Beer Money UNLTD "Darkwing" (feat. WordChemist, Juan Pierre, Mygrain 5k & Gonzi Supreme) [SINGLE]

 

Ten years is a long time to keep an independent rap label alive, and Beer Money UNLTD is marking the anniversary the right way: with work. "Darkwing" is the first single from *The Platoon Tape*, a forthcoming compilation celebrating a decade of the Orlando collective and label, with two more singles promised before the full release. The track itself is a crew exercise. WordChemist, Juan Pierre and Mygrain 5k handle the verses over a Gonzi Supreme beat, and the compilation will be mixed in-house by the label's own DJ Stranger. The military framing of the project title fits the setup—a platoon moves as a unit, and a tenth-anniversary tape built on in-house rappers, an in-house producer and an in-house DJ is exactly that argument in audio form. Orlando rarely gets counted in the underground's usual geography, which makes a ten-year institution there worth noting on its own. "Darkwing" opens the celebration; the compilation will show how deep the roster runs.

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??? x BONEWESO "ONMYDUTY" [VIDEO]

The artist is billed as three question marks—no alias resolution, no bio, nothing. "ONMYDUTY" pairs that unnamed voice with producer Boneweso, in a video shot by OneEyeFilms under the 23Incredible Industries banner. Whether the anonymity is a rollout strategy or simply an unfinished upload field, the effect is the same: the track has to do all the identifying. Boneweso's production credit and the video team are the only fixed points on record. A release this stripped of metadata either rewards the curious or vanishes—there is no middle setting.

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Sankofa "G.A.T. (Grandmas Against Trump)" (feat. Tali Rodriguez) [SINGLE]

The title does not leave much to decode: "G.A.T. (Grandmas Against Trump)" is Sankofa planting a flag, with the acronym format giving the protest a wry, almost organizational ring—less manifesto, more membership card. How the premise plays out verse by verse is for the listener; the framing itself is the confirmed statement. The feature is a familiar handshake. Sankofa and Tali Rodriguez have worked side by side repeatedly—together on *Monster Factory 2* with G Fam Black, covered here, and as a recurring tandem across the Journeymen single series alongside Chef Mike. Rodriguez has also been one of this season's quiet constants in these pages, surfacing on *Kaioken x10* as both guest and engineer. No producer or further credits accompany the single, so it stands as what it announces: two frequent collaborators and one very unambiguous title.

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G-Mo Skee "Make It Out" [VIDEO]

G-Mo Skee mixed and mastered "Make It Out" himself, which is the detail worth flagging on a release this lean — the rapper signing off on the final sound rather than handing it to an engineer. Kid Eskomo produced the track. Noble Cinema directed the video, with Nobe Inf Gang editing. No album connection or label has been listed, so the single stands as a self-finished record with a title that states its ambition plainly.

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HeavenRazah "The Black Dick Tracy" [ALBUM]

HeavenRazah has recast an entire comic-strip universe: on *The Black Dick Tracy*, track titles come with character assignments—"Holy Judgement (The Blank)," "The Plan (B.O. Plenty)," "Control of Power (Vitamin Flintheart)"—turning Chester Gould's detective mythology into what the artist describes as a Blaxploitation crime drama: a Black undercover cop working the precinct nobody else wanted, moving through a rogues' gallery of reimagined villains. Worth stating plainly: the seventeen-song album has been out since mid-year—the current upload is promotion for an existing record, not a new release. The project is a two-man operation at its core, written and performed by HeavenRazah with SMZA as executive producer, presented through HellRazah Music Inc., and the official promo bills it jointly with Smuvemassbeatz on the beats. A seventeen-track concept record that assigns a persona to nearly every song is the maximalist version of storytelling rap—closer to an audio serial than an album of singles, with skits like "Loyalty Is Silence" holding the frame together. It extends a run of high-concept titles in the Razah catalog, following *Live And Let Die 2: The Man With The Golden Gun* and *The Royal Alignment*. For listeners who want their crime rap with a bibliography, this is the deep end.

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CK1 "Head of the Table (Ula Fala Edition)" [EP]

Citizen Kane MHB appears as a featured guest on three tracks of this record—which would be unremarkable if the record weren't his. *Head of the Table (Ula Fala Edition)* is billed to CK1, the alias that guested on his recent Millyz diss EP, while the lyric credit reads Citizen Kane MHB and the mirror-script alter ego from that same EP returns on the closer, "I Run This S@#$!". The persona shell game isn't a gimmick on top of the music; it is the structure. The title vocabulary reads like a nod to pro wrestling's Tribal Chief era—"Head of the Table," the ula fala of Samoan chiefly tradition, and a sign-off that riffs on "wreck everyone and leave." Taken with the Halloween-framed diss EP it follows, the picture is an artist building a small, strange, self-referential universe at high speed. The production team is unchanged: CFK and Avalon Productions on the beats, DJ Snatch That on all cuts, with Snatch That also carrying two tracks as billed features. Half the eight tracks run under a minute—interstitial pieces like "The OTC" and "Defense Mechanism" stitching together the three full songs. Whoever is at the head of this table, he is clearly setting it himself.

