(To Gawd Be The Glory)

I think I’m confident that this has provided us with the BEST intro of 2025. That dramatic, thought-provoking passage being the kick-off for a hip-hop album? Nah, you already know if that’s how it STARTS, then the rest is sure to be CLASSIC. Let’s talk about it!

This is the brand-new album by MC GAWD, Ferris Blusa, and legendary producer Machacha, who I’m pretty sure has the most album releases to his name this year! Never one to take an L, and he definitely doesn’t start now!

This record consists of 10 tracks, a solid half-hour length, with the likes of 

– Miles Anthony

– Andre DeSaint

– Shottie

– Maze Overlay to bring this album that little bit higher, and they all do phenomenal jobs (as I expected them to).

Now, let’s start with Ferris. I can’t lie, I feel this could be his most introspective and personal album to date. He touches on things that I don’t remember him talking about before (which is quite a statement considering he did drop ‘GAWD GAWD’ this year as well).

But on this one, he talks about more reflective and inner topics, such as the song ‘So Long’, where he talks about his dad passing away and how since he never got to meet Ferri’s third daughter or how since the wake he’s never been back to his grave, and that shit hit me all in the soul.

Not to make it about me, but I can’t bring myself to visit my nan at her grave because I fear I won’t be the same mentally if I come to terms with it like that, so I don’t.

He also talks about how next time he talks to his mum, he’s gonna let her know that he spoke to dad, and that’s some heart-warming shit that I love to hear.

Throughout the track, it really does feel like he’s in a position to accept his flowers and let his credibility, longevity, and legend in the underground sink in, and he’s finally flexing his shit the way he should!

He’s honed into his position, and he’s rapping as such. Speaking nothing but truth, he is one of (if not the greatest) rappers in the underground today.

How he spits is important, food for the soul bars instead of (as he even states himself) not money or hoe bars and referencing Ludacris as an example. 

I feel this presence and energy no more evident than on the second-to-last track ‘Walk Lite’ where he matches his baritone voice and impeccable performance with the likes of the Arizona GOAT Maze and together they not only drop two of the best verses I’ve heard all year but match each other’s aura and chemistry to a tee!

I honestly feel this could be a collection of Ferris’s strongest work to date. Pair that with those amazingly insightful voice messages he added to almost every song (one from even an Australian!) I was low-key disappointed it wasn’t me haha but I’m glad his music is reaching the global audience he deserves and hopefully this marks a turning point in his career as a whole!

Now, who can forget about Machacha? This man has been on an intense roll like no other. I feel if I listed all his previous works this year this review would quickly become too long to read. It’s that extensive and yet he hasn’t decided to just sit back on his accomplishments and call it a year, but he’s still grinding and showing why he’s the premium beat maker right now!

Across this album we hear one of his most stunningly surreal and cinematic efforts to date. This album reads like a film score in audio form with grand and elaborate strings, loud and abrasive drums and chords.

Delicate and angelic strings as well as a cohesive stability that makes this more of a ‘soundtrack’ than a normal record.

We hear him go deeper and masterfully than we’ve heard him go prior! Like on songs like ‘Oscarville’ which sounds like a Victorian Era orchestra come to life inside his studio with those long and luscious violin strings and alternatively short and hypnotic strings pairing next to it!

Or we should look at the track ‘Wide Awake’ which sounds like Beethoven himself woke up from the dead to create this symphony. It has those cold and calculated piano keys mixed with the that one long string that echoes and loops across the track in an act of minimal intensity and perfection!

With his previous work with Ferris extensive for Machacha this just another day in the office. He knows this man threw and threw (and very familiar with the features) enough that making a classic out of this roster is just ‘elementary’ to a man of this caliber and he showcases that by putting on a 30 minute masterclass unlike any other we’ve seen!

So, what are you waiting for? These two back together? If this doesn’t get you HYPE nothing will! Go check it out now! 

https://open.spotify.com/album/2dEJZlDP6RpwNX5xnbemwO?si=e2H2LvLyRB2BlG8qtMajGw

(RAP MONEY)

I know the actual title ain’t in caps, but with the vibe of this song being what it is, I feel it should be! I haven’t heard this level of energy from this MC period. This is that old-school crunk that had everyone in the club and the hood dancing! We gotta get into this one.

