From the start, the album sets the stage with “Be Ready,” where SteeZ contextualises his name and establishes his presence through tight flows and sharp delivery. The higher-pitched vocals woven into the mix create an added layer of depth, and the production strikes a balance between punch and clarity. That clarity carries through the record. Songs like “Golden Views” feel cinematic, evoking the kind of atmosphere you might hear in Into the Spider-Verse, with a beat that invites head nods and cityscape daydreams. Female vocals appear here for the first time, offering contrast that proves vital as the album progresses. “True Originals” leans into a lo-fi aesthetic, opening with distorted audio before giving way to steady, grounded rapping. By the time “General Speech” hits, the energy has built back up, with SteeZ weaving lines like “I’m doing what I gotta do to get the top dollar” over production that is both clean and commanding.

The album shines when SteeZ balances confidence with vulnerability. “Do You Understand” is a standout moment, beginning with a spoken reflection on sacrifice before opening into an honest account of the grind behind his music career. His voice feels naturally matched to the jazzy beat, delivering an emotional resonance without losing composure. “Ain’t No Lie” also reveals personal layers, addressing doubt and resilience with lines such as “We don’t take L’s, we take lessons,” backed by bass and subtle high-pitched harmonies. On the other hand, songs like “Different” and “Mastermind” showcase the rapper’s charisma and adaptability, though the reliance on repeated phrases can at times verge on excessive. Even so, the beats remain strong and the delivery smooth, ensuring the songs land.

Where LABWØRK truly elevates itself is in the second half. “Ascension” introduces ethereal and almost medieval tones, reflecting its title with lyrics that reach toward higher ground, while “Requiem” deepens the emotional stakes. Here SteeZ is vulnerable, openly grappling with pain and accountability. The presence of Morna on the track adds another emotional register, though at points her performance does not fully align with the beat. Still, the song’s raw passion makes it one of the most affecting on the album. The collaborations continue to stand out, particularly “Move With The MaQ” featuring PEB, where SteeZ and his guest find harmony in a lively track that feels equally suited to a kitchen dance as it does to a live performance.

The project closes with “Labwork,” an outro that captures both gratitude and honesty. With its ethereal production and the direct address of “I hope you’ve been enjoying your ride,” the song blurs the line between the artist’s public persona and his personal self, giving listeners a glimpse behind the curtain. It is bittersweet, reflective, and fitting as a conclusion to a project that consistently balances ambition with intimacy.

LABWØRK is a polished and cohesive statement that positions MaQ SteeZ as a rapper worth watching. The production is consistently strong, the lyricism strikes a balance between motivational and personal, and the musicality reveals both adaptability and vision.

SCORE/Outstanding – While certain refrains could use more variation and a few lyrical moments feel less sharp than others, the album as a whole is both enjoyable and impactful. It proves that SteeZ is not only representing San Jose’s growing rap scene but also carving out a space that can resonate internationally. Go listen!

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Born in Irbid, Jordan, Scott Al-Tall’s early life was marked by instability and hardship, but early in his life, his mother brought him and his twin sister to America, where the family, without a father, continued to struggle financially. Scott had a rebellious adolescence and soon found himself in the grip of the criminal justice system, complete with a prison sentence.

Emerging from prison, driven by a desire for self-expression and a need to create, turning poems into songs, Scott founded New Life Records in 1998. For the next 25 years, under the moniker Bilistic, he poured his heart and soul into writing, producing, recording, and performing music. He amassed an impressive catalogue of over 30 albums, consistently pushing creative boundaries and refusing to be confined by genre conventions.

Bilistic’s “innovative spirit” led him to create two entirely new genres of music. Under the alias Haight Ashbury, he pioneered ‘Hippie Hop,’ a vibrant fusion of classic rock from the 1960s and 70s interwoven with the rhythmic energy of hip hop. He then delved into the nostalgic charm of the 1950s, birthing ‘Doo Wop Hop’ as Staccato, a unique blend of Doo Wop harmonies and hip hop beats.” Scott also owns N.L.R. Studios in Wichita, Kansas, where he honed his musical production skills and also ventured into videography, photography, and custom apparel design.

