Collector Reviews: Collusion by Diabolic & Vanderslice

Diabolic and Vanderslice build off their decades of friendship with exceptional results on their collaborative LP, Collusion.

A rather spontaneous project, Collusion was announced with little over a month of marketing. In fact, Diabolic had been quiet on upcoming music since his preemptive announcement of his third solo LP, The Disconnect in 2017.

In the spring of 2019, he confirmed that The Disconnect would in fact be coming out but, not before this surprise collaboration. The first single from Collusion was released towards the end of March with the album officially dropping worldwide on April 21st.

The intro skit begins with a soundbite from CNN as news reporters break down what collusion means. The story of Russian involvement in the 2015 American election has been on the TV for years at this point and this intro does a great job of implying how those themes of collusion and secrecy could play out on the album. But y'know, since there's no verse on this intro I'm skipping it a lot.

The opening song "Think Of That" was also the lead single. Vanderslice brings flips guitar strums and vocal riffing to accompany our snares and kicks. This is probably one of the slowest singles Diabolic has been a part of and it really works. The beat is simple and open allowing Diabolic to bounce from one syllable scheme to the next. We're also quickly reacquainted with Bolics shit disturber attitude as he sneaks in some jabs at both Talib Kweli and Immortal Technique and he finishes off with his middle fingers up at any trash talkers over the internet.

"Jitter Bug" is a pretty funky tune. Its one of my favourites beats on the album with glittering pianos and the classic crackle of vinyl playing alongside the beat. The kick and snares are pretty light. Its Bolics flow that really is the best part of the song. He catches us up on family matters and a paranoid world. Each verse carries the same rhyme through to the end with numerous internal rhymes as well. Jitter Bug can be interpreted on a complex level but its smooth as well. Jade Gritty has great vocals and attitude on the hook too making for one of the albums catchier moments.

One of my favourite stories on the album is "Normalize". Vanderslice cooks up some seriously heavy bass with sci-fi synths and rumbling piano keys. This beat reminds me of something that I might've heard on that Adlib and Rob The Viking EP a few years back. Bolic lyrics paint a picture of riots, chaos and anarchy. Some of my favourite internal rhymes on the whole album are on this song like "I say we show these pigs what survival mode is/More heads'll roll then human sacrifices on the Mayan solstice." The hook just drives the point home even further. This song is probably what Heath Ledgers Joker was bumping. Violence and calamity promoted as if no other alternative exists. Shits hard.

The second single of the album "See The Light" has one of my favourite instrumentals on the record. It's consistently eerie from its bass lines and drums breaks to what I'm gonna guess is a synth or maybe a stretched string sample. I love the couple of guitar notes that play as well. It's certainly one of the darker scores on Collusion. This joint and the first single "Think Of That" reminded me how much I missed hearing Diabolic across a whole record. There's just a great complexity and vocabulary to his rhymes and we're familiarized in lines like "Never spit a verse that wasn't worth discussing/Nasty as the bile in a persons stomach that a surgeons pumping." Bolic is no slouch when it comes to having an attitude on the mic but its syllable schemes like that that always add that extra icing to his music. Thats partly why I'm only half on board with this song. Nems rocks a guests verse here but there isn't the same credence given to complexity or vocabulary. I'm not hating on Nems for anything outside this verse as he had a very solid album this year too and I've heard him bring the pain as a feature before, however, this time around I was left wanting a little more from him.

"Who We Are" is a much more self aware and contemplative track as Diabolic employs the help of  Tre Starr, Coast and John Jigg$. The group relates back to their days growing up in Long Island. Vanderslice hasn't done a beat that wasn't worth nodding your head to so far and this one just might be my favourite. The drums thunder along through shimmering instrumentation as Diabolic opens the track shouting out all the counties on the island and areas he reps before he begins his verse. I love his line "Both his eyes are open seeing lies and scams/That's why I hide my hand like I'm in was inside of France/Steady grind treating every line like a diagram/Like its the last wish of a dying man that I can cram." John Jigg$ has probably my favourite cadence and rhyme schemes in the song and its great to see Coast on a song again as he was certainly a highlight of the features on Fightin Words. My favourite line of the song has to be from Tre Starr when he said "I'm in the belly of the beast but it's a beautiful biography". Despite all the conditions they grew up in and as directionless as they all felt coming up there's a terrific sense of gratitude across this song. An easy contender for best track on Collusion.

The next song "Other Side" is another solid song too. Wild piano keys and deep bass lines weave through the drums for another solid instrumental. After hearing The Disconnect, "Other Side" almost sounds like an interlude or part one to the "Holy War" song on that album. Diabolic is grimly accepting the separation between him and other people as indicated by the chorus "I don't give a fuck if I'm by you other guys/And if I had to summarize, fuck you is my one reply." It's a great description of where Bolic will always stand no matter the political or societal landscape There's not a whole lot of vulgarity in the verses as Diabolic instead opts to flex his vocabulary and internal rhymes. I love the way Bolic says "So batshit Ace Venturas in a cave investigating" but my favourite quotable comes at the bottom of the first verse alluding to the chemistry he and Vanderslice have "It's like riding a bike for me, your lives are the price/Then I'm dividing with 'Slice like apple pie with a knife." Anytime we as an audience get these collaborations of rapper and producer I'm always anxious to hear any mention of their friendship or chemistry come out in the lyrics. That happened earlier a few times in the record I just thought I should mention it now. Anyways, solid song.

Probably the biggest curveball or experimentation on the production and rapping fronts would be our next track "Once Again". Funky brass instruments and low piano notes bounce around sporadic drum breaks to create easily the most unique sound on the record. Diabolic runs through so many rhymes while still keeping the exact same tempo through each line and verse. Much like the rest of the album there's too many quotables to narrow down a favourite but "Once Again, Vanderslice flipped some fire shit/Bring your crew, who you dying with" is a definite contender and the acknowledgment of his release history at the end of the song is worth noting as well. I love the chorus choice as Diabolic finishes each verse by saying "Once Again" as drums and trumpets triumphantly swell to take the chorus by storm. If the two of them have plans to release another front to back collaboration this is the kind of fun experimentation I'd love to hear more off.

"Simon Phoenix" gets a lot of replay from me. The song start really mysterious like with deep strings before the drums and Diabolics verse drop together. We're struck immediately with probably the fastest paced joint on the record from its wild piano melodies to the rolling drums hits. Diabolic brings a lot more animation in his delivery especially in the third verse when he says "I'm a shandy mick, I got a bitch in torn clothes while you matching wardrobes with Andy Dick". His humor and dejection play very well in the final line of the song to. Over the past couple of years through Twitter and other social media battlegrounds Diabolic has been at odds with leftists and rightists alike. It's cool to see the dejection portrayed so well across this album. Songs like this, "Normalize" and "Other Side" are what really hold the narrative of the album together without falling into the trap of another long winded installment of the "Truth" series. "Simon Phoenix" as a title works on so many levels as well. This is a very layered song from the themes, beats and bars. Also I should note DJ Revolution adds great scratches that match the lyrics nicely.

