This is the full-length debut from Detroit up-&-comer DaeMoney. Coming up as the nephew of one of the 2 biggest artists in the city right now Babyface Ray as well as a member of the World Tour Mafia collective, he broke out on his own by dropping his debut mixtape Young Sexual Misconduct & his debut EP Slae Season accompanied by his 2nd EP Rockstar Lifestyle & then his previous tape Slae Season 2. But after signing to EMPIRE Distribution this past summer & celebrating in the form of his last EP Slayer’s Coming fully produced by Trees shortly after, Dae’s back in action for the final installment of the Slae Season trilogy.
“Overtime & Overgrind” is a cavernous, west coast flavored trap opener talking about how hip hop has saved him & that he’s the freshest motherfucker that you know whereas “Make ‘Em Say Ugh!” takes a more futuristic route courtesy of Trees giving his flowers to the Colonel of the Motherfuckin’ Tank himself Master P. “No Suits” blends some strings & pianos with hi-hats touching on switching from a house to a tour bus in a couple years & a groupie asking him what happened to Scoob & if she can get a World Tour tattoo on her breasts, but then “Charles Barkley” turns into cloudier territory talking about showing people time & time again that he’s the one.
WTM Milt comes into the picture for the highlight track “Letter to Self” with it’s luxurious trap production & them dropping some truly motivational gems on the lyrical end that I think would resonate with the average listener leading into the psychedelic “Keep Hustlin’” obviously talking about the never-ending grind. Babyface Ray joins his nephew for “Basket” to get on their Detroit trap gangsta shit thanks to Lul Rose just before “Again?” confesses that he’s relapsed on lean with some hi-hats, claps, occasional bells & a woozy loop.
“So Toxic” is a symphonic trap cut produced by Carlo Anthony clapping back at a groupie hoe prior to LUCKI & Veeze joining Dae for the cloudy “Who is That?” with Face on the hook as the trio talk about murdering everything & the titular question being exactly the ones they want everyone asking. The song “Slaeski Montana” is another highlight for me from the slick trap beat to the lyrics comparing himself to Tony Montana from the iconic film Scarface while the penultimate track “I Love It Here” has a more ethereal approach describing his current position in life. “Pop Star” closes the album out with a rock-trap crossover that Carlo hooked up declaring himself to be a rockstar.
Although I had previously stated last summer that Slayer’s Coming had to be my favorite body of work of Dae’s thus far, he really took it to a whole new level on the concluding chapter of the Slae Season trilogy. The production is more versatile, he assembles his biggest feature-list to date with all of them gelling well & the songwriting is a heartfelt reflection of his past along with his spot today as one of the biggest artists in the city.
This is the 2nd mixtape from Detroit rapper WTM Milt. Coming up as a member of the Wrld Tour Mafia a couple years ago, he would also begin a solo career of his own starting on Thanksgiving 2020 with his debut EP Not for Household Use & followed it up earlier this year in the form his debut tape Dog$hit & Ammunition. But with the Mafia coming fresh off Tourmania a couple weeks back, Milt’s continuing to apply pressure by dropping Rafa.
“Tighten Up” is an acoustic/trap opener produced by Carlo with Milt talking about how that’s exactly what he had to do before going out & getting it whereas “Cat n da Hat” takes a more rawer route with it’s deathly instrumental & the lyrics essentially shit-talking. “Hoe Need Jesus” has a more wavier vibe to the beat talking about getting fly for no reason, but then “Last Dump” works in some foreboding piano chords & hi-hats addressing that they don’t wanna see him winning.
Continuing from there with “Touch the Sky”, we have Milt over some more mellow production exposing a rat & telling a hoe to get the fuck out his messages prior to “Prophet” returning to the Detroit trap sound declaring himself as such. “Wrldtour17” has a little bit of a West Coast flare to the instrumental confessing that he thinks God’s blessing him for his mother & he doesn’t deserve it because of how wild he can be just before “LIL Stro” almost gives off a cloudier tone to the beat opening up about this rap shit taking him to new heights.
“King Tut” switches up to a peppier sound admitting that he feels like the titular Egyptian pharaoh leading into the horn-laced “Dover Street” delivering some braggadocio. The song “Lean” laces some synths in responding to those asking what’s in his system while the penultimate track “Welcome to My Wrld” gets more personal lyrically with a drowsy trap instrumental. “Pushin’ On” though serves as a soulful closer to the tape talking about continuing to move forward.
