Ill Bill – “Billy” review

This is the 8th full-length album from Brooklyn underground veteran Ill Bill. Rising to prominence as a member of the seminal quartet Non Phixion, he would become one of the most hard working dudes in the underground whether it be his solo discography or his subsequent output as part of groups like La Coka Nostra & Heavy Metal Kings. Last we heard from the Cult Leader was during the COVID-19 pandemic when he formed the Gorilla Twins with NEMS & dropped their self-titled debut, following it up with his previous effort La Bella Medusa that same fall. But after 3 years in the making, the east coast MC/producer is returning in the form of Billy.

“Alpha Futura” is a 2-minute opener with a whimsical boom bap instrumental & Bill referring to himself as a supreme guillotine whereas “Hell Awaits” over a futuristically eerie instrumental from Furio with some kicks & snares talking about holding a rifle to someone’s head while holding the Bible at the same time. “Jordan 3s” speaks on chilling in the projects rocking the titular shoes over a nasty boom bap beat courtesy of Stu Bangas, but then the Boston beatsmith sticks around to helps him tell “The Ballad of Billy®” over a solemn loop attached to some more snares & kicks.

Moving on from there with “Know My Name”, we have Skam2? tagging along over an organ-laced beat with some claps cooked up by the former Old World Disorder member promising y’all gon’ know who they are once it’s all said & done leading into “Canarsie Koresh” returning to the boom bap courtesy of Lord Goat talking about keeping your weapon loaded. Immortal Technique & Sick Jacken both come into the picture for “Prophets of Doom” making it clear we could only be a second away from taking our last breaths with a cataclysmic instrumental from Farma G just before “The Mandalorian” fuses boom bap with some guitar licks calling himself the lone bounty hunter of Canarsie.

“Supreme Magnetic” by the Heavy Metal Kings & Lord Goat finds the trio over some string sections coming through with them aggressive battle raps we all know & after the “Higher Power” interlude, “Smarten Up” by the Gorilla Twins talking about all you know not being enough over a soulful Little Vic instrumental. “Once Upon a Time in Canarsie” with Lord Goat sees both Non Phixion members looking back on the days growing up where the sharks be over booming yet nocturnal beat while “Yallah Yallah” by La Coka Nostra & O.T. the Real talking about getting your face shot off.

Meanwhile, “This is Anger” weaves some more pianos on top of kicks & snares thanks to DJ JS-1 delving into lividness prior to the Heavy Metal Kings returning alongside Kool G Rap on “Root for the Villain” to cheer on the bad guys over a morbidly raw DJ Muggs beat. “Sunday at the Tunnel” hooks up a classy sample provided by Statik Selektah paying homage to his influences in hip hop while “Leviathan” with Tragedy Khadafi talks about murder making summer colder over a grisly instrumental.

Lord Goat & Q-Unique come together for the mellow “Chubb Rock” making it clear they treat ‘em right kin to the hometown veteran of the same name with the flamethrower until Tragedy Khadafi returns alongside Ransom to deliver the crooning “Casino” overdosing on confidence. OMB Jay Dee’s verse on “Willis” has to be the weakest feature performance on the album even though it’s still cool nonetheless to see Billy give props to the Brooklyn drill scene. On top that, I love the churchy C-Lance production along with the Gorilla Twins & Rittz’ performances wanting to know exactly what the fuck they talkin’ ‘bout referencing Diff’rent Strokes.

After the “Wrong Place” interlude, the penultimate track “Time to Go” makes it clear that the grim reaper lives in every violent soul there is with a foreboding beat featuring co-production from Scott Stallone & the closer “Omega Therion” referencing the iconic Swiss extreme metal band Celtic Frost’s timeless sophomore effort To Mega Therion of course as every Bill fan should know that he’s a metalhead wrapping the album up with an eerie boom bap heater Body Bag Ben cooked up streetsweeping everybody.

