One thing I’ve consistently found with Clipse, and especially with Pusha T, is the lack of depth in content. Sure, the wordplay and flipping the same ideas a million different ways can be clever, and the mic presence has always been a strength, but at the end of the day, there’s really nothing being said. Pusha is the king of sounding profound while delivering empty bars. They are still rapping about selling drugs decades after the fact-long after his mummy and daddy found out and it all ended-yet somehow, they keep getting a pass for it. After spins and spins of this album, I take next to nothing away from the lyrics. If all of the songs were as enjoyable as 'So Be It', then that wouldn't be as big of an issue, but they're not. Another issue is that Pusha and Malice sound more alike than ever. I get that they’re brothers, but the best duos or groups have contrast or a greater level of distinction. Think Andre and Big Boi who sound nothing alike. When they sound almost identical, it becomes a weakness. One of them might as well be rapping the entire time. They ride these mostly solid beats well, (some are even great) but they don't say much of anything and the flows rarely change-something else that Pusha gets a pass for. A few hooks, especially Pharrell's, fall flat, and that "this is culturally inappropriate" line is just grating. 'So Be It' and 'Ace Trumpets' hit hard, but the rest? Overhyped, as usual. The cult-like worshiping of Pusha/Clipse has always been a bit much. Some fans give a project an A+ before it drops and no matter what it sounds like, that rating wouldn't change. Beats: ★★★☆ Rapping/Bars: ★★★ Hooks: ★★☆ Best Tracks: So Be It, Ace Trumpets 1. The Birds Don't Sing I was just thinking before listening to this how artists always sequence albums the same way with the emotional/more heartfelt song last, but here we have the reverse-a song about their parents passing to kick things off. I also can't help but wonder if John Legend ever gets tired of being the go-to guy for these sentimental, teary-eyed hooks. "Love your parents everyone... And now back to the usual programming of glamorising the drug trade that kills people." The whiplash is real. 2. Chains & Whips The "this is culturally inappropriate" line that is scattered on this album is annoying. Whose idea was it? At first I like the beat, but it doesn't develop into enough. Kendrick adds to it with the final verse. 3. P.O.V. Catchy hook. Tyler as the feature again adds to it. 4. So Be It If you are going to diss, use names. This is the best song so far. Great production. 5. Ace Trumpets More great production. Disappointingly, as is the trend these days, we have a short two and a half minute song when it could've used another verse. The way the verses kick in after the contrasting chorus is great. 6. All Things Considered Not a fan of Pharrell on the hook here at all. 7. M.T.B.T.T.F. The "Cuz he's hot" line that repeats is so unnecessary and tiresome and hurts the song. More coke bars. The beat is hard, so it's a shame more isn't made of it. 8. E.B.I.T.D.A. A short song that comes and goes. 9. F.I.C.O. Not a fan of Stove God Cooks on the hook but the production is nice. 10. Inglorious Bastards The beginning sounds like Jay's 'Encore'. Meh. Simple drums with some horns. Basic production with the annoying, "this is culturally inappropriate", line again. 11. So Far Ahead Again, not big on Pharrell's vocals. I feel like if some of these hooks were redone then I'd give this album something closer to the current critic consensus. 12. Let God Sort Em Out/Chandeliers The first part is weaker than the second where Nas spits like he always does. 13. By the Grace of God To repeat myself again, and again, this would be better with a better singer on the hook instead of Pharrell. I've never loved his voice, but it bothers me more on these hooks than it ever has before. That aside, the rhyming is strong.

A fun and compact project, recorded in just a day in Statik's basement. The production is enjoyable throughout, but you can tell the songs weren’t given much time to be refined lyrically or thematically. The opener sets the tone with Freeway noting, "it's 6AM in Hong Kong, that is early." Some of these bars sound like a freestyle. Apologies to those who over-hype him after his passing, but Mac Miller's voice was never his strength. His feature on 'P.A.' drags the track down from what could've been a highlight with a more commanding rapper. He is so whiny on the hook. 'I'm in the Hood' on the other-hand, samples Bun B on the hook. and that, with its laid-back vibe make it the best song here. 'From the Street' has that iconic M.O.P. hardcore energy and is another strong one. We have a song shouting out Free's city, then it's about being from the hood and then being from the street, so you can see what I mean about this not being topically the most interesting project. Freeway goes missing with more and more features as the project progresses. 'And It Don’t Quit' adds more soul/funk sampling a few tracks but most notably 'Hook, Line & Sinker' by Gloria & the Relations. Beats: ★★★☆ Rapping/Bars: ★★★ Hooks: ★★★☆ Best Tracks: I'm in the Hood, From the Street 1. Back At It 50 2. The Flow 74 3. P.A. (feat. Mac Miller) 70 4. I’m In the Hood (feat. Reek Da Villian) 80 5. From the Street (feat. Lil Fame of M.O.P. & Termanology of 1982) 75 6. And It Don’t Quit (feat. Jakk Frost & Tek of Smif-N-Wessun) 68 7. All Kinds of Em (feat. The Jacka & Husalah) 71

This isn’t the sound I expected from Tragedy. Instead of the gritty, streetwise lyricism I associate with him, this project leans heavily into a pro-black, militant tone, both in message and sound, and sounds like a lot of what was already being done. From the very first track, the bar is set surprisingly low. Lines like, "in the fast lane your life goes fast" feel simplistic and underwritten. Elsewhere it's okay, but that bar stuck with me. Perhaps if I had heard this back in 1990, I’d be more forgiving, but even by early '90s standards, some of the production sounds dated. It lacks the grit, innovation, or sample-rich layering that would soon define the east coast renaissance. On tracks like 'Keep Striving', there’s even a noticeable new jack swing influence. I don't take much away from this one hearing it for the first time in 2025. Beats: ★★☆ Rapping/Bars: ★★★ Hooks: ★★☆ Best Tracks: Back to Reality, Trag Invasion, Arrest the President

A solid Resident Evil clone that nails most of what it sets out to do. It delivers a creepy atmosphere and tight gameplay, but its biggest flaw is the excessive backtracking. One frustrating example is an early-game battery you can clearly see you'll need, but the game won’t let you pick it up until much later—without marking it on the map. A simple feature like that could’ve made the experience far smoother. As it stands, you’ll want to keep a pen and paper handy to jot down item locations. It's a short game that only takes a few hours to complete. Gameplay 3.5/5 Graphics 4/5 Sound 4/5 Difficulty 4/5 Originality 2/5

This is a strong EP from Young Buck. Tracks 2 through 4 make for an impressive run, with smooth flows, solid production, and catchy hooks that hit from the first listen. The only misstep here is 'Step', which falls a bit flat. Beats: ★★★☆ Rapping/Bars: ★★★★ Hooks: ★★★★ Best Tracks: All We Do, Signed Up, So Do I 1. What's Up 67 2. All We Do 85 3. Signed Up 85 4. So Do I 83 5. Step 50 6. Do You Challenge 65 7. Thank You 72