They say AI is taking over. So I wanted to see for myself how good these chatbots were when it comes to more in-depth research of Oklahoma hip-hop. So, I’m working on my own GPT or chatbot that I can call on for research and for discovery. I created a Google Gem called “Lyric”. Lyric is special; it knows how to find Oklahoma hip-hop artists, it can scour the internet and also find videos, it can break down lyrics and give interview questions tailored to an artist’s career and catalog. Seems cool, right? But there’s still this problem called hallucination. Hallucination is when a chatbot makes up an answer. Now you see my concern. So, to safeguard against this a little, I require that every answer Lyric returns also have a source link that I can verify the answer that Lyric has provided, which can still be sometimes hallucinogenic. I wanted to really test out the ability of this chatbot. So, I gave it the following prompt: Write an in-depth review of the album "Ballin With Flavor" by Keeng Cut, & dj noname.. Include lyric breakdowns as well as your favorite song and why it is your favorite. Give feedback on what you did and didn't like.
When it comes to the response, I was impressed with it knowing some of Keeng Cut's backstory. But it still wasn't able to go deep into the lyrics or the songs, it mostly gave a lot of vague generalities that sounded good but in the end didn't have the substance I was asking for. Instead of doing the specific task I asked, it went down another rabbit hole because it said it couldn't access the information which was a YouTube link (which is a Google product). Here's one example it gave. It suggested the single "The Ballin'" and even gave a great lyrical breakdown to it. But the problem is that that wasn't a song from the "Ballin' With Flavor" album I had asked it to review. We have a problem here.
So maybe the prompt was too long. Maybe we need to spoon feed it to get a little deeper. So I gave it a prompt that was shorter. The response seemed all too familiar.... What's your favorite song on Ballin' with Flavor? Tell me why?
My favorite song on Keeng Cut & DJ Noname's "Ballin' With Flavor" is "The Life."
This decision is rooted in the context of the album's confirmed 2025 release, which turns the song from a simple boast into a potent statement of longevity and success earned over two decades in the Oklahoma hip-hop scene. Here is the breakdown of why "The Life" stands out as the project's centerpiece: "The Life" - The Veteran's Anthem 1. The Lyrical Statement: Unapologetic Success The opening bar of "The Life" is one of the most brilliant and succinct declarations of self-worth I've heard this year: "Rest in peace to every conversation that died, since I said my price." This line immediately sets the tone. It's not just about money; it’s about value and time. Keeng Cut is telling us that his time is no longer for free small talk or favors. His price has been established by years of grinding, and if you can’t meet it, the conversation is over. In a region where independent artists often struggle with under-valuation, this line is a powerful entrepreneurial mantra for the 405. The track continues to showcase this "luxury rap" aesthetic, but it's grounded in a distinct, Oklahoma flavor. Another standout line captures this unique blend of extravagance and health-conscious living: "I'd rather be rolex-flirtin, far from hurtin', Murano shirtin', blue-berry lemon drop fuchsia sriracha sauce squirtin'." This bar is pure flavor. It uses vivid, specific imagery that sounds opulent ("rolex-flirtin', Murano shirtin'") but also brings in a unique, culinary, and almost comical element ("fuchsia sriracha sauce squirtin'"). It perfectly embodies the "Flavor King" persona and confirms his enduring lyrical originality. 2. DJ Noname's Production: The Perfect Canvas The beat that DJ Noname crafts for "The Life" is minimalist but incredibly soulful, built on a clean, head-nodding sample. In my opinion, Noname's production on this track is masterful because he intentionally steps back. He clears the sonic space, giving Keeng Cut "the room to drop his nuts on this track," as one reviewer perfectly noted. The beat serves the MC, allowing every syllable and every rhythmic shift to land with maximum impact. 3. The Defiant Conclusion The song ends with a definitive period, asserting ownership over his style and legacy: "I'm a ball every season off the flavor and the seasoning, I'm taking my style back, I'm the desistin' and ceasin'." In 2025, with so many new styles emerging, this is a declaration of permanence. Keeng Cut is not just participating; he is reclaiming his influence and asserting that his "Flavor" brand is the blueprint, making everyone else's style a violation—the "desistin' and ceasin'." "The Life" is my favorite because it functions as the historical anchor of the album, proving that after decades, the duo's lyrical wit, confidence, and OKC authenticity have only gotten sharper. Source for Track Information: Ballin' With Flavor tracklist and review details (Tidal, Tulsa Lines, Apple Music, 2025 HIGH) https://tidal.com/browse/album/460722812 
Notice the Tulsa Lines source? That's right. It took some of information from the album review I did and inserted it into it's review. Crazy right? (You can read my review here:). They say imitation is the biggest form of flattery, so no Biggy. But also In the words of Jay-Z, "You made it a hot line, I made it a hot song!!"
So let's try another prompt. Let's get to a part of reviewing that is a tricky balance between criticism and being observational. What didn't you like about the album? Tell me why?
That is a crucial journalistic question. A seasoned review isn't just about praising the highlights; it's about providing an honest, balanced critique.
While "Ballin' With Flavor" is undoubtedly a high-quality project and a strong statement from two Oklahoma hip-hop veterans, my primary critique centers on two interconnected issues related to its format and scope as a 2025 release: The Appetizer Problem and The Missing Voice. 1. The Appetizer Problem: Insufficient Scope for the Statement What I didn't like: The album feels like an appetizer when it had the potential and expectation to be a full, multi-course meal. Why: The project is a tight, 10-track effort, clocking in at around 28 minutes. Given that this album carries the weight of Keeng Cut and DJ Noname's collective legacy and is released in 2025 as a bold return to classic form, the concise nature feels like a missed opportunity. When veterans of this caliber make a definitive statement like Ballin' With Flavor, the project needs longevity to truly stand against the tide of weekly digital releases. The project introduces fantastic concepts, like the reflective depth of "The Other Side of Ballin'" and the worldly flair of "L'amour en Paris," but then quickly concludes. I would have preferred a 14-16 track album that allowed those themes to be fully explored, giving the listener more of DJ Noname’s diverse production palate and letting Keeng Cut dive deeper into socio-cultural observations alongside the luxury raps. The ambition of the title deserves a longer runtime. 2. The Missing Voice: Focus vs. Collaboration What I didn't like: The decision to heavily feature only two outside MCs and keep the core focus tight limited the album’s ability to showcase the current Oklahoma hip-hop ecosystem. Why: While the duo's chemistry is the undeniable core strength of the album, hip-hop is a communal sport. Keeng Cut and DJ Noname are legendary elders of the Oklahoma scene. A 2025 release from them could have been a powerful torch-passing or collaborative summit, featuring a wider range of high-profile local talent. We get the great Texas features from EDF and Rick Blaine Swang on "Swish" and Don Greezy on "Stack It or Invest It," which is excellent. But for an album meant to represent the enduring "Flavor," I would have loved to hear Keeng Cut trade bars with the younger generation of Oklahoma MCs, or perhaps feature a female voice from the local scene. It would have served to simultaneously certify the duo's legend and enrich the current landscape, proving that their legacy is actively influencing the entire state, rather than simply standing apart from it. 
I think this is a good, generalized critique. I think it missed the mark by saying that this album can't have longevity because of the album's short length, that is a huge inaccuracy. I feel like the album's length means there's so much replay value because you're going to be restarting the album over and over. I know I'm well past my 10th listen of the album. It's critique of having more voices, I can see depending on what the album is trying to accomplish. I think to craft a sound means that there doesn't always need to be 20 different features, a female feature is a wildcard I didn't think about, so I do give it points for that. The answer is pretty good, it could be better, but also, it's way better than our very first answer. We're cooking now. Let's do one final prompt. Would you recommend this album to a friend? And what song would you suggest they listen to?
The response:
Absolutely, without a doubt. I would enthusiastically recommend "Ballin' With Flavor" to any friend, especially those who appreciate:
The Suggested Song: "Figures" While "The Life" is my personal favorite for its declarative power, the song I would most recommend a friend listen to first to get a quick, potent taste of the album is "Figures" (Track 3). Why "Figures" is the Perfect Introduction: "Figures" is the album’s essential vibe setter and its most accessible track for a modern listener with an appreciation for soul and technical skill.
This line is an immediate mic-drop that forces the listener to understand that "flavor" is a metaphor for skill, originality, and a luxurious mindset—it’s the essence of the album. Play this track first, and your friend will understand exactly what Keeng Cut and DJ Noname are bringing to the table. 