That brand-new single by MC Concept, produced by Deven Nettles and featuring Big Texas, is probably the most hype 3 minutes 52 seconds you’ll hear all year!

Starting with that production. As I mentioned above, this is paying homage to the classic Lil Jon ‘Kings of Crunk’ type beats. You’ve got that slower, build-up intro with that violin sound, only for it to evolve into this heavy, thick bass drum pattern that blows you out of your chair at the first glimpse of it! 

The violin or synth strings (whatever that chord in the background is) remain but take a back seat to that gigantic bass! There’s also some very subtle horns, but they all kneel down to those heavy bass drums, and I fucking love it!

Going along with that beat, we have those 2 MC’s mentioned who do the beat justice with some of the most epic chemistry out! From the first verse, you hear that king flow right out the gate, lashing out to the beat like it’s nobody’s business! 

He has that early 2000s swag that rolls off the tongue! He wraps himself around that instrumental with sharp and cutthroat lyricism, hypnotic wordplay/delivery, and an authentic vibe and texture that makes me wish this was a whole album worth of bars!

The same can be said for the second MC. Unbelievable performances with a harsh, in-your-face delivery. No-nonsense cadence and a flow you gotta hear to believe.

He comes in like a whirlwind with unlimited energy and conviction, keeping true to himself with sharp delivery and cold-blooded lines to match the frosty instrumental!

They both remind me of Lil Jon and The East Side Boyz in the fact that there’s no quit in their game, no censorship, and just drowning in aura. The same authenticity, drive, and enthusiasm that only real ones can reach!

If you ain’t fucking with this sound, then I ain’t fucking with YOU! Simple as that!!

https://open.spotify.com/album/2bj8dJifVDqkfNMyb1nmXU?si=KUb0NiLUSaa4H8F5L5AK5A

(SUPREME SAUCE)

I’ll be real with you all, I ain’t normally a fan of ‘B-side, leftover track’ projects. The last I actually fucked with was the Kendrick Lamar ‘Untitled, Unmastered’ but outside of that it’s either the main drop or nothing.

But on this occasion with the artists we have in charge, it had me curious and so I had to cover it and I’m actually glad I did! Let’s talk about it!

This is the latest project by Gustavo Louis and Skip The Kid and this record acts as leftover tracks from the main ‘SUPREME MACARONI’ project with eight more tracks featuring the likes of 

-Stagger Libre

-Jules Clay

And honestly this doesn’t feel like a B-side AT ALL. 

When I heard that opening track I fell in love immediately! That was almost as insane as the official project opening track! And almost four minutes long! Almost the longest original track I’ve heard him rap on and boy did it go off! 

From there we have a range of fantastic tracks I fucked with heavily from ‘E.C.DUB’ (for obvious reasons) I’m an unapologetic ECW stan and this hit right at home for me! A lot of wrestling bars and puns up my ally!

We have tracks like ‘MOVES’ which has a line like ‘I don’t give a fuck about a wolverine or a Deadpool’ it’s an interesting line because he says he’s not a comic book head but drops many different Marvel and dc puns! Maybe he just hates the movies? 

Either way Skip absolutely kills the beat with this low-key intricate piano key boom

Nap beat with a skeletal feel to it! Very enticing!

From there we have tracks like ‘DEVILS WHO WERE GOD’ which has this almost trap feel to it with those mesmerising drums and that classically inspired piano keys that in that angelic loop!

A perfect track for Gustavo to go off on and he absolutely does!

The features on this project are pretty good as well! If I remember correctly they were on the original one as well but they enhance the tracks they are on!

Stagger seems to have the same energy as Gustavo! They sound like brothers on the tracks, matching each other’s charisma and lighting up the tracks with impressive verses and vivid storytelling!

I also loved that experimental vibe on that final track! A true underground boom-bap track vibe. Those dramatic chords coming down like a thrilling orchestra with those raw drums to create the perfect atmosphere to end on!