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CK1 "Head of the Table (Ula Fala Edition)" [EP]

 

Citizen Kane MHB appears as a featured guest on three tracks of this record—which would be unremarkable if the record weren't his. *Head of the Table (Ula Fala Edition)* is billed to CK1, the alias that guested on his recent Millyz diss EP, while the lyric credit reads Citizen Kane MHB and the mirror-script alter ego from that same EP returns on the closer, "I Run This S@#$!". The persona shell game isn't a gimmick on top of the music; it is the structure. The title vocabulary reads like a nod to pro wrestling's Tribal Chief era—"Head of the Table," the ula fala of Samoan chiefly tradition, and a sign-off that riffs on "wreck everyone and leave." Taken with the Halloween-framed diss EP it follows, the picture is an artist building a small, strange, self-referential universe at high speed. The production team is unchanged: CFK and Avalon Productions on the beats, DJ Snatch That on all cuts, with Snatch That also carrying two tracks as billed features. Half the eight tracks run under a minute—interstitial pieces like "The OTC" and "Defense Mechanism" stitching together the three full songs. Whoever is at the head of this table, he is clearly setting it himself.

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Da Inphamus Amadeuz x Copywrite "O.H.I.O" (feat. The Catalyst) [VIDEO]

The single was covered here already—what's new is the video, and with it the context that was missing the first time. "O.H.I.O" (Only Hustlers Inspire Others) connects the Bronx and Ohio: Da Inphamus Amadeuz, host of The Punchline Academy on Shade 45, alongside Copywrite, founding member of MHz Legacy, with The Catalyst completing the record. The résumés explain the pairing. Copywrite built his name on battle-honed punchline writing inside one of Ohio's defining underground crews. Amadeuz works both sides of the camera: his production credits include Styles P, G. Dep, Canibus and Ras Kass, and by his own count he has directed over 175 music videos—among them work for The LOX, Kool G Rap, Cormega and Prodigy's final video, "Don't Test My Crown." A record about hustle as inspiration, made by two people whose output volume is the argument. No track producer is named for "O.H.I.O" itself, so that credit stays open. The acronym does the thematic work; the two-generation, two-region MC pairing does the rest.

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Mutant Academy "We'll Swap It Out, Vol. 2" [MIXTAPE]

Mutant Academy took a decade to release their first proper album—and now the Richmond collective is moving at the opposite speed. *We'll Swap It Out, Vol. 2* lands ten tracks deep just two months after Vol. 1 arrived in August, turning the mixtape series into the fast workshop counterpart to the long-gestating full-length. The context makes the pace meaningful. The collective features rappers Big Kahuna OG, Henny L.O. and rapper-producer Fly Anakin alongside producers Ohbliv, Graymatter, Foisey, Sycho Sid, Ewonee and Unlucky Bastards, with dozens of internal collaborations since their 2014 formation—but their debut album was the first project to extensively feature every MC with production from throughout the group. That record, *Keep Holly Alive*, arrived through Roc Nation Distribution and paid tribute to the one-bedroom apartment members shared for five years. Fly Anakin, who co-founded the collective, has built his own parallel catalog from Richmond in the meantime. A group with that much internal surface area—three MCs, six-plus producers—is built for exactly this format: swap verses, swap beats, keep the tape moving. The title says as much. Track-by-track credits for Vol. 2 have not been published yet, so who swaps what with whom remains the open question; with this roster, that question is the appeal.

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Xidus Pain "Thug Or Angel" (feat. Mr Len) [VIDEO]

A 900-year-old cathedral is an audacious place to shoot a track called "Thug Or Angel," and that is exactly the kind of literal-minded boldness this video runs on: Chris Niemc directed, filmed and edited the visual inside Peterborough Cathedral, letting the title's moral split play out under actual gothic arches. The record itself pairs Xidus Pain with a credit that will stop Company Flow heads mid-scroll: Mr Len supplies the cuts over Manuel Beats' production. A turntablist with that history on scratch duty—rather than a token drop—gives the single its boom-bap spine and its clearest connection to the tradition it works in. "Thug Or Angel" is taken from Xidus Pain's album *Finding New Balance*, which makes the video another entry point into an existing body of work rather than a standalone drop. Duality in the title, a cathedral in the frame, Company Flow lineage in the cuts: the symbolism is not subtle, but it is coherent.

