redhydrogen

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Sorry for a lack of posts as of recent. Motivation is hard and burnout is easy, but I know how I operate and forcing myself to do more when I don't want to will only make me do less and do it worse.

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EP Review:

nuclearwinter (rubyred x fleshtoflesh, 2024)

(First Listen)

Rubyred is back (and so is my dead ass Tumblr page hahaha) with a new project. The speed at which she turned out another project surprised me, and while I was worried it'd be underbaked in that time, it was not. In fact, I dare say that nuclearwinter has the potential to be just as strong as business casual was...maybe even stronger? Who's to say.

Ruby plays to her strengths on this project; everything I liked about business casual is back on here. Witty bars, entertaining delivery, a hefty amount of brags, it's all here. It's as if Ruby is flexing her musical muscles on the listener, doing what she does best and making it sound effortless. Songs like milelong, takinrisks and x2 are some of Ruby's best songs, and I'm tempted to call x2 a better closing track than space heater 2 on first listen.

However, a noticeable deviation from business casual lies in the production. For this EP, Ruby handed the reigns off to fleshtoflesh, and she does not disappoint. I adore this EP from a production standpoint, I think she did a phenomenal job; I love what's on display here. The beats are different from business casual but Ruby still finds a way to flow on them like butter. I think Ruby has a great chemistry with flesh's beats.

Mixing was my only notable complaint with business casual and I feel as if that is an element that the EP does stronger than business casual, though at the end of the day mixing is a small element of the music, and not one that makes or breaks a project.

I don't have nearly as much to write about as I did with business casual so I'm going to cap it off, but nuclearwinter is an excellent showing from Ruby and fleshtoflesh, I love the chemistry between the vocals and production, I love the concise tracklist, I love everything here, and I recommend it wholeheartedly.

burner - 8/10

dividends - 8/10

fourtyfour - 7/10

milelong - 9/10

takinrisks - 9/10

wantmyshine - 7/10

x2 - 10/10

Favorite Song: x2

EP Score: 8.3/10

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EP Review:

JIGOKU 6 (Mori Calliope, 2023)

(First Listen)

This one came at the recommendation of a friend. And by "recommendation" I mean about two months worth of constant nagging. Not wanting to be bothered about this damn EP ever again, I finally accepted their plea for me to check it out, and I must say I was not expecting what I got.

The project maintains a consistently high energy, one that I found myself enjoying throughout. Every song is generally within one lane, but it's never samey enough to truly be boring. Mori's constant switching between languages was something I had read about, but there was more of it than I was expecting. Despite that, I think it works well enough.

There's not much more I can say here. Everything is good, and just so.

In conclusion, this is one of the most highly disappointing projects I've ever had the misfortune of listening to. It lets down on just about every element, and there's nothing on here I have any desire to ever hear again. Waste of my fucking time.

虚像のCarousel - 3/10

未来島 - 2/10

Black Sheep - 1/10

six feet under - 0/10

You're Not Special - -1/10

Left For Dead Lullaby - -10/10

Favorite Song: 虚像のCarousel

EP Score: -0.8/10

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Album Review:

Veteran (JPEGMAFIA, 2018)

(First Listen)

Veteran was Peggy's "breakout" album, so to speak. The annoying and pretentious "experimental hip-hop" crowd heralds it as an "essential" album up there with the likes of The Money Store and Yeezus. If you can't tell by the subtext, I don't really like those guys. But given my growing interest in JPEGMAFIA, I figured I'd finally cave in to them and give Veteran a shot.

I'll start by talking about the highlight of Veteran, by far; the production. The production is very non-standard, but also varied. In some tracks it is loud and off putting, but in others it is more reserved, quiet, and even close to being normal. 1539 is the most digestible production on Veteran, which almost feels like Peggy deliberately trolling anyone not familiar with him. What follows this intro however is anything but digestible, with ridiculous beats like Thug Tears, Rainbow Six (sampling Best Cry Ever? What??), Baby I'm Bleeding and Dayum, and I just love the approach Peggy took with the production on this album. It's weird, it's nonsensical a lot of the time, and it's great. The beats on Veteran make it special to me.

I don't normally talk about sequencing, but that is one of my few complaints with Veteran. Outside of 1539, which felt quite deliberately placed as the album's first track, nothing else feels like it was placed with any real care in mind. Is this inherently bad? Not in this case, but it is a personal peeve of mine, and I'd prefer if the sequencing was a little more thoughtful.

Let's talk about Peggy. Peggy spends 80% of Veteran (and to be honest, all his music) talking shit, and when he's not talking shit, he's probably bragging about something or flexing the fact that he's 26 with no children. The targets of his insults range from the alt-right, domestic abusers and Donald Trump to NeoGAF, gentrification and neoliberalism. Nothing is safe from Peggy's disses, and while some of them come off as hypocritical in light of recent events, they're still rather funny to listen to. JPEG's unique brand of chronically online bullshit adds character to all of his music, though I feel as if it's strongest and most evident on this album.

