Ouija Macc – “PRETTY UGLY 2” review

Ouija Macc is a 36 year old rapper from Las Vegas, Nevada who I’ve covered multiple times up to this point. In 2017, 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-length albums, 2 greatest hits compilations, 5 mixtapes & 4 EPs all in the span of 4 years. This year itself he formed his very own sub-label Chapter 17 Records as well as joining forces with Baby E for We Never Forgot & following it up on his own by releasing Dirtbag on his own a couple months later but with his born day passing earlier this month, he & longtime collaborator Devereaux are getting back together for his 6th mixtape.

“Get a Life” sets off the tape by demonically calling out those dismissing his talents whereas “Bag Dad” with K1LLWH1TEY bombastic encourages to chase that paper. “Origami” vibrantly talks about folding money like such just before “That’s Wet” incorporates a sitar using the title in the form of a few different metaphors.

Meanwhile on “Bad Company”, we have SmrtDeath joining Ouija to cloudily tell a shawty that wants to swerve with them that they’re unsavory leading into the cavernous “Homonym” hazily talking about bringing them commas in & the DJ scratches during the last minute or so blew my wig back. “Giddy U” atmospherically gets on some romantic shit, but then “Nothing Else” has a more peaceful tone instrumentally as Ouija talks about being put here to ride or die.

It’s really cool to hear the beat on “Ever Since” continuously layering itself as it goes on looking back on his past whereas “Let Me Rot” subduedly talks about decomposing at the top. “Feelin’ Nothing” has a bit of an ambient trap vibe speaking on being apathetic when he steps out the chamber just before the guitar driven “Quiet Game” talks about keeping the flame lit & not having to say shit.

“Juggalord” is the only song that Devereaux didn’t produce yet it almost has a Three 6 Mafia feeling down to the hook as Ouija rightfully reminds that he’s never been a bitch & “It’s a Go” steelily talks about being down for all maneuvers. The song “Say It Much” is another guitar/trap ballad expressing his love for his lady while the penultimate track “Make Me Laugh” viciously disses those who’re scared of him blowing up. The closer “Pain Away” finishes the tape with a grungy weed anthem.

As much as I enjoyed the first PRETTY/UGLY, I genuinely think this sequel is even better. I like how the features are more toned down in comparison to the predecessor but most importantly; Ouija & Devereaux are basically the wicked shit’s equivalent to Future & Metro Boomin’ at this point because both of them take their songwriting & production game to a higher level every time they get together.

Score: 4/5

Insane Clown Posse – “Yum Yum Bedlam” review

This is the highly anticipated 16th full-length album from Detroit horrorcore duo, Juggalo Championship Wrestling founders & the longest reigning JCW World Juggalo Tag Team Champions 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. They dropped a prelude EP earlier this year called Yum Yum’s Lure to widespread backlash amongst the juggalos, so J & Shaggs decided to redo the whole album from scratch & drop it in time for the 28th annual Hallowicked show.

After the intro, the first song “Here Comes the Carnival” kicks off the album celebrating the titular mythology that ICP is known for over a feel good rap rock instrumental from Brian Kuma whereas “Wretched” follows it up with a morbid trap banger produced by Devereaux about Violent J being fucked up in the head. The wicked clowns later go back & forth with each other for the highlight “Clown Drippin’” basically putting their own spin on swag referencing former IWGPヘビー級チャンピオン as well as 10-time WWE world champion & former UFC Heavyweight Champion Brock Lesnar, but then “Gangsta Code” reuses the beat Mike P. made for “Movin’ On” off of Boondox’ 4th album Abaddon talking about living & dying by the streets.

Meanwhile on “Queens”, we have the clowns delivering an ode to all the juggalettes out there over a mystical trap beat from Mythic Mindz just before “Panic Attack!!!” works in a guitar for J to talk about going off the walls mentally for 7 minutes. “Fuck Regret” creepily declares remorse as the Devil’s work, but then “Insomnia” takes a more cloudier route detailing J’s struggles with such as announced at the Gathering a couple months back.

