2hollis – “Pirouette” review

This is the 5th studio LP from Chicago, Illinois rapper, singer/songwriter & producer 2hollis. Coming up as 1/2 of Mage Eternal & a member of OSX under his original moniker Drippysoup, he would go onto to put out a total of 7 extended plays along with a couple mixtapes & 3 full-lengths until signing to Interscope Records. It’s already been a year & a half since he made his major label debut Star pivoted towards an electronic dance music sound contrasting his previous output & he’s back once again for Pirouette.

“Spring” opens up with this EDM intro talking about his desires of doing to his romantic interest what spring does to the trees whereas “Skin” produced by Ginseng talks about his wishes of pulling time back into his arms so he could find this woman from the start. “The Lady in Red” expresses his amazement towards a female wearing all red looking like a nosebleed while the self-produced “Pressure” calls back to “eldest child” a year & a half ago.

Meanwhile on “Human After All”, we have 2hollis describing a certain type of pain that made him realize his own humanity just before “SOPHIE” remembers the late bubblegum bass/hyperpop pioneer of the same name. The 2nd single “Sex” blends electropop, dance-pop, electro house, electroclash & hyperpop to talk about intercourse with him while the lead single “Hurt” fuses electropop, hyperpop, fidget house, electro, EDM glitch hop, deconstructed club & breakbeat admits to yearning for him.

“Eyes Wide Closed” kicks off the 2nd half talking about wanting to be fucked like the other person partaking hates him while “Betrayal” talks about not wanting to take this individual’s money. “i2i” confronts someone who he can’t agree with in a single sentence tying while the 3rd & final single” Warhorse” combines digicore, rage, deconstructed club, industrial hip hop & hardwave sampling “Don’t Tell” by DJ Clap to talk about the aspects of love he considers chaotic.

Winding down the last leg of the album, the song “Today” samples “Droopy Likes Your Face” by C418 confessing his ways have been somewhat broken & praying upon a new saint until encouraging the “Heaven Speaker” to show him what heaven truly is. “My 1 & Only” takes a compositional approach for a minute & a half, feeling more like an interlude than anything while the closing track “Daisy” finishes Pirouette reflecting upon his life, his relationships & the emotions he was having when he was younger.

Of the 2 full-lengths 2hollis has put out since the Interscope deal came about, Pirouette makes some noteworthy improvements above it’s predecessor a year & a half ago. The electropop, hard dance, indietronica, rage, hyperpop dance-pop, electro house, electroclash, fidget house, electro, EDM glitch hop, deconstructed club, breakbeat, digicore, rage, industrial hip hop & hardwave production refines the EDM sounds of Star exploring the human experience of emotion along with the intensity & many shades of it mostly portrayed through the lens of love & further exploring all the building & destruction it can bring.

Score: 4/5

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Ella Mai – “3²” review

This is the 5th extended play from Mitcham, London, England, United Kingdom singer/songwriter Ella Mai. Signing to DJ Mustard’s very own Interscope Records imprint 10 Summers Records over a decade ago. Her first few EPs Time as well as Change & Ready were all solid preludes ahead of her acclaimed eponymous full length debut, following up her sophomore effort Heart on My Sleeve with 3. Her 3rd album Do You Still Love Me? came out earlier this year & she’s dropping 3² to celebrate her birthday week.

“Favourite T-Shirt” produced by none other than DJ Mustard begins the 3-pack with a contemporary R&B intro singing about the father of her child Jayson Tatum while “Over & Over” bridges the 3 sequel admitting that she finds herself falling in love with Jayson all over again right when she feels like they’re through. “All I Know” sends off the EP incorporating some rich piano chords so she can sing about affection being the only thing she’s familiar with.

Do You Still Love Me? still remains the most intimate statement in Ella Mai’s entire discography so far considering that she gave the world her new outlook on the complexities of love & life altogether, but I don’t see myself coming back to 3² as much as it’s predecessor 24 months ago or even the new LP we got from her back in February & that’s primarily because it wouldn’t be much of surprise to find out if the 10 minutes of material here were originally intended for what we got 9 months earlier.

