KAYTRANADA – “Ain’t No Damn Way!” review

Port-au-Prince, Haiti born albeit Montréal, Québec, Canada raised DJ, producer, singer/songwriter & rapper KAYTRANADA returning for his 4th studio LP. Starting as 1/2 of The Celestics alongside his younger brother Lou Phelps, he’s has been widely recognized as being amongst the most popular & in-demand producers in all of music for the past decade working with everyone from Mobb Deep to Mach-Hommy. KAYTRADAMUS even has 3 solo efforts under his belt in 99.9% through XL Recordings, the RCA Records-backed Bubba, the eponymous debut from KAYTRAMINÉ & more recently Timeless last summer. 13 months have passed since the predecessor & Ain’t No Damn Way! has arrived 4 days after it’s announcement.

“My Life” by Latrelle featuring Kelis gets sampled for the deep house intro with “Space Invader” throwing hints of contemporary R&B in the mix whereas “Championship” continues the house vibes with an 115 second instrumental piece. “Home” sticks out as one of my favorite beats here due to it’s carefree atmosphere just before “Target Joint” pulls inspiration from the funky house subgenre.

Nearing the end of Ain’t No Damn Way!’s first half, “Things” samples “Things Fall Apart” by Steve Monite for a futuristic house composition with some synthesizers leading into “backstABs” getting back in his deep house bag instrumentally. “Good Luck” definitely feels reminiscent to my all-time favorite production duo The Neptunes in terms of sound, but then “Shine Your Light for We” samples “Black Boy” by Cappadonna & makes it into a disco highlight of it’s own.

“Goodbye Bitch!” combines characteristics of both synth funk & funky house for an infectious beat that won’t make you stop nodding your head while the deep house cut “Don’t Worry Babe (I Got U Babe)” makes an irresistibly soulful use of sampling. Speaking of which: The last song “Do It (Again!)” after “Blax” continues to display KAYTRA’s ear for chopping up samples, this time repurposing “Let’s Do It Again” by TLC.

As opposed to having a cast of guests performing over his instrumentals like on all 3 of his predecessors, KAYTRANADA returns out of nowhere 14 months later for Ain’t No Damn Way! as a welcoming return to his electronic roots. Ditching the primary alternative R&B influences of Timeless last summer to emphasize the deep house side of it’s predecessor, he gets to sprinkle additional hints of funky house & synth funk over the 30+ minute course.

Score: 3.5/5

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Joey Valence & Brae – “Hyperyouth” review

State College, Pennsylvania emcee/production duo Joey Valence & Brae making their major label debut with their 3rd studio LP. Although their 2022 debut EP The Underground Sound was moderately received, their debut album Punk Tactics would go on to earn significantly improved positive reception & the sophomore effort No Hands catapulted their into popularity, garnering comparisons to the Beastie Boys. So much that the Sony Music subsidiary RCA Records gave these guys full artistic control ahead of Hyperyouth.

The title track samples “Like a Punk” along with “Bangarang” by Skrillex & “Block Rockin’ Beats” by The Chemical Brothers to encapsulate the fear of growing up whereas “Bust Down” featuring TiaCorine talks about never changing, including a dig taken at Sydney Sweeney following the controversial American Eagle ad she recently did that would make Ye formerly known as Kanye West proud.

“Give it to Me” expresses the modern day equivalent of the Beastie Boys’ desires of their future partners being badder than Bebe Rexha herself leading into “Is This Love?” talking about loving the women they’re currently seeing more than the FL Studio program itself as well as being married to the game & refusing to go out to clubs because of anxiety getting the best of them.

Rebecca Black of all people teams up with JVB on “See U Dance” for a contemporary R&B, pop rap, dance-pop & Atlanta bass crossover talking about wanting to watch women dancing while “Party’s Over” comes out the gate with a reference to former IWGPヘビー級チャンピオン as well as a 10-time WWE world champion & former UFC Heavyweight Champion in both TKO Group Holdings divisions Brock Lesnar.