Overall, although I do prefer the original album, this is definitely worth listening to! The quality remains high, Skip still kills it on production, and Gustavo lets his trademark passion and skillset go into overdrive! Make sure you check it out today! 

https://gustavolouis.bandcamp.com/album/supreme-sauce

(You’re All Welcome)

The official definition of ‘Iconic’ is as follows. 

: Very famous or popular, especially being considered to represent particular opinions or a particular time.

In my opinion, this describes ‘The Umbrella Collective’ to a tee. This group of men (and Mallori) have rebuilt what the underground hip-hop scene stood for and constructed a new era that has snowballed into the culture we have today.

Fast forward to 2025, and we have seen arguably the most fruitful and successful year for the collective with releases from

-Snotty

-Pro Dillinger

-Daniel Son

-Mickey Diamond

-Big Trip

-Mvck Nyce

-Substance810

-Josiah The Gift 

And now we are getting what I would consider to be a DREAM COLLABORATION in every sense of the word as we are about to bear witness to a once-in-a-lifetime event as we prepare to hear the duo of SUBSTANCE810 & Josiah go toe-to-toe in a way only they can. 

LET’S GO!

So, a brand-new collaboration album by both powerhouse MC’s Substance810 and Josiah featuring on the beats the likes of 

-Trevor Lang

-True Cipher

-DJ GRAZZHOPPA (on the scratches/Cuts)

-Hanzo Bladez

-Jamil Honesty for TDS

-Stay Alert

-88Blessed for TDS

-JR Swiftz

-Cease Flemmi

-Farma G

A legendary roster if I’ve ever seen one! Only recruiting the best to help bring this project to life, and on that note, it feels only appropriate to start with the production! 

Right off the bat, I felt like the instrumentals had a reminiscent vibe to the early 2000s mixtape era! 

There was something about the way those beats were constructed with those infectious, down-to-earth, and melodic executions that made me think of prime-era Weezy beats or those early 50 Cent mixtapes before Get Rich. 

I’m talking in your face, gritty offerings of street boom-bap that feel like punches to your soul! 

If we start with that opening track, we hear that classical opera-style vocal harmonies that evolve into this gritty minimal loop with enough crushing drum patterns to leave your neck in need of a chiropractor!

It’s got those repetitive and strong chords alongside those intricate keys in the background that remain constant throughout the entire song, giving a kind of shimmy effect! 

If we look at a joint like track 3 ‘Lottery Picks’, we hear a beat that feels embedded into that hardcore East Coast homage. It’s got that trademark classical instrument combined with those ruthless drum patterns to provide the listener with a murderous beat that will leave you mean-mugging the world for almost three minutes! 

The type of track that will make the local liquor store look more like an opportunity for paper than a place of business! 

Another track I fucked with heavily instrumentally was track ‘Collect Call’. This had me grooving heavily because of how it incorporates those cinematic yet subtle vocal harmonies that sound like a woman is just a tad too far from the booth but loud enough to be heard, and that level of subtlety makes the track feel that little bit more intimate!

Alongside that, we have these methodically paced chords in the background and this drum pattern that won’t quit! Definitely the MVP of the track, but it all comes together to create a rather elegant offering to the record!

All this to say that although there are many ‘chefs in the kitchen’, so to speak, the beats all sound in sync with one another and flow like a cohesive project! That was what I was most worried about, but of course, with those professionals on board, it would turn out nothing less than classic!

As far as the MC work goes, I mean. Of all elements that could possibly go wrong, did anyone expect the duo of two of the strongest lyricists in the game right now (let alone Umbrealla brothers) to be the weak link here? Nah, fuck that noise.

Josiah this time around has gifted US the audience and Substance provided more then 810 methods to his greatness across this record as they go back and fourth on each song trying to out do one another in brotherly competition and with that level of intensity and energy and skill in one song it’s honestly art being verbally painted right in front of our eyes!

I’m talking perfect bars, complex wordplay, endless supply of fun and mind blowing one liners and puns. Vivid imagery beyond the mind’s comprehension and street poetry so rough you won’t be the same after the album turns off!

These two are on a different fucking universe of wave length, they’ve spent the last decade climbing to the top of the world and now tag teaming against the rest? That’s like brothers of destruction level shit. It ain’t even a fair game anymore and the only winners are the fans who get a front row seat to this shit!