"Last Day" doesn't quite match my enjoyment of the last Diabolic and Coast song from Fightin' Words. Thats mostly because tonally this one is way different. 2014's "Here We Go" was a little catchier and more accessible but there's great moments in this track as well. As the finishing track its more contemplated and conscious with production that that chimes and sparkles to fit the tone of what our MC's are saying. Diabolic up until this point has been very dejected and critical but there's lines here like "What's it mean when I strive for being more/When all I see is poor people die tryna flee the war?" demonstrate that even beneath his attitude there is a sympathy to him and his message. Coast similarly conveys his own head space with bars like "Its business I hope you never take it personal/If you ain't versatile then you ain't really purposeful." There's a level of being heart broken and numb to the state of the world coming from both MCs but its mixed in with the sympathy and urgency we all have to make the best of our lives for those we care about. It's a great song but I feel the opportunity to make something catchier was there too.

The "Collusion Outro" calls back to his outro from "Liar And A Thief " where we hear Bolic inviting the listener to be triggered and upset over his lyrics while he counts money and tells them to slit their wrists with the vinyl copy. I usually rewind the album before this skit even starts but it's still a hilarious way to close a record.

I gotta say that Collusion is an extremely solid record. Vanderslices production is as punchy and it is musical and you can hear Diabolic actually having fun on this record even when he trudges through some of the grittier subject matter. The slower bpm that most of this album operates in actually suits Diabolics style better than I initially though it had. Diabolic is able to play with syllable schemes and flows that we wouldn't normally hear. Combine that with really terrific demonstrations of chemistry and experimentation like "Once Again" and "Jitter Bug" and you have an album that nestles comfortably in individual the discographies of Diabolic and Vanderslice, but also sets the two of them up as a collaborative act I'd love to hear more from on a second record.

Pros: Diabolic has always been one of my favourite rappers and this is another one for the books. He's poking fun at current rap trends, dishing his opinion of American society and politics as well as updating us on his home life. All this is paired with fantastic and colourful production from Slice. Front to back it has the least hiccups so far in Bolics catalog as he pushes his pen further and further and Vanderslice has very consistent and exciting music throughout. The features when employed all add something great as well. Also the streamers out there might not know but the CD has instrumentals on the other half which is a creative choice I'm really grateful for. I always need something for my drunk homies to freestyle to when I'm dropping them off.

Cons: I always crave the tracklisting on an album to be closer to fifteen than ten and felt like one or two songs would've fleshed it out a little more. A lot of Diabolics lyrics can come across as quite abrasive so I wish the lighter or more comedic tone from tracks like "Once Again" or "Think Of That" bled through onto maybe one more song, just to cheer us up a little.

Official Rating: 83%

Collector Reviews: Demons by Madchild

Anguish and regret fuel Madchild to be the hungriest he's been in years on his 2019 album, Demons.

News on upcoming material from Madchild had been quite quiet since the release of 2017 album The Darkest Hour. Madchild toured with Necro towards the end of 2017 and a later toured with Swollen Members for the fall of 2018.

Demons was announced in December of 2018 and released on April 26th of the following spring. The album was released through Battle Axe Records and the renewed Suburban Noize records. It debuted on number two on the Canadian iTunes charts with production being handled by Rob The Viking, C-Lance and newcomer Sean Chapman.

The album kicks off with the famous scene from Juice where Bishop confesses to Q about being crazy and saying, "You know what? I don't give fuck!". It reminds me of the Anthony Perkins quote that kicked off Lawn Mower Man. Swollen have always had great taste when it comes to skits and quotes.

I was instantly absorbed into the opening song "Brainstorm". It's not the hardest song you're gonna hear on the record but it is intricate. Rob pulls you in fast with wondrous pianos and sinister drums while Madchild details his reclusive tendencies and imagination with impressive vocabulary. It's one of my favourite opening tracks Madchilds had since Untold Story in 2015. The penultimate lyric of "When I'm finished writing I get Viking on the horn" still boggles my mind. I love the hook on this song as well.

"Han Solo" wasn't initially my favourite track but it is growing on me. It's more banger than anything with overblown horns and crashing cymbals. The snares are especially tough I'm just not into the rest of the instrumentation. Madchild is right at home on a beat like this and C-Lance is right at home making it. To me, in comparison to some of the forthcoming songs that have a similar tone, it comes up short. But, even if the beat isn't doing it for me Madchild brings some of his better punchlines like "My demons I don't want to battle them no more/so I wrestled with myself, threw my shadow on the floor." Shits fire.

The title track is pretty solid too. C-Lance & Aaron Hiltz make an easy beat to like. Opera chops and wild keys runs through some real heavy drums. Madchild doesn't usually choose a beat this tough for personal subjects so its memorable that way. Mad opens up about the last handful of years where he was supplementing the void left by sobriety with gambling, cocaine and Xanax. You can hear his voice clench with frustration and that adds so much to his delivery. That combined with the writing of his third verse make for one of the best moments on the whole album.

"Watergate" isn't that bad. I could tell from comments sections that the song would be a "love it or hate it" thing among fans. The hook has pretty forceful singing and there's a pretty techno-esque instrumental to go with it. I quite like the rhythm and the verses. I'm still on the fence about this hook but, I do think it works as a song for clubs and parties. It's not my favourite song on the record but it's a lot of fun. Madchild also does a great job of keeping the lyrics dark despite the veneer of the beat.

Another strong song leading up to the release of Demons was probably "Times Change". The Viking beat here is pretty mellow to match Madchilds contemplative lyrics. Mad recounts his early appreciation for being able to tour with his music and contrasts it with recent years of being pampered as a headliner. I enjoyed him touching on the VIP experience and the expectations fans build before meeting him. It's an honest song that's easy to like.

My absolute favourite song on the album was the second single,"Death Race". The instrumental fades in slowly with maniacal laughter from Madchild before the drums and lead synth riff come crashing down on us. Madchilds assures his fans that he's pursuing sobriety and his career more viciously than ever through flow switch-ups and razor sharp punchlines. The hook is equally brisk and aggressive which I also like. This is probably the most Viking beats we've had on a Madchild solo album since Dopesick and it's great to see that chemistry being so easy to fall back into for both of Mad and Rob.