While I prefer AMHAC, Veteran is still a very strong showing from Peggy that I enjoyed quite a lot. The production shines through and through and Peggy's stupid-ass lyrics are oddly charming. I really like Veteran! (But those "experimental hip-hop" people are still annoying)

1539 N. Calvert - 8/10

Real N*** - 9/10

Thug Tears - 9/10

Dayum - 7/10

Baby I'm Bleeding - 9/10

My Thoughts On Neogaf Dying - 7/10

Rock N Roll Is Dead - 8/10

DD Form 214 - 8/10

Germs - 8/10

Libtard Anthem - 8/10

😱 - 8/10

DJ Snitch Bitch Interlude - 7/10

Whole Foods - 9/10

Macaulay Culkin - 7/10

Williamsburg - 8/10

I Cannot Fucking Wait Until Morrissey Dies - 7/10

Rainbow Six - 8/10

1488 - 7/10

Curb Stomp - 9/10

Favorite Song: Thug Tears

Album Score: 7.9/10

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Album Review:

Freddie (Freddie Gibbs, 2018)

(First Listen)

Freddie Gibbs is a rapper who I have known and enjoyed for a very long time; my knowledge of him goes back to his appearences on GTA V's radio stations when I still played that regularly. It never crossed my mind to listen to an album of his until today, and with recent events involving Gibbs, I figured it would be the perfect time. So I picked out Freddie, turned it on and let it play. And I really liked it! This one's gonna be a bit short because I don't have much to say other than how good it manages to be, so let's dive into it.

Freddie Gibbs brings nothing but heat onto this album, and he doesn't overstay his welcome. There wasn't a single song I didn't like, and the energy almost never lets up. This album feels like pure rap, no filler, no unnecessary, corny bars, just good rapping on good beats. He feels like a modern rapper I could play in front of my oldhead dad and he wouldn't have an issue with him. His flows are my favorite part of this album. They're smooth, but full of energy. Freddie doesn't lean on features, but the few features present here do a great job, and I enjoy what they bring to the table. The production keeps things simple, and it does its job very well. I can't really find anything to fault Freddie for, which is rare for rap albums these days.

I knew Freddie Gibbs was good from what little I have heard of him, but I was not expecting such a purely good album from him. Freddie is 25 minutes of amazing rap music, and I'd wholeheartedly recommend it to anyone looking for a great rap album of the modern era.

Weight - 8/10

Automatic - 8/10

Death Row - 9/10

Triple Threat - 7/10

2 Legit - 8/10

FLFM (Interlude) - 6/10

Set Set - 8/10

Toe Tag - 8/10

FBC - 9/10

Diamonds 2 - 9/10

Favorite Song: Death Row

Album Score: 8/10

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Album Review:

Jackman. (Jack Harlow, 2023)

(Second Listen)

Jack Harlow is a beloved rapper in the current industry...if your definition of "beloved" is radio play and streaming numbers. Most rap fans brush off Harlow for being meaningless, generic, and one-note; while commercially successful, his previous album, Come Home The Kids Miss You, was critically panned for many of these reasons. Jack clearly heard those complaints when he was making this album, but it feels like he only kinda took them to heart in making Jackman.

This album is rather odd from a lyrical standpoint. Some of the songs are deeper and more insightful compared to his previous output, while others are very typical of him; boastful, safe, and not particularly interesting. Because of this contrast, this album feels conflicted. It can't fully commit to either avenue, so it just feels like both sides are half baked. The best example of this problem for me has to be the first two songs of the album. Common Ground is a witty criticism of white suburban kids co-opting AAVE and generally benefiting from black culture while also facing none of the struggles of that culture themselves. That song is immediately followed by They Don't Love It, which is a very typical Jack Harlow track filled with boasts and brags; Jack even calls himself the best white rapper since Eminem. Similarly, It Can't Be has Jack rapping about his success and refuting critics who believe his success is only because of the color of his skin, while the next track, which is arguably the album's best, sees him tell the story of how a father's trauma goes on to negatively affect his children. I could give more examples, but these are generally a good embodiment of the conflicting tones that surround this album, and I ultimately feel like this conflict is the album's biggest weakness.

The beats on this album are some of the best that Jack has ever rapped on. They move into a more sample focused direction than his previous work, and that is a direction I prefer for him. Blame On Me was one of my favorite rap beats of 2023, while Denver makes me envision a car ride across a field during sunset. The beats and overall production on this album are a step up from Come Home The Kids Miss You, and I would love it if Jack used more beats like this in whatever he makes next.

