Travis Scott – “UTOPIA” review

It’s finally arrived: The 4th full-length album from Houston, Texas rapper, singer/songwriter, producer & entrepreneur Travis Scott. Not only was it confirmed by DJ Premier recently that La Flame’s father actually taught Preem how to play drum & bass, but Trav himself up as 1/2 of The Graduate$ until the duo disbanded after he signed a joint deal with T.I. to Grand Hustle Records as a recording artist & with one of my top 10 music producers of all-time Kanye West as a G.O.O.D. Music in-house producer. His debut mixtape Owl Pharaoh that came out my sophomore year had a blatantly heavy KiD CuDi influence which isn’t bad because it was even said that CuDi was Travis’ biggest musical influence & they’ve since formed a superduo called The Scotts. The sophomore tape Days Before Rodeo was where he started coming into his own artistically & the Epic Records distributed full-length debut Rodeo has rightfully become one of the most important trap albums of all-time. Birds in the Trap Sing McKnight followed the next fall to more moderate reception even though the highs like “sweet sweet” & “goosebumps” are very high, but ASTROWORLD came out only a few days after a death in the family & it helped me get through it as Travis would expand on the psychedelic trap sounds of his groundbreaking debut album. This would subsequently be his last body of work to be released under Grand Hustle, as he would go on to form his own Epic imprint Cactus Jack Records. But after years of singles & a crowd crush at the 3rd annual ASTROWORLD Fest that some people still blame him for even though the same security who worked there were the same ones who worked when Dave Chappelle got jumped on stage last year, the H-Town trap trailblazer is taking us to UTOPIA.

“HYAENA” is a self-produced boom bap opener flipping “Maggot Brain” by Funkadelic talking about shit being out of control as it is calling the situation we’re in currently to neither be a good one nor unblessed whereas “THANK GOD” gives his thanks to the man upstairs for still being here today & the only 12 he supports being the greatest QB of all-time or 7-time Super Bowl champion Tom Brady over a drumless instrumental with co-production from Ye, BoogzDaBeast, WondaGurl, FNZ & Allen Ritter. “MODERN JAM” featuring Teezo Touchdown speaks on the way the world is now as Guy-Manuel de Homem-Christo & Mike Dean sonically draw inspiration from Yeezus a bit that is until “MY EYES” has a dynamically dreamier vibe courtesy of Wheezy & Justin Vernon confessing that his eyes remain closed.

30 Roc & Dez Wright hook up a melodic vocal loop & hi-hats for “GOD’S COUNTRY” talking about how it ain’t up to you no more just before “SIRENS” energetically talks about being too determined & needing refurbishing. “MELTDOWN” featuring Drake is essentially a spiritual successor to “Sicko Mode” with all the instrumental switch-ups from Boi-1da, BNYX of Working on Dying, Tay Keith & Vinylz respectively getting on tea time with my only complaint being Drake’s redundantly corny diss to one of my idols Pharrell. We all know the story of Adidon, but he didn’t have to throw Skateboard under the bus. The secondary WrestleMania XLI official theme song “FE!N” featuring Playboi Carti though makes up for it by going into a synth-heavy realm talking about drug use & Carti’s vocal utilizations throughout are unbelievable.

“DELRESTO (ECHOES)” featuring Beyoncé sounds like it could’ve been on B’s comeback effort Renaissance from last summer as they jump on top of a house beat from Hit-Boy clarifying the only thing they escape for is the echoes themselves, but then “I KNOW?” talks about a girl that really ain’t even his type backed by a nocturnal trap instrumental. “TOPIA TWINS” featuring Rob49 & 21 Savage blends some organs & hi-hats referencing 10-time WWE world champion, 2-time WWE Intercontinental Champion, 5-time WWE Tag Team Champion & $7 Productions co-founder The Rock showing off 2 twin bitches hoppin’ off a jetski even though Rob’s contribution doesn’t hold up to La Flame’s or 21’s, but “CIRCUS MAXIMUS” named after his debut film talks about having his final moment on top of synths & heavy drums.

