Trap Dickey – “The Ville” review

Hartsville, South Carolina rapper Trap Dickey making his Top Dawg Entertainment debut by dropping a brand new mixtape a month after signing. Carving a path for himself artistically after getting shot in the face as a result of a crossfire, his full-length debut Trap or Die would eventually arrive in the spring of 2021 & he has since spent the last several years building up anticipation for The Ville through numerous teasers. However in light his new deal, he’s ready to make a broader introduction under a major label.

“Sonny” produced by Sonny Digital was actually an impressive southern trap intro talking about him always looking up to the dealers whenever he watched gangsta movies whereas “Slidin’” mixes a guitar & some hi-hats to spit that g shit. “Jacker” brings a more energetic vibe to the table asking this woman if she’s ever fucked with a gang member until the 5th single “Don’t Trip” explains the reason a lot of rappers leave their hood is because they really don’t run the city.

As for the 7th & final single “Tell Me Why”, we have Trap Dickey confronting someone regarding the purpose of them fucking with him & the 6th single “Down South” featuring Key Glock was quite possibly my favorite of the bunch from FNZ sampling “Darkest Light” by the Lafayette Afro Rock Band to both artists calling to stop hatin’ on the wrong hitters. “Keep Going” featuring K Camp was a mediocre way to conclude the 1st half despite the messaging just before the 2nd single “No Love” featuring BigXthaPlug flips “Nothing But Love” from The 5 Heartbeats for a moderate gangsta rap cut.

“Blue Devils” featuring DaBaby on the remix trades verses with each other representing both Carolinas for the lead single while “LA Nights” samples “Island in the Sun” by Weezer to talk about spending evenings out in the west coast. The 3rd single “Gettin’ Money” featuring OJ da Juiceman has some cool strings & bells even if the “this shit gon’ stay on me like babies, please don’t pamper me” line was a bit trite while “Morning” samples “Easy” by the Commodores to provide some introspection.

YTB Fatt makes an appearance on the gospel trap crossover “Glory” referring themselves to be the big dog rookies of the year despite the fact that neither one of them are beginners while the 4th single “Day Shift” fuses a bluesy guitar & hi-hats talking about putting on for everything that’s in the streets along with no longer being a hitter due to the money that’s on his head. “New Philly” ties up the last few minutes of The Ville with a passionately drumless outro.

There are only a select few artists on the TDE roster that I would have to put in the C tier like Lance Skiiiwalker & Zacari, but you could add Trap Dickey to that same category considering that a great deal of The Ville was mediocre to me personally. Even if the guest list & production both falter at times, I can totally understand why Anthony “Top Dawg” Tiffith signed him because his whole style’s like a preacher’s grandson speaking directly to the audience.

Score: 2.5/5

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Isaiah Rashad – “It’s Been Awful” review

Chattanooga, Tennessee emcee & singer/songwriter Isaiah Rashad finally back for his 3rd studio LP. Coming up over a decade ago by signing to Top Dawg Entertainment & dropping his 2nd EP cilvia demo to universal acclaim the following year, the full-length debut The Sun’s Tirade as well as the sophomore effort albeit major label debut The House is Burning under Warner Records would continue to cement Zaywop was the most underrated weapon in the TDE arsenal. It’s Been Awful however could wake some people up since many would use that name to describe the past year & a half.

“The New Sublime” begins with this slow beat talking about wanting someone to pray for him & his family because of everyone going crazy whereas “M.O.M. (Man On a Mission)” rhythmically describes himself as the type who’s determined to get what he wants. “Same Sh!t” made for a tolerable trap single talking about the plan being to make money until he dies leading into “Boy in Red” featuring SZA coming through with this synergistically buttery R&B duet.

As for “Supaficial”, we have Zay further embracing a smoother vibe instrumentally asking if he & his lover can lay outside due to his dislike of lights in the ceiling while “Scared 2 Look Down” combines elements of cloud rap & trap to talk about him changing for the greater good. “Happy Hour” doesn’t shy away regarding him giving up on love from his side of things & sippin’ lean slowly just before “Do I Look High?” reaches the halfway point talks about dancing with the dark to fall in love with what he really is.

