What makes G-Killa an interesting face to look out for is related to the musical acceptance within his family. Coming from a family that doesn’t value or respect music, he still pursued his dream as a rapper, hoping one day to sway their minds to accept his passion for this art.

So, without further ado, let’s get into G-Killa’s new single “Truth”:

From the first seconds of the track, you are immersed in the soulful, southern hip-hop rap style, which doesn’t follow the typical sound of Detroit you might hear from artists like Tee Grizzley. The sound remotely reminds me of Rod Wave’s mixture of pop rap that blends influences from R&B yet dives into lyrics challenging the trust and trustworthiness of those around, amplifying the track’s name.

Additionally, the rapper’s sound reminds me of the aesthetic that Polo G often employs in his tracks, incorporating conscious hip-hop elements while mixing them with soft, pop-like instrumentals that feel lush yet raw.

While it is clear what the artist is aiming for, and considering this is one of his first ventures, the release stands solid; however, at moments, the mixing and mastering of the vocals feel slightly choppy. The track carries the weight of a bit of excessive autotune, turning the artist’s vocals into a chaotic blend with emotionally hollow notes while still aiming for that raw sound. It just feels a bit more like a distraction from the actual message and the track’s soft yet lush style, which the minimalistic and delicate beat brings to the table.

The sound design feels melancholic and soft-toned, introducing the artist’s warmth and the airy coldness he experiences from treachery. In general, the track feels solid and decent, but the vocals—particularly the tightly sequenced transitions between beat’s verse 1 and 2—make the track feel less punchy.

Score/Good: Overall, G-Killa gives you an interesting sound that offers a fresh perspective on Detroit’s mix of pop rap, combining different influences from Rod Wave and Polo G to shape his unique cold and soft-paced style. As I have mentioned before, the only downside of the track is the over-reliance on autotuned vocals, which slightly feel out of place and slow down the dynamic of the track.

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

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“WITHSTAND THA FIRE (Anti-Hetero Anthem)” immediately places itself in the mix of his previously explored style on SOCIAL STUDIES, diving into an infectious, mysterious, and thought-provoking delivery.

K2 Cocky actively gives you the feel of industrial music with a heavy, vocal-driven track that showcases his harsh and choppy vocal execution, adding layers to the aesthetic—though it slightly feels off.

However, what I do admire within the song’s soundscape is the dynamic, quite psychedelic, all-over-the-place beat, reminiscent of something from slowthai’s UGLY. The pulsating, echo-drenched instrumental generally does the job well in creating that bizarre atmosphere, though the looped orchestration during the chorus gives it a prolonged feel.

The song’s sound selection certainly showcases what the artist was aiming for with his emotional and punchy delivery, but the mixing and mastering of the vocals really take away from its potential. The blending of two different cadences—from vicious, snarling rap flow to emotional singing—doesn’t work as sharply as it should. Instead of illuminating the chorus with a dynamic switch-up, the singing part blends in with the dissonant production.

While the thematic context of the song is hypnotic and potent, the noticeable issues in vocal mixing and mastering rob the track of its intended ‘kick.’

I really admire K2 Cocky’s foray into a mechanical and synthetic sound that challenges the usual constructs of industrial hip-hop. However, the lack of clear separation between the vocals and the instrumental meshes all the sounds together, diminishing the charm of the technological flair that K2 Cocky offers.

Score/Mediocre: While I see the artistry in K2 Cocky’s sound and, particularly, his message, the song’s shortcomings in proper mixing detract from its full potential. The strong aspects of the instrumental—its haunting, hypnotic feel—do illuminate the track compared to many look-alike sounds today, but overall, it falls short.

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

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The post K2 Cocky – WITHSTAND THA FIRE (An Anti-Hetero Anthem) (Single Review) appeared first on Music Review World.

Moe Carter is a rapper based in NC/NJ who recently dropped his new EP called Insert Coin Here 2. Just from the title itself and the cover, we can see that Insert Coin Here 2 is a mesh of gaming and street culture, where Moe draws on his inspirations, ups and downs, and experiences of the concrete jungle and its struggles.

Moe usually gives you a nice mix of East Coast rap with classic Southern hip-hop, featuring hard-hitting instrumentals, nostalgic samples, and crispy drums. I had not heard about Moe Carter before this EP, but the artist has already been around for some time, so without further introduction, let’s jump into Insert Coin Here 2:

After first listening to the tracks from the album’s start, I had some mixed feelings.

