Lørd Skø – “Elevator Music” review

New York emcee Lørd Skø following up PiFF with his 4th LP. Getting his start 6 years ago off his debut EP 13th Angel, his profile would grow from there eventually hiring one of the greatest A&Rs in the industry Dante Ross as his manager & showing the world of what he’s capable of doing when he put out his debut Museum. His sophomore effort United Palace was a great dedication to his neighborhood, coming off the Fat Beats Records-backed PiFF to have Statik Selektah produce Elevator Music singlehandedly.

The title track begins incorporating a boom bap instrumental with synthesizers giving us something for all those days he used to play the stairs whereas “How It Is” talks about calling things the way they are. “Better Days” featuring Dave East finds the 2 linking up over a soulful beat to discuss waiting for things in their lives to improve prior to “Northern Lights” featuring B-Real & Smoke DZA finds the trio getting on their stoner shit.

“Drunk Dial” featuring Ab-Soul ends the 1st half on a funkier note instrumentally sliding onto the scene with the meanest gangsta lean but after “Hangman” combines a slowed down vocal sample with some kicks & snares to tackle some mental health issues admitting he’s been hanging on by a thread, “Donnie Brasco” continues the 2nd leg of Elevator Music referencing the crime drama of the same name & wondering if this is where he’s supposed to be.

The song “Wonder” brings a jazzier boom bap vibe to the table pondering the meaning of that very word while “nWo” featuring Andre Lawrence, Kai Ca$h, LIFEOFTHOM, Marco+ & Rhakim Ali likens themselves to the WWE Hall of Famers of the same name & the most dominant faction in WCW’s later years. The soulful closing track “Wish Upon a Star” concludes Elevator Music talking about him staying busy as of late & wanting to admit his exhaustion to his mother.

We’ve already heard Lørd Skø over Statik Selektah production a handful of times within the past several years, so for the latter to handle all of Elevator Music’s beats raised my expectations for it significantly & can say with confidence that it’s the greatest thing Skø has done. From his sharp penmanship to the jazzy boom bap production the Showoff Records founder has become known for, it’s like simultaneously bridging generations of New York hip hop & pushing the culture forward at the same time.

Score: 4.5/5

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Memphis Bleek & Smoke DZA – “Trees Open Doors” review

New collaborative extended play between Brooklyn emcee & songwriter Memphis Bleek alongside Manhattan, New York emcee Smoke DZA. The latter of whom has been putting it down for over a decade dating back to when I was in high school & the other blew up in the late ‘90s signing to Roc-A-Fella Records/Def Jam Recordings. These guys have only crossed paths with each other couple times on songs like “Selling Smoke” or most notably “3 Kings” at the beginning of 2025, linking up so they can let everyone know Trees Open Doors.

“Blockbuster Night” begins with this jazzy boom bap beat talking about having a plethora of women in the room & poppin’ bottles from the throne whereas “Lock In” goes for a drumless chipmunk soul vibe instrumentally so both parties can discuss staying determined to finish the 1st half. “Slide” embraces a funkier sound aiming to get the dance floors moving & “Party of 5” featuring Christian d’Or saves my least favorite track for last, ending on a mediocre note.

This one’s definitely gonna appeal more to the most loyal fans of both Memphis Bleek & Smoke DZA because regardless of the guest appearance on the closer, I do think both east coast veterans compliment each other well over production ranging from boom bap to jazz rap & drumless, except I’m not sure who produced what because of there being no credits listed whatsoever, which isn’t new but it’s irritating when it happens.

Score: 3/5

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LaRussell – “Something’s in the Water” review

This is the 32nd extended play & Roc Nation Records debut from Vallejo, California emcee LaRussell. For the past 8 years, the man originally known under the moniker Tota has been steadily hustlin’ in the west coast underground by putting out his last 31 EPs along with 5 full-length albums & 7 mixtapes as of me writing this. Personal favorites include the Hit-Boy produced Rent Due, the sequel Rent Paid, the Mike & Keys-produced Party on the Westside & Black Boy Fly. However, he’s having Lil Jon fully producing Something’s in the Water.

“I’m From the Bay” after the “United Bay of America” gets things started with a hyphy beat talking about coming from the northern parts of the sunshine state whereas “Wigglin’” succeeding the titular skit goes for a bit of a g-funk vibe almost counting money until his face turns blue. The synthesizers continue to seep their way through expressing a desire to do “More for Me” & after the Marshawn Lynch skit, “Wake Shit Up” reaches the halfway point talking about his involvement in bringing this crunk shit back.

