YEEZUS is 40 minutes of deliberate ugliness — and that's exactly the point. I came to this one late — about a year after it dropped. Didn't know much about Kanye beyond the name, so I had no expectations, no context, no MBDTF to compare it to. Just the album. And honestly that might be the best way to hear it.
It hit different because of that. This was my introduction to what Kanye even was as an artist, and he chose to introduce himself through 40 minutes of industrial ... read more

Best of the three new rage artists I've reviewed recently, and it's not particularly close. Nine Vicious feels like the next step in this lane — same DNA as Osamason and Che but more polished, more personal, and way more confident in his own identity. Young Thug roots, Carti energy — sounds like a mess on paper, makes complete sense in practice.
No skips on a short EP is rare. Every track has a reason to exist and the cohesion is genuinely impressive for an artist at this ... read more

Strong deluxe. Keeps the exact same high level as the original — super cohesive, every song transitions perfectly.
Production still insane. Slayr autoproducing everything again, beats go stupid on BRAND NEW, TOXIC and BRAIN FOG.
Slayr is fully locked in. His performance is even better than the first version.
Lucy Bedroque feature on DAYTONA is solid.
Only dip is PAINT A PICTURE. No skips.
Personal top 3: BRAND NEW, TOXIC, EYESIGHT

Half Blood is fantastic. Easily the most cohesive album I’ve heard in the new rage scene — every song transitions into the next perfectly, no breaks in flow at all.
Production is insane on this project. Knowing that Slayr autoproduced the whole thing himself makes it even more impressive. 24/7, DEMIGOD, NEVER GO DOWN, LOVE BLUR and SLOPPY JOE are where the beats go absolutely stupid.
Slayr has a clear identity and delivers consistently throughout. He’s not just sounding like ... read more

BAD ASS FUCKING KID is a very consistent album. No track is out of place, the whole thing holds together tight from start to finish with no real weak half or random filler that kills the flow.
Production is the biggest carry here — OK made a crazy job with very raw and rough beats that actually fit the vibe perfectly. TYLA, PERC SODA, SKIPPING CLASS and especially FUCK CANCER are where the beats go stupid.
Nettspend finally has a clear identity. You can obviously hear the new rage ... read more

Patience required. The first half of this album is genuinely rough — generic New Rage stuff that he perfectioned but sadly already done to death, and Che spends most of it sounding like a Carti wannabe with nothing much really original to add. ON FLEEK is probably the lowest point, skip it entirely.
Then MARCELINE hits and the whole thing flips. From there the album becomes a completely different experience — DIOR LEOPARD, MANNEQUIN, BLACK SWAN, MDMA is a run that honestly goes ... read more

Definitely one of his weaker projects. ADL feels flat from start to finish — no real identity, no clear direction, just a collection of tracks that happen to live on the same album. If you're coming in expecting the Yeat that made you a fan, you're probably leaving disappointed.
The production is genuinely the only thing keeping this afloat. BNYX and the other producers showed up and delivered some absurd beats — GRIDDLE, LET KING TONKA TALK, MY TIME, DANGEROUS HOUSE and ... read more

First full Osamason project for me and honestly didn't expect to fw it this hard. The guy is controversial for a reason — he's not for everyone — but when he's locked in, there's genuinely nobody doing it like him. FOR DA FLEX, KILLS and UNO show exactly what I mean.
The production carries a lot of this album. Some beats are straight up absurd in the best way — STR8 FLEXIN had me questioning what I just heard. No features across 23 tracks, bold move, and it ... read more

BULLY is a weird one. If you look at the tracks individually, there are some absolute bangers, but as a cohesive project, the structure is definitely lacking. The main issue is that the production feels a bit too "samey" across the board—the aesthetic is consistent, but it almost blends into one long, monotonous block.
​That said, the production is still the strongest part of the record. Ye’s performance gets a solid 8/10 from me: I really fucked with the flows and lines ... read more