Pi’erre Bourne – “Made in Paris” review

South Carolina producer, rapper, songwriter & engineer Pi’erre Bourne finally making up for the 15-month delay of his 4th studio LP. Becoming one of the most in demand beatsmiths in hip hop today off Playboi Carti’s “Magnolia”, he’s also made a name for himself on the mic by dropping 10 mixtapes as well as a couple EPs & 3 full-length albums. Grails was a short yet highly favorable collection of Pi’erre’s most anticipated solo tracks & with the 2-year anniversary of that passing a couple months back, Interscope Records has at long last allows him to recount a trip to France he made in the form of Made in Paris.

Splitting the intro “Façade” into 2 different sections, the first “Inside” wishes his uncle who did the spoken word intro was still here to see him today & the other “Alone” remembers his late grandmother along with flexing that he has more Soss than Ragu. The warm synthesizers on “Le Vôtre” make for one of my personal favorite instrumentals on the whole entire album talking about 2 hoes never feeling right with him while “Bon Appétit” takes a pop rap turn wanting his partner to eat him alive.

“J.B.H. (Just Being Honest)” featuring Young Nudy pairs the 2 over a syrupy plugg beat feelin’ like people are still doubting them as artists leading into “La Loi, C’est La Loi” trying to tell this woman how much he misses her when she doesn’t wanna hear it over an accordion. “Bleu” hooks up these organs tackling the issue of not knowing he would leave a chick heartbroken after trying to save their love while “Temps de Chasse” talks about not wanting to fuck around with his life anymore & the grass not being as greener on the other side.

The 2nd & final single “Pop” opens up regarding the kind of relationships he’s had in the past blending pop rap & trap with cloud rap while “Retraite” combines the colorfully atmospheric Good Movie outtake “Kit Kat” with an original latter half “Playground” turning up the rage. “En été” digs up these fuzzy synthesizers flexing his gains not that he’s playing his cards right while “Rapunzel” recaptures the themes of lust once again.

“J’adore” addresses his current love life referencing WWE Hall of Famer, 6-time WWE world champion, WWE Intercontinental Champion, WWE United States Champion, WWE Tag Team Champion, WWE Hardcore Champion, IWGPヘビー級王座, the inaugural 6-time TNA World Champion, TNA X Division Champion & 2-time TNA World Tag Team Champion Kurt Angle & “Toot It Up” might be my favorite song here only because of the plugg instrumental & NOT because of the Timbaland line due to his ongoing AI tomfoolery.

Reaching the final leg, “Violette” meshes these acoustics & quirky synths with one another making reference to Futurama in light of it’s upcoming 10th season on The Walt Disney Company-owned hulu later this summer until “Blocs” proved to be a fun pop rap/trap lead single talking about being on the block when he was younger. “L’amour” offers a bit of a pluggnb vibe speaking to a woman he seems completely dependent on & “Sait” promises to give his girl everything but a wedding ring.

Recharging from all the traveling & barely getting any sleep in part of making sure the visuals were presented in the best possible way he wanted, Made in Paris pushes Pi’erre back in the spotlight with the most vital album of his career & one that captures his growth more than Good Movie did. Inspired by a trip to Paris a year or 2 ago, he takes some ideas that he’s had going far back as 2019 or presently & uses them together resulting in the most consistent LP in his canon since The Life of Pi’erre 4 & The Life of Pi’erre 5.

Score: 4.5/5

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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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Bermuda Yae – “The 5th” review

This is the full-length debut album from Atlanta, Georgia up-&-comer Bermuda Yae. Making his presence known by dropping 3 EPs & a couple mixtapes, this would all lead up to the immensely talented South Carolina producer/recording artist Pi’erre Bourne signing Yae to his own Interscope Records imprint SossHouse Records. And considering that Pi’erre’s began a run producing albums for the artists he’s signed after putting out his critically acclaimed Grails EP this past spring, but Bermuda Yae is pleading The 5th & becoming the 3rd SossHouse artist to introduce himself on an LP of his own after both J Billz & Kura respectively.