Just when he thought he had explored every avenue of artistic expression, a profound shift occurred in 2025. Scott found God. A transformative experience, fundamentally altering his life’s trajectory and artistic vision.

Fueled by his newfound faith, his music has taken on a new dimension, with a focus on glorifying God and reaching out to those who, like himself, are searching for meaning and redemption. 

In this spirit, he partnered with Jeremiah Roberts to create his first Gospel hip hop album, ‘Divine Detours.’ Bilistic hopes that the album’s message will resonate with those who might not typically gravitate towards Christian Hip Hop, offering a beacon of hope and bringing them closer to God through the power of music. “This project marks a new chapter in my artistic journey, one driven by faith, purpose, and the desire to share the life-changing message of God’s love with the world.”

Christian hip-hop. Ok, cool.

So let’s have a listen …

The first song on the album is called Opening Prayer, as you might expect on a Christian hip-hop album. It is an actual prayer, asking God to affect those who are listening.

I Believe starts off a strong Gospel singing track about being unworthy of God’s love, but believing anyway. Then the flow starts, nice production. Nice rhyme choices. The rap interweaves with the Gospel vibe below. I like the vocal effects used near the end of the song.

I Don’t Think They Know starts off with a strong acoustic guitar motif. Full band. “I don’t think (insert rhyme phrase).” “Music’s always in my head, even when it’s quiet out.” Nice bass and guitar line driving the track. I can hear keyboards, and a church organ helping to lay down a cosmic vibe.

Reflections of Me. “In the mirror, I found a stranger, looking back.” Nice track, cool vibe. Singing mixed against rap vocals. The singing vocalists are really nice and go well with the rap that Bilistic lays down. The singing provides the chorus and structure of the song, with the rap peppering the track.

Choices starts off with a keyboard and some vocal oohs. “Life is a fight everyday you’re alive.” The vocal starts with singing, then the rap kicks in. Nice delay on the hip-hop vocals. The singing is like that of a gospel choir. I appreciate the “like it was obliterated” line at the end of the song.

Guide Me starts with the singing mantra – “Guide me oh Lord, guide me where I’m supposed to be.” The rap here is very effected by the gospel soundtrack underneath. The vocals are mixed loud and very clear, but still sound good against the mix. I appreciate the level of production on this album, very nice. Nice somber piano riff to take the song out.

God Is Real again starts with singing against an acoustic guitar motif. Then the rap flow begins, lots of delay and multiple voices in the mix weaving the story together. I like how the artist is interspersing the rap portions of the song with the gospel singing. It makes for a beautiful soundscape.

None Left creates the message: What would you do if you could change any part of your life? The rap flow is very musical and staccato in this song. “Why do we only have one day to celebrate Thanksgiving?” The song suggests finding a “deeper connection” to guide your life choices. A very nice horn riff and keyboard solo, very tasty. The gospel voices on this album are well-worth the listen, even if you took away the rap altogether, but the mixing of gospel singers and rap artists make things interesting.

Welcome to the World again starts off with gospel voices and a keyboard. The raps are all about coming to the Lord. “Welcome to the world of the living.” A song about finding a better way to live life, rather than just getting through the next day. I like how the flow mixes with the gospel vocals. This could become a big new musical style for reaching young church audiences. “Listen to the guitar, get lost in it.”

We Worry starts with an Irish-like keyboard riff, more male gospel singing. Then the rapper kicks in. “We worry about our loved ones, we worry about our kids.” Not sure I’m digging the gospel half of this track, but the rhymes are strong, and the song fits with the rest of the tracks on this album. “Can you comprehend how long eternity is?” And yet, “We worry about our looks.” Nice use of delay at times on the vocals to help them stand out.

Chasing Dreams starts off with a nice compressed lead guitar solo, then the vocals “I feel like a bird, I’ve been chasing dreams.” This is more of a Christian funk rock tune, then the rap flow begins taking the song to another level. I can hear this song getting radio airplay on Gospel stations.

