ssgkobe – “HORCRUX” review

Lafayette, Louisiana rapper ssgkobe releasing his 2nd mixtape ahead of the upcoming full-length debut U4. Emerging out of the SoundCloud scene just a few years back, it wasn’t until earlier last spring when he was featured on a bonus track off of BROCKHAMPTON’s ROADRUNNER: NEW LIGHT, NEW MACHINEwhere I was introduced to him. His major label debut albeit 12th EP overall KO. that came out a couple months later wasn’t the best place to start diving into his discography at all, but I was genuinely intrigued by Night Before once I started listening to his earlier work. RELAPSED showed some improvements as did the prequel to U4, so I was interested in hearing the direction HORCRUX was going to take.

After the heavenly “INTRODUCTION”, the first song “KEEPIN’ IT REAL” begins the tape by cooking up a lo-fi trap instrumental flexing that his crew stay giving no fucks whereas “FUKITWATCH” gives off more of a psychedelic approach telling all broke motherfuckers to get their own businesses. “WHAT CAN I SAY” asking for some more lean being going off 3 styrofoam cups of it over an airy beat with hi-hats just before the cloudy “COWARD” talks about those sneak-dissing frontin’ in regards to that life.

“ONLY TIME” hooks up these bare piano chords so ssgkobe addressing someone who doesn’t have to lie to him & try to keep fuckin’ with him while “THROUGH MY MIND” featuring Kaash Paige cavernously talks about the evil thoughts that often pop in both of their heads. “ELLA” actually goes for a rock vibe kinda looking to jump right in & possibly see the Eiffel Tower leading into the warm, melodic “URTHEONE” dedicated to that special woman in his life.

Moving forward with the 2nd half of the tape, “WHEN I TURN” brings in the rage beats boasting that he’s cutting up a check while “C” continues to expand the hypertrap influences breaking down the lifestyle that he’s living catching bodies & dealing with bitches who think they be running game. “1227” talks about having shit to prove over a Godzilla-like instrumental while the cloudy, bombastic “13 GATES” dissing those who think he can’t do what they can do.

“FRIGHT” begins the final moments of HORCRUX by continuing to induce the rage looking to pull up on his opposition in order to leave them all intimidated & “WEHADMET” closes up shop with 1 final psychedelically, melodic joint running at nearly 2 & a half minutes talking about making the relationship with his current partner work.

Admittedly, Willows was an underwhelming note to leave off on last summer & HORCRUX happens to be a good step on the right direction for ssgkobe since it’s a better way for him to hold off his audience until he decides it’s time for the debut album. The elements of rage, pop rap & trap from some of his latest material in recent years make their way back over here flowing solidly as I hope U4 will help him come fully into his own.

Score: 3.5/5

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Yeat – “2093” review

Portland rapper Yeat continuing his tradition of releasing music in February with the 4th full-length LP in his discography. Coming up in 2018 off his debut EP Deep Blue $trips, he would followed up with 2 mixtapes & 3 more EPs before beginning to dominate the mainstream in 2021 whether it be him dropping a total of 4 projects (2 mixtapes, an EP & a full-length debut) or cosigns from the likes of Drake & Earl Sweatshirt. He eventually signed to Geffen Records, who backed his sophomore effort albeit major label debut 2 Alivë a little over a year ago & then a deluxe EP Gëek Pack shortly after. But coming off “Rich Minion”& his 5th mixtape Lyfë couple summers ago alongside Aftërlyfe, we’re now being taken into the future on 2093.

“Psycho CEO” really gives everyone a look at what they’re getting themselves into with this industrial boom bap/trap crossover pushing up on the beat like a knife whereas “Power Trip” with co-production from Tom Levesque of Vanguard Music Group admits to possibly doing things that he never did before over some synthesizers up until the switch-up during the last minute in a half or so. “Breathe” literally samples Regular Show flexing that he made a billion bored on the jet prior to the dense “Morë” produced by Bugz Ronin & Internet Money Records in-house producer Synthetic confessing he loves losing control & needs a lot of shit.