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Moar "Boom Bap Never Dies" [ALBUM]

 

The gear list is the mission statement: E-Mu SP1200, MPC60 II, Ensoniq ASR-10, three more MPC generations, an Akai S01 and, in the producer's own words, a big bunch of wax. French beatmaker Moar built *Boom Bap Never Dies* entirely on that hardware lineage, and the album title functions less as nostalgia than as a thesis he intends to prove machine by machine. The guest list does the second half of the arguing. J-Live, Rasco, El Da Sensei of the Artifacts, Awon, John Robinson and Napoleon Da Legend—whose *Soul vs. Math* was covered here—each take a track, with Dumi Right and Mikal closing the vocal sequence and Moar's Beatmatics colleague DJ Vince handling the cuts. These are MCs whose catalogs run parallel to the machines in the credits; the pairing is curatorial, not decorative. The structure is classic producer-album architecture: a "Boomtroduction" and a "Baptroduction" bracket the record, two short skits break up the sequence, and the vocal cuts stay around the three-minute mark. Dyna mixed and mastered at STS Studio, and the physical edition comes as a marbled vinyl pressing. One line in the credits changes the record's temperature: the album is dedicated to Moar's mother, Chantal Labadie, who has passed. A project this deliberately joyful about its own tradition, carrying that dedication underneath—that is the part the title does not announce.

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Omen44 "U.S." [ALBUM]

 Omen44's u.s. Album Takes Aim at Politics, Power, and the State of America

American-Japanese hip-hop artist Omen44 delivers one of his most focused and thought-provoking projects to date with u.s., a 10-track album that examines the current political and social landscape through his own experiences and observations. Serving as both a personal statement and a voice for the people, the album challenges listeners to look beyond headlines and party lines to confront the issues shaping everyday life.

The project's rollout began with "Da Games People Play," a hard-hitting critique of political power, corporate influence, and the divisions driving modern America. Omen44 followed with "Land of Plenty," a powerful reflection on economic inequality and the widening gap between the promise of the American Dream and reality. The third release, "I Need Love," shifts the focus toward humanity, reminding us that compassion, unity, and understanding remain essential in times of uncertainty.

Arriving at a moment when political tensions continue to dominate public discourse, u.s. blends Hip Hop's tradition of speaking truth to power with Omen44's unique multicultural perspective as an American and Japanese artist. Through sharp lyricism, social commentary, and personal insight, Omen44 creates an album that questions, challenges, and inspires while documenting the complexities of life in today's America.

LEGIT x Le Zeppo "'92 Hoyle And Deane" (feat. Uncle Fester & HostileProd) [SINGLE]

The title decodes once you know the movie: Hoyle and Deane are the two hustlers from the classic basketball film *White Men Can't Jump*, and '92 is the year it landed. LEGIT and Le Zeppo cast themselves as that duo—except the game is bars, traded back and forth like another day at the park. It is the first single from *Basement Therapy*, their forthcoming joint album. The feature line resolves cleanly with the press notes: Uncle Fester is the DJ, supplying the intermission scratch chorus instead of a hook, while HostileProd builds the backdrop the two MCs work against. A two-rapper exchange with a scratch chorus in the middle is the single's whole architecture—a structure as deliberately old-school as the film reference. Both artists are presented as long-serving figures in Toronto's underground, with careers reaching back across decades of projects. That framing fits the premise: two players who have been running this court long enough to make the work look casual. A DJ pack is available on request, which tells you who part of this record is aimed at.

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Ruste Juxx "Depression" [VIDEO]

A Ruste Juxx record called "Depression" is not a mood piece—it is practically a public-health document. The first verse lays out the signs: hopelessness, insomnia, appetite changes, isolation, difficulty concentrating. The second shifts to solutions—talking to family and friends, seeking professional help, exercise, attention to overall health. Structured, direct, and educational without sounding like a lecture. The lineup spans three scenes: the Crown Heights MC, California producer Preed One, and London's DJ TMB on the scratches. TMB's cuts do thematic work, weaving in lines from Geto Boys' "Mind Playing Tricks on Me" alongside Guru vocal cuts—references that tie the record to hip-hop's long tradition of speaking on real-life issues. For an MC whose catalog reaches back to a Duck Down debut executive-produced by Sean Price, this is a deliberate turn toward a quieter kind of hardness. The single previews *Imperishable Artistry*, and the album's backstory explains its weight: the project was inspired by the memory of EQ, the late friend who originally connected Preed One, Ruste Juxx and DJ TMB, with TMB's cuts running throughout as tribute. A vinyl edition is announced. A record about getting help, made by three people who exist as a unit because of someone they lost—the form and the subject are the same thing here.

