“Restoring the feel” is more than a phrase for Wisconsin wordsmith, Obi Khan. With his latest opus, “THC-4”, Khan draws a lyrical line in the sand between himself, and his new-school contemporaries. In a class of freshman, the Madison-based madman gives 16, sample-heavy reasons why he is among Honors. His beat selection is inarguable; consisting of some of the most diabolical, yet divine boom-bap you’ll hear all year. Predominately produced by Thanos Beats, these instrumentals are tried and true of the cornerstone of 90s Hip-Hop. They feature dingy, vinyl-samples and apposite vocals embedded in each borrowed record. From a production standpoint, the joint “Where Do I Go” has to be one of the album’s crowning moments. It features a Draculean melody, voiced through an organ, chaperoned by rusty boom-bap drums and a vocal sample that echoes the words of the song’s title. On the record, and every other that graces this masterpiece, the Obi Khan delivers excellently. He raps with such a guttural growl in his delivery, that seems to spawn from an unseen abyss within him. This apocalyptic aggression is exactly what amplifies his lyricism; making your ears want to listen to every bar he spits. On tracks such as “Bionic Man”, “Gods (ft. Thanos & Arewhy of Brotherhood 603)”, “Faded”, “Kamala (ft. Professa Dibbs)”, “Time”, “Itch The Scratch (ft. Thanos & Jabba the Kut)” and “Check the GRhyme (ft. DJ PAIN 1)”, the Midwest rhymesayer utterly disembowels the microphone; rapping circles around any of your favorite emcees. Although, I have a slew of personal favorites from the project, it can easily be played front to back without any skips or interruptions. Obi Khan has crafted a timeless hip-hop masterpiece, worth a thousand times more than he’s offering it for. If you’re a fan of lyrical greatness, dirty boom-bap, and overall, underground ingenuity, “THC-4” can not be ignored.



Album: THC-4 (Releasing Aug 24th)



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Flowing like the myriad Georgia rivers, is 16-year old rapper, Blessed.Savage; and his recent release, “Frequently”, is soaked in undeniable swagger. It is two-and-a-half minutes of Zaytoven-esque production (completed by milky, gospel organs and vocal chants), layered underneath the raps of a kid fully coming into his own. Because, the track is not reflective of this artist’s age. On the contrary, it is a testament that if he’s dripping over beats like this now, he’ll be making tidal waves in adulthood. His delivery and flow, over this smooth series of snares, claps and 808s, is inexhaustible. He never seems to tire; in fact, he only gains more vigor as his verses lunge onward. By the second verse, our Riverdale representative was whirling with melodic inflection; spitting throughout the song about the impact that rapping has had on his recent years. If Blessed.Savage can push through the hatred, and continue dropping joints just like this, he’ll be “Frequently” seeing dollar signs.
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The Milwaukee marauder, Taiyamo Denku, continues powering forward campaigning his recently released LP, "No Industry Standard". Side by side with fellow producer cohort Dcypha, the pair continue delivering nothing but high quality Hip Hop. Enter the third single from said album, "Still Waiting", featuring highly compelling jewels shared by Griselda Records own, Benny The Butcher. 




The song begins with a sick piano melody that gets split by soulful horn and vocal samples. Denku sets up the record's concept with a short introduction that rides into the chorus that states, "no matter how things get, they still waiting for change / stages of life, sleep half of the days". After the intital hook, Taiyamo and Benny begin assaulting the mic with brolic bars of knowledge, hoping to wake up the unknowing. "Still Waiting" is a stand out cut from "No Industry Standard" and is the second feature from the Griselda camp. The album's lead single, "Be Who You Are", was another super soulful clapper and featured Conway The Machine.


"No Industry Standard" has quite a few hits on it's hands. The two aforementioned singles, "Fabulous Life" with Lil Kim, it's title track and much more. Benny is still pumping his "A Friend Of Ours" project. A fan favorite of 2018, the project carries guest appearances by 38 Spesh, El Camino, Dark Lo, Skyzoo and others. Both albums are available to preview / purchase on Bandcamp, nice additions to add to your Hip Hop collection.

The gunk and grime of 90’s East Coast will cake up on the edge of your speakers after only the first few seconds of rapper, P-Wize the Emcee’s, “Real Life”. Seasoned by almost-cathedral instrumentation, and sparkling, soul-sampled vocals, the gritty verse of out Asbury, New Jersey native splits the mix, announcing himself and that he has a “Story to tell.” Not long after that announcement, a series of snares snap through, before the roll of boom-bap drums and a muddy bassline immediately landslide the entire orchestration. And the emcee’s story beautifully commences. 
With a microphone stolen straight from the coffin of Golden Age Hip-Hop, P-Wize raps his heart onto his sleeve. It is not simply the sonics of the song that will blast you back to the 90s; but likewise, the messages within in the man’s lyrics. “You see the god inside of all of us—“ is just one of the myriad, knowledgable bars he unleashes, displaying that excellent Five-Percenter enlightenment so many others had, as well, in the previous century of rap. Armed with wordplay, lyricism and a filthy, yet passionate deliverance, P-Wize welcomes us all into his “Real Life”. If you love the spirit of 90’s Hip-Hop, its an event you won’t want to miss.