The drums are completely removed on “Bought the Earth” going synthwave delving into themes of power & self-interest just before “Nothing Changë” blends these synths & hi-hats together talking about wanting too feel real referencing SpaceX founded by Tesla CEO, Neuralink founder & Twitter owner Elon Musk. “U Should Know” kinda gives off a rage inducing vibe likening himself to a fiend that likes to make money & doing things that you never should, but then the electro-industrial “Lyfestylë” featuring Lil Wayne discusses not being surprised by living this life.

“ILUV” entrancingly talks about seeing the future & coming back on top of loving it when his partner stays with him so they can rage together over a hypnotizing Rio Leyva beat while “Tell Më” talks about being born to live forever over kicks, snares & synthesizers. “Shade” continues to pull from electro-industrial thanks to Keyon Christ tackling the concepts of defiance, self-assurance & personal reflection while the distorted “Keep Pushin’” talks about defiance

Moving forward, “Riot & Set It Off” is this captivatingly dynamic 2-parter to start the 2nd half of the album refusing to conform & initiating action while “Team CEO” sonically builds itself around multiple synths from Outtatown acknowledging they might not get it at first. The title track breaks down the futuristic lifestyle he lives as the EBM influences make their way back into the fold while “Stand on It” featuring Future returns to Yeat’s hypertrap roots showing their swagger.

“Familia” reflects on wealth, power & loyalty within his inner circle over this mind-altering instrumental from BNYX of Working on Dying while the self-produced “Mr. Inbetweenit” declares that to be a new nickname for himself “because everything I said about that shit, I didn’t mean it” over synthesizers once more. “Psychocainë” hops on top of this booming trap beat while the raging “Run Thëy Mouth” tells y’all that “when you level up, you get that money like it’s Follywood”.

Continuing the encore of the LP, the penultimate track “If We Being Rëal” gives off a mysteriously dreamier atmosphere talking about taking shit to a new level on top of simultaneously feeling isolated & detached until the soothingly produced closer “1093” talking about not being from this Earth as well as being unable to stay although he wishes that he could. The first of currently 6 bonus cuts “As We Speak” featuring Drake experiments with pop rap, regalia & wave music to show off their luxurious lifestyles beginning Phase 2 & the rock/trap crossover “Never Quit” subsequently ends it by talking about refusing to walk away.

“Timë Passed” begins Phase 3 with a sequel to “Sidëwayz” tackling his continued success over a plugg instrumental that marks the return of the bells from some of his previous material also contained & the industrial/rage elements clashing on “Oh My Pockëts” are pretty fun telling y’all straight up he doesn’t & doesn’t want to know shit about those he refuses to let in his circle. “SKLUB” admits to havin’ problems with these demons & being amazed that no one has caught on except the synth-horn trap beat reminds me a bit of Pi’erre Bourne, but the 6th & so far final bonus track “H.A.B. (High As a Bitch)” ends Phase 3 in the form of a hypertrap anthem dedicated to being high as fuck.

It’s always exciting when an artist goes right when everyone expects them to go left & that’s pretty much what Yeat does throughout 2093. It’s noticeably more experimental than his previous material switching rage from a primary to secondary influence next to trap, electro-industrial, synthwave, EBM, pop rap & wave music predominantly showcasing an industrial hip hop sound painting an image of what life will be like 69 years from now.

Score: 4/5

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Summrs – “What We Didn’t Have” review

This is the 9th full-length album from Lafayette, Louisiana recording artist Summrs. Starting out as a member of the Goonie-founded SlayWorld collective, his presence has been known predominantly in the plugg scene by constantly dropping projects whether it be his last EP What We Have or even the Fallen Raven LP, both of which I highly recommend listening to if you wanna get into his music. But coming fresh off his last couple albums Stuck in My Ways & Ghost from earlier this year, Rino’s looking to bring back the plugg elements that Ghost lacked on the official What We Have sequel What We Didn’t Have.

