Big Sean – “Better Me Than You” review

Detroit, Michigan rapper & singer/songwriter Big Sean returning after 3 years to release his 7th LP. Coming up as a protege of Chicago icon Kanye West & signing to his Def Jam Recordings imprint G.O.O.D. Music, he generated some buzz in the late 2000s by dropping the Finally Famous mixtape trilogy, but it wouldn’t be until 2011 when his profile significantly increased when Sean dropped a 4th installment as his full-length debut. This was followed up the next year with the highly acclaimed Detroit mixtape & then a sophomore album the year after that entitled Hall of Fame. However, his next 2 full-lengths Dark Sky Paradise & I Decided. were both mediocre in comparison to all those past efforts. Now the last time Big Sean dropped a project was in late 2017 with Double or Nothing which had INCREDIBLE production from Metro Boomin’ top to bottom, but Sean himself was SEVERELY lacking. His G.O.O.D. Music contract was fulfilled with the surprisingly mature Detroit II & the Hit-Boy produced What You Expect? was better, but is coming back addressing some leaks over a month ago brushing off that it’s Better You Than Me.

After the “Pressure” intro, the first song “Iconic” that by BNYX of Working on Dying alongside Hit-Boy, Rogét Chahayed & Tom Levesque of Vanguard Music Group cooked up together starts us off on some trap rock shit flexing his icon status whereas “Typecast” takes the cloudy trap route instrumentally showing off the pimpin’ in his blood feelin’ like Jerry Buss in the arena. “Break the Cycle” featuring Uncle Charlie Wilson of the Gap Band on the hook has a funky boom bap flare that Leon Thomas III provides callin’ out those who believe more than what actually happened, but then “Who You Are (Superstar)” brings a triumphant trap vibe to the table calling his #1.

“Yes” was an mediocre 2-part trap single that FNZ helped put together with an annoying ass hook telling us the way he responds when muhfuckas say no just before “It Is What It Is” featuring Gunna picks things back up from the synth-trap beat from Turbo to the lyrics about how this is only as big as it gets. “Apologize” is a self-produced drumless open letter to Sean’s mentor Ye which isn’t surprising since Kanye talked mad shit about him in that 2021 Drink Champs interview & after the “Clarity” skit, “On Up” has an old school west coast sound that FF for Def Entertainment in-house producer KeY Wane brings to the table dedicated to his son Noah.

Meanwhile on “Something”, we have Syd of The Internet & originally Odd Future joining the Sean Don for a subdued trap/pop rap joint reminding the listeners that we all have our different bullshit that we’re each going through in our lives until Thundercat provides a psychedelic tone for “Black Void” being done with the disrespect. “This n That” featuring Bryson Tiller & Kodak Black ruins a heavenly Hit-Boy instrumental talking about taking psychedelic mushrooms & 1,000,000 Pieces” featuring Larry June likens their lives to a puzzle broken down to so many pieces over a mellowly dusty instrumental.

“Get You Back” featuring Cash Cobain gets into the sexy drill style that the latter sample drill pioneer has become known for in regards to his solo work with the help of WondaGurl talking about ex while “Certified” featuring the late D12 leader Proof’s son Nasaan vibrantly boasts their certifications in the rap game. After the “Focus” skit, “Boundaries” points out that time ain’t running out when it’s really life running its course while “Precision” was a decent trap/chipmunk soul hybrid.

As we approach the final moments of Sean’s first full-length outing since leaving G.O.O.D. Music, the official closer “My Life” finds KAYTRANADA backing Sean with synths & an outro skit “Happiness” that really should’ve been separated into a track of it’s own telling us he had to boss up & the bonus cut “Together Forever” makes me want The Alchemist to do an entire project for Sean in the future whether it be the gospel flip or the Detroit star saving some of the best lyrics for last.

Better Me Than You surges beyond the sentimental to embody something altogether more meaningful regarding the man behind the mic & I respect that he’s at a point in his life where he lets things happen when they’re supposed to happen, yet I didn’t enjoy it as much as Hall of Fame or Detroit or even the sequel & What You Expect?. All 4 of which are my favorites in his discography. Even if some of the production & guests falter, I can’t dismiss the newfound perspective.