"My Turn" marks about the middle of the album. It sounds like Christopher Walken but I'm not sure what film its from. It conveys the same sort of hunger and restlessness that Mad feels when his career falls behind his expectations.

My least favourite song was easily "Dreaded Force". The beat is okay. We have some eerie strings and pounding bass hits. Madchild is mostly just throwing punchlines together. It's very reminiscent of something we might have heard on Lawn Mower Man in that there's not really an organized idea to the song, its mostly focused on imagination and syllables. I'm not usually turned off by songs like this but Mads delivery is pretty animated and silly for most of the song. I also found the hook a bit tacky. It's a skip worthy track for me.

"No Separation" is another favourite of mine. Contemplative guitar strings and shuffling drums from Sean Chapman make a perfect backdrop for Madchilds verses. There's almost a religious tone to this song as he details his gratitude through making it this far. Mad is also promising to his listeners than you can get through anything with lyrics like "The gods and the heavens and the hells are within you." But there's a good serving of punchlines here too. The singing is amazing as well though I'm unsure if the singer is even credited.

"Follow" is another contender for my favourite song on the album. Madchild goes through his own journey of being a young kid raising hell and falling into his career path. The first verse he tells the youth to keep plugging away at their dreams and have patience in how it will all unfold in due time. The second verse might be one of my favourite moments of Madchilds solo discography period though. He describes being homeless in his twenties, being on bad terms with his family and losing touch with his friends while still keeping his head up through rapping. From writing in his spare time and delving to trafficking to build his studio budget. The hook is mellow and catchy as well. Rob The Viking and Madchild make perfect music together every time.

We get our last couple of bangers in the third act beginning with "Cold Blooded". C-Lance laces wild strings and big resonating bass to this beat. It might be one of his hardest loops out of the whole year. While the pattern of the drums is not very intricate, it might be right up there with Death Race in terms of how many syllable schemes and flow switch-ups Madchilds moves through. There's awesome quotables on here too like "Did more pills than the back of a pharmacy" or "Thank god I can spit a sick sixteen/drug money, rap money ain't worked since sixteen." This album as a whole has him owning his mental health and history of addiction in such a confident way. Despite the scrutiny he faced while relapsing there no shortage of confidence in his lyrics no matter what tone he goes with from song to song.

"Soiled In Regret" has one of my favourite beats from C-Lance out of the year as well. Somber piano keys and complex drums wind their way through as Madchild keeps up with razor sharp punchlines like "Automatic weapons and my firepower merk 'em/Fuck these Satan rappers a higher power lurkin", or "Ruthless, on the loose troops my boots laced/Tight still walk angrily with a screwed face." The hook is bananas too with that Jedi Knight line. Easily replay-able.

The fourteenth track "Forget About You" is a pretty outside the box adventure. Rob The Viking weaves together great guitar work and what sounds honestly like a live drum set. Madchild muses over his lost love that he was on and off with for almost a decade of his adult life The song is a great cross section of regret and longing. From describing how his health deteriorates when he was grieving his relationship to his obsession with who shes seeing and what shes up to. The hook and pre-chorus are great too and he matches this subject matter with the same black comedy we've heard on songs like "Dickhead" and "Slut" I can see this being a hit with fans. It's one of the better experiments on the record.

We're reminded on "Rocket Fuel" that Swollen Members is still one of Canada best hip-hop acts. Its a quick song with Viking on the beat and Prevail kicking it off with imaginative lyrics and flow switch ups. I love the hook where Madchild boasts "We show up to the show and your gang departed". The beat switches and moves through some different tempos and Madchild and Prevail don't shy away from riding the beat flawlessly. I always picture a house party of kids sharing a mic when I hear this song. Just a funky beat with two MCs flipping out and having fun. Another contender for best track on the album. Hurry up and make a new Swollen album k? K.

Our penultimate song "Terror" is my favourite of the three beats Chapman brings. Piano keys chime away while synthetic bass kicks and slaps keep your head nodding. There's no shortage of quoteables here either such a "I wore a mask like I rob bodegas/Became the boogie man I'm baba yaga." I also like the hi-hats that enter during certain moments across this song too. The hook is okay I'm not super attached to it. It's alright as a whole I can dig this song. We've trudged through a lot of personal and introspective songs so a few more bangers to polish off the record is fine.

On the tail end of "Terror" we're hit with a bonus track entitled "Myself". I quite like the instrumental, particularly the snare and organs. There's not a whole lot of quotables and some of Madchilds wordplay gets a little thin. I do however dig the line about "I got to sleep when you wake up from restlessness" it's a nice hint at the genuine struggles he has and adds another layer to the theme of regret that this album focuses on. I'm glad he added this song its not bad.

Honestly, I think this is Madchilds best album. I didn't really notice the absence of features on the first listen and to be honest there's not really a void in their place either. Madchild takes each song and beat by storm and has more then enough to say. There's a tight trio of producers that build a consistent sound for Demons and seeing Rob The Viking return to Madchilds music is especially exciting. Obviously some territory and song subjects are being carried over from other albums but we have more than enough progress to balance that out.

Pros: Production from Viking, C-Lance and Chapman is consistently potent and colourful. Madchild details the behind the scenes struggle that led to his relapse and we're pulled into his journey of pain and regret through great raps and exciting hooks. There's a huge serving of the core Madchild sound as well as lots of surprising instrumentals like "Watergate" and "Forget About You".

Cons: There is definitely a few spots on the record where the sounds becomes somewhat stagnant. Songs like "Dreaded Force" and "Terror" don't bring much to the table other than to pad out the tracklisting with another run of the mill banger. The album certainly could've been a bit tighter.

Collector Reviews: Cannibal Hulk by Ill Bill & Stu Bangas

Ill Bill & Stu Bangas compliment their own style with a serving of comic violence on their joint EP Cannibal Hulk.

Ill Bill wasn't initially a rapper I giving a lot of playtime to, but as I delved into the east coast underground scene it became clear that his discography was not to be ignored. I had really been impressed with Bill since Black God White Devil back in 2017 and since then I've found myself gravitating to his style of violent and intricately woven rhymes.

I think the same can be said for Stu Bangas as well. I have been hearing his production across my album collection for a number of years already but I've only really aware and anticipating his music releases for the last two years or so. In that time he had production credits on albums from Apathy, Vinnie Paz and Sean Price, as well as the second installment of Watson and Holmes with Blacastan.

Ill Bill and Stu Bangas had never worked front to back on an entire album before, though Bill is no stranger to production from Stu Bangas with their first collaboration as early as 2013. Rumors of a full project from the two of them began as early as 2017 with the album finally arriving on March 29th of 2019 on a joint venture between Uncle Howie Records and Brutal Music.

