Rocket Rese – “The Hardstyle Massacre” review

Brooklyn, New York rapper & producer Rocket Rese making his full-length studio debut. Known for being a Sematary affiliate, his debut extended play Doubted Me earlier this year was welcomed to lukewarm reception although the 2nd EP Let Ya Speakers Bleed only a month later saw people welcoming it a lot more experimenting with hardstyle & gangsta rap. He was even featured on the recent SosMula mixtape Yung Plane Krash earlier this summer, preparing for The Hardstyle Massacre that would come in time for the Halloween season.

After the self-produced “Solo Produced” intro giving us a taste of what’s to come for only 83 seconds, “Carry-A-Drum” unfortunately begins with this mediocre intro combining the hardstyle subgenre of the hard dance side of electronic dance music & gangsta imagery whereas “Blackout” runs it up with Internet Money Records in-house producer Synthetic talking about fucking with savages. “Show Me” featuring 13° moves on from there with the strongest guest appearances wanting to prove if one really has bands.

“6 Hours” doesn’t really impress me all that much from the hardstyle beat to the subject matter regarding him being up at 4am smoking weed while “Freaky Girls” talks about his preference in women. “Hood Ravers” continues from there advising that everyone enjoys it through the storm as much as they can even if the instrumental was ok just before “Black on Black” featuring Sematary ends the 1st half with both of them making it up wearing all black.

Meanwhile on “Devil Dance”, we have Rese kicking off the 2nd leg of The Hardstyle Massacre talking about feeling dead inside at only 7 in the morning preceding “Pop Out” moving forward looking rock out any speakers surrounding him. “Molly Watah” featuring Black Kray finds the pair bringing more gangsta raps to the table while “Body” produced by Shadow Wizard Money Gang was admittedly another favorite, putting a horror twist to hardstyle.

“Nanana” talks about taking bitches to Mardi Gras & to leave anyone fraudulent behind while “Love It” discusses cutting chops by the dozens. “Futures” vocally reminds me of Chief Keef at moments talking about his diamond chain looking like coke & after the uptempo hardcore “4 My Homie” promises he’ll fight anyone who disrespects those he considers friends, The Hardstyle Massacre spends the remaining minutes of the album talking about being caught up “In the Hills”.

Being introduced to him when that SosMula collab dropped several months ago, I still think it’s corny Rocket Rese was caught faking a co-sign from one of my top 10 producers of all-time Ye formerly known as Kanye West last weekend & The Hardstyle Massacre makes for an average debut despite having a better understanding of what makes this guy appealing. The production doesn’t really interest me much outside of a small handful of exceptions including Whethan & Vieze Asbak’s contributions, but I’m curious to know whether or not he’ll make more beats of own going forward like the intro cut.

Score: 3/5

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6bill – “Pure Lust” review

This is the full-length studio debut from Queens by way of Jackson Heights, New York recording artist 6bill. Embracing a sound inspired by the electronic musician Burial, he would release his debut mixtape Live Laugh Count the summer prior to moderate reception although I did enjoy the features he did for the likes of Protect as well as southsidesilhouette & 730atMorning afterwards. He recently unveiled a tracklist for Pure Lust only 72 hours ago & now the final product is here at last.

We’re greeted to this rage-inducing intro talking about how the only thing he knows is to “Swerve” until things shift towards more of a spacier trap vibe instrumentally during “Reposado”, which is an ode to the tequila brand itself. “Venti” featuring ØWay co-founder diamond* finds the pair flexing that they have so much money to the point where they should open a bank & sipping lean while “Sevrage” talks about suffering withdrawals when he was out in Paris, France & riding foreign whips in London, England, United Kingdom.

“Bambie” continues from there touching base regarding his lifestyle once again leading into “Midnight Blue” talking about him being out in Miami, Florida riding a jet ski. “Beat It” reaches the midway point incorporating more rage beats cautioning to be mindful of not breaking his trust while “Masquerade” featuring Pz’ continues the 2nd half with another excellent guest appearance from the latter ØWay member, observing the pretense of everyone.

Meanwhile on “You Make My Desire Pure”, we have 6bill over another booming instrumental addressing a woman who he firmly believes brings authenticity out of his lustfulness just before “Back to Weho” talks about heading out to West Hollywood, California again following some time away from the sunshine state. “All for It” however winds down the last leg of Pure Lust explaining that money & hoes always get in the way of things for him.

