(Psychological Cheat Sheet 5)

You know I made a sarcastic comment on the last August Fanon-produced album I covered, saying ‘I wouldn’t be surprised if from now on every new August project I review I will discover a new sound from him.’ 

And well, it’s happened again. Like, for real, I’ll be honest: until this year, I didn’t really dive that deep into his work, but he really is or should be considered one of the greatest in the underground period. 

This is a 2024 album by Vic Spencer, produced entirely by August. Featuring 14 new tracks. This project has such a unique vibe about it that I can’t shake. The combination of August’s jazz/soul-inspired production and Vic’s captivating and definite voice and flow makes for an album that just takes over your brain, ears, and soul to the point of total control.

Speaking of the production first, August seems to be channeling his inner jazz and soul smooth influences. Every beat sounds like an 80’s classic aura. Like if you mixed Luther Vandross/Stevie Wonder and Herbie Hancock. It’s vibrant, golden, and beautiful all at once. This might be his favourite production yet; every track just hits different and it reflects and compliments Vic’s 10x fold!

Speaking of the man of the hour, Vic doesn’t take these instrumentals lightly. He’s out for blood, and he utilises these beats to perfection. His flawless flow, his undivided attention, and penmanship is second to none! 

He doesn’t miss a beat on this one; every bar is delivered with utmost confidence and passion that helps elevate each word and each beat to god-tier status.

Overall, this is the kind of project that, although a year old, can’t be missed! So make sure you don’t!

Shoutout to Doc Da Mindbenda for the mixing and mastering!

https://vicspencer.bandcamp.com/album/psychological-cheat-sheet-5

 

(Till Love Finds Us Again)

One of the most underrated producers in the game is back again with one of the most grimy and raw EP’s of the year! Bah Label has worked on many songs I’ve fucked with heavily over the years, and now he’s back to prove again why he’s cut from a different cloth!

On this one, we have 4 new tracks, and the production on this project is absolutely savage to say the least! Each instrumental is sinister, dirty, and cutthroat from start to finish. Whether it’s the larger-than-life feel on ‘Complex’ with those choir-like men’s vocals repeating in the background over those deadly keys played on loop. Or you’re talking about the track ‘Tarantulas Bite’ with what sounded like horror organ keys over that underground boom-bap beat! 

My point being, Bah has left no stone unturned in making this project as bloody as possible and making sure your soul feels personally attacked after finishing the EP!

Now, on to the rapper side, we have the following: 

-Starz Coleman

-G Fam Black

-Mo Rukuz

Who, of course, are monsters in their own universes and lanes. All 3 are respected microphone killers, and all 3 destroy the track they are assigned! This is like an underground all-star EP, and I couldn’t be happier to be a part of it!

All in all, this EP is absolutely incredible! This is my kind of sound to a tee, and I’m sure everyone will love it as well! CHECK IT THE FUCK OUT! 

(Death By Design)

With all the fire that’s been dropped in the first two months alone, my expectations are pretty high for new releases, and I can’t believe that this one has taken those expectations, stomped them to the ground with some blood-soaked cleats, and took their spot as one of the toughest sounds in the game right now. 

This is the latest duo album by underground titans G Fam Black & P-Ro, who return with a new 13-track record featuring production by the likes of: 

-P-Ro

-Mike Martinez

-Crack Sizzlack

-Hi-Q

-Hues

-CLOAQXDAGGER

And these underground Court Of Owls made a rare appearance out of the shadows to help make a record that’s so vicious, so deadly, and so fucking bloodthirsty that it would make Kratos cringe in a corner at the sight.

The production on this is beyond incredible. The raw, gritty vibes are only comparable to one album so far this year, ‘K. Burns X Hiyah777’ War Dogs LP. But this is definitely giving that a run for its money.

The beats are relentless and chaotic in nature; every beat feels like an instrumental crafted by Aries himself and makes you scrunch your face up while bobbing your head, damn near paralysing yourself in the process; it goes THAT HARD.