When you get into the project with the intro track “Lifeline,” you can’t help but notice the prominent inconsistency in mixing and mastering of the track.

While the rapper’s cadence and flows are certainly sharp, the mixing and mastering issues make it sound extremely off the beat undercutting the rapper’s punch. With those hard-hitting elements on “Lifeline,” where the piano part builds that haunting yet repetitive atmosphere, it’s hard to stay fully engaged. However, later the rapper introduces you to some of the better-mixed tracks, which we will get into later.

With that point out of the way, I must say that the rapper is quite adept at experimenting and trying different sounds. Whether it is the trap-infused “Lifeline” or the heavily Southern hip-hop-esque “Purple Hearted,” Moe Carter offers a solid diversity throughout the record. Additionally, most of these tracks are filled with a certain substance and narratives that deviate from the usual modern repetitive rap narrative.

On a track like “Purple Hearted,” the rapper gives you a nice bridge to the previously introduced piano-haunting atmosphere, reminding me of the hardcore hip-hop style you get from artists like Denzel Curry, which, frankly, the artist mostly nails.

Funnily enough, the further you go into the record, the more melodic Moe Carter becomes—whether it is circling back to a melodic Southern hip-hop influence on “Black Bentley” with a fusion of conscious hip-hop, or the outro track “Speed Bumps” with its jazz influence. However, while “Black Bentley” gives you a lot of familiar elements that people love within this hip-hop lane, “Swahili” definitely remains one of my favorites on this EP.

The 4th track, “Swahili,” is simply exceptional; it gives you that ferocious sound of Moe combined with a snarling delivery and a mysterious beat, which certainly stands out as the most memorable and raw performance from the artist on the EP. It not only finds itself in a space of substantial conscious hip-hop and storytelling but also matches the energy of the build-ups within the beat.

With the outro track “Speed Bumps,” you are in for the sweet and nice touch that wraps up the EP with a melodic, boom-bap-type vibe that finally transitions into jazz rap. If “Black Bentley” only gave you a slight hint of the jazz rap style with its surrealistic sound, “Speed Bumps” fully embraces that sound as its fate.

Insert Coin Here 2 is a solid listen, although it feels as if Moe Carter is stepping into his artistic journey. While some of the tracks definitely have strong elements, the inconsistent vocal and beat mixing lowers the project’s quality and replay value. The rapper clearly has potential and deserves recognition as an emerging talent, but the ups and downs of the mixing and watered-down sound of the vocals keep Insert Coin Here 2 from being the best record by any means.

Score/Good. I believe this record certainly deserves a good score, as the rapper has a solid flow and bars that can immerse you in his narrative—especially in the latter half, from track three to the outro. However, when the album dives into those hard-hitting, dynamic sounds like “Lifeline” or “Purple Hearted,” the echoed-down vocals detract from the album’s stronger aspects.

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

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The album starts of strong with a sick beat and keyboard riff with the song Trending Topic, about what you think it is about – trending on social media. Nice rhymes by Natalac, Benzino, and Mr Smith Aka Bo$$ Money. They manage to rhyme “topic” with “poppin”. This is a nice track, makes me want to hear more from this artist. The performances and mix are dope. And true to form, they manage to reference their Jacksonville roots.

The next track Jacksonville News isn’t a song, just a short news interview. About a rapper (Foolio) who was shot and killed. It’s included as a lead in to the next track Jacksonville Hip Hop, which kicks off with an eerie keyboard riff and has Natalac telling a story about the hip-hop scene in Jacksonville. I don’t like the vocal on the “Jacksonville, Jacksonville” bit at the start of the song, but once the beat drops at 00:40 into the song, the melodies and rhymes start to flow from the heart. “Then the RICO case is dropped.” I like how the song ends on the word “church” just out of the blue.

Scam Likely (SpamRisk) is a lively track about Duval County where Jacksonville sits. I like the soundscape created by this song. It’s interesting to listen to, your ears are like “what the hell is going on?” I love the phone call ending to this track. This artist has a sense of humor.

D.U.V.A.L. repeated over and over. How many ways can we say Duval? I like the Gator Bowl reference, the city of Jacks, I like the flow in the song, but I’m not really liking the D-U-V-A-L as the hook of the song. Truth. But I suppose if you’re from Duval County, you’d probably like it at the show. I like the Boss Pimpin Mix of this song included as a separate track at the end of the album (track 12). Nice flow by YATBAT. Diggin’ the speed of it.