Score: 3/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Jae Skeese – “Ground Level” review

This is the 8th mixtape from Buffalo, New York emcee Jae Skeese. Starting in 2010 off his debut mixtape W.A.C.K. (Women, Alcohol, Cash & Kicks), it wasn’t until a decade later where he & 7xvethegenius gained wide exposure as the very first signees to Conway the Machine’s very own Drumwork Music Group. The Big Ghost Ltd.-produced 3rd EP Authenticity Check & the sophomore effort Abolished Uncertainties both elevated Skeese’s popularity in the last couple years. 5 months following the Superior-produced Testament of the Times, he’s looking to elevate from Ground Level.

“Brick After Brick” is a triumphant trap opener produced by Beat Butcha making it clear that he can’t be calm with this shit & the flame cannot be contained whereas “Peter Parker” featuring Malizah gives off a jazzy boom bap vibe thanks to Statik Selektah talking about hitting max potential to reach a higher leverage. “Situated” featuring Big K.R.I.T. & Sauce Walka connects the trio over more trap production so they can put in the work to reach the top of the mountain referencing the inaugural IWGPヘビー級王座, former 12-time WWE world champion, WWE tag team champion, 2-time WWE Hall of Famer & Real American Beer founder Hulk Hogan while “Lost Puppets” hooks up the kicks & snares again reminding that he doesn’t flow a certain way.

Dave East & Jay Worthy join Skeese for the pop rap/trap hybrid “Sara Lee” talking about wanting to hit bitches from behind while “EKIN 4” stands as my favorite in the tetralogy from the rugged instrumental that Ski Beatz & MIKE SUMMERS a.k.a. 7 cook up to the hungry performances. “Ohana Means Family” radiates a summery trap flare telling his partner that she’s where he gets his muscle from as opposed to being his backbone, but then “Glory” keeps it trap talking about repping Buffalo & that Griselda set the expectations.

“Wic Coupons” nears the conclusion of the tape on an atmospheric note making it out of the mud while “E4W” reunites F1RSTCLASS returning to the boom bap allowing the duo to make a dedication to those who came from the ground up. “02 Yale Cup Champs” featuring Che Noir & Smoke DZA sees all 3 of them for a dusty 5 & a half minute barfest while “Fruits of the Labor” featuring Project Pat ends Ground Level on some soulful trap shit from Ill Tone grinding all the time.

If anything, this mixtape is a testament to Jae Skeese’s evolution as an artist blending raw emotion & storytelling with cutting-edge production. Furthermore, he paints an illustration of where he is today & the highs & lows in his journey which would shape & inform the artist chock full of wordplay. As a fan of 4 years, I’m thrilled that he’s taking the next step from coming up out of the basement & building on top of the foundation he’s been building ever since being taken under Conway’s wing.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

BVNGS – “Mary Mack” review

BVNGS is a 32 year old MC from New York City who started out at the end of 2017 off her debut EP Not Available followed up by 7 Dutches & a Sweet Tea, Brown Girls & Bubble Coats, Lula & Only Crying Because I’m Drunk. She then caught the attention of amongst the underground’s most prolific artists in recent memory Flee Lord, who signed BVNGSY to Lord Mobb Music & put out her 6th EP Laquisha in the spring of 2021. Only 4 months later, I had the privilege of meeting her at a Catch 1 show in Los Angeles that Flee was headlining & was impressed by her set. BVNGS herself has since been building up anticipation for her upcoming full-length debut studio album by releasing 4 singles & after 3 years, the moment has arrived.

After the “Channel 7” intro, the first song “‘91 Varsity” is this psychedelic trap opener referring to herself as a boss & a shooter whereas “Jester” has an uncanny boom bap quality to the beat from EYEKETYSON getting in her hardcore bag lyrically. “Stick Up” strips the drums completely promising nobody out there wants to go to war with her & after the interlude, “Get Yo Chain” mellowly taunts those she stole their ice from to come take it back from her.

“Saw” takes the laidback route instrumentally calling out all the pussies in the game while the title tracks works the kicks & snares back into the picture knowing one’s life is a lie if they’re able to survive or not. “Nights Like This” featuring AC Gudda nears the conclusion of Mary Mack going drumless warning that you’re gonna need security around them & “God Saves” officially rounds out the LP keeping the drums out showing a personal side to her.