“Overdosing on Toxicity” sets the tone of what’s to come by telling his lover to save him & that he’s been feeling crazy over some pianos, synths & hi-hats whereas “The Healing” gives off a bouncier flare instrumentally talks about curing his soul. “Rehab” works in more synthesizers & hi-hats from Goyxrd making it clear that we all know Summrs is the MVP leading into “Feel Dumb” takes the psychedelic route a bit confessing that he’s sick of everyone showing him fake love or those who be making up their lives.

Meanwhile, “International” shows off Louiveedee’s new btich who just so happens to be nasty behind closed doors over some icy synths & hi-hats prior to the 2-parter “Playin with a Demon / Jokes on U” reminding the hoe who’s been cheating him exactly who she’s fucking with starting off playfully prior to a shimmery switch-up. “The Talk” addresses some bird business & being as dark hearted as he is backed by an atmospheric beat, but then “Xanax / Burnt Memories” talks about deserving my flowers today as opposed to when he’s no longer here to smell them over some synths & hi-hats with a bassy instrumental switch.

“Til Death Do Us Part” gives off a bit of an intergalactic atmosphere to it calling out a bitch for trying to get in the middle of his money & that she knows damn well of Rino being a player while “If Ya Wanted 2 Know” weaves these wavy synthesizers into the fold opening up about us being the reason that he goes. “Top Off” starts off by pulling up stuntin’ over a peppy instrumentally while “House Arrest” later admits that he can’t have his pole with him since he got an electronic ankle tag on him taking it back to the pluggnb sound.

“Auntie Cat” keeps the synths & hi-hats in tact paying homage to his late aunt of the same name knowing that his grandmother’s fucked up over her passing trying to get her back while the Asian rock-infused “How Dare You” talks about not dying from drank. “Martin & Gina” featuring Autumn! finds them comparing themselves & their Glocks with a switch to that of the titular couple from one of the greatest sitcoms of all-time going straight plugg while “Chasing Your High” featuring Desire encourages their lovers to stay the night since they makes theml feel right.

“It’s Nothing” marks the beginning of the end for the best album of the 3 that Rino has dropped this year declaring that he & his crew keep them Draco’s out without fucking around over a booming yet futuristic beat, but the “Spiritual” outro really wraps everything up by by drawing from regalia clarifying that he still goin’ through pain cause we were with him through everything.

What We Have is the best EP in Summrs catalog, so I went into What We Don’t Have expecting it to be his finest full-length LP surpassing Fallen Raven & that’s pretty much what we got here. The pluggnb production is more consistent than his last couple albums we’re truthfully & you can really hear the pain that he’s experienced in his voice delivering the most personal subject matter of his career.

Score: 4/5

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Izaya Tiji – “Alexandria” review

This is the sophomore LP from Ohio recording artist & producer Izaya Tiji. Emerging as a founding member of the Slayworld colllective, he would go on to build an extensive solo catalog for himself standing at a full-length debut alongside his last 22 EPs & 3 mixtapes. My personal favorite being his last previous tape Know Nothing Else 2 over 2 years ago at this point. But coming off Before Alexandria couple months ago, Izaya’s finally delivering the main course.

“Envy” is an atmospheric trap opener targeted towards those who’ve become jealous of how far Izaya’s come in his career up to this point whereas “Face Shot” takes the cloudier route boasting that he has the flash on without any cameras around the premises. “I Eat Humans” works in a shimmery backdrop & hi-hats discussing that he got Jew ties as well as giving a finger to the facists, by then “Rockt” gives off a more psychedelic trap edge this time around firing back at those who said he flopped.

Meanwhile, “Elysium” produced by SOULJASPIRITS dives back into trillwave turf talking about his own blissful heaven leading into the moody trap cut “Shy” discussing the whole concept of shyness altogether. “Can’t Stop 3” with thr6x moves forward with a triumphant tribute to the late Takeoff of the Migos who was gunned down the day after Halloween last fall just before “Cold Nights” gives off a ghostly feeling insteumentally tackling the metaphor for the feeling of isolation & detachment from others.