The next track One Two is only available if you buy the album. Mystery?

The seventh track Rich Niggas features Natalac and Benzino again. This track has a nice vocal mix, and I love the rhythmic nature of the vocals. They pop. All she want to do is fuck with Rich Niggas. Lots of anatomy, LOL. I really like the sound of this Pimp track. The song could be longer.

She Was Made for the Streets off with a speech about women taking over your world and the declaration that some women are made for the streets. But after the speech, it falls into a nice flow. The song is all about sex. Definitely explicit. I like the “milk and cereal” reference at the end of the song. “Just another hit, smoke that shit!” I can dig it, even if it is racy.

The ninth song is Right By You with Natalac and Ronnie Real. I like this song once the flow gets going. Nice East Philly rhythmic style to the vocals. I think the vocals during the “right by you” chorus could be better aka more sonically pleasing. But then the song drops back into a nice flow. Pimp song. I like the variation of the rap flows, keeps the song interesting.

Duval Dade (Damn Pimp Mix) with Natalac and JT Money “Duval Dade, OG Pimp Getting Paid”. Very interesting mix. I love the female vocals. “Is that one of them damn pimps?” LOL. The beat track seems to be a bit distorted, so I would fix that in the mix.

And really, how many songs about Duval can you put on one album? I suppose in this genre you get street cred by referencing your hometown. I’m imagining a hip-hop Super Bowl with artists from one city on a stage in one end zone, and artist from another city on a stage in the other end zone competing to see who gets more of the crowd’s attention, trading rhymes.

A.T.M., the eleventh song has a very Middle Eastern instrument track. The track features Natalac and Haze Karolina. Really nice flow on this song. Another song about sex and a girl who has a lot of boyfriends. “Welcome to the party, come please me with your body.” I like the chorus in this one.

SCORE/Good: I really liked the first song on this album Trending Topic. And the album is full of nice interesting flows. If you’re from Jacksonville, you’ll probably dig this album. I really liked most of the performers on this album over a nice collection of beats and mixes. There were times when I didn’t particularly like the scratchy vocals or the distorted mix which keeps me from rating this album as Excellent. Curious about Florida Pimp-Hop sounds? Check out this new album. Much love, Beth

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

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The album is described by the artist as having written in a dark dystopian future by his future self, sent back in time for him to release it now as the most important moment in our history. It’s also described as a call for those who can hear and for those who can see. As quoted, ‘Separation is illusion. There is only One. Merge with Nature, NOT technology. Find the balance.’ With this album, he presents his bare, naked soul.

The album honestly is appealing but concerning in a multitude of ways. It definitely is fresh in the sense of a revival of a style of rap that is no longer popular in the mainstream, but in terms of musical composition, it lacks any new motifs for it to be revolutionary or new.

I admit though, that that statement itself may cause some issues between the artist and I. I understand the intent of the album is much deeper, as the lyrics suggest, but one has to ask about the lines between depth and empiricism at some point. When songs become the sonic allegory to books, should all books be read because it’s in the form of a book?

When you consider the reasoning and truth-value of some of the songs aside, they are very adequately produced and executed. The artist has a bold voice that paints the narrative in most of these tracks, setting the foundation for the soapbox on which he metaphorically stands. I think the album could do with a little bit of newer production techniques, but that would thematically go against the artistic value and intent of the album itself.

the techniques and delivery within this album also reminds me of a lot of big acts associated with the old New York rap scene, such as characters like Ol’ Dirty Bastard. I think people who grew up in that era and reminisce on such musical acts would definitely revel in this album as a ‘return’ to their roots, and what they feel works.

I do have to commend the artist on his vocabulary. Rap albums are often meant to be judged on the linguistic prowess behind the work, instead of the music as an isolate- and I do have to say, he uses a higher standard of vocabulary and probes deeper into certain hypotheses compared to acts today. The branding behind the artist also helps to seal the deal, especially within the context of this release.

SCORE/Good: If you’d like to re-live an era of conscious rap without the need for an overreliance on race politics, this album is definitely for you. It’s chock-full of concepts and thematic tropes that will fuel your imagination, or ‘open your ‘eyes’. I don’t mean to hate, and please do not take this the wrong way, but the lack of innovation within the composition does not make this exceptional.

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

Check out ArAfAt’s link directory to keep up with him.