Obviously given the title, I went into Billy expecting this to be a more personal effort & lo & behold: That’s what we got & one that I would say is an improvement to La Bella Medusa as dope as that album was a few Halloweens back because Bill never disappoints if we’re being honest here. Some people will complain about the 71 minute runtime, but he definitely he has the lyrical prowess & the gulliest batch of beats to pull it off as he does here.

Score: 4/5

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joMi – “Too Close” review

This is the debut EP from Oakland emcee joMi. Someone who’s been making his presence in the northern California known by working with the likes of Dizzy Wright, Demrick, 80 Empire & ¡MAYDAY! for over 5 years at this point. He even has a full-length debut under his belt called Samo from 2018 on top of a collaborative album with G. Cardona & Gran Elyan from a year & a half ago. However in light of signing to Soulspazm Records, it’s only right for joMi to properly introduce himself on Too Close.

“Cardona” is an emotional trap opener talking about pulling himself out of this familiar place frequently & after the “My Brother’s Keeper”, skit, Sunny” gives off a chilled out, psychedelic vibe talking about doing right & even apologizing for not being that excited previously. The song “Debo’s Watch, Pt. 2” delves into this whimsically produced trap sequel to the Samo closer & after the “Fallin’ Through the Sky” interlude, “Eye Sell” ends the EP on a groovy note asking who you got time for likening it to fiends on a tightrope trying to get free despite the fact that the time’s slow.

Too Close would be a good place to start in joMi’s discography considering how much it tells new listeners is that this is a guy who’s been dealing with internal growth & internal turmoil all this time. The production is a level up from Samo as he teaches that if you ever get too close to something; you may damage that relationship/object or you may damage yourself instead.

Score: 4/5

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Bobby J from Rockaway – “Radio Days” review

This is the 2nd EP from Queens emcee Bobby J from Rockaway. Coming up as a protege of Kwamé, he would begin to turn heads in the underground during the summer of 2019 off the strength of his full-length debut Summer Classics along with his Statik Selektah produced debut EP Endless Summer, the latter being my introduction to his music along with 1 Mic & a Drum’s eponymous EP. Bobby then joined forces with Detroit veteran Hush to drop the collab album 718 II 313 last summer, of which they had the honor of playing 80% of to me at a studio a year prior. But just about 6 months later, he’s enlisting NYC producer Nef behind the boards to drop Radio Days.

After the intro, the first song “From the Jump” with J57 finds the 2 over a triumphant boom bap instrumental describing their plot to expand prior to Street Smartz & Wais P assisting Bobby on the soulful “Leaving” declaring that they’re never putting down the mics. “Something Like” is a rap rock/boom bap hybrid paying tribute to all the b-boys out there just before “Mind, Body & Soul” comes through with a more mellow sound as Bobby & Michael Fiya talk about feeling the vibes.

“1 Love” brings back the soul for the ladies while the 7182313 interlude reunites with Hush to show off their chemistry over a trunk knocking beat. The penultimate track “Fade Away” mixes a crooning sample with some keys & a country guitar talking about what’s gonna happen when the flame burns out while “The Hangover” is a bluesy closer detailing having too much to drink the night before.

Endless Summer still stands as my favorite EP that Bobby has ever done but to have Radio Days be his first solo effort in 3 years, I’ll still take it. Nef’s production is some of his most interesting to date as the sounds I don’t think I’ve ever heard Bobby experiment with in the past, but that’s what makes it exciting because it tells me that he’s continuing to grow as an artist. If this is only a precursor to a sophomore album, then it could very well end up being his best.

Score: 3.5/5

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Rock – “Ether Rocks” review

Rock is a 46 year old MC from Brooklyn, New York notable for being a member of the Boot Camp Clik collective & 1/2 of the duo Heltah Skeltah alongside the late Sean Price. He & Ruck were also 2/5 of The Fab 5 with O.G.C. despite the fact that they never put out a full-length debut as a quintet. The Rockness Monsta has also given us a couple mixtapes as well as a full-length debut & an EP, the latter of which just came out this past spring. But for his sophomore effort right here, he’s enlisting Manhattan producer Ron Browz behind the boards for the entire thing.