Cactus Slatt gets together for the trippy, 6-minute “SKITZO” once again dabbling with multiple beat-switches pointing out how the bitches they bagged do that there on top of Travis rightfully choosing Kanye over Biden any day while the “PARASAIL” interlude gives off a slower edge promising to eternally fight for everything he loves. “Lost Forever” featuring Westside Gunn was something I was highly anticipating sampling both “f.o.r.e.v.e.r.” by James Blake & “Don’t Be Safe” by Check Senrick thanks to another top 10 producer of mine The Alchemist so Trav can discuss being lost in Utopia on top of West dropping the raw gangsta shit we’ve come to love him for later on.

“LOOOVE” by The Scotts goes into more robotic territory understanding that they’re loved asking if that’s how anyone else is feeling while “K-Pop” featuring Bad Bunny fresh off his WrestleMania XXXIX guest Spanish commentator appearance & The Weeknd is basically a male version of “Bang Bang” by Jessie J, which I actually understand why he chose it as a single even though I’ll most likely never listen to that song again. Really the only skip here. The cloudy penultimate track “TELEKINESIS” featuring Future & SZA finds the trio talking about seeing ahead into what’s to come, but “‘TIL FURTHER NOTICE” featuring James Blake & 21 Savage wraps up Utopia by saying x-rated love is the best kinda love accompanied by a synth-trap hybrid from Metro Boomin’.

ASTROWORLD quickly became my 2nd favorite Trav album for how it expanded on the psychedelics that made his full-length debut amongst the most groundbreaking trap projects to come out within the last decade & it makes me happy to see how much it’s aged well, but UTOPIA easily stands at the #3 spot. It’s refreshing to hear him behind the boards again with him wearing the Ye influences HEAVY as he shows us all experiences where utopian things can exist & you can enjoy yourself & have a good time.

Score: 4/5

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Smiley – “I Did What I Did” review

Smiley is a 25 year old rapper from Toronto, Ontario, Canada starting out as a member of the Garden Gang. He would go on to drop his debut mixtape Buy or Bye in the spring of 2018, which was followed up with 2 EPs & even a couple more tapes before local superstar Drake signed him to OVO Sound a little over 2 years ago already. As for his OVO debut Buy or Bye 2, it didn’t really do all that much in catching my interest or standing out enough to the point where I’d go back to it. But ahead of his 26th birthday next Thursday, I went into Smiley’s 3rd EP albeit 2nd body of work under the 6 God’s wing hoping he would surpass my expectations a little.

“Moderation” is an airy trap opener with Smiley talking about motivating a hoe after taking ecstasy whereas “Benzi Boys” works in some piano melodies & hi-hats as Tay Keith cooking up quite possibly the best instrumental on the whole entire EP preferring Mercedes-Benz over Honda, which rightfully so in my opinion. “Fast Route” goes full-blown drill talking about waking up in the morning to count hundreds just before “Nicky 9 Door” takes a syrupy trap approach details beating it up nice because fuck the plug.

Meanwhile, “How Far” gives off a more triumphant vibe talking about going from his Garden Gang days to being a protege of one of the biggest superstars in the world is profound although it’s way too short. Also, the LeBron James reference during the hook doesn’t do much for me either personally as dope as he is on the court. “Eternals” on the other hand has a hazier trap approach promising tondo it just like his mentor did with eyes green like Jaylen despite the fact that a good chunk of the OVO roster doesn’t really stand out.

The song “You Went Ghost” shifts into cloudy trap territory basically calling out someone that basically did him dirty as fuck while the penultimate track “Cut Her Off” brings in some hi-hats & a vocal sample drowning heavily in reverb talking about having to severe ties with a bitch because he feels like he’s at the point now where he’s better off without her in his life. “Long Nights” is a more stripped back choice of a closer laced by Cubeatz as he makes it known to his new bitch who wants to celebrate that he ain’t in the mood to do so right now.