“Fritos” compares his white Molly to that of a hot tub & having old money sitting at the bottom of my bag looking like the titular snack over an airy trap beat while the dreamily produced “Hiccup” talking about people knowing he’s here for the big bucks & having to put back someone who got out for being too wild. “My Twins” hooks up these piano chords & hi-hats addressing an adversary he doesn’t see eye to with no more while “Simba” is a bell-infused trap cut talking about feeling like the titular Disney character.

Moving on from there, “At Last” brings back the keys & hi-hats once more saying at least he has his family with him even though he needs to kick the habit of substance abuse while the luxurious trap flavored “Empty” talking about being possessed by the money. To start the 2nd leg of the album, “Smushed” featuring YSK finds the pair teaming up over a delicate loop & hi-hats flexing that they so hard that they made their cities fly while “Infinite” gives off a more energizing vibe instrumentally talking about how they gon’ take you down.

“Got That” goes into glossier territory with the trap beat telling his homie not to talk back since he ain’t his bitch while the ghostly “Ain’t Faint of Heart” vents about a woman that wound up breaking his heart. “Vacant Trap” keeps it trillwave by pointing out an empty trap house that he just so happened to come across by while “Mac & Cheese” whips up a peaceful trap instrumental boasting that he got the check & letting these little motherfuckers continue to run their mouths for entertainment purposes.

Reaching the end of the 3rd leg of the album, “Cauterized” acknowledges that he can hook people up with a 4 piece & that he’s rolling up in a donkey over a spacious backdrop & hi-hats while “Butterfly” starts the 4th & final leg on a pillowy note talking about having to grow up on top of showing off the kind of doors that he has on his new whip. “Blackouts” admits that he’s lost some people & going haywire as of late backed by more spacey trap production while “Big Hat (Eye for an Eye)” hops on top of a subtle beat talking about not to worry since he knows the way.

“Half” has these cool electronic undertones throughout pointing out that every single thing he got ain’t recently ain’t all for him yet he ain’t dividing it all in an even portion while “Space from Reality” talks about people pushing down as if it’s the UFC, whose parent entity Zuffa was merged with the WWE to form TKO Group Holdings a few days ago after Vince McMahon’s sale of the historic septuagenarian professional wrestling promotion to Endeavor was finalized over a euphoric instrumental. The atmospheric penultimate track “That’s My Dawg” is a straight-up dedication to the people in his life whose backs he’ll always have & “Call of Duty” closes the album by hopping out with the sticks with a beat that gives off a godly aura.

The prelude that we got back in July ended up being one of Izaya’s best EPs in a while, so that alone was enough to increase the anticipation I already had for Alexandria & it’s quite truthfully on the same caliber if not better than his previous album 2020 only less than 2 months before COVID shut the whole world down. Tad bit too long, but he expands on the cloudy plugg/pluggnb trap sound that made a name for himself as well as sounding impressively focused & even improving his flows a bit.

Score: 4/5

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Autumn! – “Midnight Club” review

This is the 4th full-length album from Louisiana rapper, singer/songwriter & producer Autumn!. Emerging off of 16 EPs & a full-length debut on SoundCloud since 2018 prior to signing to Victor Victor Worldwide & Republic Records right following the Not Much Left EP, he made his major label debut last spring with his sophomore album Antagonist! as well as following it up with ##B4GC2 & Golden Child 2. However, he’s coming off ##B4GC3 & of course Golden Child 3 by dropping Midnight Club holding fans off until a sequel down the road.

“2 Chrome Necklaces!” is a wavy trap opener discussing his lifestyle & essentially serving as a peace offering to Yeat after they’ve been beefing for the past couple years whereas “Cocaine Diamonds!”takes a more euphoric route instrumentally talking about disappearing & reappearing like David Blaine. “She Say He Say!” however comes through with a trippy loop & hi-hats making it known who the flyest & realest couple in the game is, but then “Black Truck Greeters!” goes on to drop braggadocio over some punky drums & auto-tuned vocals.