Score: 3/5

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Lil Baby – “Fresh” review

Atlanta, Georgia rapper & CBFW Records founder Lil Baby dropping his 6th LP almost 2 years after its original announcement. Rising to stardom in 2018 off his full-length debut Harder Than Ever, his profile would gradually increase from there by following up with a collab project with Gunna entitled Drip Harder & Street Gossip. His sophomore effort My Turn as well as It’s Only Me & W.H.A.M. (Who Hard As Me?) all left people divided, coming off The Leak$’ poor reception to stay Fresh.

“Top Uh It” incorporates a cheap trap instrumental with some bells talking about having 1 foot deep in the streets & 1 foot out of it whereas “Mr. Do Something” produced by Taurus experiments with the Detroit sound to discuss being the type of person who takes action. “Burnt Shit” continues from there flexing his wealth over a Wheezy beat leading into “Be the One” talking about the feeling he always had of being as popular as he is & getting everything he’s dreamed of.

30 Roc brings in the horns during “Ain’t Goin’” demanding an explanation as to why people are getting up in his business just before “From the Back” featuring Chris Brown on the remix instrumentally swaps out the brass in favor of pianos thanks to Hitmaka talking about being in love with this woman who he needs to be around when he’s drunk. “All My Partnas” featuring Rylo Rodriguez & Young Thug links up over a London on da Track beat airing out a hoe for fuckin’ their homies while “My Side” talks about puttin’ it down for his parts of the ATL.

“L.o.t.P. (Life of the Party)” made for an underwhelming kickoff to the 2nd half looking to turn up every day for a month straight while “Dead Fresh” talks about his upscale taste in fashion over a cloudy trap instrumental from Pharrell. “Your Fault” expresses hope of this chick seeing the changes he’s been trying to make interpolating “Blame U” by Odeal while “All of Us” runs it back with Wheezy to talk about him puttin’ on for everyone.

Rylo Rodriguez appears again for “In Your Head” explaining the reason their bitches are holding themselves back while “Like a Brat” talks about wanting to spoil his girl. “Televised” spends a couple minutes getting in his gangsta rap bag lyrically calling for the deaths of those who don’t want him going hard to be broadcasted & after “Rareform” talks about feeling great when the money comes, “Keep Goin’” ends the album advising not to stop over a synth-driven Metro Boomin’ beat.

Although I do believe Lil Baby made some improvements with Fresh & would place it above The Leak$, it’s not by a very wide margin. I appreciate him stepping things up within the production department considering nearly half of it was a considerable step up from both that grails tape he gave us 11 months ago & even It’s Only Me, but the choruses leave a lot to be desired & he doesn’t have that same hunger he did when he initially blew up.

Score: 2/5

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Kirk Franklin – “I Am What I Am” review

Kirk Franklin is a 56 year old gospel singer, rapper, songwriter, composer, producer, choir director & author from Fort Worth, Texas who would put out over a dozen full-lengths in the past 3 decades. My favorites of which being his 5th album The Nu Nation Project under Interscope Records & the RCA Records-backed Long Live Love, but seeing that the Fo Yo Soul Recordings founder had left RCA to join a relaunched Uptown Records now distributed by Republic Records for a brand new extended play had me intrigued.

“Free Me Tonight” featuring Jelly Roll samples “In the Air Tonight” by Phil Collins so they can ask God to set them free this evening whereas “This Time” featuring Glorilla flips “Dey Know” by the late Shawty Lo to discuss everything being ok in the end. “Hope in You” featuring Davido brings a bit of an Afrobeats vibe to the table expressing optimism of their partners seeing them for what’s in their heart while “It Gets Better” featuring Tobe Nwigwe finds the pair talking about dark times never lasting.

The 2nd single “Able” winds down the last leg of I Am What I Am passionately describing everything God’s capable of doing whether it’s making our day better or changing the way we live while the lead single “Do It Again” sings about the Lord restoring what we’ve destroyed & turning sorrow into happiness. “Stay” sends off the of the EP with a gospel outro advising that today could be the day God answers your prayers if one sticks around long enough for the sun to shine on them.

