The 3-Headed Monster is a horrorcore supergroup consisting of Esham, Violent J & Ouija Macc. One of them being the unholy godfather of the wicked shit founding Reel Life Productions, the other co-founded Psychopathic Records as 1/2 of the Insane Clown Posse whom the Boogey Man was once signed to from 2002-2005 & the other has become the hatchet’s biggest artist since Twiztid departed over a decade ago to form Majik Ninja Entertainment now continuing to gradually build Chapter 17 Records as a subsidiary of the label that runs beneath the streets as he’s been their only current artist other than the wicked clowns themselves since the pandemic. But as they head out on the road earlier this week fresh off Bloody Sunday & Detritus alongside the preparation of Purgatory next month, they’re announcing the formation of the trio & even unleashing a full-length debut.
After the intro, the first song “Fire Breathin’” opens things up with a hardcore hip hop anthem produced by Dead Heat advising to run from the 3-Headed Monster itself whereas “Crushin’” blends trap with rock & these grueling bells during the hook talking about squashing on all y’all motherfuckers. “Clownzilla” gives off a more suspenseful trap groove courtesy of Shaggytheairhead so J can himself the Godzilla of juggalos just before “Juggalos 4 Jesus” gives off a cloudier route thanks to Devereaux with Ouija heavily calling back to “24/7” off 4th album Closed Casket which is widely considered by suicidalists to be his best even though I’d put KKKill the Fetus above it personally.
“Don’t Sell Your Soul” switches things up with a jazzy boom bap ballad as Esham solely reminds the world to never sellout leading into “The Biggest” weaves these chilling horn melodies likening themselves to 30 gorillas. “Leave That Dope Alone” is another Esham solo cut works in a soul sample with these kicks, snares & twinkling keys so he can get on his hustler shit à la Dead Flowerz that is until Violent J singlehandedly covers “Possum Kingdom” by The Toadies which really isn’t a surprise to me considering the Duke’s love for rock music. Especially with Zug Izland’s debut album Cracked Tiles turning 20 this year & that being one of the most underrated Psychopathic albums of all-time in my humble juggalo opinion.
Meanwhile, “Kiccin’ the Bass” dives into the wavy trap territory including a chopped & screwed samples of “What’s a Juggalo?” off their 1997 wicked shit masterpiece as well as this reviewer’s personal favorite Joker’s Card The Great Milenko & even “Dead Body Man” off my 2nd favorite Card Riddle Box for the hook so Ouija can shine with his own solo cut talking about being born as a corpse that they called a disgrace that is until “Shaggy Shit” pops up as a brief Shaggy 2 Dope interlude. The final song ends the album “Rubble” finds Obliteration reuniting once more with monster movie soundtrack flips spitting that hardcore shit one more time & the Mike E. Clark remix of “Fire Breathin’” is most certainly on par with the original.
If you call yourself a fan of the wicked shit, then you’d know how much of a big deal this album is considering Esham’s influence on ICP & eventually ICP’s on Ouija. We knew they were going on tour together too, but the formation of 3-Headed Monster & Obliteration as their debut is on par with the Quest for the Ultimate Groove that Shaggs went on last weekend. Each member’s generationally distinctive styles are all well displayed & to hear their chemistry together is quite fascinating.
Shaggy 2 Dope is a 48 year old MC, producer, DJ, former professional wrestler & podcast host of The Shaggy Show from Detroit, Michigan who formed the Insane Clown Posse with his late older brother John Kickjazz alongside his best friend Violent J & the late Kid Villain. But for the past 3 decades, the Southwest Strangla & the Duke of the Wicked have spread the word of the Dark Carnival whether it be the first 6 Joker’s Cards or the label that runs beneath the streets Psychopathic Records. However, it is widely known that 2 Dope was the first of the Clowns to go solo with his 1994 debut EP Fuck Off! produced by Mike E. Clark as a prelude to the shelved full-length Shaggs the Clown. He eventually returned on his own in ‘06 with F.T.F.O. (Fuck the Fuck Off) & here we are on the 6 year anniversary of his DJ Clay-produced sophomore effort F.T.F.O.M.F. (Fuck the Fuck Off MuthaFucka) witnessing Stretch Nuts returning over 4 years after Gloomy Sunday by dropping his 3rd EP.
