Ho99o9 – “Tomorrow We Escape” review

This is the 3rd studio LP from Newark, New Jersey punk rap trio Ho99o9. Consisting of theOGM & Eaddy, they originally emerged on the scene over a decade ago off their debut EP Mutant Freax & have since gone on to follow it up with 3 more EPs as well as 3 mixtapes & even a full-length debut. blink-182 drummer Travis Barker would sign them to his Elekta Records imprint DTA Records entirely producing Skin & their MNRK Music Group debut Tomorrow We Escape is here 3 years later.

“I Miss Home” featuring Moruf begins with a Yeezus influenced industrial hip hop opener talking about shit never changing if one doesn’t ever take risks whereas “Escape” embraces a complete hardcore punk vibe with hints of melodic hardcore during the first verse & punk rap during the other. “Target Practice” blends rap rock & industrial hip hop together to talk about not fucking around in the jungles while “Ok, I’m Reloaded” makes for an energetic hardcore hip hop/EDM experimentation.

We get some psychedelic synthesizers all throughout “Psychic Jumper” talking about trying to keep their heads up prior to the experimental hardcore hip hop single “Incline” featuring Pink Siifu further pulling from big beat, industrial hip hop & trip hop advising that no one wants to find out with them. “Upside Down” combines alt-metal, rap rock, industrial metal & post-hardcore talking about people being meant to sin prior to “Tapeworm” featuring Greg Puciato fusing drum & bass, alternative metal & hip hop together seamlessly.

“Immortal” featuring Chelsea Wolfe nears the conclusion of Tomorrow We Escape by colliding the sounds of gothic rock, industrial hip hop & trap talking love starting to hurt when it leaves a trial along with healing now that the weight’s off their shoulders while the commanding punk rap song “LA Riots” addresses the protests that took place in the west coast earlier this summer. “Godflesh” finishes up the album with double bass drums & punky guitar riffs talks about seeing nothing but fire.

Wanting to take a more honest approach lyrically, Ho99o9’s inaugural release under MNRK Music Group focuses less regarding the political aspect of their lyrics for the most intimate opus they’ve ever put their names on. Tomorrow We Escape’s range of old & new sounds varying from digital hardcore to rap rock, rap metal, industrial hip hop, trap metal, industrial metal, hardcore punk, nu metal, horrorcore & trap offers something for everyone whether regardless of when one started listening to them.

Score: 4/5

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Kash Doll – “The Last Doll” review

Kash Doll is a 32 year old rapper, songwriter & actress from Detroit, Michigan who signed to Republic Records for her debut mixtape Brat Mailas well as the debut EP The Vault & of course the full-length debut studio album Stacked. She later signed to MNRK Music Group a year & a half ago after fulfilling her major label commitments, linking up with DJ Drama for her sophomore tape Back on Dexter & returning to put out The Last Doll independently after playing Monique during the first 2 seasons of BMF on STARZ.

“Klarity” produced by Cardiak & Wu10 begins with this exuberant trap opener dedicated to her daughter whereas the 2nd to last single “Kash Kommandments” decently puts her own spin on the iconic Biggie track “10 Crack Commandments”. “Nothin’ New” takes the Detroit trap route instrumentally thanks to none other than Helluva shittin’ on bitches for a living leading into “Pressin’” featuring Tee Grizzley wanting to know who these people think they pressin’ up against.

Hitmaka sampling “Apache (Jump On It)” by the Sugarhill Gang on “Jump” was pretty cool representing her city declaring that she won’t ever leave the block, but then the off-the-wall trap vibe that Lex Luger gives “Plot Twist” is outstanding flexing that she stole this bitch’s man. “NWA” featuring Tracy T finds the couple linking up over an OG Parker beat showing pride in bossing each other up while “Baby Boy” pays homage to her son.

“Stupid” shows off a more melodic side to Kash Doll singing about wanting to know why her man is out here actin’ stupid chasing subpar hoes when he has the coolest bad bitch just before “Comfy” featuring Tink samples “Comfortable” by Lil Wayne suggesting not to get too comfortable around them. “Love Myself” has a cool dance vibe talking about self-love while “Power” featuring MDG was a questionable lead single.

