Gucci Mane’s overwhelming onslaught of music of late has been a lot to keep up with, even for the most diehard of fans. 2013 has already seen five mixtapes from Big Guwop, and while this level of output is nothing new for him, his music has certainly taken a turn into slightly different territory. Trap House III, Gucci’s first retail release since 2011’s head-scratcher of an album, BAYTL, is marked by his transition into a darker, more menacing figure. The cartoony and seemingly happier Gucci from his 2009 glory days is scarce here.

If you’re willing adjust to a less joyful Guwop, there are actually some great things happening on Trap House III. Channeling his inner Future, Gucci drenches his vocals in Auto-Tune on “Point In My Life” and “Hell Yes,” and it results in the album’s two most engaging records. These sing-songy ballads are a welcome change of pace for Gucci, whose sound of late has been dictated by the production from longtime staples 808 Mafia and Zaytoven. And on the whole, it’s that Lex Luger-esque sound that drives Trap House III.

Gucci’s ominous presence is best exemplified on the album’s foreboding title track, a hypnotizing ode to bandos (Atlanta slang for abandoned homes occupied by drug dealers). It’s well executed, and Gucci’s abilities as a rapper are intact, but his paranoia-filled whisper is certainly a far cry from the silly and often joyful Guwop that fans embraced him for years ago. “Muddy” is an exception to this, reminding of just how fun a Gucci Mane song can be.

In all, Trap House III is Gucci’s strongest effort this year, perhaps his best since his 2012 “comeback tape,” Trap Back. The booming production and the Brick Squad CEO’s natural charisma make it so. The two aforementioned Auto-Tuned records also serve as proof that Gucci’s still more than capable of surprising listeners with some unexpected tricks up his sleeve. —Neil Martinez-Belkin

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Since XXL premiered Big Baby Gandhi’s new EP earlier this week, everyone on the Internet’s been cyber-yelling that Gandhi’s — who famously quit rap in January to go back to school and get his degree — back. But, to be clear, the Queens-bred Bangladeshi rhymer is not back, he just put out a new project (which is only new because it’s new to listeners). With that said, his “new” EP with producer Yuri Beats is really, really good.

What made Gandhi great when he came out with a quick 1-2 punch of mixtapes in 2012 was his raw energy, unique voice and affinity for weird beats (think Danny Brown if he’d grown up on Wu-Tang). With the five-track America Eats Its Babies, he perfects that formula, only this time sticking with a sole producer in Yuri Beats, who sounds like a direct descendant of Statik Selektah and Alchemist, with some hints of weirdness like his contemporary Steel Tipped Dove.

What makes Gandhi’s story so interesting, is the fact that so many kids who grew up on hip-hop wish they could rap, but when they figure out they can’t they settle on reasonable career choices. Meanwhile, BBG can rap really, really well, but he’s preemptively chosen to leave rap behind for a reasonable career choice. Power to him, but listening to this mixtape just feels like watching Batman take a nap while the Joker burns all of Gotham’s hospitals down to the ground.

“Mr. 718,” which sounds like classic Gandhi, is definitely the album’s high point. On it, you can tell this isn’t the Gandhi who has a budding new career and goals. This is a younger Gandhi, who effortlessly and existentially rhymes, “Late at night, head out to grab a Sprite/Mix it with the OE, I don’t have a life.” According to Yuri Beats, America is a collection of stories from different characters, but on “718″ it’s  hard to tell if BBG is playing himself or an over-the-top gritty New Yorker. And after a few listens, you realize that it doesn’t really matter.—Dan Buyanovsky

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While T.I.’s certainly no novice to the world of rapper-run-labels, first co-founding Grand Hustle Records in 2003, last week’s G.D.O.D. marked the first group project from T.I.’s Hustle Gang (the moniker chosen to represent the collective of Grand hustle signees). Boasting a well-proportioned mix of “day-ones” like Young Dro, Big Kuntry and Macboney, commercial commodities like B.O.B (proven), Travi$ Scott and Iggy Azalea (TBD), and the revered but overlooked Texan Trae Tha Truth, Hustle Gang is full of both proven talent and untapped promise, and on the whole, the collective feels much like an extension of the group’s ringleader himself.

“Only N Atlanta” is a memorably smooth and triumphant hometown anthem produced by Cardo that pits Young Jeezy alongside T.I. and ATL upstart Shad Da God, who holds his own alongside two of his city’s most popular MCs with a raw and “excited-to-be-here” verse that stands out as arguably the best, if not the most emphatic, on the record. “Away From Me” is another standout which sees T.I. share the stage with Trae The Truth and Spodee, the latter of whom puts the finishing touches on an already strong Nard & B production with a hook that perfectly brings to light a major theme in T.I.’s personal life (and one in the currently incarcerated Soidee’s as well). It strikes a perfect balance between sincere emotionality and thuggish bravado.

“Let Me Find Out,” originally a solo record by Montgomery’s Doe B that’s seen regional success since it’s release last year, might take the cake as the mixtape’s biggest record, appearing on G.D.O.D. as a supercharged remix now featuring T.I. and Juicy J. The added firepower gives Doe’s record all the potential to be the trunk-rattling anthem of the summer. Similarly, songs like “Kemosabe,” and “Poppin’ For Some” offer glimpses of genius from a sorely missed Young Dro that are sure to satisfy anyone who longs for his days on “Rubberband Banks” and “Shoulder Lean”

In addition to the impressive appearances from some of Hustle Gang’s lesser known members, G.D.O.D. is equally encouraging for fans of early T.I. Having a VH1 reality series, going to jail a few times and natural human maturation might lead fans to believe the days of I’m Serious and Trap Muzik T.I. were “dead and gone” (get it?), but as proven throughout this project, that simply isn’t the case. Being surrounded by young talent may have something to do with it, but regardless of the reason, T.I. reminds of that brash, hard-headed, but slick and all-knowledgeable trap-kingpin that first won fans over a decade ago.