Besides the one exclusive verse by Jamil on the song ‘One’ the rest of the record is just Sub and Josiah playing to their strengths and re enforcing the statement of ‘we don’t need a roster of MC’s to make this album pop, we got it on lock ourselves’ and I love that mentality!

Look, this is a present we don’t deserve but won’t be forgetting anytime soon. As if they weren’t conquering the world already, now this? It’s just flexing at this point and they have every right to do so! This album is a celebration of success, grind and dedication to the craft. If you ain’t feeling this one, then we ain’t feeling you it’s as simple as that! 

(La Muerte De Efrit)

If you asked 100 people what makes a great artist, I’m sure you’ll get 100 different answers. In my opinion, what makes a great artist is: 

-Quality

-Consistency 

-Creativity 

-Originality

And these four traits sum up one producer specifically: Superior. As his name suggests, he truly is in a league of his own, and his discography reads a who’s who of different names and styles, planting himself as one of the most diverse beat makers we have right now, and this track just further proves that point as he dives back into a culture that is booming right now, and he’s helping this particular artist break new ground! So let’s talk about it!

This is the brand-new single by MC Ill Venezia and producer powerhouse Superior. This track is three minutes and 13 seconds and is straight power! 

If we start from the production, we have Superior showcasing a methodically charged track with an intro that consists of these slow and elegant guitar strings that come and go in this striking manner! Alongside some light piano keys, this introduction feels like one of those early 90s hard rock ballets that would slowly build up and climax at this mind-blowing rock opera similar to ‘Stairway to Heaven’, ‘November Rain’, or ‘Bohemian Rhapsody’. 

As the song progresses, we have these cinematically formatted chords that loop in the most breathtaking way possible! As well as that remaining guitar in the background, as well as towards the middle of the track, we have what sounds like a smooth flute sample and light drums to give the track a little extra body to the song!

This is definitely a song made for someone extraordinary to go OFF on, and thankfully, he found just that person in Ill! 

This woman is the definition of the word. Although I can’t understand her language (since it’s in Spanish with a emphasis on Argentinian slang), I can feel her passion and charisma, and she has both in spades! I love hearing someone who is the perfect embodiment of both skill, precision, and conviction, and I’d say she does the holy trio very well.

From the moment she opens her mouth, she has this rebellious spirit and attitude about her that kind of reminds me of an ‘Immortal Technique’ or ‘Rage Against the Machine’ type vibe.

She sounds aggressively determined to preach whatever it is she’s talking about, and it sounds raw, unfiltered, and no nonsense in execution! 

She gives a solid three minutes of bars and makes it seem easy! She has that solid and fluent flow. Her wordplay sounds sharp and cold, and her delivery even more so! 

She has a calculated and ruthless demeanour about her that makes me want to pay attention to her words and listen intently, even if I can’t understand what it’s about! She just has that effect on people! 

Overall, this is a very powerful and thrilling combination of sounds coming together! From that masterful score to the masterclass of MC work. This is definitely a single you don’t want to miss! 

https://open.spotify.com/album/0B7ddFiRBNp7iKqOYZ7mVq?si=KRIFyZC-Rji3MmxppBsbXw

(Survival Of The Fittest)

This is one of those MC’s I’ve had my eye on for a few months now. Ever since I found his love for wrestling (sure, it’s WWE, but still counts), I’ve been hooked on his records, and now he’s returned with a dope-ass producer on his side to help him create what very well could be counted as one of the dopest singles (if not THE DOPEST) of the month!

This is the brand-new track by MC Teek Hall and producer Professor Knox, and together they cultivate two minutes and thirty-six seconds of some of the most in-your-face, aggressively captivating music you’ll hear!

Starting with the beat, we have Knox tapping into his mid-2000s era hip-hop feels with those heavy bass, delicate keys looping in the background, and those rhythmic claps that teleport me back to my younger self when I used to be hooked on that era! 

This beat reminds me of early 50 Cent or Snoop in execution when they used to drop singles out of their asses, and each one was flames! I get the same vibe with this track!