As far as the rapping goes. What else would you expect from this duo? If you saw The Hardy’s in their prime, would you doubt them? If you saw Estee Nack and Al Divino on a track together, would you doubt it? If you saw Mickey Diamond and Big Ghost together again, would you doubt that?

The point is, some pairings are just destined for greatness, and these two haven’t made a flop in their fucking life. They could be chilling together just watching TV, and somehow the universe would translate that into a dope album.

These two have immaculate flow, lyrical ability, and penmanship. The beats are grimy, but their energy is more so. They are devils on the mic, and they haven’t slowed down a bit yet, and they are back to prove why they are one of the most feared and respected duos in the game. 

Do I have to spell it out for you guys any further? GO LISTEN TO THIS RECORD. It’s everything a Hip Hop fan could dream of and I guarantee you won’t be done with just one listen!

Shoutout to -James Mitchell for the contribution on the intro!

https://gfamblack.bandcamp.com/album/death-by-design

(DøøF & ESCEE 2)

Another opportunity to discuss a dope underground duo! Two men I’ve never heard of until this point, but after this project, two who are bound to be on my radar from now on!

Døøf & ESCEE are two MC’s who come together for a new 9-track project entirely produced by the legendary August Fanon, a man who I’ve become very familiar with as of late, thanks to the privilege of covering more than a handful of projects he’s worked on. He’s back on this to prove more creative, consistent, and exciting beats!

Unlike his other projects like ‘Trauma Center,’ this is a lot smoother and groovy in comparison. Of course, the above-mentioned projects were purposefully dark and gritty, but on this one, we experience his ‘let loose’ work with fun tracks like ‘PGA Tour’ with a Caribbean/Latino flavour instrumental or the track ‘Camelot’ which sounds like a mix between a G-funk rhythm and a club pop song rolled into one! 

Hell, the song ‘Word I Say’ with its soulful flavour and vocal melody sounds like something you’d hear on those 80’s jukeboxes that you’d pay a penny to play to dance with your crush! 

The point I’m trying to make is once again, August showcases his damn near unrivalled diversity and range behind the production. At this point, I’m expecting every project he works on to be a sound I haven’t heard before, and once again, he hits a home run with this one!

On to the rapping, the duo behind the mics have a fantastic collaboration and chemistry between them that suits the soundscape to a tee. They have a raw yet passionately spoken voice between them that makes for crisp bars, penmanship, and lyricism. Similar to the chemistry of a group like ‘Mobb Deep,’ who didn’t do anything flashy with their vocal work, just straight, dope, and gritty verses, I feel the same energy between these two!

No features to speak of, just the duo handling the 9 tracks alone and proving they don’t need any supporting acts to help them create and, more importantly, maintain a solid record.

The Verdict? A solo showing by the trio involved. Whether it’s the production or the rhyming, each aspect was done fantastically, and I can’t wait to see what all 3 do next in their careers!

https://safdoofus.bandcamp.com/album/d-f-escee-2-produced-by-august-fanon

(The Trauma Center P2)

Not even a full 24 hours since listening to the first one, and I was sitting in my room, in tears listening to track 11 and thinking to myself, ‘how could a project hit even harder than the first part?’ I honestly didn’t think it would be possible, but I can confirm not only does this sequel pick up right where the other one left off but adds intensity levels that will make any man or woman feel things they haven’t in years, facts.

So, this continuation from the first is 13 tracks and featuring the likes of 

-Joey Hustle

-Tha God Fahim

-Dot.com Intelligence 

-Kincee 

-TaeeFye

WithAugust Fanon back on the production. Firstly, I want to point out that although the production is of course dark and gritty as the first to match the incredibly gut-wrenching lyrics and themes painting on this record, there’s also a lot of beautifully crafted jazz songs that just blew me away, especially towards the later half of the album.