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K2 Cocky is an artist described as an LGBTQ shock rapper turned rocker. His current release consists of previously unreleased demos, b-sides, songs that were made interestingly using only vocal and nasal samples, as well as unique instrumentals. His fans, named Spice Cadets, have hailed it as his most radical and fantastic release to date.

He complements his release with an upcoming music video titled The Second P, with the intent to expose powerhouse A&Rs who left him homeless in group home institutions for several years especially after his mother committed suicide just 3 years prior. The rapper, both blacklisted in the industry and once dwelling in the group home system, has been diagnosed with c-PTSD. All proceeds of the demo ‘Go TAM’ are going to a disability and special needs institute in New York called Jawonio, known for its immense work in Hudson Valley, where the rapper and rocker is rumored to live. Music aside, I do commend K2 Cocky for being strong amidst the chaos and having the foresight to return back to his community. It is not easy for one to recover from such traumatic incidents, and I mean that seriously without an ounce of mockery.

With this deluxe edition, I’m afraid to say that the main problem with the previous release still remains- none of the advice I have written about mastering the tracks, especially the vocals, levels and EQ have been taken seriously. In fact, it turned into a thing of me versus them, when I can hear that the vocals, even from the main track, have not been professionally mastered. The levels in the instrumentals all clash with each other, even if the compositional intent is extremely interesting. This artist has potential, nobody’s denying that. There is indeed a market for this sound, but mastering is incredibly important. It’s the reason why other songs that are popular today may not even have the most complex musical intent can still ‘make it’ in the industry.

In a similar fashion, the tracks that have more of a synthesized sound tend to be mastered a little better, except for the vocals. Tracks like ‘No-One Likes You’, ‘Facemask’ and ‘Runs in the Blood’ have their compositional roots in a lot of shock rap and rock music from the late 90s, offering the same punch that his counterparts, such as Marilyn Manson has. However, the vocals and levels are not up to par. There is definitely effort put into the instrumental, combining a harsh rock sound with a technological flair- in some aspects, the hyper saw gives me the feel of a revival of 2010s electro-fusion music, and that is wonderful. In fact, the hypersaw is making a comeback.

I personally like the concept of certain tracks like ‘Graven Images’, ‘Justin, Martyr’d’ where the compositional intent of the song is abstract, and bears no vocals. There are a few mastering issues, such as the peak meter possibly going in the red, but the chord structure and the percussion stand out. It sounds like an edgy title track to a sci-fi or action movie in the 90s, and that is NEEDED. We need edgy music that takes the time to relish in its genre, without sounding too commercialised or fake. I can hear your authenticity, K2 Cocky. These instrumentals take the time to appeal to the listener without any kind of distraction. Special mention to the snare drum in ‘Prayer Bodiez’, as that is definitely sharpened well.

In an interesting turn of events, ‘R3M1X3D & R3M45T3RD’ has a very interesting compositional intent, sticking to the theme of using isolate vocal noises and chops to create a succinct and delicate soundscape. I think this adds a high degree of percussion and personalisation to the tracks, and with further mastering, this idea would definitely take off. It has a glimmer of innovation within its composition.

At the end of this, I have to say that my perception of this record is otherwise unchanged from the original release. I know the artist has weaponised my own words against me, to completely disregard any kind of actual advice or good aspects of his own artistry that I have pointed out, but if the deluxe edition bears the same flaws and the same wins as the main edition then I’m afraid to say nothing has artistically changed, but only emotionally.

My point still stands that the mastering and the mastering of tracks, particularly with vocals act as the main barrier to a sense of commercialism. It can stand as an underground act, and as I’ve mentioned before, if there is a fanbase behind it, then of course it has its own unique charm. However, on a music review website where I have to take EVERY SINGLE ALBUM AND SINGLE (pun intended) into consideration, would it really be fair for me to rank this higher than a body of work that is better mastered? I understand the emotional potency, and all of the trauma behind this work. For someone that has gone through strife, and definitely shines as a producer with innovative ideas and a knack for combining genres, K2 Cocky’s body of work is not something to shun.

But when I rarely give anyone a ‘transitionary’ rating, and advice is not seriously taken, instead, being used as an emotional weapon, then there is no real growth. And this lack of real growth shows in the lack of a deviation of standard from the previous release.