“Ain’t Givin’ Up” kicks off the 2nd leg of It’s Been Awful discussing his refusal of killing this high he’s experiencing while “G.T.K.Y. (Get To Know You)” produced by Wu10 talks about a desire of wanting a better understanding of his romantic interest from a personal standpoint. “Cameras” featuring Dominic Fike finds the pair pleading for their partners to pull up for a bit while “Act Normal” ponders what love is when he doesn’t trust men or women.

Rounding out 3rd, the song “10 States Away” talks about getting fucked up during the middle of the day & planning his escape route while “Nuthin’ 2 Hide” admits to an individual killing his love through lying & pushing his limits in the evening without having a single thing to hide. “Superpowers” blends jazz rap & trap so he can talk about having extraordinary abilities of his own while the “719” freestyle samples “It Doesn’t Make Sense” by The Family Circle to speak of running back to his bitch.

It’s a shame that some closed-minded bigots will overlook Isaiah Rashad for the rest of his career all because of some asshole outing him as bisexual because he gets a lot of confessions & contemplations off his chest over the course of It’s Been Awful, possibly becoming the darkest material in his entire discography. The production in general feels like a different sound for him balancing conscious hip hop & contemporary R&B, limiting the amount of guests compared to The House is Burning to break down the Hell he’s gone through.

Score: 4/5

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Alemeda – “But What the Hell Do I Know?” review

Phoenix, Arizona singer/songwriter of Sudanese-Ethiopian descent Alemeda returning for her 2nd EP. Appearing on the Hit-Boy produced highlight “Fallacy” off Ab-Soul’s 5th album Herbert at the end of 2022, she would eventually sign to Top Dawg Entertainment under an exclusive distribution deal with Warner Records for a positively received pop rock/bedroom pop debut EP Fuck It last fall. 14 months have passed & she’s looking to further her establish her by releasing But What the Hell Do I Know?.

Things begin with the pop rock intro “Happy with You” singing about being in disbelief that she can feel contented by a romantic figure whereas “Beat a Bitch Up!” featuring Doechii fuses alternative rock, post-punk revival, indie rock, pop rap, pop punk & shoegaze for a ventilation of resorting to physical violence. “Losing Myself” sings about feeling like she’s falling into a metaphorical abyss while the indie/pop rock & bedroom pop lead single “Chameleon” featuring Rachel Chinouriri cautions that karma’s coming to manipulators.

“1-800-FUCK-YOU” starts the 2nd half of But What the Hell Do I Know? with a pop rock/post-punk revival single confidently standing up to any bullshit hurled at her while the self-produced “Stupid Little Bitch” asks why she wastes her days crying over someone in her life worth deeming that very title. “I’m Over It” lately sends off the EP with 1 more pop rock track singing about how things started in this relationship she’s describing wound up being the same way things were lost, being on the verge of giving up trying to fix it.

Expanding the predominant pop rock & bedroom pop sounds of Fuck It almost 14 months ago including it’s secondary post-punk revival influences, Alemeda comes to the realization that she didn’t know everything like she always thought & takes a more vulnerable approach than she did on But What Do I Know?’s predecessor. Her whole entire style that makes her differ from her labelmates is being distilled right in front of us for 17 minutes additionally pulling from alternative rock, indie rock, pop rap, pop punk & shoegaze.

Score: 4/5

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Ray Vaughn – “The Good, The Bad, The $1 Menu” review

Ray Vaughn is a 31 year old recording artist from Long Beach, California emerging in the summer of 2018 off his debut EP Blame Summer followed by the full-length studio debut Idle & 2 more EPs; Projects & Peer Pressure. The latter coming almost immediately after Top Dawg Entertainment had signed him to the label in fall of 2021, making up for the large handful of singles since by finally letting him drop a debut mixtape after being pushed back from last weekend to the last week of April.