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PAPERFACE x Custee. "E. HONDA" [SINGLE]

 

Both cuts on PAPERFACE and Custee.'s two-track single are named after people: a Street Fighter heavyweight on the lead, "Steve Jobs" on the flip. Video-game brawn and tech mythology, 2:16 and 2:01—titles as shorthand, songs built to exit before the reference wears out. The release carries no production or engineering credits and does not spell out who handles what between the two billed artists, so no roles are assigned. Confirmed: the format, the brevity, and a pair of proper nouns doing the conceptual lifting.

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Meyhem Lauren "Caviar Physics" [ALBUM]

Luxury and lab work have always shared space in Meyhem Lauren's writing, and *Caviar Physics* makes the pairing explicit at title level—eleven tracks from the Queens MC, born James Rencher, a founding member of the Smart Crew collective. The résumé behind the record is one of the more consistent in New York's underground. His solo debut *Self Induced Illness* arrived in 2011, the Buckwild collaboration *Silk Pyramids* followed, and full-lengths with DJ Muggs (*Gems from the Equinox*) and Daringer (*Black Vladimir*) extended the run—a career built on pairing one distinctive voice with heavyweight producers rather than chasing singles. *Caviar Physics* keeps the circle tight. The listed tracklist shows "Fried Milk" with Action Bronson and Roc Marciano, "Summertime" with LA The Darkman, and "Persian Jade" with Hologram—longtime associates rather than strategic guests, with Bronson and Hologram both deep in the Lauren story. The same listing shows several cuts under two minutes, including "Chopping Time," "Lemarcus" and "Out The Way": quick-strike writing between the fuller statements, food-and-wealth titles doing their usual Lauren work. Production credits have not been confirmed, so the architecture behind the beats stays open for now. The frame, though, is familiar and reliable—expensive taste, Queens grounding, and a rapper whose catalog has earned the benefit of the doubt.

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John Jigg$ & EZ Elpee "No Acetone" (feat. Shabaam Sahdeeq & Reef Hustle) [VIDEO]

"No Acetone" almost did not exist: EZ Elpee skipped past the beat during a session, Jigg$ made him bring it back, and the horns immediately sparked the pen. That origin story suits a single named after the absence of a cutting agent—the second release from the duo's forthcoming *Starlight* album is pitched as the uncut version of both artists. Elpee's credit sheet explains why Jigg$ wanted in the room. Raised in the Bronx and mentored by Lord Finesse and Buckwild, the DJ-turned-producer helped soundtrack New York rap with Junior M.A.F.I.A.'s "Get Money," Nas and the Bravehearts' "Oochie Wally" and G. Dep's "Special Delivery." Jigg$, releasing consistently since 2013, approached the catalog directly before the album: the single follows their *All Gas No Breaks Vol. 1* mixtape, which put original Jigg$ verses over classic Elpee production. The guest placement is precise. Shabaam Sahdeeq—of *Soundbombing* and Lyricist Lounge pedigree—takes the verse; Reef Hustle, from 38 Spesh's Trust imprint, handles the hook, and per Elpee, it is the first record he and Reef have made together despite speaking often. Da Don Digitals directed the video. After "Bottom Line" opened the campaign, *Starlight* now has two singles, a documented working method and a clear premise: a producer who helped build the vocabulary, and an MC determined to use it without dilution.

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Money Stacks "Concrete Angels" [EP]

 

Three tracks, eleven and a half minutes: Money Stacks' *Concrete Angels* EP runs "The Ressurection" into "Truth Hurtz" and closes with "Almost Put It Down"—a title that reads like a confession about nearly quitting, placed at the end of a record that opens with a resurrection. Short as it is, the sequence has an arc: coming back, telling it straight, admitting how close the walk-away was. No producer, engineer or guest credits are listed, and the release page carries no further text. The EP stands on its three titles and its economy.

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Rob Viktum x Krum "Bare Knuckle Gospel II" [ALBUM]

The first *Bare Knuckle Gospel* had one of the clearest formulas in underground rap: Rob Viktum built every beat from old-school Southern gospel samples, creating that "bare knuckle" style for Krum to flow over, with the raw material coming straight from Viktum's vinyl collection—surprisingly raw, soulful and organic. A decade later, the two names return above a twelve-track sequel. The original carried weight beyond its sound. It was the first project Krum released after retiring his long-running Playdough name, and both artists were rooted in Dallas, where the album was recorded—gospel crackle with a hometown logic to it. The record kept its cast deliberately small, with Jabee and Denmark Vessey as the only guests, and Krum worked fast: vocals for all ten tracks in about two weeks. Rappers I Know released it. That is the inheritance *Bare Knuckle Gospel II* takes on. No tracklist, guest list or production notes for the sequel were supplied, so whether Viktum returns to the gospel crates or widens the palette is an open question—the most interesting one this release poses. What the Roman numeral promises is the reunion itself: a rapper-producer pairing with a defined identity, picking the title back up instead of letting it stay a one-off.

