Motor City’s unique take on trap music talking about beating the feds & even coming clean that he’ll do it again. “Still Feel Loaded” serves as a sequel to the highlight loaded off Still Summer in the Projects that’s on par with the predecessor, but then “Kill Me” spaciously shrugs off all the fake love.

Peezy joins Greedo on a successor to “Militant” off Money Changes Everything discussing their titular tendencies over a mellow Detroit trap instrumental just before “DayQuil” laughs off everyone who thought they were poppin’ turning the tables on them that they took the fake pill refusing to roll silently. “Good Girls 2” featuring Vae Vanilla happens to be a soulful follow-up to the Lil Boof song that Giddy was featured on surpassing it leading into “Went Left” featuring G Herbo pulls from drill music showing off their mob ties.

“Sum’n Pretty” featuring Rob49 was an underwhelming choice of a single wasting this beat fusing Mobb & trap music in favor of underwhelming romance bars while “Tear It Off” makes up for it jumping over these 808s & luxurious pianos so he can continue the lustful themes except he’s improved on them in comparison. “Take My Time” heads for a cloudy trap direction instrumentally addressing someone who promised to hold him down while “Move” finds him moving on to someone else.

Meanwhile on “Good Taste”, we have Greedo setting off with this exuberant trap joint showing a boastful side to him while “Ketchup” aggressively talking about making money as of late. “Devil Offa Me” easily stands out as an introspective moment on the tape tryna shaking off Satan’s baggage while “Escalator Elevator” talks doing no stepping showing a Detroit trap influence again. “R.I.C.O.” featuring Maxo Kream turns the eeriness up to 11 saying real ones don’t worry of catching a racketeering cage & the closing track “Move 2” ends with a harder sequel to “Move” talking about riding for his homies.

I’ve been waiting for Giddy to drop a project on a caliber that would make it stand out unlike anything he’s done before much like Still Summer in the Projects, Netflix & Deal and Meet the Drummers all did ever since he finally came home. A year & a half later, he’s finally done it. Helluva whips up the most consistent batch of beats that Greedo’s been on top of since being released from prison & even if the features are 50/50, the Watts representative himself is the best since he’s sounded in 5 years.

Score: 4/5

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Terror Reid – “Manifesto” review

San Jose deejay, producer, rapper & actor Terror Reid celebrating the 1-year anniversary of Hot Vodka 2 with his 2nd mixtape. Originally started turning heads a decade back after dubstep pioneer Skrillex signed him to his OWSLA Music for short period of time, he went on to drop 2 full-lengths & 13 EPs in the EDM genre under the name Getter before embarking into hip hop during the pandemic with Hot Vodka, which my homie Rone Bone of The Beneath the Dirt Podcast put me onto when it came out & was impressed by the boom bap/g-funk production as well as the raps from Terror himself. The sophomore EP DYNAMO as was the previously mentioned ruined Hot Vodka sequel, so I was anticipating his Manifesto.

After the “Salvation” intro, the first song “Makin’ Me Sick!” instrumentally throws it back to the days of early 90s west coast hip hop expressing his disgust with some of these cats whereas “Chin Check” takes a significantly eerier route to the beat talking about saying less & asking what’s next since he did everything else. “Shark City” embraces the g-funk vibes representing his hometown where the Sharks play while “Mad Woozy” goes drumless giving a middle finger to the fame & wanting to commit murder referencing Facebook founder/Meta Platforms CEO Mark Zuckerberg.

“Seraphim” morbidly flexes that suckas can never get close to the phantom just before the lead single “Nod Ya Head! takes it back to the basement on a ride to raise Hell promising to kill any mic given to him. “Doin’ My Thang” maintains his independent hustle over this groovy ass instrumental leading into “I.D.F.A. (I Don’t Fuck Around)” dustily talks about not playing games whatsoever.

The penultimate song “Waco” featuring Rocci pushes towards the conclusion of the Manifesto of Terror Reid on some eerie trap shit referencing when the Branch Davidians were sieged by U.S. federal government & Texas state law enforcement officials while “Want U Around” ahead of the “Departure” outro wrapping things up expressing that he feels like he’s running in the dark with a blindfold on.