“Wassup” featuring JPEGMAFIA finds the trio teaming up for a hardcore hip hop single showing secondary influences of Miami bass & crunk music chopping up careers together while “Live Right” gets the 2nd half going talks about the fear of growing up. “Billie Jean” breaks down the type of music they like to hear at the club giving props to the late Michael Jackson while “Have to Cry” samples “Cry” by Bobby Caldwell to get vulnerable.

Meanwhile on “The Party Song”, we have JVB dabbling with industrial hip hop for an ode to getting wild just before “Myself” takes a mellow boom bap approach instrumentally asking if you can do it like them. “Go Hard” featuring TiaCorine finds the trio dropping braggadocio sampling “Planet Rock” by Afrika Bambataa while “Disco Tomorrow” finishes the pairing’s major label debut by talking about not playing with their hearts.

“friends” starts the deluxe run calling for everyone to bust a move & get cheeky all their homies while “push the pipe” leans towards a boom bap sound talking about the world being ours for right now. “how does it feel to be so young?” feels like more of an interlude from the synthesizers to the repetitive songwriting while the 2-parter “bustamove” goes full-blown dubstep. “i like this” shows a more playful side to the duo lyrically feeling like their hearts are full & the final bonus track “changes” ends with them talking about seeing the vision clearly.

Birthed from Joey Valence & Brae’s experiences in the clubs of very little individuals sharing the same excitement & expression for music as them, they ditch the mid-school hip hop aesthetics of much of their previous material in favor of existential club music. Their production focuses less around the mid-school hip hop elements of their earlier stuff in favor of hardcore hip hop, boom bap, pop rap, electronic dance music, Miami bass, Atlanta bass, crunk, industrial hip hop, contemporary R&B, dance-pop to explore themes of love, dance, maturing & authenticity.

Score: 4.5/5

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Young Nudy – “Paradise” review

Here is the 4th studio LP from Atlanta, Georgia rapper Young Nudy. Although he & 21 Savage are cousins, he eventually carved a lane of his own in the last decade with 10 mixtapes (the most notable ones being the Pi’erre Bourne-produced Sli’merre & it’s sequel) followed by his previous 3 full-lengths. I heard at some point last fall when Sli’merre 2 came out that Nudy had an album fully produced by Metro Boomin’ coming down the pipe but regardless when or if that happens, he’s taking us on a trip to Paradise.

“17” made for a cloudy intro produced by Kid Hazel talking about his young shooter layin’ bodies out whereas “What’s Happenin’?” featuring Latto finds the 2 pairing up over a Coupe instrumental so they can stay turnt in the club. “Pull Up” works in some strings & hi-hats for a homage to “Throw Some D’s” by Rich Boyleading into the Atlanta bass strip club heater “B.T.A. (Bounce That Ass)”.

The title track finds himself in the middle of a block party getting back on the trap vibes with some horns added to the equation just before “GOAT” bombastically talks about not wanting smoke with him at all. “Big Bad Wolf” featuring BabyDrill has a quirkier drill sound to it likening themselves to a pack of wolves while “Super Slime” talks about a woman falling in love with him because he ain’t no scrub.

21 Savage joins his cousin to make the Memphis rap banger “Iced Tea” basically saying you don’t get to eat if you don’t hustle while “Sugar” combines these pianos & hi-hats likening himself to Tony Montana of Scarface. “Mop Stick” has an eerier trap flare to it expressing is dislike for people cappin’ in their raps while “Snake” talks about the needing to clean up the streets & watch out for any rats.

“Chains On” nears Paradise’s final minutes to show off the ice around his neck over a trap beat with some vibraphones not having to flex shit because the girl he’s currently seeing is already well aware of him making money while “4 God” properly ties up our journey in Nudy’s Paradisewith some 808s & ominous synthesizers promising to put anyone who goes against him on a white tee shirt only driving fast.