After the “Chuy Gomez” skit, Kalan.FrFr joins LaRussell to moderately recall a “Hot Summer Night” out in the west coast while “Get Off Me” does a better job at maintaining the hyphy vibes talking about how saucy he is. “I Got Flavor” instrumentally keeps throwing it back to ‘06 when “Blow the Whistle” became amongst Too $hort’s most celebrated singles once again boasting his distinctiveness, but then “You’ve Reached LaRussell’s Phone” turns out to be the 5th & final skit.

“How Far Can You Go?” winds down the final minutes of Something’s in the Water posing that very question to the world & further elaborating the reality of those who don’t put in any effort never knowing if they’ll achieve any art of success until Malachi appears on the outro, helping the leader of the Good Compenny collective in making the kind of music that would make a “Thug Cry” & having a heart full of regret soon as the doves start soaring in the air even if his feature wasn’t much better than Kalan’s.

Something’s in the Water marks a full circle moment after LaRussell was listening to “Tell Me When to Go”by E-40 featuring Keak da Sneak or the previously mentioned $hort Dog single “Blow the Whistle” on the radio 2 decades ago, getting Lil Jon to snap out of that whole guided meditation phase he was in the middle of a couple years ago & nostalgically celebrating his hometown for a hyphy-lenient Roc Nation debut although neither of the guests stuck out in addition to the amount of skits being unnecessary. Can’t forget him concerningly saying that Jeffrey Epstein was “heaven sent” during a set.

Score: 4/5

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Brent Faiyaz – “Icon” review

Brent Faiyaz is a 29 year old singer/songwriter, rapper & producer from Columbia, Maryland starting off in the DMV hip hop until shifting towards R&B & more specifically alternative R&B. He’s put out a couple full-lengths along with 6 EPs until forming his own label ISO Supremacy, releasing his debut mixtape Larger Than Life under his imprint & signing Tommy Richman. It’s been almost a couple years since the latter’s debut Coyote & Icon looks to recapture the magic of his debut for his 3rd album.

After the compositional “white noise.” intro, the first song “wrong faces.” begins with an acoustic instrumental telling this woman he’ll become the reason she’s not alone whereas “have to.” produced by Tommy Richman takes a much smoother approach singing about being in a race with time to get where he belongs. “butterflies.” splits itself in 2 halves thanks to benny blanco & Cashmere Cat asking his partner if she feels the way he does leading into “other side.” explores a dance pop vibe singing about a woman he saw in his dreams.

“strangers.” starts the other half of the album taking the alternative R&B route describing a relationship that has completely fallen apart just before “world is yours.” throws it back to the 90s with a synth-woven beat from Chad Hugo & singing about wanting his woman to have him her way. “4 seasons.” exuberantly describes a female who’s either hotter than a day in July or cold as the winter but once “pure fantasy.” atmospherically sings about his lover being all he needs, “vanilla sky.” wraps up Icon posing the question of whether one’s happiness lasts forever or if it’s short term.

The self-produced “full moon. (fall in tokyo)” starts the deluxe run sampling “mewtwo” by Ken Carson expressing his desire of staying in Japan with his soulmate for the rest of their lives while “1 for you. (spring in new york)” flips “If” by Destiny’s Child singing about being the one for this chick if she’d like him to be. “tony soprano.” moodily puts himself inside the shoes of the lead character from one of my top 3 shows The Sopranos & Beat Butcha samples “Chapel Hill Heist” by Father during the final bonus track “peter pan.” singing about flying to Neverland with his Wendy.

Initially set to come out on his birthday last fall until pushing it back, the extra 5 months Brent Faiyaz would spent ensuring Icon would outdo both it’s predecessors really paid off despite initially letting down many who were looking forward to it including myself & I’m thankful we got the most expansive entry in his discography out of it. The intimately cinematic production merges the foundations of classic soul music with elements of modern R&B depicting themes of growth, loss, renewal & his evolution from both an artistic & a personal standpoint.

