(The Shadowless Masquerade)

*Taps Cigar into the Ash Tray*

*Takes a small sip of Hot Chocolate*

;Oh my goodness. Hello there, forgive my ignorance. Time seems to pass me by quicker by the hour. I truly do wish you well. 

*Picks Cigar back up*

As I reach the end of my ever-revolving life that consisted of mere letters repeated over and over a thousand times more in the form of reviews, journalistic entries, musical feedback, and interviews and other forms of sonic commentary, I must admit such a life consumed with passion does often leave one alone. 

*Blows Smoke from Cigar, followed by a deep stare*

But do I regret my decisions in life? No, I can’t say I do. I was one of the rare few who could spend his life doing exactly what he loved, and for that, I’ll be eternally grateful. But you might be asking yourself in this moment in time, why am I telling you about this? Why reminisce now? Well, that’s where the fun begins.

*Pulls Out Framed Journal*

*Coughs*

(The Shadowless Masquerade)

Oh yes. I remember the day as if it was just behind me. April 16th, 2025. The man (who referred to himself as F8L) reached out to me and offered his debut album as a suggestion for listening and, if possible, reviewing. At that time, my young friend, I wasn’t the type to say no to a new opportunity. 

*Puts out cigar*

In fact, that trait continued decades after this day as I figured, why say no to fresh opportunities? Doesn’t seem right. So I didn’t, but even though I agreed to most, this album stood out to me most as it contained a rather magical atmosphere that I can’t quite remember feeling before or since. 

You see, this was no ‘ordinary’ album. Ordinary in the sense of structure or concept: ‘Set of songs, a clear beginning, middle, and end’— the usual set up. Rather, this one was an excellent expression of so many different ideas and inspirations that it was near impossible for my boy to capture just one!

*Starts smiling contagiously at the frame*

Oh, what a marvel this thing was. I tell you boy he had everything in this! Inspired by such things as

-1800s

-Dark Romance

-David Bowie

-Opera

-Italian Noir

And even BIRDS!

*Laughing uncontrollably*

Do you hear me boy? EVEN BIRDS! Can you believe in such diversity? To this day I still can’t, it’s remarkable to say the least. What was it he said to me that day? Oh yes!

‘If Tyler The Creator’ (A Prominent rapper from the 2010’s and the 2020’s) and Salvador Dali (A Famous Spanish artist from the early 1900’s) had a baby’

Boy, if you could only meet him. He was truly one of a kind 

*Takes another sip of the hot chocolate*

Oh? How did it sound? Did I not explain that yet?

*Gives a quick loud shot of laughter*

My goodness boy, time really is coming for me

Before I explain, let me ask you. Can you try envision what a surreal dark romance set in Italy 1984 would sound like? You can’t can you? Well you’re in luck because in a few minutes you’ll know because THAT is what this album is!

It was out of this world, it had an array of different styles, production, music, instrumentation, conceptual ideas, lyricism I mean it had it ALL.

You could be listening to a piece of beautiful orchestral piece and then one minute later an introspective hip hop verse then wait another 3 minutes and your in the world of black and white noir with chills up your spine.

Wait another 10, you get hit with some atmospheric singer song writer influence music. Wait another 20, and your hit with a pop banger you’d expect to hear from David Bowie! (Oh he was considered by many as the greatest pop star of our generation, next to Michael Jackson but that’s for another time)

Oh let’s not forget, Monica Vitti (The Actress) was admittedly the biggest influence for him across this album’s creation. I’ll be honest boy, I never knew of this actress until he told me about her so many years ago but regardless, I’m never one to judge what people or things inspire an artist and let that be a lesson for the future! 

*Takes another drag of the cigar*

Plus oh yes my goodness his vocal performance were absolutely stunning! He could really sing BUT not only that but he knew how to switch up his style of singing depending on the style of music was being played!

More harmony? More harmonic? More gritty? More emotional? More serious? He could cover it all! 

*Lights up the cigar once more*

Oh? You have to go? No that’s fair, not much you can get from a skeleton like me ha-ha. But please before you go, take what I said into consideration. I won’t even pretend to understand your music today, which I’ll be honest depresses me to no end because of my nature of profession. But regardless if you can find.. OH WAIT

*Get’s up and grabs a special labelled CD*

Look, I don’t know what products have CD players anymore, I’m sure your parents or relatives should have something stored away with one but if you can find one then please give this a listen. Consider this your first entry into the world of music (real music) ha-ha

Anyway, that’s my time boy. My time has come. I’ve spent my time, done my job as best as I could, it’s time for the next generation. But you know what will remain timeless?