August once again paints the perfect sonic picture with the pinpoint aesthetics and ambiance to depict the tragic events of Kendall’s life post-accident. It couldn’t have been easy to find someone that could pull that off as masterfully and effectively as he did, but as he was smart to include him on the first album, he was even smarter to keep him on for the second because his work (not just on this) but on everything he touches is beyond compare.

Kendall, man. The way he tells his story is somehow even harder to hear than before. When you listen to him describe losing the arm or learning to live again or battling his emotions and mental health, 

When he had his kids on the record or specifically track 11 when he had his wife relive that moment was just unsettling to say the least. For me, when I listen to albums for review’s sake, I tend to put on quality headphones and play some mindless muted PS5 to occupy myself whilst listening, but when that track came on, I was forced to pause and just sit there crying, feeling for her and the family.

As I said on P1. I’m a man who can listen to and in most cases goes out of my way to find the most extreme forms of expression in music whether that be the saddest, the happiest, the weirdest, the angriest, the creepiest I thrive in discovering the depths of peoples minds and abilities. 

But when you have a real life trauma and tragedy told by the man himself in such pain stacking detail you can’t help but differentiate between the art and the reality of the situation and I refuse to believe any man or woman can listen to this album and not feel or react. 

The features as listed above do a great job again adding to the album in their own ways, helping as much as possible to make this more of a ‘album experience’ compared to just a overdose of sadness and shock. So there are a few tracks on here that feel more like ‘songs’ with those names included.

The Verdict? as it goes an even tougher listen then the first somehow. It’s a series that will leave you feeling second hand pain and suffering on behalf of Kendall and to some it might be refreshing to feel such extreme emotions to others it might be too much to handle either way this will be a project that just like the first won’t be forgotten anytime soon if at all in a lifetime.

https://strongarmkendall.bandcamp.com/album/the-trauma-center-p2-2

(Escape Artist)

Nothing gets me quite as hyped as the release of a new ‘Passport Rav’ record, and this time alongside ‘Tre Eiht’ on production, he’s back to present another ‘Album Of The Year’ contender. So let’s talk about it!

This album has 11 tracks, with ‘Mia Jae’ on feature vocals for tracks 5 and 8, and track 3 cuts by ‘Marcus Pinn’. 

Across this project, the production has a sense of smooth and skeletal feel to it. There’s something nostalgic and satisfying about the way the instrumentals feel on this one. There are elements of: 

-Jazz

-Ambient

-Soft Rock

-Soul

And these elements are presented in the most professional and profound way possible by Tre. It’s as if each beat has its own personality and story, making the LP itself feel like an artful short story told by some of the most beautifully orchestrated music of 2025.

On the rapping side of things, Passport Rav, as per usual, lives up to his legendary standards in the underground game. His penmanship and flow are as expected, flawless. He’s able to match the vibe of those beats exactly, helping the fusion of both vocals and production come together immaculately.

I’m always impressed by how composed and smooth he raps; it’s as if he never has a worry in the world when he’s in the studio. He just knows he’s the man and acts accordingly. On this beat, he never misses a beat or queue and helps create one of the most compelling and crisp records of the year.

The Verdict? This is something special. This is the kind of shit you’d play in your house on quality headphones while smoking a blunt or walking your dog, letting your mind and thoughts wander off into that peaceful place. I think the culture needs more records like this, and I couldn’t have asked for a more perfect display of quality, creativity, and originality than by the duo of Passport Rav and Tre Eiht.

https://passportrav.bandcamp.com/album/escape-artist-lp

(The Trauma Center Pt 1)

Wow, just fucking wow. I wish I could think of something more creative or interesting to say for the intro of this review, but I can’t. This was a listening experience unlike any I’ve ever had in hip-hop, and I’ve gone through many albums of different tastes and styles. 

The detailed descriptions of what this man, Kendall Spencer, went through, which was described as a ‘near-fatal work accident’ which left him with burn and limb loss and having to spend 89 days in hospital.