The production here isn’t anything groundbreaking, but they’re distinct and cohesive enough to work well with the array of artists who rhyme on each. The sheer volume of verses squeezed into this mixtape keeps G.D.O.D. from ever really getting boring and it’s exciting to see everyone seize their spots. Altogether it’s a project that not only bodes well for Tip as an artist, but as a cultivator of talent as well.—@wavydavewilliam

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When asked earlier this year about the concept of his upcoming album, Queensbridge MC Havoc simply replied, “This is about being me.” At the time, the response was taken as a declaration of severance from his longtime partner in music, Prodigy, who Havoc got in an ugly public spat with in 2012.  Supposedly, the two have now made up, but P’s absence on 13, Havoc’s third solo album and first without a Mobb Deep song, is hard to overlook. Regardless, the album sticks to the type of dark and aggressive rap the duo mastered as teenagers in the ‘90s.

This is most evident in the album’s production, which has always been Havoc’s strong suit. For years, Hav used menacing piano samples, distorted synthesizers and hard-hitting snares to add layers of tension and anxiety to New York’s classic boom-bap sound. The beats on 13 may not carry the same weight as those on The Infamous or Hell on Earth, but they show that Hav still knows how to craft music that’s captivating and makes you feel on edge. The heavy guitar strums and blaring horns used on “Favorite Rap Stars,” for example, create an ominous backdrop for Havoc and guests Raekwon and Styles P to spit hood tales over. And on “Get Busy,” Hav uses lurking piano chords to make a gritty soundtrack for a nighttime drive over the Queensboro Bridge. Importantly, despite using a familiar formula, Havoc’s beats never sound too dated here; new techniques in his repertoire, such as using more melodic synths and complicated drum arrangements, keep things sounding fresh.

Unfortunately, the same can’t be said for his lyrics. During Mobb Deep’s run of success, Prodigy was known as the foul-mouthed, more talented MC, while Hav was more known for his beats than his lyrics. He doesn’t do much here to dispel that notion. While they’re never that bad, large portions of Havoc’s verses fail to make a dent and are built on the same bland tough talk that he’s been spitting for years. To be fair, he has been rapping for over two decades, so the verses sound decent enough – his breath control is impeccable and his flow is always on point – but they usually act merely as another layer in the instrumental, failing to really add anything to the experience. Hav sounds best when he drops the toughness and gets more personal, like on “Gettin’ Mines,” when he raps about his ambitions as a veteran MC, and “This World,” when he talks about his choices as a youth.

Despite this, the project is another solid effort to add to the impressive Mobb Deep catalogue, even though it’s the first that doesn’t feature contributions from both MCs. Originally, Hav planned to include the diss song he made toward Prodigy on the album, but he cut it last minute. Perhaps he should have replaced it with a record acknowledging his relationship with P and how their issues were “resolved.” Unfortunately, Hav never really digs that deep here, and the elephant in the room prevents him from taking that next step forward.—Reed Jackson 

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Just over a year ago, Chance the Rapper released his debut mixtape #10Day, a project inspired by a suspension from school in his senior year. It showcased a promising young man with raw talent and sharp instincts. Now, after much hype, Chance returns with his sophomore effort Acid Rap, a complicated, comprehensive journey into the curious mind of an artist starting to come into their own.

A young Kanye West and Chicago’s sonic roots serve as the obvious reference points for Chance’s sound. “Good Ass Intro” is a rework of Ye’s Freshman Adjustment 2 intro and two tracks feature a Chicago Juke breakdown. His delivery is highlighted by a quirky and pitchy voice that drifts somewhere in between rapping and singing. It’s a calculated kind of freewheeling that sounds effortless yet designed simultaneously. Chance’s interesting choice of collaborations is another highlight of Acid Rap, and instead of going for the biggest names, Chance chooses artists who are equally unique as him, Action Bronson, Ab-Soul, BJ The Chicago Kid and Childish Gambino among others.  These selections help Acid Rap’s singular vision instead of turning the mixtape into a mosh posh of ideas, a mistake often made by buzzing prospects eager to attach starpower to their resume.

“Pusha Man” is a record that captures Chance’s essence. There’s a duality here, with the song starting as an youthful, elated track laced with spirited bravado and eccentric ad-libs. Once the beat stops though, it takes a turn into a somber territory, with Chance shining a light into the harsh reality of Chicago’s South Side. “They murkin’ kids, they murder kids here/Why you think they don’t talk about it? They deserted us here/ Where the fuck is Matt Lauer at? Somebody get Katie Couric in here.” It’s this awareness of his surroundings and the social ramifications of them that make Chance such a bright talent. “Acid Rain” is another standout, where the MC contemplates his place in life and more existential questions. “I think love is beautiful, too/Building forts from broken dams, what a hoover could do / For future hoopers dead from Rugers, shooting through that empty alley/Could’ve threw him an alley-oop, helping him do good in school” the 20-year-old ponders.

The production and it’s outstanding cohesiveness play as important of a part in Acid Rap’s success as Chance’s emerging voice. It’s rich, soulful sound incorporates the use of brass instrumentation and the influence of Acid Jazz bands is prevalent throughout.

Ultimately, Acid Rap’s biggest victory is living up to it’s own hype and Chance’s careful packaging of his artistry. There aren’t many 20-year-old rappers in 2013 with enough confidence in their craft to allow a year to go by between releases, let alone completely deliver on the hype built. This thoughtfulness, patience and planning makes for a beautiful, thorough and compelling body of work that may see Chance usurp Chief Keef as the face of their ailing city. —Emmanuel C.M. (@ECM_LP)

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It’s been a long time coming for Los. After the release of his The Crown Ain’t Safe mixtape, suitors came from far and wide to sign the DMV flamespitter. Interestingly enough, Los ended up returning to Bad Boy Records in 2012, the label he was previously signed to that failed to utilize his lyrical skillset and cut him lose in 2008. Whether he’ll get a proper push this time around remains to be seen, and on his latest mixtape, Becoming King, Los showcases his talents and takes advantage of some mainstream resources.