Beginning with the title track, we see the concept of Cannibal Hulk applied to Bill himself as well as a fictional hallucinogen that transforms unsuspecting customers into cannibals. Stu's instrumentation is gloomy and menacing with alternating snares woven together by frantic piano melodies. I'm glad that Bill opens the record with such a long verse as well. A strong start and tone-setter.

The record keeps getting stronger with the second song "Antron Singleton". The song opens with a news clip before sinister guitars emerge with impactful snares and cymbals. I like that the cannibal theme is applied in a different way for each song. Ill Bill and Goretex have always had good chemistry but the frequency of their collaborations has picked up in recent years. This song is just so tough all the way through I can't play it without scowling.

"Yo Gamma Gamma" seems to sample some dialogue from a Hulk cartoon. Though its a short skit, it does demonstrate another example of how flexible the Cannibal Hulk theme is across the EP.

"World War Hulk" is kind of the posse cut with Goretex and Slaine lending vocals. I wasn't initially into this beat but, I've grown to appreciate the intricate drum breaks and wild guitars. Ill Bill has an entire bar dedicated to a sound effect but it does match the manic delivery of his verse. Goretex has a sharp verse it's clear these four artists are having a lot of fun on this one. The best feature on the album has to go to Slaine as he switches flow patterns and ends rhymes before and after snares while still pushing his vocabulary as far as he can.

The skits carry on with "Green Sabbath". Bill is always great at digging for news clips that convey the supposed bad influences of metal music. It's a cool throwback to the themes of the music videos from Black God White Devil.

My favourite beat can be found on "Russo's On The Bay". Stu laces strings over some real ominous keys. These keys sounds like a music box from a horror movie. The snares by itself is kinda thin and doesn't have much impact so I'm glad there's tambourines layered on every other snare hit. Vinnie Paz's contribution is as gruesome as it is extravagant. Ill Bill return fire with similar braggadocio and satanic references. "Russo's On The Bay" is another hit from Heavy Metal Kings and if there is a third installment to their groups catalog I hope they include beats from Stu Bangas.

An Ill Bill project isn't complete without references or nod to Bills late Uncle Howie. "Scumbags" brings us a sound byte of Uncle Howie reminding us to think before we judge. While it doesn't really tie into the next song it does help slow the record down a bit for the contemplative song that comes next.

My favourite song overall is "Joe Fixit" featuring Snak The Ripper. Stu's drums keep momentum up and are paired nicely with piano melodies and rising strings. Bills tone lessens but his language still stays pretty abrasive. I always get a chuckle out of Bills line "poop in Rihannas mouth/shoot up your mama's house." The hook is easy to memorize and I can see the chorus going over well in foreign markets with the crowd callouts that run in the background of the chorus. Snaks gets more personal as he references the different levels of success he's had throughout his career. I also gotta give Snak his props for using the word osteoporosis in a rhyme.

"Shiva Call" is another highlight on the record. Stu brings more melody with strings sections and gentler drums. The string section on this song might be my favourite bit of instrumentation on the record. Ill Bill slows down his flow a little bit. Shit, even Goretex seems to be rapping at a more reserved register as well. Bills verse has some highlights like "My friends rip ATMs out of wall with tow trucks." It's a similar vibe to "Bad Hombres" from Black God White Devil with a larger focus on acoustics and atmosphere.

We close the record with the first promotional single "Hulk Meat". Stu Bangas bring probably the spookiest beat on the record with haunting piano melodies and low rumbling drums. Bill and Goretex have cool enough verses I'm just not crazy of the direction they took with the hook. There's heavy pitch and distortion over the vocals. So much so that, I'm STILL trying to decipher what's he's even saying.

Pros: Ill Bill and Stu Bangas definitely were hands on with beat choices and the chemistry is really obvious off the first couple of tracks. Even when I'm not drawn towards a beat or some of the verse blend in, I can still appreciate the tentativeness of it all. It's as hard hitting as you want it to be but still plays with your expectations with songs that play with melody more than percussion like "World War Hulk" or "Shiva Call". Bills featured friends really deliver on their contributions as well.

Cons: Though the intentions of each song always succeed its still just a question of what I liked of not. There's a few beats and verses that in comparison to others that don't grasp my attention. The other gripe I can think of is with it being three years since a solo Ill Bill album, I would've liked to see a longer track listing.

In the end if Ill Bill and Stu Bangas end up making these collaborative projects a regular thing, similar to Watson and Holmes or any number of Bills side projects, I would look forward to it. Bangas understands the tone and range of Bills music and can tailor a perfect mix. I hope there's more full length projects they work together on even if I'm not loving 100% of it. Much like Czarface (another comic infused rap act) they could have their best album coming later in their discography.

Collector Reviews: Harvard Dropout by Lil Pump

Sike! Damn you really thought I'd review some garbage like this?

APRIL FOOLS.

More underground reviews to come though.

Collector Reviews: The Bridge And The Abyss by Jedi Mind Tricks

Though it has less focus than previous efforts, The Bridge And The Abyss is held up by brilliant production and more than a few hits.

The Bridge And The Abyss bears some resemblance and relation to 2015's The Thief And The Fallen from its album artwork to the inclusion of C-Lance and Aaron Hiltz to the production team. Yes Alexander also returns for several interludes as well.

The album was recorded throughout 2016 to 2018. The Bridge And The Abyss is also the first JMT record to have an excess of material from the recording process. Over forty songs were initially prepared before being whittled down to nineteen. We had an initial ball park of a 2017 release but the album was eventually announced to come out on June 22nd of 2018.

The album opens with "Al Bid Aya" establishing the tradition and tone of a Jedi Mind Tricks album. We have Yes Alexander returning from Thief And The Fallen to deliver vocals on this intro as well as a few more songs across the record. I can't say this is a huge highlight for me but it does add some backstory and intrigue. I like to start the album all the way back here for the added theatrics.

Our real kickoff happens with "San La Muerte". This banger wastes no time with assaulting organs and sweeping drums from Stoupe and C-Lance. Vinnie gives the ferocity you'd expect from an album opener. I like the hook it reminds me of "Steel Sharpens Steel" from The Cornerstone Of The Cornerstore with the style of hook we get. Even as the lead single I was just kind satisfied by this song but not really blown away. It's a decent start though.

"Rashindun Caliphate" is kind of a filler track for me. The beat is one of the gentlest on the album from its echoing woodwind instrumentation to it's tumbling drums. Even Vinnies vocals come off more reserved on here too. It's a vibe for sure but I'm usually skipping ahead to the more explosive songs that come after.

