(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

(CORNA STO DOG FOOD)

With what could be considered his darkest release yet, Here’s Johnny comes through with a 2024 record with Stadix, and together they release something so unhinged and unforgiving that it leaves an imprint on you long after the album is done!

So, 9 tracks long. Featuring producers’ credits with the likes of 

-Trust2o1

-Retrohype

-Slumlord Swigs

-Oni the Ancestor

-Stadix

And starting with that production, this thing is just simply put, disturbing. If I had to summarise the sound inspirations on this thing, it would be

-Drone

-Noise

-Experimental

-Grime

-Boom Bap

And it’s not only the fact that these specific sounds are utilised; it’s the way that’s done. The way it’s been distorted and toned. The heaviness of the production and the depth in which these elements have been portrayed is something I don’t remember hearing in the 2024 period. One specific moment that stood out to me is the ending of track 7 ‘SUEGRA’S BACKYARD’, continuing into track 8 ‘JOHNNY’S RAGE!’ And the way the beat morphs into this diabolical skeletal rhythm that just drones out, inviting Johnny to pull off some truly incredible bar work and performances.

Now speaking of Johnny. Someone I’ve covered many times in the past, and honestly, although he stood out in all former projects, this one I feel he’s exceeded the most! Just paired with this ridiculous production, he has transformed the man into the literal embodiment of Jack Torrance, and makes his ‘Here’s Johnny’ line that much more believable and terrifying.

He has this raw, uncompromising, direct flow that makes his sound like a man possessed. It also sounds like the vocals haven’t been mastered and just left rough around the edges to complement the instrumentals! Now I can’t confirm that is the case, but it does sound like it! And as I spoke about above, his lines directly

On the end of

Track 7 to track 8 was absolutely bone-chilling. It sounded like he didn’t give a fuck about timing or studio time or anything except letting his inner demons come out through his bars, and it’s something I could replay till the end of time, absolutely incredible.

But as per usual, his flow, cadence, wordplay, and performance are all top-notch. He’s the kind of artist that can morph and fit any production style you put in front of him and make it work; it just so happens he’s decided to become a man enraged with this release!

If you haven’t checked it out, make sure you don’t fucking miss out! 

https://m25music.bandcamp.com/album/corna-sto-dog-food

(Stadium Lo Champions)

Sometimes, an album will drop that doesn’t need any promotion by the artists involved. A project so big and anticipated that once it drops, the culture will move the product on your behalf. This is such an album, one many have been on the edge of their seats for, and now that it’s here, does it live up to the hype? Let’s talk about it!

So, this is the latest collaboration album between rapper Raz Fresco and producer FutureWave, who many consider to be 2024’s greatest producer, with the amount of modern-day classics he dropped, a few of them being:

-STONE TEMPLE PYREX -Featuring Estee Nack

-BUSHMAN BODEGA – Featuring Daniel Son

-DIRTWAVE VOL I&II -Featuring Pro Dillinger

And now he’s back with his 2025 joint, and this time around, he brings your usual gang of names such as:

-Daniel Son

-Sonnyjim

-Gritfall

-Estee Nack

– Al. Divino

-The 6th Letter

And across these 16 tracks, we see Future Wave take the stone-cold grimy approach he’s infamous for and somehow further enhance, elevate, and transform into something that sounds larger than life and, dare I say, polished. He’s literally performing a magic trick, like turning grit into smooth out of pure mastery and impeccable technique and execution of his production talent.

From the opening narrative intro about the history of the Olympics, and then it goes into one of the best songs I’ve heard this year beat-wise. ‘Mind Light’ has this eerier yet beautiful vibe to it with the use of that female vocal loop that’s been edited and chipmunked, and when you pair that with that heavy bass gargantuan boom Bap beat, it somehow makes the perfect chemistry where the two opposite spectrums work together to create an atmosphere that’s absolutely infectious.