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ILLtemper "Paranoia" [VIDEO]

ILLtemper's "Paranoia" video arrives after the fact: *Manic! At The Shitshow* is already out, and this J Reno-produced cut is the track now getting a visual, filmed and edited by Jimmy Giambrone. The album is not new—the clip is. Song title and album title form their own small argument, a shitshow and the paranoia it produces. The physical side is covered too: CDs are on offer alongside merch, which still counts for something in an operation this size—one producer, one camera, pressed product. No further credits were supplied.

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Citizen Kane MHB "Ratatouille (Millyz DISS)" [EP]

 

The crickets on Citizen Kane MHB's *Ratatouille (Millyz DISS)* are not a sound-effect pull: per the artist, they were recorded live outside his window and layered in for eeriness, in line with the EP's Halloween framing. A seven-track diss record with its own field recording is a specific level of commitment. The target is in the title and the tracklist stays on message—"The Rats Tail" opens, "Millyz Brasco" and "Nip-Tuck (Nose Job)" hold the back half, and "Shark Biters IV (Cambridge Edition)" closes a numbered series with a geographic pointer aimed at the opponent's turf. Whether the accusations embedded in the song titles hold up is between the two rappers; what is documented here is the scale and theatricality of the response. Kane writes all lyrics. CFK and Avalon Productions handle the beats, DJ Snatch That supplies cuts, and CK1 is listed as a feature alongside a second name printed in mirror-script that reads as a Kane alter ego—a diss EP where even the guest list doubles as a mask. "Nip-Tuck" runs past five minutes; everything else keeps its shots under three and a half.

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Pep57 x DJ Mastermind "THERE'S NO "I" IN QUEENS!" [ALBUM]

The exclamation mark is earned: Pep57 has been making this argument for a while. The Queens MC's self-released catalog runs thirty-three entries deep, and *THERE'S NO "I" IN QUEENS!*—twelve tracks alongside DJ Mastermind—is its newest chapter. Pep57 operates out of Queens, New York, and his own page tags narrow that down further: LeFrak City and Corona sit next to the boom bap and Queens markers. The album title is not a borrowed borough flag; it is a neighborhood address rendered as a team slogan. A rapper this prolific pairing with a single DJ for a full-length suggests consolidation rather than experiment—one voice, one selector, and a title that says the collective outranks the individual. Full credits and a tracklist were not supplied, so the breakdown follows when it surfaces. The volume of work behind the name is already on record.

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Blaq Medici & Raggo Zulu Rebel "Purple" [VIDEO]

Blaq Medici shot the "Purple" visuals himself, which puts his name on both the music billing and the picture for this first look at *BLAQ REBEL Vol1*, his announced collaboration with Raggo Zulu Rebel. The project title fuses the two artist names, and the "Vol1" suffix signals a series, not a one-off. No producer or engineering credits accompany the video, and the division of labor between the two artists is not spelled out—so none is assumed here. On record: two names, one merged project title, and a visual kept in-house.

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Al duMaurier "M. Lavata EP" [EP]

 

Al duMaurier opens the *M. Lavata EP* with "Microphones Melt" and returns to it in slot five with "Microphones Melt II"—Geenuistick on both parts. Two halves of one title inside a seventeen-minute EP is a structural decision, not a sequencing accident. Breeze joins "Summit II," another numbered title, while "Daddy," "Unconditional" and the closer "Die with Nothing" run solo. Three guest slots across six tracks, shared between two names: a compact cast for a compact record. No production or engineering credits are listed, so the write-up stays with the architecture—short songs, one recurring idea, and a final title that reads like a thesis statement.

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SC Static & Mista Pigz "See What I'm On" (feat. Shyste Chronkyte) [VIDEO]

SC Static edits his own video on "See What I'm On," the third single he and Mista Pigz have pulled from their forthcoming duo project *StaticPigz*. Decaf Black filmed it; Static cut it himself. The audio chain is fully documented, which is rarer than it should be at this level: Kulya on production, Vinylcologist on the cuts, Shyste Chronkyte on the guest spot, Seven Star Interactive hosting the recording, raminbeatz on mix and master. A scratch DJ, a named engineer and a named cameraman on one underground single—the duo treats this rollout like a complete production, not a loose upload. Three singles deep, *StaticPigz* has a work ethic on record before it has a tracklist.