“Heart & Soul” is a wack cover of the T’Pau joint of the same name while “The Drunk & The Addict” goes back to the trap direction with the help of Shaggytheairhead telling the story of ICP themselves being dependent on booze & drugs. “Don’t Touch that Flower” sees Str8jaket bringing in an acoustic guitar advising to be cautioned by the Yum Yum Flower while “Slap Nuts” is a more heavier cut talking about cats falling for their jokes.

I love how J uses “Bitch I’m Fine” as a chilling way of responding to those worried about his heart failure diagnosis while the song “Carnival of Lights” is a warm look at the camaraderie of the juggalo family. The penultimate track “Ain’t No Time” vulnerably addresses an ex of his over a guitar while “Something to See” ends the album on a sweeter note looking back on their careers up to this point from their music to their wrestling career since they’ve previously appeared in ECW, WWE, WCW, ROH & TNA on top of their JCW accolades.

Despite all the ups & downs we’ve experienced to get here, Yum Yum Bedlam has to be my 3rd favorite Joker’s Card in the 2nd Deck right behind Bang! Pow! Boom! & The Mighty Death Pop!. Sonically, it’s really cool to hear them fuse the rock elements from The Great Milenko & mixed them together with some of the more trap-flavored cuts from Fearless Fred Fury. Conceptually, the themes of loyalty are displayed with an incredibly unique & profound perception.

Score: 3.5/5

Ouija Macc – “Dirtbag” review

This is the 5th mixtape from Las Vegas, Nevada rapper Ouija Macc. Originally breaking out in 2017 off the strength of his debut EP Trashfire, this resulted in the Insane Clown Posse making him the final act to ever sign with Psychopathic Records later that year. Ouija has since been holding it down for the hatchet by dropping 2 full-length albums, 3 EPs, 4 tape, a greatest hits compilation & a collab EP with Starfoxlaflare. But after forming his own label Chapter 17 Records & dropping a collaborative mixtape with Young Money Entertainment signee Baby E a couple months ago, Ouija is enlisting the Floridian production duo Mythic Mindz for Dirtbag.

“Ain’t No Savior” kicks the door down by encouraging the listener to crank the volume up super high over a sitar-laced trap beat from Devereaux whereas the next song “Demon Seed” is a cacophonous depiction of a ritual. Ouija goes on to do a good job at melodically opening up about depression on the grungy “Route 17” & then “Killing Spree” brings in a chiming instrumental as the lyrics take a turn into horrorcore turf.

The track “Domino” brings in a bit of a country twang in the production to talk how this is the way it has to be while we get a bass-heavy ode to the kinky motherfuckers out there on “Nympho”. For “Did It Myself”, we get a Bollywood-flavored anthem about his grind before the Shaggytheairhead provides a dinky beat for Ouija to acknowledge his weirdness on “Walking WTF”.

Meanwhile on “La Cienega”, we get a quirky instrumental & Ouija bringing his speediest flows imaginable without making it sound cliche whereas “Thuggalo Slide” is a bassy anthem for the thuggalos to ride to. The song “Monster vs. Man” continues to bring in guitars as the lyrics tackle inner turmoil while “Not Enough” is Ouija talking about wanting more sex & drugs on top of a wailing trap beat.

The adrenaline-inducing “Die Like This” takes aim at his detractors whereas the electronic-influenced “Understand Us” is about how misunderstood juggalos are in the hip hop world. “I Don’t Know” doesn’t sound too bad for a cloudy love song while the penultimate track is a trap/rock fusion about burning it all down. As for the closer, “I’m Nowhere” talks about being a ghost over a sludgy instrumental.

This dude is just reaffirming his status as one of the most consistent artists in the underground today. He makes a great return to his normal style after the more commercial We Never Forgot & it’s cool to hear Mythic Mindz helping him out dabbling into new sounds.