Devine Detours Interlude is a speech explaining the meaning of a “divine detour.”

Devine Detours starts off with a very cinematic soundtrack, complete with horns and a nice swing band. Very campy, but in a good way, this one. 

Glory to God, “the most high, I praise him every single day of my life.” The gospel vocals are nicely layered against the rapper’s flow. Very nice track.

Life as an Addict, “is hell on earth.” Lots of voices singing create a choral effect. Then the rap flow begins, “everybody’s addicted to something.” There’s got to be a better way, the theme of the song. “Save me from my vices.” The rap flow is excellent in this song. Then they throw in a Beatles-like musical break in the middle of the song. Digging the lead guitar solo! Man, what a great track.

Take Me. I’m taken by the use of slow consistent finger-snaps providing the rhythmic background of this track, it’s very hypnotic against the rapper’s flow. Very nice production on this track. The singing is great.

God’s Children – “We are all God’s children, love is resilient.” A song about love. I like how the rap lays against the gospel R&B vocals on this one. Love one another is the message of this song, wrapped in a beautiful and tight musical package. I really like the way the track breaks down in the middle. Very lovely advanced songwriting trick put to great use here.

Time for Change starts with Gospel singing, then the rap breaks in with a heavily effected vocal, then a regular vocal. You really have to hear this album. I’m mesmerized by their mix of gospel singing with hip-hop flows. All the instrument parts on this album are well-recorded and sound great. Loving the lead guitar solo toward the end of this song. Very rocking song.

Thank You … for being a friend. Has a very hip-hop feel against a very contemporary musical bed. I’m digging how the singing vocals lay against the rap flows. A song to say Thank You to the Lord. Very nice job mixing the vocals, and clever use of delay and reverb, to interweave the vocals.

Closing Prayer is a real prayer.

Well, I had my doubts that this concept would work, but I’ve got to tip my hat to Bilistic and J. Roberts for actually pulling this off! Well-played.

SCORE/Outstanding: This new album “Devine Detours” by Bilistic and J. Roberts is off the charts! Pioneering a new genre of music, Christian hip-hop, which might have wide appeal to young Christian audiences and non-Christian audiences alike. The musical instrument  performances, vocal performances, and advanced production on this album are top-flight. Everything sounds great. Well done, truly outstanding. If you’re a fan of hip-hop mixed with Gospel, soul, or R&B tracks, I highly recommend this album! Much love, Beth

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The group likes to say their music “challenges the mind while moving the crowd,” with songs rooted in “mysticism, knowledge, and the culture of resistance.”

Green Enkd Society is the creation of a core of visionary artists and producers who say their music “exists at the intersection of ancient wisdom and future-forward hip-hop.” Their music draws from “boom-bap traditions, soul samples, jazz textures, and otherworldly synths wrapped around potent bars that speak truth to power.”

So let’s have a listen …

Being a commercial radio DJ, the first thing I notice is that literally every song is explicit. Which, as a fan, can be cool, but kills any chance of radio airplay, which is how artists build a following and a fan base for touring. My suggestion, if possible, is to follow up this release with clean versions.

Ok, let’s have a listen. The album kicks off with GUN POWER & SUN FLOWERS. Slammin’ Trump Tower in the beginning of the song, ok, gettin’ real. The track may be repeating samples. I like both the rap vocalists, some nice rhymes and flow. Lots of the N-word in this song, as expected.

STILL MOE is the second track on the album. “The burned bridges took a toll on me.” I’m digging the lyrical flow in this song, floating above the track. “Bitch, you’re still M..O, E.” A good song about torching relationships. Solid.

The third song is OYSTER PERPETUAL FLOW. As the second rapper says when he starts his flow. I like the way his voice dances above the track. A really strange track to rap over, sounds like it’s from a horror movie. Nice sound effects added to the track.