THE SHADOWLESS MASQUERADE 

https://open.spotify.com/album/4F9Wwty68tL3xXbaso8lhF?si=hf7P3Kk9TLaKnTOFxJRbaw

(Unbound)

It’s that exciting time again to cover a brand-new trio at work, all 3 artists I’ve never heard of until now, but I was blessed with the reach out to cover, and so you know I can’t say no to a new opportunity to cover more artists. So, I present to you ‘Unbound’

So, this is a collaboration project between rappers ‘Acewonda’ and ‘Hydrotrust’ and producer ‘Isac No Beat’, and together they release 9 tracks running just under the half-an-hour mark with 28 minutes and feature the likes of 

-Tone Spliff

-Viktori

-Paryss June

So, let’s start with the production. Because what Isac does across this project is marvellous! Because what he does is make every single beat feel larger than life and tremendously pop to the point that each song feels cinematic in style and execution. The way it sounds in any situation, headphones, speaker phone, tv (I tested on all 3) just to make sure I was accurate with my statement, and I was! It has a quality feel no matter the situation you play it on! Which is ridiculous to accomplish!

I hear a combination of 

-Boom Bap

-Traditional Hip Hop

-Jazz

-Soul

And he makes every beat sound magnificent and banging to the point that every single instrumental would be worthy to be played in the club or radio across the world due to his mastery of rhythm and production!

Onto the infamous duo of Ace and Hydro. The two artists that were new to me until now, and yet from this one album I can already tell their perfect chemistry and creative nature as a pair of lyricists! 

They both possess great lyrical skills, fantastic wordplay and penmanship as well as flow smooth as water, never an awkward transition or bar drop between the beats that makes you break your focus as a listener. Each verse was timed correctly and with accurate precision! 

What I love most about these guys is their energy and passion, you can clearly hear in how they talk, spit, and conduct themselves on the tracks. They perform with such fire, conviction, and love for the game that it makes each sentence they say that much more enjoyable and interesting to listen to! Both going back and forth in friendly competition, trying to outdo the other, but in doing so, only improving the other’s technique and words until you’re left with a never-ending situation with both evolving endlessly to try out the other, and I love to be a part of it!

I’m very happy I was sent this project and able to discover these three! Also, shoutout to my main man Tone Spliff, the legend, dope as always, and for the overall fantastic performance by everyone involved! 

https://open.spotify.com/album/7wVa67shvC7rtuHJfQyzKZ?si=bezaraZkRVmHHnjl_ItoUA

(Glory To Gawd)

As a journalist who comes across so many different names, artists and producers. I can safely say I can’t imagine a better duo than Ferris Blusa & Machacha. 

This, is a 2024 collaboration album for the ages. One of the best MC’s working with one of the best producers out and together they drop 10 dope tracks that sent shockwaves through the culture. These two alone are forces to be reckoned with so together? Forget about it the game is done.

What’s crazy is, since this came out in 24, this was the same year Ferris teamed up with Vega7 and made ‘Both Hands Wash The Face’ which is nuts to think about. Machacha as well making projects such as ‘The Port’ with Substance810 or ‘French Laundry’ with Maze Overlay. Regardless these two were already sweeping the competition and then came out with this? Insane.

Now, for the product. This feels like a more obscure, skeletal and dark vibrant version of Machacha then we’ve seen in the past. With elements of distorted vocal samples and reverb synth chords to give off an eerie vibe to the listener.

Then on some cuts like the song ‘Demi Gawd’ which features an acoustic guitar strings over a small vocal male loop saying ‘baby’ which features the most acoustic production I’ve ever heard him on. But on the other hand you have tracks like ‘No Dessert’ which sounds like a 80’s B Side Alien movie score with some haunting piano keys and what sounds like the noise a UFO kidnapping people with the light sounds like. 

This is what I mean by how I feel Machacha is just exploring a more ‘sinister’ side of him then he’s done before (at least to me) and enjoying going over to the ‘dark side’ temporarily to have fun with the creative mind and originality that comes with it!