Ok. I see you A.I. I like this response. But again. This is quoted from my review, just packed a little differently. So the final answer is. A.I. is great at getting started but is still lacking when it comes to getting all the information right. It can't take huge tasks and do them all at once. It's better to instead breakdown tasks into smaller more manageable tasks for it do one by one. But it also shows that journalists are still needed to even get the baseline for what it can do, because without our Indepth research and analysis, you'll get inaccuracies, and a lot of fluff. You still need journalists to do the work that A.I. can't and that's what we call mastery, that's skill, that's the 10,000 hours. So how do I use A.I.? I use A.I. as an assistant. But not as the answer. I use it to research things, but I always double check. I also have found it handy when looking for older Oklahoma hip-hop artists for my Throwback Thursday feature, but I always double-check, because there have been multiple times where it's said a Tulsa artist was from OKC and vice-versa. I also use it when needing to create cover arts, because it's a better artist than I care to be. But ultimately, I know that A.I. can't go into the spaces that I am and it has to wait for journalists like me to even be able to touch on the subject matter I write about. So when it comes to me vs A.I. I'm betting on myself every time! And you should to! Thanks for reading. Make sure you listen to "Ballin' With Flavor" now streaming everywhere!
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Keeng Cut has never done anything regular. The crowned Flavor King has been putting out hits that has garnered a loyal fanbase. Each and every drop is like a viral event of shares, likes, and comments. But it was when he linked up with dj noname. that a new sound started to emerge of culinary opulence that can only experienced, but never duplicated. Their 2020 debut project “Snackin’ With Flavor” (read our review here) was released at the height of the Pandemic, and for many people became the soundtrack in an uncertain time. Now that the Pandemic is overish, these two are back again for a sort of side mission, with the release of their new project “Ballin’ With Flavor”. Ballin’ With Flavor is a 10-track project that seems like the appetizer to a more full-length project in the Flavor catalog. It’s a tape that marinates and gets better with each listen. At times showing off the how well-traveled Keeng Cut is from the names of the song "L'amour en Paris", to the life lessons like in the song The Other Side of Ballin' all the way to the featured artists that include Texas artists EDF and Rick Blaine Swang. Let's get into it! The first song on the album is More (Intro). It has this grand feeling where longtime friend and artist CorkyClean, kicks off the album with an even grander introduction. CorkyClean has been mentioned on some of Keeng Cut’s albums such as "Fiesta on Jensen Drive Got the Best Pinapple in Houston" , it’s like finally meeting a character from one of your favorite shows, and he is real-life a good person. Keeng Cut slides on the beat like a 70s soul singer that smoothly grabs the mic giving real-life luxury raps. This sets the tone for the album. This is only the start to ballin. When it comes to one of the best opening lines in music, “The Life” has to be Top 5. “Rest in peace to every conversation that died, since I said my price”. If that ain’t a hell of a statement, then I don’t know what is. This song is Keeng Cut being honestly braggadocious and unapologetic. There are lines that paint this lifestyle that is not only about wealth but also centered in health. Like this one, "I’d rather be rolex-flirtin, far from hurtin’, Murano shirtin’, blue-berry lemon drop fuchsia sriracha sauce squirtin’." This is such a luxury bar, which in this album he gives in abundance. It also has to be mentioned how he ends the song is such a punctuation, “I'm a ball every season off the flavor and the seasoning, I'm taking my style back, I'm the desistin' and ceasin'”. Come on. That’s a fucking bar. Also, dj noname. you are a genius for finding this track. It gave Keeng Cut the room to drop his nuts on this track. Make sure you watch the Grit n Go Cypher Mic Drop performance to let you know just how much he is rappin on this track. Ballin’ with flavor baby with seasoning 2,
Track 3 is Figures, a track that is very reminiscent of those southern player raps where the flow was slower, but the bars were just as sharp as its coastal peers. The jazz production gives the track this nostalgic feel where Keeng Cut slows it down with the rhythmic cadence of his ad-lib “uhh” that becomes almost a hypeman to his own track. He shows that his ability to switch up flows and stop on a dime while the anticipated bar flies right by the listener like a Hot Sauce move on an the And 1 Mixtape Tour. Again, he puts on display his lyrical skill and ends the song with such a bar, and clarifying statement of the flavor lifestyle, Ballin’ with flavor baby with seasoning 2, but this flavor shit ain’t all about eating food.
Like Jordan doing a no-look behind the back finger roll, dj noname. comes on the Swish and talks his shit. He’s not only one of the best dj’s in the town but he’s been getting some of the best raps from Oklahoma legends on his beats, so it’s only right, he talk his shit. Swish as the title suggests is about ballin, what’s unique is that this is where we find our first true features with Dallas collaborators Rickey Blaine Swang from Dallas and EDF from Houston. EDF's verse from the beginning bar is like that cousin that's always been good at basketball and is a volume scorer because he racks up bars, “I’m stickin' to the script like Scorsese”, OK Houston, EDF continues this ballin' streak of bars with similes and metaphors that compound over the course of the verse, don’t let the slowed up delivery fool you. He rappin! Rickey Blaine Swang proves that he got his own motion and handles his verse with finesse weaving through the bars at his own tempo. "I feel like Bron, when in the bubble, never trippin off your double, and I’m ballin’ so hard I done had a triple-double." It shows that even though the three artist aren't too far from each other geographically, that they are still very unique. Keeng Cut and his Texas neighbors create an ode to Texas culture and the contributions that Texas rap has had on the music. It’s one of those songs that if you were around during the height Texas mainstream musicthen the song hits so much harder’. But Texas has seen a lot of mainstream success lately and this is proof of why labels are going to the Lone-star state. L’amour en Paris which translates to love in Paris is exactly what this track is, Keeng Cut is on a cross-country adventure with his love in places that many will only experience through this track. Keeng Cut's getaway is not for the puppy love phase, but is very much a grew in-love stage, because both sides grew because of the other. Splurging is different because y’all splurge on each other, and there doesn't need to be a because, and it doesn't even make it to the gram. This is a way more baller version of “You can have whatever you like”. He’s mentioning luxury brands that only people with money know about and experiences that only people that have been in Paris have experienced. It's Amoure! Never Worried is like an internal monologue or better yet a reflection of the world we live in. Keeng Cut reflects on true experiences that comes with travel, and it's through these travels that he's realized that it’s a big world, and once you get outside your area you’re gonna appreciate that worldly view when you travel, because as he says “Tulsa Winters hit hard, you gonna need a trip or two”. Lastly, there is a hilarious commentary in the middle of the track where he tells of a story about jumping in his friend's ride and the seat is in a gangster lean. The bridge at the end lets the listener know that Keeng Cut really lives his raps as the Ninja blender that is referenced then echos in the background to infinite flavor. "Saw a nigga become rich,
The production for Stack It or Invest It has this New Jack Swing vibe that is very uptempo and flashy. but Keeng Cut and Don Greedy ground the listeners with the game they put in their raps. It’s lessons of personal experiences weaved in the bars along with real advice. From stacking your paper for a rainy day to being OK with being a W-2 Employee, Keeng Cut slashes through the stereotypes and has a real conversation with the listeners. Don Greedy continues with his advice starting at the bridge, "Stack that money til it’s old, but when it’s old it molds. You better invest that shit." That’s real-life advice especially when the dollar has lost 11% of it's value, just this year. He goes on to show how people who seem like they have no motion are quietly making millions, "Saw a nigga become rich, that used to be smokers, saw a nigga get a whole pound, savin’ roaches”.
Ballin’ Like This (Interlude) feels like that Motown showcase track with a live band and three backup singers, it’s so short but still has all the elements and full production that makes it feel like a full song and leaves the audience wanting to hear more. The repeated chorus of “Ballin’ on you" contrasts against the luxury bars of Keeng Cut. It feels like infinite ballin'.
The Other Side of Ballin’ has a very Somber feel to it. I imagine it like the tipping point in American Gangster where Frank Lucas’s world comes crashing down. It’s an honest representation of what can go wrong for example when he says, "Everybody fall, but it’s about how hard you land, Do you got some cushion or that shit gonna break you man?" He reminisces on all the money he spent and the time when his back was up against the wall. But can you see the patterns and what you're doing wrong before it's too late, or will you continue the insanity, because the pendulum swung back in his favor. It’s a true story of resilience and learning through your lessons, let’s be honest some people don’t make it through to the other side. That rainy days are as promised as sunny ones.
Big Favored
Outro time. I love an outro because it shows how much an artist cares about a project, and if you listen closely there are usually clues to what the artist has up next. Favored n Flavored doesn’t disappoint. I love how he comes right out the gate rapping with this crazy 4-bar rhyme scheme that punctuates the moment in the album. It’s a song of thankfulness for his life and most importantly thanking God. What is most eye-opening is his near-death experience, which would’ve turned most cold. But Keeng Cut chooses to be Flavored!