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Daniel Son x Asun Eastwood x Futurewave "Dejounte Murray" [VIDEO]

The video for "Dejounte Murray" arrives as the visual companion to an EP already in circulation—two vocal tracks, "Dejounte Murray" and "Liposuction," built entirely by Futurewave under his WAVGODMUSIC banner. This constellation has appeared on HHHEADZ before, and a third entry in a short period is noted here explicitly rather than obscured. Futurewave produced, shot and directed; Son Tzu edited. The title track keeps the arrangement minimal—hard low end, space between the drums, and enough room for Daniel Son and Asun Eastwood to work without crowding each other. The NBA reference stays decorative; the verses do not require it to land. What this video adds is a visual register that matches Futurewave's production logic: cinematic without being theatrical, direct without being flat.

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Titan Raps x Flu Dust "Kaioken x10" [ALBUM]

 

Titan Raps and Flu Dust run *Kaioken x10* through a fully committed Dragon Ball Z conceptual framework without ever letting the theme become a gimmick. Flu Dust produces the entire nine-track album, and Mike Titan writes from inside the reference: "Snake Way," "One Billion Zeni," "Jackie Chun Style," "Shinzōbyō"—titles that assume familiarity rather than explaining it. The feature structure is dense and purposeful. New Villain, G Fam Black and DJ Decepta appear on "World Tournament Ish," which also receives a separate FluMix, giving that cut two distinct versions within the same tracklist. Crotona P joins "After Image," while "Shiyōken" brings in Tali Rodriguez, Travisty the Lazy Emcee and DJ GlibStylez—the latter two adding turntable and performance range to the record's most populated track. Tali Rodriguez also handled the mix and master for the full album, doubling as both contributor and engineer. The album works because the anime concept gives the competition-rap posture a specific arena to operate in—the World Tournament framing is not decoration but a structural logic. Flu Dust's production holds the concept together without leaning on illustrative sound effects or obvious genre-shift moves. This is a focused rapper-producer record that happens to be set in the Dragon Ball universe, not the other way around.

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Son of Tony "Black House/Foresight (Blk&White)" [VIDEO]

Son of Tony pairs two tracks in a single visual frame for "Black House/Foresight (Blk&White)," drawn from the forthcoming EP *More Than I Was*. The "(Blk&White)" designation is not only visual—it signals a deliberate contrast in how the two pieces relate to each other, whether that is tone, subject, or delivery. Standoutmusik and Heirowayne split production duties between the two sides. Scorcese Tiz shot the video in a monochromatic register that holds the pairing together without forcing them into the same emotional key. With no additional credits listed, the release functions as a clean two-track entry point into whatever *More Than I Was* builds toward.

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Big Trip, Pro Dillinger, Mickey Diamond & Snotty "Audio Dope" [ALBUM]

 

Four MCs, nine tracks, one title that states the value proposition plainly. Big Trip, Pro Dillinger, Mickey Diamond and Snotty assemble *Audio Dope* as a concentrated crew document without a listed guest or a diluted track in the sequence. The tracklist moves through "Slugs Not Bucks," "1000 Grams," "Honest Opinion" and "Reservation 4 2" with the kind of blunt titling that expects the verses to handle the specifics. No individual production or engineering credits are listed, so *Audio Dope* stands on the vocal chemistry between four rappers sharing a common approach: no softening, no padding, direct delivery and the assumption that the listener already knows what they came for.

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Will Sully & Sha Money XL "Northside Connection" [VIDEO]

Will Sully and Sha Money XL open their forthcoming joint album *The Northside Connection* with its title track, and the naming is direct: same title for the single, the album and the creative premise. No wasted framing—the collaboration announces itself through the geography it claims. Mike Laz handled the mix at 35 west Studio. The Diggers and Mydamself co-directed the video. The single positions the album's identity before its full tracklist is known, which means this cut carries all the weight of a first impression. Whether the album expands that claim depends on what follows.

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Subversive word slingers "Glitch in the system" [ALBUM]

 

Critical Troubadour and Lawless built *Glitch in the system* across fifteen tracks of ground-level underground rap, with Critical Troubadour producing the full record save one cut—"Psycho seagulls," produced by Lawless. Chie appears on "Outlet for expression," Lizard Flex joins "Drift away," and the remaining thirteen tracks are a two-voice exchange between the two core members. Lawless passed away on March 14, 2026, while the album was still being made. *Glitch in the system* is therefore what it is: a completed document, not a project tidied up after the fact. All proceeds go to his children. The tracklist moves through friction, digital alienation, class and personal struggle—"War with the poor," "Digital hell," "My own worst enemy," "Post apocalypse"—without letting the thematic weight tip into abstraction. The writing stays concrete and the production stays consistent, which is what allows the album to function as a full record rather than a tribute project. It is best heard on its own terms first.