She has quickly become one of my favorites Lord Mobb signings after being introduced to her a few years ago, but everything from the 6 EPs that BVNGS has already established herself through to Flee signing her to his label & the singles we’ve gotten from her since have all lead to this very moment & you’re certainly gonna hear more from her hereon out. The production pulls from boom bap, trap & drumless & the Big Apple much like LaQuisha further reveals herself as a threat in the underground.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Megan Thee Stallion – “Megan” review

Houston, Texas rapper, songwriter & actress Megan Thee Stallion returning after 2 years for her 3rd album & Roc Nation Records debut. Rising to prominence in the spring of 2019 with the release of her debut mixtape Fever, I myself was very impressed with how it displayed Megan’s knack for catchy songwriting, dirty south/Memphis inspired production & a unique personality. Her popularity began to rapidly increase off her 3rd EP Suga & the full-length debut Good News, but Something for thee Hotties was a bit underwhelming in my opinion. Traumazine ended up being a decent sophomore effort with more highs & lows, so I expected Megan to be more personal given the title.

“Hiss” was a single that eventually grew on me heading for a hardcore Memphis trap direction tackling various aspects of her life up until this very moment whereas “Rattle” taking the eerie trap route to discuss having too many haters. “Figueroa” brings the scary vibes to the table dabbling with Detroit trap referring to herself as a Brat as opposed to a Barbie a.k.a. Nicki Minaj whose Megan diss “Big Foot” might be the worst diss track ever made, but then “Where Them Girls At?” moves on from there with a thunderous Hot Girl anthem.

Tay Keith cooks up one of my favorite beats throughout the album on the standout “Broke His Heart” vibrantly talking about making her ex Pardison Fontaine trick leading into “B.A.S. (Both Ain’t Shit)” featuring Kyle Rich produced by Lil Ju & Megan herself turns into cloudy trap territory painting a couple that both really ain’t shit since they lie to each other. “Otaku Hot Girl” playfully & wittingly shows her love for anime & Japan altogether just before “Find Out” has a rubbery tone instrumentally thanks to 30 Roc talking about her lil’ whoopty-woo.

“BOA” fuses trap, hardcore hip hop, pop rap, dirty south & electropop to show her boldness & assertiveness while “Mamushi” featuring Yuki Chiba on the standard version or TWICE on the remix works in pianos & hi-hats so both of them can declare themselves as the stars they are. “Accent” featuring GloRilla has this aquatic trap flare to the beat describing how thick they are while “Paper Together” featuring the greatest Houston duo of all-time UGK is a historic crossover representing different generations of the city.

Victoria Monét appears for the hook on the pop rap/trap hybrid “Spin” talking about putting that ass in a trance like you even have a chance to begin with while “Down Stairs DJ” hooks up a whistling sample & hi-hats thanks to Honorable C.N.O.T.E. telling everyone that she essentially loves her pussy. “Miami Blue” featuring Big K.R.I.T. has a grimier trap approach provided by Buddah Bless pointing out there must be something in the water & the pop rock/rap abomination “Worthy” could be the worst offender here despite the lyrics about being precious.

“Moody Girl” nears the conclusion of Megan picking things back up with a banger that Juicy J cooked up behind the boards leaving me fiending for the Three 6 Mafia co-founder to produce a whole project for her at some point since they’ve been bringing the best outta each other for 5 years now as further exemplified from the calming trap instrumental to the aptly moody lyricism Megan displays that is until “Cobra” closes her Roc Nation debut blending trap, rap rock, conscious subject matter & dirty south excellently.

Starting the deluxe run, “Bigger in Texas” hops over this dirty south beat paying homage to her home state while the bloodcurdling “Bourbon” fiercely addresses every hater of her’s who stay watching everything she does out here. Buddah Bless shakes it up with the playfully fun “#1 Rule” with Megan speaking to all the people who forget exactly who she is while “Roc Steady” featuring Flo Milli samples “Goodies” by Ciara & Petey Pablo so both of them can lock in for this exciting back-to-back delivery.