To start the 2nd leg of the album, “Some of My!” works in some hi-hats & a shredding guitar riff getting in depth about a few of the bitches he’s had in his life that is until “Just Like Me!” details how the main woman in Wick’s life is similar to him in many ways with some cool rage undertones. “Abloh!” is the long-awaited tribute track to the iconic Off-White founder, Louis Vuitton artistic director & DONDA creative director Virgil Abloh going into more piano-driven turf leading into the atmospheric “Faith!” exploring how Twinuzis’ girl wants him to put his actual faith in her.

“Biggest Flaw!” gives off a syrupy, mellow flare finding out what’s going on in this woman’s head just before the poppy, cloudy “Chanelly & Birkin!”confessed that he’s found the perfect one for him. “4GSeller!” delving more into his lifestyle paying homage to the clothing store in New York until “Survive the Fall!” fuses elements of trap & rock to close out the album by declaring this his last call & having thoughts of suicide.

Golden Child 3 was a great conclusion to the trilogy that introduced me to Autumn! in the first place & the best full-length LP in his catalog yet. However, Midnight Club is right behind it without question. Wick’s ever-so stunning production is gradually evolving more & not only is is songwriting catchy, but so are his catchy vocal performances as he takes us through the way he lives. Twinuzis really went back-to-back in 2023 in only 5 months.

Score: 3.5/5

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Summrs – “Ghost” review

Summrs is a 23 year old rapper from Lafayette, Louisiana emerging up as a member of the Goonie-founded Slayworld collective. He presence has been known predominantly in the plugg scene by constantly dropping projects whether it be his previous EP What We Have & Fallen Raven, both of which I highly recommend listening to if you wanna get into his music. But coming fresh off Stuck in My Ways a little over 3 months ago, Rino’s keeping things rolling by dropping his 8th full-length album & his 2nd of 2023 as of me writing this.

“Devil on My Back” is a wavy trap opener making it clear that all of his homies are about business & God helps him remain catching Ws whereas “Like Woah” takes a glitchier approach courtesy of BNYX from Working on Dying describing the neat freak in his life. “Shake It” has a bit of an EDM groove to it this time around talking about a woman feeling nobody else but him prior to “Eye 4 Eye” working in some hi-hats & a ghostly loop so he can boast lyrically.

Desire is the only feature on the album making his first appearance on the lively “Rich n Turnt” showing off their wealth & how lit they are just before “Real Goat” has a bassy trap vibe to it talking about being the best at the end of the day. “Prayer” delves into how much this Brazilian baddie he bagged is like his twin with an instrumental that has a psychedelic edge to it leading into the rubbery yet horn-infused “No Really” talking about being a prodigy.

Meanwhile, “Ball 4 Ball” finds Desire returning 1 last time for an ethereal trap banger continuing to flex on the lyrical side of things until “Got Dat Moneh” delves into rage territory addressing his riches. “Free Body” returns to a hazy trap sound telling those who’ve never seen a hundred or milli’ piece that they can’t ever speak to him, but then “Like BK” makes a turn into hypertrap territory once more giving his props to another dope artist in the rage/plugg subgenres at the current moment: Bktherula.

“I’m Paid” blends some hi-hats & ghostly background vocals so dude can keeping touching on his wealth while “Nvr Losing” is a synth-trap crossover talking about not taking an L in his life ever again. “God Like” comes through with a more ultramodern beat comparing basically talking about being as untouchable as possible & “Goty” switches it up by pulling from cloud rap a bit with his goal being to have his children get $100M in their each one of their wills.

As we reach the final leg of the album, “Meet You There” had a bit of a Travis Scott influence sonically telling this girl not to call him & simply leave him alone while “Munchkin” talks about being on top of the mountain over some more synth-based production. The song “Slowflow” hooks up some hi-hats & chilling auto-tuned vocals admitting he just wanted to hit a lab rat that his homies can have back while the penultimate track “It Get Krazy” gets bombastic for nearly 2 minutes talking about how nuts shit can get. The closer though is an sincere, atmospheric tribute to the late Virgil Abloh.