Now, Ferris. The man with the rhyming mind who won’t quit. He’s sharper then ever on this one, I always love hearing his intense, lower register vocals working with his cold blooded and at the same time intellectual rhymes that both make you think and scrunch your face up in a certain way.

He’s the kind of rapper that always takes his time to spit out a rhyme, never in a rush, never in a hurry just patiently drops his dope, unadulterated verses like no one else can.

He has methodical flow, intense delivery and smart penmanship that separates him from the rest! 

Across this project he is joined by the likes of 

-Shottie

-Lil Shipe

Both do a fantastic job at keeping the atmosphere and energy balance of the album and do justice to the vibe of the record and of course Ferris does his role at holding his own with the two and maintaining his infamous consistency and quality in his work!

No surprise, a fantastic album. As I continue to stack up by Bandcamp library with his discography the more I appreciate and respect the man and his work! Machacha as well, a man without an L to his name and together, only W’s can exist! 

https://open.spotify.com/album/4GmvOcXqTOw9sbNoDseApF?si=tR4xPIqVQmqOXV2RLrkxqA

(Treasure Trove)

Man, is there nothing the 6th man can’t accomplish? They’ve already had one hell of a year, and there are no signs of slowing down. From the kingpin ‘The Bad Seed’ to the Queen Pin producer ‘Murda Megz’ to the bloodthirsty foot soldiers that keep the 6th man name feared and respected in these streets! 

This time around, we have Apex Killer Crotona P, who has already provided one dope project this year, and this time around, he’s back with producer heavyweight ‘Killa Bong’, and together they feature on this 4-track EP that could be in the running for EP of the year!

Across this short project, we have Killa bring some of the nastiest and grittiest Boom Bap I’ve heard all year! It’s clear-cut, crisp, vibrant, and in your face with its infectious head-bopping production and killer vibes and aesthetics that could rival anyone in the game right now!

Whether you’re talking about the opening track ‘God’s Intent’ with those melodic and hypnotic strings played in that loop over that East Coast-style hip-hop beat, which together creates an absolutely lethal feel to the whole song!

Or whether you’re talking about the third track ‘Life Happens’, which feels like a track ripped straight out of the classic 90’s with its booming instrumentation, which you’d expect Mobb Deep to create! It’s bloodthirsty, cold, and ruthless in every way imaginable with some fun cuts mixed into it by ‘GYNCE’, who absolutely kills his part of the song!

The point I’m trying to convey here is that when a producer like Killa Bong is in the ‘zone’, he can create classics such as this where every track is masterfully composed, where the beats themselves are equally nasty and groovy, and create an EP with plenty of replay value, and I feel that’s exactly what’s happened here.

Now, onto the man himself. Crotona. Who, as previously mentioned, has already provided us with plenty of dope verses over the year, and now he’s back with a motherfucking vengeance because he sounds more unhinged as ever! He’s sporting his trademark ruthless and dangerous flow and vicious wordplay combined with this smart penmanship and confidence cadence that makes all his verses a problem!

Across this EP, he sounds like a man with a point to prove, that he is the man to beat in this game, and he means it. Across this one, he brings with him the artists

-J. Vengeance

-Kingdom Kome

Both men who are absolute killers in their own right and make for a ridiculous duo track with each man having perfect chemistry with each other, and both maintain the murderous intent and vibes across their verses, and it’s fitting they both respectfully share the first and last spot on the EP.

Once again (unsurprisingly), Crotona pulls off another dope project, and alongside Killa, they could never lose, and I hope we can hear more from them in the future!

Also, if you check my website, a singles review for their track ‘Compel’ is also available! 

https://crotonap.bandcamp.com/album/crotona-p-x-killabong-treasure-trove-ep

(You’re right.. This Is Better)

Well, this is quite the interesting change of pace for me. This man Adil Hasan reached out to me asking if I could cover this album, and I’m always open to new suggestions and projects, so of course I agreed, and I’m glad I did because this thing definitely left a positive impression on me!

So, this is an album by Adil released on the 24th of December 2024 and features 16 tracks with 43 minutes of run time, and let me tell you why I think it’s worth checking out!