You hear across the whole album different voice clips about people and their varied situations, which help give this album that extra level of depth and emotion, but regardless of that, each instrumental on this thing is absolutely incredible.

Not a flaw to point out in sight, banger after banger for 16 tracks in a row. At this point, it just feels like FutureWave is just doing extra side missions in his career after using last year to run multiple victory laps over the industry and now is just dropping these LP’s as a fun side game to rub it in the faces of those still trying to find the finish line.

Far from his first working with FutureWave , Raz comes into this thing hot and ready to spit. He’s coming for blood, and he leaves soaking in it. With each verse, he’s dropping his trademark methodical approach with his raspy voice and cadence that makes you realise ‘he ain’t the one to fuck with’ and to keep your distance. 

Regardless of the beat, he drops flow so smooth that it feels effortless for him. His witty and clever wordplay and master penmanship are felt bar for bar across this project with him having the ability to make the listeners hang on every word he says like magic.

As I stated above, he’s not alone. In fact, he’s with a lot of the artists Wave produced for the year prior and names who are giants in this game, but even so and as brutal as they were, Raz showcases his lethal, cold-blooded, and calculated verses that could match anyone of those names and anyone going right now, which is saying a lot! Considering who’s involved.

All in all, to say this album lives up to the hype could be the biggest understatement of the year so far! The production is beyond flawless, the verses are phenomenal, and the features kill as only they can! If you ain’t fucking with this album, then I ain’t fucking with you! Period! 

https://open.spotify.com/album/1qufNEugTd3nyA5Iue1RSZ?si=RVEqusTNSxqY7QHgw1XVsg

(Crystal Castles)

There’s a shortlist of producers that actually get me hyped when they release. The kind of hype that feels like an early Christmas, and my man Swab is one of those names. Every new drop makes my day, and today is absolutely no exception! Let’s talk about it!

So, this is the latest record by Swab featuring General Backpain. A man who I admittedly don’t have much knowledge of prior to this release, but anyone who sides with Swab on a full-length project is guaranteed to be dope, and that is exactly what this was.

Starting with the production, over the years we’ve heard Swab try this hand at a variety of different sounds, cuts, and samples. I’m certain you can point at any genre of music, and he’s probably had his toes in all of them to some extent. But after multiple listens, if I had to summarise this album in one sentence, it would be 

(A Love Letter To The Classic Era)

The production feels refined yet masterful. It feels more skeletal than other projects (especially compared to his record earlier in the year with Supreme Cerebral, which had a more up-front, in-your-face boom bap feel to it, while this one feels elegantly down-to-earth and yet done with the best technique anyone could ever do it).

I love the crisp and clean instrumentation across the album and the atmosphere that’s built across this. It’s clear Swab was going for a certain soundscape for this breakout record with General, and one he nailed perfectly!

Now, onto the star in question. General Backpain, a man who I’m starting my discovery of today and what expectations he has to fill working with a legend, but as anticipated, he hit the home run on this project!

Has this raspy and rugged voice that is well fitted for a record like this. I love his raw and deep wordplay with his glass shattering flow and his witty yet lethal lyricism. When rhyming over these beats he brings an undeniable aura which each verse that makes you hang on every word and bar spit. His level of confidence and ability can be felt track to track and his passion for this game can be heard.

I love how throughout his verses he just feels like he’s strolling through the instrumentals, taking his time letting his words breathe because he knows he’s the man and there’s no reason to rush it! He has this methodical pace and tempo over the tracks that is just infectious to listen to, nothing worse then an artist whose trusting to rush things and ruining the song or album but thankfully we don’t have to worry about that with this one! 

Overall, this is easily one of the dopest albums to come out this year (no surprise) the production is immaculate and the rapping the same. This 

album was worth its weight in gold!

Shoutout to the features!

-Lupus Dei

-Killy Shoot

-Chuck Chan 

https://open.spotify.com/album/6MBjUxbDUzeH6pCtkh1mud?si=rKMnXa6NRFynO4WX6It-7w