Score: 4/5

Insane Clown Posse – “Yum Yum’s Lure” review

The Insane Clown Posse are a horrorcore duo, the founders of Juggalo Championship Wrestling & the longest reigning JCW World Juggalo Tag Team Champions consisting of Violent J & Shaggy 2 Dope. There have been a total of 6 members in the group since its inception in 1989, but has been boiled down to J & Shaggy since the release of their 1992 debut album Carnival of Carnage. Together, they would create an empire whether it be subsequent albums like Riddle Box & The Great Milenko or expanding the self-owned Psychopathic Records as a force to be reckoned with in the underground by signing artists from Twiztid to more recently Ouija Macc. Now I wasn’t the biggest fan of ICP’s previous full-length album Fearless Fred Fury back in 2019 because I felt like it was rushed, however I do respect how angry it was. But as they gear up for the next joker’s card Yum Yum Bedlam, the wicked clowns are preluding it by dropping Yum Yum’s Lure on Juggalo Day.

After the “Bewitching” intro produced by 1 Man Kru of the Keepaz of the Krypt, the next song “Loyalty” finds J & Shaggy detailing what it means to be faithful over an ominous piano instrumental whereas the track “Afraid of Life” might be one of the worst ICP songs I’ve ever heard, as they talk about preferring to be a zombie phantom over a rock-flavored beat from Alien Ant Farm of all people.

The song “Smell of Rain” talks about women consuming them including a reference to 新日本プロレス founder, 3-time IWGPヘビー級チャンピオン, 10–time G1クライマックス winner, WWE Hall of Famer & unrecognized WWE Champion アントニオ猪木 over a happy go lucky instrumental from Shaggytheairhead while the track “Ding Ding Doll” tells the story of a boy who buys a cursed Ecuadorian pull string doll from the dark web & the doll comes to life to wreak terror over a pillowy beat over a pillowy beat.

The song “I’ve Had It Worse” talks about how life sucks for everyone over a skeletal trap instrumental from the homie Devereaux while the penultimate track “Candyman” is a solo Shaggy cut with some of his most cringey lyrics on top of a more playful Mike E. Clark beat. The EP ends with “Clownheads”, which is a bloated & redundant advertisement for their Clownhead Paintings.

Coming from a Detroiter who’s been down with the clown since I was in middle school, I think the House Party Peep Show EP is much better because this is just as bad as The Calm & Eye of the Storm. I think the production is decent, but the execution on a good portion of these songs are terrible in my personal opinion. Really hope these songs aren’t on Yum Yum Bedlam & hopefully that album isn’t as disappointing as the material we got on here.

Score: 1/5

Insane Clown Posse – “ICP’s House Party Peep Show” review

This is brand new EP from Detroit horrorcore duo, Juggalo Championship Wrestling founders & the longest reigning JCW World Juggalo Tag Team Champions the Insane Clown Posse. Consisting of Violent J & Shaggy 2 Dope, a lot of cats don’t 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. They did a series of Paetron streams to commemorate what would’ve been the 27th annual Hallowicked show & to give back to everyone subscribed, the wicked clowns gifted them an exclusive 6-track EP.

The EP kicks off with “The Blob”, where Violent J tells the story of a killer blob from another galaxy over a dire beat from Devereaux. The next song “My Forehead” is literally J & Shaggy talking about how big Violent J’s forehead is over an old school instrumental from none other than Mike E. Clark while the track “Cartoon Goon” finds the duo going back & forth about an illustration that will seal your fate over a vilainous beat from Shaggytheairhead.

The song “Mighty Mote” sounds like a leftover from the Fearless Fred Fury sessions as J talks about a kid getting revenge on everyone from his step-dad to his school busdriver to the electronic/trap fused production while the penultimate track “The Ceremony” is a beautiful dedication to Shaggy, Billy Bill & Jumpsteady backed by an uplifting trap beat. The EP closes out with “Live Dead Forever”, which is easily the most wicked joint on the entire thing referencing the late Luke Perry only a month after his son Jack became the current AEW World Tag Team Champion.