I Am What I Am would be an unquestionable recommendation if people are looking for a gospel project in 2026 to cleanse theirs ears from WWE Hall of Famer Kid Rock’s latest album Halfway 2 Jesus dropping a couple weeks earlier. Not simply because the message Kirk Franklin’s been delivering since his debut doesn’t get comprised by the inclusion of secular guests or needless to say: The sincerity behind it, but it’s also I’d honestly rank it amongst the most enjoyable music that I’ve heard from him in some time.

Score: 3.5/5

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Nettspend – “Virginia Creeper” review

This is the 2nd extended play from Richmond, Virginia rapper Nettspend. Blowing up in 2023 off his debut EP Kickdoor, he would also team up with Hooligan Lou for the poorly received collab EP 3rd Knock preceding him signing to Grade A Productions & Interscope Records a few months afterwards. His debut mixtape Badass Fucking Kid was welcomed to divisive feedback although I personally enjoyed it more than Kickdoor or Nettgenes’ eponymous debut EP. Coming off the introspective Early Life Crisis as well as the Him tape, the Virginia Creeper has appeared on Devil’s Night.

“same language” gets the ball rollin’ talking about making it big since Lil Bibby gave him a deal prior to “Get Guap” flexing that he’s been on top ever since he was a teenager over a distorted CXO instrumental. “6weeks” talks about every day looking like the previous 24 hours leading into “LL50” remembering the late Bloodhound Q50. “nite nite” produced by che spends a couple minutes dissing 9 Vicious & “JSX” concludes Virginia Creeper talking about wanting to fly his girl out using the semi-private airline.

Nettspend celebrates the Halloween season in preparation for his upcoming sophomore effort Slut & the NXO collaborative project with OsamaSon dropping the most mediocre collection of material he’s made since joining a major label, which is saying something because I enjoyed his last 3 offerings more than most did. The problem with Virginia Creeper lies within the trap, rage, cloud rap, plugg & pop rap production largely coming across as uninteresting regardless of him getting some stuff of his chest.

Score: 3/5

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John Legend – “Muse” review

This is the 10th studio LP from Springfield, Ohio singer/songwriter, pianist, producer & actor John Legend. Becoming the very 1st artist one of my top 10 producers of all-time Ye formerly known as Kanye West signed to G.O.O.D. Music in 2004 & released his debut Get Lifted in tandem with Columbia Records on his 26th birthday, his sophomore effort Once Again as well as Evolver & Love in the Future each have some of his best material too. Making himself home at Republic Records right after Darkness & Light came out. A Legendary Christmas alongside Bigger Love & Legend were all mediocre in their own rights, coming off My Favorite Dream to have Pharrell produce Muse.

The title track opens up with this swaggering intro singing about a woman who knows she can’t take any Ls whereas “Pray for Ya” hooks up a rubbery bassline & some horns arranged by Terrace Martin looking to ask God to help this person who can’t even help themself regardless of the money they have, presumably referring to Ye when it looks like he’s been medicated & getting help. After the “Her” introduction skit, the actual “Her” song itself passionately sings about doing anything for his wife.

“Daylight” blends contemporary R&B, dancehall & reggaetón for the lead single professing that he’s emotionally invested into the love of his life just before “Get Back” sings about this chick becoming fed up of telling people the bullshit she has to put up with & playing it off whenever something goes down. “Are You Ok?” finds John trying to figure out why this woman he’s addressing has become so infuriated & after the “Under the Bridge” introduction skit, “Under the Bridge” kicks off the 2nd half apologizing for any wrongdoing.

We have John promising his partner he’ll get things right with her “Next Time” & after the “Taps” skit, the 3rd & final single “Bodies on the Floor” featuring Clipse proclaims they’re in the middle of a war they no longer wish to fight fusing gospel & hip hop. “Doing Me” however brings back the symphonic elements that’ve heavily showcased itself across Muse singing about how he’s been focusing towards his grind & not having any patience left.