“Tomato” starts off Yae’s very first album with a spacious trap instrumental thinking of a masterplan whereas “Back in Dis Bitch” takes a bass-heavier approach talking about his return to the scene of course. “One of Dem” confesses to being one of those dudes with a wavy, booming quality to the beat just before “Reminisce” gives off a more delicate vibe sonically in order for him to reflect on the lyrical side of things.

Meanwhile, “South Dekalb” works in a rubbery bass-line describing the southern party of the titular county in Georgia leading into the airy trap cut “Boosie” paying homage to the titular Pimp C protege from Baton Rogue. “Einstein” on the other hand keeps the rattling bass & hi-hats in tact to talk about having a lightbulb go off in his head, but then “So Fly” gives off a lively feeling this time around obviously lacing his lyrics with braggadocio if you couldn’t tell by the title.

“Big 4” almost had a rage-inducing quality instrumentally looking to beat the block while “4 Life & Kites” shoots for a woozier aesthetic acknowledging that he’s already known about people not saying shit in their lyrics or copying him blatantly. “Freak Nik” has one of the quirkier instrumentals on the album & more sexually charged subject matter while “Fuckumean” can talk about him going crazy over these paired set of strings & hi-hats.

Pi’erre cooks up a more suspenseful vibe on “Wild Wild East” painting a picture of what it’s like to grow up in the Eastside of Atlanta, Georgia while the inebriating “John Deere” talks about rolling with no one but by his lonely. “Headphones” should’ve been combined into 1 instead of being split in half with the beat starting with some cheerful synthesizer melodies & hi-hats prior to swapping the synths out in favor of a shimmery backdrop advising to put on headphones for this particular cut, but “Preciate Y’all” is a cloudy finisher thanking everyone for sticking by him up to this point.

It makes me happy to see Pi’erre finally giving Bermuda Yae a chance to shine much like how when he produced both Streetz Hottest Young’n & Born Seditionary only a couple months ago. Similar to both of those debut albums, we get a closer look as to who Yae is both artistically & personally except each of the 3 introductory LPs have their own story & the production from his mentor is leagues better than those early EPs/mixtapes.

Score: 3.5/5

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Kura – “Born Seditionary” review

Kura is a 20 year old recording artist from Detroit, Michigan who originally got started under the moniker Blockboy K & even went to high school with my younger brother UnreleasedSnip during their freshman year. Not only has he gone on to drop a total of 3 EPs & a mixtape since 2018, but he’s also caught the attention of South Carolina recording artist/producer Pi’erre Bourne after signing to his Interscope Records imprint SossHouse Records a year & a half ago. Frazier Trill just dropped his sophomore album Still Trapp’n last month as did Chavo & Sharc with Chavo’s World 3 & Sharc Wave respectively, but Kura’s next in line for a full-length debut produced by his mentor only a week after J Billz made his case as the Streetz Hottest Young’n last Friday.

“Arriving” is a cloudy trap opener to the album addressing his arrival to the rap game whereas “Bapes” featuring Chavo goes into more pluggier territory as both of them encourage y’all to simply hop out of bed & do the shit that you want to achieve. “Donations” continues from there in the form of a vibrant pop rap ballad laced with braggadocio, but then “Hold It Up” fuses elements of trap & rock together so he can talk about breaking out of the box they tried to keep him in.

Meanwhile, “Bachelor” comes through with a wavier flare to the instrumental as K flexes that it’s like he loses weight every single time he goes out to shop just before “U Ain’t It” works in some horns & hi-hats so he can talk about the way he’s living these days. “Nightmares” gives off a moodier trap sound comparing his significant other to a movie scene that he can watch all day leading into “Widebody Kit” hooks up a bass-line & more hi-hats talking about making waves even though everyone thought he was a joke when he was 15.

