“Big Blue Sky” is a track that, from the very first seconds, showcases the experience and passion behind the music. The initial notes of the guitar riff, which sound both dramatic and hefty yet hopeful, demonstrate how effectively KP can evoke deep emotion.

While the track doesn’t necessarily feature any vocals, the main instrumental—the electric guitar—swings from dynamic bursts to more slow-paced, contemplative moments. The track feels extremely crescendo-driven, particularly at the start when the drums begin to pick up, amplifying its steady nature.

I also, quite frankly, appreciate how the drums are utilized throughout the track to bolster its epic and textural feel. They certainly do not take on the role of the main instrument like the guitar does, which intentionally feels overpowering, providing weight. The drums, on the other hand, play a steady yet explosive and punchy role, offering a moment for orchestrated elegance to develop and adding another layer of monumental charm.

“Big Blue Sky” also feels hypnotic and psychedelic to an extent. The track’s sequence slightly reminds you of something you might hear on The Final Cut by Pink Floyd, combining a heavy sound with a sense of resolution. This resolution is evident in the outro, which feels both content and powerful.

I feel strongly about this track. It represents a powerful, wordless, yet vibrant and saturated journey that takes you from one emotional and sonic space to another.

Score/Excellent: “Big Blue Sky” and KP showcase what years of musical experience should sound like. The ease with which the artist evokes emotion is simply impressive. The track demonstrates a level of professionalism that is both artistic and striking.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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The album’s inception initially hints at this anarchic sound that feels so textural and physical due to its omnipresence. Surprisingly, the album isn’t rooted solely in gritty, raw sounds—instead, it aims for a seismic yet very polished vibe.

This record certainly could be divided into two separate parts, with the first one having “Higher Ground” and “New Messiah” that aim for this dark, snarling sound, which is much closer to usual hard rock. The artist opts for a dreamlike sound, particularly on “Higher Ground.” During the chorus part, the catchy and captivating vocals with the ominous instrumental present to you an unhinged yet perfectly rhythmic song. What is probably the highlight of this specific track is the outro, where the artist gives you such a dynamic and cinematic experience with his guitar solo closing the track perfectly.

When it comes to “New Messiah,” which is also more chaotic and rapid in its delivery, East of Anthony balances between rough and storytelling-heavy delivery. The sound throughout the track shines the most when you hear an artist getting into the zone closer to the chorus, where you can hear all of the intricacies of the sound with smooth and crisp grooves. 

In regards to the 2nd part, which includes the next two tracks, “Free” and “Fake Faces,” the tracks opt for a more emotional type of delivery, putting a stronger emphasis on this grunge feel that stays hazy. If the previous tracks remotely give you a feel of dystopian chaos that is purely controlled by the artist’s tempo, these upcoming tracks rather represent your hallucinatory aesthetic. With the mind-bending mixture of instruments, epic entrance on “Free,” and a mysterious, slow-paced “Fake Faces,” the record truly achieves an immersive feel. 

Throughout the album, I recognized how well-balanced it sounds. You are not purely getting these mayhem-like sounds but also a mixture of sincere and dark soundscapes. 

Score/Excellent: I really enjoyed this EP. Higher Ground is an extremely balanced and concise release. It truly delivers impressive rock tracks that combine grunge with elements of shoegaze. The tracks mix chaos with a high degree of polish and professionalism. Great EP.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Truthfully, this album and its rollout have been a complete disaster, and I believe it underwent several reconstructions before seeing the light.

I firmly believe the album’s release was supposed to happen in late 2023 or early 2024, and Carti’s illusory rollout with his ANTAGONIST world tour with Opium was meant to cement a new album. “ALL RED” was initially seen as the first lead single to Carti’s new record. However, just before the advent of 2024, Carti released several singles — “2024”, “H00dByAir”, “Backr00ms” with Travis Scott, “EvilJ0rdan”, and “Ketamine”. All these tracks strongly hinted at a cinematic, dynamic, and dark sound within the trap aesthetic. Funnily enough, out of all those tracks, only “EvilJ0rdan” made the full tracklist. So the whole conversation about the lead single and a sound-representative track is thrown into question.