I’m not trying to hate on OVO because I do appreciate Popcaan for already being a dancehall veteran on top of enjoying PARTYNEXTDOOR’s early stuff, Majid Jordan’s 2nd EP albeit OVO debut A Place Like This & lastly dvsn’s debut album Sept. 5th respectively. And outside a few flashes in the pan, Smiley further proves himself as the weakest link on the label. The production’s ok, but his voice isn’t all that commanding accompanied by songwriting that I’d consider mediocre at best & the lows are cringeworthy.

Score: 1.5/5

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SZA – “S.O.S.” review

This is the highly anticipated sophomore effort from St. Louis, Missouri singer/songwriter SZA. Emerging about a decade ago in the alternative R&B scene off the strength of her first 2 EPs SEE·SZA·RUN & S, she would eventually sign to Top Dawg Entertainment in the summer of 2013 & has since made herself home with the west coast label by putting out her 3rd EP Z alongside the RCA Records distributed full-length debut CTRL. But with the 5 year anniversary of the latter passing by over the summer, she’s returning in the form of S.O.S.

The title track opens things off with a stripped back instrumental from Jay Versace sampling “Until I Found The Lord (My Soul Couldn’t Rest)” by Gabriel Hardman expressing her desire to take what’s rightfully her’s whereas “Kill Bill” has a more spacious quality to it thanks to Carter Lang singing about how mature she is. “Seek & Destroy” however has a moodier vibe calling out someone who pushed her to her capacity, but then “Low” goes into trap territory talking about keeping shit on the DL.

Meanwhile on “Love Language”, we have SZA on top of an aquatic beat asking for transparency leading into “Blind” diving into more drumless turf confessing that she can’t see the things she needs & the love she seeks. “Used” returns to a more atmospheric quality courtesy of DJ Dahi singing about feeling like it’s over & something callin’ to get closer just before the seductive” Snooze” produced by Babyface & Leon Thomas III lets her lover know just how important he is to her.

“Notice Me” returns to a more trap-based sound explaining that she doesn’t need to be this dude’s lover while “Gone Girl” admits that she needs more space & security over a piano instrumental with some finger-snaps featuring co-production from Emile & Jeff Bhasker. “Smoking on My Ex Pack” goes full-blown chipmunk soul rapping about an ex of hers for 83 seconds while “Ghost in the Machine” ponders if one could distract her from all the disaster over a rich yet minimal beat.

Continuing from there with “F2F”, the guitars throughout were unexpected yet welcoming as SZA admits that she hates herself enough for the 2 of them while “Nobody Gets Me” keeps the acoustics around courtesy of benny blanco singing about being misunderstood by everyone except the person that she’s currently with. “Conceited” is a tropical trap banger acknowledging how introverted she’s always been while “Special” works in some more finger-snapping & an airy backdrop feeling like she’s a loser when I personally feel like she’s far from it considering I’ve been a fan of her music since high school.

“Too Late” has a more cloudy yet peppy tone to the instrumental as the lyrics address 2 lovers that’re dangerous for each other while “Far” talks about being unable to trust anyone & done getting fucked over with some synths & hi-hats laced together by Beat Butcha. “Shirt” comes through with an alternative R&B/trap hybrid admitting that she likes feeling lost while the Travis Scott-assisted “Open Arms” comes with a guitar-driven sequel to “Love Galore” talking about devotion.

The song “I Hate U” has some downchill/vaporwave undertones to it expressing her disscontempt for an ex in her life while the penultimate track “Good Days” is a remarkable neo-soul cut pulling from neo-psychedelia & chamber folk singing about focusing on the positives in her life. “Forgiveless” however is a boom bap closer starting off with a sample of “The Stomp” by the late Ol’ Dirty Bastard of the almighty Wu-Tang Clan & SZA calling out those disrespecting her behind her back.