“Clown Boi” is a trap opener produced by Shaggytheairhead with Bazooka Joey talking about the only 2 words that he knows are seek & destroy whereas “Illuminati Don’t Want Me” works in some synthesizer patterns & hi-hats to make it known that he ain’t weak or snotty whatsoever which has been historically proven. “Defy” is an electro-trap hybrid talking about disobeying or resisting everything from love & hate to gravity with a fresh reference to “Stomp” off my 2nd favorite sideshow EP Tunnel of Love during the first verse just before “Done Giving a Fuck” takes a cloudier route with the title saying it all that he’s doesn’t have any fucks to give anymore.
Meanwhile, “How Ya Been” begins the final leg of the EP with a smooth trap ballad with Shaggs warmly declaring that everyone’s welcome here while the song “This Ain’t That Bitch” has an eerie vibe courtesy of his lil brother Tre Lb & a Carnival of Carnage title track sample during the hook calling out all the bitch boys. The penultimate track “The Quest for…” has some crazy beat switches throughout courtesy of DJ Clay & 2 Dope talking about looking for the ultimate groove of course, but then “The Ulimate Groove” ties things up with an EDM closer.
It breaks my heart to see people trying to slander the Duke’s name as a juggalo kid from Detroit & as much as I appreciated Bloody Sunday for being darker than J’s previous solo efforts, solo Shaggy never disappoints & he once again proves his point here. The production is eclectic in sound & he continues to expand on his lyrical elevation as shown on the Yum Yum Bedlam era output as phat as he’s always been. Fuck all the toxicity & drama, everything boils down to the music at the end of the day & that’s the only thing that matters to me until I’m dead in the ground.
This is the 7th mixtape from Las Vegas emcee Ouija Macc. Breaking out in the fall of 2017 after the Insane Clown Posse signed him to Psychopathic Records shortly after putting out his debut EP Trashfire independently, Ouija has since proven himself as one of the most consistent & hard working dudes in the underground by dropping 3 full-lengths, 2 greatest hits compilations, his previous 6 mixtapes & 4 EPs all in the span of nearly 6 years. He even started his own label Chapter 17 Records & made the big homie HEXXX the first signee to PSY’s new subsidiary almost a year ago by now. The previous Ouija tape Fallen Angelic just celebrated it’s 1 year anniversary at the beginning of the month & his latest album Stalewind was a near perfect conclusion to the Element saga, but is now following up the Hideous collab album he dropped with Golden BSP only a few months ago by welcoming y’all to Detritus.
After the “Lost Transmission” intro, the first song “Freak” opens the tape with an ratchet ode for all of those who like it nasty whereas “Dypschyt” works in some bass & hi-hats courtesy of Shaggytheairhead so everyone can go dumb. “Blam Blam ‘Em” spits that gun talk over a dark Devereaux instrumental just before the uncanny trap hybrid “Deadzone” vividly details a demon coming after him for 3 days back to back to back.
“Apollo 17” has a bit of a Memphis flare sonically detailing a murder that he had been planning for weeks leading into “Clown Luv” coming through with a spiritual successor to the joint off Shaggy 2 Dope’s solo debut EP Fuck Off!. “Rich Boy Pacc” pulls some bells & hi-hats together making it clear what he be smoking on, but then “Lumberjacc” is a jazz/trap hybrid talking about punani being all he needs.
Meanwhile on “Rippin’ Out Ur Guts”, we have Ouija spitting the wicced shit over an unhinging beat while “Human Malfunction” switches it up into a cloudier sound admitting to not knowing much other than our days being numbered & cautioning to get back before your shit gets jacked. “Just Go” brings in more bells & hi-hats bragging that his foot’s on the gas with his pockets on swole while “Dream Survey” atmospherically confesses that demons stand by him as he sleeps.
“Well Wicced” is a short but macabre continuation with a bassy trap instrumental boasting that shit can’t get more wicced than this while “They Don’t Like Me” lays these hi-hats behind a killer guitar throughout getting on his emo shit a bit. “Look Bacc” bombastically tells y’all to keep the past in the past while “Way the Shit Go” brings back the guitars thanks to Billy Martin talking about how life be sometimes. And until the “Found Transmission” outro, the final song “In the End” sends off the tape with a roller coaster ride of an 8-minute closer about the world falling victim to stupidity.