Becoming King focuses on the transition period of Los from an underground star to a mainstream artist, though he’s really not there yet. There are heartfelt tales touching on his family, love for music and the trials and tribulations of life. As usual, Los’ strongest asset is an ability to deliver vivid imagery through lyrics and a captivating flow. His best stories often come when he’s alone, (See “My Biz”), so the overabundance of features is at times overwhelming. Collaborations with DMV  natives like Raheem Devaughn or Pusha T come naturally, but the Ludacris and Tank features feel forced.

The production on Becoming King is a smorgasbord of sounds, which keeps the project from honing in on a particular vibe or feel. Nevertheless Harry Fraud’s vicious beat on “Dope,” combining sharp snares with strings is an attention grabber, as is “OD,” produced by Sonny Digital.

Lyrically, Los is as sharp as ever, and the mixtape is a continuation of the verbal assaults he’s known for. He keeps up with Twista on “We Ain’t The Same,” and displays his lyrical acumen on “Pay Up” with bars like “Shit is getting critical, you niggas is getting pitiful/Thinking miniscule, I think they think I’m in the scoop/ No I’m into schoolin’ these foolish cats who bend the rules/If you don’t want the roof to cave in, you gotta bend the rules.” Los has a way of keeping listeners on their toes by setting a furious pace, that challenges listeners to keep up with.

The unnecessary reliance on features and an overall lack of cohesiveness on Becoming King means Los won’t be crowned just yet. But he shows he’s still got the lyrical toolset to become a force in the game as time progresses.—Christian Mordi  (@mordi_thecomeup)

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Columbus MC Illogic’s catalog is a deep one, mostly stockpiled with bars reminiscent of rap’s golden era. His lyrics easily double as poetic verses as he maneuvers his way through heavy topics—building a lasting relationship with God, being a good role model for his kids, life after marriage. But when paired with his aggressive freestyle-battle roots, he manages to not come across as the preachy, “conscious rapper”. Those elements are sharpened on his newest album, a collaborative effort with producer Blockhead (best known for his work with Aesop Rock)—Capture The Sun.

The album’s brightest spots are when Illogic’s at his most vulnerable. “Bridges”, a short offering (a minute and a half), chronicles his most trying moments, which span from his introduction to fatherhood, having an absentee father and being diagnosed with cancer as a baby. “See I’ve been marked for death since the womb/ Umbilical chord around my neck I barely made it out/Plus they found cancer in my retina when I was two/Became a Cyclops but saw clearer than everybody else/Didn’t understand my blessing, thought it was a curse,” he says. On “Finally Free” Blockhead samples Le Systeme Crapoutchik’s “All I Have” (as Kid Cudi did in “My World”) while Illogic details an ill-natured relationship that leads a woman to suicide in order to escape an abusive boyfriend. The album’s highlight, “Last Breath (Family Fabric)” is a tribute to his parents where he thanks his mom for staying strong throughout the early stages of his cancer and shaping him as a man. He also thanks his stepdad for being in his corner: “Treated me equal to my brothers, though I wasn’t your child/Took the weight on your shoulders most men couldn’t bench/You embraced it, laced it from the love to the discipline”.

Despite its mind-twisting subject matter and weighted themes, Capture The Sun has a major flaw—its sound. An all-too-familiar issue with conscious brands of rap is that they sometimes sound like they’ve missed their mark on hip-hop’s timeline. Illogic’s appeal is valuable, in that, he maintains a voice for the “every day” man—being a good dad, looking within for inspiration & strength, and building a good family base at home. The subject matter and lyrics are solid, but Blockhead’s sound isn’t current or weird enough to be engaging like his 2009 instrumental album The Music Scene. Tracks like “Neva Heard”, “Justified” and “She Loves Me” could all believably be from a decade ago. That production could be the barrier that keeps Illogic from garnering new and younger listeners, which by delving into the introspective nature of his music, could be fine by him.—Lawrence Burney (@TrueLaurels)

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Since turning heads with an appearance on Yelawolf’s landmark Trunk Muzik mixtape, Rittz has been patiently waiting in the wings, making the most of feature-spots and eventually his own well-received mixtape, 2011’s White Jesus. But with a heightened fan base and Strange Music’s backing, The Life & Times of Jonny Valiant is by far the biggest moment of this long-hair-don’t-care, frenetically paced MC’s career. And he doesn’t seem to whiff.

If it’s your first time listening to Rittz, the obvious reference point for his flow is that of Twista’s. Much like the reverential Chicago MC, Rittz has one speed, and that’s very fast. His high-octane, quick-fire approach matched with that endearing sort of scrappy, hardworking man’s charisma, which begs for compassion on tracks like the autobiographical “My Interview,” makes listening to Rittz rap over the tape’s 16 strong a genuine pleasure.

Strange Music was the ideal home for Rittz, and there are no glaring compromises to be found here, unless you want to count the two Mike Posner features, which are both damn good songs. There don’t seem to be those apparent concessions (Remember Yelawolf’s Radioactive?) to sneak in one or two radio-ready singles, and there aren’t any beats being rapped over or subjects being touched upon that appear forced upon him. At times, the production veers towards almost too sonically cohesive, but it’s hard to singlehandedly knock any of the beat choices. Ultimately, Rittz’s authentic, stick to the script approach goes a long way towards the album’s successes.

Along those lines, Rittz keeps a close circle when it comes to the album’s features — Posner, Yelawolf, K.R.I.T., Suga Free and Strange Music cohorts Tech N9ne and Krizz Kaliko. This contributes to the sense of ownership Rittz maintains throughout the project and gives it that feel of a true solo album — something major label debuts often miss the mark on. Whether it’s his struggles with addiction or his struggles to find success in music, Rittz unapologetically sticks to rapping about what he knows best.