This record is beyond deep. From the very first track with him rapping on it, ‘It’s Dark and Hell Is Hot,’ your stomach automatically sinks in empathy for what he went through. See, it’s one thing to listen to a concept album depicting grave topics and feelings, but to hear real-life stories in graphic detail is another category entirely, and it will get to you.

The album doesn’t get easier, but one thing that is amazing to hear is the mental fortitude and determination of this man. Sure, he, of course, had dark thoughts (which he discusses in pain stacking detail), but he also came through it the other end stronger and believing more in himself, which is something that most couldn’t do in this situation!

This eerie sonic movie is produced by August Fanon, a man who has shown his incredible diversity producing many albums in various genres and styles. On this one, he matches the lyricism to the tee with the dark and theatrical instrumentals with grave and raw vibes woven into each and every part of the song. 

From the dramatic and cinema-like opening, ‘The Coma,’ to the more soft-tone beautifully executed jazz outro, ‘Songs Is The Key Of Death’ (which I can only assume is a pun to the Stevie Wonder album ‘Songs Is The Key Of Life’ and every track in-between), August portrays every beat in a vivid and gritty way in a frame only he could pull off! Absolutely stunning work of art.

The Verdict? This sonic movie is one you can’t afford to look past. This is the kind of album that you’ll remember for the rest of your life and one you will never find a replica of. 

https://strongarmkendall.bandcamp.com/album/the-trauma-center-p1

(Here and Here)

I gotta say, this is the second occasion this month alone I’m able to cover such an intricate type beat project in this format. The first was the album ‘Living Room’ by ‘Q No Rap Name’ who had a similar concept as this but it’s a new day, new set of beats and artists involved so let’s get to it!

This is a massive 35-track album by both Child Actor and August Fanon. As the details go, Child’s parts are tracks 1-25 then August’s are 26-35. Starting with Child’s side of things, the kind of vibe and music he’s presenting us with gives me the feeling of smooth, calm, and meticulous! Very soothing and loop-based tracks with tons of flavour, creativity, and wrapped together in a lo-fi exterior.

Also, there’s a noticeable length difference track for track compared to August’s side of things. With most tracks being under a minute compared to August’s average of ‘1-1:30’ length tracks.

But it’s these short bursts of sonic colour that I love from the first half, it’s engaging and fast-paced similar to what you might expect from a ‘Knxwledge’ album quick cuts with exciting and interesting music. This is exactly what Child Actor provides and honestly was the perfect idea to have his side start the project off.

Secondly, we have August’s side. Which starts off with ‘Enter The Ignorance’ which already kicks off with a spoken word piece into this choir-like vocals turned into this smooth soul sample. Already, you can hear how he’s determined to take this project in a more ‘larger than life’ direction. He’s using the longer song sequences to build these mini sonic aesthetics filled with theatrical delivery, crisp sound, and dynamic production.

If Child’s course was directed in a stronger ‘avant-grande’ art vision then this would be the more conceptual and linear approach to the album. This side of the project reminds me more of your Captain Murphy (AKA Flying Lotus) type vibe with heavy vocal samples and a sense of dark saturation in lyrics and themes. I love the two contracts in sound and focus on this record and the fact that the listener can clearly hear who is on what track.

The Verdict? A fantastic showing by both men involved. I honestly couldn’t pick a favourite side if I tried because both styles are equally important to me so the fact they come on the same project makes this a must listen to any hip hop fan!

Mastered by -MJC @ Last Epoch Productions

https://chldactr.bandcamp.com/album/here-and-here

(Toxic Energy)

Whenever Nam Nitty is on the grind, you know I gotta peep it! And this time around, we have what could possibly be the most appropriate duo in the game right now between two men who share the same views and thoughts on life. I present to you Enzo Globe with

‘Toxic Energy’

So this time around, we have a 12-song album with  34 minutes of run time. Straight off the bat with that opening track ‘The Toxic Energy Intro,’ you understand what type of energy and mindset this album is going to be in. The vulgar mind of Enzo and the name of this album itself is, as I said before, a perfect fit for Nam.