Many upcoming reviews will focus on whether the record was actually worth the wait, considering his previous full-length album came out four and a half years ago. However, to give this album a fair chance at discovery, I will approach it without any bias or preset expectations.

Let’s get into it.

After some time, Carti’s second album, Whole Lotta Red, received a largely positive reception for its new direction. Since then, every single release has been anticipated to deliver extremely unexpected or mind-expanding sounds. However, I don’t believe that’s really the case with MUSIC.

For a long time, we speculated on what sound Carti would choose for his new record. Would it continue the demonic rage of WLR, or would it circle back to the Cash Carti era? Frankly, MUSIC is not another compilation of vampire music — it still features that immersive, dark rage sound that feels frenetic.

In one way, Carti definitely continues the legacy of WLR with an expansive tracklist, now clocking in at 30 tracks over 1 hour and 17 minutes.

It is a hard album to describe. At first listen, the sound feels hallucinatory and dark, delivering the unhinged energy you expect from Carti — on tracks like “EVIL J0RDAN” and “MOJO JOJO,” where you get a back-and-forth with Kendrick Lamar that constructs an unusual, unpredictable arrangement. Yet alongside those snarling performances, Carti also experiments with dynamic, softer tracks. For instance, on “RATHER LIE,” he effortlessly jumps between a baby voice, a deep voice, and his usual tone, creating a futuristic blend.

However, while he provides some diversity, the production feels oddly looped and repetitive. Certain tracks, like “GOOD CREDIT” or “WAKE UP F1LTHY,” deliver unforgettable highs with their surreal, ominous sound, but the lack of cinematic, definitive moments throughout the album just signals a mess to me.

Quite directly, the album lacks any clear structure. It feels more like a soundtrack — a messy, rage-filled trap record that sporadically shifts into euphoric, experimental sounds, as seen on “BACKD00R,” which then transitions into the bouncy, cyclical “TOXIC.”

What sets Whole Lotta Red apart is its chaotic structure that perfectly encapsulated Carti’s sonic rebellion. With MUSIC, however, it seems rushed. For example, the mixing on some tracks, like the intro “POP OUT” and Young Thug’s verse on “WE NEED ALL DA VIBES,” comes off as choppy and subpar. While tracks like “CRANK” add rawness and madness, others just showcase laziness.

Despite my overall impression of the record as hypnotically rolling and creating a trance-like effect — especially with the high-energy bangers in the second half — the album ultimately falls into a tight loop of repetitive soundscapes.

Carti’s execution and his constant shifts between voices are fascinating and exciting, but not enough to hold the listener’s attention for an hour. His abrasive rhythm and delivery are contagious — when the chorus works, it’s brilliant. But when that aggression and nasal tone fall flat, the tracks feel forgettable.

If you approach the record with no expectations of a cohesive album experience — treating it instead as a playlist of rage and trap music — you might find satisfaction in its sudden bursts of diversity and exciting guest features. However, if you’re expecting the Carti from Die Lit or his self-titled mixtape, MUSIC won’t deliver that same magic.

The album is unreasonably long. We recently saw how length can be managed gracefully — like with The Weeknd’s Hurry Up Tomorrow — but here, the continuous barrage of tracks feels unnecessary. Spending 3000 words on the album instead of 1000 would only make it more monotonous.

Score/Good: Jordan Carter gives you a record that feels more like a playlist of modern hip-hop — a blend of high-energy tracks with dynamic, tactile sounds. MUSIC creates a seismic impact with its haunting delivery, but it isn’t enough to break free from the loop of repetitive soundscapes.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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What makes G-Killa an interesting face to look out for is related to the musical acceptance within his family. Coming from a family that doesn’t value or respect music, he still pursued his dream as a rapper, hoping one day to sway their minds to accept his passion for this art.