Score: 4/5

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Roc Marciano – “656” review

This is the 13th studio LP from Long Island, New York emcee/producer Roc Marciano. Beginning in the very late 90’s as a member of the Flipmode Squad, he then went solo in 2008 to drop classic albums that would pave the way for those like Griselda such as Marcberg & Reloaded. He would begin focusing on producing projects for other artists like Flee Lord & Bronze Nazareth following Mt. Marci & of course returning to enlist The Alchemist to produce The Elephant Man’s Bones & The Skeleton Key couple years apart from each other, both of which I gave perfect scores to & the same goes with The Coldest Profession produced by DJ Premier. Almost a month after the inaugural 新日本プロレス強い女子チャンピオン & former CMLL Mundial Femenil Campeon Willow Nightingale of the inaugural AEW Women’s World Tag Team Champions the Babes of Wrath became a record 2-time AEW tbs Champion however, 656 has arrived only days succeeding it’s announcement.

“Trick Bag” begins by sampling funk & jazz commanding thou shall not trick no matter how thick your pockets wind up becoming whereas “Childish Things” hooks up some bare synthesizers talking about achieving the finer stuff in life. “Hate is Love” instrumentally takes a more soulful approach suggesting those who judge should clean their own yards up prior to “Yves St. Moron” talking about his greatness not happening haphazardly.

As for “Prince & Apollonia”, we have Marc carrying over the drumless vibes recalling a guy waiting for his girl in his whip blasting the Prince track “If I Was Your Girlfriend” just before the soulful “Vanity” continues to paint images of the Mafioso lifestyle Roc has become renown for. “Rain Dance” featuring Errol Holden teams up over some vibraphones talking about turning base metals into gold while “Tracey Morgan Vomit” explains you don’t have to be a barber to get your wig parted.

“Trapeze” featuring Errol Holden starts the last leg of 656 with a crooning beat talking about both of them moving perpetually while the chipmunk soul-flavored “Good for You” boasts of him having the ability to steal your aunt & make her his baby mama since he’s been smooth like that. “Easy Bake Oven” continues to sample soul music talking about being the modern day Frank Sinatra & finally, “Melo” sends it all off boasting he’s fucked the same amount of baddies retired NBA forward Carmelo Anthony has.

Not only are we said to be getting Criminal Jazz later on at some point in 2026, but it was also confirmed by Roc Marciano himself that he has another full-length planned for this year called Mt. Magneto & possibly an entire album fully produced by Animoss. And for him to get the new year started, 656. Despite Errol’s guest appearances being merely passable, Marc’s drumlessly jazzy production matched & the mafioso/gangsta themes over the course of a half hour are strong enough to make me want to keep it in rotate.

Score: 4.5/5

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Conway the Machine – “You Can’t Kill God with Bullets” review

Brand new LP & the 5th overall from Buffalo, New York emcee Conway the Machine. Blowing up a decade ago as part of the 3 OGs of Griselda Records alongside his brother Westside Gunn & their cousin Benny the Butcher, the trio have had hip hop on lock ever since their arrival by their constant work ethic balancing quality & quality as well as vividly detailing their lives in the streets. Con’s full-length debut From King to a God was my Album of the Year for 2020 & the Shady Records-backed sophomore effort God Don’t Make Mistakes is the most personal he’s ever been. Last we heard the Drumworm Music Group founder by himself was S.F.K. (Slant Face Killah), marking his Roc Nation Records debut with You Can’t Kill God with Bullets.

“Lightning Above the Adriatic Sea” produced by the J.U.S.T.I.C.E. League after the “Gun Powder” intro includes a bar referencing WWE Hall of Famer Mr. T whereas “B.M.G. (Black Man is God)” goes for a soulful boom bap vibe thanks to Sndtrak so he can discuss African American excellence. “Diamonds” featuring Roc Marciano references former WWE Intercontinental Champion, WWE United States Champion & 2-time WWE tag team champion Carlito over a Conductor Williams beat while “Hell Let Loose” featuring Tony Yayo admits that being called names doesn’t mean shit to them.

Timbaland’s instrumental on “Crazy Avery” was fortunately better than I had initially expected it to be due of his recent AI shenanigans talking about his mind being deeper than the deepest river just before “The Painter” reunites with Daringer breaking down all the problems others don’t need in their lives. After the “Undying” interlude, “Nu Devils” featuring G Herbo takes the trap route courtesy of both araabMUZIK & Beat Butcha spittin’ that gangsta shit together while “Otis Driftwood” talks about him getting better with time over a JR Swiftz beat.

“Mahogany Walls” continues the 2nd half promising that Drumwork will reign for all of eternity bringing Conductor’s lo-fi boom bap sound back in the fold while “Parisian Nights” takes a moment to celebrate success over an E. Jones instrumental with chopped & screwed vocals at the backend of it. The lead single “17.5” goes for a drumless direction stylistically using the pen to paint imagery of the gangsta lifestyle while “Attached” featuring Lady London talking about the future being nonexistent when you’re living in the past.