Firstly, the instrumentation is raw and acoustic, which I’m a big fan of (if done right), and I have to say it was definitely done well on this project because there are so many different influences and varieties across this project to draw from, such as:

-Indie

-RnB

-Folk

-Classical

-Flamenco

– Singer-Songwriter

-Blues/Country

-Pop Rock 

I find traces of all these across this whole project, and they are all done with the greatest of talent, technique, and creativity. Every new song provides a different characteristic to the album, as if each of the 16 songs has its own personality and is alive, ready to come to life once the track is playing.  I respect the fact that he’s down to trying and experimenting with so many different elements and samples to try and make this one as lively and engaging as possible, and that shows true artsy and originality. 

If I had to pick a favourite track, it would have to be ‘If You Say So’, which has this funky, infectious country vibe to it with that acoustic guitar and melodic harmonies and skeletal singing structures; it’s just the one that stuck out most to me on the album!

Speaking of the singing, that’s another fantastic aspect of the album. Because although it is at its core raw, skeletal style, you can still hear the varied ranges and octaves and melody drifts depending on the song and its genre. Some songs might have a more mellow and somber performance, while others have a more upbeat and energetic tone, but it all varies depending on the track, and that’s another sign of a talented and passionate artist! One who’s willing to switch things up whenever it’s needed and understanding when and where to do it!

Overall, a great project with tons to offer in terms of sound, quality, and vocals, and one I can definitely see myself going back to frequently! 

https://open.spotify.com/album/06NfFVDmCS5covwuuIsk7J?si=nO1dvppXT0exoEXA0gwlTw

(Used Crayons)

This is officially the third project I’ll be reviewing, and it seems just like wine: he only gets better with age! Evolving with every release and alongside a powerhouse produced like Flu Dust, then there is literally no possible way this could go wrong. Let’s talk about it!

So, a new collaboration album between two of the strongest artists and producers in the game right now, and let me just say promotion for this project has been absolutely incredible with real-life crayons being made for this album! One I could only dream of getting my hands on, but regardless, such a creative way of promoting an album that is called ‘Used Crayons’ with 14 tracks all named after crayon colours! This whole concept is WILD. 

Let’s start with Flu: the man has done no wrong in 2025, and his streak continues here. With this album, we see him tap into his darker, gloomy, and somber sounds while not exactly ‘grimy’ or ‘hardcore’ in nature, but the overall murky atmosphere created inevitably makes every beat, instrument, and rhythm sound that much more vibrant, cold, and destructive.

I love how methodical, slowed down, and sinister each song is. He has no intention of rushing the production across this album; he’s taking his time and fleshing out every single second of sound to make sure it appears as gargantuan as possible in feeling, aura, and composition.

That’s one of the reasons why Flu is on my radar as one of the best going right now, specifically because of his disciplined approach to music. He’s the type to inherit the art of ‘patience’ and utilise it in all his projects. Nothing worse to me than listening to a new anticipated album and it sounds rushed or overly complicated for no reason; I hate that shit with a passion. But that’s one thing I never have to worry about with Flu: he knows he has the time to create magic, and so he does! 

Now, my main man P-Ro. The man is fantastic in and out of the studio. I’ve had nothing but pleasant conversations with the man, and he’s a real artist of the game. There are very few of those left who actually care about things like ‘artistry’ and ‘originality’, but he embodies both. As per usual, his flow and lyricism are impeccable, his energy and penmanship are second to none, and his vision and delivery are S-Tier level phenomenal.

Across this project, he comes alongside names such as

-MONEY MOGLY

-G Fam Black

-Tali Rodriguez

-OGBenGrimm

-GeneralBackPain

All names I’ve had the privilege of listening to this year and all heavy favourites in the underground. But as notorious as the names are, P still holds his own and maintains his skill and talent across the tracks and proves why he’s every bit capable and talented as anyone else in the game because if you can rap alongside these names, there isn’t anyone you can’t fuck with!

Overall, the anticipation was more than worth it! Perfect production, perfect verses, and perfect features. Call this a 3-peat!

https://open.spotify.com/album/1MlwPvMBhevAXXS9HFFYxz?si=GuCfyiRPTlqV7X1zKrouEA

(STREET LIGHTS)

I know I’m a few months late to this drop, but it occurred to me this is (so far) the only ‘Penlordz’ release I haven’t covered yet, so of course I can’t let any slip by me! Possibly my favourite hip hop click going right now, so let’s do it!