Stuck in My Ways is still my favorite of the 2 albums that we’ve gotten from Summrs this year so far, but Ghost is still worth checking it to me if you’re a fan of his in any capacity because I admire how he’s been trying to elevate my flows & sound on here as well as introducing him into his creative mind on here. On top of that, I like how it’s nearly 10 minutes shorter than last time & ditches the plugg elements in order to save them for his next body of work.

Score: 3.5/5

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Autumn! – “Golden Child 3” review

Autumn! is a 25 year old rapper, singer/songwriter & producer from Lafayette, Louisiana who got his start by dropping 16 EPs & a full-length debut on SoundCloud since 2018 prior to signing to Victor Victor Worldwide & Republic Records right following the Not Much Left EP. He made his major label debut last spring with his sophomore album Antagonist!, following it up with ##B4GC2 & Golden Child 2. But with the final chapter of the trilogy in the form of ##B4GC3 a couple months ago, Autumn!’s ending it by delivering his highly anticipated 3rd album.

“God’s Child!” is a spacious trap opener with twinuzis hoping that everyone’s proud of him whereas “All My Duffels Goyard!” blends pop rap with pluggnb talking about just how he likes his duffel bags since he’s finding himself getting back into fashion again. “Chelsea, N.Y.!” works in some pianos & hi-hats for a dedication to the titular spot in the City of Dreams, but then “Backseat!” cautions to watch out for all the hoes you come across in this game over some woozy synthesizers.

Meanwhile on “Tootheache & Gaslighting!” we have Autumn! delivering a 2-parter with a plugg-infused first half with a drum & bass fusion coming in during the latter as he warns not to play him like a fool & everything he says being facts leading into “You > Them (Hate It!)” expanding on D&B even further my blending that with pop rap talking about the trials & tribulations of a relationship he once had. “Them > You!” is basically a counterpart to the previous cut from its piano/drum & bass production to its seductive lyrics just before the intoxicating sequel to “My Collection!” off ##B4GC2.

“No Good!” is a spiritual successor to “No Good 4 U” by Summrs by atmospherically breaking down why he’s bad for this woman he’s seeing while “Still the Same!” has a more playful tone throughout reminding that he hasn’t changed since becoming famous. “Still the Same! 2” samples “If It Means Anything!” off his simp music ❤ EP expands on how he’s living now until the very song that was flipped makes it’s way onto the album with it’s icy synths & lyrics about a failed relationship.

The sequel to “If It Means Anything!” on the other hand chops up “Like a Tattoo” by Sade telling this woman he’s glad she came around even though he misses her & there’s no going back while “Like That!” is a more straight forward trap jam dedicated to all the fine women that New Orleans has to offer. “Girl from the Club! 2” samples “Party” by Beyoncé acknowledging this new chick wants to live in the fast lane while “Cowgirl!” shows her how to ride it over a rattling beat.

Moving on from there with “50M Freestyle!” where uzis admits he can taste his first milli with a peppy instrumental backing him while “Can’t Rent Anymore!” has a more futuristic yet vibrant approach talking about not giving a flying fuck about a rental. “Twotimestwo!” brings a more atmospheric vibe to the table as he paints a picture of his girl bringing her friend with them for a threesome while “Colors!” flexing his hunnids being blue & green with some hi-hats & bass behind him.

“Baby Fewch!” opens up the final leg of the album as Autumn! airing out the lames with a dramatic quality to the beat this time around while the song “Recollections of Fame!” is a catchy plugg banger about his BMW E-31. The penultimate track “I am the Goat!” weaves some more synths & hi-hats discussing his greatness with the closer being “The Remorse!” off ##B4GC3, which is an emotional tribute to his deceased brother.

If any of you were 50/50 on Antagonist!, I think Golden Child 3 will definitely make up for it as twinuzis ends the trilogy with his most well-rounded full-length album so far. The production is well grounded in his pluggnb roots whilst experimenting with drum & bass along the way as his growth throughout the years prevalently shows itself in the 67 minute run.