Apollo Brown chops up a soul sample throughout “Never Sleep” adding some kicks and snares into the picture, asking God to forgive him for his foul ways while “Hold Back Tears” talks about the feeing of losing someone in your life that was close to your heart. The Alchemist strips the drums 1 last time during “Organized Mess” detailing the life money has brought him for the past 10 years & the closer “Don’t Even Feel Real (Dreams)” sends it all off on the soulful boom bap tip talking about his success being surreal to him.

Conway taking more time with You Can’t Kill God with Bullets than he did Won’t He Do It & S.F.K. (Slant Face Killah) was a very smart idea in my opinion because as much as I love both it’s predecessors, I can certainly tell you that this is the most I’ve enjoyed an album from him since God Don’t Make Mistakes. He takes a relatable approach to songwriting relating to whatever many are doing in life whether be celebrating, dating, lost someone special or struggling with mental health all whilst maturing the feeling of Reject 2 & G.O.A.T. (Grimiest Of All-Time).

Score: 4.5/5

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Boldy James – “Criminally Attached” review

It’s been 4 months & Detroit veteran Boldy James has finally returned to make his Roc Nation Records debut in the form of his 17th LP. Breaking out in the fall of 2013 off his Alchemist produced debut M.1.C.S. (My 1st Chemistry Set), there was a point where Nas’ independent label Mass Appeal Records had them on their roster for a little while before getting locked up. Once coming home, Uncle Al would help get his name back out there once getting out by dropping the Boldface EP around Christmas 2019 & then the sophomore album The Price of Tea in China. Manger on McNichols produced by Sterling Toles was as equally fantastic & the Griselda Records-backed Versace Tape EP was a tad bit disappointing given how rushed it was. Bo Jackson though would become his most critically acclaimed work to date & Super Tecmo Bo was almost as great for an EP. Fair Exchange No Robbery produced by Nicholas Craven, Penalty of Leadership, Mr. 10-08 produced by Futurewave, the Conductor Williams-produced Across the Tracks the Harry Fraud-produced The Bricktionary & the Carlo Anthony-produced Hidden in Plain Sight were all welcomed to warm reception additionally. Token of Appreciation produced by Chuck Strangers was much better than both Murder During Drug Traffic & Permanent Ink, the Antt Beatz produced Hommage left people divided although I didn’t mind it, coming off the V Don-produced Alphabet Highway & the Killing Nothing sequel Conversational Pieces respectively by showing up Late to His Own Funeral. Signing to Roc Nation not too long ago, he & Craven have decided to run it back with Criminally Attached.

“Walnut Grove” comes out the gate with a vocal sample talking about making money for a long time putting it on his grandmother Mary Lou whereas “No Blemishes soulfully explains that a membership of the gang he’s in cannot be simply claimed.“Infrared.com” talks about still being in the ghetto with all of his Zs getting calls that shouldn’t be answered on speaker just before “Fully Smack” runs up a check quickly to the point where he doesn’t have to wait in a line.

David Hill & 50 Gwuap Taj join Boldy on the soulful “Trifecta” talking about the way they see themselves livin’ leading into “Thumb of Craven” starting the 2nd half continuing the drumless chipmunk soul vibes telling the heavyweights throw up against to walk a little lighter. “Mr. Quaker Oats” featuring Poppy Bricks embraces a jazzier vibe talking about being more Richie than Lionel while “Thread the Needle” suggests you know he came from the bands the way he marches in.

“2 Left Feet” begins Criminally Attached last several minutes talking about not missing a single beat when he’s hustling in the streets over a chipmunk soul instrumental & lastly, “1st Time Around” ends with a vocal jazz flip admitting that he isn’t referring to blank disc when he mentions CDs & advising that one shouldn’t get to acquainted with the 227 Concreatures because of all the excessive gang shit that stays surrounding them.

Hard to say whether or not we’ll still get The Pop Catcher either next month or in 2026 but either way, Boldy James’ official Roc Nation Records debut & his 4th album to be entirely produced by one of my personal favorite producers of this ongoing decade joins Late to My Own Funeral alongside Token of Appreciation & Alphabet Highway for the strongest out of the handful of albums the Motor City’s finest has had to offer in 2025. Gearing up for a Super Tecmo Bowl follow-up next year also, Nicholas Craven’s drumlessly soulful production is unparalleled compared to it’s predecessor 4 months earlier & the same can be said regarding the gangsta-themed lyrics.