The penultimate track “Big 1” pushes towards the final moments of The Last Doll refusing to take these lame ass dudes seriously tellin’ one of them who thinks he can swing to batter up & finally, the b-side to the latter “Fawk ‘Em” officially closes the LP by giving middle fingers to all the fake, weird hoes as well as the envious snakes & the people who stay trickin’ off that munyun.

Marking a deeply personal chapter in her life, Kash Doll’s first album after leaving Republic showcases her growth as a woman, a mother of 2 & an artist evolving beyond the persona that first brought her into the spotlight. Balancing motherhood with her thriving career, the Detroit star reflects on her journey by using this album as a powerful expression of her personal & artistic evolution.

Score: 3.5/5

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Ty Fontaine – “Ascension 2” review

This is the sophomore full-length LP from Maryland recording artist Ty Fontaine. Coming up in 2019 off the strength of his debut EP Waiting on Ascension, he would go on to follow this up with the full-length debut We Ain’t the Same alongside a couple of mixtapes & 3 more EPs, the previous being The Revive preluding a sequel to his Internet Money Records-backed debut mixtape Ascension & more recently Black Truck Life last spring. He signed to MNRK Music Group for his 7th EP 264 the previous winter & is back for a follow-up to the tape that got him where he is today.

“spotlight” spaciously starts Ascension 2 addressing a woman he’s addicted to but not committed to whereas “ash kash” keeps the synths in the fold treating every diamond on his body as if they’re trophies. “gotham” calls himself a Martian looking at every experience being priceless like it came from an auction over a rage-inducing beat from Devstacks leading into the trap-flavored “computer s3x” talking about having the same crew as he did when he first emerged on the scene.

Things take a cloudier turn instrumentally on “what’s life, to waste it?” explaining that his dreams are way too big just before “Adventure Time (racks on my body)” hooks the synths back up to talk about being unable to worry about shit since he loves the finer things in life. “alleviate depression” describes the jadedness of the land where everybody’s somebody over an psychedelic trap beat that Cubeatz & SADPONY co-produced, but then “parlay” has a moodier sound overall telling his partner she knows what it is.

“doin’ damage” flexes the Ben Franks in his pocket over more synthesizers & hi-hats accompanying him while the woozy “studio junkie” talks about being unable to sleep for 3 days straight since he’s been in the lab cooking nonstop. “only 1” tells this chick he’s the guy she should be spending time with a peaceful instrumental backing him while “it gets better” intoxicatingly discusses brighter days. Vendr provides “don’t give up on me” a rich backdrop pleading for his lover to stay & the heavenly “rolling” ends the LP not wanting to feel his face.

To begin the deluxe run or Act II officially, “lift your head up” encourages everyone listening to keep their guard on some euphoric trap shit while “raw dawg dippin’” mixes these horns & hi-hats together talking about thuggin’ as of late. “downer” has a peaceful trap approach generally reassuring everyone that he’s still doing his thing out here even if they gon’ try him every time while the bubbly trap joint “knee high” that FNZ & Cade laced admitting her love feels like everything is anything.

“rave girl” is a cloudy start to the other half of Ascension 2’s subsequent act talking about getting romantically involved with the titular kind of women while the trap-rock flavored “dead or alive” promises that they’ll remember him making it out. “I Never Wanna Wake Up” expresses his desire to stay in his dreams & Rio Leyva helping him stick to a cloudy trap sound while the synth-trap hybrid “i say, you say.” let’s this woman feel his energy. “Imagine 2” is a sequel to a highlight track off Ty’s debut EP Waiting on Ascension & the final bonus track “Save Me” featuring tana ends by addressing those who envy him making it.

Ascension has to be my favorite thing that Ty has ever done & frankly, the sequel here lives up to the bar that the predecessor set 3 years ago surpassing every single thing he’s done since. The production is just as fun as Internet Money’s was when they helped introduce Ty a few summers back & he manages to deliver some of his strongest performances & songwriting in quite a while. Maybe even of his entire career.