“Lettuce & Cabbage” is a rugged boom bap opener with Rock attacking anyone who dares to step up to him whereas “Pay Me” works in a more symphonic trap instrumental talking about being the best. “Flamboyant” returns to the boom bap to declare his gun game as such leading into Method Man tagging along for the cacophonous trap banger “Beastie Boyz” talking about being beasts in their own rights.

Meanwhile on “Billy Joel”, we have Rock on top of another orchestral trap beat much like “Pay Me” brushing off the negative shit that they try to throw his way just before Bo Blackk & Milly D.O.D. come into the picture for “Feast” which I like the suspenseful production & the subject matter about being different, but the features just don’t do it for me personally with all respect. “Got It Movin’” blends some dramatic strings with hi-hats & snares acknowledging that he makes it look easy, but then “Faith” with The Last American B-Boy & Ron dives into jazzy yet soulful boom bap turf talking about not wanting smoke with them.

“Shark Tank” with Ruste Juxx & Steele returns to a more symphonic trap sound yet again flexing their lyricism while the song “Hood Up” brings it back to soulful territory talking about how you should always rep where you came from no matter where you shine. The penultimate track “Squad” with The Last American B-Boy embraces a dustier vibe to rep their crew & “The Answer” sends the album off with a cheerful trap hit with the lyrics coming from a more introspective place.

Of the 2 solo albums that Rock has given us in the last 5 years, Ether Rocks just might be my new favorite of the pair thus far. He sounds passionate & proves that he can still very much hold it down on his own this deep in his career, but a lot of the trap stuff that Ron Browz whips up sounds samey to me. That being said, the boom bap beats that he delivers suit the Rockness Monsta’s style much better.

Score: 3.5/5

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Cappadonna – “3rd Chamber Grail Bars” review

Cappadonna is a 53 year old MC from New York City notable for being a member of the almighty Wu-Tang Clan since the mid/late 90s. His verse on “Winter Warz” is still regarded by many to this day to be one of the greatest verses in hip hop history & as much as I love his criminally underrated solo debut The Pillage, I’m pretty sure it’s safe to say with all respect that his solo discography since has been nothing short of inconsistent ranging to be mediocre at best & complete trash at worst. But when it was announced that underground veteran Stu Bangas was going behind the boards for Cappa’s 15th album right here, my expectations for it were very high considering that Stu has been on a ROLL for the past few years now producing projects for the likes of Ill Bill & Recognize Ali only to name a couple.

After the intro, the first song “Bring It Out” sets it all off with some braggadocio on top of some suspenseful boom bap production whereas “Get Lost” takes a more solemn route talking about how the Wu’s the hardest team. After the “Discovery” interlude, Celph Titled tags along for the horn-laced “Toss the Blick” to get on their hardcore shit just before “How We Rolling” dives into more playful turf talking about a fun night out.

Meanwhile on “Continuous Threat”, we have Planet Asia accompanying Cappa over a keyboard-driven boom bap instrumental spitting some lethal battle raps leading into Sick Jacken coming into the picture for the dusty “Everything is Measured” talking about how fly both of them are. The track “No Fake Dreads” following the “Redemption” interlude works in some more horns to get that bread & prior to the outro, the final song “Tryna Survive” with Ill Bill ends the album on an uncanny note talking about life in the projects.

All 3 of the singles that Cappa has dropped throughout the summer had me anticipating 3rd Chamber Grail Bars to be amongst his best solo albums yet & not only did it achieve that status, but it’s also my favorite project to come out of the Wu-Tang Clan anthology this year. Stu Bangas’ production is a breath of fresh air compared to most of Cappa’s output post-The Pillage & lyrically, he reminds everyone exactly who the fuck he is.

Score: 4/5

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LMD – “Flying High” review

LMD is a supergroup from California consisting of LMNO, M.E.D. & Declaime. One of whom initially saw success as a member of the Visionaries & the other 2 being childhood friends/longtime collaborators with Oxnard DJ/producer/emcee Madlib. The trio initially formed in the fall of 2010 but now a little over a decade later, they’re finally coming together for a full-length debut with The Beat Konducta behind the boards from top to bottom.