For the 4 month wait, it was well worth it in my opinion. Violent J is still one of the greatest storytellers in hip hop history, Shaggy 2 Dope even though he only has very few verses on here is just as skilled & I do like how the production range from the touching “Medals” & the vintage “My Forehead” to the trap-flavored “Mighty Mote”. Safe to say it’s giving me hope for Yum Yum’s Lure next Wednesday as well as Yum Yum Bedlam later on in the year.

Score: 3.5/5

Ouija Macc – “Wasteland” review

Ouija Macc is a 35 year old rapper from Las Vegas, Nevada who I’ve covered multiple times up to this point. In 2017, the Insane Clown Posse signed him to Psychopathic Records shortly after his debut EP Trashfire independently. Ouija has since proven himself as one of the most consistent & hard working dudes in the underground by dropping a full-length debut, a greatest hits compilation, 4 mixtapes & 3 EPs all in the span of 3 years. But after much anticipation, he’s finally delivering his sophomore album produced entirely by longtime collaborator Devereaux.

The opener “Destroyers” gets violent over a spooky trap beat whereas the next song “Jacc Shit” flexes over a nocturnal instrumental. The track “Bootlace” tells everyone to stay out of his lane over an ignorant beat (in a good way) while the song “Fee Fye Foe Fum” with Rozz Dyliams sees the 2 coming at all the suckas out there over a dreary instrumental.

The track “Daily Death” lyrically lives up to its concept perfectly on top of this melancholic ass beat while the song “Broken” dives into his mental health over an eerie instrumental. The track “When da Lights Out” with Rittz finds the 2 getting reckless over a devilish beat while the song “Hatchet Mode” talks about plotting revenge over a spacious instrumental.

The track “Juggalo” talks about the noise that they want you to fear over a trap/rock fusion while the song “Runnin’ Shit” talks about taking over the game over an Atari-esque instrumental. The track “Incantation” gets on the horrorcore tip over a cavernous beat with some heavy bass while the song “Yuh Yuh Yuh” is a fun, catchy celebratory anthem.

The track “Stand For” talks about how they won’t fall for shit over an atmospheric instrumental while the song “Critical Meltdown” talks about losing his shit over a devilish beat. The track “Inquisition” boasts over a cloudy beat while the song “Forks in the Pot” talks about how you can’t clone him over a rubbery instrumental. The closer “Dead Homies” pays tribute to those in his life who’re no longer here over an anguishing beat, but then the hidden track talks about being born in a nightmare over a psychotic instrumental.

For waiting as long as we did for Wasteland, it was very much well worth it in my personal opinion. Not only does Devereaux cook up some of his best production ever, but his sound continues to help bring the best out of Ouija as the songwriting & flows on here are just as fantastic.

Score: 4/5

Big Hoodoo – “The Hoodini Chronicles: The Redbook” review

Big Hoodoo is a 42 year old MC from Detroit, Michigan who originally came up as Doe Dubbla. Under that original moniker, he put out a double-disc full-length debut in 2008 called Stack’n & later followed it up with Hiatus in 2012. However it wouldn’t be until 2013 when Dubbla signed Psychopathic Records, put out his 3rd album Crystal Skull that summer & became the black magic practitioner that he is today. Now the last time we heard from Hoodoo solo-wise was in 2016 when he released asylum, which was pretty much a more refined version of Crystal Skull. But just a little over year after founding his own label Ear Drug Musik as well as teaming up with Anybody Killa to drop Tha Hav Knots’ debut EP, the man is now delivering his highly anticipated 5th album.