Score: 4/5

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Courtney Bell – “Microdose” review

Courtney Bell is a 29 year old MC from Detroit, Michigan who got started in 2018 by releasing the full-length debut album 10 Commandments followed by the debut mixtape Poverty Stricken in the fall of 2020. As of lately though, he’s been taken under the mentorship of Royce da 5’9” & had an impressive guest appearance on Nickle’s 3rd EP The Heaven Experience about 15 months ago. They’re now looking to take it to the next level by not only helping Courtney land a MNRK Music Group contract, but even having Royce oversee the creation of his sophomore effort.

“For All We Know” starts us off with a cloudy instrumental talking about how this is Hell already & nobody might even be aware of it whereas “Westside” featuring Royce da 5’9” works in some ominous piano chords from The Alchemist so both of them can get in their hardcore bag lyrically. The title track has a summery trap flare to the beat flexing that he’s in his element on top of nobody being able to fuck with him, but then the heavenly “Issues” talks about being lost & life shit helping him figure it all out.

Meanwhile on “Feeling You”, we have Courtney portraying a sensual side to himself over smoother trap production while “Motion” brings a Detroit trap flare instrumentally flexing his hustle. Royce returns on the atmosphere bass-heavy “Banz” produced by Jake One to join his protege in calling out all the bitch ass n****s out there just before Nickel sticks around for the funky “Get ‘Em High” alongside LaRussell, Sol ChYld & Symba with Hit-Boy behind the boards so all 5 emcees can drop straight bars for 4 minutes representing 3 of the 4 regions within American hip hop (the midwest, the east coast & the west) & Sol ChYld making a dope reference to former 3-time NWA World’s Heavyweight Champion, NWA National Heavyweight Champion, WWE Hall of Famer, WWE United States Champion, 2-time WCW World Tag Team Champion & 3-time WCW World Television Champion Dusty Rhodes.

“Swivel” hooks up some pianos, kicks & snares talking about keeping your head on the turn while “Bang” featuring Benny the Butcher & Royce da 5’9” brings the trio together for some rugged boom bap shit killing every rapper in their way. “Word II Conway” dustily asks what’s a soldier to a fraud & what’s the love if it’s lost while “Shit” pulls inspiration from trap again talking about what he be on. “Psalms 82” flips a gospel sample & throws some hi-hats in the mix to ring the alarm that is until the closer “Walk with Me” ends the album by soulfully talking about forfeiting if life’s a game.

To start the deluxe run, “100” featuring Icewear Vezzo gets back on the Detroit trap tip explaining that’s how much is in the safe while the somber “Late Night” talks about either finding his balance or simply coping. “Hebrews 13:6” featuring Skilla Baby contains the best Detroit trap beat on the album thanks to Helluva revolving around the titular Bible passage & the final bonus track “Brother’s Keeper” wraps up with pianos & hi-hats doing it for the ones who can’t believe they made it out the hood.

Being a lifelong Royce fan, I got put onto Courtney through his verse on “Ion Wanna” & my anticipation for Microdose was elevated after learning that Nickel was taking him under his wing. Lo & behold: His debut on MNRK marks his return after 4 years introducing himself to newer fans like myself & giving the people that’s already been following him an update as to what’s been going on in his life since. He presents a completely different perspective on music & his life altogether after taking that time off prioritizing his mental health & this LP will surely help others going forward.

Score: 4/5

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Ty Fontaine – “264” review

Maryland recording artist Ty Fontaine following up his previous EP YUHEAME from this summer with a 7th one. Breaking out in 2019 off the strength of his debut EP Waiting on Ascension, he would go on to follow this up with the full-length debut We Ain’t the Same alongside a couple of mixtapes & 3 more EPs, the previous being The Revive preluding a sequel to his Internet Money Records-backed debut mixtape Ascension & more recently Black Truck Life in the spring. But with winter coming up in a few weeks, Ty’s capping off his 2023 by putting out 264.

“Catch My Breath” is an irresistibly catchy opener with a synth-based instrumental that almost gives me a bit of a Kanye influence telling his significant other to simply give him a minute whereas “D.O.S. (Drugs Over Sex)” featuring Joony, Summrs & TTM Dawg displays a back-&-forth chemistry from the 4 over a trippy instrumental choosing substances over intercourse. “Croak” works in more hi-hats & a psychedelic loop talking about being on a roll as of late that is until “Wetty” brings the synthesizers back together breaking down that this bitch knows what’s up.