After the intro, the title track with some upbeat synthesizers & the trio delivering that feel good shit lyrically whereas “Advice” takes a dreamier route instrumentally as they send a heartfelt message about the fucked up music industry. “Pop Fly” is a rugged boom bap infused battle rap cut for all the battle rap heads out there, but then Fly Anakin tags along for the jazzy yet soulful “Kool” boasting how fly they all are.

“The Cypher” has a bit of a Bollywood influence to the beat as LMD giving us a fitting jam for weed smokers like myself & after the first skit, “Super” returns to a more dreamier aesthetic to spit some braggadocio just before the 80-second “Steppers” delivers a groovy dance anthem with some phenomenal back & forth delivery from the trio. The song “Birthday” has a funkier flare to it vividly describing having shitty born days & after the final skit, the penultimate track “High Skates” embraces a more electronic sound encouraging to get the bread. “Duwop” though is a grand closer to the album expressing their passion for music.

Even though the album got pushed back a handful of delays throughout the summer, Flying High was much worth it as a fan of all 3 members of LMD & someone who ranks Madlib as one their top 10 producers of all-time. The Bad Kid himself sticks to his uniquely signature sound behind the boards with LMNO, M.E.D. & Declaime coming through with an interesting chemistry.

Score: 4/5

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Declaime – “In the Beginning 2” review

This is the 13th full-length album from Oxnard veteran Declaime. Debuting on “WLIX” off Tha Alkaholiks’ sophomore album Coast II Coast in 1995, it wouldn’t be until 2001 when Dudley Perkins started putting out albums under his own name by dropping Andsoitisaid. But ahead of LMD’s long-awaited debut Flying High next weekend, he’s linking back up with childhood friend/longtime collaborator Madlib for a sequel to last summer’s In the Beginning.

“2MC ornot 2MC?” is an orchestral boom bap opener asking the titular question whereas “Bandwagon” takes a dustier route talking about how there’s more to him on the mic. The demo version of “WLIX” is something fresh for all the hardcore fans who’ve never heard it before & after the “Sensei Sound” interlude, “WunTwo” returns to the boom bap so he can flex his pen-game.

Meanwhile on “As I Get Wild”, we have Declaime taking a rawer route challenging anyone to step up to him lyrically just before “Temporary Rhyme Speech” comes through with a low-fi Crate Diggas Palace posse cut. “Scarce Compliments” weaves some piano embellishments into the fold talking about knowing what he’s grateful for, but then “Enjoy Your Stay” ruggedly calling God’s revelation his only source of inspiration. And prior to the outro, Wildchild tags along for the hypnotic closer “Signs” talking about how it’s all in the mind.

Although I prefer the predecessor a tad bit more, I’d still say that this whole In the Beginning series is very intriguing & are must-listens for any hardcore fan. Hearing the vintage production & cutthroat lyricism presented throughout even in 2022 continues to show how far both Declaime & Madlib have come in the last 3 decades or so. Could we get a 3rd installment next summer? Only time will tell.

Score: 3.5/5

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Crimeapple – “Breakfast in Hradec” review

This is the 9th full-length album from New Jersey emcee Crimeapple. Catching my interest in the fall of 2017 with his 4th EP Sweet Dreams along with his Big Ghost Ltd. produced full-length debut Aguardiente that following spring, he profile began to grow after dropping the DJ Skizz-produced Wet Dirt & the DJ Muggs-produced Medallo the next year. His output for the next couple years would be hit or miss until Cartagena picked up right where Medallo left off & Jaguar on Palisade 2 was alright too, but I was hyped for Breakfast in Hradec given that Wet Dirt is a top 5 Crime project for me.

“In Flight” is a luxurious opener talking about making rent off someone’s uncle whereas “Penthouse Suite” works in some creepy organ melodies declaring himself as the villain. “Scissorhands” throws in a crooning vocal sample to tackle concept of “it ain’t where I’m at, it’s where I’m going” leading into the soulful “40 Days, 40 Nights” talking about coming a long way.