Between this as well as Kendrick’s latest album Mr. Morale & the Big Steppers alongside Ab-Soul’s comeback effort Herbert dropping next weekend, 2022 has been the best year that TDE has had in quite some time. The production is more contemporary, yet her songwriting is as strong as before & her performances come off as genuinely passionate. Whether she actually quits making music or not because she’s been teasing it forever now or we get a new body of work from her at some point, anyone who loves the alternative R&B trailblazer as much as I do would consider this a welcoming return.

Score: 4/5

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BROCKHAMPTON – “T.M. (The Mountain)” review

BROCKHAMPTON was a hip hop “boy band” that originated in San Marcos, Texas in 2010 via the “KanyeToTheForum under the original name AliveSinceForever. But when things started to look good for them after they released the SATURATION trilogy to universal acclaim in 2017, one of their founding members Ameer Vann was kicked out midway through the following year due to sexual misconduct resulting in the boys’ next 2 albums following iridescence & GINGER were both released to moderate reception. ROADRUNNER: NEW LIGHT, NEW MACHINE however became their best post-Ameer album a year & a half ago at this point but after announcing their disbandment following their Coachella performances this past April & only a day after their de facto leader Kevin Abstract dropped his new solo effort The Family, the boys are getting back together one last time for their 7th & final album.

“F.M.G. (Fuck My Gang)” is an aggressive trap opener produced by Kiko Merley & JOBA with Dom McLennon & Matt Champion accompanying Kevin to quit being humble whereas “Animal” finds Jabari Manwa, Kevin & Matt talking about turning into beasts over a cloudy Romil Hemnani instrumental. “Listerine” though returns to trap territory as Dom & Jabari addressing a bitch that’s tripping ’cause it’s less on them prior to the playful sounding “New Shoes” with Kevin, Dom, Matt & Merlyn Wood assuring everyone that the group is still on good terms with one another even though they’re disbanding & Matt wanting a house in 大阪 or the home prefecture of former 3-time WWE women’s world champion 3-time WWE Women’s Tag Team Champion 明日華.

However on “Keep It Southern”, we have Kevin & Merlyn over a trap beat with some synths paying tribute to their Texas roots just before “Man on the Moon” dives into more melancholic territory with a cool dance break at the end for Kevin & Matt to talk about wanting to make out with their lover on the actual moon itself & the hook is probably the catchiest on the album. “Better Things” is pretty much a moody Kevin Abstract solo cut with Matt on the hook & an outro from JOBA to speak on the next chapter of their lives just before “Crucify Me” works in some live drums & pianos for Kevin & Matt express their desire to rewind & pretend that they knew what they were in for with a crazy instrumental outro pulling from jazz music.

The song “Duct Tape” has a more booming quality to the instrumental as Jabari, Matt & Kevin admitting that they don’t have anything to talk about anymore as a unit while the penultimate track “Always Something” shoots for a more melodic approach as Dom, JOBA & Kevin sing about letting motherfuckers in something they should know. But then, “GOODBYE” serves as a bittersweet EDM-influenced coda with JOBA & Matt talking about not the “best time of our lives” for granted.

I’ll never forget seeing the SATURATION artwork everywhere when that album was first released when I was 20 & it prompting me to check out their music because it was good enough to make me to stick around for the whole ride, to which I’m happy I did because this was great swan song from them. I like how they fuse elements of trap, alternative R&B, cloud rap & even neo-psychedelia with their west coast pop rap style as everyone braces themselves for the next chapter. And before I end this review, I just wanna thank BROCKHAMPTON for all the dope music they’ve given us in the last 5 years & I wish them all nothing but the best going forward.