This is the latest release by Penlord Arsinel! With 11 new tracks and 25 minutes of run time. This time he’s featuring Fiqqouw on the beats, and my god, if this project isn’t SMOOTH.

From the intro track onwards, this project has some of the smoothest, soul-filled, and classical vibes rolled into hip hop that makes for one of the best listens I’ve heard all year.

Each beat has these warming and calming qualities to them. Sure, I love those grimy and hardcore vibe productions just as much as the next guy, but every now and then I also love hearing instrumentals that portray the softer side of rap, the same reason why I love groups like ‘A Tribe Called Quest.’ I love the gangsta shit, but I also love when other acts do something different, and this is one of those occasions.

From my many reviews of the Penlordz collective, each release has provided something unique and original to the table, and I feel on this occasion Fiqqouw brings that crisp, fresh, and refreshing production and mastery of the beats makes for a listening experience that provides a relaxing atmosphere and the kind of record where you can just sit back and appreciate the sounds and the vocal performances by the man himself.

That man being Penlord Arsinel. One of three in the collective (alongside Fam Ross and Audio Messiah), and as expected, they both feature on this project as they all do on each other’s over the years.

I can’t express enough how much I love that old school Wu-Tang mentality of just featuring on each other’s work. It’s something you see in Umbrella Collective records, but that’s about it. It’s a lost form of etiquette in the rap game that I miss so much.

Regardless, we have Arsinel, a man who’s always had the smoothest of flows, intriguing verses, and smart wordplay. He’s always had that energetic and passionate aura about him that makes his voice stand out no matter who you put him up against; he’s always the man.

Every time I hear his voice, I can’t describe how, but he just puts me in a state of bliss and thought-provoking mindset. Whenever he spits, I just sit and think about his verses and bars and what they might mean, any puns behind them, or anything worth remembering; he has the effect of a teacher to a student on the beat, and as someone who is passionate about learning, it hits me hard!

Once again, another dope drop by Arsinel and by the Penlordz. I’m not sure if anyone going right now has the same catalogue of quality as they do! If you ain’t checking out the Penlordz, then you ain’t respecting the culture, and it’s as simple as that! 

https://open.spotify.com/album/752ptoENsih6yK16db5qsb?si=CL19x8i7TEqByPJgUq7wuw

(Anomolly: Oddmo$i$ Jones)

Right now it’s 8:16 a.m. here in Australia, and this album has come to my attention, and so I thought, what’s a better way to start my morning than to do a write-up of one of the most creative artists in the underground? Let’s go!

So, this is an EP from 2023. Featuring 6 tracks and MC work from Anomolly and production from GhostXMachine, and features the likes of 

-Lex Swank

-Young Stadix

So, right off the bat in the Bandcamp intro, it mentions how ‘Oddmo$i$ Jones’ was created from a void and that his presence alone brings chaos to the order. You know a lot of artists create concept albums and have these wild descriptions on what the album means and how it will go, but once you listen to it, it sounds no different than any other of the numerous projects they’ve dropped in the past.

Nothing worse than an undelivered concept album, but thankfully it’s not the case here! This really sounds like this character ‘Oddmo$i$ Jones’ is alive and running a muck across this album, and I love it!

He sounds like a distorted, reverb being from an alternative universe that has broken through to destroy everything we’ve ever known to be correct or right. He’s here to change EVERYTHING, and the world ain’t ready for it.

For a creature of the void, his rapping skills are pretty dope, his flow is unconventional and unique yet dope in its own way. Its verses are more free-form and freelance compared to normal ones, but that just adds to the mystery of the entity!

I wouldn’t say its lyricism is the strongest I’ve ever seen because it just feels like it’s spurring out random threats and apocalyptic notions, kind of like a pissed-off Rick and Morty character, which would be a terrifying thing to experience. Regardless, as far as aliens go, this is as good as I could expect them to rap! 

As far as the production goes, it sounds purely and utterly chaotic. Noise and experimental droning sounds brought forth by the creature itself. On this day, human minds weren’t able to comprehend the sounds and sonic signatures this entity needed, so it brought forth its own form of ‘music’, and to human ears, it sounds erratic and strange to say the very least.

Beware. If you’re a journalist or reviewer or self-proclaimed ‘music addict who listens to all types of music’, this will bring all logic out the window. 5!There will be no rational explanation for the sounds and words you will experience tonight. No rhyme or reason for the despair inside your soul and the confusion in your heart; the fear that takes over you will be immense, and throughout it all, you will just have to ask yourself one question.