LUCIANO PAVAROTTI – Very nice sax solo in this song, although it is on repeat, sounds fine, but gets a little repetitive. “Pavarotti over dinner dates.” “Superstars at Center Stage.” Not sure what all the putting down other rappers is about, I guess it’s part of the genre to throw down, given how hip-hop started from free rhyme challenges on the streets.

THE INCREDIBLE sounds like the start of a horror movie, this track anyway. It’s already repeating an annoying horror movie very short loop shortly into the song, not a good sign. “Even on my worst day, I’m still better than you.” There is something to be said for having confidence in yourself against the rest of the world. “All my in-laws is outlaws.”

LEATHERFACE & VORHEES – another old movie type track. I like the “psychopathic, syncopated” rhyme. “If you ain’t get it, I got it.” “New York State of mind.” “Greatness is a pastime.” Very strange beginning and ending to this song with a very ethereal female voice peppering the track.

INFAMOUS starts with a piano vamp and an effected voice. “I be high off medication”, “blind with dedication.” Name checking Biggie Smalls. I’m digging the rhymes and flow in this song. The background track has a female voice singing oohs and ahs.

FLAWLESS VICTORY starts with another movie-type track, but this one has a kicking drum beat, which changes the flow of the rhymes. “I give all my energy to my inner peace.” “I can’t find a fuck to give.” Me either.

TABERNACLE has a slow jazz feel with a fast rap flow. It’s a nice mix of sounds against the slow tempo. The song appears to be about death.

THE DREAM CAR. “I invested in myself and got myself out of poverty.” “When times got harder, we worked smarter.” Another strange movie-type soundtrack. Etherial keyboard sounds dance blithely under the flows.

CHAMPIONSHIPS sounds like a game-show theme song track. Then the rapper’s flow starts, hitting the musical signposts. “Diamond rings and championships.” A song about winning championships and their MVPs.

FOR THE CHILDREN, the last song on the album. “Green acres for the children.” These two rappers have different styles – one fast, one slower. “Can’t let ‘em lock me, won’t stop” – I like the vocal effect on this line. “I feel no feelings, yet I’m feeling great.” Some nice lyric rhymes in this song.

SCORE/Excellent: Green Enkd Society delivers some excellent flows on their new album “Infamous Wizzardry”. Full of interesting musical soundtracks that could be drawn straight out of a movie. Some jazz, some very eclectic, even sax solos. Very impressive piece of work. Much love, Beth

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Formerly one half of the East Coast/West Coast adolescent rap duo Illegal, along with Snoop Dogg’s young cousin Lil Malik, Philadelphia native Jamal got his start with Atlanta rap mogul Dallas Austin’s side project. Back then, the duo drew comparisons to another child rap duo from Atlanta, Kriss Kross, but Illegal’s focus was on hardcore rap, and they never hesitated to diss the Kross boys on wax.

Their debut album, The Untold Truth, dropped in the fall of 1993 to a lukewarm reception. After disbanding in 1994, one of the members, Mally G, got down with Erick Sermon and the Def Squad soon thereafter. In late 1995, Jamal released his debut album, Last Chance, No Breaks, with the elastic support of heavily funky production. Since then, for already more than 25 years, Jamal has been putting himself out there with hardcore lyricism, and his raw rapping on Aseam is no exception.

The new record from the rapper is gritty, raw, and rough in all possible scenarios. The vocal performances alongside his rapping on tracks like “Hip Hop Police” or “Special,” which uses a Mos Def beat, introduce you to the more ferocious and hungry delivery. Both of those tracks really give you that bite the artist intends, with a slight touch of frenetic execution. However, tracks like “Always On My Mind” and “AR” represent the melodic side of the record, giving you the divine touch of the artist’s romantic storytelling.

Throughout the record, you get different types of production that certainly sound very subparly mixed. In some instances, you can barely hear the song production, which conflicts with the artist’s vocals. “Made” could be considered one of those instances when the artist jumps in on the track with a fast and aggressive tone, which is slightly undermined due to the poor production mixing. Lack of mastery on some of the beats and vocals is the biggest disadvantage of the record. It gives you this raw and gritty sound that sometimes works in the context of chaotic and wild rapping, yet sometimes comes off as a shortfall to the track.