Score: 4/5

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Kevin Abstract – “The Family” review

This is the 4th full-length album from Corpus Christi rapper, singer/songwriter, producer & director Kevin Abstract. who made his debut in 2014 with MTV1987. He followed it up 2 years later with the fantastic American Boyfriend: A Suburban Love Story & then the following year, he rose to stardom as the de facto leader of BROCKHAMPTON. But with their 7th & final album T.M. (The Mountain) coming tomorrow, Kevin’s re-emerging on his own with The Family marketed as a group project only to fulfill their RCA Records contract.

“Take It Back” is a chipmunk soul opener with Kevin admitting that he had to wash the blue paint off to set himself free & promising the next chapter to be everything whereas “RZA” works in another pitched-vocal sample from bearface talks about having to be more like The Abbot himself after speaking to his mother the other day trying to give him advice. “Gold Teeth” looks back on the early days of the boy band over a crooning loop kin to “They Don’t Care About Us” by Michael Jackson just before “Big Pussy” has more of a jazzy boom bap flare to it asking to stop harassing him because the show’s over.

Meanwhile on “All That”, we have Kevin admitting that the boys’ success came with problems of becoming rich with an amazing interpolation of the theme song from the titular Nickelodeon show that I grew up watching leading into “(Back from the) Road” reflecting on the Love Your Parents tour over a jangly instrumental. “Basement” has a more experimental quality to the production acknowledges his love for the fans despite that they’d kill him if they could, but then “Southside” tells those to stop actin’ like they know him over a sample-based trap beat.

“Good Time” has a more drumless approach to it speaking on the days when the boys played their final shows in London while the syrupy sample throughout “37th” is a cool ode to their Texas roots talking about ending up on the titular street if he could fly through a Cali night. “Boyband” weaves a gospel loop into the fold à la Kanye West’s last finished full-length DONDAacknowledging that they’ve always been outside of the lines while “Any Way You Want Me” asking what if he could change for us because we have him everything over a guitar.

Moving on to the title track, where Kevin jumps on top of a peppy beat with no drums talking about those not knowing shit about him while “Prayer” is a more melodic cut with some bare synths asking God not to make him grow up because he doesn’t want to move on from this amazing chapter in his life. The song “My American Life” goes in depth of how far he’s come in the last 7 years over some acoustics while the penultimate track “The Ending”samples “Let Me Be the One” by Willie Hutch asking if this is the way we all visioned the demise. “Brockhampton” though is a symphonic closer to the album with Kevin bidding farewell to the best boy band since 1 Direction.

It’s pretty much a Kevin Abstract solo effort labeled as a BROCKHAMPTON album & I’m assuming that’s the case because of contractual reasons, but I happen to think The Family is the best thing Kevin has done since American Boyfriend only 6 years back by now. He comes from the heart as he reflects one last time on the journey he & the boys have been on together with the production pulling from chipmunk soul, drumless, jazz rap & gospel. Considering that, I think TM will be a remarkably bittersweet swan song when it drops tomorrow.

Score: 4/5

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Drake & 21 Savage – “Her Loss” review

This is a brand new collaborative album between Toronto, Ontario, Canada rapper, singer/songwriter, actor & businessman Drake along with London, England, United Kingdom born albeit Atlanta, Georgia raised rapper, songwriter & producer 21 Savage. One is an pop rap icon starting out as an actor before becoming a Lil Wayne protege in the late-2000s & the other beginning to turn heads in the Atlanta trap scene after landing a spot in the iconic 2016 XXL Freshman Class. Their paths have crossed a handful of times within the last 5 years with bangers like “Mr. Right Now” & even “Knife Talk”. Last we heard from them was when Drizzy dropped the mediocre house album Honestly, Nevermind this past summer in the form of the standout closer “Jimmy Cooks” & are now joining forces to drop Her Loss.