It’s heavy, catchy, memorable, and tough enough to force your neck to crack all kinds of

ways to try to keep up with the energy of the instrumental! Truly the refreshing definition of a BANGER! 

Now onto the main man himself. If that beat was impressive, well, Teek is about to give his own ‘Main Event’ performance because he goes off!

As soon as we get past that mini intro, he goes in with a chop of the chorus before he finally gets into his verse, that is wild.

He sounds more energetic than I’ve heard him in a minute, he’s got that technical rap style, call him hip-hop’s ZSJ.

Twisting, flipping, and gripping his technique until he’s got all the haters’ heads spinning and all the fans gasping on the edge of their seats waiting for more!

Fuck Dave Meltzer, the serpent tongue calls this track a 5-star worthy match of flow, lyricism, pen game, and cadence! He’s the full package. The tribal chief of this underground shit. The only difference is he doesn’t need a bloodline or shield to keep his title; he does it all himself, and even though some of them have come up over the years, none have ever kept up!

With a flurry of bars and verbal attacks to match, he’s showcasing just why he’s the one to beat right now, and with this beat on his side, he may as well be invisible because ‘you can’t see him’. 

Make sure you check this track out ASAP and feel the pressure! 

https://open.spotify.com/album/7utTZ5ab8LW9VDW4GEmqhi?si=h1NPq0QqTCeN75Z2ahCZvQ

(Perseus)

Today is an exciting day! Why? It’s because we get a new record that’s composed of two of the most exciting names in the underground as we speak. One of them is an MC who has taken people back with his profound pen game, and the other a producer who has released a couple of my favourite records of the year so far! So when they come together, it’s impossible to be anything else BUT MAGIC. Let’s talk about it!

This is the brand-new album by MC Father Don Juan and Producer bop phrases, and together they have eight tracks with a strict 20-minute time frame to blow your mind, and let me just tell you, that won’t be hard because this thing is INCREDIBLE!

First of all, and I don’t care how controversial this might be to compare to, but fuck it, it’s how I feel, so it deserves to be pointed out. This album legitimately gave me the same vibes as that classic album ‘Orpheus Vs The Sirens’ by the duo of the late legend Ka (R.I.P.) and Animoss (Hermit and The Recluse). 

This album has that same mythological feeling to it, the same vibrant and hypnotic production, and phenomenal lyricism! 

From the opening track, I was blown away with Father Don. He has such an incredible and knowledgeable presence on the mic that makes him sound like a linguistic professor just going off with what seems like an endless stream of vocabulary and charisma strong enough to carry a whole album with no features! This thing is that good.

He never breaks rhythm; it’s just bar after bar until the track ends, and the new one begins where he does the exact same thing. His flow is incredible as well as his cadence when he’s performing certain choruses and establishing himself with a quick switch-up of flow or topic change-up; he still maintains his calm, cool, and steady presence, which always remains impeccable!

Onto the production side of things. As I said above, Bop is one who’s always impressed me multiple times this year, and even so, this might be his best work! I can’t believe how surreal, full of life, and masterful these instrumentals are. It’s almost like they have a life of their own, as if he’s created his own 20-minute cinema score that was meant for Tarantino, but he went last minute, ‘nah, you keep it!’ It’s ridiculously impressive.

Each track has a combination of thrilling, theatrical, and melodic elements that come together to create an immaculate atmosphere that makes one simultaneously feel at ease and ponder on one’s life, their actions, and where they are in the present moment.

He’s always been the type of producer to make a dramatic impact, and this is the most theatrical of all! This feels like a historic representation of life and time itself compressed into a 20-minute lesson, and it’s one class I’ll be taking for months to come!

You don’t understand how hard it is to balance making actual ‘dope’ music and also make it work in a conceptual context without sacrificing either! That’s why I’m so impressed with his work on this record because I’m consumed the entire length of the project, but I’m also bumping my head at the same time!

I don’t know what I was expecting with this record, but it definitely wasn’t this! This record went beyond anything I could have hoped for, and if you guys sleep on this one, I hope you don’t wake up for the foolishness! 

https://open.spotify.com/album/0LVUM462GGNY4x5ehIJqya?si=NqOOXQ3eRp6bR7KSfPKVUQ

(SUPREME MACARONI)

Man, this is actually a match made in heaven if you break it down. One of them is one of the most enlightened, entertaining, and original MC’s out right now, and the other is a producer who has made a name for himself with his out-there, diverse, and unique (to say the least) production choices.