Chapter 17 has quickly become one of the most dominant forces in the underground wicked shit scene within the last couple years & coming off what seemed to be their biggest yet, the CEO indicates that it’s only gonna get bigger from here because I happen to enjoy Detritus more than Hideous with all respect. The performances are more consistent & the production continues to evolve the sounds of his finest full-length that he gave us at last year’s Gathering.
Violent J is a 50 year old MC, producer & former wrestler from Detroit, Michigan notable for forming the Insane Clown Posse & co-founding the label that runs beneath the streets Psychopathic Records with Shaggy 2 Dope. He’s also released a few EPs & a full-length on his own within the last 3 decades, with my personal favorite of the handful being Wizard of the Hood. The last we heard from the Duke of the Wicked solo-wise was the Brother! EP on New Year’s Eve 2018, but J is making up for the 3-month delay of his sophomore solo album by giving it to the fans as a Juggalo Day treat.
The intro is an occult trap opener produced by Devereaux with J confessing he doesn’t want to be alive anymore whereas the title track gives me a more slower albeit still morbid approach to the beat thanks to Brian Kuma talking about a never ending cycle. “Clown Blood” returns to trap territory with J showing off some crazy flows as he describes the clown blood flowing through him leading into “In the Hole” blending some hi-hats & synths talking about where your soul will suffer.
Meanwhile on “Pitch Dark”, we have J over a more rugged instrumental describing total blackness just before “No Friends” is a decent guitar ballad about being friendless. “Scatterbrain 2” is a trap-flavored sequel to “Scatterbrain” which has always been one of the best songs off Eye of the Storm in my opinion & picks up where the predecessor left off wonderfully, but then Mike E. Clark returns to lace “The Stiff” with his uniquely quirky sound asking if he made a friend until the end or fucked up again.
“Horrendous Ways” jacks for beats as the Duke of the Wicked asks why great lives end in the titular fashion while “Something’s in My Room” takes a turn into boom bap describing the titular being in his room staring at him. The song “The Hurter” has a more carnivalesque flare to the instrumental courtesy of Shaggytheairhead describing the titular character while the penultimate track “A Harrowing Time” is a bassy trap cut about Satan calling him. “Some Good Pussy” though ends the album with a shitty country rock ballad about a man being unhealthily obsessed with a bitch.
Wizard of the Hood is such a classic EP & I know The Shining gets a bit of mixed reception with a lot of juggalos that I know personally, but it’s most certainly no question that Bloody Sunday stands as Violent J’s finest solo album to date. It’s a lot more darker than the previous efforts that he’s put out on his own, he sounds focused & the production is a healthy mix of both the old & new sounds throughout the 3 decades that he’s been in the game.
This is the sophomore full-length album from Las Vegas producer, rapper & fashion designer Shaggytheairhead. Catching my attention after producing one of my all-time favorite Ouija Macc songs “Nardwuar Glocc” back in 2018, he would back that up with 4 EPs before becoming an in-house producer for Chapter 17 Records & Psychopathic Records alongside his Mythic Mindz cohort Devereaux. Shaggy would drop his last album Wakin’ Up during the 21st annual Gathering of the Juggalos, which was the only Gathering I’ve ever been to & a weekend that I’ll never forget. As far as the actual music on Wakin’ Up, it’s my favorite of his thus far because of how much he improved his lyricism & that he dabbled with a wide range of sounds to show his influences. Following the Gathering of Dreams last summer however, he dropped a producer album called Grin to the Grave featuring a wide range of artists rapping over his production from Ouija to King Iso, Project Pat, Sir Michael Rocks & even Matt Ox. But to honor the 49th birthday of J Dilla & Nujabes, Shaggy’s returning in the form of Coffee.
After the “Shaggythelegend 3” skit, “Abyss” comes through with a trap opener calling for all the savages in this bitch prior to Trade Voorhees tags along for “Ima Make It” to talk about getting off your ass & doing something productive today working in some synths & hi-hats alongside a chopped & screwed inspired hook. “Need a Friend” hooks together a syrupy sample à la Three 6 Mafia to seek true friendship just before “Force Fed” dives into boom bap turf speaking to those who be feeling like they’re being imposed upon.
Trade returns on “Grind Everyday” keeping it in the basement encouraging to hustle until “Gotta Ask” continues with some kicks & snares put together with these spacious synth chords curious to know why he got done dirty. Darby O’Trill comes into the picture for the shrilling “Raygun” to bust shots at the zombies & encouraging those who have a problem with him to say something to them about it, but then the YungFiend verse on “Furnace” is probably the weakest feature on the album with all respect even though the atmospheric approach is nice & the themes of proving others how hot they be artistically.