Meanwhile on “The Count of Monte Cristo”, we have Crime delivering a classy song to his baby just before “Rezamos” instrumentally throws it back to the 80’s talking about praying for those who’d give a kidney to be in his shoes. The song “Wonder Years” incorporates a bass-guitar reflecting on how dirty he used to be while the penultimate track “La Lluvia” is a beautifully smooth ballad about how lovely life’s been lately. “Currency Exchange” ends the album on a boom bap note detailing him landing in JFK with more racks.

Coming away from Breakfast in Hradec, I happen to like it just as much if not more than Wet Dirt. Skizz’ production is a bit more varied compared to the predecessor being more rooted into boom bap & that matched with Crime’s wordplay is what makes it not only a big improvement over Jaguar on Palisade 2, but also one of the best albums of his career.

Score: 4.5/5

Canibus – “C” review

This is the 5th EP from Kingston emcee Canibus. Coming up as 1/2 of the duo T.H.E.M. alongside C.I. about 3 decades ago, they eventually split up a few years later & Bis would blow up in ‘97 after appearing on the LL Cool J song “4, 3, 2, 1” that later resulted in a beef between both parties. He would then go on to make a lengthy yet consistent discography with albums like Rip the Jacker being breathtaking at best & then Mind Control being unlistenable at worst. He just dropped Body Bag Ben-produced 16th full-length Kaiju this past winter after a 3 year break & it wounded up being one of his better albums in his discography, even though the follow-up 1 Step Closer to ∞ was a little underwhelming. But when I found out that one of my top 5 producers Pete Rock was coming in to lace C from front to back, I had to check it out for myself.

“Princibly This” is an incredibly jazzy opener with ‘Bis talking about how life’s a bitch while the next track “Poet’s Palaquin” pulls from some Bollywood influences spitting bars like “They stealth bombed Wakanda after they killed Black Panther” & “You know this, still the dopest. Free the people like Moses, hyper focused with both barrels loaded ‘cause I’m a Poet”. The closer however is just a remix of the song they did on Time Flys, Life Dies…Phoenix Rise almost 7 years ago at this point except it’s more soulful & Bronze Nazareth is spitting a fresh verse on it.

Even though I’m a little disappointed that it’s only 2 songs & a remix, I still enjoyed what I heard & I’d definitely recommend it to the hardcore fans. Canibus sounds much more focused than he did on 1 Step Closer to ∞ & as far as the production goes, it’s pretty much night & day unsurprisingly.

Score: 3.5/5

Eternia – “Free” review

Eternia is a 40 year old MC from Ottawa, Ontario, Canada who came up in 2005 off her full-length debut It’s Called Life. This was followed up with Where I’m At & the MoSS-produced At Last but after taking a 12 year hiatus, so much has happened to her in life & has decided to tap in Rel McCoy for her 4th album backed by now none other than Fat Beats Records.

After the intro, the first song “Freedom99” with Wordsworth kicks things off with a boom bap cut about how the city used to be their playground leading into him & Shad addressing homelessness on the emotional “Home”. She & Rel come together on the piano-tinged “Cycles” to talk about their lives are like 1, but then her husband Mr. Lif come together with “The Story of Us” compassionately detailing how they met.

“Most PPL” works in a fuzzy instrumental tackling the themes of loyalty just before “Praise” almost has a bit of a funk flare showing love to the higher power. “Grow” is quite possibly Eternia at her most vulnerable moments talking about how the world as she knows it is gone whereas “All the Men” dramatically calls out her exes on wax.

The song “Wonderful World” almost has a bit of a dystopian sound taking shots at modern technology while the penultimate track “Secret” finds Mr. Lif reuniting on top of a hollow instrumental tackling the theme of fear. “Let No Dream Fall” finishes off the album by emotionally telling us how she feels inside at the moment.

I was wondering what happened to Eternia for a while now, so it makes me happy to see that she’s made a comeback on here. She rips up the mic like she never even left to begin with & Rel McCoy’s production is just boom bap galore.

Score: 4/5