So, without further ado, let’s get into G-Killa’s new single “Truth”:

From the first seconds of the track, you are immersed in the soulful, southern hip-hop rap style, which doesn’t follow the typical sound of Detroit you might hear from artists like Tee Grizzley. The sound remotely reminds me of Rod Wave’s mixture of pop rap that blends influences from R&B yet dives into lyrics challenging the trust and trustworthiness of those around, amplifying the track’s name.

Additionally, the rapper’s sound reminds me of the aesthetic that Polo G often employs in his tracks, incorporating conscious hip-hop elements while mixing them with soft, pop-like instrumentals that feel lush yet raw.

While it is clear what the artist is aiming for, and considering this is one of his first ventures, the release stands solid; however, at moments, the mixing and mastering of the vocals feel slightly choppy. The track carries the weight of a bit of excessive autotune, turning the artist’s vocals into a chaotic blend with emotionally hollow notes while still aiming for that raw sound. It just feels a bit more like a distraction from the actual message and the track’s soft yet lush style, which the minimalistic and delicate beat brings to the table.

The sound design feels melancholic and soft-toned, introducing the artist’s warmth and the airy coldness he experiences from treachery. In general, the track feels solid and decent, but the vocals—particularly the tightly sequenced transitions between beat’s verse 1 and 2—make the track feel less punchy.

Score/Good: Overall, G-Killa gives you an interesting sound that offers a fresh perspective on Detroit’s mix of pop rap, combining different influences from Rod Wave and Polo G to shape his unique cold and soft-paced style. As I have mentioned before, the only downside of the track is the over-reliance on autotuned vocals, which slightly feel out of place and slow down the dynamic of the track.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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This blend of aggression and experimental notes throughout the record truly solidifies 3peaceX’s next chapter as their signature piece.

From the first seconds, you are introduced to a bold, right-to-your-face sound—a clear declaration: “Hey, we are here.” Aggressive riffs, heavy bass, and pounding drums combine to create the sensation of an impending revolution, offering just a taste of the ferocious yet hazy atmosphere that defines the record.

While the band is known for their aggressive delivery on Plain Ol’ Hot Sauce, they also venture into a more industrial territory, infusing the record with a hypnotic feel. At first glance, their sound remotely reminds me of Green Day, thanks to full yet unhinged delivery at moments.

3peaceX isn’t just here to unleash anarchism with raw madness; they bring a dynamic, vibrant energy that wakes you up and shakes you down with urgent, captivating instrumentals. I also appreciate how they create a smooth album experience from track to track, with seamless transitions that rarely draw attention.

However, it’s worth noting that while the band’s delivery can remind you of aggressive journalists exposing a celebrity, they also explore slower material as the record progresses. A track like “Not All The Love” fuses searing anger with a soft, lush finish. Meanwhile, high-energy bangers like “Pandora” immediately define 3peaceX’s sound and stand out as the album’s strongest moments.

The sound on these frenetic tracks is the band’s unique element, doubled down on, especially in the first half of the album. With palpable, textural beats on “Easy Wind,” the band confidently establishes their identity.

While the fast-paced, vicious tracks are memorable, songs like “This Heart” also strike a chord. They represent a slight deviation from the all-over-the-place sound while maintaining enough industrial experimentation to keep things interesting.

Despite the album’s extensive runtime of just over an hour, 3peaceX delivers a solid listening experience—ranging from hard-hitting tracks to more slow-paced, yet still industrial, compositions. This mix on Plain Ol’ Hot Sauce gives the record a fresh, memorable aftertaste.

SCORE/Excellent: The band sticks to their promise and delivers exactly what they intended: an energetic, memorable, and psychotic album that feels true to its core. 3peaceX focuses not just on raw anger, but also on an intelligent exploration of uncertainty and chaos that sets your emotions free.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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“THE SECOND P” hits you from the start with a more hypnotic and dynamic performance compared to “WITHSTAND THA FIRE,” pushing its bizarreness to a new level.