"Frescho & Miz" was a song I didn't expect to love as much as I did. Often times Jedi Mind Tricks is known for their religious or occult lyrics and they have fittingly ethereal production to boot. On this track however, we see Stoupe lacing up some real fun mixes of soul and funk. Bouncy brass sections and tumbling drums are the perfect backdrop for Vinnie and his multi syllabic schemes. We truly have one of the catchiest songs on the album here and the beat fades out slowly so we can groove to it a little bit more.

Another strong track is "When The Body Goes Cold". I like our opening monologue before we hear the signature cymbals and kicks from C-Lance with rattling hi hats and some real sinister keys. I'm not sure what sounds and addictions come from Stoupe and what comes from C-Lance but I definitely hear a drum pattern that reminds me of C-lance style so perhaps Stoup handled the keys and synths.This song also has one of my favourite hooks on the record.

One of the only duds to me was "What She Left Behind". There's quite an intense story being told here. Vinnie assumes the character of a father on the edge of sanity. Our protagonist is threatening and hurting his family over a an extremely slow beat. This song reminds me of Immortal Techniques "Dance With The Devil" in that there's an extremely grim story being told and the appeal of it mostly comes from the shock value of how the song ends. However, I still don't really bump this as its quite an uncomfortable listen.

"Death Toll Rising" is a favourite of mine from the record. Stoupe demonstrates his talent for sampling different languages. Vinnie is having a blast over these slamming drums. Lots of mafioso tropes and flow switch ups hold my attention. There's less storytelling so far on this album but I'm okay with that if he's having this much fun throwing punchlines together. Leaving the hook without lyrics was a great idea so we have time to appreciate the instrumental.

The album flows into our first interlude entitled "Shed The Skin To Receive The World". Though it lacks any rapping, I love the arrangement by Stoupe and the fade that is applied to Yes Alexander and her singing. I let it play through most times.

"Certified Dope" kicks off my favourite act of the album. Stoupe serves up quite an untreated sample as a playground for Vinnie's double time. Eamon belts out a fantastic chorus among electric guitars and tambourines. The drum breaks are wicked fun as well and I know how much further a third verse would've gone because all the talent involved here seems to be really flourishing together. The Eamon song from The Thief And The Fallen was a highlight even back then. Good batting average for this team so far.

My favourite song from this album is "Hell's Henchmen". This song is hard off the rip with kicks and basslines that rattle my car and one of favourite snares. Our instrumentation varies from 8-bit keys to furious strings and crashing cymbals that supply the fuel for some of Vinnie's toughest verses on the entire album. There's more than a few attempts at aggression on this album and I think "Hell's Henchmen" is one of the stronger cases for it. Cool hook as well showing great vocal range from Paz.

"God Forsaken" was a song that didn't exactly set the world on fire for me now that I'm thinking about it. Vinnie's attempts to rap faster have grown in popularity since fans heard his verse on "God Particle" from the Army Of The Pharaohs album In Death Reborn and for the most part, it's led to some great songs in the last handful of years. This one however, just doesn't hit the mark for me due to the instrumental being a tad overwhelming. Lots of rumbling bass hits and our hooks is quite messy as well. I can't explain where, in my iPod or music collection full of aggressive and experimental music, the line is drawn but, this song goes over it. Between the clutter of this instrumental and the appeal of simply listening to the other double time song that has an Eamon feature, I skip this one often.

Despite the previous track, our second acts still remains my favourite part of the album. The final song from act two, "Legacy Of The Prophet" is a definite high point as well. Stoupe, C-Lance and Hiltz connect with tumbling drum breaks and rapid kicks woven into some very cinematic strings. Sean Price lends one of final recorded features and my favourite vocal guest appearance on the album. From Sean delivering a timely Trump diss and Vinnie asserting that "[they're lasting forever]" its just a true demonstration of the chemistry that Paz and Price had together down to their final recordings. Vinnie snaps on the second verse as well. It's hard to accept that P passed away while still dropping heat like he does here.

As we transition into the third act, we reach our second to last interlude, "Void Ritual". I like the drums and Yes Alexanders lyrics are less edited so it sounds a bit better than the one from earlier. Probably my favourite interlude. Worth playing through as it adds to the tone and continuity of The Bridge And The Abyss.

Another later favourite of mine is "You Have One Devil But Five Angels" which kicks off with bass chords and frantic pianos. Our kicks and snare guide us into Vinnies braggadocio and the cuts are fierce too. This beat has quite an ensemble of instruments from the flute, organ and bass. Vinnie has some tough bars here similar to the style we got in the first act. Mostly the beat is perfect and Vinnie know just what to do with it. Easy highlight.

"Marciano's Reign" wasn't a highlight at first but I love it now. Much like "Certified Dope" Stoupe selects another sample. It's quite a heartfelt passage with Vinnie comforting his son and teaching him how to process pain and loss. The music video really ties it all together with depictions of how difficult it is to leave children behind to goes on tour. A great moment of humanity to break up the rest of the albums aggression.

"Torture Chamber" launches into explosive cuts and drums. Inspectah Deck takes the opening verse by storm and Esoterics maneuvers through some intricate flows into the second verse. It's not the first time we've heard Czarface and Vinnie Paz together, however, with Vinnie Paz featuring on their self titled debut. It is exciting to hear them over a Stoupe beat versus the tone of a Czarface record. It definitely brings something different out of everyone. This song is so late in the record I often forget its coming on so I definitely feel like I don't play this song enough.

The record loses some momentum as it goes on with "The Letter Concerning The Intellect". Stoupe delivers quite a strange beat. The lead sort of riff for this beat is simply singing reversed and then looped. It bizarrely works and leads us into Vinnies rhymes. His delivery pauses between each line to gives us a peek through to the instrumental. Its nice break for melody.

"Making A Killing" was a surprise to me. Much like the "You Can't Be Neutral On A Moving Train" series, C-Lance and Aaron Hiltz conduct over six minutes of music. This beat moves through few different tempos and grooves while Vinnie delivers an animal rights song. No, really. It kind of works. Though the message is spectacular, I find this pattern of lengthy and informative songs to be a little long in the tooth at this point. This song, along with other parts of this album, seems to blur the creative borders between JMT and Vinnie Paz as a solo act. I do love the instrumental here as it breathes through pianos, guitars and several drum patterns.

The album wraps up with "What Falls Is Fallen" featuring the most lyrics from Yes Alexander but it's somewhat squandered by still having the shortest running time of any of her passages. Much like the rest of this album the interludes seem to spread the narrative rather thin to pad out the runtime or accumulate more streams, we really could've done with one of two less of these intro/interlude moments and just focused on making two perfectly necessary Yes Alexander moment rather than four that convey less.

