(ZINGCLOPS)

It’s incredible that there’s an artist out there where each new album I hear from him (old or new), I’m convinced it’s his best one yet! Very few artists have this level of consistency, and he’s one of them! So let’s talk about it!

This is the 2024 release by FEED THE FAMILY’s own Borirock. The man who has shifted the culture single-handedly with a list of albums in a row that defy all logic of being that good without a dud yet. We are talking a solid run from 2024 to now! And this is one of those albums, which includes 13 tracks with the features of 

-Al Divino 

-Top Hooter

-Estee Nack

-Shaykh Hanif

-Mickey Diamond

That is one solid roster to bring forth for this record, and with fellow FEED THE FAMILY member Tremendiss on the production, this was bound to be a modern-day classic!

The thing about Tremendiss is his ability to tune any sound, instrument, or aesthetic into something grand and cinematic. He could be recording an acoustic guitar album and somehow make it sound like a million dollars. With every album I’ve heard him produce, he always elevates the production to a new, unreached level of quality, grit, and supreme performance that turns a record into a masterpiece score. 

His attention to detail is second to none; across this album, he utilises so many different aspects such as raw vocal loop beats with skeletal hip

Hop beats to 

Old-timer/classical music samples paired with hypnotic strings and theatrical horns such as the second track ‘OPTIC BLAST’.

Even tracks like ‘COKE IN LOGAN’, which has these eerie organ keys that sound like a villain in a haunted castle playing a tragic melody in the dead of night! 

Each track on this album is different and equally masterful and engaging. It’s as if each track has a will of its own and takes over the soul of the listeners with its beautifully written beats and instrumentation! I ain’t joking, this is the best I’ve heard Tremendiss; if he ain’t one of the best producers out right now, I don’t know who is!

Now, onto Borirock. The man with enough energy and personality to fuel 100x artists and still have enough to drown in. The rap game really hasn’t seen a character like him, and it’s that wild, unpredictable aura that makes all his releases stand out for their replay value and entertainment factor!

On this album, he brings his trademark wavy vibes with his ridiculous levels of enthusiasm and passion on the tracks! The way he delivers his bars feels like fireworks on the tracks; it’s explosive, colourful, and loud! He ain’t never one to censor himself or sound lacklustre; it’s always 100 miles per hour speed or nothing!

Plus, his adlibs are always fascinating to listen to! It’s like a sonic adrenaline shot that pumps up the listener! The fact he’s on the track with Al Divino on most of these tracks should be illegal. Whenever they are both on a song, it feels like I just drank 5x energy drinks back to back; I’m always left with too much energy then I know what to do with! 

I also love how this album ends with a Mickey Diamond verse! Mickey and Bori are a match made in underground heaven, and it was the perfect way to close the album!

Also, I love the artwork, name, and intro skit to this album! How it’s about Cyclops (Scott Summers) being the best character! I personally prefer Wolverine, but I love the comic influence on this album!

Overall, another classic release by Bori! At this point, I’ve heard him work with five different producers, and he was fluent with all of them! The levels this man can adapt are ridiculous and skilled beyond comparison! Definitely an album you can’t miss out on!

https://borirock.bandcamp.com/album/zingclops

(Black Hole Superette)

In this day and age, I could count on one hand the number of artists that can hold my attention down for an hour or over. Off the top of my head, I’d say Kendrick Lamar when he’s on his conceptual shit is one, but another is this man who has been creating one of the greatest and most underrated discographies in all of hip hop. Let’s talk about it.

This is the latest full-length album by underground lyrical legend and pioneer Aesop Rock. Emerging since the late 90s, this man has been holding down the underground long before it became as popular as it now is. His albums have been the true culture shift that helped evolve the scene into what it is today, and he’s back proving he hasn’t aged a day!

What’s even more remarkable is that this album was entirely self-produced by himself and features some of the greatest lyrical minds in the game today, such as:

-Armand Hammer

-Open Mike Eagle

-Homeboy Sandman 

-Lupe Fiasco

-Hanni El Khatib

This album is one hour and eight minutes but feels like a fraction of that. It’s because Aesop has been able to captivate an audience like no one else can. With his god-level lyricism, unmatched vocabulary, and skills on the mic (for those who are unaware, it’s been proven that he has a more complex vocabulary than even Shakespeare did), he’s that good.

And across this album, he’s showcasing the same level of in-depth wordplay, puns, double entendres, and intricate rhyme schemes that literally put everyone else to shame. Across this project, he’s going back and forth between telling short stories to flat-out spinning out the audience with his feats of lyrical superiority and doing his so in his trademark, witty, and introspective manner. 