“Rich Flex” kicks off the album with some braggadocio on top of an instrumental from Tay Keith, BoogzDaBeast, FNZ & Vinylz with some hi-hats & angelic vocals during 21’s verse prior to the sample switching into some keys for Drake’s whereas “Major Distribution” embraces the piano trap sound even further talking about going stupid. “On BS” has a cloudier vibe to it comparing their partners to WWE Hall of Famer as well as 4-time WWE Women’s Champion & former WWE Women’s Tag Team Champion Lita, but then “BackOutsideBoyz” comes through with the first of 4 Drake solo cuts on the album & my personal favorite talking about the 6 God coming back over a synth-trap beat produced by Rio Leyva alongside Taz Taylor & Dez Wright of Internet Money Records.

Meanwhile on “Privileged Rappers”, we have Drizzy & 21 expressing their desire to fuck bitches in banks accompanied by a cloudy trap instrumental from 40 & Earl on the Beat leading into “Spin ‘Bout U” flipping an R&B joint talking about coming out of their bodies for their significant other. “Hours in Silence” has a more moodier sound to it seeking to turn their bitches up just before the syrupy “Treacherous Twins” laced with the help of Boi-1da paying tribute to their soulmates & the line about 21 not showing an ID at the club because they know he’s 21 is incredibly witty.

“Circo Loco” obnoxiously samples the Daft Punk jam “1 More Time” to get boastful with Drizzy even confessing that he did the Free Larry Hoover concert with Kanye West last winter solely for J. Prince’s sake only for Travis Scott to come into the picture for the pillowy “Pussy & Millions” encouraging to bring on the cons of having more money. “Broke Boys” is well-structured 2-parter featuring co-production from Wheezy taunting all the bum ass motherfuckers out there while the 2nd Drizzy solo joint “Middle of the Ocean” dives into boom bap turf talking about how he’s been a player.

As for “Jumbotron Shit Poppin’”: I really like the beat that F1LTHY & his brother Oogie Mane of Working on Dying & Cubeatz whip up along with the subject matter asking if anyone really want smoke with Drake, but the fact that he called himself “a real vamp” like he thinks he’s Playboi Carti when he’s actually a decade older than me during his verse is fucking embarrassing. The song “More M’s” has to be my favorite on the album from the dark Metro Boomin’ production to the lyrics talking about making more paper than taking Ls while “3AM on Glenwood” is the only 21 Savage solo track on Her Loss for some reason although it doesn’t disappoint with it’s wavy instrumental & bars like the Steph Curry/Stephon Marbury one or the one where he hollers at the hobbit to help get his brother out of jail. “I Guess It’s Fuck Me” though ends it all with a Drake solo cut on top of a bare piano calling out a woman who left him abruptly.

It’s definitely not on the same caliber as Without Warning or even What a Time to Be Alive, but both these guys managed to give us a decent collab effort here & one that’s slightly better Honestly, Nevermind. Their chemistry is certainly strong enough to carry a whole project, but the production throughout is just very mild & Drake has more presence throughout than 21 does.

Score: 3/5

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DJ Khaled – “God Did” review

This is the 13th full-length album from New Orleans DJ, record executive, producer & media personality DJ Khaled. Most people know him as a living meme pretty much & for the hilariously embarrassing temper tantrum he threw when IGOR outsold Father of Asahd, but many forget that that he actually came up as a tour DJ for the Terror Squad. As for his solo output, he already has a dozen LPs under his belt with Major 🔑 being the most enjoyable of the bunch & has decided to tell the world that the man upstairs believed in him when no one else would on God Did.

“No Secret” by Drake is a gospel-inspired 48 second intro talking about how he spills all his feelings unashamedly whereas the title track by JAY-Z, Lil Wayne & Rick Ross is an uplifting ballad about God believing in them when no one else would with Hov steals the show without a slightest bit of doubt. The highly anticipated “Use This Gospel, Pt. 2” by Eminem pops up on here somehow someway although I absolutely love the rock/boom bap infused production from Dr. Dre & the subject matter from Em refusing to break suits the original, but then “Big Time” by Future & Lil Baby delivers a lavish trap banger produced by TM88 talking about their statuses in the rap game.