Chuckyy’s guest appearance during “Wipe Ya Nose” was personally the weakest of the 3 & the only one I could’ve done without regardless of the rage beat & them talking about feeling like bitches are setting them up while “Clermont” admits he’s been fucking with Molly lately only because he wants to show everyone he can do it. “WYO / R.I.P. Tris” saves one of the most interesting moments for last, concluding the album with this satisfying 2-parter co-produced by LulRose clocking at almost 4 minutes.

Live Laugh Count still has some moments that I go back to regardless of it being an average tape, but thankfully Pure Lust makes up for it with 6bill’s finest collection of material to date & I say that since there’s a real possibility of him surpassing it going forward. Most of the guests deliver great performances other than the last one & it’d be interesting to hear him bringing in more notable producers who’d bring the best out of his take towards trap, rage & pop rap.

Score: 3.5/5

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rexv2 – “Baby Houston” review

rexv2 is a 20 year old rapper & producer from Houston, Texas who broke out in the spring of 2025 when his debut mixtape Da Fleh & debut extended play Aberration respectively came out only a couple months apart. He would go on follow it up with Who Killed rexv1? exactly 4 weeks later & his full-length studio debut Winner’s Circle of would subsequently arrive 5 months after. His most recent EP liars go to hell dropped near the conclusion of summer apologizing for the delay of his 5th EP, which has arrived 6 weeks later.

“WellDeserved” kicks things off with this 68 second intro talking about making success look easy whereas the self-produced “DCLikeDom” brings in a rage beat flexing that he put his property in his portfolio. “TinyTina” instrumentally goes for a pluggier vibe so he can talk about being geeked up for a minute & a half leading into “ThePainNeverGetsErased” morbidly gets in his gangsta rap bag boasting the lifestyle coming with it.

As for “MaajinBuu”, we have rexv2 referencing the Dragon Ball character of the same name & talking about switching lanes over this chaotic beat just before “ChromeWristband” begins the 2nd half cooking up a more entrancing instrumental to drop some braggadocio. “ImFuckedUp” talks about being happy with a bag whenever he wakes up to one & for those around him to pass the drugs while “ImSoForsaken” admits to staying confined because the outside world’s cruelty.

“HellDesigned” winds down the last leg of Baby Houston on some wavier vibes talking about how what he thought he wanted turned out to be a burden to him in the end while “Luffa” speaking of baddies hitting up his phone now his music career’s been taking off. The hypertrap outro “HoustonBoy” concludes the EP shouting out the city that made him who he’s become now & thanking God he’s still here regardless of wearing a bulletproof vest underneath his shirt.

Discovering his music when his beef with bleood popped off earlier this spring, rexv2 returns 11 months since Winner’s Circle that showcasing a less experimental to his production although the similar elements of trap, rage & pop rap are all being retained. And I’d still that debut above everything else he’s made but in terms of his EPs, another thing Baby Houston has going for it would be the subject matter detailing his experiences in the 713.

Score: 3.5/5

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The Avalanches – “No Bad Memories” review

The Avalanches are a plunderphonics trio from Melbourne, Victoria, Australia consisting of Robbie Chater, Tony Di Blasi & Andy Szekeres. Their debut Since I Left You in 2000 has since become a landmark for that style of experimental music, with the 2016 sophomore effort Wildflower & the group’s previous full-length We’ll Always Love You towards the end of 2020 receiving similar praise. Almost 6 years later & they’re returning for their 4th studio LP almost a week after former NXT Women’s Champion Indi Hartwell became the new TNA Knockout’s World Champion.

“Together” by Jessy Lanza & Prentiss after the “Bd-R” intro samples “Together Again” by The Famous 5 for a bubblegum bass, speed garage, tech house, utopian virtual, dance-pop, future garage, sound collage, jingles, 2-step & bassline lead single about preserving memories whereas “I Give Everything I Have 2 U” by Loaded Honey after the “Xerox Altalink B8055” interlude embraces a more soulfully jazzy vibe singing about providing it all for this person.

Chillwave, nu-disco, balearic beat, jingles, utopian virtual, chillsynth, deep house & funktronica all collide for the 2nd single “Every Single Weekend” co-produced by Jamie xx singing about the system & of the cost of living leading into “Blue Shadows” by Karen O after the “Friends Forever” interlude sampling “Shadows from Nowhere” by Blue Gas for a 3rd single combining neo-psychedelia, indie pop, chillwave, trip hop & exotica.