Jackman feels confused and conflicted. In its effort to be two things at once, it does neither of them particularly well, and it suffers for it. While this album is an improvement from Jack's previous material, I feel he could have executed upon it better than he did.

Common Ground - 7/10

They Don't Love It - 6/10

Ambitious - 7/10

Is That Ight? - 5/10

Gang Gang Gang - 6/10

Denver - 7/10

No Enhancers - 6/10

It Can't Be - 6/10

Blame On Me - 8/10

Questions - 6/10

Favorite Song: Blame On Me

Album Score: 6.4/10

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Album Review:

Replica (Oneohtrix Point Never, 2011)

(First Listen)

This one came at the recommendation of a friend. I went in with no expectations, so I don't have much of a preamble for it; this review is also probably gonna be short by my usual standards. Let's just talk about the music.

I can't really compare Replica to anything, at least anything I've ever listened to. The album is ambient in nature, with odd samples chopped up and made into music. The feeling invoked by these songs is hard to describe; it feels warm and nostalgic but also unwelcoming and mysterious at the same time. The sound is easy to get lost in, and the album's 41 minute runtime can pass you up very quickly if you let it. Songs like Submersible and Sleep Dealer are just so easy to lose yourself to, I love it. Replica as a whole body of work carries this same feeling; I absolutely love the vibe on every single track.

I don't have much else to say about Replica other than encouraging you to listen to it yourself. It's really damn good! If you enjoy ambient music it will be right up your alley.

Andro - 7/10

Power of Persuasion - 6/10

Sleep Dealer - 9/10

Remember - 8/10

Replica - 8/10

Nassau - 7/10

Submersible - 10/10

Up - 8/10

Child Soldier - 8/10

Explain - 8/10

Favorite Song: Submersible

Album Score: 7.9/10

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Album Review:

Vultures 1 (Kanye West x Ty Dolla $ign, 2024)

(First Listen)

Out of an abundance of caution, I feel the need to clarify: I do NOT support Kanye West's harmful statements and actions. I'm just here for the music.

I'm gonna be completely honest, I didn't expect this album to, like...actually release. The release date being pushed back constantly, along with Kanye's track record, fully had me expecting Vultures to end up as another scrapped album, so to actually be listening to it here is a surprise to me. There's been a lot of hype around Vultures, and while the project has potential and some good moments, I feel as if a lot of the album is underwhelming considering the wait and hype.

Production is usually the best thing on any given Kanye album, and I'd say that holds true here. A lot of these beats are really enjoyable, and Vultures proves that production is the one thing that Kanye and his crew never really go wrong; the beat selection is really good. Hoodrat stands out to me as the only beat I'd call bad, the vocal sample is very annoying. Paperwork, Fuk Sumn and Carnival are my favorite beats on the album.

Unfortunately, the production on Vultures is where my praise ends. The overall delivery on most of the tracks feels lackluster; the lyrics feel extremely uninspired, especially from Kanye. I never expect Kendrick or Jay-Z level bars from him, but it feels like he can't even be bothered to write his usual witty or clever bars. His verse on the title track is one of the most boring and outright bad verses I've heard in a very long time, from anyone. His brags feel empty, the punchlines aren't funny, and there's also a healthy dose of misogyny that I don't think I've ever heard from Kanye, at least not to this degree. He makes frequent references to older songs, which only make me wish I was listening to those instead. His verse on Back To Me is laughably bad. On a lot of these songs, Kanye feels like the weak link, which is a serious issue. Ty Dolla's lyrics feel similarly uninspired, but I have less to complain about with him. He never takes the spotlight on any given track, but he always does his thing, and he does it well; he honestly outshines Kanye a lot of the time, which is something I wasn't expecting.

Vultures is very heavy on features; almost ever song has at least one. A lot of them are not memorable, though I'll spend some time going over the noteworthy ones. A lot of people enjoy North's feature on Talking, and while I think it's kinda heartwarming, it's also really cringy to listen to. I enjoy Quavo on Paperwork, though I do remember him being on a lot more of these tracks during the listening parties. The album features two verses from Playboi Carti, both of which I actually enjoyed. Travis Scott's verse on Fuk Sumn felt very average from him. Freddie Gibbs stole the show on Back To Me, but Kanye's verse is so awful I never wanna hear it again.

For being a very hyped up project, Vultures is disappointing. The highlights are just good and the lowlights are glaring. Maybe Vultures 2 will be better, but I'm not hopeful for that (or for it actually dropping).