While these struggles might seem like a bit of a downer on paper, Rittz should win over listeners with the unmistakable honesty he raps with. He’s a highly affable “underdog,” one who can rap about his misfortunes with confidence, hope and determination. Like Drake once said of himself early on in his career, Rittz seems to just want to be successful. But his “started from the bottom” tale is one that’s detailed thoroughly throughout The Life & Times of Jonny Valiant, not an empty rallying cry. It’s unlikely Rittz’s rap career will ever reach the heights of a Drizzy, but for now, this honest, attention-grabbing album feels like the victory Rittz has long been waiting for.—@wavydavewilliam

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It’s become clear that there’s something new and exciting brewing down in the capital of the Peach State. Carried by a roster of ripening artists like Trinidad James, Rome Fortune and the Two-9 collective, this new breed have by and large sought to carve out a lane that differentiates from Gucci Mane and Young Jeezy’s trap sound or Future and now Young Thug’s more melodic, party-anthem music. “New Atlanta,” in both style and sound, is looking like a distinct homage and re-appropriation to artists like Outkast and Goodie Mob. There’s also an emphasis on everyday, more relatable, lifestyle subject matter.

Enter Scotty, perhaps the artist best suited to represent the above-mentioned qualities. In an approach that draws parallels to that of Big K.R.I.T.’s, Scotty’s latest mixtape, F.A.I.T.H, is a case study in crafting thoughtful, Southern rap for the 21^st century, while still maintaining conscious nods to the region’s predecessors. On this 17-track mixtape, Scotty accomplishes this through the help of talented Executive Producer and all around tastemaker, DJ Burn One. Laced with twangy funk and soul samples, infectious 808 kicks and a slick, somewhat lackadaisical drawl that reminds of an early T.I., Scotty breathes fresh air onto a buffet of classic, Southern beats. These range from the swampy, Louisiana/Texas sound on “SSDD” or “Ol’ Skool 84” to more traditionally ATL-centered songs like the organ and guitar-laced “Conversations On That Brown,” featuring Trinidad James. The funky bounciness of the “All The HO3$” even reminds of a more down-tempo version of Dungeon Family rapper Slimm Calhoun’s classic, “It’s OK.”

Throughout F.A.I.T.H, Scotty showcases strong versatility in regards to subject matter. When he’s not spitting wise beyond his years wisdom about the virtues of integrity and hard work as it pertains to his craft, Scotty is reciting attention-grabbing verses about topics ranging anywhere from his kicks (“My Shoes,” which features Starlito and Killa Kyleon) to a cant-miss smoked-out narrative about a weekend creep on “3 Dayz.” The mixtape has it’s blander moments here and there, like on “Handle Biz by Scotty,” “SheOntGiveAF,” and “Erday Feel Like Payday,” but even these records are still able to maintain a semblance of appeal, thanks to the rapper’s keen ear for beats and ability to navigate between an impressive array of flows.

It’ll be interesting to see if Scotty is able to capitalize on the appeal of this style of Southern Rap (K.R.I.T.) or come up short like many have before him (Donnis?). F.A.I.T.H bodes well for the former, and helps further the case for Scotty as a leader amongst a pack of young MC’s bringing classic elements of great Atlanta Hip-Hop to a new generation of listeners. —@wavydavewilliam

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It’s been nearly a decade since his official studio debut Die, Rugged Man, Die in 2004, but through a series of impressive guest features alongside the likes of Jedi Mind Tricks and Blu, R.A. the Rugged Man has remained a ferocious MC to be reckoned with. Now, the Suffolk County veteran has returned to the fold with his latest album, Legends Never Die, a bruiser of an effort replete with hard-hitting boom-bap beats and dense lyricism.

From the opening Buckwild-produced “Still Diggin Wit Buck,” Legends Never Die finds the Rugged Man in top-tier lyrical form. Songs like the Apathy-produced “The Peoples Champ” sees him packing layers of multisyllabic tongue-twister rhymes into every verse. Similarly, R.A. channels his inner Kool G. Rap on the Cold Chillin’-inspired “Definition of a Rap Flow (Albee 300),” spitting technical gems like “Who would’ve figured me to be deadly/They never be ready to bury me/Better be ready/Nobody better than me” with pin-point precision.

Yet amidst the tight-knit flow and staccato internal rhymes, R.A. still maintains an understanding of the conceptual underpinnings of his craft. Rather than allow his technical prowess to take control of the album’s direction, R.A. crafts a comprehensive LP that covers the whole gamut of his eccentric personality. His Talib Kweli-assisted single “Learn Truth” finds R.A. toning down the manic persona to deliver a sober analysis of world politics. Similarly, “Still Get Through the Day” is an emotionally triumphant track in which R.A. details the tragic nature of his family’s medical history with unflinching honesty.

Of course, these moments of conceptual maturity don’t preclude R.A. from delving into his unbridled id on the record. Cuts like Marco Polo’s “Shoot Me In the Head” and “Luv to Fuk” are works of brilliant ignorance. Similarly, crew cuts like “Sam Peckinpah,” “The Dangerous Three” and “Holla-Loo-Yuh” offer him an opportunity to exercise his battle-hardened bars against an ensemble cast of lyricists from the likes of Tech N9ne, Masta Ace and frequent collaborator Vinnie Paz. The album’s finest moment comes with the song “Legends Never Die (Daddy’s Halo).” Anchored by Mr. Green’s raw live-sampling production, the song is a touching eulogy to R.A.’s late father. It’s an emotional knockout of a record that where even a hardened MC like R.A. chokes up as he ends his verse.

Legends Never Die has many successes, but there are a few missteps amidst the 18 tracks. Despite a fantastic beat from Buckwild, the track “Media Midgets” is an underwhelming anti-media concept. “Underground Hitz”’s cliché production is another miss, where R.A. gets outmatched by Hopsin’s guest appearance.

With the exception of a few fillers, Legends Never Die is a truly compelling entry in the two-decade discography of R.A. the Rugged Man. It’s an album armed with exceptionally mastered production, stunning guest features and raw, emotional delivery from R.A.. —Sean Ryon (@WallySean)

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Wiz Khalifa and Curren$y’s careers flourished after the release of their 2009 cult classic collaborative How Fly. But even as the two rappers have grown tremendously, fans have long clamored for a reunion project. After some sample-clearance-related delays, the longtime pals dropped their 2^nd collaborative effort, Live in Concert on the international stoner holiday, 4/20.