Score/Mediocre to Good: With the same standard of artistry in the regular version of ‘SOCIAL STUDIES’, ‘SOCIAL STUDIES: DELUXE’ still bears the same fiery artistry and undeniably creative intent with the same mastering and vocal mastering issues. Once again, the production on a lot of these tracks are pretty interesting and I have pointed out the artist’s proficiency. K2 Cocky still has untapped potential that needs further cultivating.

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

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As for the track itself, David Boyle creates a vicious and menacing atmosphere, conveying the traumatic feelings E. Jean Carroll endured through the song’s sonic landscape. I found the instrumental and message compelling, with a very clear motive. I saw it more as a scream from the soul—a statement rather than just a song. Now, with his new single, Boyle delivers an even more intense dose of directness and passion.

The new track, “Donald Trump Is a Rapist,” hits even harder, with sharper lyrics and a beat that continues the path set by “E. Jean Carroll.” The relentless, haunting beat drives home the track’s intensity, completely dismantling Trump’s image. Boyle again brings up the fact of Trump’s assault, now touching on his other victims and racist bigotry toward Haitians.

Boyle’s anger and energy are palpable, and the dark, deteriorating beat grips the listener. Lyrically, Boyle uses Trump’s own words against him, twisting “Make America Great Again” into “You didn’t make America great again; you might make America raped again.”

From the track’s opening seconds, it’s clear Boyle aims to discourage Trump supporters in the current presidential race, stating, “So, don’t make America raped again / Don’t let Donald Trump rape again.” This is just one of many points where Boyle emphasizes how mistaken voting for Trump would be.

My favorite part of the track is the ending, where Boyle closes with, “Would you vote for Trump if he raped them or their wife or their daughter?” reminding listeners that such a decision is unconscionable. This line encapsulates Boyle’s angry, passionate critique.

With “Donald Trump Is a Rapist,” David Boyle encourages others to write songs that fearlessly confront such topics without sugarcoating.

Listen to “Donald Trump Is a Rapist”

Link to the song

Score/Good: To sum it up, “Donald Trump Is a Rapist” follows the path Boyle has set but now takes an even more direct approach. Boyle shifts from the perspective in “E. Jean Carroll,” addressing listeners and questioning why anyone would support Trump. His initiative to create tracks on such themes is commendable and stands as a significant step in the music industry.

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

The post David Boyle – Donald Trump Is a Rapist (Single Review) appeared first on Music Review World.

With a brand new single from David Boyle, that is exactly what we get. We get a rap against rape that tackles the case of former U.S. President Donald Trump and E. Jean Carroll. In 1996, Carroll won a $5 million jury verdict against Trump for sexual battery and defamation, followed by a later $83.3 million verdict against him for defamation; yet, the case remains largely unheard.

The artist’s position is quite clear in this track, as we see him courageously standing for the compelling and frustrating story of E. Jean Carroll, encouraging more people to create music on this often-overlooked topic.

So, let’s take a look at this chivalrous piece of art from David Boyle with his new track.

“E. Jean Carroll” features quite menacing synths throughout, serving as a base for the track’s sonic landscape. The haunting sound of these synths adds another layer to an already emotional and complex message.

As for David Boyle, he repeatedly addresses the issue of these particular cases, throwing evident shots at Donald Trump. Throughout the track, David constantly indicates his support of E. Jean Carroll and her courage, empowering her bravery and strength.

His delivery is quite raw, emotional, and direct. He is unafraid to voice his thoughts and emotions. While at times his vocals may sound a bit harsh, they generally accomplish the goal of the message. Bolstered by a relentless beat that keeps driving the track forward, Boyle creates a feeling that this pain and issue are monotonous and pervasive, and the only current desire is for it to finally stop.

In terms of implementation and the message itself, David is direct. While some may not necessarily favor his vocal delivery, I believe it greatly accomplishes the song’s purpose.

Listen to David Boyle – E. Jean Carroll here on Amazon Music

Score/Good: To sum it up, “E. Jean Carroll” is a song that the music industry needs. As celebrities have a significant influence on their fanbases, and with the current election stage and accusations against Sean “Diddy” Combs for sex trafficking, this track highlights this ongoing issue powerfully.

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

The post David Boyle – E. Jean Carroll ( Single Review) appeared first on Music Review World.

‘Silk Sox & Cognac’, a taste of Razor’s upcoming E.P ‘Trapsoul 101′ and Dopeazzmuzik’s ’50 Cal’, is both bold and polished in its collection of smooth yet savage hip-hop tracks that dabble in R&B, trap and soul.