“Best Friend” continues with this decent trap joint cooked up by Nico Baran of Internet Money Records about forming a mixed tag team similarly to The Terror Twins while “Right Now” declares herself the baddest out with this dark Tay Keith & FNZ instrumental backing her, to which I agree with on a mainstream level. “TYG” featuring Spiritbox takes an ugly jab at trap metal that I find disappointing when you look at the gangsta-themed lyrics while “Motion” talks about bitches being sick of her & real quickly wanted to point out that I’ve been a fan Drumma Boy, but he went harder than he should’ve behind the boards on this one.

The boom bap direction “Fell in Love” takes might come as a shock to those who don’t keep with Megan addressing her current relationship with Chicago Bulls player Torrey Craig while “He Think I Love Him” & “Like a Freak” move on from there freestyling over “I Think I Love Her” by Gucci Mane & “Like a G6” by the Far East Movement respectively. Our final bonus track “Neva Play” featuring RM is now the current theme song as of me writing this doe the Endeavor-owned TKO Group Holdings division’s WWE Friday Night SmackDown program after moving from FOX back to the USA Network.

For years I’ve been telling people that Megan is the finest female lyricist in the mainstream (Rapsody’s kinda in the middle between mainstream & underground for me) & now that JAY-Z got her out of her 1501 Certified Entertainment/300 Entertainment deal, the future is certainly looking bright for the Hot Girl Queen since it could very well be better than her first couple LPs. It’s more personal & seems like she’s less restricted as far as creative freedom goes.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Rapsody – “Please Don’t Cry” review

This is the long-awaited & highly anticipated 4th full-length studio LP from Raleigh-Durham, North Carolina emcee Rapsody. Rising to prominence last decade with a handful of mixtapes & EPs, he 2012 debut album The Idea of Beautiful continued to show her potential until the Roc Nation Records backed Laila’s Wisdom in 2017 truly refined her style & sound almost perfectly. 2 years later, she signed to Def Jam Recordings releasing EVE to similar acclaim, but is returning after 5 long years with Please Don’t Cry.

After the “She’s Expecting You” intro, the first song “Marlanna” produced by Sndtrak mixes boom bap & trap together so she can remind everyone exactly who she is whereas “Asteroids” takes a luxurious route instrumentally thanks to Hit-Boy hurling back at everyone that threw rocks at her. “Look What You’ve Done” brings an angelic vibe to the beat giving you what you need & that you can chase the bag just before “DND (It’s Not Personal)” funkily talks having one of those days of being left alone.

“Black Popstar” puts a bigger emphasis on the trap sound charismatically boasting on the lyrical tip leading into Eric G. giving “Stand Tall” some jazzy undertones refusing to let anyone trigger her & being true to bounce back on the days that she eventually does. “That One Time” talks about learning to be okay with your imperfections over some woodwinds & that life is a process every single one of us goes through, but then “3:AM” addresses a lover who makes her feel like a new person on top of S1 & Lonestarrmuzik drawing inspiration from neo-soul behind the boards together.

Meanwhile on “Loose Rocks”, we have Rapsody over a cloudier instrumental asking where her future lies if she doesn’t know the truth already by now prior to the S1 & Wu10 guitar-laced “Diary of a Mad Bitch” portrays an angrier side to as she takes this time to call out an ex who doesn’t deserve her. “Never Enough” featuring Keznamdi brings the pair together over a reggae/trap fusion talking about how everyone has wants & needs as well as being unable to find peace in Babylon while “He Shot Me” returning to the boom bap interpolating “I Shot the Sheriff” by Bob Marley during the hook tackling racially charged gun violence.

“God’s Light” marks a groovier turn within the instrumental talking about forever shining in the eternal light of the High Power himself while “Back in My Bag” hooks up these prominent horns & hi-hats so she can passionately getting back in her zone as if she never took a few years off to begin with. After the Niko Brim interlude showcasing his talents for a whole minute laying a verse on top of a classy beat, “Raw” featuring Lil Wayne fresh off performing for former 10-time WWE tag team champion Jey Uso’s entrance at WrestleMania XL last month against his former 9-time WWE tag team champion brother Jimmy unites both MCs over kicks & snares flexing their lyrical prowesses while “Lonely Woman” psychedelically encourages lonely women to love themselves.