“Like Clockwork (Hit by Traffic)” after the “Logoland” intermission chops up a repetitive vocal line Khadija Al Hanafi provides for a minute & a half while “All the Time in the World” by Weezer frontman Rivers Cuomo hypnotically sings about letting the world pass through him & his partner. After the “3D Glasses Not Included” intermission, “Vida” by Erick the Architect preceding the “Paradise Island” treads the disco rap waters talking about not needing any new friends while “Unicorn Quest™” dabbles with 16-bit for 43 seconds.

The final single “Far Away” by John Glacier & Khadija Al Hanafi embraces a cross between jungle and liquid drum & bass encapsulating the feeling of a blissful summer evening out in London where it was conceived while the 4th single “Can’t Get Over Losing You” by Portraits of Tracy after the “He Lives in the Old World” interlude experiments with dance-pop, electropop, nu-disco, chillwave, neo-psychedelia, deep house & French house asking if this person would stay by them in the end.

After the “Watch Out! It’s Cloudy” interlude, “Highfield” by Panda Bear psychedelically sings about there being nothing left to do now that the story’s been told while “Under Yr Power” after the “El Dorado TV Spot” skit passionately confronts someone over whether or not they’re being played with & making it clear they won’t be consumed by their spell. “1 More Fantasy” by Carly Simon” after the “SUV Heaven” intermission glossily sings about not wanting to say “I love you” towards any fake relationship just before the “Breakout Corporate Tag” intermission.

“Magic Wand” by Barry Can’t Swim continues the 2nd act of the album describing a love that feels right on time & after the “Superfun!™ TV Spot” skit parodying a video game advertisement, the the title track would stick out amongst my personal favorites going for a more soulful vibe instrumentally. “Our Love’s Alive” by Barry Can’t Swim & Suzanne Ciani continues to show off The Avalanches unique approach to sampling after watching a video of Suzanne showing a synthesizer to kids on Sesame Street.

The song “Total Recall” by Faith No More’s lead singer Mike Patton takes it back to the 16-bit aesthetics declaring the Superfun! console has been released publicly & asking if people are waiting for Nintendo to make one of their own while “Final Credits” reunites with Loaded Honey to sing about a type of love that can do no good. “The Pavement Lights” by 細野晴臣 spends No Bad Memories’ concluding moments in the form of an outro reminiscent to these guys’ earlier output, especially towards the backend of it.

If I had to pick a favorite of the 3 Avalanches albums they’ve done in the past decade, No Bad Memories has earned that spot behind Since I Left You to become my 2nd favorite in their discography. The eclectic nu-disco, vapor, plunderphonics, UK bass, juke, bubblegum bass, speed garage, tech house, utopian virtual, dance-pop, future garage, sound collage, jingles, 2-step, bassline, chillwave, balearic beat, utopian virtual, chillsynth, deep house, funktronica, jungle, liquid drum & bass, electropop, neo-psychedelia and French house production feels like a testament to their inventiveness a quarter of a century later in the midst of conveying the role advertising plays in our memories.

Score: 4.5/5

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Devstacks – “Soul” review

This is the 3rd studio LP from Boston, Massachusetts producer & rapper Devstacks. Emerging off the Now They Know Us trilogy with the first 2 installments being EPs & the concluding chapter becoming his full-length studio debut, 3rd EP Scriptures has proven to become his breakout project & has gone on to produce for the likes of Ty Fontaine to Kevin Abstract & Diorvsyou His sophomore effort 4SouljasOnly had primarily trap feeling to it regalia sound he popularized & the rumors of Soul being a Scriptures sequel ahead of him producing an upcoming EP for Bktherula called Dirty Sticks.

The self-produced “Hand Me Your Soul” fuses elements of chipmunk soul & jerk so he can talk about this burning desire he has for more whereas “Stand for It” triumphantly flexes his lifestyle since being stuck at the top, having 2 bad hoes by his side snorting lines. “I See Dead People” bombastically talks about having white women tryna hook up with him just before “#1” incorporates some sampling chops so Dev can get more sexual with his songwriting.

“Yes” takes a cloudier approach instrumentally boasting his new Jesus piece & outfit leading into “Soulja Swag” ending the 1st half going full regalia telling everyone at home who misses him to stay strong until he’s home from being on the road. “Save the Day” gets the 2nd act going treading the plugg waters talking about money making his day better while “Maybe I Can Save You” suggests he could potentially rescuing this hoe he’s addressing over a regalia beat.