“Flocker’s Remorse” begins the tape by talking about life hitting him hardly as of late whereas “XXXL Tee” takes the trap route instrumentally clarifying that the only thing he starts is business shit. “$1 Menu” discusses the Pop Out concert leaving the opps shook & them crying wolf just before “Flat Shasta” featuring Ash Leone talks about the woman he loves more than his own father.

Moving on from there, “3PM @ Dairy’s” keeps the trap vibes going painting an image of spending an afternoon at a local establishment that’s looked out for generations of local families leading into “East Chatt” featuring Isaiah Rashad asking to imagine what it’d be like if the gave a fuck. “Klown Dance” featuring Jay Rock talks about them continuing to plot & scheme leading into “Look @ God” featuring LaRussell going hyphy to boast making money daily.

“Janky Moral Compass” featuring Samara Cyn gets the final leg of The Good, The Bad, The $1 Menu talking about picking themselves up because they can feel themselves falling while “Miles Away from Heaven” heads for a stripped-back approach talking about showing you a better way. “Suburban Kidz” wraps things up by telling everyone listening who’s still in the suburbs to keep fighting & it’ll all work out in the end.

The Good, The Bad, The $1 Menu after 3 & a half long years in the making has to be the most conceptual body of work in Ray’s entire discography & an official TDE debut that many Long Beach natives will find themselves familiar with taking us on a journey from his adolescence to landing a record deal exploring both the positive & negative aspects of his career.

Score: 3.5/5

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SZA – “Lana” review

St. Louis singer/songwriter SZA finally releasing her 3rd studio LP. Breaking out over 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. Her sophomore effort S.O.S. went more contemporary & is celebrating it’s 2-year anniversary with Lana.

“No More Hiding” produced by Michael Uzowuru is this drumless, acoustic R&B opener singing about having to build everything twice over whereas “What Do I Do” takes the moody trap soul route instrumentally thanks to benny blanco & Cashmere Cat telling her ex that called her on accident that it’s too late & their relationship won’t be the same ever again. “30 for 30” featuring Super Bowl LVI & Super Bowl LIX halftime show performer Kendrick Lamar samples “Throw Some D’s” by Rich Boy saying “fuck you” to the haters if they’re saying it first while “Diamond Boy (DTM)” strips the drums again to sing about being addicted to her new man.

Meanwhile on “BMF”, we have SZA coming through with some summertime vibes describing a young & handsome man from southwest Detroit who happens to be fly & bossy just before the atmospheric “Scorsese Baby Daddy” admits to hating being the one that’s doing the most & being addicted to the drama. “Love Me 4 Me” slickly sings about romanticize the scariest things & asking her new partner if they love her for herself, but then “Chill Baby” gives off a moody boom bap approach courtesy of Cade & Lil Yachty finding a bitter piece.

“My Turn” brings a trap soul flare back to the table giving her partner his turn to do the hurtin’ because she deserves it & still digs him even if life ain’t fair at all while “Crybaby” lusciously addresses the public’s perception of her being overly sensitive & emotionally vulnerable. “Kitchen” has some cool psychedelic guitar licks throughout breaking down the difficulty of doing the right thing sometimes & after the “Got Behind Me” interlude, “Drive” returns to a drumless edge singing about driving in the middle of the night.

Reaching the final moments of Lana, “Another Life” hooks up some synthesizers knowing that she & her partner could ride down asking him if he would still love her in an alternate reality wanting to be by his side & the lead single “Saturn” finishes the S.O.S. follow-up that’s been in the making ever since the predecessor initially came out a couple winters ago blending neo-soul, alternative R&B trip hop, psychedelic pop & psychedelic soul explaining her confusion of this world.

Don Toliver joins SZA on the contemporary/psychedelic folk-inspired “Joni” to start the deluxe run of Lana sampling “Angeles” by Elliott Smith written from the perspective of Joni Mitchell while “Take You Down” asks her lover if he you mean all the shit he said the other day & if he was just talkin’ or tryna swing her way. The final bonus track “PSA” takes it back to her alternative R&B roots singing that she doesn’t want anyone calling her anything other than #1.