Stars - 6/10

Keys To My Life - 5/10

Paid - 6/10

Talking / Once Again - 6/10

Back To Me - 6/10

Hoodrat - 4/10

Do It - 6/10

Paperwork - 7/10

Burn - 7/10

Fuk Sumn - 6/10

Vultures - 3/10

Carnival - 7/10

Beg Forgiveness - 5/10

Good (Don't Die) - 7/10

Problematic - 5/10

King - 4/10

Favorite Song: Paperwork

Album Score: 5.6/10

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Album Review:

All My Heroes Are Cornballs (JPEGMAFIA, 2019)

(First Listen)

JPEGMAFIA is an artist who has been on my radar for a very long time. I asked some friends of him who know more about him than I do what I should check out, and this album narrowly won out. I've heard a little bit from Peggy; Scaring The Hoes, Hazard Duty Pay, Bald, Baby I'm Bleeding, among others, so I went into this album expecting something high energy. This album was decisively not high energy, but I absolutely loved every second of it.

I was absolutely blown away by the production on this album. Someone I know once said that the music sounds like it's falling apart, and that is a sentiment I agree with. The production is the musical equivalent of walking on crutches. On songs like Kenan Vs. Kel or Lifes Hard, Here's A Song About Sorrel, the samples sound like they are dying before your ears, and while these things may seem like complaints on the surface, they are anything BUT complaints. It sounds fucking incredible, on every song; the production is nothing like I've ever heard before in my life.

Peggy's lyricism on this album is about what I would expect from him, at least with what I've heard from him before this, though I enjoyed the moments on songs like Thot Tactics where he rapped from the perspective of a woman; I found that unique. What impressed me, however, was his vocal range. Peggy does a lot of singing on this album, with him even having an entire song dedicated to covering an old TLC track. I was very surprised by the range on display here, and I think it lends itself to the soundscape of this album very well. The mixing is jarring and inconsistent, with vocals often being overpowered by the instrumentals, but I feel this was done by design, and it was done very well.

If I could find one complaint with this album worthy of being brought up here, it is that a lot of the songs seemingly end just as I'm getting into the groove of them. I feel this issue is most prominent on Lifes Hard; just as I feel myself really getting into the way that song sounds and feels, it ends with little fanfare. It doesn't take away from my enjoyment to a significant degree, but it is something I take issue with on some of these tracks.

I went into All My Heroes Are Cornballs expecting an album completely different from what I got, but it was pulled off so masterfully well that I honestly can't bring myself to complain about that. I am curious to see how the rest of JPEGMAFIA's discography stacks up to this album.

Jesus Forgive Me, I Am A Thot - 8/10

Kenan Vs. Kel - 8/10

Beta Male Strategies - 10/10

JPEGMAFIA TYPE BEAT - 8/10

Grimy Waifu - 8/10

PTSD - 7/10

Rap Grow Old And Die x No Child Left Behind - 7/10

All My Heroes Are Cornballs - 8/10

BBW - 8/10

PRONE! - 9/10

Lifes Hard, Here's A Song About Sorrel - 7/10

Thot Tactics - 9/10

Free The Frail - 7/10

Post Verified Lifestyle - 8/10

BasicBitchTearGas - 8/10

DOTS FREESTYLE REMIX - 9/10

BUTTERMILK JESUS TYPE BEAT - 7/10

Papi I Missed U - 8/10

Favorite Song: Beta Male Strategies

Album Score: 8/10

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Album Review:

Everywhere at the end of time: Stage 4 (The Caretaker, 2018)

(Re-Listen)

Everywhere at the end of time is a project I have admired for a very long time. I first discovered it around the time it hit the mainstream in 2021, and I was instantly hooked by the thought provoking concept and unique sample usage. All this time later, and Everywhere at the end of time is a body of work that I still love and listen to regularly. Over that time, my favorite moments of the project have grown to be not those from the first half of the project, but rather from the back half; the post-awareness albums are where Everywhere at the end of time truly shines as a work of art.

Stage 4 is notable for a drastic shift in tone; when listening to every album consecutively, the ocean of distorted samples comes as a shock after Stage 3 ends with relatively peaceful droning. However, I think G1 serves as a perfect introduction to the post-awareness half of EATEOT; While it is naturally more hectic than what came before it, it is one of the calmest and least complicated post-awareness tracks not found on Stage 6. G1 is a great demonstration of how samples are manipulated in post-awareness, with Heartaches being audible and recognizable throughout a good chunk of the track. The second section of G1 eventually gives way to a calming sample, almost like that of a baby mobile, constantly swapping between the listener's left and right ear, accompanied by confused piano cords. It is like a moment of peace; something that will only grow more and more infrequent in the stages ahead. The moment is suddenly ripped away just as you've gotten used to it, and replaced with more disorienting samples, which play until G1 ends. I love how G1 sets up what is to come, though I do feel some of the sections drag for just a minute too long.

