Depp Gibbs saw the writing on the wall with his last album, I reckon. PM felt like a lot of noise without substance, the only way to move forward was to morph into a new shape. Depp Gibbs has virtually abandoned anything that can be considered traditional rap music, instead turning into the world of dadaist poetry. Comedic, tragic, and beautiful in its own strange esoteric way. A showcase piece for the label undeniably.

I will never put down a comedian for making fun of Nazis. But saying "look at me, I'm racist and that's the joke" for an hour is at best obnoxious, and at worst irresponsible.

Doing god's work.

“Are you ready for your rap lessons?”

*Kendrick Lamar gulps*

*Eminem breathes heavily*

*Kanye West nods nervously*

*Jay-Z sighs*

“Yes, Submarine Man” they say in unison

Despite, or perhaps more accurately, because of Mosquito's mission statement, Infection 2 is a borderline unlistenable slog that fundamentally misunderstands the prequel's appeal.

The mission statement of course is this sense of crude nostalgia, Lil Mosquito Disease going back to his roots, making old scrappy basement loud-rap with a comedic twist after the somewhat (but not really) change of pace on Infestation. This though features entirely too stiff a procession that lacks any motion, ... read more

Mosquito trades in a lot of his own style for somewhat more conventional trap metal on Infestation. Particularly in the vain of City Morgue and their fusion of stiff distorted drums and sampled metal and punk riffs. This on paper kind of seems like a match made in heaven one would think, as Mosquito... sure does scream a lot. But these songs just simply aren't great, they are really missing a punch and as a result come off as a shallow interruptions of the style. The more comedic bits of this ... read more

Improves on everything Infection did. Well, actually not really. It's still a very bloated project, and the low moments on this album drag just a little bit more than Infection's. However, everything else is cleaner, more realized and well excited than ever. But don't let that deceptive you, this is still a Flex Entertainment album. Just because this is the closest Mosquito has ever gotten to being a conventionally "good" rapper, doesn't mean anything's changed. This is still true to ... read more

Jumbled but mesmerizing. Mosquito really has a talent for creating a sort of "musical butchery" of other people's work, uncleared samples blown out and screwed with, with trap beats layered over vicariously. No one is safe, from Travis Scott and Playboi Carti, to Yoko Ono and Robert Miles, you're a protentional victim to Mosquito's grips. All the while he gives a ludicrous performance, screaming his brains out with the passion of a modern day Tom Waits. It's in its own way, a ... read more

Lil Squeaky's fourth mainline album is a lightweight and disappointing outing. Built as a return-to-form type project, it is a step up from the melodramatic and honestly embarrassing In Development, but sadly that's not saying too much. This record is a pretty clear showcase of Squeaky's main fault even on some of his best work: he's not particularly trying to be comedic (which is fine), but without that elements these songs just don't stand up on their own. They're mostly just lukewarm trap ... read more