The song “When Will They Learn?” eerily claps back at shit-talkers while “Witch” serves as the official closer to the album as he describes paranormally seeing a woman in the corner of every room that he enters with a dusty boom bap beat yet the “bonus cut” title track is the true finale to the album with it’s minimal yet bluesy instrumental accompanied by the heartfelt lyrics that look back on being down in his luck to eventually hanging with his idols & pursuing his dream in a music career.
Wakin’ Up was a great debut for Shaggy & a year & a half later with Coffee as the official follow-up, it was well worth it in my opinion. His production is continuing to evolve & the feature-list is much smaller than it was on the last album although they manage to do a fine job at bringing their own unique styles to the table. Now that he’s woken up & had his coffee, where do we go from here a year & a half from now? I’m curious to know.
This is the 18th EP from Detroit horrorcore duo the Insane Clown Posse. Consisting of Violent J & Shaggy 2 Dope, but very few know that 3 other members came & went during the first 5 years of the group’s inception. Not only would The Duke of the Wicked & the Southside Strangla go on to create seminal wicked shit albums like The First 6, but they gained an extremely loyal fanbase in the process & their self-owned Psychopathic Records became an independent hip hop powerhouse as the label’s roster continued to grow. I was a bit worried about their latest album Yum Yum Bedlam given that the prelude EP Yum Yum’s Lure was panned by fans when it came out last Juggalo Day but when Halloween came around, they proved me wrong with what I believe to be my 3rd favorite card in the 2nd deck. Last we heard from them was Wicked Vic the Weed during the first quarter of the year & are now continuing the Seeds of Yum Yum trilogy in the form of Pug Ugly the Stink Bud.
“I’m Ugly” kicks off the EP with a horn-laced instrumental from Mike E. Clark & Violent J describing how unattractive Pug Ugly the Stink Bud truly is whereas “Abbracadabbra” has a more carnivalesque sound to it as 2 Dope joins the Duke talking about making hoes disappear. “Pug Ugly” takes a funkier route so the Wicked Clowns can vividly describe how gross the world is just before “Scrub Gang” is a piano/hi-hat infused ballad out to all the scrubs out there. The spooky atmosphere of “I’m Afraid” is pretty cool with J & Shaggs confess their fears while the 80’s Rock Ballad” is a country rock jam that’s slightly better than their “After Murder Sunrise” loosie that came out back in March & the Mike P. remix of “Queens” is inferior to the O.G. with it’s more electronic-centered sound.
As decent of a beginning to the Seeds of Yum Yum trilogy that Wicked Vic the Weed was, I think I might like Pug Ugly the Stink Bud over here a tad bit more. The production is a refinement of the Carnival sound that the predecessor had brought back & the duo sound as focused as they did at the beginning of the year. Here’s to WOH the Weepin’ Weirdo being a potentially dark conclusion to the Yum Yum era this Halloween.
Ouija Macc is a 36 year old MC from Las Vegas, Nevada who started to turn heads in the fall of 2017 after the Insane Clown Posse signed him to Psychopathic Records shortly after putting out his debut EP Trashfire independently. Ouija has since proven himself as one of the most consistent & hard working dudes in the underground by dropping 2 full-lengths, 2 greatest hits compilations, 6 mixtapes & 4 EPs all in the span of 5 years. He just dropped Fallen Angelic this past spring & is now commemorating the Gathering of Dreams this weekend by delivering his 3rd album.
After the “Portal” intro, the first song “Wake Up” is blaring trap opener produced by Devereaux talking about being baptized in the gutter whereas “6 Foot Hatchet” manically promises to put a nightmare on that movie screen. “Fill the Space” works in some bells to deliver a weed smoking anthem just before “9MM Suppository” shoots for a more morbid aesthetic talking about detailing his shooter-mentality with an excellent chopped & screwed hook.
Meanwhile on “Boiler Room”, we have Gizmo accompanying Ouija to talk about stomping out their competition over a sickly trap beat leading into “Return of the Murder Go Round”, which is a catchy yet wicked sequel to “Murder Go Round” off the Wicked Clowns’ sophomore album Ringmaster down to the sample during the hook. Chapter 17 Records’ very 1st signee HEXXX comes into the picture for “Beast in Dior” to display some great back & forth chemistry with 1 another calling out those who’ve never surrounded themselves with demons over some hi-hats & retro video game-like synths, but then “Killa Like” talks about what he woke up feeling like with a bass-heavy instrumental from Billy Martin of fucking Good Charlotte with some rock undertones to it.