Young Nudy & Coupe have crossed paths with one another countless times in the past already, using half of Anyways… or a great deal of both DR. EV4L & Gumbo as examples. Point is: The unique chemistry they’ve always had together still makes for a fun listening experience whether it be the trap, cloud rap, Memphis rap, pop rap, dirty south & rage production or Nudy’s explicitly gangsta approach to his songwriting.

Score: 3.5/5

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G-Eazy – “Helium” review

Oakland, California rapper, singer/songwriter, producer & actor G-Eazy making up for the delays of his 8th studio LP. Breaking out into the mainstream with his 3rd album These Things Happen in 2014, this was followed up a year later with When It’s Dark Outas well as The Beautiful & Damned back in 2017. Scary Nights was a subpar prelude to These Things Happen Too, Everything’s Strange Here easily stands as his embarrassing body of work yet & the These Things Happen sequel was only better by a small margin. Freak Show was one of the worst albums of 2024 & is putting out Helium only 11 months later.

“GRWM” was a mediocre trap intro talking about hoes calling him & asking them to pay him whereas “Kiss the Sky” gives boom bap a shot only for him to miss with a weak homage to the iconic Jimi Hendrix cut “Purple Haze”. The title track gets into his signature pop rap style pleading for this woman’s love leading into the underwhelming boom bap/rap rock crossover “Outside” featuring Diany Dior staying out for the summer.

Finishing the first half, “Dream About Me” tells his ex not to even think of him in her dreams over a generic trap instrumental just before “Fight & Fuck” gets back on the pop rap vibe once again describing a toxic relationship where he & his partner argue only to make lover afterwards. “Nada” wound up being a close contender for one of the worst singles to come out in 2024 partying when he wants, but then “After Dark” expresses his desire to be understood.

“How Can You Sleep?” gets it going on the final minutes of Helium with an acoustic pop rap cut finding G-Eazy admitting that he can’t move on from this woman that he said he would try to leave in the past & I found the lead single “Vampires” to be a tiring closer addressing toxic relationships once again although I don’t really mind the moodier sound all that much nor did I have any issue with the Bahari hook/bridge.

Conceptually built around the highs & lows of love & life, the sliver of optimism I had regarding this one wasn’t really done any justice even if it was released the day prior of G-Eazy’s birthday & the birthday of his brother he was closer than close too. The boom bap portions are actually average at best & the idea of parties never lasting forever being worth it in the end is a valid life lesson, except neither the trap or the pop rap cuts don’t really scratch the itch.

Score: 1.5/5

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Eem Triplin’ – “Melody of a Memory” review

Eem Triplin’ is a 23 year old recording artist & producer from Johnstown, Pennsylvania beginning his music career over a decade ago as a result of his older brother introducing him to the FL Studio program. His first 3 EPs N0WH3R3 as well as No More Tears & Still Pretty caught the attention of RCA Records, signing him after appearing on the deluxe version of Camila Cabello’s most recent album C,XOXO for a full-length debut studio album showing everyone what he’s capable of doing.

“Came In It” produced by DJ Dahi is this cloudy intro talking about pulling up to the spot with the gang & all guns blazing whereas “If We’re Being Honest” works in some prominent synthesizers to admits to wanting his romantic interest to want him back refusing to trick in the current economic climate. “Fiji” featuring Cruza finds the pair drinking Hennessy as if it’s the titular brand of water crossing over alternative R&B, plugg & pop rap leading into “23” showing off the player in him even if he’s in his early 20s.

Meanwhile on “Duya”, we have Eem rapping over this delicate pop rap instrumental asking if this woman wants to love him or not homaging “ELEMENT.” by Kendrick Lamar during the outro just before “Out Miami” featuring Ty$ sees the 2 talking about being unable to keep up with their partners who’re out in Florida enjoying it there. “IYKTYK” tells his ex that he ain’t mad for her cancelling her subscription while “Feyoncé” talks about wanting to pull a woman as bad as Beyoncé of The Carters.