Hitting a healthier mental state than when she recorded her past 2 albums, Lana only a month after her upcoming Grand National Tour co-headliner Kendrick surprise-dropped GNX feels more ready to move on & let go as opposed to being overly burdened by past hurt. Finding solace in meditation & yoga, her growing sense of inner peace reflected on the most personal body of work that the generational talent of an alternative R&B singer has ever crafted giving the world a look at where stands presently expanding on S.O.S.’ contemporary sound in favor of trap soul, neo-soul, alternative R&B, bedroom pop, contemporary folk & psychedelic folk.

Score: 4.5/5

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Ab-Soul – “Soul Burger” review

This is the 3rd mixtape from Carson, California emcee Ab-Soul. Coming up as 1/2 of the duo Area 51 alongside Snake Hollywood, Soulo would go on to sign to Top Dawg Entertainment after their disbandment & has remained under Top Dawg’s wing since. Dude’s first 2 mixtapes Longterm & Longterm 2: Lifestyles of the Broke & Almost Famous would begin to turn heads & I can’t forget about his first 2 full-lengths Longterm Mentality & Control System going on to become the Black Lip Bastard’s most acclaimed efforts to date, but These Days… & Do What Thou Wilt. were both released to mediocre reception from many including myself. Herbert marked a return to form for him a couple years ago & is now remembering Doeburger throughout Soul Burger.

“9 Mile” is a drumless/boom bap 2-parter sampling the iconic Mobb Deep single “Shook Ones, Pt. II” talking about how caine never really left his side whereas “Paiday” takes the trap route instrumentally demanding he gets paid. “All That” featuring Jason Martin & produced by Tae Beast goes for a bit of a gangsta rap vibe representing their west coast street ties just before the sample-driven “California Dream” featuring Vince Staples with 9th Wonder behind the boards shows love to their home state.

Moving on from there, “B.U.C.K.O. Jr.” returns to a trap sound touching on his soldier mentality leading into Doechii joining Soulo for “I, Myself & Me” brings back a bit of a boom bap edge talking about it simply being themselves. “DND” featuring Notorious N.I.Q. pulls inspiration from the trap scene once more thanks to Beat Butcha & Sounwave running the checks up tryna pay the price, but then the symphonic trap hybrid “Don Julio 70” by Soul Fre$h demonstrates the duo’s chemistry.

“Go Pro” featuring Ty$ starts the 2nd half of the tape boasting that the real ones are back in style while the catchy “Saudi Sweats” makes it clear that if it ain’t about the money, he ain’t really having it. “Squeeze 1st 2” is this jazzy sequel to the JAY-Z joint “Squeeze 1st” letting the gun off & asking questions later while “Crazier” featuring J.I.D brings the 2 together for a drumlessly experimental ride showing off abstract lyricism.

The song “Peace” featuring Lupe Fiasco & Punch strips the drums once more showing a bit of a conscious side to them for 5 & a half minutes while the penultimate track “The Sky’s Limitless” heads for a psychedelic trap direction courtesy of Terrace Martin whom Kendrick Lamar mentioned on “The Day The Party Died” encouraging listeners that they can have & be whatever they want in this life. “Righteous Man” properly ends the tape on some hardcore shit keeping a bullet with your name on it.

For his 1st mixtape in nearly 14 & a half years, Soulo maintains the consistency of Herbert by cooking up a homage to Doeburger that I feel does his memory justice. The production ranges from boom bap to trap & drumless with the lyricism offering a look at the gangsta life, consciousness & even a hint of abstract through use of metaphors along with symbolism & cryptic meanings.

Score: 3.5/5

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Alemeda – “FUCK IT” review

Alemeda is a 24 year old Sudanese-Ethiopian singer/songwriter from Phoenix, Arizona who became inspired to make music after watching the High School Musical trilogy as a heavy Disney pop-punk kid growing up. However, it wasn’t until her feature on the Hit-Boy produced highlight “Fallacy” off Ab-Soul’s 5th album Herbert at the end of 2022 were many including myself first caught onto her. Almost 22 months later, she’s celebrating her new joint deal with Top Dawg Entertainment & Warner Records by releasing her debut EP.