On the other hand, “Fashion” featuring Lil Dre gives off euphoric atmosphere to the beat calling their swag crazy as fuck just before “Motel 69” is it acoustic trap hybrid talking about how it’s the game & not the same. “Giving Everything” featuring Hardrock has my second favorite guest performance on the entire EP with a moody trap instrumental asking where you at when they need you, but then “Charge it to the Game” strips the drums singing his ass off for a couple minutes.

The penultimate song “Sandbox” has my favorite Summrs feature throughout 264 continuing to keep the drums out of the picture so both of them can talk about coming out of the sand & last but not least, the title track ties up the 20-minute listening experience by keeping things stripped back sonically explaining how long it took him to making the project totaling up to 11 days.

So we got a trilogy of EPs from Ty this year & the last one here has not only already made it’s case as the best of the 3, but is also further indication to me that things are only gonna get bigger for him 2024-onward because 264 could very well be my 2nd favorite body of work from him behind Ascenscion. Sure only 2 of the 4 featured stick the landing, that’s not to say that the production or Ty’s own abilities as a performer aren’t continuing to improve.

Score: 3.5/5

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O.T. the Real – “Zombie” review

This is the 5th full-length LP from Philadelphia emcee O.T. the Real. Starting up in 2016 after coming home from prison & dropping his debut single “Papercuts”, his profile began to grow from there after showcasing his skills on radio stations as well as his a discography currently consisting of 4 albums accompanied by a mixtape & 7 EPs up to this point. Standouts include the Heatmakerz-produced 3rd EP The Irishman, the DJ Green Lantern-produced 3rd album Broken Glass that dropped on my 25th birthday & his previous LP the Statik Selektah produced Maxed Out. I haven’t covered his music since then but he’s dropped his debut mixtape No Matter What & a total of 3 EPs: Desperation of December, It’s Almost Over & Red Summer. All of which were hit or miss for me personally so when it was announced that O.T. was finally signing to Black Soprano Family Records/MNRK Music Group & enlisting araabMUZIK to fully prelude his debut for the Buffalo indie label Zombie, it raised my expectations significantly.

“If They Coulda, They Woulda” is a rugged 103 second boom bap opener having all the perfect samples of the dope that he be producing whereas “Turning Stones” shifts gears into trap territory dedicating this to all his homies who got it their own way. “The Crown” featuring an opening verse from Benny the Butcher & Elcamino on the hook lavishly talks about wearing the titular object on their rollies leading into the spacey trap flavored “Strong Survive” talking about only those who have strength will prosper.

Conway the Machine slides through on the jazzy “Just Different” cautioning that it ain’t the same when it’s you being the one to come & get, but then “Certain Things” featuring 38 Spesh addresses specific topics that they don’t even talk about over an eerie loop hooked up with these kicks & snares. “Ice Baby” takes a groovier route instrumentally working in some hi-hats too showing how he hits it with the ice just before “Blood Stains” featuring Rome Streetz drearily returns to the boom bap talking about having to wash the streets to remove the stains from it.

“Whole Shabang” featuring Amir Ali is an alluring trap start to the final leg of the LP comparing this music shit to the coke exchange prior to the trillwave-inducing “Anemic” featuring LIHTZ talking about how homie only had 1 life & he played with it rather than just staying with it. “JJ Reddick” picks things up comparing himself to the Orlando Magic player of the same name over a glamorous boom bap beat that is until “Fade Away” ends O.T.’s debut with B$F on a dreary note with kicks & snares talking about how you never know when death’s gonna aim your way.

As someone who started following O.T. about 2 & a half years ago when The Irishmen dropped, Zombie is his strongest project since Maxed Out & easily one of the best to come out of the Black Soprano Family camp this year as he is a more than welcoming addition to the roster. araabMUZIK’s production is noticeably more consistent than the mixtape & trilogy of EPs we’ve gotten from O.T. in the last couple years as they go down to the streets with one another to match their intensity.