Pros: Vinnie has great history and chemistry with all producers involved. Instrumentally, there's notable high points and great ideas being brought forward. Yes Alexanders vocals add the same wonder and intrigue this time around as well. It's also very apparent that Vinnie Paz is still sharp with his pen. And new topical songs like "What She Left Behind" and "Making A Killing" show that the conscious and imaginative reputation of Jedi Mind Tricks is still intact.

Cons: Despite having similar artwork and the same production team as The Thief And The Fallen, The Bridge And The Abyss actually shares more with Vinnie's recent solo efforts like The Cornerstone Of The Cornerstore and The Pain Collector. We see the focus shift from the usual promise of JMT tropes to the looser, less pertinent braggadocio that emerged from Vinnie's solo catalogue. I still got a good serving of bangers his time around but I do hope the cohesion increases on the next Jedi Mind Tricks album.

After it's over, The Bridge And The Abyss lands somewhere in the middle of JMT's discography. There's more duds than 2015's The Thief And The Fallen but also about the same amount of likable songs. Vinnie is still at his best for most of the vocals and the production has it's own unique tone due to the recruiting of Scott Stallone, C-Lance and Aaron Hiltz. The interludes don't hold my interest as much this time around and the somewhat ballooned length only succeeds in adding extra songs I'm not fond of. But again, I loved the unity and vision that Jedi Mind Tricks albums usually have and hope to see a tighter narrative with the bands next outing.

Collector Reviews: Off The Rails by Snak The Ripper

After tragedies and miracles, Snak The Ripper return to the fold with Off The Rails.

The album was recorded across 2017 and 2018. After touring heavily throughout 2016, he was beset by a family emergency and removed himself from the spotlight. During this hiatus he continued to record music and returned to touring for the summer of 2017. In hindsight he really only disappeared for under a year. Though news on upcoming material was eerily quiet.


Snak also confirmed on his social media that he and Jaclyn Gee were expecting their first child. In February of 2018, Snak began releasing singles but was careful to reveal any album plans until their son was born. He continued to drop singles until the album was released on August 16th.

The album starts literally where From The Dirt left off with Snak stepping off of the train we heard him catch on the final seconds of his 2016 album. Slowly a snippet of some psychiatry recordings emerge. It's an intriguing intro that blends in a little better than his last attempts at skits. I actually like him starting the LP like this. "Off The Rails (Intro)" is mysterious and builds interest.

"Say My Name" was instantly resonating. Not that this cut is particularly ground breaking in terms of substance as it brings a pretty familiar tone. Snak always kicks off the start of his albums with his signature style of banger. You can find low brow and mischievous bars all across this song. It's more the conviction in his delivery and his rhyme schemes that draw me in. C-Lance composes one of his most sinister and commanding beats as well. I'm already noticing the theme of Snak coming into each song harder and hungrier than ever before.

One of my personal favourites is "I Ain't Dead". Elements of trap and boom bap are mixed very tastefully here by Starkore. The snares and kicks slap nicely and the hi-hats are at a comfortable volume as well. Snak drops lyrics affirming his self confidence as well letting us know hes still alive and kicking harder than ever. I love the break down of this beat as the tempo picks up on the second half of each verse and Snak reacts accordingly with some great double time. It's one of the shorter songs on the record so if I had a complaint that would be it. We can always rewind it though and I always do.

"Knuckle Sandwich" was a bit of a let down for me. Sure there's a grimy beat and Snak and RA are delivering some vicious 24 bar verses but, I just can't shake the fact that is a song they've all made before. It's Snak and RA being as offensive and loud as they can for as long as they can. It even feels like C-Lance has made a beat like this before. For the A-list roster that this song has, the style and tone are just too predictable. Decent hook though and Snaks breath control is already better than it was on any of his previous works. Still, it should be more of a highlight than it is I feel.

As a great standout and one of the lead singles, "I'm Good" works for a number of reasons. From Starkore's glossy and contemplative trap beat to Snaks lyrics about financial stability this song is a great end to other songs Snaks had like, "Eight Hours A Day", "Famous And Broke" and "Stress". His seemingly overnight mastery of double time is displayed here too, though the hook is tastefully slower. He's finally experiencing the spoils of his success but he's still saving money keeping his eyes on his future. His persona of being rowdy and out of control has been pretty well documented in his music and stage performances and this is just a well written and well composed evolution. Other lines about being a role model for his son, learning not to lend out money to old friends helps affirm his growth as well. His life just seems to finally be falling into place.

Of course we have to bounce back to the obnoxious stuff again with "Real Drugs". The second single chronologically, has C-Lance returning on the boards. It's similar to "Knuckle Sandwich" in that it's another off the wall Snak song. I love the hook and the drums are pretty heavy on this too. There's only sixteen bars on this one so it doesn't feel as long as "Knuckle Sandwich". The hook showcases his classic gravely singing but like the rest of this album, there's noticeable improvements to Snaks vocal range.

"Hour Glass" features a beat by Snak himself. Furious hi-hats and gloomy keys punctuate some speedy verses from Young Sin and Snak. There's a cool subject to this song as well with them both diving into their limited time on this Earth and reminding us of the urgency mortality brings. Evil Ebenezer has an appearance on the hook and kills it. It's not my favourite song on the album but, its one I'm often restarting. I should note that Young Sin has one of the standout features on the record as well but Snak still competes on the second verse.

The final single "All Out" featuring Rittz is another strong point on the album. The music on this one is crazy with wild guitars and rapid cymbals accompanying our smashing drums. Snak and Rittz tear through their verses with vicious double time and internal schemes. Snak brings his classic gravely signing to this hook once again. Of all the C-Lance and Aaron Hiltz beats here I'd say this is my second favourite. There's great progression and this song has crazy momentum that builds with each bar but I find that during Rittz's verse the song gets a little slower. It's not a detriment I just wish the music continued to build through the second verse. The hook still explodes at the end of the song so it is a small critique.

The albums second half begins with "Ashes". Snak recounts his fathers battle with cancer in a one of the most raw and thorough storytelling songs I heard in 2018. He recalls his fathers strength while wrestling with having to watch someone he loved decline in health. The production on here is perfect too this beat on it's own conveys the same feelings as Snaks lyrics. Great match. Its one of my favourite C-Lance beats ever and the hook is mixed the perfection so you really feel each note. "Ashes" is a song we can play over and over and it won't stop being powerful. There's really not much room for criticism on a song like this. It's emotionally heavy so I'm not always in the mood for it but for the subjects it covers, its perfectly written.