“Miss Me?” mixes pop rap as well as alternative R&B & plugg wanting to know if anyone still cares for him in the midst of his career taking off, but then “Crazy Hoes” talks about a hoe stalkin’ him following an on-&-off relationship. “Tall Tales” serves as a 2-parter asking his main chick if she would ride or die for him while “On & On” talks about this woman refusing to admit her needing him. “Kingdom of Hearts” finishes with an R&B joint singing that he wants to keep his woman as if she’s a secret.

The Pennsylvania recording artist’s major label debut reveals parts of himself that he’s never shared before & furthermore reveals a side of his sound that he hasn’t shown folks yet. Showing his evolution as an artist, he steers away from the sample drill undertones of Still Pretty in favor of DJ Dahi giving him an east coast pop rap/trap flare with additional elements of alternative R&B & plugg.

Score: 3.5/5

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SZA – “Lana” review

St. Louis singer/songwriter SZA finally releasing her 3rd studio LP. Breaking out over a decade ago in the alternative R&B scene off the strength of her first 2 EPs SEE·SZA·RUN & S, she would eventually sign to Top Dawg Entertainment in the summer of 2013 & has since made herself home with the west coast label by putting out her 3rd EP Z alongside the RCA Records distributed full-length debut CTRL. Her sophomore effort S.O.S. went more contemporary & is celebrating it’s 2-year anniversary with Lana.

“No More Hiding” produced by Michael Uzowuru is this drumless, acoustic R&B opener singing about having to build everything twice over whereas “What Do I Do” takes the moody trap soul route instrumentally thanks to benny blanco & Cashmere Cat telling her ex that called her on accident that it’s too late & their relationship won’t be the same ever again. “30 for 30” featuring Super Bowl LVI & Super Bowl LIX halftime show performer Kendrick Lamar samples “Throw Some D’s” by Rich Boy saying “fuck you” to the haters if they’re saying it first while “Diamond Boy (DTM)” strips the drums again to sing about being addicted to her new man.

Meanwhile on “BMF”, we have SZA coming through with some summertime vibes describing a young & handsome man from southwest Detroit who happens to be fly & bossy just before the atmospheric “Scorsese Baby Daddy” admits to hating being the one that’s doing the most & being addicted to the drama. “Love Me 4 Me” slickly sings about romanticize the scariest things & asking her new partner if they love her for herself, but then “Chill Baby” gives off a moody boom bap approach courtesy of Cade & Lil Yachty finding a bitter piece.

“My Turn” brings a trap soul flare back to the table giving her partner his turn to do the hurtin’ because she deserves it & still digs him even if life ain’t fair at all while “Crybaby” lusciously addresses the public’s perception of her being overly sensitive & emotionally vulnerable. “Kitchen” has some cool psychedelic guitar licks throughout breaking down the difficulty of doing the right thing sometimes & after the “Got Behind Me” interlude, “Drive” returns to a drumless edge singing about driving in the middle of the night.

Reaching the final moments of Lana, “Another Life” hooks up some synthesizers knowing that she & her partner could ride down asking him if he would still love her in an alternate reality wanting to be by his side & the lead single “Saturn” finishes the S.O.S. follow-up that’s been in the making ever since the predecessor initially came out a couple winters ago blending neo-soul, alternative R&B trip hop, psychedelic pop & psychedelic soul explaining her confusion of this world.

Don Toliver joins SZA on the contemporary/psychedelic folk-inspired “Joni” to start the deluxe run of Lana sampling “Angeles” by Elliott Smith written from the perspective of Joni Mitchell while “Take You Down” asks her lover if he you mean all the shit he said the other day & if he was just talkin’ or tryna swing her way. The final bonus track “PSA” takes it back to her alternative R&B roots singing that she doesn’t want anyone calling her anything other than #1.