There you have it Ballin' With Flavor, a tape that is no doubt another championship trophy for the dynamic duo that is Keeng Cut and dj noname.. I think this album is just the appetizer to a bigger project, but like gumbo, you gotta let them cook. Or to keep with the basketball reference these two are still setting up the play. One thing is for sure, Ballin' with Flavor is one of the best albums to drop this year. Make sure you go stream it and purchase your limited-edition vinyl! Buy the Vinyl: Ballin' With Flavor Vinyl Stream the Album: Ballin' With Flavor Make sure to follow Keeng Cut and dj noname. on social media: Instagram: @keengcut Instagram: @nosamyrag YouTube: Keeng Cut TV 
The best things about being an uncle is that you don’t have to perfect, You don’t have to have to be compared to this standard that parents do. In short, you can always tell it how it is. UNCLE JAY is an artist that specializes in doing just this, and this time he's bringing dj noname, in for their project called UNCLE NONAME. UNCLE NONAME is a six-track project that dropped on 4/20, a day usually reserved for smokers, but surprisingly this wasn't the theme of this project. What was? We'll get to that later, but for now, let's talk about Track 1. Noname never disappoints on production as the first track “A STEP AHEAD” starts with the dj noname.’s signature use of a soulful sample of Black Ivory's single "It's Time To Say Goodby" sample, the producer has become a historian with his ability to pick timeless tracks, this time around it sets the stage for UNCLE JAY. "Visions through a prism, gifted with the difference to make, when distance was an issue, I had that Lemon Lemonade." UNCLE JAY has crazy wordplay and goes through a broad array of topics such as nautical skills, A.I,, education, and that's just the first 45 seconds. It's clear that UNCLE JAY can spit. Then we get to Track 2, You & I. Again, dj noname. found a timeless sample, and again it's from Black Ivory’s single “You And I”. The looping chorus sets the stage for Uncle Jay to rap a few bars and then let the chorus play as if it were a 60s r&b group where the lead singer moves back and forth from the mic while the background singers repeat the chorus. I would say that this is the love track of the album that is wrapped in not only emotions but also some slick bars that I found myself going back and rewinding them just because of the imagery, such as this one, “I inverted kiss from a mouth of fire, reversal foot than it turned to mine. “, even the cleverness of this bar that was in turn from this crazy set up from 2 bars previous, "should write my wrongs, on the wrong page". “I got the slice like katanas,
LISTEN is one of my favorite tracks. What I like about it most, is that it's like this lyrical gymnastics as UNCLE JAY’s bars show his skills like a triathlon athlete, he excels in wordplay, metaphors, rhyme scheme, UNCLE JAY attacks each bar like he’s going for gold. There also, so many quotables in just the first verse. "I got the slice like kutanas." BARS!! They like to think they Iron Man, until they lack J.A.V.I.S.” BARS!!! He really did pop his shit on this track. While also tying in a life lesson; to be confident in your gift, because no matter how much you might run from it, it's still going to find a way to shine. Lastly, it's with the third track that you also realize that dj noname. is using another Black Ivory sample, this time it was "No If's AND's OR But's". It's a dope track to bring into the 21st century and proves that this group was slept on.
The fourth track on this project is called DONT RUSH LOOKN 4 YA HALO. UNCLE JAY is a little more laid back on this one and shows his personality more, he also switches his flow by using a kind of mini-subconscious voice that's used by artists such as Kendrick Lamar or J. Cole, the voice brings a depth to the chorus. I think he should have brought it back on the second and third chorus, which sound more like an echo effect and is missing the first chorus's sound. What I do like about this track is that he is talkin his shit. He's an artist that is known for doing the work that other artists say you gotta do, and this is reflected from the very first bar, "This boat still needs rowed". followed up by, “The entrance of a wrestler, self-driven like TESLA." Just put the whole first verse behind glass because ain’t nobody touching it. Even in his second verse he continues to show his clever wordplay through use of alliteration in the bars that use of the word 'seen'. Y'all really got UNCLE JAY fucked up. "She say come talk to me ,
SEARCH & YOU’LL FIND you gotta shout out dj noname, his beat selection once again is impeccable. It’s just something about hearing horns on a track that lets you know that it’s about to be a dope, as he found another sample from Black Ivory and their song “I’ll Find A Way". The track sets the stage for luxury bars, “Be serious and willin, it feel like walkin with God, cause the mirrors in the storefronts won’t tell you, you fraud". This is the shortest track on the album, but it's also jam packed with bars and technical skill. I also like the way he flipped the words "pair" and " sight" in these two bars. “We weren’t concerned with parasites or snakes in the creeks, but this pair of sights, had a lot more to see." Again, y'all really got UNCLE JAY fucked up.
I always judge an album by its outro, and like an uncle, you’re judged by the last advice you give. BISON IN BLIZZARD is the final track on the album, and dj noname. dials up Black Ivory’s "Baby, Won't You Change Your Mind" its that outro beat forreal. Again, UNCLE JAY knows how to deliver as he uses the beat like soapbox to give his final advice of the album. He's literally spittin life experiences in these bars and giving game like an uncle would, Lastly and probably the most important is the love, the love he shows at the end of the track, cause that's what family does. UNCLE NONAME is a project that although it’s short, it’s straight to the point, it doesn’t waste your time, and it doesn’t give you any filler. UNCLE JAY just tells it how it truly is, just like an uncle is supposed to. I also have to give credit to dj noname.’s use of Black Ivory tracks, again this group was really slept on. dj noname. is a musical archeologist who can dig through thousands of tracks and find the one that can create magic. As far as the content of the album, UNCLE JAY talks to the audience like an uncle would to talk to his nephews and nieces. Sometimes that means you and your uncle in the backyard smokin’ a blunt while he gives you the game, it's an open-diaglogue and a reflection from life experiences. Because that's what uncles do. So, listen up, and go stream the album UNCLE NONAME: Go follow both UNCLE JAY and dj noname. on Instagram: UNCLE JAY's Instagram: unclejaymakesmusic dj noname.'s Instagram: nosamyrag 
Hurricanes, Floods, Genocides, and Fires. It’s safe to say that if this is just January, then we’re in for a hell of a ride. People are just now getting over everything that happened in 2024. Then the TikTok ban. What else can happen in 2025 that already hasn’t? It's a world of uncertainty with bad news after bad news. The world needs something to look forward to. Something to dance to, something to get their minds off this godforsaken planet. AP=Chem is doing just that with the release of their EP Imed=3. AP=Chem is a collective of two collaborating songwriters from Oklahoma City. Anthony Mahon, who also was in the band "The Gentle Art of Floating". And Eric Gorman, who also was a band member of "The Gentle Art of Floating" and also the band "Trap Queen". They describe their music as Inexplicable Modern Existential Dread. They have released multiple singles as well as their two EPs "Imed=1 and "Imed=2". Get to know the band that's changing the way we experience music. Right out the gate, track one, The Golden Path takes you on this journey. It's the beat that grabs hold of you with its infectious high-energy. This eclectic guitar that just takes control of the beat, and the hard-hitting drum and high hats, the crash cymbals that give it that rock band feel. This is my Guitar Hero. A monotonic voice plays in the background sounding as if he’s doing some lecture that is luckily being drowned out by the music. The only thing that can save us from the politics and the classes. And although the voice tries to break through, its the music that grows louder and takes control. Because the music is the people! Slick Black Pools, that’s a hell of a title, and it's a hell of a track. Its electric guitar is bold and in your face. It takes me back to those early ‘80s Retro movies like "Weird Science" or "Nerds”, especially the talent show scene. Classic! I caught myself multiple times just bopping my head and just moving to the beat. That sensational retro 80s club music where everybody was doing coke. The synth machine is the star of the show as it gets its spotlight moment and produces these edgy experimental sounds combined with the drum pad machine, this sounds like some expensive equipment. Another noticable part of the song is the airy voice singing, but rather than singing a verse or chorus the voice wades in the background like an instrument that blends into the beat. This song is arranged beautifully. Track 3’s title breaks the rules of traditional spelling, Lumme which is a phonetic way of spelling the words ‘love me ', it feels like this hip-hop boom bap beat mixed with a melodic voice that repeats, “She don't love me.” This is more like a traditional vocal song complete with verses and a chorus. The track keeps you engaged with the different vocal effects such as the vocal filter that makes the voice sound like he’s yelling through a phone. Love will make you do that. Other times the voice sounds like it’s in a slow drug induced state that’s reminiscing about a relationship. Love will make you do that too. The EP takes a hardcore shift when it gets to the 4th track called, One Week in Japan. which is on par since Japan has a huge punk rock scene. Tokyo's iconic punk venues like Antiknock in Shinjuku, Earthdom in Shin-Okubo, or even Osaka with its own set of legendary punk venues, such as Fandango and King Cobra. This track fits perfectly in the