What stays quite clear to me throughout the album is that the rapper is certainly skilled enough to give you some punchy bars. On tracks like “Titl” or “Hip Hop Police,” where disordered and messy sounds come out slightly explosive and intense, giving a wild edge to those tracks that seems to work out. Moreover, the gravelly tone that the artist adopts truly sounds raspy, cementing the already rough production even more.

Score/Mediocre: Overall, the artist shows his rapping skills quite explicitly, yet the shortfalls in mixing, production, and sound engineering truly come off as a disadvantage for Aseam. If, on the next record, Jamal attempts to incorporate better vocal mastering and better mixing on the beats themselves, the record might have a solid shot. As of now, I feel Mediocre.

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It’s rooted in growth, maturity, and a clear sense of purpose, elevated by contributions from Fashawn, Rxlph, L.O.U., Adrienne Mack-Davis, The TBI Choir, and Decksterror. From start to finish, the EP is a cohesive blend of soul, grit, and thoughtful lyricism.

The opening track, “Follow My Lead,” launches the listener into the EP with a cosmic, almost galactic soundscape. It’s an inviting and story-rich introduction that immediately promises a reflective and immersive experience. P-Rawb’s lyrical presence feels like a guiding force, inviting listeners to walk through his journey with him. It’s a bold but intimate beginning, and the production complements the theme with textured layers and subtle progression.

“Rise To The Top” picks up effortlessly, carrying forward the momentum with choral harmonies and smooth transitions. The message of personal growth and ambition shines through as P-Rawb raps with clarity and conviction. The overlapping vocals enrich the texture, and the female vocal outro adds a soft yet impactful ending, tying the song together beautifully. It’s one of the most accessible and replayable tracks on the EP, marrying lyrical depth with genre-true production.

“Hard Pressed” comes in with another strong intro; this duo doesn’t miss when it comes to setting the tone. The track’s beat is compelling, and the message is direct: life is difficult, but purpose and persistence are essential. With lines like “life is a test,” P-Rawb explores themes of endurance and self-belief, delivering bars that challenge the listener to reflect. The outro fades with grace, setting the stage for the next chapter of the narrative.

“Power Within (Searching)” starts with a quiet intensity before dropping into a lively, fast-paced rap that commands attention. It’s a standout track not only for P-Rawb’s intricate flow but also for the interplay between his verses and the soaring vocals provided by the woman in the song. Her voice, layered over the energetic beat, adds richness and a spiritual tone that ties back into the EP’s overarching themes of inner strength and self-discovery. It’s a layered, multifaceted track that rewards repeat listens.

“For The Gods” takes a more stripped-down approach, offering a raw, introspective piece that feels like a final reflection. The simplicity of the beat at the beginning allows P-Rawb’s words to take the spotlight. There’s a spiritual, almost meditative vibe here, with religious undertones and a repetitive hook that sticks with you. It’s catchy, minimalistic, and impactful, this is exactly what you’d expect as a final statement in a project like this. The fade-out once again closes the chapter with subtlety.

SCORE/ Excellent – While the EP opens stronger than it ends, every track offers something worth listening to. The progression from track to track is intentional and clean, with thoughtful transitions and polished production throughout. The inclusion of instrumental versions at the end of the album is a particularly nice touch as it gives listeners and aspiring artists alike a chance to sit with the beats, appreciate the production on its own, or even reimagine the tracks themselves. Overall, Time & Space is a reflective, soulful project that solidifies P-Rawb and Big O’s place as thoughtful artists in a genre that thrives on authenticity. It’s well worth a listen, and then a few more.