Baby Tate joins Rapsody on “A Ballad for the Homegirls” smoothly talking about becoming more & more like their mothers the older they become & after the titular interlude, “Faith” nears the conclusion of Please Don’t Cry telling everyone to maintain their faith over pianos & a chipmunk soulful hook that is until the closer “Forget Me Not” officially closes up shop by fittingly talking about not wanting to say goodbye & acknowledging that we love too deep to really ever be at peace with the ones that have passed despite the world being so bad.

Rapsody much like Sa-Roc has always been one of the very first people who come to mind when I hear out-of-touch heads bitching & moaning over women in hip hop this day in age severely lacking & Please Don’t Cry proves my point yet again. We get an artist who’s unafraid to draw on lifelong influences to find their true voice & pulling back the curtain on who she is off-stage as a person. She even reconciles with the past to empower her future, exploring the depth of her technical dexterity with more vulnerability than she has been previously.

Score: 4.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Duckman – “Black Soprano Eskimo” review

Anchorage, Alaska rapper Duckman releasing his debut mixtape through Black Soprano Family Records after making a name for himself in the Alaskan hip hop scene by putting out the full-length debut A Bag Boy Story: Welcome to the East in the summer of 2016 followed by the sophomore effort A Bag Boy Story II: Back to da East only 11 months later & his 3rd album The Slim Show the Christmas after that. He would subsequently put out 3 more LPs in The Adventures of Quack Poppa, Off the Grid & Off the Grid 2 until signing to B$F at the beginning of 2024 & is coming off of B.A.R.S. Murre’s comeback effort Jewelry Store Shootouts by introducing himself as the Black Soprano Eskimo.

The intro gets us started with a symphonic trap instrumental tellin’ those who’ve never been to Alaska not experiencing 20 hours of darkness & that he isn’t your average $1M person whereas “Ghetto Gospel” featuring Elcamino works in a ghostly sample mixed with hi-hats to talk about being on the brinks of being heirs to the throne. “Karma” takes the soulful trap route instrumentally talking about trying to get some paper out it leading into “Cost to Be the Boss” vibrantly getting boastful.

“I Did” has a bit of a Detroit trap flare to it admitting that he isn’t proud of a lot of the shit he’s done although he was standing on business just before the tape’s sole single “M.C.M. (Money Counter Music)” featuring Skilla Baby is a decent ode to counting your bread. “Cullinan” featuring Sauce Walka continues the soul sampling talks about losing it all only to get it right back while the cloudy trap fusion “Vlad TV” featuring Bonni Drip continues to run it up advising to stay out of the mix.

Fuego Base & Heem both join the Duckman for the penultimate track “High Noon” goes head-on boom bap telling a true story of violence & brutality revolving around the true Sopranos, but then “Locked” featuring Benny the Butcher & Rowdy Rebel properly concludes Black Soprano Eskimo with the trio over this exuberant Brooklyn drill beat talking about knowing people who eventually landed behind bars for making that dope money with the Butcher’s verse during the middle being my favorite amongst the 2 guests.

Quite probably the most exciting artist that I’ve ever heard out of the Alaskan hip hop scene has to be Duckman by far & his official B$F debut here takes himself to a higher level as an artist. Black Soprano Eskimo has a bit of a prominent trap sound to it with additional elements of Detroit trap, Brooklyn drill & a hint of boom bap discussing where he is now as well as his life involved in the biggest cocaine bust in Alaska history.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Reuben Vincent – “General Admission” review

This is the 2nd EP from Charlotte, North Carolina emcee Reuben Vincent. Emerging under the original moniker Esau, his debut mixtape 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 a year & a half ago continuing to elevate his popularity. But starting the 2nd quarter of 2024, he’s following it up with General Admission.

“Troops” is a dizzying trap opener talking about the block boilin’ whereas the hypnotic “Big Bank” likening his pockets being deeper than Toni Braxton feelin’ like Mike Jones simultaneously. “Fufu” brings a more playful trap vibe instrumentally to tell everyone business is business, but then “32 Flavors” hooks up a sample & hi-hats talking about his closer coming in 32 different flavors & the crew like the 36 Chambers a.k.a. the almighty Wu-Tang Clan.