“Massacre” has a more frightful sound to it with co-production from DJ Chunk warning that nobody’s walking out their bitch alive on Ouija’s watch while “Mo Murda” ghoulishly talks about pulling up to a murder scene to make a scene. “F.U.R.N. (Fucked Up Right Now)” is a sweet trap/rock fusion detailing being under the influence even though F.J. Outlaw’s verse is respectfully one of the weaker features on the album with “In the Ha” serving as a cloudy sequel to “In the Haughhh!” off my favorite EP that ICP has ever put out: Beverly Kills 50187.
Continuing from there: “Go Head On” encourages not to hold back on shit over an occult bet while “Christian Mingle” continues to mix trap & rock together to talk about walking up in that bitch with a glock & a hatchet. “You’re Dead” with the Duke of Wicked himself Violent J has a futuristic yet grimy flare to quench for blood while the song “Do It Like This” talks about how he gets it done over a somber Shaggytheairhead beat. The closer “Take Me Home” comes through confessing his suicidal thoughts which is fitting considering his story of the Stillwind/Stalewind shift along with how hard these past few months have been for this reviewer personally & the bonus cut “Juggalo Radio” ends the album with an electronic/trap infused banger promoting JUGG FM.
If you’ve been following Ouija for as long as I have, then you should know how important this final element is & this conclusion to a 5-year long saga happens to be the most important album of his career yet in my personal opinion. I’ve noted that some his more recents efforts have shown that quite the artistic evolution from Ouija’s pen-game to the projection but on Stalewind, it all comes full circle so excellently.
Zitro is a 33 year old MC from Detroit, Michigan who started making music when he was in the 7th grade. But it wasn’t until February 2020 where he would put out his full-length debut A New Beginning & followed it up last summer with the debut EP Black Diamondz + Long Islandz following a set at the Gathering of the Juggalos, which eventually led the Insane Clown Posse signing him to Psychopathic Records a couple months later as announced the booklet of the 5th Joker’s Card in the 2nd deck Yum Yum Bedlam. So considering that the Gathering of Dreams is going down this week, it’s only fitting for Zitro to put out a sophomore album.
After the “Who or What is Nain Rogue?” intro, “The Arrival” is a bombastic trap opener threatening his opposition whereas the Bake Lo-assisted “God StatuZ” grimly finds the 2 declaring themselves as Gods. “Monster” shoots for a more demonic aesthetic talking about being a killer, but then “Thuggalo” is a sprightly ode to every single juggalo that grew up in the hood.
Meanwhile on “Becoming a Problem”, we have Zitro over a bell-infused trap beat calling out the haters who wanna be just like him just before “Here to Kill (I Ain’t Trick-R-Treatin’)” is a pop rap cut getting on his serial killer shit. “Look in My EyeZ” is a spacey trap banger talking about seeing the pain inside him just before “Long Dark Road” comes through as a favorite of mine on the album from Godsynth’s production to Zitro’s lyrics deciding whether or not to head into the light.
“Loco (Because of You)” takes a rubberier route talking about how deranged he is prior to Histio coming into the picture for “I’m Good” to chillingly describe the only way for them to cope with their depression is. “With the Tint” has a more cloudier vibe to it talking about everything being black while the keyboard-laced “Wicked Whippin’” with Tierre Diaz to get whatever’s on their minds.
The song “Nightmare Walkin’” with Geno Live & R.U.C.K.I.S.S. sees the trio over a sinister trap instrumental talking about their violent urges while the penultimate track “Move It” follows that up with an off-the-wall club banger. “Who You Want?” however ends the album with a Middle Eastern-influenced jam bringing the Demon out.
Compared to Black Diamondz + Long Islandz & A New Beginning, the amount of creative growth provided throughout Nain Rouge is pretty impressive. I really like how the production happens to be more versatile in terms of overall sound & the whole concept of Zitro being the Demon of the Strait in the living flesh is well-detailed.