The most standout track to me is ‘Charlie Horse’ as it depicts the three strongest lyricists of our time coming together for a collaboration single unlike any other. A dream pairing for all the real ones and a song that doesn’t disappoint. 

As the production goes, this is exactly up the alley as you’d expect from Aesop. Art Rap/Experimental, raw and unrefined alternative hip hop that he’s been working with for over 20 years now. 

It’s unpredictable, interesting and off the wall. He’s always finding new ways to keep his production fresh and unique, and he’s always open to using any and every instrument palette at his disposal to make the beats.

You’ll find anything from synths to drums, horns, strings, keys, drumless to glossy to pop; he’s literally got his hand in every jar, and he’s come out with an original album because of it. If you’ve been a fan of his over the last 20 years, then you’ll love this production! It’s him to a tee, unpredictable and fun.

This was one hell of a fucking album. The features were perfect, the production was ecstatic, and the lyricism was prime Aesop at his best. This is the kind of shit REAL underground hip hop heads love to hear!

https://open.spotify.com/album/63y5mkLctupacSr20e0O6j?si=92-_WXSCQ3qQaopsFazQNQ

(Jazz McDuff)

I’ll tell you one thing, I’m a complete sucker for jazz albums, whether that be hip hop or otherwise, so when I saw this album cover, track list, and album name, it got me intrigued, so I had to check it out, and thank goodness I did because this thing was a blast!

This is the latest beat tape by producer ‘Jazzy Lion Man’, a man I first became aware of with his wrestling-themed album ‘Jazzy Fatu’ and since have covered a few of these albums, but as someone as frequent as he is, it’s impossible to get through everything, but this is the one that stood out to me! 

It’s an 11-track, 20-minute project that’s heavily based on jazz instrumentation and themes.

From the very first track, you have that classic ‘John Coltrane’-sounding feel to those beautifully crafted horns and old-school hip hop pattern. This feels like a track that would be perfect for a band like ‘A Tribe Called Quest’ to go off on!

As the album continues, it has small talk interludes that remind me of the layout of Madlib’s ‘A Shade of Blue’, how he had different Bluenote affiliates discussing the history of the label! 

This gives me the same vibe!

As the music continues, each song has its own jazz personality and characteristics. Each representing a different era and subgenre of jazz. Whether you’re talking about the 

-Traditional jazz

-Bebop

-Avant-garde jazz

-Acid jazz

-Free funk/jazz

-Jazz blues, and so on.

My main three favourites in jazz have always been Miles Davis, Herbie Hancock, and John Coltrane, and this album (among many others) showcases what I feel are homages paid to those legends in one way or another.

I can hear it in the tempos, the jazz fusion sounds, the stylistic choices, and more. This album is meant to be a love letter to the golden era combined with the elements of hip hop to create a fresh, atmospheric jazz extravaganza that is perfect for any occasion!

Again, I’m a complete sucker for jazz. I hope Jazzy Lion Man will continue production like this going forward because he does a fucking amazing job!

https://open.spotify.com/album/5TLhsdEMqQOeUCBp35fnld?si=2VAqfLinR0qTOr-vT0TQ6A

(Frizzed In Your Pants Mixtape Volume 1)

So, new artist alert. It’s always an exciting aspect of what I do to have an endless supply of artists and producers I’ve never heard of, and today I get to experience both! So let’s get into it!

This is the latest mixtape by MC Rapn Frizzy and produced by 8am beats! This mixtape features 

-Aaron Johnson

-Yugen 

-Cloud Leme 

-Kool AD

And it’s made pretty clear from the first song that, unlike most of the other reviews I’ve done, he’s going for a more ‘mainstream’ ‘trap’ approach to his music. 

If we start with the production, you can hear those influences of 

-Trap

-Mainstream Hip Hop

-Experimental

-Noise 

There are actually a few different sounds going on in this mixtape, but for the most part, this is the kind of sound you’d expect to hear from artists like 

-Lil Baby

-Logic

-Migos 

-Young Thug

Artists of this nature, we’re talking high and glossy instrumentation. The instruments feel bigger and more ‘radio-friendly’ than other cats in the underground (as most likely he’s trying to cater to that non-underground audience), and his inspirations sound as much!

Like the track ‘Redrum’, for example, with those long-winded haunting strings combined with that traditional 808 sound and hi-hats. This is definitely the kind of track you’d expect to hear at the clubs and the radio these days!