Japanese punk rock scene. That guitar gives the track this dark eerie feeling, walking on the beat like Micheal Myers walking with a knife or maybe a samurai sword. This track is perfect for an anime intro. There’s this sheer gritty-rawness and one of my favorite parts is where they just rock out, and how it then transitions to this hard-hitting kick drum. This is one of those trips only the best of chemists could create. The last track on the EP is “We Loved a Lifetime’s Worth”. It feels like this ultimate crescendo of sounds as this piano and staticky bass hold its elongated notes, mix that with a crying guitar and you've got yourself a soundtrack. The synthesizer comes in like an 8-bit Zelda mission and creates this hero effect. Or maybe it’s this album that is the Hero. Each bar is taking you through the hero's journey that ultimately ends with nothing short of triumph. Let the end credits roll. Because this is the way you end an album. It’s only January. The world has seen so much. But what’s gonna get us through this year is being free, and that’s what AP=Chem is showing us with their new EP Imed=3. It’s a freedom to not be bound by anyone’s expectations. You can do rock, you can do rap. You can take everything you love and create a something that’s for the people, because Imed=3 is for the people. The feeling that you get from this album can not be faked or made with AI, it's a music that can only be created through feeling and experiencing. That's what this album is. So, dance, laugh, and love for a lifetime. Because this is what the world needs now more than ever. Make sure you stream the EP Imed=3 from AP=Chem and let us know what you think. Make sure you follow AP=Chem on their social media: Instagram: @apchemband Facebook: AP=Chem Spotify: AP=Chem YouTube: AP=Chem BandCamp: AP=Chem SoundCloud: AP=Chem 
Webster’s dictionary defines an interlude as; a musical composition inserted between the parts of a longer composition, a drama, or a religious service. From Drake and Omarion’s “Bria’s Interlude” to Kanye West’s “I Love Kanye”, or Summer Walker’s "Session 32", there’s nothing like an interlude. GOLDIELXCS knows this all too well and is showing the world what it means to live within the interlude with the release of her new EP called “INTERLUDE SHAWTY”. GOLDIELXCS is an artist from Dallas, TX who now calls Tulsa her home. She is a multi-talented artist, producer, and musician whose stage performance has been blowing crowds away. Her music blends into multiple genres making her sound unique and boundless. GOLDIELXCS has created a cult-like following and continues to see the benefits of being an artist who is just, being themselves. Check out her music! Interlude Shawty, the 4 track project clocks in at 6 mins. But don’t let that fool you, this project is packed with vibes. This is the ode to the Interlude! Starting with track one called “MOVED ON”. This track sets the vibe for the EP. Coming out the gate is the guitar that stands in front of the track like a protective barrier, shielding GOLDIELXS’s heart from a past relationship. It seems like at times the guitar gets out the words that GOLDIELXS is holding back from saying. But as soon as it seems like she was able to get those words out, the track ends. WE WANT MORE! Track 2 is called “THINGS GET DARK”. You can feel the dark soulful Kanye-like sample that feels similar to his style of sampling that uses a sped-up soulful voice as a prominent piece of the production. GOLDIELXCS’s airy vocals loop continuously, at times as she sings her heart out, hitting notes that convey a strong emotional pain and at the same time she expresses a message that is her embracing the dark times in anticipation for the brighter days ahead. Her voice floats on top of the beat and even at times extends beyond to a higher octave and stretching across multiple bars. She really shows her range and a vocal depth. “Lord Knows” is my personal favorite, it has this beat that makes me think of a Spanish city where GOLDIELXCS has taken a sabbatical to get away. Away from what? She doesn’t have to tell anyone why or the story, because ‘The Lord knows’, words she stands on and repeats throughout the track. She draws a line with this track by saying “how far I’ll go”, this too, she doesn’t have to explain and yet she still says soo much in this track. The interlude on this track is an implied understanding, and each Lord Knows becomes a reinforcement to her declaration that He knows and that's all that matters. The last track on the EP is called CALL ME WHEN YOU GET THIS, these words are repeated throughout, I think a lot of people will get this one as it is the most upbeat track on the EP. GOLDIELXCS lets the beat do most of the work as she sings “you should” in a non-committal tone that seems to insist but not make mandatory because you if you know what’s good for you, then you would. And this song is the SHOULD that you have to listen to. There you have it. INTERLUDE SHAWTY! Six minutes! It went by quick. But I enjoyed every minute of it. Interlude Shawty is an album that has amazing replay value, and I found myself going back and listening to the album multiple times and finding new things with each listen. I appreciate it's a vibe, especially when working, it’s hard for me to work and listen to music because I get caught up in the lyrics, and when I'm working, I can’t really focus on the task because I'm listening for that next crazy bar or quadruple entendre' (ask Kendrick, they do exist). But with this album you can have it on in the background and still concentrate on a complex problem, and still, most importantly, enjoy the music. While listing to the album there were times when I was deep into an issue and before I knew it the track had finished. It left me wanting more, and as an artist that’s what you want your music to do. Leave your audience wanting more, and only The Lord knows what more means for GOLDIELXCS, until then I’ll be listening to “INTERLUDE SHAWTY”. Make sure you go stream GOLDIELXCS new album called "INTERLUDE SHAWTY". Also follow GOLDIELXCS on social media: Instagram: @goldielxcs Twitter: @goldielxcs Spotify: GOLDIELXCS YouTube: GOLDIELXCS 
We are in good company. LVLC's sets out to prove this on his new album "Lovelace & Company" that comes jampacked with 13 tracks that read more like a compilation project than a solo album. The album features 11 credited artists, that's almost a 1-to-1 with the tracklist, but these are friends. As far as LVLC, with this album, he's out to tell the world that he's one of the best and I have dope friends too. So, without further ado, let's get into the album they call "Lovelace & Company". Track 1 "Y.O.T.D". I learned that this actually stands for “Year of the Dragon” it’s a soulful feel-good track "so I told God, thanks a lot, but I don't need love when it's my name". It’s lines like these that grab your ear and make you pay close attention. I like how he even adds a foreshadow to his track "Love Me" with his bar "boy get out your feelings, ain't no money in that place". LVLC shows his versatility on the track by the way he switches his flows to a Kendrick Lamar-like voice when spitting the bar "This is that double-sided Genimi" which for Kendrick fans know that Kendrick is one of the most diabolical Genimi's in the game. The second track on the album is called “Primordial” and admittedly I had to look up the meaning of the word. It's always good to learn right? Well, I would describe this album as a learning album. LVLC does what he does on the track which is deliver some amazing bars while we also see the first appearance of his super friends on the album, this time its FaDello who delivers a solid performance, his vocal tones keep you engaged, and his bars are agreeable to the listener like Fadello's verse is more conversational than outright lyrical assault which fits with the mood of the song. But then I would counter this point with The Thought's verse which immediately seemed like a lyrical tirade. His voice broke through the beat like a superhero's entrance, his bars landing powerfully as he kept your ears on its toes you were careful not to miss a metaphor. It was an amazing verse. Track 4 "Homies" is a reminiscent track that features again, FaDello but also GWayne and Kendra Mars. The track has a catchy fun hook which LVLC lends his voice to. Surprisingly he doesn’t rap on this track, but I guess that is what friends are for, one of the homies, Kendra Mars comes in very smooth, then gradually switches flows to so cleverly, it’s like when you hear about that athlete that can turn their talent off and on, they’re at times the most talented athlete but then it’s times when they let others shine. This is also FaDello’s second feature and it's a standout verse on the song he knows his pocket and how to entertain which comes through on this track. Homies is a standout track. Track 5 Pints & Fifths I would've liked to see this chorus evolve better, I feel like it's too repetitive, not as bad the viral "period ah period uh" but just repetitive. But G Wayne really stands out on this song, he comes in with a heavy inspired West Coast tone and backs it up with lyrics suggesting his willingness to stand on his lyrics. I do think LVLC delivers a dope verse as expected but again I think the simplicity of the chorus is unexpected from such a complex artist. Then you get to one of my favorite tracks from LVLC period. Track 6 "Love Me". The song is filled with such a quotable bar that starts off the song and is repeated throughout "boy get out yo feelins ain't no money in there" I remember going to Groundwaves and hearing the chorus and seeing everyone sing along. It's a very intrinsic song that proves that even LVLC's simplest bars are so tightly worded and expressed that you still go "ouuu" as if it were the quintuple entendre that Drake was wanting from Kendrick. The second thing I noticed about this track was the feature Da'juan Dupri, who has been killing verses and killing performances. But as much as I was filled with excitement I was met with a deflating verse. I felt Da'juan Dupri was uncharacteristically subpar in both his delivery and unserious on the track that left me confused. The song seemed to be a chance for a lyrical