“Switch” goes into a more synth-based direction so he can tackle themes of romance while “Waves” returns to cloud rap territory talking about shaking up the game every time he drops. The beat on “No Rules” is kinda trippy as he discusses living life feeling fine while the song “Born Dis Way” brings back the hi-hats & synthesizers saying everything he does is big. The penultimate track “Saving Grace” has a more peppier tone instrumentally putting all bullshit to the side prior to “PunkParty” wraps things up by pulling from plugg music 1 last time declaring that the young & rich are in the party.

Being a Detroit native myself, it makes me really happy to watch one of the best producers in the modern era like Pi’erre take a local artist like Kura under his wing & I’ll even argue that it’s better than all of those earlier projects he gave us to get to this point. Much like Streetz Hottest Young’n, we have a better look at who the Blockboy is both personally & artistically backed by production that humbly blows his previous work out of the water.

Score: 3.5/5

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J Billz – “Streetz Hottest Young’n” review

J Billz is a 23 year old rapper from Spartanburg, South Carolina who came up at the beginning of 2020 off the strength of his debut mixtape Home Detention. He also happens to be a protege of local recording artist, songwriter, producer & engineer Pi’erre Bourne by signing to SossHouse Records prior to that previous tape coming out. However, he’s enlisting Pi’erre to make a bigger breakthrough on his debut full-length album following the sophomore efforts of his 3 labelmates last month Frazier Trill alongside Chavo & Sharc respectively.

“Trappin’ Like a Fool” is a piano-trap opener to the album talking about riding around with the toolies whereas “Onion” has a more peppier flare to it calling himself a trap junkie going hard 25 hours & 8 days a week. “Pick Today” returns to a more ominous groove so he can reminisce of all the shit that he didn’t say that is until “War with Us” aggressively airs out those who want beef with the Sosshouse crew with a cloudy instrumental backing him.

Meanwhile, “Steppas” keeps things hazy as Billz makes it clear that he sees all the fuck shit just before “Fuck Dat” talking about feeling like DJ Khaled since all he does is win & stomping a bitch boy out in public on sight. “Megan Thee Stallion” gives off a more playful sound comparing his bitch to the queen of the hot girls herself, but then “Kreepin’” weaves some pianos & hi-hats advising everyone to lock their doors since the young homies out here.

“Tony Jeff Story” gives off a somber trap tone as he tells the story of both Tony & Jeff being deep in the streets while “Depend on Me” pulls from plugg music a big asking how things are gonna work out if she claims she hates him. The song “Back to Trappin’” returns to a cloudier vibe talking about never forgetting where he came from even though he can’t stay away from the trenches while the penultimate track “Best of Me” brings in more keys & hi-hats wanting everyone to be up front about any smoke with him. “Opp N****z” however ties the album up with a booming trap closer saying he drops people instead of dissing them.

It was only a matter of time until J Billz got an album produced by Pi’erre & now that we got Streetz Hottest Young’n, I consider it to most certainly be a cut above Home Detention & a solid introduction to his mentor’s fanbase. It’s more well-produced than that previous mixtape which is kinda what I expected so Billz can improve both his songwriting & performances by giving more introspective content without needing any guest verses.

Score: 3.5/5

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Sharc – “Sharc Wave” review

This is the sophomore full-length album from Atlanta, Georgia rapper Sharc. Breaking out as a Pi’erre Bourne protégé signing to the South Carolina recording artist & in-demand producer’s very own Interscope Records imprint SossHouse Records, he would drop a few singles & land some feature placements until dropping his own debut 47 Meters Down literally the week after appearing on “Drunk & Nasty” off the 5th & final installment of his mentor’s Life of Pi’erre series. But coming off producing both Still Trapp’n & Chavo’s World 3 earlier this month, Pi’erre’s keeping the hot streak going by lacing Sharc Wave in it’s entirety ahead of J Billz’ full-length debut Streetz’ Hottest Young’n in a couple weeks.

The instrumental throughout the opener “Walk Down” has these retro-video game like synths & hi-hats so he call out every single motherfucker that’s jackin’ his swag out here whereas “Sicario” switches it up with a more euphoric sound talking about going pistol for pistol. “PMR 30” laces more hi-hats & synths making it known that he ain’t afraid to spray rounds from his strap just before “1 of 1” is a piano trap ballad reminding how much of a threat he is.