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The Outer Space Unemployment Agency "Macabres & Machetes" [VIDEO]

Two characters, one transmission. The Outer Space Unemployment Agency pairs The Warden—also operating as The Heretic—with His Cosmic Registrar Bigg Chief Boosum, releasing "Macabres & Machetes" through Burnt Stake Records out of Las Vegas. The label frames its entire output as a system of musical knowledge operating under the authority of an occult order, which tells you immediately that the Agency persona is not a stylistic accessory—it is the architecture. "Macabres & Machetes" fits that framing: dark, cinematic and built for a specific underground frequency rather than broad access. No individual producer credit is listed, keeping the authorship collective and the atmosphere intact. This is a record that earns its weight through commitment to its own logic.

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LOTMIX SHOW - S8 Ep07 [Boombap Mixshow] by DJ LOTMIX

 LOTMIX SHOW - S8 Ep07 by Dj LOTMIX
feat BENNY THE BUTCHER | DARKSIDE PREME | NEJMA NEFERTITI | MEECO x DJ ACCESS feat RAEKWON x TERMANOLOGY | CASABLANCA THE GAWD | CONWAY THE MACHINE feat METHOD MAN & more
Prod by ES-K | TONE SPLIFF | VINCENT PRYCE & more
BROADCASTED WORLDWIDE over +65 radios on 🇺🇸 🇫🇷 🇩🇪 🇿🇦 🇬🇧 🇦🇺 🇨🇴 🇬🇷

Stu Bangas x Young Reese Dude "Low Low" [VIDEO]

Stu Bangas produces "Low Low" for Young Reese Dude in a stripped-down rapper-producer format—no listed features, no album announcement, just a beat and a voice matched against it. Stu Bangas' drum work provides the gravitational center, heavy and unapologetic in its impact, while Young Reese Dude rides the pocket with an emphasis on cadence control and measured aggression. The single works because neither side overcomplicates what is essentially a one-room setup: producer builds the pressure, MC responds to it. No video, label or engineering credits are listed beyond the two principal names.

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A.I.G. x Shaka Amazulu The 7th "I-God" (feat. Darkim Be Allah & Allahwise) [SINGLE]

A.I.G. and Shaka Amazulu The 7th build "I-God" around a four-MC configuration with Darkim Be Allah and Allahwise completing the lineup. The spiritual and philosophical weight suggested by the title and artist names sets a clear thematic lane: knowledge-of-self tradition carried through multiple voices. No producer, label or engineering credits are listed. The single depends entirely on how these four voices organize their shared space and whether the density of perspectives enriches the concept or crowds it. The title announces its ambition; the verses need to sustain it.

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Droogz Brigade "Shorty Shit Stain" (feat. Furax Barbarossa) [VIDEO]

Droogz Brigade pull "Shorty Shit Stain" from their forthcoming album *Mécanique*, bringing Furax Barbarossa into the Toulouse crew's first full-length in a decade. The group—Staff L'instable, Rhama le Singe, Sad Vicious and Al'Tarba—built their identity on a collision of punk attitude, cinematic narrative and unfiltered French underground rap, and this single suggests *Mécanique* continues that approach with tighter control. Al'Tarba produced the beat and handled the mix, Senbei mastered, and the writing credits span Staff L'instable, Al'Tarba, Furax, Rhama le Singe and Sad Vicious—making this a genuine crew track rather than a simple feature addition. Furax Barbarossa does not arrive as decoration; he adds another voice to an already dense lyrical relay. Navarro.Visuals directed, shot and edited the video, with Marie Lamarque on lighting. The visual treatment keeps the tension close and physical, matching the track's compressed aggression. *Mécanique* arrives through Modulor Records, described as the return of a group that brought a distinct style to French hip-hop. The album is announced in a 2LP vinyl format, confirming a 15-track physical release. For listeners outside France, Droogz Brigade represent one of the sharpest points where French rap meets the raw intensity of hardcore punk aesthetics—and *Mécanique* positions itself as the long-awaited proof that the formula still generates pressure after a decade of silence.

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Unc Doe "Everything's Related" [SINGLE]

 

Unc Doe's "Everything's Related" is a fully self-contained release: written, produced and performed by one person. The single arrives in original and clean versions with no outside credits attached. That complete ownership defines the record more than any genre tag could. When every decision—beat construction, writing, delivery, arrangement—comes from the same source, the result is either cohesive or claustrophobic. At three and a half minutes per version, "Everything's Related" keeps its thesis compact enough to land before that distinction becomes a problem.