Meanwhile on “Keep Goin’”, we have Lil Durk & 21 Savage over some horns & hi-hats to boast just before “Party All the Time” by Unc & Phew feels more like a Takeoff solo cut given that Quavo only does the hook & the painfully underwritten first verse accompanied by a weakly flipped sample of the Eddie Murphy joint of the same name from STREETRUNNER disappointingly. “Staying Alive” by Drake & Baby pretty much bastardizes the iconic single by the BGs, but then “Beautiful” by Future comes through with a sensual ode to toxic love.

“It Ain’t Safe” by Kodak Black & Nardo Wickbrings some pianos & bells together provided by Tay Keith quenching for blood while “Ley’s Pray” by Don Toliver & Travis Scott shoots for a more apocalyptic aesthetic talking about how nobody’s on their level. “Fam Good, We Good” by Gunna & Roddy Ricch basically feels like a parody of “Hot” by Young Thug down the horn-heavy beat while “Bills Paid” by the City Girls & Latto is an obnoxiously funky ode to boss bitches.

Continuing from there, “Way Past Luck” by 21 blends chipmunk soul with trap talking about going from the mud to a millionaire while “These Streets Know My Name” by Bounty Killer, Buju Banton, Capleton, Sizzla & Skillibeng is the typical dancehall cut guaranteed every time Khaled drops. The song “Juice WRLD Did” by the late Juice WRLD stands out to me as a bittersweet ode from Nick Mira of Internet Money Records’ production to the references that Juice drops throughout while the “Jadakiss Interlude” starts off with an audio clip from the obvious battle where Verzuz peaked & an aggressive beat with Kiss spitting hardcore shit. After the “Asahd & Alaam Cloth Talk” skit, “Grateful” by Vory ends the album with a full-blown gospel ballad talking about letting his blessings glow.

Everyone going into God Did should know what they’re getting themselves into at this point in my personal opinion & the reason why I say that is because how formulaic Khaled’s albums have always been. Is this an exception? Absolutely not. I can appreciate that he tried to give it more of a spiritual concept & the production even pulling from gospel music, but it’s just so unfocused & all over the goddamn place.

Score: 1.5/5

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Young Nudy – “EA Monster” review

This is the 9th mixtape from Atlanta, Georgia rapper Young Nudy. Despite being cousins with 21 Savage, he eventually carved a lane of his own in the last 8 years with his last 8 mixtapes (the most notable one being the Pi’erre Bourne-produced Sli’merre) & 2 full-lengths. Rich Shooter just celebrated it’s 1-year anniversary a few days ago & Nudy’s re-emerging in the form of EA Monster.

“Nun to Do” is a bassy opener describing being spaced the fuck out whereas “KitKat” works in some quirky synths thanks to Pi’erre talking about having deadly assassins. “Impala” takes a ghoulish route for him & his homie to creep in his whip, but then “Fresh as Fuck” brings back the synths warning that you don’t want no smoke with him.

Meanwhile on “Lunch Meat”, we have Nudy over a cloudy instrumental talking about being a stepper leading into the solemn yet rubbery 4L anthem “My Gang”. The delicate synths throughout “No Chaser” are a nice touch talking about itching for a body just before “Ready” shoots for a moodier aesthetic to deliver an ode for all of those who like to get high.

The song “Sick of Slime” lividly calls out every single dick rider he knows while the penultimate track “Duntsane” wasn’t the best choice for a single in my personal opinion despite the gangsta rap themes & the beat that Coupe brings to the table. Primarily because I personally felt that Baby Drill’s performances compared to Nudy’s was underwhelming. “Project X” however sends the tape with a rowdy fight anthem not for the bitch made.

Nudy had always been consistent throughout the course of his career & EA Monster further cements his status as such in my eyes. He delivers some animated performances/sticky songwriting throughout, I like how he toned it down with the features compared to Rich Shooter & the production is a healthy mix of Coupe & Pi’erre’s respectively unique sounds much like his last tape was.