So together, on paper, it makes complete sense this works, and after listening to it, I have to say, I was right! Let’s talk about it!

This is the brand-new album by MC GUSTAVO LOUIS and producer Skip The Kid, and together they drop a fresh batch of 11 tracks that feature 

-flypaper Blake

-Jules Clay

-warwillkill 

-earn dinero 

And man, I LOVED THIS project from track 1! Right from the bat, we had Skip showcasing his insane instrumentals with his ‘Jazz Pianist on cocaine’ type vibe, fast-paced piano loops with some slow drums to hammer in that ‘hypnotic effect’ in spades.

Then we had Gustavo sounding like a man possessed doing his verses, then screaming ‘SUPREME MACARONI’ as the chorus. This is how we start the record off? Okay, I see you both! I see you, heavy!

As the project goes on, the vibe only gets more creative and more refined! Whether we are talking about that second track with those mesmerising chord loops that go from

High to lower pitch on repetitive motion with that same rhythm of drums! 

That seems to be a pattern in this record, using that type of hypnotic drums to elevate the record into a more trippy tune! 

We can even look at track 3, which possesses a more boom-bap feel than the other 2! With those swaying strings that sound like pitched violin and more of a grimy interaction of the drums this time around as they have more of a stable beat rather than just repetitive aura-sake rhythm!

This is the beauty firsthand at Skip. He’s never one to stay in a lane long; he’s like a hip-hop nomad. Always finding him one place or the other, switching on what sounds like an hourly basis to find a vibe and atmosphere that suits his needs, and I got hella respect for him for the boldness and staying true to himself!

As I said at the start. These two are a match made in hip-hop heaven. With Skip doing his trademark variety on the beats, so is Gustavo highlighting in surreal fashion his own trademark brand of charisma and enigmatic behaviour that has made him such a household name in the underground for the past few years!

Across this project, he dives headfirst into the beats and works alongside them to the best of

his abilities. Considering these tracks (for the most part) are on the longer end, we are hearing Gustavo utilise every second of the songs with his flexing of verses, intricate wordplay, and deep vocabulary that he flaunts every chance he gets for usage of setting up puns, bars, one-liners, phrases, complex sentence structures— you name it, he’s the one to get it done and make it look effortless!

I mentioned this already, but damn did I love that fucking intro track. It’s as if both he and Skip decided ‘fuck it, let’s go full energy from the first second!’ Because the wave of energy and momentum is just nuts! It’s the perfect showcasing for this collaboration, and it sets the tone for the rest!

There are that small handful of features, and they also understand their role in this sonic assignment and do it to a tee! We are talking high-speed bars, quality performances, and original design that makes each one stand out! Fantastic effort by all four!

Man, this might be my new favourite Gustavo album! I can’t believe how ridiculous it was. This is like an adrenaline shot to the ballsack that’s laced with cocaine. Make sure everyone checks this one out! 

https://gustavolouis.bandcamp.com/album/supreme-macaroni

(Don’t Meet Your Hero’s)

I feel like this man too often slips under a lot of people’s radar, whether that be due to over-saturation in the game or focus on other key players, but this man is definitely someone I’ve had my eye on for months. From dope features to even his own solid work, he hasn’t missed yet, and it looks like he hasn’t started yet! Let’s talk about it!

This is the brand-new album by MC Andre De Saint and producer Rios, and together they drop a nine-track project with 25 minutes of content and the likes of 

-John Wells

-MONEY MOGLY. With these two on the case, we have Andre showcasing 3000 different ways to present his masterclass of MC work.

What always impresses me about his verses is that they have a fantastic balance of ‘authenticity’ and ‘passion’, where it sounds like he’s reflecting on his own personal experiences and taking from the world to add to his own while simultaneously giving off the vibe of the MC that’s first in the studio and the last to leave! A man who wouldn’t be anywhere else but the studio!