Score: 4/5

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Yeat – “Aftërlyfe” review

This is the 3rd full-length album from Portland rapper Yeat. Coming up in 2018 off his debut EP Deep Blue $trips, he would followed up with 2 mixtapes & 3 more EPs before beginning to dominate the mainstream in 2021 whether it be him dropping a total of 4 projects (2 mixtapes, an EP & a debut album) or cosigns from the likes of Drake & Earl Sweatshirt. He eventually signed to Geffen Records, who backed his sophomore effort albeit major label debut 2 Alivë a little over a year ago & then a deluxe EP Gëek Pack shortly after. But coming off “Rich Minion” & his 5th mixtape Lyfë last summer, Yeat’s picking up where he left off with the Aftërlyfe.

“No morë talk” opens things up with some farty synthesizers & hi-hats from BNYX of Working on Dying talking about riding with his demons whereas “Shmunk” embraces the rage as the only legitimate feature on the album YoungBoy Never Broke Again tags along so they can flex their mob ties. “Bëttr 0ff” admits that he could give a fuck less of what others say & has no time for the fuss over a bell-infused trap instrumental from Bugz Ronin, but then “Rav3 P4rty” has a more dance influence to it courtesy of dulio talking about being on the edge.

Meanwhile on “Nun id change”, we have Yeat over a more robotic instrumental wishing that he could feel leading into “Woa…!” talking about how he ain’t friendly nor does he leave the crib without the strap over a wavy trap beat. “Now” comes through with an experimental sound courtesy of BEAUTIFULMVN confessing he hears voices when geeking just before “Slamm” throws it back to his earlier work sonically as dude steps on his opposition.

“7 nightz” comes through with some additional synths & hi-hats estimating that he’s been fucked up under the influence for about a week while “Mëan feen” is a piano trap ballad coming around shootin’ & slidin’ all over town. “How it go” is a dedication to the lifestyle that he lives today over a vigorous instrumental while “Sum 2 do” brings back the rage beats so he can remind everyone that he’s the one shaking the game up.

Moving on to “Back up”, things take a more cavernous tone instrumentally as Yeat admits that he’s relapsed on percs while “Split” comes through with an explosive hypertrap jam that ChaseTheMoney & Internet Money Records in-house producer Synthetic put together dedicated to Bentleys & women who want to be as rich as him. The self-produced “Bad bënd (DëMON)” was actually recorded 2 years ago yet it stands as a favorite of mine in the track-listing from the intoxicating beat to the lyrics about doing whatever he wants while “Hëavyweight” declares himself as champion over some bass & hi-hats.

“Watch” has a more minimal sound this time around as he advises those to sit back & see how he does it when he drops while “Shhhh” has a booming bass-line talking about being nowhere near the same level as anyone else in the game. “Back homë” is an acoustic trap cut comparing & contrasting his life then & now while the song “Type monëy” finds him swerving over a melodic beat. The penultimate track “Dëmon tied” opens up about the Devil watching his eyes over a hazy instrumental & “Mysëlf” ends things to a tribute to being true to oneself with a beat kin to “Can’t Stop It”.

This was actually a bit different than what I normally expect to hear from Yeat, but I most certainly welcome it & am curious to hear if he continues to go down this rabbit hole later on in the year. His knack for catchy songwriting remains in tact as the production this time around is significantly more experimental than his previous efforts & the 3 alter egos that he introduces throughout each have their own uniquely distinct characteristics.

Score: 3.5/5

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Summrs – “Stuck in My Ways” review

This is the 7th full-length album from Louisiana rapper Summrs. Coming up as a member of the Goonie-founded Slayworld collective, he presence has been known predominantly in the plugg scene by constantly dropping projects whether it be his previous EP What We Have or even the last album Fallen Raven that we got 6 months ago. Both of which I highly recommend listening to if you wanna get into his music & is also enough to have me looking forward to Stuck in My Ways when he announced it merely days ago.

“Relying on Roxy” is an acoustic trap opener produced by BenjiCold with dude feeling like he’s dying when he’s strung out whereas “Start Striking” takes a cloudier route picking up where it’s predecessor left off thematically talking about fighting withdrawals. “No Days Off” brings back the acoustics yet again referring to himself as a rockstar & being in the studio constantly leading into the ethereal “Life’s a Beautiful Curse” talking about the ups & downs that come with living in the world today.