There’s also the track ‘8 Beers’, which has a more acoustic base to it, but of course, as the track progresses, that trademark trap flavour comes into it!

I feel this kind of album is a working effort to please the audience a few levels up from the underground (maybe this he won’t feel this way), and if this wasn’t his intention ‘sound-wise’, then I hate to be the one to break it to him, but yeah, as someone who has reviewed over 400 pieces of content this year, I can safely say this isn’t the sound you hear in the independent scene, but if his goal is to reach the big leagues, then this record will surely be met with praise there!

As far as the rapping itself goes, I sensed a lot of similar trends of ‘free form’ rapping combined with that trademark braggadocio lyricism and the mainstream ‘singing/rapping’ combination that is very popular right now.

Now look, just because he’s choosing to ride the same wave as guys listed above doesn’t mean it’s a bad album or a bad performance! I’d actually say for what he’s doing, he’s delivering a lot of flavour, enthusiasm, and energy across each of the tracks! It’s just as a reviewer, I can identify the commonplace of his flow and delivery!

There are a lot of artists out there today who are prioritising ‘vibe/aura’ raps over deeply lyrical and conceptual ones, which is absolutely fine! There’s an audience for every branch of hip hop, and even though this specific style may not be my cup of tea, I understand the vision he has and what he’s striving for, which is dope!

The features on this mixtape definitely suit his level of personality and energy in the studio! They all feed off each other quite well and make for a fun and engaging atmosphere!

All in all, it’s definitely not the kind of album I’d say is ‘underground’ based on its sounds and vocal projections, but hey, if I’ve got my knowledge right, this was just a collection of throwaway songs that didn’t really fit into any album, so I wouldn’t take the criticisms too heavily! It’s a vibe, and if you’re into that mainstream atmosphere, you’ll love this! 

https://rapnfrizzy.bandcamp.com/album/frizzed-in-your-pants-mixtape-volume-1

(Based On A True Story)

I know I’m late to this one, but today I was out of ideas for reviews and then I remembered this existed, so I couldn’t resist. 

This is the latest album by legendary actor and rapper Will Smith. This man should definitely not need an explanation. I refuse to believe no one knows who he is!

The Fresh Prince himself, the first man who got a Grammy for a rap album, the man who became notorious for his clean, swear-free raps and, most importantly, for his films. 

2005 was his last album, ‘Lost and Found’, an album I actually fucked with as a kid! With that banger single ‘Switch’, which came in so many variety remixes, such as R&B and reggae. 

Anyway, it’s been 20 years exactly since that album, and what has happened since? Well, with this album, he features with him on the production: 

-Lexoskeleteon

-OmArr 

-Days of 1993

-Lastnight

-Kyle Townsend

-L’Amo

-Beau Nox

-Manuel Lara

-Zach Ezzy 

-Lucas

-Leo Son

And MC’s:

-Jac Ross

-Big Sean

-Obanga 

-Joyner Lucas

-Russ

-Jayden 

And look, across these 14 tracks and 37 minutes, I have to surprisingly say I don’t hate this! 

When it comes to his music albums until now. He’s always had the reputation and exception of being that ‘clean guy’ in rap. There was always a level of expectation to him that he’s going to prioritise G-rated themes and lyricism over a substantial record. 

Don’t get me wrong, his earliest few albums were amazing club, radio albums! So many hits, and that’s not even including The Fresh Prince theme, but as he passed the 90s, his music developed more stigma for, dare I say, a stunned rapper focusing on the ‘family-friendly’ feel over quality. But this album actually feels like a solid rap album that’s only focused on quality!

In fact, the first two tracks on this album contain swearing! Obviously, nothing compared to the majority of the rap scene, but still, for Will, that was surprising to hear the F-bomb dropped in the intro! 

As the album progressed (although definitely not perfect), he felt the most passionate, reinvigorated, and alive that I’ve heard in years. 

One thing you will notice about this album is that he’s definitely become a slave to the trends of the times. It does feel like he’s sacrificed his originality in his delivery, but despite that, I feel his actual flow, lyricism, and the way he spits his bars is still very fresh and entertaining (despite what the harsh reviews and critics have said regarding the record). 

I feel if anything, the harshness is due to him trying to push his way into the hip-hop scene and just mildly copy what everyone else is doing over mostly trap, hi-hat type beats. Considering this is his comeback album, me and the rest of the world were expecting a more ‘creative and original’ spin on his trademark style from the 90s, but instead, we get a man trying to fit in with popular culture, and that can rub people the wrong way stylistically, but even so, I still think his actual verses sound pretty good! 