H1 opens the distorted trumpets of Libet's Delay, one of The Caretaker's most iconic tracks. This section is revisited frequently throughout H1, almost as if you are trying desperately to remember what it was. This section is also a fine example of how The Caretaker takes advantage of stereo sound and panning throughout EATEOT, with the same sample being differently pitched in each ear. The second section is one of my favorites in all of post-awareness. The piano, the distant hums of something you can't quite identify, it all sounds rather peaceful for something so torn up. The following section is my second favorite from H1, prominently featuring distorted trumpets from False memory syndrome, one of The Caretaker's most underrated tracks. The samples here sound more despairing than those of the previous section, some of them sounding like rushing wind or distant screams. The trumpets sound as if they are crying. After a brief return to the first section, the music transitions into a relatively sparse and empty section of sounds, which is most notable for the loud static panning from left to right and right to left, almost sounding like ocean waves. The music yet again returns to Libet's Delay, which harshly cuts away to one of the most memorable segments in all of the project, dubbed the Hell Sirens. The Hell Sirens are bone chilling on first listen, but I feel as if they have been overplayed by the internet at large, and I find it hard to enjoy them now. The rest of H1 is unnoteworthy, with a calm section to serve as a wind-down after the Hell Sirens followed by a return to Libet's Delay before it suddenly ends. I think H1 is the best song in Stage 4 by quite a margin, and one of the best in post-awareness.

Temporary bliss state is, as the title suggests, a calmer track overall. It consists of only two sections; a distorted glockenspiel with stereo effects like Libet's Delay from H1, and the same sample pitched significantly lower. While it is a welcome break from the hectic chaos of the prior tracks, it drags too much to be very enjoyable.

The transition to J1 is done very well; the first thing you hear is a distorted glockenspiel, which eases you in very effectively. The first section of J1, and J1 as a whole, is very calming, which I think was the best approach to take. Much of J1 is very empty and sparse after the first section, and while the second and third sections are nice to listen to, there's simply not much that can be said about them. This is J1's biggest flaw in my opinion; the intro and outro are both amazing, but what happens in-between isn't very noteworthy. As for said outro, it is very memorable for the same reasons that Stage 3's closing track is memorable. It's very calming and blissful, which makes the transition into Stage 5 all the more jarring. The outro to J1 is actually audible in G1, though it is buried underneath the cacophony of distorted Heartaches samples, which was something I didn't know until very recently. All and all, I think J1 is a fine outro, though it is a tad bit too empty in the middle.

I have long said that Stage 4 is my favorite stage from Everywhere at the end of time, which is something that has only further been solidified the more I listen to it. While I highly implore anyone to listen to all six stages, this is the one I recommend the most; it is simply a work of art.

G1: Post Awareness Confusions - 9/10

H1: Post Awareness Confusions - 10/10

I1: Temporary Bliss State - 7/10

J1: Post Awareness Confusions - 8/10

Favorite Song: H1 - Post Awareness Confusions

Album Score: 8.5/10

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Album Review:

business casual (rubyred, 2024)

(Second Listen)

Going to try and be more in-depth with future reviews. Expect longer reads going forward.

Small artists are a funny thing. It is like a vast sea of people all vying for the attention of whatever potential listeners they can scrounge together. Most of these artists, if I may be fully honest, leave much to be desired. But sometimes, when you swim through the sea of unremarkability, you will find an island of talent, and I firmly believe that this is the case with rubyred.

I first learned of Ruby about a week ago, through sheer chance. Her newest release, business casual, was pinned to her Twitter, and I decided to give it a listen. Why not? Worst comes to worst, I will have spent 35 minutes listening to some half baked album made by an artist who only half cares about their artform. What I got instead was a product of remarkable quality from an artist I'd bet everything in my checking account you've never heard of.

The production on this album is impressive, being bouncy and high energy throughout and keeping a consistent energy track-to-track. It's groovy, and I quite enjoy it for what it is. The Deltarune on polearm is very clever, making a chill, low energy piano track into a subtle bop. Big fan of that one.

However, ensnare is the first track that presents a somewhat unfortunate trend throughout the album; the mixing often causes the beat to drown out the lyrics. ensnare is probably when it is most apparent, with Oakie's feature being extremely hard to hear over the beat. The only other track I would say has a "bad" mix is withstand; while the production is great, I have to really try to hear Ruby over it. The mixing is less of an issue on other tracks, but Ruby and her cohorts can often be a little difficult to hear. My favorite songs are those where the mix is least problematic; tracks like over here and over there, hibernate, polearm and corridor strike the perfect balance. I will readily admit, Ruby's subgenre is one I have never really dabbled in, so there is a fair likelihood that this mixing is intentional and part of the sound, but it is not to my personal preference.