Rocci who produced Ramirez’ best album to date The Playa$ Manual in the spring of 2020 right when the COVID-19 pandemic started had his hand in producing 7 of the 10 songs on here excluding the intro & outro skit, which is important to note because this might be my new favorite Terror Reid tape. The Virginia producer helps Getter grow his sound & refining his style as an MC.

Score: 4/5

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Future – “Mixtape Pluto” review

Atlanta, Georgia rapper & singer/songwriter Future finally giving us his 14th mixtape. Coming up as a member of the Dungeon Family thanks to his cousin Rico Wade of Organized Noize, he officially made his debut in 2012 with Pluto & would later follow it up with a hot streak of modern day trap essentials like like Honest, Monster, Beast Mode & my personal favorite of his: D.S. 2 (Dirty Sprite 2). However since 2017, Future has mostly been painting himself in a corner & prioritizing quantity over quality. I mean sure HNDRXX took a more sensual approach & SUPER SLIMEY showed a pretty great chemistry with fellow trap trailblazer Young Thug, but Beast Mode 2 was a step down from the predecessor & he got with Juice WRLD to put out a collab tape that literally should’ve never happened: WRLD on Drugs. Finally at the very beginning of that next year, The WIZRD was just passable even though it showed NO artistic evolution whatsoever & Save Me was a decent attempt at being more vulnerable, High Off Life admirably found him staying true to himself in the midst of trying new things & I Never Liked You put the toxicity claims about him to rest. Metro Boomin’ reunited with Future for We Don’t Trust You & We Still Don’t Trust You, refining Pluto’s previous double album FUTURE HNDRXX & becoming his best since D.S. 2 (Dirty Sprite 2). 5 months later, Pluto’s continuing his best run in a decade with what DY said was originally a 56 Nights sequel.

“Teflon Don” is this trap opener produced by both Southside & London on da Track talking about beating the 1st case like John Gotti & being the boss calling shots whereas “Lil Demon” flexes his bitch a princess cut over a synths & hi-hats. “Ski” gives off a psychedelic trap vibe thanks to Smatt Sertified with co-production from his mentor Southside to talk about being ready to slide while “Ready to Cook” makes it clear that he’s prepared to make some dope over this solemn Wheezy instrumental.

Meanwhile on “Plutoski” we have Future trappin’ out the trap itself over this suspenseful ass trap beat just before DJ Champ & Taurus help him get personal with the highlight “Too Fast” discussing moving quicker in life than he should be. “Ocean” instrumentally radiates a haunting atmosphere in time for Halloween next month courtesy of Honorable C.N.O.T.E. & Dez Wright admitting he has enough tears to fill the ocean for all these losses took in this shit, but then the grisly “Press the Button” gets back on the road with the thangs & in the cut with the gang.

“MJ” woozily ends the first half of the tape getting activated from the monkey juice on the verge of going crazy the way she take the sex with the help of Romil Hemnani prior to DY helping Southside embrace his distinctly known gangster, bombastic, gritty, rambunctious & menacing trap sound for “Brazzier” throwing up gang signs & going brazy. “South of France” featuring Travis Scott on the remix hard-hittingly details his expensive lifestyle & drug use while the ethereal “Surfing a Tsunami” that Che Pope co-produced advises not to be careless with this rich behavior.

The sampling of “The Hills” by The Weeknd mixed with hi-hats throughout “Made My Hoe Faint” are pretty distinct recounting his numerous monetary achievements & shows of wealth while the druggy “Told My” talks feeling higher than Jesus. “Oath” hooks up background vocals & hi-hats breaking the law while “Lost My Dog” finds FNZ & ATL Jacob stripping the drums for a Rico Wade tribute. “Aye Say Gang” ends Mixtape Pluto with a bassy trap joint motivating the young homies.

Continuing his best run since the mid-2010s, Future comes off the 2 best albums in his discography in almost a decade We Don’t Trust You & We Still Don’t Trust You for a tribute to his late uncle & mentor alongside the era from which he emerged sounding like André 3000 under the Meathead stage name. The production mostly handled by Southside is much darker than his So Icey Boyz counterpart Metro allowing Plutoski to take it back to his roots.

Score: 4.5/5

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