“Fireflies” winds down the album’s final act looking back at his & Pharrell’s respective upbringings honoring those in their lives who didn’t make it out of those troubling times in their youth while “Everything” sings about losing our monarchs over some bouncy bass & pianos, having nowhere to go or anywhere to be. “Sail Off” passionately wraps it all up loving this person like it’s all John has left in him in the midst of them leaving the day behind.

Mind you that I haven’t enjoyed a great deal of John Legend’s music since Love is the Future came out when I began my junior year of high school, so the teasers building up towards Muse had me hoping it would be his greatest musical statement since leaving G.O.O.D. Music to sign to Republic Records & I can gladly confirm that’s what we got. Pharrell’s production sprinkles refreshingly incorporated elements of orchestral, dancehall, reggaetón, funk, gospel, Afrobeats & hip hop music into John’s contemporary R&B style to back his smoothly commanding vocals.

Score: 4/5

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Yung Miami – “Watch Dis!” review

Yung Miami is a 32 year old rapper & songwriter from Miami, Florida who broke out as 1/2 of the City Girls. They would drop a mixtape & 3 full-lengths under Quality Control Music prior to their disbandment with JT becoming the first of the duo to go solo in 2024 when the City Cinderella mixtape preluding Club Cheetah came out although it left audiences divided. However, I was more interested in Miami’s own solo debut coming out through Uptown Records & Republic Records especially since she was always the nicest of the 2.

“Fuck Shit Up” wasn’t exactly the strongest note to open up on asking whether or not all these other bitches got the memo whereas “Fuck You” produced by London on da Track throws up middle fingers declaring she’s still the same as she was when she was in the gutter. The 3rd & final single “2008” throws it back to when Jeezy was a dominant force in the mixtape scene giving the mood motivation while “Spend Dat” featuring Davido, Kodak Black, Lil Baby, Shenseea & Vybz Kartel on the remix unites for a strip club anthem.

G Herbo & Quavo both appear during “T.M.T.C. (Take Me To Chanel)” so they can talk about their desires of shopping at the French luxury fashion house leading into Miami suggesting to “Blink Twice” if one loves being with here at the club. After an interlude, “Put Together” brings some synthesizers in the picture to talk about staying well dressed from the top of her head to her feet leading into “Dade County” featuring Rick Ross, Trick Daddy & Trina repping their home turf.

After another interlude, “Freak Like Me” continues the 2nd half of Watch Dis! getting raunchy over a Honorable C.N.O.T.E. instrumental while “Just Might Go” featuring Travis Scott chops up a sample to make way for both of them talking about alcohol. “Old Time Sake” embraces a bit of a pop rap vibe confronting a man who she’s well aware of him missing her while “Letter to My Mwah” following the last interlude talks about treating her pussy better.

“Baby” wraps up the last leg of the LP with a pop rap cut reminiscent of T-Pain’s earlier output turning up the horniness topically while “Ride for You” featuring Summer Walker combines trap soul & pop rap to talk about hoping their partners stay by their sides. “Chasing Sunsets” explains how she doesn’t stress about anything because of her boss lifestyle over an OG Parker beat & “Dear JT” finishes the album sampling “Missing You” by Diana Ross for an open letter to her former partner-in-rhyme.

Next weekend will already be half a decade since Yung Miami put out her solo debut single “Rap Freaks” to divisive reception & regardless of there being some moments where Watch Dis!’s production can be uninteresting at times similarly to City Cinderella’s, I’d most likely revisit Watch Dis! more of the 2 due to the way she takes it back to her dirty south origins along with her dedicating it to those who’ve ever counted her out & confidently clapping back at everyone who claimed she’s failed at everything in life.

Score: 3.5/5

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Yeat – “Luh Leakyz” review

New surprise mixtape & the 4th overall from Portland, Oregon rapper Yeat. Emerging in 2018 off his debut EP Deep Blue $trips, he’s been dominating the mainstream since 2021 whether it be him dropping a plethora of projects or receiving 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 few years ago & it’s companionable deluxe EP Gëek Pack shortly after. Lyfë, Aftërlyfe, the experimental Capitol Records debut 2093, Lyfestylë, Dangerous Summer and A Dangerous Lyfë & A Dangerous Love all followed & has come off last month’s Cocoon to drop Luh Leakyz.