As for the other elements, Ruby's vocals are enjoyable. Her voice has an aura of confidence which pairs well with the boastful nature of her lyrics. Ruby brags a hell of a lot. Some of the lyrics are particularly memorable; lines like "MtF but I'm still that dude" and "You can't fuck with me like I'm aro-ace" are very unique and have been stuck in my head since the first listen. Features are plentiful but not overused; most of the artists included are members of the Fishgang collective that Ruby is a member of and frequently shouts out, and their additions to the album fit right in. A lot of these songs have been put in my rotation since first listen and I don't see them leaving anytime soon.

While the mixing on a lot of the tracks leaves room for improvement, business casual is an extremely impressive work of quality from someone I would least expect to deliver it, and I will be keeping Ruby on my radar for more.

over here and over there - 9/10

connoisseur - 7/10

ensnare - 5/10

gizmo - 7/10

hibernate - 8/10

withstand - 6/10

polearm - 8/10

off wit his head - 8/10

regardless - 6/10

thrutheair - 8/10

bishop - 7/10

claptrap - 7/10

navyseals - 7/10

corridor - 9/10

space heater 2 - 7/10

Favorite Song: over here and over there

Album Score: 7.3/10

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Music Review:

in the eleventh hour (amaii, 2023)

(Re-Listen)

I have a lot to say, so I'm not gonna bother with much of a preamble. Sorry if that's the only part you like.

in the eleventh hour is a stark departure from the maximalism that amaii's music has delivered previously, which is a choice I respect, and I think is pulled off extremely well. Throughout the 14 minutes of music, the scope of the sound is changing rapidly; by the time you get accustomed to how things are going, that's usually around the point they end and give way to the next section. The lyrics, while often competing with the production for my attention, feel more deep, and amaii spends most of her time on it talking about her feelings about various struggles in her life. The lyrics on "part 3" in particular moved me in quite a way, even if I can't fully relate to what was being said.

Yet a lot of the time, I find myself unable to focus on what she's saying because the production is just so...captivatingly beautiful. For most of in the eleventh hour, there isn't much being said, allowing the listener to truly hone in on the production, which feels simultaneously empty but full of emotion and feeling. In place of blaring, high energy music like that heard on I've Seen Better Days, in the eleventh hour opts for a somewhat calmer approach that I think couldn't have been better executed. A little under 9 minutes in, this relative quiet is replaced by a blaring, organ-like sound, and this organ is the beginning of an almost ethereal experience that you hear for most of the remaining runtime. Whatever the deeper meaning of this organ, and overall section, is, and what it represents, is probably lost on me; perhaps it represents the ascension to the afterlife, given that this music is "about death" according to the musician. Other sounds eventually come in along with the organ, the organ itself eventually departs, but the ethereal feeling remains through to the end. By the time in the eleventh hour faded out, I found myself going right back into it, wanting to experience it again.

I listened to this experience several times for this review. in the eleventh hour has a lot to unpack, and I wanted to be able to unpack it to the best of my ability. Yet, as I sit here writing these words, it almost feels like I haven't said enough; like I CAN'T say enough. It is nearly 15 minutes of music, and while I want to say lots about it, I find it very difficult to put my full feelings and thoughts into words when it comes to in the eleventh hour. I feel as if I am almost doing it a disservice by not knowing exactly what to say.

I implore anyone reading this who has not already heard in the eleventh hour: Do it. It is an experience worth hearing. I can only hope that whatever amaii delivers next is so utterly wonderful and captivating.

Score: 9/10

[redhydrogen]

Album Review:

All My Heroes Are Cornballs (JPEGMAFIA, 2019)

(First Listen)

JPEGMAFIA is an artist who has been on my radar for a very long time. I asked some friends of him who know more about him than I do what I should check out, and this album narrowly won out. I've heard a little bit from Peggy; Scaring The Hoes, Hazard Duty Pay, Bald, Baby I'm Bleeding, among others, so I went into this album expecting something high energy. This album was decisively not high energy, but I absolutely loved every second of it.

I was absolutely blown away by the production on this album. Someone I know once said that the music sounds like it's falling apart, and that is a sentiment I agree with. The production is the musical equivalent of walking on crutches. On songs like Kenan Vs. Kel or Lifes Hard, Here's A Song About Sorrel, the samples sound like they are dying before your ears, and while these things may seem like complaints on the surface, they are anything BUT complaints. It sounds fucking incredible, on every song; the production is nothing like I've ever heard before in my life.

Peggy's lyricism on this album is about what I would expect from him, at least with what I've heard from him before this, though I enjoyed the moments on songs like Thot Tactics where he rapped from the perspective of a woman; I found that unique. What impressed me, however, was his vocal range. Peggy does a lot of singing on this album, with him even having an entire song dedicated to covering an old TLC track. I was very surprised by the range on display here, and I think it lends itself to the soundscape of this album very well. The mixing is jarring and inconsistent, with vocals often being overpowered by the instrumentals, but I feel this was done by design, and it was done very well.