The song “You Can Have It Too” properly begins the encore of Soul on some cloudy trap shit advising people that they can what they desire in life if they believe hard enough while “Wish You Well” talks about money smelling like the Mason Margiela fit he’s wearing. “Slit Her Wrists” details a woman getting reminiscent when scrolling through his Instagram page & “Feel Like Ye” wraps up Soul shouting out one of my top 10 producers Ye formerly known Kanye West.

Commemorating the 3 year anniversary of Scriptures earlier this week, Devstacks retains the same production ideas that made it’s counterpart stick out from regalia to plugg & cloud rap although there are some additional influences of the main trap style 4SouljasOnly embraced including chipmunk soul & jerk elements being sprinkled in. He’s certainly a capable performer too, handling the performances solely by himself much like Scriptures rather than the previous album having only 1 guest performance.

Score: 4/5

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Strange Fruit Project – “Beautiful Rage” review

The Strange Fruit Project is a trio from Waco, Texas consisting of Myth, Myone & S1. Forming as a duo 3 decades ago, they would eventually drop their full-length debut From Divine after Myone joined at the turn of the millennium & their sophomore effort Soul Travelin’. It wasn’t until The Healing dropped in the summer of 2006 where they started to gain traction, garnering comparisons to both Little Brother & the Native Tongues collective. Last time we heard from them was when the M.A.S.K. (Making Art Sound Kool) extended play & their previous album A Dreamer’s Journey came out, returning after over a decade for a new EP.

After the titular intro, “Stay Kings” opens up with this boom bap beat produced by none other than S1 talking about only the strong prevailing whereas “Superman” featuring Theory Hazit instrumentally takes a more soulful route explaining that everyone has their own kryptonite referencing the DC hero of the same name merely 72 hours following Warner Bros.’ oligarchic merger with Paramount to become the Skydance Corporation was finalized.

“Kast Out” hits the midway point of the EP confidently talking about spirituality & after the “Becoming” interlude, “See My Pain” featuring Deontaye Daywalker soulfully kicks off the 2nd half wanting the world to look at the suffering they’ve had to endure. “Won’t Back Down” featuring Rapsody finds all 4 of them talking about their refusal of surrendering under any circumstance while “Honor” featuring Blu dustily breaks down the things that humble them.

S1 has spent the last 16 years producing for some of the biggest names in music from Ye formerly known as Kanye West to Drake & Young Thug, so for him to run it back with Myth & Myone for a Strange Fruit Project reunion has been a long time coming & would probably prefer it over M.A.S.K. (Making Art Sound Kool) as far as their EPs go. The guests are all carefully selected & all add their own perspectives to the conscious lyricism these guys have become known for over S1’s rich boom bap production.

Score: 3.5/5

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Scum – “Nobody Spared” review

Denver, Colorado emcee & Lyrikal Snuff Productionz founder Scum back for his 17th LP. Starting as a member of an experimental grind/noise band called Down Syndrome about 3 decades ago, his solo debut Enter the Asylum arrived in the winter of 2003 & he’s outdone himself plenty of times since. Case in point: The Gorefather, Out with the Old & Bad Uncle fully produced by Chapter 17/Psychopathic Records in-house producer Devereaux. I also found myself enjoying the Dyin’ World Chroniclez trilogy, coming off Anti-Human & IOUz to make sure there’s Nobody Spared.

“On God” kicks things off with this 92 second trap metal intro talking about giving a fuck less if people get offended by him & his style of music whereas “Mass Murder” featuring Řezník finds the pair joining forces for a bilingual horrorcore anthem with a JP tha Hustler instrumental that has a boom bap quality to it. “Moovbaak” produced by Gibby Stites continues from there apocalyptically sending that very advise to anyone who’s in his way prior to “1 by 1” featuring King Gordy gets right back to the wicked shit.

Moving on from there, “The Final Straw” furiously talks about leaving a muhfucka face down if 1 more thing in his life goes wrong while “Chainsaw Gandhi” spends 101 seconds dropping horrorcore lyricism over an organ-inflicted beat. “Type O Fuck” featuring Bloody Ruckus & Donnie Menace finds the trio testing the world to really let them see what they’re really about while “T.M.K.Y. (They Might Kill You)” cautions what happens when you push someone too hard.