When it comes to Enzo’s rapping style, it sounds less like verses and more like a man bearing his soul and his most brutally honest intentions, thoughts, and feelings without any regard for anyone’s feeling. 

Like a man just walking into the studio and just spitting what’s on his mind that just happens to rhyme, which is pretty dope. His main subject matter on this one is sexual in nature, which, once you get through the intro, you’ll understand what I mean!

On the production side of things, Nam is back stronger than ever. Compared to his work last year on ‘Happy Fukin New Year,’ this project feels a lot more melodic, smoother, and leaning towards the RnB/Soul cuts. 

Tracks like ‘Linkin’ for example, with that loop of that Spanish-sounding guitar over a light Hip Hop beat in the background. Or the track ‘Kissin U,’ which sounds like a modern-day version of a track Jodeci might use for a remix or something— it’s soulful and smooth, and that slightly pitched vocal harmony on the chorus helps add to the vibe as well. 

Hell on track ‘Nobody’ Nam samples legendary Nate Dogg! And as they say ‘You know it’s a hit when Nate Dogg singing on it’

My point being, if ‘Happy Fukin New Year’ was the bombastic older brother, then this feels Bianca Censori never leaving anything to the imagination across from some of the smoothest instrumentals you’ve ever heard!

The Verdict? Another strong showing by Nam on production, and Enzo’s performance with his explicit and authentic raps sets a mood very few can match! Although you can’t play this in front of family, make sure you peep this across some of your best headphones and experience the nastiest project of 2025! 

Shoutout to the guest features on this project!

-R.A.I

-Voice Watkins

https://open.spotify.com/album/0HD7qF6XwfPH1e8MlDhN1q?si=FA34-y5aRDS1FLEb5wZDVA

(Gentleman Caller)

It’s officially that time of the year again, Valentine’s Day! And although I may have just gotten my girl chocolates and a bear, Caos is back with yet another EP, and this time it’s for the ladies, so let’s talk about it! 

So, this time around, it’s 6 songs with 21 minutes in length. Production credits are between

-DJ Pain1

-Engineer

-Caos himself, and I gotta say this kind of production reminds me of the mid to late 2000s era hip hop with your Nellys, Ludacris, Ja Rule, The Dream, etc., very glossy, high-end, and stadium atmosphere. This is actually a dead era; the more I think about it, I haven’t heard this sound in years since I was a teen, so it does feel nostalgic in a way to hear this style make its revival within this EP.

This is the kind of song you’d expect the girls to play in their cars driving fast up the freeway thinking of their dream guys (or in some cases while texting their man back on Microsoft Excel), but that’s neither here nor there.

My favourite joint on the project is ‘If I Was Your Man.’ I love the R&B-inspired beat and the feature vocal harmony for the chorus. Very sensual and beautiful production, perfect for the vibe of Valentine’s Day.

As far as the rapping goes, Caos sounds as smooth and crisp as ever. His wordplay is smart and sensual, and his lyricism is, of course, tailor-made for romantic themes and women, so it’s a lot more sweetener than normal, but hey, for Valentine’s Day, it fits perfectly!

He’s not alone this time around with the likes of 

-South Jerzy L

-Lil’ J

-T.G.

-Knzie

-Charlotte Boin

-Rambo

And all these names help deliver on the atmosphere and romantic themes of the album. Especially Charlotte, she really sets the mood well with her delivery on the melodic chorus!

The Verdict? If you’re out of present ideas for your girl, go grab them this! It’s catchy, smooth, and crisp. Caos has just created the sound of love, and I’m sure your partner will be the better for them! So ladies, what are you waiting for? Cop a listen now!

https://open.spotify.com/album/6AA5aUMys0hq41moQAiqtJ?si=obb6f623Q-uDVncHz11sPw