“I hate your face” starts on the groovy R&B tip singing that she wants to speak to whoever raised these ignorant, uneducated haters whereas “Don’t Call Me” takes the alternative rock route telling an ex of hers that she made his problems important to her & not to contact her. “Guy’s Girl” comes to the realization that the guy she used to see won’t ever change over a pop rock instrumental, but then the rock/R&B crossover “I already dug your grave” asks if he regrets the things he’s done when he’s alone.

To kick off the other half of FUCK IT, “1st Love Song” fuses pop rock with post-punk revival & bedroom pop admitting she was pissed on the evening of her partner’s birthday while “Gonna Bleach My Eyebrows” swaps out the pop rock & post-punk revival influences in favor of 2-step & alternative R&B talking about being a new artist with a new style. Below the Belt” feels young as she’s ever been & old enough to know this individual never really gave her a chance over warm guitar shredding & “Not Asking for Much” is a down-tuned closer needing some summertime.

If any of you enjoyed the “Fallacy” feature like I did & have yet to check out Alemeda’s own discography, this EP is the truest expression of who she is artistically & personally. She makes her case as the newest welcoming addition of the TDE roster letting go of what doesn’t serve her & embracing the chaos and beauty of being unapologetically real through the styles of contemporary R&B, alternative rock, pop rock, post-punk revival, alternative R&B & 2-step.

Score: 3.5/5

Doechii – “Alligator Bites Never Heal” review

This is the Grammy winning debut mixtape from Tampa, Florida emcee Doechii. Breaking out in the spring of 2019 off her debut EP Coven Music Session. Then following her next 2 EPs Oh the Places You’ll Go & Bra-Less, she went on to sign to Top Dawg Entertainment/Capitol Records in March of 2022 earning a spot in the 2022 XXL Freshman Class & releasing she / her / black bitch shortly after. However, she’s returning to make it clear Alligator Bites Never Heal nearly 14 months since appearing in the A24 Films drama Earth Mama.

“Stanka Pooh” starts the story backwards referencing the longtime Warner Bros. franchise Looney Tunes over a morbidly slow instrumental whereas “Bullfrog” goes full-blown boom bap with a bass guitar to talk about Twitter fingers getting your whole life logged out. “Boiled Peanuts” keeps the kicks & snares in tact maintaining a chip on her shoulder with the gang all here with her on a sunny day, but then the beat on “Denial’s a River” radiates a DJ Premier influence describing her rise in popularity in the last 5 years.

Moving on from there, “Catfish” maintains the hardcore boom bap sound referring to herself as the Ruler of the Swamp prior to “Skipp” shifting gears to trap territory ripping 25 crews quickly. “Hide n Seek” hooks up an atmospheric backdrop & hi-hats feelin’ hardline broke with nothing for her heart to hold just before the moody “Bloom” talks about finding her own place to grow.

“Wait” produced by Dylvinci ends the 1st leg of the tape on a cloudier tip advising that you should just eat what’s already on your plate & poppin’ since The Nanny aired on the Paramount Skydance Corporation-owned CBS while “Death Roll” brings a trap flare back to the table making it clear she got shit to prove with no time to fall back. “Profit” layers these hi-hats with a soul sample pledging allegiance to financial gain leading into DJ Camper giving “Boom Bap” a comedically drumless chipmunk soul vibe taking a jab at her critics.

Meanwhile with “Nissan Altima”, we have Doechii over a hardcore trap/pop rap hybrid telling everyone to increase their rates for her while “GTFO” featuring KUNTFETISH aggressively tells everyone to move out their way. “Huh!” shoots for a synth-based direction talking about being so 100 while the playfully subdued “Slide” discussing her man liking the way she grooves.