Score: 4/5

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Elcamino – “They Spit on Jesus” review

This is the 5th full-length LP from Buffalo emcee & singer Elcamino. Blowing up in 2017 off his self-titled EP with Griselda Records, his profile increasingly grew after being followed up by Walking on Watermixtape in the summer of 2018 along with dropped 2 studio albums & a few EPs the year after that. Now it’s been quite a while since I’ve last covered Camino, with the last project of his that I reviewed being his 10th EP On the 3rd Day. Since then he’s put out 4 more EPs alongside a couple additional LPs with Walk by Faith & Not by Sight and Let There Be Light. But after signing to Black Soprano Family Records not too long ago, he’s finally making his debut under Benny the Butcher’s very own MNRK Music Group imprint in the form They Spit on Jesus.

The title track featuring Fuego Base finds the 2 over a mobster-like boom bap instrumental from Ill Tone talking about how they would do the worst whereas “New Bills” featuring Benny works in some strings, kicks & snares detailing life in Buffalo for them. “Victory” featuring Inspectah Deck takes a more soulful boom bap approach getting on the celebratory side of things, but then “For the Streets” switches it up with a spacey trap banger dedicated to the hoods.

“Neva Gon’ Change” dives headfirst into chipmunk soul talking about refusing to ever switch up just before “Tap In” featuring Armani Caesar returns to a trap-based sound as both of them charismatically set out to hook you up. “Cry with Me” gives off a summery boom bap flare getting incredibly personal on the mic leading into the groovy “All I Know” talking about representing the very city that he came from.

Meanwhile, the appropriately titled minute & a half “Ballad” finds Elcamino singing over some horns that is until the delicately produced “Started from Nothing” featuring Loveboat Luciano spits about coming up not having shit. The song “80 Bills” featuring Benny the Butcher is an eerie trap cut reminding y’all that B$F be that mob while “War Ruckas featuring Havoc with Camino’s brother King Ralph & even over a soulful boom bap beat talking about bringing war. “The Best of Me” is an orchestral-tinged closer refusing to let people get to him.

I enjoyed Walk by Faith & Not by Sight and Elcamino 3, but No Weapon Formed Against Me was a significant improvement over some the other projects that he’s put out in these last 2 years so I had high expectations for They Spit on Jesus & it lived up to them. The production’s consistent, the guests are all on par & his versatility is on full display.

Score: 4/5

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Rick Hyde – “Lupara” review

Rick Hyde is a 34 year old emcee/producer from Buffalo, New York notable for being a flagship artist on Benny the Butcher’s very own MNRK Music Group imprint Black Soprano Family Records. His debut album Plates that came out at the very beginning of 2019 was pretty solid on top of 9 EPs & a sequel to his full-length debut, which the last we heard from him being the Stima EP that celebrated it’s 1-year anniversary this past. However, he’s now enlisting Chop-La-Rok & Rare Scrilla for a 10th EP.

“Rick Rhude” is a killer opener to the EP with it’s guitar passages & pianos promising that no one wants any of the smoke he’s bringing prior to “Eastside” featuring Elcamino works in a sample-based boom bap instrumental talking about another summer on the titular side of their respective hometown. “Weight Watchers” featuring Heem blends these keys & drums together advising not to come out unless you’re ready that is until “Change My High” comes through with a laidback weed smoker’s theme.

Fuego Base comes into the picture for the violin-infused “PTSD” cautioning not to speak of what you saw as this is a different type of law just before “1 Brick Minimum” featuring Benny the Butcher & Malik finds the trio aggressively getting in their hustler bags. “Knock Down” featuring Boldy James goes into a more alluring boom bap vibe calling out those who thought they were down, but then “Streets Ain’t the Same” featuring Benny sends off the EP as both of them emotionally talk about the streets being different these days.

B$F has undeniably been leaving a hot trail throughout 2023 whether it be Loveboat Luciano’s latest sophomore effort Parole or Fuego Base whom I mentioned earlier revealing himself to be the Biggest Since Camby. However, Lupara stands as my favorite project to come out of the Black Soprano Family camp as we reach more than halfway through the year. Ricky lets Chop-La-Rok & Rare Scrilla handle all the production paying tribute to the golden era so he can further cement his status as one of the strongest links on the label roster.