Is this album corny? Fuck yes. Especially the track with him and Joyner (what a nightmare pairing), and he is effectively picking and choosing every style hot right now as his base for this album. But besides that, I still feel he’s hungry for it, sharp (mostly) lyrically, and provides a rather entertaining edition to his discography after 20 years! 

So I’d say ignore the reviews and see for yourself if you like it or not!

https://open.spotify.com/album/6Xmk0viXpOgutxl16nchTb?si=CNcEFsKYStqQ1WDdRuZNbQ

(Dockumented)

It’s been exactly five months now that I discovered this man with his ‘War Dogs LP’, and since then he’s remained on my radar as someone who is original, creative, and someone who fits in their own lane unlike any other. So, with that being said, let’s get into it!

This is the latest EP by rapper K. Burns. This time around, he has two producers with him: 

-JackMadeDat

-NCL-TM

And together they help cultivate six tracks that help elevate and distinguish K. Burns from everyone else. This production, unlike other projects of his, is more on the ‘mellow’ and ‘melodic’ side of things with a lot of jazz influence with sharp synths, gentle drum patterns, and glossy piano keys.

This is the kind of production that you listen to to help relax and just sit back and enjoy the record. There are so many surreal elements such as gorgeously layered vocal arrangements, a tranquil aesthetic, and a hint of ‘ambient’ atmosphere with those angelic vibes and soothing loops that remind me of the 90’s jazz rap acts like the kind of production you’d expect to hear from ‘A Tribe Called Quest’ 

There’s even tracks on here that feel like an 80’s montage like ‘Retrospect’, which has those sticky bass and electronic guitar strings that sound like they were ripped right out of the movie ‘Lethal Weapon’ right before an action scene. This kind of colourful and warming production is what makes K stand out so much.

He always chooses the most skilled, talented, and aura-filled workers who always bring something unique and original to the table that I just love that sets up the path for the man himself.

The man, of course, being K. Burns. In the space of five months, he’s gone from an MC to a social sensation that everyone talks about in this game and for good reason. As I said at the start, he’s in a lane of his own, and he doesn’t ever compromise on his vision, ideas, or execution.

As usual, he features his trademark slow, methodical, and calculated bars with his monotone, deep vocal tones that command the room. He ain’t in a rush to go nowhere because he knows the game is his, so he’ll take his time.

He talks, walks, and acts like a boss. He has those street bars mixed in with introspective and personalised lyricism and pen game. His flow is smooth and wavy as he glides track for track, and his enthusiasm and passion for the music itself is evident in every word he spits.

For this EP, he doesn’t need any features. He’s an artist that has recognised the importance of being able to work a project solo and what that projects to the audience and the culture itself. With only six tracks, he didn’t leave any room for error and utilised the production phenomenally!

All in all, I was very impressed with this EP. The two producers brought the most heartwarming instrumentals to the project, and K, as usual, brought his lethal yet compelling dose of MC work to the forefront! Can’t miss this one!

https://teamfamegvng.bandcamp.com/album/k-burns-dockumented-ep

(WOLFY BOY WOMAC)

Since January, this man has been leading the races in the consistency department. I swear he’s released over ten albums already, and it’s only June now. One of the most iconic and notable producers in the game right now is back yet again with a dope project for the culture!

This is the latest collaboration album between MC MONEY MOGLY and Producer MACHACHA! Together, they drop eleven tracks and the likes of: 

-Asun Eastwood

-Doza The Drum Dealer

-FIGERSON

-Sean Links

-Shottie

-Bless Picasso

And for this album, I feel like MACHACHA has gone back to his traditional roots and focused on recording a quality hip-hop album with smooth and crisp instrumentation over trying to go an experimental or darker route. To me, this album is him going back to basics and showcasing to the rest of the world why he doesn’t need anything fancy or over the top to release another ‘album of the year’ contender!

What separates this record from the rest is the attention to detail and emphasis on making every sound grand and deep with an ‘ambient’ aesthetic in how mesmerising and captivating the music itself is!

Every song on this record I noticed myself being taken back by the theatrical implications on those luscious strings, those subtle usages of the vocal harmonies on certain tracks, this droning inclusion of the drums, and those damn near hypnotic usage of those guitar strings that loop around the tracks and leave an infectious impression on the listener!