“Fireflies” nears the conclusion of Alligator Bites Never Heal with this cavernous 2-parter fed up with dudes calling her childish & pleasing to not be let down while “Beverly Hills” groovily talks her shit for roughly 3 & a half minutes. The title track lastly ends the tape with an acoustic/boom bap beat asking if you would dance for her even after hurting the feelings of this particular individual & the bonus cut “Anxiety” samples “Somebody That I Used to Know” by Gotye wiping the Sleepy Hallow version.

Even if I have ScHoolboy Q’s latest comeback effort Blue Lips above Alligator Bites Never Heal as my favorite TDE release of 2024, I highly enjoyed this mixtape more than her EP that I covered couple years ago. It’s a testament to her unyielding spirit & limitless creativity, additionally embodying her resurgence & reclaiming of power in the process letting everyone know she was born to be the predator.

Score: 4.5/5

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ScHoolboy Q – “Blue Lips” review

THis is tHe 6tH full-lengtH LP from SoutH Los Angeles emcee ScHoolboy Q. Emerging at tHe beginning of tHe decade as 1/4 of Black Hippy, He released His first 2 albums Setbacks and Habits & Contradictions independently until making His major label debut witH Oxymoron turning 10 last month. THis would be followed up witH Blank Face LP a couple years later & CrasH Talk, tHe latter of wHicH is regarded as Q’s weakest & most commercial body of work. So after nearly 5 years, Blue Lips had to be tHe most excited I’ve been for a Top Dawg Entertainment project in recent memory after Kendrick Lamar’s final album witH tHe label Mr. Morale & tHe Big Steppers.

“Funny Guy” is a feel-good intro produced by Tae Beast of tHe TDE in-House production team Digi+PHonics encouraging to bring tHe dope, Hoes & money bag to tHe spot wHereas “Pop” featuring Rico Nasty dabbles witH rap rock a little courtesy of Beat ButcHa talking about tHe gang activities tHey’ve gotten tHemselves into. “THank god 4 me” tries to keep tHe peace instead of piecing bitcHes over Horns & Hi-Hats witH a cloudy switcH-up just before tHe drumless “Blueslides” profoundly pays tribute to Mac Miller.

Cardo’s production on “Yeern 101” Has some experimentally lowend undertones tHrougHout energetically running it off top leading into tHe minimalist “Love Birds” talking about mistreating tHe one He loves tHe most. “Movie” featuring Az CHike turns tHe bass up to 11 referring to tHemselves as badass kids mucH like Bruce Lee, but tHen “Cooties” fuses kicks & snares witH acoustics celebrating better living.

“oHio” featuring Freddie Gibbs ends tHe first Half of tHe album witH a dynamic 3-parter sHutting sHit down wHile “Foux” featuring Ab-Soul is tHe long-awaited 4tH installment of tHe “Druggys wit Hoes” series witH a psycHedelic flare to tHe beat. “First” gives off a cloudier vibe addressing a woman tHat Q was fuckin’ witH first wHile tHe DJ KHalil-laced “Nunu” promises to God tHat you’ll continue to Hear new music from Him instead of waiting 5 years again.

MeanwHile, “Back n Love” featuring Devyn Malik dives into nocturnal trap territory talking about falling in love witH tHis sHit again becoming tHe voice of 20,000 kids like WWE Hall of Famers D-Generation X wHile my favorite on the LP “Lost Times” Has tHat signature AlcHemist sound putting a finger in tHe air for tHe times He can’t get back. “Germany ‘86” Has a groovier tone instrumentally reminding tHat pain is a part of man wHile “Time Killers” futuristically talking about being a lone star.

“Pig Feet” cops down over a spacious trap beat mentioning tHe finisHing move of 10-time WWE world cHampion, 2-time WWE Intercontinental CHampion, 5-time WWE Tag Team CHampion, United Football League (UFL) co-owner, TKO Group Holdings board of directors member, $7 Productions co-founder & tHe final boss of professional wrestling THe Rock while “Smile” cHarismatically finisHes tHe album witH a 1-minute cut about swerving His old bitcH.