Score: 4.5/5

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Westside Gunn – “Heels Have Eyes III” review

Buffalo, New York emcee, songwriter, entrepreneur, curator & professional wrestling promoter/booker Westside Gunn celebrating Halloween with the final chapter of the Heels Have Eyes trilogy. Proving his legend status & that he’s a force to be reckoned with all in nearly a decade whether it be running one of the hottest hip hop labels in recent memory to his first 2 full-lengths FLYGOD & Supreme Blientele. The success of the 4th Rope independent professional wrestling circuit has included 2-time RoW Heavyweight Champion Zilla Fatu becoming the inaugural 4th Rope Heavyweight Champion carrying on the legacy of his late father in former AJPW世界タッグチャンピオン, FMWハードコアタッグチームチャンピオン and 2-time WWE Intercontinental Champion Umaga as well as former 2-time WWE Cruiserweight Champion Real1 becoming the inaugural 4th Rope Flyweight Champion and even the current 4-time TNA World Tag Team Champions The Hardy Boyz becoming the inaugural 4th Rope World Tag Team Champions, following up Heels Have Eyes II with Heels Have Eyes III instead of FLYGOD is an Awesome God III.

“Free Rolleys” featuring Benny the Butcher & produced by CG after an intro from former JCW World Juggalo Heavyweight Champion Joshua Bishop begins with a boom bap instrumental & Benny dissing Freddie Gibbs whereas “Mankind” featuring Stove God Cook$ references WWE Hall of Famer, former 3-time WWE Champion, 11-time WWE tag team champion, the inaugural WWE Hardcore Champion, CWA World Tag Team Champion & TNA World Champion Mick Foley over a soulful Daringer beat.

We have Westside Gunn over a boom bap instrumental with strings during “Eddie Bauer” shouting out the titular outdoor recreation brand just before “Tito Santana” featuring Rome Streetz gives their flowers to the WWE Hall of Famer, former ECW World Heavyweight Champion, 2-time WWE Intercontinental Champion & 2-time WWE Tag Team Champion of the same name. The pianos Denny LaFlare works in during “Tiffany Blue” suit the Halloween timing & West lets off some insane rhyme schemes.

“R-Truth” salutes the former 2-time NWA World’s Heavyweight Champion, 2-time NWA World Tag Team Champion, TNA World Tag Team Champion, 2-time WWE United States Champion, 2-time WWE Hardcore Champion & 2-time WWE tag team champion who recently made his foray into country music this summer while “Babas” gives off a lo-fi boom bap vibe instrumentally referencing WWE Hall of Famer, 2-time WWE Champion & WWE Tag Team Champion Bob Backlund.

After the “Grey St.” interlude, the final song “Gus Smacker” featuring Brother Tom Sos provides a taste of what’s to come from the latter’s upcoming debut album in 2026 teaming up over this jazzy beat talking about how some people need to be using common sense & an outro from former JCW World Juggalo Heavyweight Champion Joshua Bishop is what officially ends the Heels Have Eyes trilogy tying things up the way he started it only 25 & a half minutes earlier.

The insert of the Heels Have Eyes III states that FLYGOD is an Awesome God III will be released “soon” & whether that be within the next couple months or sometime the following year, Westside Gunn carries on his tradition of celebrating Halloween concluding what he started during WrestleMania XLI weekend curating 25 & a half minutes of the mafioso rap he’s become celebrated for with the production going from boom bap to jazz rap & drumless.

Score: 4/5

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Reuben Vincent – “Welcome Home” review

Here is the highly anticipated 3rd album from Charlotte, North Carolina emcee Reuben Vincent. Emerging under the original moniker Esau, his debut tape IDOL.escent would catch the attention of 9th Wonder & would sign Reuben to Jamla Records in 2016. His debut album Myers Park would be released the next fall followed by the previous EP Boy Meets World, the latter of which resulted in Roc Nation Records handling distribution for Reuben’s future output much like fellow Jamla signee Rapsody beginning with the sophomore effort Love is War almost 3 years ago continuing to elevate his popularity. General Admission was ok in comparison, coming off the well received Hit Me When You Get Here earlier this spring to finally drop Welcome Home.