heavyweight battle but instead it was more of Jekyll and Hyde. But Dupri has time still to redeem himself on the next track. Florence Pugh. You can’t do no half-steppin on this beat. LVLC is really on his rappin shit. He goes straight in leaving no room for guessing who's album this is. He's just ice cold. Then FaDello immediately comes, this being his third featured verse on the album he doesn't disappoint as he spits this crazy entendre that lasts 4 bars using concepts centered on the nose. His delivery is on point, and he keeps the song elevated from the previous verse. Then the final verse. America loves comeback stories. I think this verse from Da'juan Dupri is his redemption verse. But this verse proves to be Dupri doing what Dupri does, "no boxin, get a jab, I'm Johnson & Johnson" that's the Dupri with the bars and the delivery and that I'm accustomed to. The metaphors are there, Dupri welcome to the show. Opportunites is a nice change of place track at the midpoint of the album. LVLC pulls another flow out of his bag that's more melodic than the punchline hard core hip-hop vibe of the earlier tracks on the album. Creo Cash was the perfect person for this feature, his rap\singing verse is complementary to the track "if my soul is attached to it then it ain't opportunity" and finishes the track by repping his group BDM. Fuck it Up is that posse track that feels like it could’ve been on Ruff Ryders Vol: 2. It’s this hardcore bass hitting, air guitar having, punch to your ear drums. It’s like a rock and rap mashup. Kendra Mars goes off on this track and reminds me of Eve holding her own amongst men. “I ain’t this light, I’m thinking Zeus, I’ll get a nigga struck”. FaDello has seriously been holding it down the whole tape and spitting some tuff bars. Lastly, Liberal Media throws around bars like a conspiracy theorists crime web, I’m still tryna dissect the verse, ornaments and organs, then the trail keeps going. This that one. Brothers starts with a sample from Donald Jenkins & The Delighters "Music Revolution" AceDaKid War Mothershed stood out in his delivery, he matched the energy of the beat, his verocity he approached the beat was like he was in a rap battle. LVLC keeps spittin. Check his wordplay. My God! At times he slows up his verse to make you understand and leave no guessing. He is the Dragon!!! What You Know is something for the radio or even a placement for the end credits to a movie or your favorite video game. LVLC singing. Who would’ve thought the lyrical artist could also serenade us, he really shines on the hook and blends well into his verse which is more singing rap. Even at the end of the track I was surprised, LVLC really showed off his vocal talent and sounded like an R&B singer in the rain that left me singing along, “Yeahhhhh Yeaaaahhh Yeaaahhhhh”! Every album needs that little bounce and that’s exactly what Skate Song is, it reminds me of that smooth soul dance track with rap. I can literally imagine being at Skate Land and vibing to this. It's a fun upbeat house style type beat and Emani blends her voice with the soulfulness of the production. LVLC even on a fun song like this LVLC's verse is lyrical he is still intentional with his delivery making sure to switch up flows. He paints this vivid picture with his use of wordplay and vocal inflections. I can only raise a glass of tea to this sweet verse. Congratulations sir, you sir have a hit. The last song on the album Lovin is the end credits to this album of a movie that has shown us inside the brain of LVLC, it’s also given us a glimpse of his friendships and the lengths that they will go to show that they have his back. Promise Cezar is one of these friends who chops up the beat with each word and like a calming voice on a track that is meant to ease the mind. The track closes with this sing-along “We Are The World” feeling where multiple voices sing along. You just might sing along too. So, there you have it. This album "Lovelace & Company", it's proof for the artist that doesn't need proof. He's extremely talented that has created an album that he chose to share and incorporate his friends. Maybe this isn't his solo masterpiece, but it is still a masterpiece that proves that there is no 'i' in team. LVLC doesn't need a team but I'm sure it was more fun having one to navigate each track. And even though its friends, it's still a competition and LVLC is known for throwing haymakers/bars when it comes to verses, and everyone raises their lyrical prowess when working with him. So, listen to the album and let us know what you think of "Lovelace & Company". 
4batz is an industry plant. Well, this is the general consensus when people try to explain 4batz's quick fast rise to fame. Neko Bennett, better known as 4batz is a singer/songwriter from Dallas, Texas who has been taking the world by storm which has also landed him a deal with Drake’s record label OVO. 4batz has the radio on lock but what about an actual project? 4batz just answered this question with the release of his mixtape “u made me a st4r.” The 11-track project comes in at 23 minutes and 35 seconds, making it very consumable. But does it live up to the hype? Let’s dive into it!!! The first track is actually a skit called "umademeast4r.mp3" and is really a slight jab to all the naysayers and people who have said that he's an industry plant. That he's blown up too fast. I like how he addresses this first, by saying ‘You're the reason’, meaning that all publicity good or bad has helped catapult his career to millions of streams seemingly overnight. But could you blame anyone for thinking this? 4batz came out of nowhere with his viral song "act i: stickerz 99" and each release since has seemed to have gotten bigger. Even his From The Block Performance of "act ii: date @ 8" has reached over 12 million views the unexpected performance is a contradiction to every R&B performance known to man, as he is surrounded by a group of friends from the block and is dressed in a white wifebeater and ski-mask. The performance seems more like a Chicago Drill video than an R&B video. Now let's get into the music. 4batz was smart, he put the two viral singles on the mixtape. Track 2 which is "act i: stickerz 99" and track 3 which is "act ii: date @ 8". It was smart of him to do this because it means that he can "inflate" his numbers with the track’s existing streaming numbers, as well as entice new listeners to listen to the mixtape solely on having these two singles on there. It's almost a perfect plan. I say almost because he put these songs at the beginning of the mixtape instead of putting them embedding them deeper into the mixtape. Doing this would've ensured that people who came to just hear the two singles were more easily steered toward listening to the other tracks on the mixtape because the streaming service would have another song from the album in the queue. Another point about these 2 songs is that there is no flow from one to the next and it throws off the cohesiveness of the album. It seemed to feel like “let’s just get this out of the way” more than it was “let’s give them something to look forward to”. This is a reoccurring issue with the mixtape. Track 4 “act iii: on god? (she like)” is his third radio single that seems thrown on the album. The track already has over 22 million Spotify plays. It’s a slow crooning 4batz singing about not letting go of a lady because of you guessed it, love. The song also has a remix which is the only credited feature on the mixtape. Who would've guessed? Kanye West, which is surprising given that 4batz already has a Drake feature on his single “actii: date @ 8 (remix)”, which is not on the mixtape. Kanye's verse wasn't anything spectacular and did nothing for the song. Honestly, I would've rather he left him off the song altogether and maybe just did an acoustic version. The remix is really just the original song with a Kanye verse on it, letting you know that the two probably just put the song together through emails instead of being in the studio together. The remixes of Diddy years where R&B artists and rappers made a song together on a slightly modified beat are over.
Now we jump into uncharted territory after getting the three radio singles out of the way. Track 5 is a skit called "get out of your feelings ho" where 4batz friend kind of reminds him that he shouldn't be tripping over a female especially since he's already been involved with so many others afterward. It is a light-hearted laugh between the two that was like a snap-out-of-it moment that then leads into track 6 "act iv: fckin u (18+)", the song is this hyper-sexualized song that sounds like it would never play on the radio but humorously bleeps out words that aren’t radio friendly and covering up probably the boldest lines a man could ever say to a woman as a compliment, "I can't stop f##kin you because your body is like a prostitute". Maybe we have to different ways of serenading the ladies because Jodeci would never.
Track 7: act v: there goes another vase. I think this is my least favorite song. The lyrics just lack that connection between the feelings he’s trying to describe and the way he sings to express those feelings. His tone is very deep and passionate, but the words seems very surface level. Also, I didn't like how he incorporated the vase into the song. It was too direct I would've liked to see the vase be more of a symbol or just an overall better line. I do think he executed the melodies of the hook to perfection. It's a song about a toxic relationship, yet it has this hold your woman tight and slow dance feel to it, which makes it that more confusing.
By the time we get to Track 8 the flow of the mixtape starts to get better, “act vi: mad man probably has the best transition from feel that carries from song to song. This song is more of a passionate intimate track I would say making love rather than Track 6’s feel of promiscuous sex. It’s the acoustic guitar that has this Latin, passionate feel and sets the tone for the track, 4batz comes in smooth jumping from bar to bar like a nursery rhyme, I oddly hear The Weekend in his town when singing the hook. The hook competes with the smoothness of the verses rather than complementing it, making it just an OK song.