Now for those’ve you who recently got put onto World Tour off Tourmania & are looking to get into Milt’s solo stuff, you’re gonna wanna check out Rafa because I happen to like it more than both Not for Household Use and Dog$hit & Ammunition even though that’s not to say either of them are bad whatsoever. Even though it almost feels like an EP running only at 25 & a half minutes, I can’t deny that it’s well produced & that Milt’s performances & songwriting are both at their strongest.
These guys are a group from Detroit, Michigan consisting of Dae Money, Milt, Miles & Solid. They originally formed in 2019 as a quintet & dropped their debut mixtape World Tour Mafia or Die last summer to positive reception. But with the Mafia’s popularity continuing to grow as well as Scoob departing the group not too long ago & even the 1-year anniversary of their collective debut passing by a few weeks back, they’re continuing to move forward by putting out a sophomore tape.
“Gang Gang Gang” is a suspenseful opener talking about taking over your city & “running through them thangs like Reggie Bush” whereas “This It Right Here” detailing the lifestyles that they live on top of some gnarly piano chords, snares & a hi-hat. “Final 4” works in some strings & bells talking about making money instead of chasing it prior to the formidable “Backdoor Open” warning to extort anyone who even thinks about fucking with them.
Continuing from there with “Stamped on Me”, we have the Mafia over a horn-laced instrumental talking about how turnt they are leading into “Halloween” samples the main title theme of the iconic 1978 horror masterpiece of the same name spitting some vivid gangsta raps. GT comes into the picture for “Demon” blending some keys & hi-hats together to deliver braggodio for a couple minutes just before the thunderous “Or Die” talks about representing ‘til the casket drops.
“Good Game” has a more angelic tone to the beat explaining that not being afraid of taking risks is the reason why they’re loaded on paper while “Re Birthday” with Lucki weaves some synthesizers to declare themselves as the chosen ones. “Oink Girl (Tour Girl)” is basically a hoe anthem with a blaring instrumental, but then Veeze tags along for “Construction” returning to daunting territory talking about dropping $700 on a hoodie with paint on it.
Meanwhile on “Erotic City”, the Mafia & Babyface Ray manages to sample one of my all-time favorite Prince songs boasting that they “really doing it” with the ambitious “For the Kids” strives to be rich for their families over some pianos & the hi-hats here are just rattling off like machine guns. The hypnotizing vibes of “Money Power Respect” are a nice touch expressing the amount of all 3 of the titular things to be increased while “No Timeouts” brings a more fraughting tone talking about how everyone wants the style now.
“Welcome to the Vault” has a bit of a rickety quality to the drums fused with some piano chords promising to change bitches’ lives while the song “Get Influenced” confesses over a wavy Carlo beat that they don’t even sweat about those taking inspiration from them. The rubbery penultimate track “Lethal Weapon” finds the crew cautioning to lay out anyone who dares to step up to them & “Backend” is a gripping closer talking about being the fuckin’ mob.
Now if Tourmania proves anything to me, it’s that the World Tour Mafia is amongst one of the best groups in the city right now. Their chemistry as a unit remains as strong as it’s ever been even with Scoob’s departure, the production compared to the last tape being more distinct & the performances from the very few features that they bring with them for the ride are more consistent.
DaeMoney is a 22 year old rapper from Detroit, Michigan who also happens to be the nephew of one of the 2 biggest artists in the city right now Babyface Ray as well as member of the World Tour Mafia collective. He dropped his debut mixtape Young Sexual Misconduct & his debut EP Slae Season, which was followed up last summer by his 2nd EP Rockstar Lifestyle & then his Slae Season 2 in the fall. Now in light of DaeMoney signing to EMPIRE Distribution recently, it’s only right for him to celebrate by delivering a 3rd EP.
“Level Up” is a futuristic opener with Dae talking about his success whereas “Wayne Perry” takes a wavier approach bragging that no one can touch him. “Andrew Wiggins” continues to work in some more synths & hi-hats talking about being tired of detailing his lifestyle leading into “Losses & Lessons” taking a more introspective approach from the subject matter to the glossy production. The song “Lemon Cherry” shoots for a mellow aesthetic talking his shit with the penultimate track “Do More” fusing trap & rock to tackle the concept of more problems coming as you get richer, but then “Congratulations” ends the EP with a meditative ode to the self made.
For those of you who’re familiar with Babyface Ray & are looking to get into DaeMoney, then give Slayer’s Coming a listen because it has to be my favorite effort from Dae thus far. Much like Ray, his sound is completely different in comparison to some Detroit trap rappers sounding the same & speaks from the heart about his life profoundly.