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From the very first verse, MaQ establishes himself as a force to be reckoned with in the underground scene. A seasoned veteran with years of experience under his belt, he raps with a swagger that only comes from someone who has truly honed their craft. His delivery is razor-sharp, packed with lyrical finesse and clever wordplay that commands attention. Throughout Game Genie, he fires off a barrage of braggadocious bars, drawing a clear line in the sand and claiming that if other rappers want to keep up, they’ll need more than talent. As MaQ himself hints, they might just need a cheat code.

The production on Game Genie is another standout element. Built on a tightly woven beat that’s both bouncy and immersive, the instrumental meshes perfectly with MaQ’s flow. It’s catchy without feeling commercial, confident without crossing too far into arrogance.

This is the type of track that feels tailor-made for summer. Whether you’re skating down a sunlit boulevard, cruising through San Jose with the windows down, or just vibing with friends at a backyard hangout, Game Genie delivers the perfect soundtrack. It radiates warm-weather vibes, and its infectious hook will likely be stuck in your head long after the track ends.

Stylistically, MaQ stays true to the genre’s core, there’s a heavy emphasis on lyricism, a smooth and rhythmic cadence, and a hook that you’ll find yourself humming without even realising it. But what elevates this song above others is MaQ’s sheer presence on the mic. He doesn’t just rap, he performs, with a natural charisma that oozes through every line. You can tell he’s in his element, and that comfort translates into a performance that feels both effortless and electric.

Even as someone who doesn’t usually keep hip-hop in heavy rotation, I found myself nodding along, drawn in by the vibe and the conviction behind every bar. It’s one of those tracks that not only pulls you into its world but also piques your curiosity to hear more; more from the artist, more from the scene he represents, and more from a genre that thrives on authenticity and rhythm.

Rating/ Excellent – Game Genie is a confident statement from MaQ SteeZ, who is an artist who clearly knows his worth and isn’t afraid to flex a little. If this track is any indication of what’s to come, we’ll definitely be hearing a lot more from him in the near future.

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The song starts off with a nice instrumental guitar and bass riff. The vocals could be louder against the mix as this song is about the lyrics. Nice voice on the rap though. I’ll have to listen again to truly get the lyrics. I really like the instrumental track underneath the vocals, but not your typical track to put under rap vocals, more of an Indie Pop type vibe here.

The vocals rhythmic timing fits nicely over the instrument track, though. The song is very well mixed and produced. I really like the background female and male vocals that come at the end of the lead vocalist’s rhymes. The song is about taking back the power. While the rhymes and vocal delivery in this song are presented very nicely, the song itself seems to lack a more complex or nuanced message.

But the song itself is very nicely produced, even if it will probably not get much radio play in its current Explicit state. Being a professional Radio DJ on commercial FM new music stations, I’d like to hear and suggest the Artist come up with a clean Radio edit version to get more radio play. Really nice track for his fans, though.

SCORE/Excellent: Koine Poetry delivers a bitchin’ sounding rap performance over a well-tailored Indie Pop styled instrumental track on which he played all the instruments. I love the modern sound of the instrumental track and really like the flow of the rap vocals and the word choices in the rhymes. Very well put together, and I’m sure this will get radio play if the Artist decides to put out a Radio Edit version. Much love, Beth

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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So let’s have a listen …

The first track on the album Dub to Speed is a dub beat with clips from his prior songs interrupting the flow. Unfortunately, the clips are not mixed as well as the beat, so not sure this works as the artist intended. Would have liked to hear a vocal flow over the actual dub track. This track goes on too long at 4:50.

Worth the Wait starts with a shimmering electronic keyboard riff. Funk beat. I’m surprised I like the vocals so much. That’s always a good sign for a hip-hop album. And the rhymes reverberate. The sign of a teacher.  I really like this song. No wonder the artist chooses it as his featured track.

The Game features a sports theme, as the song’s title would imply. I like the rhymes in this song, which is all about athletes and sports. The Game. Nice flow to the vocals. I’m not bonding with the cheesy keyboard drum beat though.

The fourth track Now and Then features a soul type beat, loving the saxophone. The vocal flow is really nice, got to give props to the artist, has a nice voice for this type of music. The words compare the artist’s past life to his current family life. The music is very simple, but effective. I like the record skips used in this one.