“Homecoming” promises over a slick boom bap instrumental that the blood, sweat & tears he puts into his music won’t be in vein whereas “Day by Day” works in a soul sample to send praises to the most high on the daily. “God’s Children” featuring Ab-Soul finds the 2 nostalgically homaging Ahmad’s hit single “Back in the Day” just before the charming “Gotta Get It” talks about getting paid.

As for “Queen City”, we have Reuben observes the excessive wannabes out nowadays in addition to dismissing the crowd who stays in his ear telling him what he can & can’t leading into the triumphantly funky “Get Up (Get Down)” talking about being here to flip the pages. “Issa Dee” takes a summery approach to the beat facing the concept of insecurity directly leading into “Anything” talking about doing whatever makes his partner happy.

“So I Pray” featuring Heather Victoria teams up for a luxurious ode to both Jamla artists’ spirituality while “Dre & Sydney” finds himself trying to figure out how this man & woman are so close yet so far sampling soul music once again. “Get It Girl” featuring Wale shows a flirtatious side to themselves over some synthesizers while “Sweet & Good” continues the theme of love over an orchestral boom bap instrumental.

Jourden Cox joins Reuben on the soulful “Just 4 Me” talking about God making their soulmates solely for them while “Cup of Love (Fools)” explains his preference of living like a country boy instead of winning awards. “I’m Good” featuring Marco+ links up for 5 & a half minutes assuring everyone concerned of them that they’re doing well while “In My Life” wraps things up with a line referring to my favorite Roy Ayers track “Searching”.

Taking it back to the foundation of Reuben Vincent’s artistry, Welcome Home represents a full-circle moment from the standpoint of 9th Wonder being the person to give him 1st chance in this game & they back to where it all began for them simultaneously elevating their artistic bond. He might’ve lost friends & family to get to where he is presently, but he gained things worth more than living in the process finally seeing the fruits after remaining focused.

Score: 4/5

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7xvethegenius – “Self 7xve 3” review

Buffalo, New York emcee 7xvethegenius making her debut under her Broadband Sound imprint’s new distribution deal with Roc Nation Records for her 3rd album. Emerging off her first 2 EPs The Calm Before & Self 7xve as well as the full-length debut 7xve is Love, it wasn’t until she & Jae Skeese both became the first artists to sign with Conway the Machine’s very own Drumwork Music Group where 7xve got her biggest break yet. She has since preluded Death of Deuce with Thy Will Be Done alongside Self 7xve 2 & most importantly the DJ Green Lantern-produced The Genius Tape, celebrating the 1-year anniversary of her final Drumwork opus this past weekend & looking to close out the Self 7xve trilogy 52 weeks later.

“Stay” produced by Haas Almahdi & S1 was a lush intro talking about having no care or fear & speaking God into her home before sleeping at night whereas “Twin” featuring Sol ChYld works in some pianos from CG confessing they’ve fallen in love again. “Price of Love” carries the keys over except the kicks & snares are replaced with hi-hats talking about paying the price of pain in exchange of affection leading into “You & Me” continuing the romantic subject matter contrasting her doing well & not so much for her partner from what she’s heard.

Haas reunites with 7xve & has Bricks da Mane co-produce my personal favorite of the 2 singles “Pedals” featuring Reuben Vincent questioning whether he truly loves her or not over a jazzy instrumental while the melodically cloudy “911” featuring Lil Sos reflects a relationship where their arguments weren’t ever merely between them. We later get some cool sampling chops on “Windows” talking about her beating the odds that were against her while “Worthy” featuring Flames dot Malik brings back the jazz thanks to Cartune Beatz teaching that it’s not love until you give some.

“Running” featuring Willyynova begins the 4th quarter of Self 7xve 3 talking about themes of escape over an EYEKETYSON instrumental while “Save Yourself” featuring Monie Love rivals the lead single for the best of the 5 collaborations forever going out their way to save themselves. “Survivor’s Remorse” hooks up more pianos to spit what she considers to possibly be the realest shit she’s ever written & “On My Own” ends the LP by talking about standing in the dust once the smoke has cleared.

Every chapter of the Self 7xve trilogy to me has it’s own level of significance when you think of the fact that the inaugural entry came out months prior to 7xvethegenius getting a label deal & the sequel came when she was halfway through her said previous contract. Of course I have to mention the last 2 installments both being extended plays & this being an actual album, marking a new era in her career under Roc Nation recalling true stories of her life with meticulous production in preparation of her & Che Noir’s long-awaited collaborative project a month from now.

Score: 4/5

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