This is the full-length debut from Los Angeles emcee Hexxx. First emerging in the underground back in the fall of 2016 off his debut EP Samhain, he would go on to follow it up 3 years later with his 2nd EP West Coast Wicked Shit & here we are another 3 years later just in time for Demon Season after becoming the first act to sign to Ouija Macc’s very own Psychopathic Records imprint Chapter 17 Records other than Ouija himself.
After the bell-heavy intro produced by Devereaux, the title track opens up the album with a trunk-rattling yet dreary instrumental shouting out all his killas whereas “Big Time” with Baldacci has a more celebratory tone to it talking about all their homies being on the rise. The way the beat on “Ruthless” pays tribute to “Deep Cover” by Dr. Dre & Snoop Dogg with a modern flip is pretty impressive as Hexxx delivers more raw gangsta raps but after the “Cruise Night” interlude, “Another Homicide” goes into boom bap territory as he viciously quenches for blood.
Meanwhile on “Villains”, we have Ouija Macc accompanying Hexxx to unnervingly declare themselves as the antagonists of this rap shit while the song “Pale Horse” with Project Born takes it back to the trap with some pianos that’re reminiscent to that of a horror flick calling out those who wanted them to fail. The penultimate track “Blood Drip” goes full-blown hyphy thanks to Shaggytheairhead to spit the wicked shit & “Cali Dreamin’” ends the album with an intoxicating confession that he’s trying not to fall in the deep end.
I really didn’t know what to expect when Ouija announced that he was beginning to sign acts to Chapter 17 & when I found out Hexxx was the first new artist, I knew he’d refine his style & that’s exactly what the fuck he does. The way he takes the classic west coast gangsta rap vibes & mixes it with the wicked shit, I haven’t heard uniquely fused together so well in a long time. Chapter 17 definitely knows what they’re doing & this is just the beginning.
This is the 7th mixtape from from Las Vegas rapper Ouija Macc. Originally breaking out in the fall of 2017 off his debut EP Trashfire, this would result in the Insane Clown Posse signed him to Psychopathic Records almost immediately & he has since proven himself as one of the most consistent & hard working dudes in the underground by dropping 2 full-length albums, 2 greatest hits compilations, 6 mixtapes & 4 EPs all in the span of 5 years. Last we heard from Ouija was back in November when he dropped PRETTY/UGLY 2 which is much superior to the predecessor but to kick off the 2nd quarter of the year, he’s preluding his upcoming 3rd album Stalewind with Fallen Angelic.
After the “Prophecy” intro, the first song “Rory Mercury” is an eerie trap opener comparing himself to the Gate character of the same name whereas “Playalo” will go down as one of the best Ouija songs ever made taking a symphonic trap route thanks to Devereaux coming through with an ode to the juggalos. “Hellcat” goes into cloudier territory talking about how we should be proud of him just before Whitney Peyton tags along for the bassy “Big Step” talking about not wanting shit.
Meanwhile on “17 Blunts”, we have Ouija on top of a hazy beat delivering theme music for the smokers leading into the pillowy trap cut “Get It Like” talking about being all in his zone. “Did It on Purpose” goes into darker territory calling out those who don’t wanna see him winning, but then “Ain’t No Fun” has a more entrancing vibe talking about how everyone wants to hate someone.
“Hatchet Up” of course comes through with yet another Psychopathic ode except this one’s more rowdier while “La Flama Blanca” returns to the cloud rap sound talking about how this is more than just two. Kid Bookie’s verse on “Moonlight” doesn’t do much for me even though I like Devereaux’s production & the whole idea of too much shit going on to be on their dicks while “Crawl” gets raunchy as fuck & will definitely get all the Lettes going wild at future shows.
Following that, “Replay” incorporates some synthesizers telling the DJ to run it back while “Brandishin’ That” with a fun ass-shaker’s dedication. The song “Swang 2” with Ricky Hil finds the 2 on some acoustic trap shit delivering a decent sequel to a joint on Waterdamage while the penultimate track “Hate Myself” keeps things in acoustic territory talking about his self-hatred being for nothing. “Roadmap” ends the tape on a grungier encouraging to follow him at your own risk.
Chapter 17 Records is definitely gonna have a big 2022 & I think Fallen Angelic is a stellar way to kick it all off. The features are a tad bit better than PRETTY/UGLY 2, Ouija’s songwriting continuously gets better at getting stuck in your head & I really hope he continues to dabble with new sounds going forward because he’s been doing it excellently as of late.