Score: 3.5/5

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Joey Bada$$ – “2000” review

Joey Bada$$ is a 27 year old MC, singer & actor from New York City who came up as a founding member of the Pro Era & Beast Coast collectives. His debut mixtape 1999 just celebrated it’s 10 year anniversary last month & has gone on to become a classic, but Rejex was a decent collection of leftovers & Summer Knights was an solid prelude to his full-length debut. B4.DA.$$ eventually came on his 20th birthday & lived up it to it’s expectations by expanding on the vibes of 1999, but Joey’s sophomore effort ALL-AMERIKKKAN BADA$$ revealed it be unquestionably the most political he’s ever been. 5 long years later, Joey’s officially giving us a sequel in the form of his 3rd album.

“The Baddest” is a piano-tinged opener produced Erick the Architect with Joey referring to himself as the baddest motherfucker in all of NY whereas “Make Me Feel” goes into boom bap turf thanks to Statik Selektah confessing that the haters made him take a hiatus for a bit. “Where I Belong” keeps the dustiness going taking about takin’ risks every time he hits the door leading into Westside Gunn coming into the picture for “Brand New 911” to bring in a jazzy instrumental that Chuck Strangers has cooked up getting on their fly shit.

Meanwhile on “Cruise Control”, we have Joey over a cloudy trap beat from Mike WiLL Made-It & Cardiak talking about staying 10 toes down just before “Eulogy” returns to the boom bap shouting out all his homies that’re sittin’ on the big wheels. “Zipcodes” has yet another jazzier tone to the production provided by Kirk Knight talking about doing this with ease, but then “One of Us” with Larry June finds the 2 shooting for a smoother aesthetic calling out the people who wish they were them.

“Welcome Back” on the other hand is definitely the weakest cut on the album from the bland trap instrumental to the Chris Brown verse & the tepid subject matter while “Show Me” returns to a boom bap aesthetic talking about wanting to be proven that his lover cares for her. “Wanna Be Loved” with J.I.D has a more nocturnal sound to it expressing their desire to be appreciated while the song “Head High” is a jazz-inflicted ode to those who’re no longer here. The penultimate track “Survivor’s Guilt” comes through with a heart-wrenching tribute to Capital STEEZ & “Written in the Stars” sends off the album in glory rightfully talking about being a legend.

Some people tried to write Joey off because of “THE REV3NGE” & even I’ll admit myself that it was a Great Value version of the J. Cole single “Middle Child”, but I don’t see how anyone who loves 1999 as much as I do can dislike 2000. He really does an excellent job at recapturing the magic that made his debut mixtape one of the best of the 2010s & puts a more mature twist on it.

Score: 4.5/5

ssgkobe – “RELAPSED” review

This is the 15th EP from Louisiana rapper ssgkobe. 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 final album to date ROADRUNNER: NEW LIGHT, NEW MACHINE where 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. That being said: I went into RELAPSED hoping that ssgkobe would redeem himself.

“Hershey” is a rage-induced opener wanting to know what his purpose is whereas “Getcha” takes a symphonic trap route to start boasting. “Oh No!” goes into atmospheric territory reaching the epiphany that his bitch was a thot while the song “9” talking about walking around strapped over a misty trap instrumental. The penultimate track “Every Second” has a cavernous aesthetic to it brushing off those who’re bitter at his success & “Okay, What R U Saying?” ends the EP with kobe over a woozy instrumental calling out someone for capping.

Compared to KO., there’s no denying that Relapsed is like night & day in terms of quality. The production has improved sounding a bit more varied in comparison to the predecessor trying to reach an audience that doesn’t exist & I respect that ssgkobe’s wearing his heart on his sleeve a lot more this time around, but I’d love for U4EYA to be a melting pot of the new sounds he’s dabbling with now & his rage/plugg roots.

Score: 3.5/5