“Lil Krazy” brings in the bells thanks to Trgc so Yeat can talk about the way he lives & former associates betraying him whereas “Time Passëd” produced by Internet Money Records in-house producer Synthetic brings a quirkier trap vibe to the table flexing the tall money he’s earned himself. “Liv Dis Lyfe” made for one of the more decent tracks regardless of him looking back at the times when he was down bad while “Real Trendsettër” digs up a Lyfestylë outtake talking about being the one they copy.

Meanwhile on “When tha World Ends”, we have King Tonka explaining that he can’t trust a soul in this world & bots making up a great chunk of his detractors while “Marching” reunites with BNYX of Working on Dying to talk about being so high to the point where he hasn’t touched the ground yet. “Sklub” looks to fuck up the game & dismisses anyone who thinks they can do this shit better than him while “U Could” assures this woman she could fuck a boss if she wanted to.

“X with the Boot Up” experiments with an EDM sound talking about mixing all sorts of drugs he enjoys taking where it’s dropping a percocet inside his cup of lean or combining 2 different forms of ecstasy but after “Diseasë” flips his haters’ criticism directly back at him asking why he’s so rich if his motion’s fizzled out over a futuristic venny beat, “HeliMAn” talks about him frequently using private jets for traveling.

The song “Countup” featuring Summrs finds the pair trading bars with each other over a trap instrumental with some heavy synthesizers admitting their not worried regarding finances because they’re already achieved wealth without any advances while “Martian” brushes off any critics since he’s right where he wants to be. “Last Day” concludes Luh Leakyz making it clear he doesn’t give a fuck what anyone fucks with or does.

Yeat goes through the vault & compiles 14 previously unreleased tracks onto a 40 minute mixtape in preparation for his upcoming 7th album Reborn set to arrive at some point during the new year, kinda like what Lucki did with Last Laugh the previous weekend except there’s a chance I could prefer Luh Leakyz of the 2 & would welcome a sequel if it ever happens in addition to placing it above the Cocoon EP he gave us only 4 weeks earlier.

Score: 3.5/5

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Quavo – “Qrömelife” review

Here is the long-awaited 3rd studio LP from Atlanta, Georgia rapper, singer/songwriter & producer Quavo. Rising to prominence in 2013 as 1/3 of the Migos with his nephew Takeoff & Offset, he would also form the duo Huncho Jack in late 2016 with Travis Scott & drop their only album thus far Huncho Jack, Jack Huncho to mixed reception. Quavo Huncho left audiences divided even I still enjoy “Workin’ Me” although Rocket Power remembered his fallen Unc & Phew cohort Takeoff following his tragic murder few weeks after the release of their only album Only Built for Infinity Links. Virginia producer, singer/songwriter, rapper, fashion designer, film composer, entrepreneur, Billionaire Boys Club/Icecream founder & Louis Vuitton’s creative director for men’s fashion Pharrell fully producing Qrömelife however had me hoping it would surpass the 2023 predecessor.

“Backward$” featuring T.I. premiering a week prior to Sami Zayn becoming a 2-time WWE Champion begins hopping over a trap instrumental with some heavy 808s for a “Welcome to Atlanta” sequel whereas “B.A. (Bernard Arnault)” featuring Future works in some synthesizers to talk about their wealth. The horn heavy “Hit-A-Lik” discusses making it out of the streets despite sounding like a DoorDash commercial while “Away” featuring Offset comes through with a spiritual successor to “Stir Fry” talking about escapism & each of them being far away from the ghetto these days.

Pharrell & WANG$AP appear for “Baby Breath” so they can get boastful even if Tyler, The Creator was clearly trolling in terms of his verse being the best of his career while the club-catered pop rap/trap 2nd single “Trance (Walk It Down)” talks about Huncho’s luxurious ways of living channeling the 80s freestyle era. “Factory Trim” reaches the halfway point flipping the bird at everyone who doubted him & yearning to crowd-surf while “Sweep” kicks off the 2nd leg talking about making money.