Chapter 17 Records signee & LSP alumni Darby O’Trill joins Scum for “Stop Playin’” telling everyone to quit fuckin’ around incorporating some secondary influences of trap metal in the picture while “Definition of Wrong” grimly talks about what he considers the meaning of incorrect hooking up these suspenseful piano chords. “Bleed Out” speeds up his flow so he can keep it wicked leading into “What Would Jesus Do?” grimly talks about the son of god having love for all the victims that’re being slaughtered.

“Like You” featuring RazoR has Sin Rip & Tha Roka both joining their mentor in discussing some people being better off dead while “Drugs” talks about the fact that more people in this country have lost their lives to opioid addictions more than gun violence in recent memory. “Hole in Your Neck” featuring Madopelli has Ant Dog & M.A.D accompanying the man who gave them a deal instrumentally going for a boom bap vibe while “Better” suggests it’s best he aims far until pulling the trigger of of shotgun.

Meanwhile on “Enjoy the Horrors”, we have Scum over another trap beat hoping that people enjoy the wickedness he was meant to please the underground with preceding “Point of No Return” by Devil’s Trident ruggedly talking about burning bridges without having any fear. “Drip, Drip, Drip” starts the deluxe run with a symphonic instrumental talking about blood dripping off the blade of his weapon while “Left Alone” featuring A.Z. the Fallen links up to explain that they’re better off on their own.

“Last Confession” finds himself asking what the fuck’s wrong with him while “They Don’t Want None” featuring Gibby Stites & Zak Pacillo returns to the boom bap talking about no one wanting any sort of smoke with them. “N.H.N.H. (No Help No Hope)” makes the clear distinction that one’s helpless if there isn’t anyone to assist them while “Nightmerica” featuring Mikahl Lawless & Skeezus talks about this being a nightmare one can’t wake up from.

There’s a heavy rap metal groove to “Originalz” looking to smash skulls with a spiked bat while “So Tired” featuring RG Stoner talks about being sick of giving in unprovoked. “Dig Deeper” throws shots at the people hating on his name while “Empty Shell” featuring metroGHOST talks about the other versions of them being dead for some time. “Living in a Nightmare” bombastically observes the world burning & the final bonus track “Death Choice” talks about having no fear of being incorrect.

This dude’s been experimenting with bars, dark humor, lyrical hip hop, personal songs & mental health anthems after bringing us the Gore Hop we’ve come to know The Gorefather for going on damn near 3 decades at this point & Nobody Spared takes it right back to his roots with some of the angriest, darkest & most violent material Scum’s recorded in a some time. I’d be remised if I didn’t mention the 2nd disc touching base regarding more introspective subject other than a couple occasional moments where he delves into butchery.

Score: 3.5/5

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Souls of Mischief – “Clean Getaway” review

Souls of Mischief are an alternative hip hop group from Oakland, California consisting of A-Plus, Opio, Phesto & Tajai of the Hieroglyphics collective. Their 1993 full-length debut ‘93 ‘til Infinity under Jive Records has since become a west coast masterpiece although the reception of their sophomore effort No Man’s Land as well as the Hieroglyphics Imperium Recordings-backed Focus & Trilogy: Conflict, Climax, Resolution were average at best. Montezuma’s Revenge mostly produced by Prince Paul & There’s Only Now produced by Linear Labs Music founder Adrian Younge both join ’93 ‘til Infinity amongst their top 3 material, coming off Hiero’s widely celebrated return All Said & Done to drop a new extended play of material.

“Believers” begins with the 4 showing off their chopper skills over a boom bap instrumental whereas the only single “Nothing Without You” featuring Brookfield Deuce & Damian Lillard shows their gratitude to their hometown although both guest appearances were simply alright in my opinion. “Road Runnin’” featuring Jay Worthy produced by A-Plus kicks off the 2nd half shrugging off any worries they have regarding law enforcement bumpin’ classics & “Up With the Sun” featuring Phonte ends the EP on a funkier note looking to have fun.

It’s already been confirmed via the Souls of Mischief’s social media platforms that they’re planning to release their upcoming 7th album soon & although I didn’t end up loving Clean Getaway as much as All Said & Done last month, it’s still a passable prelude. The way everyone trades verses with each other proves regardless of there only being a couple guests I could’ve done without, but I feel like there could’ve been some improvements made within the production department.