However on “Pure Motion”, we have Summrs handling the hook so his younger brother Desire can spit a verse accompanied by a booming GeoGotBands instrumental just before the synth-laced “No Morals” calling out some bitches for being as licentious as they are. “Russian Roulette” has a wavier groove to it admitting that he ain’t in this rap shit for the fame but rather the cheese, but then “Die Rich” blends some synthesizers & bass to talk about going out lit.

“Van Cleef Poppin’” dives into plugg territory droppin’ some vibrant braggadocio along the way while “Addy Geek” brings a more futuristic flare to the mix talking about being fucked up off the Adderall. “The Detox” comes together with some keys & hi-hats courtesy of Chief Keef to my surprise dedicating it to a bitch who be with him because he stays winning while “Drug Traffickin’” is another piano trap ballad about living lavish in the penthouse.

Meanwhile on “Like a River”, things take a more moodier approach encouraging to keep the money flowing while “My Voicemail” is a settle 2 & a half minute R&B joint which is fine except my biggest complaint about it definitely has to be the mixing. “Closing the Book” is a syrupy slow jam singing how he ain’t like the other boys that his girl has been with in the past with the stripped back “Blood Tears” talking about no one being on the same tier as him & that things would’ve been done differently had said person was with him.

“Miles on U” comes through with a hazy, auto-tune heavy pop rap cut with some romantic lyricism while “Album Just for You” goes pluggnb thanks to Autumn! singing about how he has a whole unreleased body of work on his phone dedicated to the love of his life. “I.K.Y.M.M.G. (I Know You Miss Me Girl)” has a more standard plugg sound courtesy of Goyxrd telling this woman to call him because he knows she misses him dearly while “Pilates” keeps the synths & hi-hats going talking about everything being exotic.

Following that, “Like My Diamonds” keeps things in plugg turf comparing his girl’s beauty to his ice while the woozy “Baby Blue Gwag” is a catchy little ode about copping this dude’s girl a G Wagon. The track “Switch Sound” is a shimmering trap banger with some boastful lyrics while the penultimate song “Praise da Most High” is a peppy anthem giving his thanks to the man upstairs. The title track then ends the album on an acoustic trap note admitting that he wars his heart on his sleeve & is trying to cover up his sins with the drank.

Fallen Raven still stands as my favorite Summrs album to date since it shows his artistic range best, but I still came away from Stuck in My Ways enjoying it almost as much. Primarily because of the fact that still brings the pop rap, pluggnb & rage aesthetics that made the previous full-length enjoyable & swapping the drill undertones out by pulling from alternative/contemporary R&B a little bit more than usual.

Score: 3.5/5

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Autumn! – “##B4GC3” review

This is the 19th EP from Louisiana rapper/producer Autumn!. Making a name himself in the plugg scene, he got his start by dropping 16 EPs & a full-length debut on SoundCloud since 2018 prior to signing to Victor Victor Worldwide & Republic Records right following the Not Much Left EP. He made his major label debut last spring with his sophomore album Antagonist!, following it up with ##B4GC2 & Golden Child 2. But with the final chapter of the trilogy on the horizon, of course twinuzis had to prelude it with ##B4GC3.

“Baby Fewch!” is an atmospheric trap opener to the EP with Autumn! talking about getting this shit too easy whereas the song “Colors!” takes a more vibrant route detailing his mob boss & not stressing over fuck boys. The penultimate track “Recollections of Fame!” embraces the pluggnb sound we all came to know & love him for as he clarifies that all his brothers roll with him prior to “The Remorse!” ending things on a somber note recalling a phone call that he received in New York & trying hard to find some sort of closure.

As we await for Golden Child 3 which is said to be a self-produced full-length album unlike the past installments of the series being EPs, this’ll sure be enough to hold us off until then. It’s pretty much a mix of his pluggnb roots & some new sounds that he successfully decided to try out. At this rate, the final entry of this series that introduced me to dude’s music is sure to be something special.

Score: 3.5/5

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