The EP’s foundation is it’s beautiful production, built off Bobby Humphrey’s 1975 jazz album Fancy Dancer. Wiz and Spitta have long had great ears for beats, and Live in Concert is rich in soulful sounds, most notably the long Ron Burgundy flute solos that find their way into nearly every song. Sultry sax pitches and timely keys makes the whole affair a jazz ensemble production. It’s a welcoming home for the duo’s lighthearted lyrics.

Throughout, Live in Concert is a celebration of life the many pleasures Wiz and Curren$y have been afforded since they first teamed up nearly four years ago. The subject matter hasn’t changed much since then and on “The Blend”, Spitta’s in full lifestyle rap mode, rapping “Sports coupe spoiler, sipping on a bottled water/ Dead serious like the fourth quarter/ Niggas can’t get this shit, it’s on back order/ Holla at the waiting list, I’m already sportin’ them.” There’s a fun moment where Spitta recalls the duo’s earliest encounters on “Revenge and Cake,” rapping “Highed up with Pittsburgh Pimpin’/Ever since my old crib, splittin’ ounces, going half on Chinese food to flights Hawaiian, a two week cruise excursion.” Since these days Curren$y’s looking back on, Wiz has certainly found more commercial success than his partner, though his rhymes seem to have gotten much lazier. Never ending raps about how tall Wiz’s money is now make Curren$y the more impressive MC on this reunion.

Clocking in at under 25 minutes, Live in Concert is on the short side but is potent nevertheless, giving fans exactly what was expected (with the exception of these flute solos). It’s predictable, enjoyable, warm-weather music that will be embraced with open arms by Jet Life and Taylor Gang fans alike. —Christian Mordi (@Mordi_TheComeUp)

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At some point in the year since the release of Pluto, Future stopped releasing mixtapes like he used to. His October-scheduled Super Future/Fire Marshall Future mixtape never saw the light of day, or maybe it was just repackaged as the Freebandz collective F.B.G.:The Movie mixtape from the top of this year. “At this point, they see every Future song as capital” said Metro Boomin’, producer of “Karate Chop”, in an interview with this publication earlier this year. “So the label isn’t really feeling him putting out 20 free songs.” If there’s any truth to Metro’s seemingly astute observation, then Future’s certainly done his best to con the powers that be by releasing music regularly under the guise of Freebandz compilations and various Atlanta DJ’s projects. So Black Woodstock is a DJ Esco mixtape, but really it’s a reason to give us seven new Future songs and a handful from his cohorts.

Future gets the heavy lifting out of the way early on Black Woodstock. The tape’s leadoff, “Keys”, sees Future tiptoeing through a beat that’s equally as weird as “Karate Chop” and slightly less fun. “We Made Our Own,” arguably a rip-off of Rick Ross’ “911”, also dabbles in the “good enough” territory, though none of the songs here really reach the “Karate Chop” or “Mark McGwire” levels of F.B.G.: The Movie. “Rehab (Amy Winehouse)” is a standout if you’re into the notoriously overlooked vulnerable and concerned side of Future he showcased on Pluto sleeper “Permanent Scar.”

As far as the sidekicks go, Future’s actually done pretty well for himself. 19-year-old Slice 9 is the most developed and polished of the bunch, showing radio instincts on “Young Nigga Problems,” his lone appearance on Black Woodstock. Future’s brother Casino plays a supporting role on several tracks that’s impressive enough and Atlanta radio DJ turned rapper Stuey Rock might have a legitimate regional hit on his hands with the Future-assisted “Blow Them Bands.” It’s a little heavy on the Stuey Rock and a little light on Future, but has Atlanta airwaves written all over it, especially if he’s able to continue playing his own music on the radio.

“Karate Chop” had humble beginnings on DJ Spinz and Pretty Boy Tank’s We Are The Radio Vol. 6 and there’s a handful of other Future game changers that first saw the light of day on releases such as these (The response from “No Love” off Spinz’ HBG 2 tape last month prompted Future to announce he’d be shooting a video for the record). Unfortunately, there really aren’t any songs of that caliber to be found here. Future’s at a point now where any new music warrants a great deal of excitement, so Black Woodstock’s mediocrity comes as a bit of a letdown. The thing is though, Future’s mediocre is still more engaging than a lot of people’s best.—Neil Martinez-Belkin (@Neil_MB)

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At 38 years old, Styles P is one of the few New York millennium-era gangster rappers who have survived the times to remain relevant in 2013. Styles P was never the leading man in his heyday, and he’s not one now, but the man known as Paniro has been able to remain an East Coast mainstay by adapting effectively to the internet era in a way his peers couldn’t, and by refusing to settle for anything less than rock-hard bars and unmitigated gangster rap. On “Bodies in the Basement,” a cut off his newest album Float he raps, “To calm down, I need a bunch of weed/ Or I’ll crack ya head like a pumpkin seed.” Were you expecting anything else?

The subject matter of Float, a collaborative album with New York producer veteran Scram Jones, ranges from weed anthems to the colorful range of methods in which Styles will rob/embarrass/murder anyone who disturbs him (Whack rappers beware). He’s very much a gangster rap solider, persistent and uncompromising in his mission to deliver hardcore street rap, regardless of the changing tides of mainstream hip hop.

Scram Jones’ production is equally stubborn, which makes it a perfect match for the Ghost’s vocal presence. There are some beats that border on experimental though; “Red Eye” features a sample from Brooklyn-based new wave revivalist group Holy Ghost! and the album’s closer, “Screw Y’all”, could have easily been on Beyonce’s next record. On the latter, the hardest out somehow sounds right at home on the atmospheric Scram-produced track. But breaking new ground isn’t the intention of Float. Scram’s huge, drum-heavy production provides cohesion throughout and Styles excels in his comfort zone, spitting rude, boastful bars over big, grimy beats.

Clocking in at less than 45 quotable-stuffed minutes, Float is short and sweet, a quick reminder that The Phantom hasn’t lost a step lyrically. All in all, the project is a welcome addition to the D-Block rapper’s catalogue, though it’s narrow vision holds the album back from reaching any great heights. If anything, it’s assurance to longtime fans that Styles P isn’t going anywhere anytime soon, nor should he.