Q’s my 2nd favorite Black Hippy member beHind Kendrick but now tHat tHe latter departed TDE couple years ago to focus on pgLang, He Has to be my new favorite artist on tHe current roster & Blue Lips lived up to my expectations redeeming Himself from CrasH Talk last time we Heard from him. THe production mostly Handled by Tae Beast is less commercial tHan it was on tHat previous LP before tHe COVID-19 pandemic sHut tHe world down tHe following spring & Q also sounds more inspired.

Score: 4/5

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Reason – “Porches” review

Reason is a 33 year old rapper from Carson, California who released a total of 4 mixtapes until signing to Top Dawg Entertainment in the middle of 2018 by reissuing the one that landed him the contract in the first place: There You Have It. However, his official full-length debut album New Beginnings received more mixed reception when it came out the fall where COVID had the whole world shut down. But considering a couple latest singles of his along with the fact that he called in some show on-air a few days ago to vent his frustrations over the ball being dropped promotion-wise & Anthony “Top Dawg” Tiffith’s son Moosa subsequently called in to get into a heated exchange of words with Reason saying former employee/pgLang co-founder Dave Free regrets even signing him in the first place, I went into the sophomore effort hoping I would like it more than the predecessor.

“Faded off Poor n Riches!” starts off the album with a drumless beat with the sound of a ticking clock talking about getting to share the Ws whereas “Caucasian Estates!” takes the morbid trap route thanks to Vinylz & Allen Ritter ensuring you to relax so he can push your shit to the max. The gospel influences throughout “At It Again” are pretty cool as he triumphantly focuses on winning once more that is until “A Broken Winter Break!” dives into soulful boom bap territory admitting he’s blurry of the 5th.

Moving on from there, “You Betta (Jesus Take the Wheel)” tells y’all to come & take the weight off him with a hazy trap beat just before “Send You 2 the Afterlife!” almost gives me a Memphis rap feel instrumentally with the title saying it all conceptually. “Call Me!“ gives off a more soothing vibe saying he’s way too stressed in here, but then the spacey boom bap-inflicted “Gang Shit!” calling out those who don’t like his image coming & you can hear the genuine frustration in his voice.

“F.T.N.! (Fuck These N***a!)” featuring Baby Tate has a more skeletal trap tone as they deliver a decent pop rap ballad together leading into the booming “Gina! (August Alsina)” dropping braggadocio likening his whip to 16-time WWE world champion, 4-time WWE tag team champion & 5-time WWE United States Champion John Cena. “Too Much! (Melly Mel)” follows this up with a bleak jazz rap ballad FNZ cooked up about overthinking while “Bussin! (WB Pt.2) featuring Top Dawg Entertainment labelmate Ray Vaughn who has yet to drop a full-length debut with the label probably because they’re shelving him too finds them over keys & hi-hats co-produced by Boi-1da talking about never being upset with how they living.

Meanwhile, “Rich Mirages!” hazily confesses having the optical illusion of being wealthy while “I Don’t Trust You!” featuring TDE’s latest signing as of me writing this review Doechii finds the pair making a better version of “F.T.N.! (Fuck These N***a!)” with all respect to Baby Tate except they’re tackling mistrust. The song “Family First!” featuring Kalan.FrFr, SiR & Zacari delivers a piano trap ballad dedicated to family while the penultimate track “Porch Steps!” featuring Dirty Dell nocturnally talks about never leaving the hood. “Poster Child!” however wraps everything up with 1 final boom bap cut hungrily declaring he got where he is today in the music industry because of a specific mindset.

A lot of people including myself generally think Reason is one of the more average artists on the TDE roster but after the whole situation with Moosa only a few days ago, it didn’t sit right with me at all as someone who watched the label in it’s prime in high school. That being said: the guy deserves better. He’s at different place emotionally, but the production’s just okay at best & the guests’ performances are hit or miss. As someone who watched the label in its prime back in high school, their downfall has unquestionably become one of the biggest tragedies in hip hop history.

Score: 3/5

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