Beginning the encore of the EP, the lead single “Grand Cherry” goes for a luxurious atmosphere likening the taste of revenge to exactly that although I respectfully prefer the original version over the remix featuring Chris Patrick & SWAVAY that follows “Jump” featuring Southfield, Michigan’s very own Malaya properly concluding General Admission fusing pop rap with trap & R&B talking about bringing some change if you tell ’em what you goin’ through.

It makes me happy to see Reuben getting more love as of lately & this EP much like the last album continues to find himself continually evolving from an artistic standpoint. He’s at his most introspective balancing the wordplay, awareness & bravado you have come to expect from him exploring generational trauma & triumph, self-identity, success, struggle & growth all over a gumbo palette of soulful, southern & tribal sounds.

Score: 3.5/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Chyna Streetz – “From Hell to Chanel” review

This is the full-length debut album from Brooklyn emcee Chyna Streetz. Starting in the spring of 2018 off her debut EP Weird Girl Antics, she followed this up with 2 more EPs in the form of both Hourglass & more recently Visions respectively. That said: I knew that From Hell to Chanel had to be the next artistic evolution for Chyna compared to those early EPs. Especially considering the fact that SmokerMs Club Records in-house producer 183rd did the whole entire thing top to bottom.

“Chanel Boy” starts by mixing a flute with kicks & snares exclaiming that we done let the right one in whereas “Emerald City” goes for a cloudier atmosphere talking about those moving sloppily even when they’re the ones who be rolling the dice. “Sirens Lullaby” goes straight g-funk reminding everyone that’s listening of the fact she’s been had motion leading into Rome Streetz joining his wife Chyna on “Matrimony” richly talking about it still being hard to believe they found the plug.

Continuing from there, “Bernadine’s Rage” gives off a soulful boom bap vibe declaring herself to be a goddess just before “Dark Night of Soul” passionately looks to make the moment count for a minute straight & the beat enhances the ambitious mood quite a bit. “Entitled” has this crooning sample encouraging y’all to make your next move the best one, but then “888” hops over some strings as well as kicks & snares talking about being born to shine.

“One of One” goes into spacious boom bap turf breaking down her uniqueness while “Right Back” featuring Ox Omni blends kicks & snares with a climactic orchestral flip talking about sending shots right back where they came from. “Judas Kiss” concludes the LP by admitting she’ll never know if it was all worth it & that even know a few have done their names dirty, the roses are still growing.

The trilogy of EPs we’ve gotten from Chyna throughout the last 6 years have each shown artistic progression in her & From Hell to Chanel brings it full circle to the point where I could argue that it’s her most consistent body of work to date in my personal opinion. She’s grown as a songwriter & 183rd’s production is significantly more fluent than her previous material.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Rome Streetz – “Noise Kandy 5” review

This is the 8th mixtape from New York lyricist Rome Streetz. Emerging in 2016 off his debut mixtape I Been Thru Mad Shit, this was followed up by a plethora of projects with the most notable being the Noise Kandy tetralogy & Headcrack. These past couple years however we’re probably his biggest ones yet, as he dropped some of the best work of his career from the DJ Muggs-produced Death & the Magician or the Futurewave-produced Razor’s Edgeto the Ransom-assisted collab effort Coup de Grâce& the Griselda Records deal that followed. His debut with the Buffalo powerhouse Kiss the Ring came in at the #9 spot on my Best Albums of 2022 list & coming off the Big Ghost Ltd.-produced Wasn’t Built in a Day, Rome’s now looking to close out the Noise Kandy series.

“2nd Seizure” starts the finale with a haunting loop boasting that no one’s as slick as him whereas “Hell Backwards” goes into cavernous boom bap territory thanks to Wavy da Ghawd talking about having fire in his eye & the pistol right by him. “Clutchin’” goes for an eerier atmosphere keeping the kicks & snares in tact making it known his lifestyle still illegal, but then “Stunna” featuring Boldy James & Double D finds the trio over a groovy Denny LaFlare beat talking about only recognizing dollar signs.

Meanwhile, “Chrome Magnum” flexed that he’s still eating dinner off the same plate he was bagging over an uncanny Conductor Williams instrumental just before the sample-based “Go Raw” produced by Sovren talks about being a born leader until the death of him. “Accurate” featuring Curren$y returns to the boom bap accompanied by Evidence behind the boards discussing their lives as they know it leading into “Fire At Ya Idle Mind” featuring Joey Bada$$ proves they have no time for lack of progress or engagement backed by more dusty production.