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In the past few years, Fool’s Gold Records has emerged as one of the premier independent labels for breaking critically acclaimed underground hip-hop acts and helping them transition into commercially viable talents (see Kid Cudi and more recently Danny Brown.) By the sound of Mugga Man, the label may have “struck gold” again with 19-year-old Philadelphia upstart GrandeMarshall.

Mugga Man, a 21-track- follow up to GrandeMarshall’s 2012 debut 800, is a release of minimal features and a small group of talented, trusted beat makers. With a calm and confident deamanor, GrandeMarshall gravitates over this tape’s consistently soulful and cinematic production. There are long winding and methodically delivered verses that range from honest and vulnerable to those showcasing Marshall’s own brazen and endearing brand of smooth, slick-talking bravado. The latter is best demonstrated on a trio of records, “Superleggera” “Full Court Press” and “Head to Feet,” which all share a common feeling that conjures up vague but palpable reminders of golden era shit-talking Beanie Sigel and State Property Philly rap.

On the whole though, Marshall’s style will likely remind of the smoked-out, detailed, lifestyle rap that’s been championed by the likes of present day Curren$y and 2009 Wiz Khalifa. But that’s somewhat of a general and lazy grouping. Besides a mellow delivery and mutual love for smoking weed, Marshall and Spitta don’t really have much in common and Marshall’s sound is still a distinct one that refrains from becoming boring at any point throughout the tape’s 21-tracks. There are songs that highlight Marshall’s reference-heavy POV, retellings of hustlings and growing up in his hometown of North Philly and then there are songs like “PMS”, by far the tape’s most aggressive, which serve as a nod to trap music.

However lengthy, (Marshall may have benefited by spreading this out over two 10/11-track releases) Mugga Man is an exceedingly impressive effort from an artist who’s proving that he’s right up there with some of today’s blossoming youngsters to look out for. It would be easy to relegate Mugga Man as a mixtape meant to set the mood for this past weekend’s 4/20 holiday, and that wouldn’t be false. But it’s also one of the better, more complete rookie-driven releases to come out this year.—@WavyDaveWilliam

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The nearly year long delay of French Montana’s Excuse My French debut has put Chinx Drugz’ career on the backburner, but the Queens-bred Coke Boy hasn’t just been sitting on his hands. Drugz has actually made a pretty convincing case for himself within the past year, shining on the Coke Boy collective N.W.C. Niggas Wit Coke (Coke Boys 3) and having strong showings on Wale’s “Let a Nigga Know” and Vado’s “You Ain’t Good.” “I’m a Coke Boy” and the record’s star studded remix should have been (pun intended) Chinx’s “Shot Caller” moment, but it seems like French’s album needs to see the light of day before his underling can get a proper push. On Cocaine Riot 3, Chinx attempts to further his case that he’s deserving of one.

CR3 leads off with “Intro (Voices)”, where Chinx shows some French-esque inflections and loosely chronicles the transition from a gloomy past to glowing present, rapping “I’m yelling ‘mo fire/Glock shells getting sold to the first buyer/Hard knocks, we been there/Now, our whips is this year/Came up out them cuffs/I done switched up my wrist wear.” “Right There” and “One Night” have strip club anthem potential and Chinx proves pretty versatile, excelling on these in addition to records that carry more somber tones. He’s most convincing on “Maybe,” a heartfelt ode to the late Stack Bundles that closes out the mixtape. “Blow out the smoke, then I take a swig/ Just reflecting on the things we said as kids/ Maybe if I wasn’t incarcerated I’d been there with you to fight the devil and then you probably made it/ But then you caught a headshot/Now my heart is nothing but a dead spot,” he laments.

For all its signs of promise, CR3 also has some rookie mistakes. “Wild Ones” is scattered, and the delivery doesn’t match the production. There’s also an over-reliance on features here that the mixtape could do without – appearances from Lil Durk, Yo Gotti and Flip should have been left on the cutting room floor. The heavy guest list prevents Cocaine Riot 3 from being a landmark release, and so this mixtape ends up being more of a continuation of what we’ve already heard from Chinx Drug, rather than a step to the next level. Time will tell if he’s up for that challenge. —Christopher Minaya (@CM_3)

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With 20 years of experience and a resumé of critically acclaimed albums, Ghostface Killah has established himself as one of hip-hop’s most consistent and reliable acts. With 12 Reasons to Die, the Wu-Tang veteran joins forces with composer Adrian Younge. The result is a gritty partnership of live instrumentation and lyrical slaughter.

On 12 Reasons to Die, Ghostface is in full Tony Starks mode, looking to exact revenge on the DeLuca crime family that betrayed him. The album strictly adheres to this narrative, which results in some hits and misses. While the Mafioso-giallo story that propels the album is an intriguing conceit, it proves to be too restrictive for an album that clocks in at 40 minutes. It’s more episodic than cinematic and each of the album’s 12 tracks feels too purposely segmented and separated, which can take away from the album’s emotional pull. There’s a little too much time spent on the exposition of Starks’ demise and not enough on the story’s climax, which feels rushed and a bit of a letdown.

Overarching storylines aside, 12 Reasons to Die is a lean and mean exercise in lyrical mayhem. Ghost is in fighting shape, weaving through a sinister tale of bloodshed and revenge. His abilities as a storyteller have long been second to none and he shines on “Rise of the Black Suits” and “The Sure Shot (Parts 1 & 2),” waxing eloquent about his gangster stature with an assurance and authenticity few in hip-hop can actually claim. At the same time, he manages to infuse the album with some tender moments. “The Center of Attraction” spins the tired “Ride-or-Die Chick” trope with a tangible level of sincerity and it makes his betrayal on “An Unexpected Call (The Set-Up)” that much more powerful. Later on, when Tony Starks begins his murderous rampage, Ghost shows he hasn’t lost an ounce of the energy he first showcased on “Bring Da Ruckus”,  by tearing through “Rise of the Ghostface Killah” with incredible ferocity.