“Skeleton Mansion” incorporates some woodwinds & more hi-hats so he can stick while your hood up playing with handguns since he from New York even though his shawty got a fetish for rifles, but then “Super Bowl” goes for a more horn-based sound talking about how SossHouse stays winning without competition. “Members” is a more keyboard/trap crossover saying he in the mood, but then “Miami” has a cloudier vibe talking about going through shit.

Meanwhile, “Hashtag” begins the last leg of Sharc Wave with a woozy beat detailing a bitch that simply wants to act bad while “Harley Quinn” is a cloudy trap banger comparing his lover to that of the Joker’s titular ex & Suicide Squad member. The song “Soss Love” is a triumphant dedication to his squad while the penultimate track “Brixton” has a futuristically bassy approach talking about swimming instead of surfing. “Talm Bout” on the other hand ties up the album with a thunderous closer discussing the lifestyle that he lives.

Sosshouse has been on a tear these past 3 weeks with all these albums that Pi’erre’s been producing for his artists because so far, Sharc Wave is my 2nd favorite of the 3 behind the very one we got last weekend Chavo’s World 3 & has me wondering how J Billz will properly introduce himself on Streetz’ Hottest Young’n in merely a couple weeks. Sharc sounds recharged throughout his performances as he surfs over his mentor’s signature production style.

Score: 3.5/5

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Chavo – “Chavo’s World 3” review

Chavo is a 29 year old rapper from Atlanta, Georgia notable for being the son of Benzino & the older brother of Coi Leray. However, my introduction to him was when South Carolina recording artist & producer Pi’erre Bourne signed him to his very own Interscope Records imprint SossHouse Records. His 2018 debut mixtape Hood Luva was solid & the sophomore tape Mixed Emotions was even better in my eyes until the full-length debut Chavo’s World continued to show his elevation. However, the sequel generally received moderate reception & his debut EP Hood Luva 2 is considered to be his weakest body of work. The next EP Blue Hills returned to a more mixed response, but is now re-enlisting Pi’erre to fully produce his 3rd album.

“I Love It” lets it all off with a synthesizer-based trap instrumental explaining that he be getting money whereas “Fort Worth” featuring Sharc works in some strings & hi-hats so they can both talk about pulling up to Texas. “B.M.D. (Bitches, Money, Drugs)” is a flute/trap hybrid detailing the 3 things that he loves the most in this world just before “Black Tint” has a more vibrant feeling to it boasting that he feels like the president when riding around in the titular kind of whip.

Meanwhile, “Queen of the Demand” brings back the synths to acknowledge that his girl is well aware of the fact that Chavo gon’ fuck on her friends if she fucking her also leading into “I.D.W.T.F.N.L.W.U.” (I Don’t Want to Fall n Love With U)” is a shimmering trap cut about not wanting to fall in love with this bitch he’s talking about. “HEY!” keeps things wavy telling this woman who wants to her to smash at a party to not pay attention to nobody, but then “Hoola Hoop” dives into more atmospherical territory talking about spinning around after dropping the addy.

“Procedure” blends the sounds of a submarine & these synthesizers so he can show off his luxuries that come with a life of fame while “For Me (Babygirl)” is a catchy trap ballad with some pop rap elements throughout a confesses that he don’t know if this chick is his soulmate. “Up Up Up” incorporates a booming instrumental telling this woman not to be a stranger while “Postman” featuring Veeze finds the pair over a hazy beat talking about running laps all year long.

Moving on from there, “Call on Me” has a more minimal sound telling his lover to drop the addy whenever while “Hiccups” dives into moodier turf talking about the game needing him & that none of his boys are victims. The song “Serena, Venus” gives off a more trippier aesthetic describing this Brooklyn girl he met seeing the difference between Chavo & her own man while the penultimate track “Shiesty” talks about how reckless the homies be over synth-strings & hi-hats. “System” though is a futuristic closer with his lover making it clear she’ll catch a case for him.