Dopeazzmuzik, from Oakland California, is known both as a soloist and as one half of the hip-hop duo Westside Konnext. However, this certainly isn’t the first time the rapper and Razor, an actor, singer-songwriter and producer from Miami, have collaborated. With Razor having appeared on Dopeazzmuzik’s solo material and featuring on a Westside Konnext record, the two multitalented artists have by now refined their sound and continue to display their knack for putting out high quality material with the bombastic ‘Silk Sox & Cognac’.

‘Since 93’, the first of the album’s seven tracks, introduces an old-school hip-hop sound with Dopeazzmuzik’s verses and Razor’s vocals bouncing atop a trap beat that will instantly get listeners bopping. Dopeazzmuzik flaunts his dexterity as a rapper with his skilled flow and lyrics singling him and Razor out as no-nonsense artists who worked hard to earn a reputation in the scene and are more than happy to revel in the fact (“I’m forever winning”). Razor’s suave voice cuts through the beat like butter, with him proudly stating “Got it all but came from nothing, Sky’s the limit watch me touch it”. It’s clear that these two laser-focused musicians are dead-set on achieving greatness in the industry, and listeners will agree that they have the talent to go far.

The thrill of ‘Back In The Days’ is ignited by Razor’s velvet croon in a chorus that reveals more of the singer’s childhood dedication to aim high when starting out in the music industry (“Sometimes I wonder how I made it, it’s amazing”). With Razor’s laidback chorus contrasted with Dopeazzmuzik’s staccato bars, this back and forth affords the song an exciting buzz as listeners can indulge in the artists’ differing vocal textures and techniques. Though the track may be shorter, it’s certainly memorable in its powerful sentiment and energetic vocal performances that flow wonderfully over a subtle bass-led instrumental.

‘No Patience’ compares the artists’ pasts to their present, and details how it made them how they are today. With a sweeping piano-led backing track, Dopeazzmuzik lays bare his earlier hardships that he was able to overcome (“You seeing all these scars cause I earned them, all the painful lessons in my life I learned them”). As a result, listeners will have a newfound respect for both musicians’ self-made journey and the realistic struggles that they had to go through. Razor’s clever crafted line “They say that patience is a virtue, I say that patience could hurt you” gives a new meaning to the realities of the industry straight from two of its brightest hip-hop stars.

‘Real One’ may be one of the highlights of the album, naturally due to the duo’s vocals and hard-hitting lyrics, but certainly due to the track’s striking composition. Starting with a delicate piano melody, the track’s manipulation of its hip-hop beat allows the artists to change up their flows and play around with the rhythm of the track. This is really only to be expected from these seasoned producers, who have built up years of experience exploring the music from their respective areas.

Both ‘The World Is Yours’ featuring Nah Black and ‘Upper Echelon’ with Smooth Tha Dude are upbeat hip-hop jams with lyrics that boast of Dopeazzmuzik and Razor’s acheivements and reputations as industry stars. On ‘The World Is Yours’ Razor sings “No Need for stressing, they fear your presence”; highlighting the duo’s pride at their status and desire for world domination with their music. The cool ‘Upper Echelon’ is an unapologetic ode to the musicians’ hard-earned lifestyles, with Dopeazzmuzik commanding “Put some respect on my name when you say it”. When you’re at the top of your game like these artists, there’s really no room for doubt around these kinds of statements.

The album is drawn to a close with ‘Silk Sox & Cognac’; a delightfully dreamy fusion of hip-hop and R&B. Razor’s soulful vocals are in full swing here as he dips into an airy falsetto that sounds both effortless and charming. The song’s understated but groovy bass accompaniment is a perfect match for the track’s sultry lyrics; ending the album on a stirring and seductive note.

Score/Excellent: Dopeazzmuzik and Razor sound self-assured and swaggering on their collaboration album, while once again showcasing their masterful touches in production, songwriting, singing and rapping. While there appears to be a plethora of influences from hip-hop, soul and R&B in this record, the duo ultimately succeed in bringing the music from both the West Coast and South Coast together in a combination that sounds simultaneously sentimental and savage.

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

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Rapper and producer Vinnie-Dangerous, from Fayetteville in North Carolina, has always prided himself on presenting a genuine version of himself to listeners through emotionally complex lyrics revealing deep-rooted issues in society and the music industry or unveiling events and memories that affected the artist in his own life. ‘Dream ‘Til It’s Over’, the last album in the rapper’s ‘Dream Trilogy’ including 2016’s ‘Yes, I Am A Dreamer’ and 2018’s ‘Dream To Escape Hell’, is a self-confessed ode to his son and Vinnie’s former self. True to his word, the album is a poignant collection of high-energy bass-heavy rap tracks and expertly crafted slow-burn jams filled with a life lesson or two.