The greatest victory on 12 Reasons to Die is Ghost’s chemistry with producer/composer Adrian Younge. Having cut his teeth scoring the film Black Dynamite and working with Venice Dawn on 2011’s criminally overlooked Something About April, Younge’s production sounds tailor made for Ghostdeini the Great. It’s a gritty, no-frills fusion of the Wu’s early sounds and the sonic textures of soul acts like the Delfonics. The album’s got a tangible sonic atmosphere and every kick and snare takes on a life of its own. Younge’s sound is one deeply rooted in ‘60s and ‘70s cinema, and songs like “Beware of the Stare” and “Rise of the Ghostface Killah” employ sweeping operatic vocals with flanged spaghetti Western guitars. The album’s crowning achievement is “Enemies All Around Me,” which finds Ghost reconnecting with Delfonics front man William Hart (the two previously collaborated on the 1996 song “After the Smoke Clears”). It’s a harrowingly eerie song that pairs Hart’s haunting falsetto with fuzzy guitars and subtle snare pops.

Ultimately, 12 Reasons to Die is a pitch-perfect pairing of Adrian Younge’s soulful production and Ghostface’s invigorated rhymes. Despite some misguided narratorial instincts, the album is a testament to Ghost and Younge’s passion for stripped down instrumentation and raw talents.—Sean Ryon (@WallySean)

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When Kid Cudi first announced his third solo LP, Indicud, he likened it to his own version of Dr. Dre’s classic 2001. A lofty comparison, sure, but Cudi clarified that he planned on embodying Dre’s behind-the-scenes mastermind persona, and in a way curate a collaborative album. “Some things I’ll produce, others i’ll feat &/or play songwriter” he tweeted. From early reports of possible Indicud contributors, it looked like Cudi was pulling together a diverse crew of artists for a project that would end up being an indie all-star show. But the resulting album, the release of which was pulled up a week due to an early leak, is less a curatorial effort than just another Kid Cudi album that exclusively features his own production this time around.

Indicud is an at-times very good album, but it’s certainly no 2001. This isn’t because of a lack of ingenuity or creativity on Cudi’s part, but rather because the decision to act as the project’s sole producer didn’t do him any favors. Simply put, he’s not nearly as good of a producer as Dre. Looking back at the timeline of how this album came together, it appears that Cudi took up producing shortly after the release of his experimental rock album, WZRD, and hints of his inexperience are scattered throughout the album. Production wise, Indicud’s highlights are mildly interesting at best, the duds repetitively derivative and boring.

Sometimes the simplicity works in Cudi’s favor. “Just What I Am,” a teaser single he released months ago, is really just a few synth lines over a layered, extra-basic drum beat. It’s more foundation than landscape, but it lets his vocals (both sung and rapped) shine. The same can be said for “Brothers,” where Cudi, King Chip and A$AP Rocky trade off barbed verses over some erratic, monotonous production. Maybe this is the point, to let the lyrics – which seldom explore further than Cudi’s usual blend of depression, nihilism, and warped confidence – speak for themselves. Still, it’s not what fans have come to expect, namely because what marked the brilliance of his first two MOTM installments was the combination of imagery and vocal prowess with the sometimes-expansive, sometimes-pitch-black beats molded around him by producers Emile and Dot Da Genius. The unfortunate absence of outside producers is most felt on “Solo Dolo, Pt. II,” a sequel to the standout from Cudi’s debut. The idea and intention here are great, but leaving out the original’s producer, Emile, results in a missed opportunity. The beat’s spooky, over-the-top, and skippable.

What Indicud lacks in production value, it makes up for it in a solid trio of great songs, all impressive for different reasons. “Immortal,” the initially super-catchy third single from the record, becomes an incessantly-repeatable battle cry for independence with time. “Cold Blooded” is a vicious mission statement that’s essentially an amped-up, more direct version of Cruel Summer‘s “Creepers” and “Afterwards,” a nine-minute jam session, is both groovy after-party music and a mind-bendingly dark trip through the recesses of an acid come down. Indicud also contains a few unlikely sleepers like the Too $hort-featuring “Girls” and the space-age instrumental “New York City Rage Fest,” which is sure to soundtrack some upcoming episode of Girls, in which the ladies do a bunch of coke and argue about friendship.

As a whole, Cudi’s version of 2001 is an original and bold project, and the group of collaborators he was able to pull together to create it is impressive. But for every interesting feature – all-girl rock outfit Haim, rap legend RZA, and Michael Bolton (!) – there are just as many appearances from King Chip, Cudi’s long-time collaborator who’s had every chance to succeed but continues to bore. Regardless, this ambitious project doesn’t fall flat, and credit is due to Cudi for continuing to challenge himself post-WZRD, taking on a new skill-set and concept rather than throwing together a collection of identically moody anthems.

If you’re willing to suspend preconceived expectations, Indicud is an album that really does get better with time. Fans should be happy to hear their hero return to form and provide them with a lengthy body of work to pore over until he revisits and completes his Man on the Moon trilogy. —Dan Buyanovsky

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Big K.R.I.T. still has a point to prove. He makes this clear on “King Without a Crown,” off his newest mixtape King Remembered in Time, where he belts out through his thorny southern drawl that he still hasn’t gotten his proper due. His 2012 major label debut, Live From The Underground, received widespread critical acclaim, but the album didn’t have the commercial or crossover success that K.R.I.T.’s fellow 2011 Freshman peer, Kendrick Lamar, found in his album later that year. K.R.I.T.’s recipe of bluesy, sample-based production and southern-fried consciousness wasn’t beginning to sound overcooked by any means, but there wasn’t much that separated Live From The Underground  from his earlier works. K.R.I.T.’s always taken pride in staying true to his roots and on King Remembered In Time, he returns to them with even more ferocity, and some new tricks up his sleeve.

A noticeable change here is K.R.I.T.’s willingness to expand his production style. His beats have always been appealing – warm and organic, similar to those produced by Organized Noize in the mid 90s during Dungeon Family’s reign.  On King Remembered in Time, the guitars, and horns are still here but there’s also a wider variance of samples used, like the vocals on “REM” or the M83-sample use on “Multi Til The Sun Die.” 9^th Wonder even shows up to give K.R.I.T. a break behind the boards on “Life is a Gamble”, a haunting boom-bap affair. Throughout, the production is fuller, sprinkled with a wider variety of sounds. It doesn’t sound like just Krizzle with a sampler and drum machine.