No R&B album is complete without conflict and that’s exactly what 9 is about, "act vii: all we do is argue, argue” comes in with 4batz sounding like he’s imitating Michael Jackson, the short quick bursts of his voice overshadow the slow-evolving production of the track, but is immediately forgotten about as soon as the beat drops. The conflict, which on this track is, you guessed it, his lady, it’s the first time we notice that he’s rapping more than singing on a track. But even with all these things going on, it still doesn’t feel like a complete song.
Throughout the tape 4batz seems to borrow vibes from earlier generations, this is very apparent in Track 10 titled “act viii: i hate to be alone” The song sounds like it samples Luther Vandross’s Always and Forever”, and again also speaks to him tapping into those nostalgic songs from the 90s and earlier eras and putting his spin on them. The song is his attempt at a Love Ballad but is executed more like a late night informercial for BET Lover’s Greatest Hit album. I don’t think Love Ballad’s are his lane. It calls for a vocal performance and vocal range that from my knowledge he doesn’t have.
The album ends with “act iii: on god? (she like) (remix), which we stated before could’ve been left off the album. It sounds like Kanye just sent the verse in an email, and 4batz knew that people seeing Kanye’s name alone would be enough for the song to be a hit. It’s not a hit. But it’s also not my mixtape to live with.
Is 4batz an industry plant. Who knows, but as far as his new mixtape I would say that his rise to fame is more formulaic than traditional. The mixtape is made more for streaming playlist consumption where each track can be singled out instead of a cohesive body of work. But maybe that’s what people would say a mixtape is. It’s an introduction and not necessarily a story that an album would build, which would be very opposite of Drake who changed the way mixtapes were made and consumed with the release of his “So Far Gone” mixtape. As for 4batz u made me a st4r the mixtape seems to be filled with deep feelings sung subtly enough that you want to hear more but not deep enough that you would play them to get through different events in life such as a break-up or job promotion. These songs feel like skeletons of what great songs could become and are more reference track like than full complete songs that an User "U Got It Bad" or even a Toni Tone Tone "It Never Rains in Southern California". Maybe technology is a little bit to blame for how we consume music and the abilities it has given people who you wouldn't think of as singers. But I have to also give 4batz his credit, he knows how to make a song that gets your attention, some it by pulling on those old strings of rnb classics. Final thoughts, though it may seem like I may have bagged on this album a lot, I would still consider it a good album because of it's formulaic singles that make it easy to place on different playlists. Overall, I would give it a 5 out of 10. OK to listen to but not replacing any of User’s albums any time soon. Let me know what you think of the album: 
It’s been almost 10 years since Kendrick Lamar spit this line on his song “Hood Politics”, And since then Killer Mike still continued to push the needle of hip-hop, but to many it was a surprise that he would win the Grammy for Rap Album of the year for his album “Micheal”. A 14-track 53min and 51 second album that was released in June of 2023. To be honest it was a star-studded category with Metro Boomin (HEROES & VILLAINS), Nas (King's Disease III), Travis $cott (Utopia, and Drake & 21 Savage (Her Loss). Killer Mike beat Nas, Drake, and Travis $cott. All I could think was that this has to be an amazing album. So, let’s see why this is the Rap Album of the Year!
The album starts out with the track “DOWN BY LAW” that features fellow Dungeon Family member CeeLo Green. This track sets the tone for the album, Killer Mike lets you know, this is a rap album. His delivery and tone are similar to that of a revolutionary and he is unapologetic about his use of words. The song also represents an era where songs where 4 minutes at the minimum. Just skimming through his album, the shortest song is “TWO DAYS” which is 2 mins and 14 seconds, which is still long in this current time of streaming and it’s just straight bars. This can’t be taken lightly Kiler Mike is really rapping on this album. There’s so many quotable lines in this album for instance on NRICH “It's underwhelmin' to be so overly underrated”, I could only think that he has been the long shot his whole career. Now he has the championship. Another line is “I don't give a fuck who the president is, if the president ain't for me”. Or this one on SPACESHIP VIEWS, “What you know about college educated and still had to sell cocaine, nigga?”. To be album of the year, especially rap album of the year, you have to have memorable moments in the album, and that's just what these quotable bars are. A high point of the album is seeing the Dungeon Family lineage of artists featured. From Rico Wade to CeeLo Green, to Andre 300, to finally Killer Mike and Future. The Dungeon Family has created the sound for Atlanta hip-hop and to this day continues to push the genre forward. On SCIENTISTS AND ENGINEERS is where the reunion continues as the futuristic production lend room for two artists from the future themselves, Andre 3000, coming off a totally instrumental flute album, reminded people that he still loves rap and is still one of the most anticipated featured artists. Check the wordplay “A stamina stampede of happily happenings, dabblin' into obliv-ion, neon, beyond the ambiance”. Let’s not forget about Future who is undoubtedly the Andrė 3000 of this time. Few people realize that it’s not by chance that Future is such an amazing artist. He is a part of the musical branch of the Dungeon Family and it shows in lines like, “Learned how to turn a trap house to a mansion, Watched me watch the world take my pain and balance it, It's better to be an outcast in a world of envious (Oh, yeah)”. To be a fly on the wall when this track was made would be Heaven. Talk’n Shit is probably the most turnt up songs on the album, the song pays homage to Three 6 Mafia by sampling two of their tracks “Tear da Club Up” and also “187 Invitation”. He further pays homage by mentioning DJ Paul and Lord Infamous who are credited with creating Three 6 Mafia. Killer Mike shows his versatility as he switches his flow multiple times throughout the track and just executes so masterfully. He even switches from talking about underground kings like Bun B and Pimp C to talking about being in rooms with politicians. His bars are as versatile just much as the company he keeps. “I don't give a fuck who the president is if the president ain't for me”. There’s plenty of depth in the album, one example being the track SLUMMER, where Kiler Mike talks about having an abortion, and then his lady going and having a baby with an older man. It doesn’t get more deep than this track. It also showcases his storytelling abilities. With bars like, “A couple summers and our teenage love had turned to somethin' slummer, can't love her like I used to, she somebody's baby mama”. These are real life bars. Then you get to the track SOMETHING FOR JUNKIES which is another song that has a lot of depth to it. The way he raps in this song puts you into the conversation he had with his aunt. To still see her as a person and not what she’s been labeled is empathetic and what the world needs more of. Also, we find out that he hit a laced joint, which was huge plot twist when going in with a preconceived idea of what the song would be about. The depth of the songs on this album is definitely my criteria for Rap Album Of The Year. When you think about Killer Mike and who would be in his class I think Curren$y and 2 Chainz are right up there. All three artists had to grind and create their own cult-like audience that helped them to reach different degrees of success, Killer Mike now having the highest musical accolade with 3 Grammy wins this year, it was great to see all three on the track SPACESHIP VIEWS. Plus, they are all car junkies. The self-proclaimed “King Of Car Talk”, Curren$y really shined on this track, “I bought this hoodie on Fairfax, I'm all over hundred” (Peep my Genius annotation). Don’t forget about 2 Chainz, who brought his original signature flow “Half a mill' for my fee-finder, Use a coffee grinder for a weed grinder, Search your house for a key, find it”. This is one of the many great moments in the album. I take it back when I said about SLUMMER and that it doesn’t get more deep that that, because MOTHERLESS is one of those powerful, emotional, and thought-provoking songs period. “My momma dead” The song could’ve ended here, and that would’ve been enough, no other words were needed. But Killer Mike fought through the emotions of this bar and gathered himself enough to deliver a powerful performance. His words really had me sitting back and thinking, like in this line, “If God sent me back to normal to be next to you, I would gladly trade it all 'cause I be missin' you”. And let’s not talk about the performance. There was this relatable pain and flow of emotions that translated as he stood in front of a live audience on the Jimmy Fallon’s Tonight Show and rapped his heart out. Look at the emotions in this and tell me you didn't feel it. DON’T LET THE DEVIL definitely sounds like a Run The Jewels track, as both members Killer Mike and El-P showcase their ability to rap and why they have been so successful as a group. El-P gets off on this track, “How you movin'? One of two in, super groupin', Gorilla glued up to the cash, couldn't lose it”. Maybe this track is a foreshadow to another Run The Jewels album in the chamber. We’ll just have to wait and see. The last track of the album is HIGH AND HOLY which starts out with this lady of African-decent that is speaking what sounds like an African language. It’s spoken so beautifully that I found myself wishing that I could understand and speak this lost language, it’s somewhere rooted in my DNA but lost through the enslavement of my ancestors and probably further