If I could find one complaint with this album worthy of being brought up here, it is that a lot of the songs seemingly end just as I'm getting into the groove of them. I feel this issue is most prominent on Lifes Hard; just as I feel myself really getting into the way that song sounds and feels, it ends with little fanfare. It doesn't take away from my enjoyment to a significant degree, but it is something I take issue with on some of these tracks.

I went into All My Heroes Are Cornballs expecting an album completely different from what I got, but it was pulled off so masterfully well that I honestly can't bring myself to complain about that. I am curious to see how the rest of JPEGMAFIA's discography stacks up to this album.

Jesus Forgive Me, I Am A Thot - 8/10

Kenan Vs. Kel - 8/10

Beta Male Strategies - 10/10

JPEGMAFIA TYPE BEAT - 8/10

Grimy Waifu - 8/10

PTSD - 7/10

Rap Grow Old And Die x No Child Left Behind - 7/10

All My Heroes Are Cornballs - 8/10

BBW - 8/10

PRONE! - 9/10

Lifes Hard, Here's A Song About Sorrel - 7/10

Thot Tactics - 9/10

Free The Frail - 7/10

Post Verified Lifestyle - 8/10

BasicBitchTearGas - 8/10

DOTS FREESTYLE REMIX - 9/10

BUTTERMILK JESUS TYPE BEAT - 7/10

Papi I Missed U - 8/10

Favorite Song: Beta Male Strategies

Album Score: 8/10

[redhydrogen]

Hey all. Sorry for the lack of posts recently, I've been a bit busy. To make up for it, I have two reviews that should be up within the next few moments, and I'm aiming to have 1 or 2 more up tomorrow as well.

[redhydrogen]

EP Review:

SCARING THE HOES: DLC PACK (JPEGMAFIA x Danny Brown, 2023)

(First Listen)

I've decided to change how I format my posts. The Eminem Show and business casual reviews have been updated with the new formatting.

Scaring The Hoes was my album of 2023. In an era where rap albums keep feeling generic, with no passion put into them, Scaring The Hoes was a much needed breath of fresh air. Yet, when the DLC pack dropped, I just...never listened to it. I kept forgetting, kept putting it off. I loved the album, and had a feeling I'd love the DLC too, but I just never got around to it. I decided to change that today, and thank god I did.

Firstly, I adore the cover art. The vape packaging, along with the "disclaimer" and the background that looks like a generic online store page are absolutely fucking hilarious, and I hate that I didn't come up with the idea myself.

I can only assume that the 4 songs on here were originally meant to be on the album tracklist, but taken off in favor of other songs, or possibly some other reason. The opener of the DLC sounds like a calmer alternative to Lean Beef Patty, and while I do like the track, I think that they made the right call choosing Lean Beef Patty as the opener instead; it represents what Scaring The Hoes is all about. Though I enjoy the song, it is the weakest on the DLC, in my opinion. The SpongeBob samples are funny though.

I love the production and beats on every song, but HERMANOS has my favorite beat by a country mile. The smooth, chill beat gives me the vibe of opulence, almost like sitting on top of the world, and Danny and Peggy both flow on it in a way that fits said feeling. However, what really takes the cake for me is the beat switch at the end of the track. Good fucking lord, the beat switch is perfect. I'm almost mad that they didn't rap on it, but it's so hard that I can't bring myself to complain about that fact.

Tell Me Where To Go has a feeling that I honestly wish was on Scaring The Hoes. It's calmer, more laid back and even a little introspective in terms of the lyrics. It's because of all these things that the track most likely was cut, seeing as how none of that stuff would have really fit on the album, but I honestly think Scaring The Hoes would have benefited from having this song on the full tracklist. I really enjoy what this track offers, though I'd need to be in a certain mood to wanna hear it.

NO! x32 definitely has a closing track vibe to it; it almost feels like the polar opposite of Where Ya Get Ya Coke From off the full album. If that song was like stopping at every red light and speeding at every green light, this song is like speeding through everything. The sample sounds similar to the one on HOE, and I wouldn't be surprised if it was a different segment of the same sample. This one is my second favorite track on the DLC, though I could do without Danny's spoken word at the end.

For being a small collection of B-sides, the DLC pack for Scaring The Hoes is a very strong offering that is a perfect companion piece to the full album, and a must-hear for anyone who enjoyed it.

Guess What Bitch, We Back Hoe! - 7/10

HERMANOS - 9/10

Tell Me Where To Go - 7/10

NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! NO! - 8/10

Favorite Song: HERMANOS

EP Score: 7.8/10

[redhydrogen]

Album Review:

business casual (rubyred, 2024)

(Second Listen)

Going to try and be more in-depth with future reviews. Expect longer reads going forward.