The production changes breath new life into K.R.I.T.’s lyricism. He’s always been a fiery MC, preaching sermons from the perspectives of both the preacher and the pimp, but here, the additional layers of instrumentation add depth and emphasis to his punch lines. Also, he sounds hungrier than ever, spitting venomously at detractors on “Talkin’ About Nothing” and giving stirring motivational speeches to himself on “Purpose” and “King Without a Crown.”

K.R.I.T. takes chances on King Remembered in Time, retaining his role as a flag bearer for the “underground” but also crafting songs that larger audiences will be willing to engage with, like the Future-assisted “Just Last Week” (a snippet that could perhaps serve as a single to his next studio LP) or the Trinidad James-featured “My Trunk.” They’re not a huge departure from his usual up-tempo trunk rattlers, but they hold enough appeal to land on mainstream radio. If that offends some of his longtime fans, it shouldn’t. K.R.I.T. takes a slight step outside his comfort zone here and the changes on King Remembered in Time are for the best.  If he keeps heading in this direction, he’ll earn his overdue crown soon enough. — Reed Jackson

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On last year’s Careless World: Rise of the Last King, Tyga went to great lengths to prove he was deeper than “Rack City”.  And he actually fared pretty well in doing so. Attempts at displaying emotion and having substance, like on the nearly eight-minute “Love Game”,  hit their mark, and Tyga surprised us, showing more versatility than most people thought he had in him. But judging from his latest album, Hotel California, Tyga might not really care about proving that point anymore.

With a guest list that reads like a who’s who of hip hop’s most successful rappers of the day – Lil Wayne, Rick Ross, Wiz Khalifa, Chris Brown, Future and 2 Chainz – Hotel California has it’s share of potential radio records. The production, which draws from a talented pool of beat makers like DJ Mustard, FKi and 1500 or Nothin’, is clean, well orchestrated and in typical Tyga fashion, very catchy. Unfortunately, most of these songs stick to a singular formula.

The most dominant sound Tyga raps over here are similar-feeling, sparse-yet-dramatic, ratchet-esque, up-tempo beats, aka he’s going for a few more “Rack City”s. These canvases are filled in with subject-matter that usually begins with something drug or sex-related before trailing off with a series of tough to follow, unrelated rhymes. At times it’s like a bad game of telephone. Take the first three tracks, “500 Degrees,” Dope Song,” and “Get Loose.” None of these records sound particularly foul, but after a few initial spins it becomes difficult to discern a true difference – or memorable moment – between any of them.

Hotel California still has it’s moments. Tyga’s charisma and technical abilities alongside the sheer quality of featured artists and producers allow it to. On the Detail-produced “Show You, Future saves the day with a dreamy, harmonizing hook and Tyga switches gears impressively, balancing a strong flow and a melodic sing-rap. “M.O.E.”, an honest ode to weed and women feels right here, flipping Jay-Z’s “Feelin It”. “It Neva Rains” is predicated on another cheeky sample, this time of Tony!Toni!Toné!”’s “It Never Rains (in Southern California)”. Some might consider this reaching – after all, the original was a 90’s R&B classic – but sample-masters Cool & Dre help give this record a distinctly California sound and feel that’s scenic and enjoyable.

But despite the emphatic cover-art, impressive production, and some superstar guest appearances, Hotel California still doesn’t feel like Tyga’s “swing for the fences” album. It takes fewer risks than Careless World and as a result there are less payoffs. Tyga still thrives in his comfort zone and there are songs that will find success on this album. It’s a desire for more than that that’s missing here.—@WavyDaveWilliam

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For those who aren’t already devout followers of The Based God, dipping your toes into the world of Lil B’s music can be a challenging undertaking. What’s the right entry point? Are you supposed to download every new tape? Are you supposed to listen to all 30 songs on the mixtape? With such an overwhelming amount of releases, it’s easy for the good stuff to go unnoticed and slip between the cracks. His latest effort, last month’s P.Y.T., happens to be quite possibly his best since 2011’s Illusions of Grandeur, though it’s impact felt like just about every other Lil B mixtape release.

In terms of subject matter, P.Y.T. is loaded with variety, to the extent that it’s almost baffling. There’s love songs like “Marry Me”, where a half-crooning, half-talking Lil B endearingly singing “Now baby come hold my hand/ I wanna be your man, I wanna see you every night/ I’ve been waiting all my life…I love you to the moon and the stars/Don’t change who you are.” Then there’s records like “Alota Bitches”, a bouncy player’s anthem with a chorus assuring listeners B would never, in his wildest dreams, “cuff” or “love the bitch”. Even some of the harder to digest songs like “Keith Sweat” hold entertainment value in head-scratching thoughts like “Girls in Florida, number one supporters/Bitch kiss my ass cause I look like a lawyer.” Regardless of the disparate sounds and contradicting messages, Lil B’s able to execute his songs in ways that are sincere and relatable.

His sonic elasticity is demonstrated throughout, cruising through the clean and soulful “Emotional Player” directly into the disjointed and brash “510 Ratchet”, an ode to girls who behave as if they’re perpetually starring in Spring Breakers. A quick basketball analogy would be to say that Lil B is similar to J.R. Smith of the New York Knicks – and that’s not even taking into consideration a mutual love for throat and neck tattoos. Like Smith, Lil B can be enigmatically hard to pin down, and at times might seem more like an unfiltered mess than a serious talent. But like Smith, Lil B thrives when he’s able to channel his many emotions into spurts of concentrated, gripping and convincing performances. For J.R. Smith that’s a stellar stretch in a basketball game, or perhaps a game winning shot. For Lil B, it’s a release like P.Y.T., which oozes with records that seem to tactfully convey every possible thought, dream and emotion Lil B could have felt while recording this.

Together, P.Y.T.’s collection of themes, feelings, beats and rhymes don’t just make up another Lil B mixtape, but one of his finest. It’s worthy of a download, but more importantly, it’s deserving of a resounding #ThankYouBasedGod from us all. —@WavyDaveWilliam

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