“REAL LIFE” Stream/Download: 


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The disappearance of cliques such as Three Six Mafia, UGK, and 8Ball & MJG left unpredicted fissures in the rap game. Ever since that Southern domination of so many years ago, mainstream Hip-Hop has been missing something. Missing that raw, boondock bounce that had so many clubs rocking and Cadillac speakers knocking. Although, a return to form is indeed brewing in Memphis; none is as encapsulating as new-age rapper, Kreep. Through his new album, “Sorry, I’m Late”, loaded with 13 hot records, the Alabama native fills a void we should have never created, in the first place. Because, by the end of this opus, it’s crystal clear why that era of Southern Hip-Hop was one of its greatest: its rawness and honesty. There’s a preternatural darkness hugging many corners of the album, where flexing and bragging have no place; and only Kreep’s truth can illuminate. Laced by the most quintessential, country 808s; our Heart of the Dixie rapper will lyrically pull you into his real life. He bounces across tracks such as “Actin’ Up II”, “Fiya”, “Don’t Count Me Out”, “Emotions”, “Realest Illest”, “Bout Dat Life” and “Drell’s Tale” with a nostalgic, Three Six-esque cadence, fully disclosing the griminess of his environment and circumstances. 




Although, Kreep defines himself as a new-age artist; he does not conform to that paradigm. He shows in multiple moments of this project, that he would rather his audience have something honest and real, ripped straight from his own trials and tribulations, to relate to; instead of flaunt money or drugs like everyone else. Personal favorites on this album have to be, “My Girlfriend” and “Bout Dat Life”. The former for its irresistible, vintage sample, strong 808s and impeccable story; and the latter for its pure, late-90s aesthetic. If you are a fan of early, organic Southern Hip-Hop, this album is worth every second of your listen. The Heart of the Dixie is pumping once again; and Kreep is the one to thank. 



“SORRY, IM LATE” Stream/Download 





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Compton rapper, Mondoe, leaves no one behind and nothing to be desired on his new album, “Now Eyez On Me”. From the seeds planted by NWA and Death Row, then watered by the Kendrick Lamar and his TDE outfit, Mondoe is growing his own tree of hometown glory. And from its fruit, he’s making sure everybody around him eats. For, “Now Eyes On Me” is loaded with guest features; all to which Mondoe perfectly plays host. He is the nucleus of every record, with each sonic and lyrical visitor orbiting smoothly around him. As the cover suggests, this album is a strong ode to his musical inspirations and forefathers; whose spirits fly vibrantly throughout each and every tune. The ghost of Tupac Shakur moves like a poltergeist through his intro-vocals on tracks such as “The City”, ft. A1krashin, and title track, “Now Eyez On Me”. Every other track, albeit seasoned with strong, trap instrumentation, hardly abandon his Californian pride. Whether by synth or bassline, each joint furthers the legacy of that West Coast G-Funk he knows so well. A duo of my favorite records from this album happen to be “Temptation” (ft. Yondo & Iman), and “Money Calling” (ft. Fred Nice). These tracks bolster powerful R&B inflections, and showcase a different aspect of the Los Angeles rapper. Where “Temptation” is slow-burning and risque; “Money Calling” holds an colorful, infallible, club-ready bounce. Through these alternate dimensions of his album, Mondoe displays the diverse influence of his town. “Now Eyez On Me” is his California celebration, full of powerful, radio-ready bangers; showing that the city of Compton will, sooner than later, have a heir to their musical throne.


“NOW EYEZ ON ME” Stream/Download: 



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It is seldom that you find a creative who simply knows how to fit things together. One who can select from a diverse range of art, and put together his own unique masterpiece. Such an artist can be found in DJ Nomis, and his recent single, “Girls Are No Fun” is the epitome of that talent. The track pulls from Youtube for its musical, Bruferr Beatz-produced instrumental; Post Malone’s record “I Fall Apart” for its chorus, and is fulfilled by DJ Nomis’s own verses. The Suffern, NY creative whirls about in his own melodic world on the record; slipping between deliveries and flows at his distinct leisure. Post Malone glides in near the tail end of the record with his own autotuned verse, stemming from the aforementioned “Stoney” cut, and such adds a beautiful, finishing touch to the anthem. “Girls Are No Fun” is a powerhouse, built brick by brick by DJ Normis. Throw this single in the right club/festival mix; and the crowd’s certain to detonate. 




“Girls Are No Fun ft. Post Malone [Concept]” 




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