Hitting a healthier mental state than when she recorded her past 2 albums, Lana only a month after her upcoming Grand National Tour co-headliner Kendrick surprise-dropped GNX feels more ready to move on & let go as opposed to being overly burdened by past hurt. Finding solace in meditation & yoga, her growing sense of inner peace reflected on the most personal body of work that the generational talent of an alternative R&B singer has ever crafted giving the world a look at where stands presently expanding on S.O.S.’ contemporary sound in favor of trap soul, neo-soul, alternative R&B, bedroom pop, contemporary folk & psychedelic folk.

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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Matt Champion – “Slint’s Favorite” review

This is the 2nd EP from Woodlands, Texas rapper, singer/songwriter & producer Matt Champion. A founding member of the now defunct BROCKHAMPTON collective, he also released a solo EP Harley in the spring of 2017 right before the classic SATURATION trilogy & Mika’s Laundryfrom this spring showed the versatility that he was very much capable of. 8 months later, Matt’s surprise-dropping Slint’s Favorite.

“Faye” fuses experimental hip hop, trap, cloud rap, alternative R&B, witch house & industrial hip hop to talk about being haunted while “Hacker”works in elements of alt-pop, neo-soul, alternative R&B & psychedelic soul singing that he wants a home run. “SPJ” produced by Romil Hemnani brings indietronica, alt-pop, minimal wave, alternative R&B & neo-soul together asking if everyone would erase their minds if it was easier prior to “Ash” featuring Deb Never finishing the EP pulling from bedroom pop, alt-pop, downtempo, alternative R&B, art pop, neo-soul & dream pop wanting to know why they don’t ask each other out anymore.

Ahead of his solo set at Camp Flog Gnaw this weekend, Matt whips up a 4-track EP that continues to demonstrate the artistic range prominently shown throughout Mika’s Laundry earlier within the year. Styles like experimental hip hop, trap, cloud rap, alternative R&B, witch house, industrial hip hop, alt-pop, neo-soul, psychedelic soul, indietronica, minimal wave, bedroom pop, downtempo, art pop & dream pop all shift into 1 another fluidly during the span of 12 minutes.

Score: 4/5

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A$AP Ferg – “Darold” review

Manhattan, New York emcee & songwriter A$AP Ferg finally releasing his 3rd studio LP. One of the most prominent members of the A$AP Mob, his 2013 solo debut Trap Lord & the debut mixtape Ferg Forever both cemented that further although the sophomore effort A.$.A.P. (Always $trive And Prosper) received mixed responses for its more commercial heavy-sound. Still Striving & Floor Seats both marked a return to form for Ferg although Floor Seats II got divided feedback during the 2020 COVID lockdowns, Darold based on the singles had me hoping it would be another step in the right direction artistically.

“Light Work” featuring Bloody Osiris & DD Osama starts off by dabbling with the New York drill sound telling everyone to go get their lights whereas “Thought I Was Dead” produced by Lex Luger & Mike WiLL-Made It works in some horns & hi-hats to talk about his return to music after so long. “Alive :(“ has a passionate tone altogether admitting he’s been trying to his find his passion for this rap shit lately prior to the lead single “Allure” featuring Future taking it live from Atlanta.

Denzel Curry joins Ferg on the energetic “Demons” to talk about being on the corner, making the hood go brazy just before “Messy” take the trap out talking about everything being disorderly & keeping it that way. “French Tips” has a bit of a boom bap vibe instrumentally keeping it hot, but then “Dead Homies” brings a soulful flare to the table remembering all of his friends who unfortunately can’t be here with us today.

“Casting Spells” hooks up a classy beat from Mario Winans, Lil Rod & disgraced Bad Boy Entertainment founder awaiting trial next spring Puff Daddy a.k.a. P. Diddy or Diddy keeping the hate away from him wanting to live & take care of his family while “Pool” strips the drums completely hoping that one never changes on him. “Chosen” maintains a drumless edge pushing towards the final moments of Darold showing a bit of introspection, which the bombastic title track expands on boasting that he’s been outside.