As I’ve mentioned before, what makes MACHAHA scary is his ability to adapt and utilise any and all genres and influences in music to create a dope album. He’s never had a ceiling to break; he’s always worked with the sky is the limit, and we haven’t seen him come down yet!

Now, onto the man himself. Tasked with utilising this fantastic production! MONEY MOGLY. What he possesses is this incredible spirit and aura across the tracks to the point of it being infectious!

When he’s spitting his bars, he’s tunnel-visioned on the finish line and packed with his lethal bars, incredible vocabulary, and fluent flow; he’s cutting down all competition in his way! 

I love his gritty, dark tones. It suits this production and helps establish himself as one of the coldest MC’s out!

One thing I did notice was his slick and witty one-liners, puns, and double entendres! 

When he’s rapping across this album, there’s never a lost opportunity, an awkward transition, or nothing at all. He’s just hitting home run after home run on these beats and doing so with ease!

Across this record, he ain’t hitting alone. With those names above provided, equal powerhouses in the game, he shows fantastic chemistry, synchronicity, and shared mindset between the men involved, helping to create deadly feature tracks that absolutely BANG!

Of course, another no-question banger between these two! All the hype on socials regarding this album was completely justified and worth it! Make sure you check it out today! 

https://moneymogly.bandcamp.com/album/wolfy-boy-womac

(The Right Foodz)

Well, this is going to be a first for me. I can’t believe this is a crossroads even available to stop at for this collective. Unsurprisingly, this is a brand-new surprise drop by quite possibly the greatest group of MC’s in the underground right now, as they have shown incredible consistency, quality, and frequent delivery! I’m, of course, talking about the Penlordz!

So, this is a surprise 3-track (6-minute) drop by Penlordz Audio Messiah and Fam Ross. Featuring the production credits of Dray Yard (who is a new name for me in their discography) with the 3 songs: 

-Dray Yard Sandwich

-Alphabet Soup

-10.1-36

Now, before I discuss the crossroads I mentioned, let’s talk production. Across all these 3 tracks, we have a very eerie, dark, and complex feel to them. I’d say it’s skeletal mixed with experimental. This sounds like an audio trigger warning (and for the topics at hand, that makes sense). 

Each song is fluent and rides into the next without as much as a break. I’m convinced if you aren’t paying attention to when the song switches on streaming, you wouldn’t know. The final track is the most smooth with that jazz influence instrumentation but still pretty heavy in surreal and raw aesthetic , but for the first two, it’s very ominous and, dare I say, ‘sorrowful’ in atmosphere and energy.

Now, most likely, the reason for these stylistic choices in production is due to the narrative, and that’s the thing for me. It’s about the ‘Right Foodz’ and warning over the toxic and harmful ones. This is only a crossroads for me because I am, self-admittedly, addicted to the worst food you can think of! 

I love fast food, candy, energy drinks, and ice cream— you name it, I love it! So listening to this made me feel pretty guilty due to my horrendous diet! 

Regardless of that fact, I absolutely love that the Lordz are not just rapping for the sake of it but actually speaking wisdom, facts, and knowledge! They are using their platform to spread awareness and hopefully help and influence people’s thinking! That’s the real definition of an ARTIST! Someone who uses their talent for a greater purpose bigger than themselves!

Of course, there’s no need to doubt the chemistry of Fam Ross and Audio Messiah. They are at this point one mind in three bodies (including Arsinel), so any track they are on together is bound to be perfect!

Another surprise drop and another gem provided by them! Once again, another EP you can’t sleep on! 

https://open.spotify.com/album/4FWwjb9bLXkYj9NtaRcekz?si=pOdeSqLJR06ityFrARDeTA

(Côte d’Azur 2)

Man, trust this man to release an absolute banger even with no vocals! I can’t express how often this man blows me away with his releases. Going all the way back to his work on the famous ‘Gucci Ghost’ projects and from there producing some of my favourite albums of the last few years (including this year), and it seems his work isn’t done yet, and that makes me happier than anyone can imagine! Let’s talk about it!

So, this is the latest beat tape by Hip Hop Producer and Cut Master Swab. The man who has swept the culture off its feet more than 90% of the artists out there, and he’s here to flex one more time by releasing a full instrumental record that can outshine most normal LPs! With 10 incredible tracks and just under 30 minutes of content, he’s really focused on showing why he’s one of hip hop’s key figures.

The first thing I noticed about this album is how atmospheric it was. The way he’s aligned and emphasised the instrumentation sounds like the hip hop equivalent of a Studio Ghibli film. It’s cinematic, beautifully crafted, emotionally powerful, and charming on all fronts. I honestly feel like in the absence of vocal performances, he’s making it up for it by utilising incredible aura, breathtaking soundscapes, and an overwhelming aesthetic that can’t be denied.