The opener “Juice” with Bam Beda sees the 2 talking about being grateful for making out the hood & getting lit when the pressure’s on over some keyboards, but then transitions into a Sada Baby type beat that isn’t too bad. The next song “HooDooinit” triumphantly celebrates his return over an anarchic trap instrumental while the track “Bitch I’m Gone” finds Hoodoo boasting over a sinister beat from Str8jaket.

“Hatchetman” is a full-blown Psychopathic anthem backed by a trap instrumental with some eerie keyboards while the track “7+3” hooks back up with Bam Beda to talk about murdering those who want beef with them over a solemn beat.

The song “Take Over” with Blac finds the 2 talking about running shit over a bass-heavy instrumental while the track “Ride High” talks about going at those praying on his downfall over a ghostly beat with a killer guitar riff. The song “Juggalo Love (Murder Medley)” with Ouija Macc sees the 2 talking about how juggalos don’t play over an instrumental with a creepy atmosphere to it while the track “RIP” talks those who tried to stop him & this is probably the most evil-sounding beat on the whole entire album.

“Against the Grain” recruits Hoodoo’s mentors the Insane Clown Posse to thank those who helped all 3 of their dreams come to fruition over a tranquil instrumental & then “Time of My Life” is an emotional finale as Hoodoo’s spitting some real life shit & the background singer throughout was a remarkable touch as well.

After a 4-year wait, this was very much well worth it because I think The Hoodini Chronicles: The Redbook is neck & neck with asylum for Big Hoodoo’s best work. His evolution throughout the past 7 years is quite evident as his lyricism has only gotten better with time & the production on here is just as raw. Great comeback effort.

Score: 4/5

Ouija Macc – “Zodiac” review

This is the 4th EP from Las Vegas, Nevada rapper Ouija Macc. Coming up in 2017 as a protege of the Insane Clown Posse & signing him to their label Psychopathic Records, his 2018 full-length debut Gutterwater saw him putting his own spin on the SoundCloud aesthetics & has consistently been grinding since with videos as well as mixtapes like Waterdamage & Resistance: The Walk to Wasteland, he just dropped Resistance II: Hell’s Holotape back in May & now after putting out PRETTY/UGLY just a couple months ago, Ouija is teaming up with Ayshon for Zodiac.

The opener “Fucc Face” is a moshpit anthem with rambunctious instrumental while the next track “Pussy Murda” gets sexual over a skeletal beat. The song “Pew Pew” taunts his haters over a plinky instrumental while the title track talks about receiving head from a Cancer bitch over a druggy beat.The song “Vertigo” continues the shit-talking while the track “Something New” talks about how he’s been working like crazy over a beat with a dark atmosphere to it. The song “Trash Can” talks about being built as if he was a dumpster over a demented instrumental & then the closer “Can’t Even Tell” talks about those who he thought were on his side over a cloudy beat.

Even though I prefer Resistance II: Hell’s Holotape & PRETTY/UGLY, this EP is still enjoyable. It’s refreshing to hear Ouija work with a different producer again & he continues to present himself as a unique face on the Psychopathic roster.

Score: 3.5/5

Ouija Macc – “PRETTY/UGLY” review

Ouija Macc is a 35 year old rapper from Las Vegas, Nevada who’s been making music for about a decade now. In 2017, the Insane Clown Posse swooped him up with a deal on their label Psychopathic Records. Ouija has since been putting in mad work by constantly dropping projects like Gutterwater, Waterdamage & Resistance: The Walk to Wasteland. He just released Resistance II: Hell’s Holotape a couple months ago & we’re already getting another mixtape entirely produced by longtime collaborator Devereaux.

The tape kicks off with “Ugly Face Ass”, where Ouija ponders why bitches like him despite his appearance over a trap beat with some rubbery bass & wailing synths. The next song “Let It Go” with Shotty Horroh sees the 2 talking about sex over a dazing instrumental while the track “Midnight” with Olah Bliss finds the 2 getting nocturnal over an ominous beat. The song “Spring Valley” talks about robbing people over an instrumental with a deranging atmosphere to it while the track “1-800-Bodies” is a gruesome amalgamation of horrorcore & trap.