At the beginning of the album opener ‘Left Alone’, a chill hip-hop track featuring an unearthly piano sample underneath Vinnie-Dangerous’ smoothly delivered bars, the artist voices the sentiments “Don’t be afraid to take chances” and “Nobody’s legendary playing it safe” when looking back on his younger self. ‘Dream ‘Til It’s Over’ definitely expresses his desire sublimely, serving as an album both experimental and reflective.

Both the 2nd and 3rd tracks ‘Hell’s On Earth Pt. II’ and ‘Got Me F***ed Up (ft. Saint Pat)’ are bass-boosted hardcore tracks bursting with the rapper’s savagely unapologetic lyricism, with the former track expressing disdain and disgust at the current state of the world (“Buildings burning people screaming”). Vinnie sounds visceral and rage-filled on the latter track exclaiming “I’m really trying to be a better person” over an old-school hip-hop instrumental; the artist’s scathing social commentary sounding loud and clear in his struggle to do good in a world overwhelmed with evil.

‘Found My Way’ takes a different turn with its laidback even tempo and Vinnie’s undisturbed flow paving a steady path for colourful anecdotes and reminiscences surrounding his early life in the music industry. Revealing lyrics in the chorus (“Right from the start, I came from the heart, I came from the dark and I found my way”) document how years of perseverance translated into a successful music career. As a bonus, a slowed and reverb version of the track is also included in the album, allowing listeners to sink further into this song’s breezy ambience.

All these years of experience as a musician afford Vinnie-Dangerous the ability to call out fakers and wannabes in his usual outspoken way on ‘Out The Field (FT. Tracy Lamont)’; calling attention to the sacrifice it took to earn acclaim (“I remember when I was down and I couldn’t get a meal with you”). It’s unfiltered lyricism such as this that really boosts the artist’s appeal as someone down-to-earth and self-aware in the current climate of boasting and flaunting wealth. This messaging bleeds into ‘Kavòn’s Interlude (FT. Poetic Enlightener)’, which displays Vinnie’s inner conflict while pursuing his dreams (“How do you forgive yourself after self-desertion?”), the rapper’s candid delivery highlighting this in a sobering fashion.

‘Westside Dead’ and ‘Do right’ uncover more about the artist’s motivations – ‘Westside Dead’ discussing Vinnie’s humble beginnings and the realities of growing up in a corrupt and unforgiving world. ‘Do Right’ explores Vinnie’s moral dilemma trying to figure out “What’s really wrong or right anymore?” in a world full of contradictions. On both of these tracks Vinnie experiments with different beats and rhythms, showcasing his expert ability to change up his flow and diction to suit new vibes and ambiences.

‘I Love You So Much (ft. Jones Michael & Peanut)’ a sweet R&B jam, is written for and about the rapper’s young son, and contains touching lyrics such as “Never have I loved someone like this” that really overflow with the emotion and affection he has for his family. Sung in a smooth and gentle croon, the rapper professes his desire to protect and teach his child the meaning of life, while undoubtably inspiring him to reach for his dreams. ‘Stargazing (FT. Viridian and Eddie Lo)’ also tackles the theme of love, this time towards a partner. As well as championing Viridian’s dreamy vocals and Vinnie’s suave delivery, the track taps into an enjoyable retro-tinged R&B vibe.

Vinnie-Dangerous sounds as confident and self-assured as ever on ‘Momma’s Cutlass’ and ‘N****s Gonna Be Ok (ft. Kamus Leonardo)’, two groovy hip-hop bangers that suitably illustrate what Vinnie is all about: addictively gritty hooks, killer bars, introspective lyrics and a cool attitude. With the rounding off of the album with the slowed and reverb version of ‘Found My Way’, Vinnie-Dangerous succeeds in bringing his audience full circle through his inspirations and aspirations, while still promising there’s more to come.

Score/Excellent: Listeners should only expect the finest quality of songwriting and production when going into any Vinnie-Dangerous record, and ‘Dream ‘Til It’s Over’ is no exception. A deeply personal album that is worthy of being recognised for the hip-hop masterclass that it is.

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

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