Stu Bangas – “Death Wish II” review

Boston underground producer Stu Bangas is back again for a sophomore full-length LP solely under his own name. For over the last 15 years, the dude’s résumé is an ever-growing list of veterans ranging from members of the Army of the Pharaohs collective to the late Sean Price. But since 2019, he’s been steadily grinding his ass off producing projects for the likes of Ill Bill & Recognize Ali. However with the 2-year anniversary of his official full-length debut Death Wish approaches next month, Stu’s returning for a sequel.

After the intro, the first song “Inhumans” by Apathy couldn’t have started off the album any better with it’s to boom bap instrumental the lyrics that take everyone who’s tuning in on a trip through the underground whereas “Sus” by Ras Kass works in some twinkling chimes as well as kicks & snares to talk about hating it when people act suspect. “Of Course It’s Me” by Ty Farris happens to be synthesizer/boom bap crossover boasting that both of them be unstoppable leading into “Hooligan Music” by Da Flyy Hooligan hooks up a flute over kicks & snares providing a theme song for the hoodlums.

After the first of 2 interludes, “Y’all Clowns” by Celph Titled & Psycho Les finds the 2 getting in their hardcore bags over a quirky boom bap beat just before “Gracious” by SmooVth cooking up more synths with kicks & snares explaining that his state of mind is hurtful. “The Garden” by Timbo Kingkeeps it rugged clarifying this that different taste but after another interlude, “Feeling Brolic” by Recognize Ali & Vangarde takes the symphonic boom bap route feeling like they have a extremely muscular physique. The final “Deity” by Raze the Ratchet prior to the outro ends the album heinously calls for him rappers to face scrutiny.

Almost 2 years later & Death Wish is still one of my favorite producer curated LPs that I’ve heard in recent memory, so that was more than enough to have me anticipate hearing what Stu was gonna do with the sequel & I enjoy it as much as the predecessor. Only a couple weak guest performances like last time, but the boom bap production still hits hard & a majority of those who take the mic rip it up.

Score: 4/5

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Stu Bangas – “Death Wish” review

This is the full-length solo debut from Boston producer Stu Bangas. For the last 15 years, the dude has become a household name in the underground realm by giving beats to an ever-growing list of veterans ranging from members of the Army of the Pharaohs collective to the late Sean Price. But since 2019, he’s been steadily grinding his ass off producing projects for the likes of Ill Bill & Recognize Ali. He just dropped the conceptual Empires with Cypress Hill percussionist Eric Bobo back on 4/20 & is now branching out on his own once more in the form of Death Wish.

After the titular intro, the first song “So What You Wanna Do?” by the Heavy Metal Kings is a dramatic boom bap opener thirsting for blood whereas “Candy From a Baby” by Vangarde takes a happier note looking back when Mr. Lif’s mom gave him his 1st boombox. “Levitate” by Apathy lividly talks about defending the throne referencing WWE Hall of Famer William Shatner & after the titular interlude, “Skull Fucker” by Starvin’ B weaves in some grim pianos telling listeners to be glad he ain’t tapping their chins.

Meanwhile on “Come Correct”, we have Tha Connection forlornly spitting that dope slanger shit just before “Dead Body” by Lord Goat & Recognize Ali wickedly quenches for blood. “Brotherhood” is a serious Watson & Holmes reunion talking about getting right, but then “Same Spot” by Juga-Naut weaves in some keys speaking on not really advancing when you know the path.

The track “Outta My Way” by Snak the Ripper & Young Sin finds the 2 aggressively advising their opposition to walk away before it’s too late & before the titular outro, the final song “Fill the Cemetery” by Celph Titled & G-Mo Skee rounds out the album with endless wig-flipping punch you in the face bars & an apprehensive instrumental.

As much as I liked Beats & Blood, I’d have to say that he really stepped it up on Death Wish. Easily one of the best producer albums that I’ve heard in a while in my opinion. His production is top notch as it usually is, but the list of MCs that he brings along for the ride is much more consistent in terms of their performances.

Score: 4/5

Watson & Holmes – “The Case of the BPM Killer” review

Watson & Holmes are an East Coast hip hop duo consisting of Stu Bangas on production & Blacastan on the mic. They made their debut together in 2014 with a fantastic self-titled album, which was followed up with The Uncanny Adventures of Watson & Holmes in 2017. been another 3 years, the duo are reuniting for what would unfortunately by their 3rd & final full-length studio album.

After “After Intro”, we get into the first song “Bull’s Eye”. Where Blacastan talks about how skilled he is about over an eerie instrumental. The track “Crumpets” is a continuation of where “Bull’s Eye” left off despite only being a minute & a half then the song “Don’t Judge Me” with SmooVth sees the 2 talking about growing up in the 90’s over a boom bap beat with a cumbersome guitar in the background.

The track “Sincere” lyrically is probably the most introspective cut on the entire album & the beat is pretty calming too whereas the song “Crawl Space” with Goretex sees the 2 getting murderous & the instrumental fits the vibe like a glove. The track “Behold” talks about his longevity over a suspenseful beat while the song “23 x 1” talks about how sharp his lyricism is over a daunting instrumental.

The track “Bookies” with Nowaah the Flood has a mobster feel to it down to the Italian-flavored beat while the song “Styles” talks about how original Blacastan is over a cutthroat instrumental. The track “Hair Pins” finds the duo linking back up with SmooVth to go at their competition over a buzzing instrumental with 80’s-like synths & then before the outro, the final song “Grand Imperial” with Marvalyss is just a decent riot starter.

If you wanna get into Watson & Holmes, I’d recommend their first 2 albums. However, what they do on this new one is still dope. The chemistry between Blacastan & Stu Bangas is still there without a bit of doubt but the features are hit or miss & it’s too short, only running at 27 minutes.

Score: 3.5/5

Stu Bangas – “Beats & Blood” review

Stu Bangas is a producer from Boston, Massachusetts who’s been making a name for himself in the underground for decades now from his collaborative work from Philly beat-maker Vanderslice to producing projects for Esoteric & Ill Bill. However to kick off 2020, he’s surprising fans with his 2nd EP.

It all starts with “Open the Lane”, where Detroit’s very own Ty Farris comes through with some vicious battle bars over a dystopian beat. The next song “The Healing Remedy” by Vic Spencer talks about being someone you should idolize over a mellow beat while the track “Inherit the Earth” by Mr. Lif & Nowaah the Flood sees the 2 getting conscious over a suspenseful boom bap beat.

The song “Keeping Time” by Juga-Naut touches down on doing just that over a euphoric instrumental while the track “Gideon” is a vicious Watson & Holmes reunion backed with a suiting Recognize Ali verse. The song “Sound the Horns” by Verbal Kent talks about beefing over a boom bap beat with some perfectly incorporated trumpets while the penultimate track “Prayers Up” by PhybaOptikz speaks about his family over a futuristic-sounding beat. The EP then finishes off with the titular song, where Celph Titled gets murderous over an apocalyptic beat.

To kick off a new decade, it’s pretty solid. A few of the performances could’ve been better to me personally, but Stu‘s production is absolutely great. If you wanna see a beat-making veteran ringing in the new year on a high note, then give this a listen.

Score: 3.5/5