The song “Vegan Pussy” with Heart Attack Man talks about the beauty of vegan women all over the world on top of a beat that just makes you wanna mosh while the track “Juggalit” starts flexing over some prominent hi-hats & snares. The song “NOMO” talks about dusting yourself off when you’re down over a mystical beat while the track “Malfoy Twins” with Golden BSP sees the 2 talking about being the future of the wicked shit over a misty trap beat.

The song “Ostriches” talks about running his checks up over an instrumental with a chilling vocal-loop while the track “Chop Suey” talks about how the wicked shit lives inside him over a noisy yet scary instrumental. The song “Wedding Gown” while the track “Area 17” talks about talks about how his clique is better than those frontin’ on them over a trap beat with an electric guitar throughout. The song “Macc wit da Goop” with KirbLaGoop sees the 2 talking about being the young killers they are over a somewhat cloudy beat & then the tape finishes with “Bones Broke”, where Ouija talks about being addicted to murder over a frightful instrumental.

I personally prefer the dude’s previous tape Resistance II: Hell’s Holotape a lot more, but this is still a solid nonetheless. The features don’t really do anything for me personally, but Devereaux nails it with the production Ouija Macc still does a good job at presenting himself as one of the most unique faces in the underground today.

Score: 3.5/5

Ouija Macc – “Resistance II: Hell’s Holotape” review

This is the 3rd mixtape from Las Vegas, Nevada rapper Ouija Macc. After the Insane Clown Posse took Ouija under their wing & signed him to their label Psychopathic Records in 2017, Ouija’s full-length debut Gutterwater that came out the following year saw him putting his own spin on the SoundCloud aesthetics & has consistently been grinding since with videos as well as mixtapes like Waterdamage & Resistance: The Walk to Wasteland. But with his sophomore album Wasteland on the way, Ouija is preluding it with a sequel to Resistance & is enlisting longtime collaborator Devereaux to produce it in it’s entirety once again.

The tape kicks off with “Wake Up!”, where Ouija Macc talks his shit over some creepy yet vibrant production. The next song “Fall Thru da Floor” is a bombastic crowd mover while the track “Skin” pretty much gets suicidal over a cavernous trap beat. The song “Platinum Skeletons” talks about having a lot over a ghostly beat while the track “All Blue” of course shows off his racks over an unsettling instrumental.

The song “Poison” gets back on the suicide tip over a misanthropic instrumental while the track “Open Wide” finds Ouija bragging so charmingly on top of a perilous beat. The song “Do the Math” once again talks about his wealth over a nocturnal beat while the track “Princess Ouija” talks about being a demon as well as “the biggest piece of shit of them all” over a gruesome instrumental.

The song “Therapist” is a psychotic trap metal fusion that actually works a lot better than “Dead Diary” off the first Resistance did while “Da Plague” gets apocalyptic over a lethargic beat. The song “Stain” is an absolutely flawless moshpit starter while the track “Sorted” talks about how he had suffered in the past & that he had to figure it out paranormal-sounding instrumental.

The song “Put It Down” talks about how he can’t stop now over an instrumental with a hypnotically dismal atmosphere to it while the track “Discuss Me (Disgust Me)” is him saying he wouldn’t be here today if he cared what others say about him over a trap beat with a prominently somber piano loop. The penultimate track “Die Alone” talks about how he doesn’t want leave Earth with no one by his side over a demented yet roomy beat & then the tape ends with “Where I Belong”, where Ouija talks about being happy with the place he’s at currently over a mystical trap beat.

To me, Resistance II is just as great as it’s predecessor. Ouija Macc’s songwriting has gotten more catchier with each new project he puts out & the sound palates that Devereaux brings to the table continue to fit his lyrics like a glove. Really looking forward to see what both of these guys do next on Wasteland.

Score: 4/5