Score: 3/5

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ovrkast. – “Striking” review

New sophomore effort from Oakland, California emcee/producer ovrkast. in the midst of my favorite duo of all-time OutKast filing a ridiculous trademark infringement lawsuit between him a few weeks ago. For over a decade now, he’s been making waves by releasing a couple mixtapes on top of 13 EPs in his discography later landing production credits ranging from MAVI to Earl Sweatshirt & even Drake. KastGotWings produced by Cardo became my favorite EP of his even if some might still disagree, coming off his full-length studio debut While the Iron’s Hot a year & a half ago to drop Striking.

After the Ant Bankx intro, the self-produced “Windo” blends jazz rap & boom bap talking about finding himself in many situations he can’t control whereas “Static” featuring Joey Bada$$ finds the pair discussing the only thing they saw growing up around them over another jazzy beat. “Pane” takes a smoother approach instrumentally talking about indignation just before “WashedOut” wakes up thanking god for the storm & advising not to get washed.

“Home” soothingly up the 1st act of the album talking about usually resting on the edge of the studio instead of being on the wrong side of the bed when getting up in the morning while “ActTransit / Lemme at ‘Em” featuring DAVIDTHETRAGIC links up for a 2-parter with a soulful beginning until switching into trap territory. “Knock” featuring MAVI & Samara Cyn returns to the boom bap calling for people to cut the bullshit while “Heroes & Villains” featuring Ben Reilly & Marco+ plots world domination together.

The lead single “Wata!” featuring Niontay experiments with a jerk sound talking about not having time for everybody since they all want some shit & boasting that they got hotter every time they rap while “Hopecore!” hooks up a crooning soul sample so he can take a joint to the face along with trying to get through on his own. “Phree (Swing)” spends the remaining minutes of Striking talking about stitching up his wings, tryna break free.

Never in my life have I heard anyone get ovrkast. confused with OutKast & that’s a huge reason why many people are against this ongoing suit, but I digress. Striking however still comes out after some presumed it would get pushed back for a solid half hour although I don’t love it as much as either KastGotWings or While the Iron’s Hot. His jazzy production incorporates more live instrumentation & the abstract penmanship conveys the message of acting decisively & becoming comfortable with failure in the midst of pursuing personal evolution beyond traumatic situations.

Score: 3.5/5

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Olu – “The 11th Hour” review

Olu is a 37 year old rapper & singer/songwriter from Atlanta, Georgia notable for being 1/2 of the EARTHGANG & a member of the Spillage Village collective. His partner-in-rhyme WowGr8 made his solo debut 12 months ago with Howl at da Moon leaning more towards a comedic hip hop style for something vulnerably dramatic compared to everything he’s done in the past, but Johnny Venus has been hinting towards a full stylistic departure for his own debut embracing an R&B sound & signing to Epic Records rather than putting it out independently.

After the “11:00” intro, “On & On & On” co-produced by Wu10 sets the tone of what’s to come with this R&B intro singing about being in love prior to the self-produced “Porsche 911” taking a smoother approach altogether pleading for her to break it down to the floor. “Runway Killer” moves on from there atmospherically singing about running away from heartbreak with a killer guitar during the hook while “Sarahtonin” featuring Alissia & Ink finds the trio bringing back the funk for some seductive vibes.

“American Dream” mixes elements of trap, rock & R&B singing about this woman’s religion being his peace to conclude the midway point of Johnny Venus’ debut just before “So Beautiful” featuring 6LACK kicks off the 2nd half with a duet yearning to call their partners throughout the whole evening over a slick Wu10 beat. Want to further mention Dominique Sanders known for his output for Strange Music as 1/2 of The Xtraordinair$ or solo getting behind the boards for “I Want You Back” was a pleasant surprise, where Olu’s singing about wanting to rekindle the flame with an ex.

The song “Feng Shui” slows it down admitting sex got ‘em fucking up the positive energy while “Swallowed Pride” would be another moment I’d revisit from the Patrick Paige II instrumental to the lyrics about putting his ego to the side. “Nightmares” hops over a guitar singing about having bad dreams being in love with this individual & “Can You Pray for Me” sends off The 11th Hour in the form of an appropriate Spillage Village posse cut featuring Asha Imuno clocking at almost 8 & a half minutes.

Now that both members of the EARTHGANG have their solo debuts out of the way, The 11th Hour makes me think of the comparisons that’ve been made between them & OutKast in the sense of this Howl at da Moonbeing like Speakerboxxx retaining a hip hop sound & this being a stylistic departure similarly to The Love Below. I felt like the funky & atmospheric R&B production Olu handles other than a few big names was superior to WowGr8’s album last fall & sings as well as he raps.

Score: 4/5

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