A rich auditory experience, Ferg’s first full-length in nearly a decade echoes his enduring impact on hip hop combining seasoned artists & rising stars offering something for everybody. This goal is achieved by the production drawing inspiration from boom bap, trap, neo-soul, contemporary R&B, pop rap, hardcore hip hop & the New York Drill scene refining the personal themes of A.$.A.P. (Always $trive And Prosper).

Score: 3.5/5

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Latto – “Sugar Honey Iced Tea” review

Atlanta, Georgia rapper Latto returning for her 3rd LP. Winning the very first season of The Rap Game & eventually turned down a deal with So So Def Recordings because it wasn’t enough money, she eventually broke through a few summers back after signing to RCA Records & putting out a decent full-length debut Queen of da Souf. The sophomore effort 777 sure enough won me over & Sugar Honey Iced Tea named after a highlight track off Kelis’ 3rd album Tasty had me hoping she’d continue towards that trajectory.

“Georgia Peach” comes straight out the gate going drumless thanks to Pooh Beatz dedicated to all the baddies out in Georgia whereas the incredibly structured 2-parter “Big Mama” is a strong anthem from which self-assurance & success breathe & women show the clear capacity for self-support pulling from trap, hardcore hip hop, New York dril, pop rap, contemporary R&B & sample drill. “Blick Sumn” featuring Playboi Carti on the remix works in some synths & hi-hats letting it be known she don’t trust a man without his heater while “Settle Down” talks about the possibility of that happening & minding her business as opposed to bitches worrying over her.

Young Nudy joins Latto for “Shrimp & Grits” radiating a more enticing vibe from the beat paying homage to all the women in their city who be country thick prior to “There She Go” talking about going from being broke in the ATL to being on an island boasting that a real one has stepped in the building. “Brokey” hooks up chimes & hi-hats explaining that you supposed to drown when a real one hold you down & after the “Mimi” interlude, “H&M (Hurt & Miserable)” charismatically discusses the way hoes be envious of her.

“Copper Cove” featuring Hunxho has more of a mellow trap groove to it for a slut-me-out-spit-on-my-tongue song & the angelically produced “Ear Candy” with Coco Jones supplying one of my favorite hooks on Sugar Honey Iced Tea talks all the sweet things her partner says to her. Earl on the Beat laces Latto up with seductive instrumental for “Liquor” confessing that the harder alcohol turns her into an absolute freak while “Squeeze” featuring Megan Thee Stallion follows it up with a club banger for all the baddies that wanna get freaky.

Ciara levels up the chorus game on “Good 2 You” with it’s uptempo production & the romantic subject matter addressing those who they feel are the ones for them as does Mariah the Scientist on “Look What You Did” serving as a short but grand dedication to Latto’s bae. “Prized Possession” featuring Teezo Touchdown intoxicatingly talks feelin’ out their minds while “S/O to Me” is a soulful boom bap cut showing pride in herself.

The first of 3 bonus tracks “Put it on da Floor” featuring Cardi B on the remix brings the pair together has some cool Detroit trap undertones start to finish saying both of them have done done it all at this point in their respective careers & the other “Sunday Service” featuring Flo Milli & Megan Thee Stallion on the remix gets on their hardcore, Memphis, dirty south trap tip giving middle fingers to hoes because their men perfect. “Chicken Grease” ends the deluxe run on some dark trap shit refusing to fuck with broke guys.

Compared to 777, I came away from the follow-up liking it a little less than the predecessor although the highs outweigh the lows. I appreciate the fact that she elevates her work beyond “single-driven & club-driven” culture showcasing different sides & versions of her artistry recapping these last couple years of her life, I just think the production could’ve been a tad bit better.

Score: 3.5/5

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