The same chaotic, abstract energy K2 Cocky delivers on the track is reflected in the visuals, which hit you with everything at once—blending adventure and madness through rapidly shifting shots. These feelings dominate the song, merging quirkiness, curiosity, and an infectious energy all in one.

The melody K2 Cocky dictates is raw and harsh, keeping the listener engaged with every new layer of its glitchy, droney sound that lingers from the artist’s first whistle.

Truthfully, you can’t even fully pin down the track’s genre—it teeters between alternative hip-hop, shimmering loops, and experimental elements. The video mirrors this unpredictability; rather than going for a polished aesthetic, K2 Cocky leans into a glitchy, mesmerizing vibe paired with a pounding, distorted sound that feels warped yet free-flowing.

I really admire his frenetic delivery throughout the track, which he reinforces later in the music video with all its psychedelia and noise. From scenes that seem straight out of an American block to the graveyard gives the track this raw and unpolished feel.

Score/Good: To sum it all up, K2 Cocky’s “THE SECOND P” is crazy, and off-kilter, yet the straightforward energy he brings to the track is both memorable and fluid, emphasizing eerie intensity. This track is a strong addition to the original SOCIAL STUDIES, reinforcing his signature sound but in a bigger, more unhinged context.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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“WITHSTAND THA FIRE (Anti-Hetero Anthem)” immediately places itself in the mix of his previously explored style on SOCIAL STUDIES, diving into an infectious, mysterious, and thought-provoking delivery.

K2 Cocky actively gives you the feel of industrial music with a heavy, vocal-driven track that showcases his harsh and choppy vocal execution, adding layers to the aesthetic—though it slightly feels off.

However, what I do admire within the song’s soundscape is the dynamic, quite psychedelic, all-over-the-place beat, reminiscent of something from slowthai’s UGLY. The pulsating, echo-drenched instrumental generally does the job well in creating that bizarre atmosphere, though the looped orchestration during the chorus gives it a prolonged feel.

The song’s sound selection certainly showcases what the artist was aiming for with his emotional and punchy delivery, but the mixing and mastering of the vocals really take away from its potential. The blending of two different cadences—from vicious, snarling rap flow to emotional singing—doesn’t work as sharply as it should. Instead of illuminating the chorus with a dynamic switch-up, the singing part blends in with the dissonant production.

While the thematic context of the song is hypnotic and potent, the noticeable issues in vocal mixing and mastering rob the track of its intended ‘kick.’

I really admire K2 Cocky’s foray into a mechanical and synthetic sound that challenges the usual constructs of industrial hip-hop. However, the lack of clear separation between the vocals and the instrumental meshes all the sounds together, diminishing the charm of the technological flair that K2 Cocky offers.

Score/Mediocre: While I see the artistry in K2 Cocky’s sound and, particularly, his message, the song’s shortcomings in proper mixing detract from its full potential. The strong aspects of the instrumental—its haunting, hypnotic feel—do illuminate the track compared to many look-alike sounds today, but overall, it falls short.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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“Pack Your Bags” opens up as the first single from the band since their recent “Ford Escort,” which also happens to be their first track in 2025.

My personal first exposure to The Hot Mamas was quirky, funny, yet insightful. What impressed me the most was the chemistry the ladies had between each other, creating that authentic experience and atmosphere. However, while “Ford Escort” found itself in a more relaxed place and introduced itself as a funny standalone track, the new joint demonstrated The Hot Mamas from a different side.

From the tracks’ opening, you can see that the band is going for an absolutely different vibe, giving you a much more polished, epic, yet classy sound. The rhythmic and palpable sound of drums adds another layer to the track, establishing a dynamic yet tense soundscape. Fueled by raw emotions and inspired by a gripping moment from The Handmaid’s Tale, Mallory McKendry clearly channeled her feelings into an anthem that highlights the values of feminism, bodily autonomy, and empowerment.