“Pocket Full of Beans” dives into trap turf a bit this time around talking his shit kicking up his flow a bit while Sadhugold brings a drumless, jazzy vibe to “Black Magic” seeking to do motherfuckers as if he never even knew them from the start. “Shake & Bake” continues to pull inspiration from jazz music instrumentally talking about being on the road to gold all gas no brakes while the symphonic “Fastactionvenom” featuring Rigz as they shine the brightest in the dark. The keyboard-driven penultimate track “Heart Break Hotel” talking about selling hoes Molly out the metaphorical location & “Procall” rounds out the Noise Kandy saga by hoping over a shimmery boom bap beat justifiably declaring that the product is potent & popular.

The Noise Kandy series contains amongst Rome’s most prolific cuts like “Hot Pistol Heart Frozen” or “World in My Palm” & “My Destiny”, so it makes sense for him to round out the iconic mixtape series much like Westside Gunn did on Hitler Wears Hermes X last fall. Couldn’t have ended it better. Futurewave’s engineering is remarkable, Rome’s articulate pen-game never fails & almost all the guests match his caliber.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!

Lørd Skø – “United Palace” review

This is the sophomore full-length LP from New York up-&-comer Lørd Skø. Getting his start in the fall of 2020 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 last summer when he put out his debut album Museum. Now that fall started a week ago, Skø’s looking to take everyone through the United Palace.

“Headcrack” is a triumphant opener cautioning to cut the attitude since he’s been the man in his section whereas “Kush & OJ” takes a jazzier approach thanks to Graymatter admitting that he’s been falling back in his old ways as of late. “Yellow Tape” works in some kicks, snares & a whimsical loop wanting his flowers by the time the sun rises in the morning just before the horn-inflicted “Riddles in the Sand” talks about catching him at east 80 degrees next destination.

Da$h joins Skø on the drumless “St. Nicholas” getting in their hardcore bag lyrically leading into the soulful “Finder’s Fee” talking about defying the odds & being able to do the impossible not once but twice. “Enterprise” continues to chop up some soul samples comparing his raps to that of watching the greatest quarterback of all-time & 7-time Super Bowl champion Tom Brady playing, but then “Mescaline Leaves” featuring Meyhem Lauren finds the 2 over more dusty boom bap production from Statik Selektah making reference to former former 2-time ECW World Heavyweight Champion, FTW Champion, ECW World Television Champion, 3 time ECW World Tag Team Champion, JCW World Juggalo Heavyweight Champion, NWA World’s Heavyweight Champion, IWGPジュニアヘビー級王座 & the longest reigning XPW World Heavyweight Champion Sabu.

“James Worthy Goggles” has a heavy woodwind groove to it referencing former 14-time WWE world champion, WWE Hall of Famer, 5-time WWE Intercontinental Champion, 3-time WWE tag team champion & the Endeavor-owned TKO Group Holdings division’s CCO Triple H while “500” makes a 180° from the trap beat to the flow-change so he can swerve a hoe who wanted to fuck & get paid. “Malice at the Palace” has a funk/boom bap quality to it telling y’all to catch him with a bitch that looks like Richard Pryor’s wife while “G.W.B. (Good Weed Burning) featuring Wiseboy Jeremy sees the duo jumping on top of a classy instrumental talking about actually smiling the next time they snatch chains.

The song “Firestarter” featuring LIFEOFTHOM returns to a soulful-inspired direction talking about being harder than arsenic & setting fire to their dreams before starting them but after the Kurious interlude, “Pimp Socks” closes out Skø’s sophomore effort on a bluesy boom bap note saying that he doesn’t even feel like these are the golden years of his career which is true considering the insane potential Museum showed & how much he’s grown in the last year.

With that being said: United Palace continues to elevate Lørd Skø to prominence within the underground because this album right here is stronger than the one he introduced us with the previous summer. Even though the feature list is more consistent, he most importantly delivers a thorough expression of classic & modern New York culture all from his perspective. Between this & Museum, it’s only the beginning.

Score: 4/5

Keep up with @legendswill_never_die on Instagram & @LegendsllLiveOn on Twitter for the best music reviews weekly!