Track five Globetrotter starts off with an airplane sound which leads into lyrics about airplanes. The vocal flow on all these songs has the same rhythm, I would have liked to hear a little more variability from the artist. I do think the lyrics, however, are really well-written. I like hip-hop that makes me think. You too?

SCORE/Good:  I really like the lyrics on this release. The voice sounds nice and that is a plus sign for this type of hip-hop album. I do think the songs employ the same vocal flow, just set to different rhythms. I also would prefer live drums to the programmed ones. Worth the Wait is a killer song, maybe should be released as a single. Much love, Beth

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Rumors of Kendrick working on a new album have taken over the internet. Since the battle has slightly taken a backseat, Kendrick’s win has been cemented as people around the world followed this year’s rap anthem, “Not Like Us.” However, with the announcement of Kendrick headlining a Super Bowl performance, things took an interesting turn, sparking rumors of a new album even further.

As big as the Super Bowl event is, Kendrick’s candidacy was not met with universal agreement. Some argued that Lil Wayne should have been the lead performer, while others accused Lamar of exploiting his current dominance to promote himself even more.

Regardless, these rumors and debates became irrelevant when Kendrick officially dropped his sixth full-length album with no prior announcements or promotion.

So, ladies and gentlemen, let me introduce Kendrick Lamar’s new LP, GNX, which completely deviates from what we usually hear from him.

After hearing the snippet of what was supposed to be the teaser track, nicknamed by fans as “Broccoli” (later evolving into “squabble up”), I could already sense Kendrick’s direction as very different from what we heard on Mr. Morale & The Big Steppers. During the feud, Lamar ventured strongly into West Coast soundscapes with a big emphasis on trap and hardcore hip-hop. While not repeating the mainstream sound of DAMN., Kendrick’s new LP certainly feels like a victory lap, reminding everyone why he’s the best.

This album shines a light on a different side of K-dot, known here as Kung Fu Kenny, who fills tracks with aggressive inflections, raw energy, and boastful hooks that stick in your head. Kenny immerses you in cinematic, grandiose atmospheres like on “wacced out murals,” where Kendrick acknowledges his hard work, stating that he deserved the Super Bowl performance no less than Wayne.

The album leans heavily into trap-infused tracks, with songs like “hey now,” “squabble up,” “peekaboo,” and “tv off” showcasing Kendrick in a more vicious, hungry, and ambitious mode. GNX shows an MC still hungry for the crown, demonstrating a sharp contrast to the more grounded persona seen on his previous LP. This album acts as a testament to him being a deserving champion.

While Kendrick shifts focus to a trap-heavy sound, he doesn’t abandon his introspective style. On tracks like “man at the garden,” he steps away from the dynamic, boastful MVP themes to reflect on his journey:

“I deserve it all.”

Here, K-dot stays on topic but brings sincerity and vulnerability, reassuring himself that he and his family truly “deserve it all.”

Another lyrical highlight is “reincarnated,” where Kendrick samples 2Pac’s “Made N**az”* and dives into raw, introspective reflections on his childhood with unfiltered energy.

Beyond Kendrick’s lyrical prowess, the album’s more laid-back moments stand out as well. Tracks like “luther” and “gloria” shift the mood entirely. Featuring SZA’s starry vocals and dreamy soundscapes, these cuts nail the melodic aspects of the record. While the album lacks many such melodic tracks, when Kendrick ventures into this softer aesthetic, he excels with exceptional results.

A surprising element on GNX is Jack Antonoff’s production. While some tracks on albums curated by Jack like The Tortured Poets Department felt uninspired, Antonoff finds moments of brilliance here, adding textures that elevate Kendrick’s atmosphere.

Despite its concise runtime and focused tracklist, GNX doesn’t always hit the mark. Some songs, like “peekaboo” or “gnx,” feel less impactful, relying too heavily on hardcore West Coast beats. While standout heaters like “tv off” and “hey now” showcase Kendrick at his best, other cuts lack the freshness expected from a Kendrick project.