“Pack Your Bags” doesn’t truly belong to any particular genre, at least not in its usual forms. The tracks I find most adjacent are in the realm of alternative folk that lean into rhythm and blues with a catchy chorus. Speaking of the catchy chorus, the group manages to create and progress it with weight and volume, thanks to their immersive chemistry.

Furthermore, this new single doesn’t only feature The Hot Mamas—it also includes a rap verse from Lady Taij. At first, it might sound bizarre, in terms of how a rap verse would accompany the rhythmic and dynamic, jazz-leaning sound, but Lady Taij nails it. She seamlessly captures the right cadence and beat direction, giving you a concise yet expansive verse. I really like how the ladies capture the feelings of “going to war,” and Lady Taij circles back to illuminate the theme even more with her classy yet ferocious delivery.

All of those emotional and intense track vocals are backed by relentless marching drums, creating a powerful sound with a captivating texture. In comparison to “Ford Escort,” the new single feels mature, flowing through soundscapes and echoes of emotional and physical struggles in the fight for human rights.

The Hot Mamas’ new track has a strong purpose: reminding everyone to fight for their own voice, and for the voices of all. “Pack Your Bags” doesn’t only empower you to stand up—it celebrates strength, unity, and resistance.

Overall Score/Excellent. “Pack Your Bags” is an extremely emotional and powerful single that leaves a pleasant and empowering aftertaste, demonstrating the complexities of the struggle and reminding you that the battle for freedom is continuous. As The Hot Mamas themselves indicate in their message, the fight continues—hand in hand, mother to mother, sister to sister, human to human.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Moe Carter is a rapper based in NC/NJ who recently dropped his new EP called Insert Coin Here 2. Just from the title itself and the cover, we can see that Insert Coin Here 2 is a mesh of gaming and street culture, where Moe draws on his inspirations, ups and downs, and experiences of the concrete jungle and its struggles.

Moe usually gives you a nice mix of East Coast rap with classic Southern hip-hop, featuring hard-hitting instrumentals, nostalgic samples, and crispy drums. I had not heard about Moe Carter before this EP, but the artist has already been around for some time, so without further introduction, let’s jump into Insert Coin Here 2:

After first listening to the tracks from the album’s start, I had some mixed feelings.

When you get into the project with the intro track “Lifeline,” you can’t help but notice the prominent inconsistency in mixing and mastering of the track.

While the rapper’s cadence and flows are certainly sharp, the mixing and mastering issues make it sound extremely off the beat undercutting the rapper’s punch. With those hard-hitting elements on “Lifeline,” where the piano part builds that haunting yet repetitive atmosphere, it’s hard to stay fully engaged. However, later the rapper introduces you to some of the better-mixed tracks, which we will get into later.

With that point out of the way, I must say that the rapper is quite adept at experimenting and trying different sounds. Whether it is the trap-infused “Lifeline” or the heavily Southern hip-hop-esque “Purple Hearted,” Moe Carter offers a solid diversity throughout the record. Additionally, most of these tracks are filled with a certain substance and narratives that deviate from the usual modern repetitive rap narrative.

On a track like “Purple Hearted,” the rapper gives you a nice bridge to the previously introduced piano-haunting atmosphere, reminding me of the hardcore hip-hop style you get from artists like Denzel Curry, which, frankly, the artist mostly nails.

Funnily enough, the further you go into the record, the more melodic Moe Carter becomes—whether it is circling back to a melodic Southern hip-hop influence on “Black Bentley” with a fusion of conscious hip-hop, or the outro track “Speed Bumps” with its jazz influence. However, while “Black Bentley” gives you a lot of familiar elements that people love within this hip-hop lane, “Swahili” definitely remains one of my favorites on this EP.

The 4th track, “Swahili,” is simply exceptional; it gives you that ferocious sound of Moe combined with a snarling delivery and a mysterious beat, which certainly stands out as the most memorable and raw performance from the artist on the EP. It not only finds itself in a space of substantial conscious hip-hop and storytelling but also matches the energy of the build-ups within the beat.