Small artists are a funny thing. It is like a vast sea of people all vying for the attention of whatever potential listeners they can scrounge together. Most of these artists, if I may be fully honest, leave much to be desired. But sometimes, when you swim through the sea of unremarkability, you will find an island of talent, and I firmly believe that this is the case with rubyred.

I first learned of Ruby about a week ago, through sheer chance. Her newest release, business casual, was pinned to her Twitter, and I decided to give it a listen. Why not? Worst comes to worst, I will have spent 35 minutes listening to some half baked album made by an artist who only half cares about their artform. What I got instead was a product of remarkable quality from an artist I'd bet everything in my checking account you've never heard of.

The production on this album is impressive, being bouncy and high energy throughout and keeping a consistent energy track-to-track. It's groovy, and I quite enjoy it for what it is. The Deltarune on polearm is very clever, making a chill, low energy piano track into a subtle bop. Big fan of that one.

However, ensnare is the first track that presents a somewhat unfortunate trend throughout the album; the mixing often causes the beat to drown out the lyrics. ensnare is probably when it is most apparent, with Oakie's feature being extremely hard to hear over the beat. The only other track I would say has a "bad" mix is withstand; while the production is great, I have to really try to hear Ruby over it. The mixing is less of an issue on other tracks, but Ruby and her cohorts can often be a little difficult to hear. My favorite songs are those where the mix is least problematic; tracks like over here and over there, hibernate, polearm and corridor strike the perfect balance. I will readily admit, Ruby's subgenre is one I have never really dabbled in, so there is a fair likelihood that this mixing is intentional and part of the sound, but it is not to my personal preference.

As for the other elements, Ruby's vocals are enjoyable. Her voice has an aura of confidence which pairs well with the boastful nature of her lyrics. Ruby brags a hell of a lot. Some of the lyrics are particularly memorable; lines like "MtF but I'm still that dude" and "You can't fuck with me like I'm aro-ace" are very unique and have been stuck in my head since the first listen. Features are plentiful but not overused; most of the artists included are members of the Fishgang collective that Ruby is a member of and frequently shouts out, and their additions to the album fit right in. A lot of these songs have been put in my rotation since first listen and I don't see them leaving anytime soon.

While the mixing on a lot of the tracks leaves room for improvement, business casual is an extremely impressive work of quality from someone I would least expect to deliver it, and I will be keeping Ruby on my radar for more.

over here and over there - 9/10

connoisseur - 7/10

ensnare - 5/10

gizmo - 7/10

hibernate - 8/10

withstand - 6/10

polearm - 8/10

off wit his head - 8/10

regardless - 6/10

thrutheair - 8/10

bishop - 7/10

claptrap - 7/10

navyseals - 7/10

corridor - 9/10

space heater 2 - 7/10

Favorite Song: over here and over there

Album Score: 7.3/10

[redhydrogen]

Album Review:

The Eminem Show (Eminem, 2002)

(First Listen)

It is a safe bet that the average person has heard at least one Eminem song in their lives. I've enjoyed his music for many years, but despite being a big rap fan, I had never gone ahead and listened to one of his full albums until now.

The Eminem Show sounds great, even over two decades after it was first released. The lyrics are sometimes serious, with Eminem discussing his struggles, his tense relationship with the public, ripping ol' Dubya to shreds, and his various run-ins with the legal system. In other songs, the lyrics are rather funny, with him poking jabs at award shows and even an entire song about getting an STD from an unfaithful woman. Despite the differences in mood from track to track, everything feels cohesive, and at no point did I feel like any song was included just because. I have very little to complain about with The Eminem Show. Other than some of the themes repeating themselves a bit too frequently (Soldier and Till I Collapse are very similar in subject matter), this album does nothing offensively wrong.

Although the term "classic" is frequently overused, The Eminem Show is an album that I feel is deserving of the title.

Curtains Up Skit - N/A

White America - 8/10

Business - 7/10

Cleanin' Out My Closet - 8/10

Square Dance - 6/10

The Kiss Skit - N/A

Soldier: 6/10

Sayin' Goodbye to Hollywood - 8/10

Drips - 5/10

Without Me - 9/10

Paul Rosenberg Skit [2002] - N/A

Sing For The Moment - 7/10

Superman - 8/10

Hailie's Song - 10/10

Steve Berman Skit [2002] - N/A

When The Music Stops - 9/10

Say What You Say - 7/10

Till I Collapse - 9/10

My Dad's Gone Crazy - 9/10

Curtains Close - N/A

Favorite Song: When The Music Stops

Album Score: 7.7/10