Score: 4/5

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Loveboat Luciano – “Parole” review

This is the sophomore full-length album from Buffalo emcee Loveboat Luciano. Emerging in 2018 off his debut EP Yung 4 Eva, he would go on to expand his discography by putting out the full-length debut Probation & a sequel to the Institutionalized by the Streets mixtape before signing to Black Soprano Family Records. But coming off Fuego Base’s debut Biggest Since Camby on 4/20 & then Heem’s sophomore effort From the Cradle to the Game over a month ago, Loveboat’s stepping up to the late on Parole

The intro is a gritty boom bap opener taking y’all where he came from whereas “2nd Strike” featuring Benny the Butcher fuses these synths, hi-hats, kicks & snares together courtesy of Rick Hyde letting it be known that there’s a storm coming. The title track hooks up what sounds like a whistling kettle pot dedicating this one to all the homies that be living raw to this day just before “Exonerated” goes into a more piano-driven territory talking about having nowhere to go but the block.

“Piss Test” featuring Ricky gives off a bluesier vibe thanks to Jahlil Beats calling out those who were hating while they were counting their stacks leading into “Detainer” featuring Dave East shifting gears into crooning trap turf discussing being about their business. “Warrant” featuring Heem & Dappa angrily disses those who turned witness ratting on the gang, but then “House Arrest” brings in another trap beat encouraging everyone to get used to B$F if you aren’t by now already.

Meanwhile, “Sentencing” starts the last leg of the album by returning to the boom bap promising to not let any of the hard times change him that is until the song “Loretto” featuring Conway the Machine has a more delicate instrumental venting over these demons that they be battling. The penultimate track “PSI” featuring Che Noir takes an atmospheric approach talking about situations that done turned them into bosses & the outro is a sample/trap crossover refusing to be on some extra shit.

Probation gave B$F fans a glimpse at the hardships that Loveboat was going through when the label started blowing up & expanding it’s roster, but Parole really offers a new perspective of where he’s been at in his life since then. The production choices have improved, the feature performances are more consistent & brings his undeniably rejuvenated passion that he’s received ever since coming back home to the mic.

Score: 3.5/5

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Heem – “From the Cradle to the Game” review

Heem is a 30 year old MC from Buffalo, New York who caught my attention in 2020 after becoming of a protege of Benny the Butcher & signing to his MNRK Music Group imprint Black Soprano Family Records. He also made a few appearances on the label’s showcase EP prior to dropping his debut mixtape Long Story Short that same winter & a debut EP High Art last spring, but is up next at bat in the BSF camp to drop a full-length debut.

“Reasonable Doubt” is a soulful boom bap opener to kick things off admitting that he’s feeling better than ever since the last time we heard from him whereas “Radio Raheem” has more of a Daringer influence to the beat asking what you really know about dope game cocaine. “Mob Business” featuring Benny the Butcher & Styles P says it all with the strongest instrumental on the album thus far courtesy of Rick Hyde just before “Caper Boy” works in some more kicks & snares talking about running up 7 figures.

Meanwhile, “Black Sheep” picks up with a piano boom bap crossover telling y’all his story as a lil’ ghetto boy from the east side of Buffalo leading into “Cocaine County” featuring Conway the Machine keeps it raw sonically talking about drowning in the dope & calling to send a rescue boat in to save them. “Picture Me Rollin’” goes chipmunk soul acknowledging that he’s come a long way from the hard white, but then “Tears of Blood” is a boom bap-inflicted ode to his real street homies.

“Mamie Lee” chops up what I assume is a gospel sample paying tribute to his grandmother while “Guilty By Association” featuring Rick Hyde returns to the boom bap talking about being products of crack money. “Long Way Home” saying it just might be do or die at the end of the day over a pillowy beat while “The Motto” dives back into the basement talking about being from the streets. The penultimate track “Young N***a Old N***a” incorporates a piano instrumental from DJ Green Lantern calling himself the chosen one & “Same Ole G” jumps on top of some organs making it known he ain’t changed.

Long Story Short was a great introduction to Heem & what he’s capable of doing on the mic, but From the Cradle to the Game gives listeners a more introspective look into his background for anyone wanting to know more about him. Although I think the production on that previous tape is better by a hair, the concept presented here of him growing up a good child & jumping into the game after going to the line is cohesively laid out with a brief yet tight feature list.

Score: 3.5/5

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