What will you do if it returns again?

https://anomolly.bandcamp.com/album/anomolly-oddmo-i-jones

(Lower East Side)

As a Millennial myself (1994), I’m programmed to be excited over any new Onyx drop. They have been a staple in Hip Hop since their 1993 debut album, and they’ve continued to influence and evolve the game in more ways than any other can say. Now they are back once again to prove why they are legends in this shit!

So, in this new project, it features production from Lord Nez, who helps bring life to these 13 tracks. Right off the bat, you can hear that strong hardcore East Coast influence with those thudding bass, crisp, and gritty instrumentation that will stay in your mind for days on end! 

I love the way Nez brings a level of depth and ‘larger than life’ atmosphere to this project, which helps transform this record from a showcase of hardcore hip hop to an ‘elegant and vibrant’ execution of the form. 

Working along this group, you always need to make sure as a producer you complement their unique style and cadence, and I feel Lord Rez found the perfect blend and middle group for each song and each specific bar and verse to make sure each word pops and is appreciated by the listener! 

At its core, Lord Nez’s production feels like a lifetime fan created it, someone who would rather die than do injustice to an Onyx album and makes sure to use his blood, sweat, and tears into creating the ultimate sound for the legends, and he’s done just that!

Onyx. Over the decades, what hasn’t been said about them already? The pioneers of the hardcore sound and the blueprints that everyone thinks of and looks to in re creating said sound. But over the years, it’s not like they’ve lost any of their aggressive or ruthless approach to music. I mean, the opening song to this album is ‘Blk Sknhds,’ which speaks for itself. From there, the album only gets heavier and more intense. 

Across this album, both Fredro (who I’ve associated lately with his phenomenal production credits) and Sticky Fingaz both absolutely nail their respective verses and flows. We get the trademark smart and powerful vocals and wordplay by Starr and the usual in-your-face and maniac performance by Sticky, and as a duo, they’ve been showcasing how chemistry should sound and how it should be pulled off.

Across this production, it feels like they both have stepped up their games. Both giving some of the best verses I’ve heard from both of them in a while, and with their psychopathic and raw energies across these tracks, it makes them even more memorable and worth the replay value!

Overall, this one is for all the die-hard Onyx fans out there who grew up on their music. This one brings back their original cadence, and with the murderous and masterfully crafted production, this one will definitely have everyone bopping trust! 

https://open.spotify.com/album/7gqgYjGkl5HKQgGkPXSeXS?si=761vnShUTGCann531–dnA

(Omnipotent Juice)

Once again, it’s that time to cover a new Here’s Johnny project, and what I’ve discovered is that with every different album I cover, it comes with new sounds and influences that range in style and theme. So, let’s take a look into what formula he has this time around!

This time around, there are 6 tracks with production by Omar Glomar, and together they release a project that has a more obscure, dark, and complex feel to it in comparison with the other album I just produced, which was many times more twisted and rough around the edges.

The production on here almost has a ‘Tri Hop’ feel to it with its uniquely vibrant and psychedelic nature of instrumentation. How the beats loop around in that ambient format and show signs of that ‘Illbient’ nature in its grooves and production.

I feel like this is definitely new territory for Johnny, and while in the past he’s experimented with more traditional or experimental music, he’s never dived into a project so tranquil, transformative, and adept in the word of psychedelic and damn near sonically ‘kaleidoscopic’ in the way it feels and is presented to the listener, definitely an original experience that I doubt anyone has heard in recent years!

Realising the tone shift in the production, Johnny has updated his game as well. Still possessing his trademark aggressive cadence in his voice, but this time is more focused on matching those vibrant notes and beats by making sure his flow and rhythm are equally loud and bombastic in nature!

His bars echo in the mind-bending atmosphere that is the production of this album, and his wordplay is equally as creative, powerful, and explosive in delivery. Even though this project is only 6 tracks long, he’s making use of every single second of it and putting out heartfelt performances that could rival anyone else in the game right now!

Overall, yet another dope release by Here’s Johnny and a great showing by Omar, and I can tell the future is bright with these two! 

https://ditcdcom.bandcamp.com/album/omnipotent-juice