As disappointing as Hood Luva 2 & Blue Hills have been, I still respectfully maintain that this guy has an overall discography superior to his younger sister’s & Chavo’s World 3 further solidifies that because this is a dope return to form for him. Pi’erre’s production here is refreshing considering that was the biggest issue I had with both of those previous EPs & Chavo himself sounds more focused throughout his performances.

Score: 3.5/5

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Frazier Trill – “Still Trapp’n” review

This is the sophomore full-length album from South Carolina rapper Frazier Trill. Emerging as a Pi’erre Bourne protégé after signing to the latter’s Interscope Records imprint SossHouse Records, he then made his mark over a couple years ago after withan eponymous debut fully produced by his mentor properly introducing himself to the masses & showing us what he’s capable of. But as Pi’erre is now turning his attention to his SossHouse signees after dropping his latest EP Grails last month to critical acclaim, Frazier is first at bar assuring that he’s Still Trapp’n.

“Alaska” is a symphonic trap opener flexing that his shit be on froze whereas “System” works in some synths & organs getting on the more conscious tip lyrically talking about the corruption within the United States government. “Bachelor Party” hooks up some horns & hi-hats assuring that you know it’s about to get wild, but then “One of a Kind” brings back the synthesizers so he can talk about how fine & unique that one special woman in his life truly is to him.

Meanwhile, we have Frazier expressing his desire for 30 chains on “Lu Kang” over a trap instrumental with a somewhat eerie synth pattern leading into “Cold Case” taking more ominous approach talking about spending $1K on a new pair of kicks. Fellow SossHouse labelmate Jelly makes the album’s only guest appearance on “Big Dog” diving into more rowdier territory as far as sound goes boasting their statuses in the game just before “Hood Rich” has a really cool flute weaves into the fold thanking God he didn’t lose his life in the streets.

“Another One” has one of the weaker performances on the album as he sounds like he’s trying to impersonate Gucci Mane a bit jumping over a rubbery trap beat talking about not needing another plug while “Motion Picture” mixes some keys & hi-hats asking what the biz is. The song “Cash App” has a more suspenseful vibe for an ode to the titular mobile payment service while the wavy penultimate track “Steven Segal” talking about getting the dope & selling it. “My Last” is a synth-induced closer spending the remaining amount he has on 20 things.

I’ll always appreciate Pi’erre for always trying to push his protégés by producing albums for them & Still Trapp’n makes it pretty clear that Frazier ain’t going nowhere because not only is it on par with the predecessor, but has me anticipating Chavo’s World 3 as well as Sharc Wave & Street’z Hottest Young’n in the coming weeks. He sounds refreshed after taking a couple years off & I actually think the production that his mentor cooks up here is better than self-titled as solid as that album was.

Score: 3.5/5

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Pi’erre Bourne – “Grails” review

Pi’erre Bourne is a 29 year old producer, rapper, songwriter & engineer from South Carolina who became one of the most in demand beatsmiths in hip hop today off amongst the biggest songs in Playboi Carti’s entire catalog “Magnolia”. He’s also made a name for himself on the mic by dropping 10 mixtapes as well as a couple EPs & 3 full-lengths albums, with the latest being Good Movie over last summer to mixed reception. However, Pi’erre’s looking to switch things up with his 3rd EP over here by officially releasing his biggest, most popular unreleased songs that were stashed in the vault.

“IG” sets the tone for what’s to come with it’s synthesizers & hi-hats as well as the lyrics addressing running into social media models at an Odell party whereas “Love Reeks” has a more playfully nocturnal vibe to it talking about how the grass is much greener after cutting hoes off. “Chicken & Waffles” for a TLoP4 leftover might be my favorite on the EP with it’s cloudy, bassy instrumental & the braggadocio throughout prior to “George Lopez” pulling together some synth-strings talking about feeling like Biggie with the more problems that arise when having more paper.