lost with the burnings and killings of my people. Until now, I feel like the resistance of the blacks is in this album sewn into each bar is this language that we created, and without a computer it’s constantly being updated through hip-hop. He forreal spittin’ holy bars, "'Cause we just trifle, we carry rifles, granny carry Bibles, We carry hatred for our rivals, same as Cain and Abel, Killed his brother 'cause God showed him favor”. But wait there’s an extended version of this album, that’s just how good this album is. And as I get deeper into the 2nd part of the I keep coming back to the production of the album and how big the sound of the album feels, this is probably partly because of the amazing engineers, mixer Migui Maloles, and engineer mastered by Nicolas de Porcel at Million Dollar Snare. Who is known for Baby Keem and Kendrick Lamar’s “Family Ties” and also Roddy Ricch’s famous track “The Boxx”, just to name a few. This album is another masterpiece to add to their resume. Killer Mike described this album as "Like A Prodigal Son Coming Home". That’s exactly how I would describe the second part of this album. It feels so Atlanta. It feels like you’re there. You know where the good spots of town are. You know where the bad spots of town. But all-in-all you know what it takes to make it here. The 2nd part of the album features 4 new tracks “YES!, MAYNARD VIGREETTE, “GET SOME MONEY”, and “ACT UP”. You probably can't mention Atlanta rap without mentioning T.I. who is featured on Maynard Vignette, he kept it playa partna, and the T.I. we all love to hear lent some dope bars, “my life full of highlights, if it was a book, it'd be a page-turner” The track also features JID who just came off a huge single “Surround Sound” that was pushed by TikTok, it was well deserved just like Killer Mike, he’s been paying his dues and now is being rewarded. He shows his crazy wordplay, especially in this line, “Tell me more about the war, the wins, I know the stories of the horrors we in, Now we goin' for the glory, I'm on a victorious binge”, GET SOME MONEY is about what you think it’s about. The Powernomics. Killer Mike is rapping like the rent is due. At times the chorus becomes this chant. He sings, “Get some money bitch”. The song even does some interpolation by using Yung LA’s hit single “Ain’t I” that Killer Mike uses in verse 1. He doubles down on needing money by ending the track with the bar, “You can't do nothin' if you're broke”. ACT UP is a track where Killer Mike is not playing fair. He’s just doing rap somersaults on this track. You’ve already proved that you're a rapper. You ain’t gotta step on the competition’s necks like that. Just bars! Just bars! We ain't worry! But also, I would say this is balanced by Young Nudy’s slower tempo’d verse. It feels like Killer Mike shooting the shit with his trap homie. It's a really good song. Like I said, the 2nd part of this album is so Atlanta, this point is brought home with DOWN BY LAW - Live frin Atlanta, GA. The song is literally a homecoming for Killer Mike. The track draws you into what it would feel like to be from Atlanta in front of your home crowd. Listening to this track is like hearing the record for the 1st time but with the addition of live instruments and hard-hitting bass. What I like the most about the live version is hearing the different voice inflections and imperfections and improvisation that comes with performing live. It's better my Nigga. Plus, he got CeeLo Green to sang like he was pulpit in an Atlanta church. Wooo!! Another track that was remade for this second album was RUN titled RUN - Damian “Jr. Gong” Marley Version. The song is a great marketing move on Killer Mike’s part seeing that music is going to a more worldly sound. This version is heavily Reggae influenced and even featured one of the greatest musical linages, the Marley family, that is Damian Marley, you gotta go through him to get that co-sign that you aren’t riding the wave of a certain vibration, that is not to be messed with. But it's a dope rendition of the song. MOTHERLESS hits so much harder on the 2nd version called the MOTHERLESS - Robert Glasper Rendition. They way the piano plays so somberly in the background coupled with the life lessons that Killer Mike puts into his verses is fucking amazing. One thing I also noted was just how vulnerable he allowed himself to be in this song as he rapped about missing both his mother and grandmother, there's still the deep emotion this song provokes on even the 2nd and also 3rd version of this track. You saw that right, there is also a 3rd version of the song MOTHERLESS. The last one being the single version that has that radio feel. It’s like he knew MOTHERLESS specifically would be the song to make it undeniable that he should win a Grammy. When it comes to TALK'N THAT SHIT, the 2nd version, it’s like he invited Three 6 Mafia in the booth with him. The DJ Paul ad-libs and the sampled productions seem to run deep into the core of the Three 6 Mafia sound. This is re-emphasized when the beat switches to “187 Invitation”. It’s a track that you have no choice but turn up to. It's his club banger. Every Album Of The Year needs that one club banger. Who's better than Three 6 Mafia at doing that? The last track of the album. No really this time. The last track of the double version is DON’T LET THE DEVIL - Single Version. This is a more polished version of the song. The production is crisp and clear. What’s still there is the lyrical assailants that are Killer Mike and El-P, their verses are a display of their lyrical skill. Again, I ask, a new Run The Jewels album??? Maybe. Let’s just enjoy this track until then. There you have it. The album of the year and Grammy Award Winning Rap Album of the Year “Micheal”. This album was worth all the hype, because it wasn’t hype. It was a masterpiece, a work of art, and worthy of every award that it wins. The album was filled with some of the biggest features and also took you on the journey that was Micheal. It was an album where Killer Mike was the reason why the featured artists stepped up their bars and knew they had to "rap rap" or be destroyed by Killer Mike on the track. But also this album has a lot of depth that hits hard. Maybe that's because it is so relatable. The constant duality of being human. The album cover illustrates this as a young Killer Mike is pictured with a Halo and the devil horns. We are both good and evil. There is a message for people who do good and a message for the people who do evil. And it’s all told through Michael. That's why this is RAP ALBUM OF THE YEAR! So give the album a listen and tag Killer Mike to read this album review. 
When it comes to making music there are a million artists on this planet to choose from. But maybe that's where the problem lies, we’re only looking for artists that are on this planet. It’s a big universe. So why limit yourself to just the Top 40. Go see the galaxy. That’s exactly what NASA BO’s latest album Mr. Universe is doing. It’s doing things on an intergalactic level. And passing up all the haters in the process. Let’s take a look at the latest project from NASA BO.
NASA Bo is an artist from Oklahoma City who has become known for his hardcore in your face delivery and his hard-hitting bars, and can you believe this is his first full-feature project of which comes in at 20 tracks. An album with this many tracks comes in handy if you’re planning to go across the universe. You’re gonna need a lot of music, and that’s just what this project provides. THE INTRO
Every album needs that first track to make an impression. That’s just what the "Intro" is. The intro makes an impression right out the gate and sets the tone for the album. That tone being slapping beats and NASA BO rapping, rapping. NASA BO ain’t just making words rhyme. He’s going in. I’m talking about bars. And this is just the intro. When you get to track 2 “Tesla”, you know that track 1 wasn’t a fluke. NASA BO can really rap and he knows his value. “If these rappers wanna feature, ima charge em like a Tesla.” It’s witty bars like this that aren’t sprinkled throughout the album, Naw forget that these witty bars are heavily poured like your grandma’s kool aid. But the intro ain’t over, NASA BO let’s you know just how to say his name on the next track ”Nasa not Nasha”. “If you speaking on my name then pronounce it right.”
THE SAMPLES
It’s clear to hear in the first few seconds of some of the tracks that NASA BO wasn’t afraid to dig deep in the crates and rap on some of the most iconic tracks. Track 4 for instance is this soulful sample of Deniece Williams song “Free”, which also happens to be the name of the track. It’s like the producer just gave NASA BO free range to murder the beat. Another classic sample is Tupac and Jon B’s “Are You Still Down”. Also is Bill Withers classic “Just The Two Of Us”. This track is more of a slower tempo with bars that reference what it means to really stay down. Most of the album goes deep in the sample crates which is a vision that was brought to life with the help of producer SAUCEMEUPGQ. Which we’ll talk about next.
SAUCEMEUPGQ
We had to take a second to give respect to the producer SAUCEMEUPGQ and Track 5 shows your why, because by the time that you get to this track you realize that SAUCEMEUPGQ has been mentioned numerous times already. And not only do you hear his iconic beat tag all over the album, he also executive producer over the project, so it’s only right that he gets a track inspired by the producer on the track called "SauceMeUpBO". “Fuccin with GQ got me sauced up.” The beat is on go and so is NASA BO. You really see the magic of this track at the 1-minute mark where the bass is stripped out and NASA BO switches up his flow as if he’s sprinting on the track. This track is definitely sauced up and is a high point of the album. SAUCEMEUPGQ even gets to shine as a featured artist on the track “Triple Double”. NASA BO goes in himself from the very beginning and then throws the assist to SAUCEMEUPGQ, who shines with some clever lines of his own. “Me and NASA on the beat, Houston we have a problem”. Another surprise about this track is that it's actually produced by his NASA BO's son Jamango.