"Baby Boy" I believe, is pretty solid as well. Snak details his anticipation and excitement for his sons arrival with Jaclyn bring some reassuring lines in the hook. The song is another case of a perfect beat being mixed well. There's recordings of their ultrasound timed to the beat and the drums shuffle along against gentle guitars. The mixing and fading on this album is another strong point and it was at about this point of the record where I really started to queue into it. The song is actually structured similarly to "It's Over" from Snak last record Off The Rails in that we have verses and bridges from Snak and the beat changes to accommodate Jaclyn's singing. I gotta give it up to this song however for having just a little bit more humanity. I also find that with the matching music video that "Baby Boy" stands as one of the more solid collaborations from Snak and Jaclyn period.

"Driftin" has Snak on the road recounting the way his life has unfolded. The warbling synth keys and tumbling drums match Snaks reserved tone quite well. I love the juxtaposition of meeting fans and performing in front of massive crowds with catching flights and booking hotel rooms. It's like despite being surrounded by people while he's on tour there's an element of solitude that he finds peace in. Almost as if artists need to be nomadic to keep their sanity. Also this beat, even with it's short loop just keeps you nodding the whole way through. It was a good call to let the beat ride out at the end.

After those more mellow and reflective songs, we reach my favourite song on the record. "Shania Twain" sees Snak collaborating with the recently formed Jamo Gang. J57 brings some real slamming drums and cymbals. Ras Kass and El Gant both have some of the best guest features on the record. The fact that hook mentions all the members in the song is exciting too. In today's age of emailing verses back and forth its nice to hear three rappers in a cohesive way like this. And again, despite the talent recruited here, Snak drops the best verse of the song towards the end. How is this dude improving so fast? I have to play this at least twice every time we hear the album. Everyone here went in.

"Criminal Ideas" is a little lukewarm for me. Similar to Knuckle Sandwich, the song does exactly what you expect it to do and not a whole lot more. The beat from C-Lance features his usual crashing cymbals, opera chops and haunting pianos. Ill Bill brings a solid enough verse but with the impact of Black God White Devil, I can't help but be underwhelmed. I can't rap any better but I definitely feel like he could. D-Rec does bring some fantastic cuts and scratches for the hook, however. Reef The Lost Cauze brings my favourite verse on the song and Snak finishes the song up with some decent bars as well. Honestly my least favourite parts of this album are songs like this. This just feels like it came too easily for everyone involved. Sometimes I'm in the mood to play this song all the way through but it still feels like a song everyone one of these guys has made before.

The album has a terrific third act, however, that kicks off with "Paid Up". Marco Polo, who previously produced "Premium Dope" from Snak's From The Dirt album, returns on the boards here. The song starts with heavy kicks and snares that are some of my favourite on the record. Synths and organs back Snaks stories of persistence and work ethic. The song breaks into some relentless chopping in the second verse similar to "I'm Good" that we heard earlier. One of the best displays of his improved breath control is on this verse.

"Highs And Lows" has to be one of my favourite conceptual tracks on the album. C-Lance supplies high noted keys with more relaxed percussion while Snak opens up about overcoming his cocaine addiction. Prior to this album, there really wasn't much evidence of clues that Snak had been struggling with it and that only adds to this song. He talks about his addiction journey as if it's a on and off again relationship. The first verse portrays Snak immediately losing authority over his cravings and he cascades into addiction hard as Tiago Vásquez brings resolve and strength to the chorus. Snak recalls his clarity and confidence now that he's clean and provides a bit of a twist on the finishing line with the only direct mention of cocaine on the whole song.

We close the album with our first single chronologically, "Lesson Learned" was released the February before the album came out. Even hearing it prior to the rest of the album, "Lesson Learned" introduced us to a more seasoned Snak. We instantly knew what ever album this song was going to be a part of that in that album we'd hear significant growth and pertinence. Vokab brings multi layered snares that crash along to Snaks advice and recollections. I also adore this hook I find it to be very wordy but also clear and easy to rap along too. It was a perfect tone to begin his releases of 2018 with and a fantastic closer once it made the track listing for this album.

Once the record was through, I still knew that Off The Rails was Snak strongest and most confident outing yet. He more ambidextrous than ever this time as he explores his past, present and fearlessly goes into his future. Different aspects of Snaks character and important plot points are already hinted at on the front cover and the actual music sticks to those threads quite well. As a matter of fact I think the story sections of this album could be my favourite parts. The more boastful stuff is still impressive and an improvement upon the last album, however.

Pros: This is really feels like the most introspective Snak has been for an entire album. Even beyond that, his technical ability and breath control is greater this time around too. Most of the features sound really hyped to be here as well. The production is pretty satisfying no matter what your tastes are and even the bangers that I should be tired of at this point still have their moments. A great mix also shows off Snaks confidence in trying new vocal styles.

Cons: Pretty early on we figure out that the mature and transparent songs don't really compliment the bangers. These songs of wild energy translate well into a live show but I still found more enjoyment in the internal stories Snak was telling between the bangers. Maybe I just wasn't in the head space for it but I don't find myself shocked or drawn in by that kind of zany presentation anymore. I've heard lots of underground rap trying to "shock" me over the years.

Collector Reviews: WakeDaFucUp by Onyx & Snowgoons

Onyx return with some timely aggression with the help of the Snowgoons production on 2014's WakeDaFucUp.

Almost ten years after their previous album Triggermotetry (2004), Fredro Starr met DJ Illegal of the Snowgoons during a show in Europe. Fredro appeared as a solo artist on the Snowgoons album Snowgoons Dynasty in 2012 and the group appeared on their subsequent album Black Snow 2 for the song "Do U Bac Down."

In March of that same year, Onyx and The Snowgoons released this collaboration album WakeDaFucUp to critical and commercial success. The album was the bestselling CD on UndergroundHipHop.com for the year and XXL listed it in their "Top 25 albums of 2014" countdown. It's also worth noting that the group had their smallest roster yet with Fredro Starr and Sticky Fingaz being the only returning members.

The album opens with "WakeDaFucUp Intro" I mostly skip this one considering its just a thirty second snippet of the title track. I can however, understand the motives of putting this opener. It was a good choice for a longer intro and beat drop when you consider the explosive energy that the majority of this record will give you.

Our first real song comes in the form of track two, "Whut Whut". Despite the slower flow from Sticky and Fredro and the sleeker more contemporary drums from Snowgoons, we are quickly reminded of the tone of Onyx and their talent for choruses. It's not the most memorable song we're gonna talk about but, I can bump this and it's fun.