The final leg of the EP starts off with the cloudy “NY in June” telling his lover to simply follow him while the song “Tabloid” talks about a bitch that’s all up in him kin to the titular newspaper with a compact page size smaller than broadsheet accompanied by a psychedelic trap beat. The penultimate track is [a sequel] to “Honeyberry” with an instrumental that gives me 8-bit video game vibes discussing an ancient love & the wavy “Lessons” ends the EP talking about fucking bad hoes for practice.

I know some people like to dismiss Pi’erre as an MC as distinct of a producer he is but as someone who’s been following him for the past 6 years, Grails is easily the best EP he’s ever put out for a collection of previously unreleased leaks in contrast to the mediocrity of Good Movie & will keep everyone satisfied until Made in Paris drops. His improved songwriting is more catchier as opposed to the excessive horny subject matter throughout the previous album that gets annoying rather quickly & his production game remains unmatched.

Score: 4/5

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Pi’erre Bourne – “Good Movie” review

This is the 3rd full-length album from South Carolina producer, rapper & engineer Pi’erre Bourne. Becoming one of the most in demand beatsmiths in hip hop today off Playboi Carti’’s “Magnolia”, he’s also made a name for himself on the mic by dropping 9 mixtapes along with a couple EPs & LPs within the last dozen years or so. He just dropped the 5th & final installment of The Life of Pi’erre series last summer & then the TM88-produced Yo88! in the winter, but is coming fresh off the Space Age Pimpin’ collab album with Juicy J by dropping Good Movie.

The first song “Shorty Diary” following the “Opening Scene” intro kicks off the album with some synths & a rattling bass-line detailing a relationship that’s beyond repair & after the “Logline” interlude, “Ex Factor” takes a more calmer route talking about not wanting sloppy seconds. After the “Intro to Love” interlude, “Love Drill” comes through with a catchy yet atmospheric banger confessing that he wants something real whereas “Hop in My Bed” goes into peppier territory talking about a bitch that wants to fall in love with him a little.

“Superstar” works in these incredible string harmonies to tell his girl who she fucking with even though the hook’s trash leading into “Where You Going?” shooting for a moodier aesthetic talking about the love he has with this woman being priceless. “What I Gotta Do” vigorously asks his girl why she likes him to begin with, but then “DJ in the Car” dives into futuristic territory calling his girl a DJ in the Uber.

Don Toliver tags along for the cloudy “Psane” to get raunchy & after the “Kingdom Hall” skit, the actual “Kingdom Hall” song itself has a more sensual vibe to it comparing to his girl popping up at his place to that of a Jehovah’s Witness believer. Also, the guitar near the end was unexpected yet interesting. After the “Witty” skit, “Kevin Heart” brings some delicate synths into the fold talking about putting all his problems in a blunt just before “SossHouse Party” dives into bop turf to rep SossHouse Records.

Meanwhile on “Safe Haven”, we have Pi’erre talking about chilling in his hideout with some rage undertones while “Rounds” jumps on top of an airy backdrop & some finger-snaps to describe a bitch wanting to get fucked up off the alcohol & dropping a corny Star Wars reference during the first verse. “System” weaves some synths along with hi-hats more finger-snaps explaining to his lover that she got a real one with her while Young Nudy comes into the picture for the heavenly-produced “Moving Too Fast” to talk about sex. The title track however was a great choice of a single with it’s up-tempo instrumental referencing Tesla CEO, SpaceX founder, Neuralink founder & Twitter owner Elon Musk with the closer “Heart Say” bringing some unexpected rock undertones to the beat telling his girl to speak from the heart.

As much as I respect Pi’erre for both his talents behind the boards & on the mic, I’m pretty indifferent on Good Movie to be quite honest & would personally prefer Yo88! over this. The production is dope don’t get me wrong on that whatsoever & I’m not against romantic subject matter in hip hop songs in any way shape or form, but it’s so excessive to the point where it gets annoying & at some moments cringey for me personally.

Score: 2.5/5

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