“Ball My Love” featuring Lil Baby finds both artists telling their lovers that time seems to always speed up whenever they’re spending time with them & after “Hayou Dewdat” featuring Yung Miami interpolates “How You Do Dat?” by the late Young Bleed featuring C-Loc & Master P for a braggadocious anthem over an Atlanta bass beat, the 4th & final single “House Music” featuring Justin Timberlake however throws it back to the days of synthwave for a pop/hip hop duet providing a soundtrack for those looking to purchase a home.

The song “Thick in the Mirror” continues the album’s final moments talking about the way his girl’s built & promising her entire life will change if she goes out for the evening but once the lead single “HAAVIN’” experiments with rage for a look back at all the success he’s experience whether it’s with the Migos or his individual output, “Destined” wraps up a look at the Qrömelife refusing to apologize for any more blessings that come his way past this point & confidently talking about his fame all being apart of his plan.

Honoring the healing process of Takeoff’s death, Pharrell still manages to produce the best Quavo solo album of the 3 he’s dropped in nearly a decade taking a more experimentally upbeat approach than either of Qrömelife’s predecessors. Although I wouldn’t put it on the same pedestal as Clipse’s comeback Let God Sort ‘Em Out the previous summer in absolutely no way shape or form, I still appreciate Skateboard P bridging the gap between the dirty south & funk music along with the consistent performances Huncho & company mostly deliver.

Score: 4/5

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Kiefer Shackleford – “Memory Bomb” review

Kiefer Shackleford is a 34 year old pianist & producer from Los Angeles, California who properly introduced himself nearly a decade earlier off his full-length studio debut Kickin’ It Alone & the sophomore effort Happysad respectively. When There’s Love Around as well as It’s Ok, B U & Something Real would all follow to similar reception but coming off FATHERS’ eponymous debut a couple months ago, Kiefer’s signing to the great jazz label of all-time Blue Note Records for his 6th studio LP.

“Daydreaming” by Cisco Swank & Relyae opens up with both of them lusciously singing about a romantic fantasy with CARRTOONS playing bass & Luke Titus handling drums whereas “Nowhere Fast” by Rae Khalil takes a funkier approach refusing to give up her heart that she’s keeping safe. “Overture” hits us with the first actual compositional piece playing keys with Nate Smith on the drums & Shibo on bass giving heavy instrumental hip hop vibes for a few minutes until “NewLevels NewDevils” by Erick the Architect & Tony Stone goes full-blown jazz rap.

Relyae takes the microphone once again during “Get to the Moon” except Amber Navran’s accompanying her for this glamorous R&B duet letting CARRTOONS play bass once more leading into the title track enlisting tenor saxophonist Walter Smith III, guitarist Flanafi & bassist Shibo to make the core of Memory Bomb amongst it’s most exquisite moments. “Entr’acte” feels like more of an 89 second interlude to end the 1st half that could play in the middle of an [adult swim] bumper while “BusyForYa” by Planet Giza sings about not having time for this individual.

“Won’t Be Long” by Amber Navran & Phil Beaudreau with Shibo playing the synthesizers & bass depicting a couple assuring each other that none of them are ungrateful for the lessons learned preceding a breakup while “Don’t Fail Me Now” pulls inspiration from instrumental hip hop again, letting CARRTOONS program the drums behind these synths. “Can’t Let a Good Thing Go” by Gareth Donkin sings about refusing to move past something in life going correctly & after the exuberant “As She Was”, the closing track “I Let My Hair Grow” ends Memory Bomb handling all the instruments by himself.

Known for honing his own style that he refers to as “Over the Breaks”, the FATHERS album made me even more interested in what Kiefer Shackleford was artistically capable of doing from an individual standpoint & would say Memory Bomb joins DOMi & JD Beck’s recent sophomore effort WHO ASKED? in being one of Blue Note’s more average releases on 2026. His distinctive blend of jazz improvisation & hip hop production more richly textured than his earlier output regardless of the guest vocalists being a mixed bag.

Score: 3/5

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