With the outro track “Speed Bumps,” you are in for the sweet and nice touch that wraps up the EP with a melodic, boom-bap-type vibe that finally transitions into jazz rap. If “Black Bentley” only gave you a slight hint of the jazz rap style with its surrealistic sound, “Speed Bumps” fully embraces that sound as its fate.

Insert Coin Here 2 is a solid listen, although it feels as if Moe Carter is stepping into his artistic journey. While some of the tracks definitely have strong elements, the inconsistent vocal and beat mixing lowers the project’s quality and replay value. The rapper clearly has potential and deserves recognition as an emerging talent, but the ups and downs of the mixing and watered-down sound of the vocals keep Insert Coin Here 2 from being the best record by any means.

Score/Good. I believe this record certainly deserves a good score, as the rapper has a solid flow and bars that can immerse you in his narrative—especially in the latter half, from track three to the outro. However, when the album dives into those hard-hitting, dynamic sounds like “Lifeline” or “Purple Hearted,” the echoed-down vocals detract from the album’s stronger aspects.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Marcus: the Apex Predator! is a Detroit-based indie/post-hardcore outfit. Formed in 2015, Kevin Watts (guitars, vocals, writing) teams up again with Float Here Forever bandmate Nick Marko for the band’s Newborn Fossil EP.

Newborn Fossil marks the first EP from the artist in a long time, as the previous record from Marcus: the Apex Predator! came in 2018 with The Fury of Almost, which delivered that Detroit-style hardcore rock that the artist continued to pursue and develop on the brand-new EP.

Sean Bondareff (Kind Beast) lays down the bass, and the tracks were recorded and mixed by Jake Shives and mastered by Grammy-winning Detroit legend Dave Feeny at Tempermill Studios. All of these collaborations, brought together on the EP, hint at the solid mastering and mixing that contribute to the overall excitement of the new record.

Marcus: the Apex Predator! prides itself on representing Detroit by existing in the in-between, finding a niche between the melodic and the aggressive, with a thoughtful yet fun sound that hits your ear.

So, without further ado, let’s see what the new record has got:

From the beginning, you get a nice kick to the sound with a solid mixture of raw rock that truly finds itself between rawness and thoughtfulness. On intro tracks like “Newborn Fossil,” you get a blend that reminds you of a brooding and dynamic soundscape while sticking to a minimalistic and restrained aesthetic.

However, on subsequent tracks like “Plenty & Shine,” the artist steps out of minimalism, jumping into a vibrant dynamic that has a fun kick to it. The textural, shimmering sound of guitars throughout the record throws you into a palette of quirky yet somewhat unhinged tones.

On the album, you also encounter a more predictable sound—a “what you see is what you get” approach. Some tracks give me the feeling of what would happen if Black Sabbath tried to hit you with a brighter, melodic sound while still embracing an off-kilter vibe. Despite the big names mixing and mastering the record, you don’t always get the metronomic, perfectly paced songs; instead, it feels like the creative mess one might have in a room. Although the record sometimes sounds all over the place, explosive as it may be, it still maintains a certain pattern.

Closer to the end, with the track “No Fraction,” the momentum of quirkiness and melodic aggressiveness starts to feel stale and a bit too gritty, slightly taking down the overall listening experience.

The new EP from Marcus: the Apex Predator! finds itself in an interesting place. It is not the usual, direct rock sound; rather, it represents a sound with a grain of bizarreness and quirkiness. At times, the wrenching and snarling aesthetic of the artist makes the track sound more prolonged than it actually is, tiring the listener instead of delivering the full brightness of the sound.

Score/Good: This EP is solid. It has some excellent rock tracks with angular riffs that worm their way into your ear, giving you that slight feel of excitement and craziness. While I would not call this the top-notch rock performance by any means, I believe the overall essence and rough energy of the EP offers more than enough for a rock fan.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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