IRONIC BARS
Throughtout the tape there’s these ironic bars that stick out, some of them are really witty and some of them are bluntly rhetorical. For example, on Track 9, “Keke Palmer” he says the line, “How you real but you wear fake clothes?“. It’s a really bluntly rhetorical bar that makes you just think. On another track he spits the line, “How your baby momma love me, but mine don’t.”, that’s some irony for your ass. But this also shows NASA BO’s ability to make even the most sensical bars into a perfectly painted picture. You gotta give him his just do.
THE FEATURES
When it comes to the featured artists this album only has 3. That’s something you wouldn’t expect from a project with 20 tracks, and surprisingly it’s well balanced. This is NASA BO’s project, so you gonna get NASA BO. But as far as the featured artist, we’ve already talked about SAUCEMEUPGQ who lends his production skills and bars to the project. Also, there’s Uno who lends his vocal talents on the last song of the project. He brings a softer side to the album which if you want to sale records you gonna have to have a few for the ladies to vibe to. And the track “No Lettin’ Up” does that with its infectious chorus. But our favorite feature of the project has to be on “Heart Breaker”, which samples Mint Conditions track “Breakin' My Heart”. NASA BO comes in so smooth with a pimp vernacular, then he switches up his flow up while calling out famous tv female co-stars from 90s tv that he had a crush on. The featured artist Tony D. just shines, his unique delivery and undeniable confidence makes him stand out. Listen to this bar, “Hittin licks with Jordans, blocks on blocks, DeAndre, Blueprint like Jay-Z, Irreplaceable Beyonce”. He’s in his pocket on this verse.
THE METHAPHORS
As you go through the album it’s clear that you’ll hear some crazy metaphors. NASA BO really be out here rapping. There’s so many lines we’ve already quoted but that’s just the tip of the iceberg. The album is bar, after bar, after bar. For instance, on “Stuck N Love” where he spits the line, “She was black but now she Russian how she getting her cream on.” and not only that bar because throughout that track are so many more like, “Ain’t nobody got my back like this VLONE”, bars. Also on "Gilbert Arenas" he has this crazy wordplay where he says, “I be with my daughter teaching her ABCs, I got racks but they didn’t come from no EDD or no PPP, it was all on me, now we eatin like EBT.”, NASA BO is flexing on the beat. He has an undeniable talent. And it shows all throughout the album.
TULSA LINES FAVORITE TRACKS
When it comes to our favorite tracks, “Get Down” definitely is extra sauced up with the sample of Earth, Wind & Fire’s track “Reasons”. In this track NASA BO gives all the reasons why niggas can get down. And them 808’s by ADHD makes each bar hit harder. This a hit. "SAUCEMEUPBO" is another one of them ones that just goes. "Heart Breaker" for the reasons starred earlier. Another one is “Stuck N Love” because it has so many bars. Lastly, “Doe Party”, this is a straight to radio hit. This is a track that you’re gonna hear in the club. IT'S IS A STRIP CLUB ANTHEM! Like he said, "That nigga snappin'," So as you can see it’s hard to pick just one track. There’s just so many hits on this album which says a lot for a 20-track project. NASA BO did his job.
So, there you have it. The album Mr. Universe by NASA BO, and executive produced by SAUCEMEUPGQ. This isn’t an Oklahoma City album. This is an album that can penetrate any market. New York, L.A., Atlanta, Detroit. It doesn’t matter. NASA BO has what it takes to get to that next level. The album is literally out of here. And next year we wouldn’t be surprised if NASA BO is out of here with it.
THE VERDICT
JAM IT!
Also make sure you follow NASA BO on social media: Instagram: @nasa_bo405 YouTube: NASA BO Spotify: NASA BO Also listen to Mr. Universe by NASA BO below: 
The evolution of music is undeniable. Just look at this past Grammy’s and the fierce competition for Best Dance/Electronic Album. This can be attributed in a huge part to the Pandemic that kept us all inside, so it’s no wonder that now genres like Techno, Electronic, and House music have made a had a huge impact on pop culture. From Beyonce’s new album "Rennaissance" to Drake’s album “Honestly Nevermind”. This category of music is feeling the effects of a market being saturated due to a high demand. But the great thing about music is that the true fans can see through the bandwagoneers, and the real music, from the real artists, is usually the only thing that lasts. AP=Chem is one of the real bands that is looking to take their music all across the world and show why their true creators in this space and not just another band looking to ride the wave. Their looking to shock the world with new album Imed=2. AP=Chem is a collective of two collaborating songwriters from Oklahoma City. Anthony Mahon, who also was in the band "The Gentle Art of Floating". And Eric Gorman, who also was a band member of "The Gentle Art of Floating" and also the band "Trap Queen". They describe their music as Inexplicable Modern Existential Dread. They have released multiple singles as well as the 2021 EP "Imed=1 Inexplicable Modern Existential Dread" and their now follow "EP Imed=2". The first track off the album is called "Please Don’t Make A Dance Song (Out of My Plane Crash)", which is really ironic. This 70s infused high energy track just takes over. It’s like looking thru a TV cycling through 70s themed shows and commercials. Back when you could take drugs on a plane and be a part of the mile high club. The clashing of the sounds dance unapologetically in the listener's mind. How can you not dance to this? Throughout the you hear a voice that is seems to be a flight stewardess. Her fragmented voice layers on top of the beat. But near the end another voice comes, this time a male voice that seems to be an air traffic controller that guides the listener through the freeform nosedive of synthesizers and piano chords and crashes right into track 2.
Track 2 is called "Forensic Homicide". The track starts with an ominous bass guitar that blares through the speaker followed by the resting piano keys. But it’s the eclectic guitar that then pulling you as if cupid himself were playing. And it's the drums that let you know that your heart is still beating. It really gives off this forbidden love type of feel. Just listening to the track your mind elopes with the beat not caring of time nor space. This feeling grows as the infactuated crooner sings, “Disappear tonight, we’re never coming back here". The listener then rides the guitar cruising through the rest of the track. Forensic Homicide is a highpoint of the album.
By the time we get to track 3 "House Not Home" we are at the mid-point of the album. The track has this dark inviting feel to it. It plays out like the part right before the killer is about to make his move. The vocals tuck tightly behind the beat as support rather than the main ingredient. They go in and out leaving enough room and suspense that you have question will it return? This track highlights their songwriting abilities with a more lyric song structure. There’s a lot of ironic bars in this track for instance; “It’s a big house, off the interstate, a nice neighborhood, with an iron gate”. I just think there’s a lot of irony in having a big house that no one can see because it’s in this secluded area and neighborhoods are usually inviting but an iron gate suggests this one isn’t. But maybe that's also meant by House Not Home.
The 4th track on the album is "Tyrel Slide". The track brings the energy of the album back up. It’s pounding bass and synthesizers draw you in. The beat is beautifully layered which creates these special moments in the track. The elongated piano notes create these paths that the synthesizers can then go and roam, while the drums are like the barriers that keeps everything inbounds. The track takes you on a quest. I can imagine a montage of a hero training or the long journey the hero has to take before he gets to the boss at the end of the story. The track is short but that is also the beauty in it. Knowing it’s short means you appreciate it that much more.
The last track on the album is "Penny Dreadful". This is the finale, with that comes a combination of where we’ve come and also how far we still have to go. Maybe a Imed=3…? Penny Dreadful has this diabolical feeling to it. There’s a voice that layers on top of the instruments that sounds like an archeologist journaling his most recent discovery. Which would be this EP. Again a montage of a scientist doing calculations and writing down theories comes to mind. The hard-hitting drums keep the thoughts organized as the synthesizer's loop around the harmonized organs. This is how you want to end an album.
There you have it. AP=Chem's latest EP Imed=2. Here are some facts about the EP. There are 5 songs with a total playback time of 23 minutes and 49 seconds. The shortest song on the album Tyrel Slide comes in at 2 minutes and 42 seconds. My favorite track on the EP is Forensic Homicide, it’s just a vibe and kind of tugs at the heart strings, also Valentine’s Day is around the corner so this would be a good theme song. What I liked most about the EP is that it took you through highs and lows. That’s what a great album does. It’s able to be played through the highs and lows of life. All-in-all I think AP=Chem did what they set out to do create inexplicable music in these modern times of existential dread. And who knows. Hopefully there will be a Imed=3.
Make sure you stream the EP Imed=2 from AP=Chem and let us know what you think. Make sure you follow AP=Chem on their social media: Instagram: @apchemband Facebook: AP=Chem Spotify: AP=Chem YouTube: AP=Chem BandCamp: AP=Chem SoundCloud: AP=Chem |
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