Score/Excellent: Is this Kendrick’s best album? Certainly not — and for me, it might even be his weakest. But that doesn’t make it bad. GNX takes Kendrick in a different direction, offering him space to reflect and have fun.While it may grow on me over time, for now, GNX is a solid record that just doesn’t have the same “BAM” as Kendrick’s previous classics.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

The post Kendrick Lamar – GNX ( Album Review ) appeared first on Music Review World.

I’ve been a big Uzi fan since his Luv Is Rage 2, and I even consider him one of the biggest artists I was listening to while I was growing up. Although Pink Tape underwhelmed many, I saw it as showcasing Uzi’s uniqueness as an artist, emphasizing his passion.

It ranged from so many concepts, sounds, and ideas, allowing Uzi to explore his self-claimed “rockstar” persona. Whether it was the experimental rock, the mixture of rage and trap, or the influence of metal elements, it all somehow complimented his charismatic and playful persona. While not blown away by it, I could see Uzi’s vision, even if it lacked proper implementation. With this newly established route on Pink Tape, one would expect Lil Uzi to try to delve into it more and refine it further. Instead, with little to no roll-out, Uzi has announced his brand new album Eternal Atake 2, killing off every single expectation.

Right after the Pink Tape, Uzi teased 2 to 3 different mixtapes, whether it was his Barter 16 or Luv is Rage 3, though none of them have surfaced because of the leaks. But as of November 2024, with no of these “What If”, his newest release is Eternal Atake 2, serving as a sequel to Uzi’s 2nd most successful album — Eternal Atake.

So, without further ado, let’s delve into Uzi’s cosmic sequel.

From the first sight, Eternal Atake 2 doesn’t just seem like a random release but also feels this way. With a quite short track list for Uzi’s standards, you get a 40mins of commercial-free music which consists of Uzi’s most unmoving music yet.

The album feels half-made, rushed, and empty. The majority of the track list feels as if it has the production of the generic side from Pink Tape featuring a straightforward drum pattern with a quite predictable sequence. Just like on “Mr Chow” Lil Uzi simply sticks to the repetitive beat structure, and the monotonous, leaving the track feeling colorless.

Once you reach about halfway through the track list, a pattern in Uzi’s production choice on the album becomes apparent. It rarely surprises and instead comes across as a mediocre trap with a “rageful” tone. In some cases, Uzi jumps into the jersey club style, like on “Perky Sex,” which might be one of the best highs on the record thanks to its contrast with other songs.

Yet, the production is not the record’s main issue; the core problem is Uzi himself.

From the first track, he adopts the lazy mumbling style, which is the best Uzi can offer here. I have never heard him be as disinterested in his rapping as on this album. Uzi’s execution is purely narrow-minded, with a mixed vocal package that doesn’t benefit the deeper tone of his voice.

Even when compared to tracks like “Fire Alarm,” where his deeper voice shines atmospherically, his vocals on Eternal Atake 2 sound strained. On the “Paars In The Mars,” his voice feels as if he smoked 40 cigarettes in a row and has spoken since, creating a disastrous mix with deteriorating delivery.

Despite all the negativity surrounding him, it would be inaccurate to claim that Uzi has completely lost his talent. In “Light Years (Practice),” Uzi seizes the opportunity to create captivating songs and rap like the rent is due. With such passion and hunger, Lil Uzi fills you up with his contagious and charismatic energy. “Chill Bae” also stands as a more laid-back and atmospheric melodic track. It is quite weird to me that this album is capable of great production decisions and can deliver, but it rather does it in extremely minimal amounts.

I genuinely wanted to enjoy this record, hoping to see Uzi progress even more since his last full effort. Unfortunately, this album delivers to you a couple of songs that may be equal to Uzi standards that instantly lose their appeal within a largely disjointed effort.

Score/Mediocre: To summarise, Eternal Atake 2 has nothing from the original album beyond its name and falls short from the start with limited joyful moments.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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