If you’ve ever heard those classic jazz albums like Miles Davis’s ‘Kind Of Blue’ or Herbie Hancock’s ‘Head Hunters’ or John Coltrane’s ‘My Favourite Things,’ then you’ll know that level of detail and depth which is included in every single second of the music itself, not a breath wasted. That’s exactly how I feel for this record. 

It’s usage of all that gorgeous instrumentation and the ability to elevate the chords, strings, and notes to such a degree that it goes beyond ‘music’ but a ‘work of art’ being placed in front of the audience in such immaculate splendour. 

Another thing I love about this album is its continuity track to track. There’s no pause, break, or split from the foundation of the album. In this respect, I’m reminded of the modern jazz album by Floating Points and the late Pharaoh Sanders, respectively, ‘Promises’, and how it beautifully captured the essence of cohesion and prolongation that never broke once, unless you checked your phone; you couldn’t tell which track is what?

In that same respect, I feel Swab did his best to create an atmosphere that is run by imagination, passion, and desire of music and emotion. He’s not worried about the quality or actions of others, about the performances of guests or features, but instead just solely focused on himself, and in that realm of solidarity, he found what very well could be his magnum opus.

If you’re not a fan of beat tapes, then that’s completely fine! But I guarantee you that you’ll be missing out on a modern-day masterpiece. 

https://open.spotify.com/album/3r9cwpuLVtdAuBwDv5tLjT?si=ardERKhOQGeoX0BJHFdteA

(One Inch Punch)

The day has finally come! For one of the most anticipated drops of the year. This man who swept over everyone in 2024 is finally back with his first offering of 2025, and the culture better watch out! Because he’s here to take bodies!

This is the latest EP by Umbrella’s own Substance810. This time around, he’s working alongside producer Haas Almahadi, and together they drop six brand-new tracks featuring 

-D-Styles

-Philmore Greene

-Waterr

-DJ Rhettmatic

-Big Trip

-The Bad Seed

-M.A.V

-Jamil Honesty

And I’m going to put my reputation on the line to say this could very well be the hardest 20 minutes you’ll hear all year! This shit goes HARD! 

Even though it’s only six tracks, this album features some of the most beautifully crafted, precise, and hard-hitting hip-hop going! Each song consists of a variety of different instruments that help elevate the tracks themselves!

For example, the track ‘A Time For War’ with those classical-inspired strings that sound like something ripped straight from an orchestra! That combined with those thunderous drum patterns makes for the kind of score you’d expect Godzilla to come out to before he destroys a town! Absolutely monstrous! 

We have the track ‘Death Blows’, which, as I explained in my singles review, has that 90’s-flavoured cut and scratches combined with that hard exterior East Coast vibe that in your face, fuck your life type instrumental!

We even have the track ‘Be Like Water’ (which, in my opinion, would have been the perfect track to have the MC Waterr on) but has that tranquil, harmonic sound of what sounds like a flute note looping across the beat that’s wrapped around that skeletal boom bap production!

Every track on here instrumentally is a hit! 20 minutes and not one millisecond was wasted! The man Haas definitely cooked up a gem on these beats! 

Now, as the rapping goes. Here’s something I can say with 100% confidence because earlier this year or last year I listened to each and every Substance810 album from ground up! So I can say he’s never made a wack project and he didn’t start here!

In this project, he sounds as hungry and as confident as he ever has. He took a long break after last year and that served him well because he’s back, sharper, deadlier and more precise and lethal than we’ve heard him yet! 

He brings his trademark swagger to the bars, his strong lyricism and vocabulary across these six tracks is legendary. He has that confidence studio cadence that veteran experience and the prestige of being under the umbrella. He’s been a lyrical threat since day one and that fact has only increased tenfold over the past few years!

Across this album he comes equipped with some of the industry’s heavy hitters! He’s always surrounding himself with industry leaders and today the kings are in-house! Each man absolutely destroys the track they are on, I always love hearing my main man The Bad Seed as well as the legend Waterr and Philmore Greene on the same track! 

This ridiculously star-studded EP is everything I expected and more! Banger after fucking banger and it’s the perfect debut project for Substance! I hope we can hear more gems from him before the year is done! 

https://open.spotify.com/album/0bBMhswlEhZ2CNbeXT6yVR?si=mptjPv-TTZyo2QTSHX1ugQ