The way he’s always able to express himself with his vivid imagery that always feels so precise, heavy, and introspective is something special to him! With just 16 bars, he can tell a better story than most do with an entire album! He’s that skilled!

He’s got bars for days. The originality of this once-in-a-lifetime artist, a pen game that is too hot to carry, and a run that most would die for! He’s literally got the whole package, and that’s another reason why it’s such a shame he’s still so underrated because he can rap circles around most!

As far as Rios goes. He’s the fucking man for these beats. He complements Andre’s rap style so well that it’s uncanny. Across this project, we have him pop off with these minimal yet explosive boom-bap-inspired sonic experiences that feature various elements such as 

-Jazz

-Classical

-Soul

-Old School RnB and utilises them in such tasteful ways that I couldn’t help but move to the grooves provided! 

I love how fluent the instrumentals are. It sounds like one harmonious tone and vibe across the board, with no awkward transitions and parts you can point out as anything but superb. He understands the atmosphere and structure Andre needed for this record and acted accordingly!

He’s showing off his mastery of the ‘Less is more’ technique of taking advantage of a small handful of instruments and styles and making them work into a more grand score of music, and I can’t stress enough how impressive that is!

Overall, this is one HELL of an album and a home run return from Andre’s last album! I need everyone to pump this one! 

https://open.spotify.com/album/4j8ylURacUymWA6PoAxvrt?si=Ejn5lbRcS1ODrje8fAYGbQ

(IRNSHRPNSIRN)

If that title doesn’t make it obvious, we are here covering a brand-new FLYG single! Whether he’s doing this to fuck with me or not, realistically, regardless of the name, you can expect this to be a BANGER. Why? Because it’s FLYG making the song! Alongside one of his most trusted producers, and there’s no plausible way this can go wrong! (I’ve even confirmed with Dr. Strange; he clarified it’s true), so with that in mind, let’s get into it!

This is the BRAND NEW 1-minute and 28-second single by Underground MC FLYG and Producer Lo Katana. Having worked previously together and working towards a full-length, these singles have proven just how important chemistry is in a song and how dire synchronicity should be when working with another person, and these two demonstrate the best qualities in both!

Let’s start with Lo. As was the case in the last single I covered with them together, this is another lusciously angelic beat. You’ve got those long and elegant piano keys in a loop, with what sounds like either a synth chord or a high-pitched violin also looped but in the background and never really breaking.

This is one of the more methodically paced tracks I’ve heard FLY on. Especially since this song is under 2 minutes, it’s definitely a bold move; most when it comes to a short track, they try to do faster tempo instrumentals, but not in this case!

I respect the switch-up and the fact that this kind of track is going to push the rapper to be more extraordinary to make up for the lack of pace, and thankfully, we have one of the ‘fastest’ up-and-comers on the case! 

So, FLYG. The man with enough one-liners to outsource Pablo Escobar (get it?), anyway, as he starts his usual verses with his trademark ‘I said um’, he goes right into it with a wrestling reference by saying 

‘Ultimate Warrior was always juiced up in the ring. Is there a particular reason he resembled Sting?’ I loved that as a wrestling fan, and I guess this line represents old-school pre-goth era Sting when he still had the colourful make-up and not the corpse paint and bat! 

And as I expected the connection (which I didn’t even know about) was about how Ultimate Warriors Roid Rage and doing too much caused a drift in his friendship and tag team with sting) 

Always a deeper meaning, even when I don’t initially understand it the first time around!

Regardless, from there we get lines like ‘Everyone is not born to be a ball player like Kareem’ (the line speaks for itself) amazing punchline.

I even love the line ‘You got the swine flu, continuing to eat pig’ another fantastic lunch line (but I agree with this one, pork is my least favourite meat) 

And look, as any FLYG regular can testify to, all the verses read smoothly and as one unit. I just like to pick out my favourite lines and highlight them on this review to point out just how skillful lyrically he is! 

All in all, another fantastic short and sweet review with so much potential for the full length that I’ll be dying to check out! 

https://open.spotify.com/track/7b8LzTwxWeRk2ZRQOR58bZ?si=BG6SLGzKRoujq2TQa2lKng