"We Don't Fuckin Care" showcases our first features on the album. This song has one of my favourite beats. Crisp keys and shuffling drums add a great flavour of desolation to each bar that our talent spits. Fredros' chorus has some great spaces for us to really bob our heads and hear the beat. I like Stickys' punchline of "Birth takes nine month but a nine mil you die like that" and the finger snap afterwards. One of my favourite lines to rap along to. A$AP Ferg brings one of the stronger guest verses with diverse flow switch ups and internal rhymes. Sean Price opens his verse with a great shout out to Onyx and The Snowgoons. It's not the best guest verse Sean Price has lent to a Snowgoons project but, he does add another unique flow to this beat. A strong song but not quite up there with my favourites.

"Hustlin' Hours" Is another decent banger. I love the bass line here but aside from that the beat is average in comparison to the rest of the record and it's not the most compelling song in terms of  verses either. The pair teams up with Makem Pay to drop some punchlines about trafficking and its energetic enough I just like most of the record more than this one.

"Buc Bac" is one of favourites joints. I love the strings that duck in and out of the beat and the lack of a strong bass line helps emphasize the kicks and snares. It's similar to another song later on in the album called "Hammers On Deck" but one this record they're brandishing guns purely because they enjoy causing chaos. Fredro has some lines here like "I'm disrespectful I know but, fuck you/I know a couple n***** that'll kill you for a buck or two." One of the hardest songs on here I can't rewind it enough.

Our title track still stands out as one of the stronger points on the album. It's commendable to have one of the slower tracks as the lead song of the album. I like that we can hear horrorcore influences across the chorus and into the verses that Dope DOD lends. At the time of recording this album, Onyx had been recruiting international artists to their collective 100 Mad. To choose one of foreign flagship artists to feature on the lead single is a bold move. It's songs like this drive home just how palatable Onyx's sound can be across the world. Queens, The Netherlands and Germany all coming together to prove that not only hip-hop but, underground hip-hop is still viable in other markets. The song itself is grim as Onyx's calls for a course correction away from the "hip-pop" blends that populate the radio stations. There's hard snares, tough lines and a variety of flows from all four MCs. I'd say Skits verse borders on being offensive with some rape references but, there's already so much violence on this album with more to come it doesn't stand out too much. I like Sticky Fingaz verse the most as he's angry but having so much fun at the same time.

Another one of my favourites is "The Tunnel". It's similar to a lot of beats on here as keys and strings support our boom bap drums. Onyx recruits help from Papoose and Cormega in telling their experiences in the infamous Tunnel club in Manhattan. Each emcee lists the atmosphere of the club from it's crime connections and legendary hip-hop figures to the clientele and grit of the club. Every verse describes something different and its as thorough as it is graphic. DJ Danetic also does a great job scratching around our hook.

"The Realest" took awhile to grow on me. Mostly because it's placed between some of my favourite songs and I didn't always play this one all the way through. It's on the shorter side in terms of length and some of the patterns of this album is starting to wear by this point. By track eight there's been lots of piano led boom bap songs and the verses don't jump out at me like they do on other songs. It's listenable but not standout.

I quite enjoy our ninth song "Dirty Cops". I love the perspective here and the hook. "The whole neighbourhood screaming out Dirty Cops". It's a clever way of telling no matter how many street gangs there are and how many hustlers are on the corner that the police remain the most notorious gang. Fredro Starr recalls run ins with the police while Sticky Fingaz warns us of all the schemes police have to arrest the highest amount of people they can. Snak The Ripper finishes up the song ready to fight and refuse cooperation. There's a story tying each verse together and our beat keeps pounding along. Solid track indeed.

"Boom!!" is a great banger. Fredro and Sticky spit some of their better flows on this song. Sticky has some great punchlines like "Fuck your confederate, 20 years later same n**** just a better whip" I love the periodic boom of the bongo (I'm sure it's not a bongo drum but my instrument terminology isn't up to snuff. If you hear the beat you'll know what sound I'm talking about.) There's just a great explosiveness to the lyrics and beat. Love the scratching that closes this record as well.

The last song I didn't feel too much was "Trust No Bitch". The beat here is pretty crazy and even on this song there's something about the hook that I like. The verses and the concept is a little flat for me because it honestly feels like Fredro and Sticky are trying to say bitch as many times as possible. Sticky dropped some line about Southern hip-hop that felt really outdated to me as well.

"One 4 Da Team" is a strong song as well. With the help of Reks, Fredro and Sticky bring great lines about affirming their direction. The three MC's recall the reception of themselves in the media and their journeys through the music industry. All these lyrics are accompanied by one of the more contemplative beats on the record too. It's placed pretty strategically as well because by track twelve you're ready for something slower and more self-examining. This isn't just good because of the contrast it holds to the rest of the album as Onyx has had more thought provoking material in the past. It's just a great combination of the right beat and story being told.

As we get into the final couple of cuts, "Hammers On Deck" is a bit slower but its hard nonetheless. I love the rapid kicks and the beat drop. It's cool to hear Sticky do a hook with a calmer voice. Similar to "Buc Bac" we see Onyx brandishing guns in the way only Onyx can. The song title is always being plugged in each verse and I can see this being great in a live setting.

The album ends with "TurnDaFucUp". This is easily my favourite on the album. No matter the mood I'm in, this one always get me out of my seat. Frantic strings build as Fredro delivers some lines up to the beat drop. On the subject of every hook on this album hitting, "TurnDaFucUp" is no exception. It's commanding and simple like most of our hooks but the energy and ferocity continues into the verses. Even Stickys lines are shriller than normal. Like there's just so much excitement building from this song. Fredro brings more flow and cadence to his verse. I remember seeing this one live in Calgary too and the crowd was going bonkers. Great finish especially when the last few tracks leading up to this were slower. Just in case there wasn't enough bangers they leave you with one more.

By the end of the album you really do feel invested in the energy. There's violence and heart (sometimes at the same time) and the Snowgoons production manages to be masterfully catered to each subject. It's a great working relationship and WakeDaFucUp turned out to be an album that not only hip-hop needed but also the album Onyx and Snowgoons needed in their legacies. There is spots where you find yourself wondering "Gee how angry can these guys be?" but the sequencing only allows for this to happen once or twice.

Pros: WakeDaFucUp still stands as one of the stronger releases that The Snowgoons have been a part of while also stacking up against some of the best releases from Onyx as well. For a comeback album it's everything you'd assume Onyx would sound like in this decade. The hooks all hit, even on my lesser favourites and Snowgoons really lend that raw sound you'd expect.

Cons: I knew what I was getting into with an Onyx album but, fair warning, this album doesn't take any breaks. It's hard and vulgar all the way through. For me that's is good and bad. Also despite the Snowgoons really having a diverse sound in their own discography, they don't always lend the most variety to this album. Lots of eerie pianos and overblown snares can get tiresome. Fredro and Sticky aren't always the most transparent or analytical rappers either. But again. It's an Onyx album you know what you're gonna get.