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Recognize Ali "Rec Da Ruler" [VIDEO]

Recognize Ali's "Rec Da Ruler" video lands with the context the earlier single release lacked: it is the confirmed lead single from the forthcoming *Back To Mecca 4*. Juls produced the track, DJ Grazzhoppa supplies the cuts, and Finn shot the visual. That production pairing gives the single a clearer sonic identity than the initial drop suggested. Juls' beat creates room for Ali's concentrated delivery, while Grazzhoppa's cuts add a sharpened DJ element that anchors the arrangement in turntable tradition. The combination works because neither side overloads the other—the beat stays open, the scratches punctuate rather than compete, and Ali's voice sits at the center without needing to fight for space. *Back To Mecca 4* positions the album within an established series, but no tracklist or additional collaborator details have been announced. For now, "Rec Da Ruler" defines the project's lead impression: authority declared through a compact structure, a producer who understands restraint and a DJ who knows when to enter.

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G Fam Black x Crack Sizzlack "It's a Trap" (feat. Lu Chin Chen) [VIDEO]

G Fam Black and Crack Sizzlack's "It's a Trap" video returns to *The Night Crew II*, an album already covered here. The project is not new—this visual is the latest extraction from the ten-track set. Lu Chin Chen's feature adds a third voice to the duo's established framework, but the core remains intact: G Fam Black's writing and Crack Sizzlack's production working in tight coordination. The video gives the track a separate visual identity without reframing it as a new release. No director credit is listed.

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MeccaGodZilla "Flood the Gates" (feat. Raylong, Spiega & RODAN) [SINGLE]

MeccaGodZilla assembles Raylong, Spiega and RODAN for "Flood the Gates," a four-voice single that matches its title's urgency with sheer density of MCs. The track functions as a gates-open posse cut—volume through personnel rather than runtime. No producer, label or engineering credits are listed. The appeal here is the lineup and the question of whether four voices can sustain momentum without crowding each other out of the mix. The title sets the expectation; the verses need to deliver the flood.

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Staxx410 "Morgan State" [SINGLE]

Staxx410 dedicates "Morgan State" to Morgan State University in Baltimore, Maryland—a hometown tribute built around institutional pride rather than abstract nostalgia. The track treats the university as a personal and cultural landmark worth naming directly. No producer, label or engineering credits accompany the release. The single's strength is its specificity: one MC, one place and a title that functions as both address and declaration.

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MidaZ The BEAST "The Great DeGaulle Stone Operation" [ALBUM]

 

MidaZ The BEAST's *The Great DeGaulle Stone Operation* keeps the Orlando MC's output frequency intact—ten tracks, all produced by prodbymichaelagelo, with Kburns appearing on "Insane" as the sole listed guest. The project runs tight. Most tracks stay around or below two and a half minutes, which suits MidaZ's approach: rapid ideas, dense internal rhyme work and exits before a concept can lose its edge. Prodbymichaelagelo's sole-producer credit gives the album a unified sonic identity rather than a scattered beat selection, and the short structures force both artist and producer to make their point quickly. Titles like "Rodzilla," "Uncle Iroh," "Hemoglobin" and "Mons Venus" suggest MidaZ's familiar tendency toward cinematic and cultural reference without explanation—the listener either catches the thread or moves with the sound. "The Legacy" closes the sequence at three and a half minutes, the longest track and presumably the album's most developed statement. No mix, master or label credits are listed.

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WEIRDOzGANG "Selling Dope" (feat. Bizarre) [VIDEO]

WEIRDOzGANG and Bizarre connect on "Selling Dope," a collaboration that leans into its raw, unpolished energy. The title states the premise; the delivery doubles down on it without apology. No producer, director, label or engineering credits are listed. The video and single exist in their most reduced form: two names, one blunt concept and a track that either grabs on first impact or doesn't ask for a second chance.

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Trxstworthy "SINCARA" [EP]

Trxstworthy's *SINCARA* EP keeps its five-track run deliberately compact. No producer, guest, label or engineering credits accompany the release, so the project is framed purely by its scale and the faceless suggestion of the title—"without face" as identity statement or thematic starting point. Until additional details surface, *SINCARA* stands as a brief underground entry defined by economy and anonymity rather than context.

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The Grouch & Eligh "Got to Give (Night Version)" [VIDEO]

The Grouch and Eligh present the "Night Version" of "Got to Give," produced by DJ Matt Cassidy with cuts from DJ Mike C. Eye of Evan directed the video. The "Night Version" tag implies an alternate treatment of material that may exist in a separate form, but no companion version is confirmed in the supplied information. What is present is a clean MC-producer-DJ configuration: Matt Cassidy builds the musical frame, Mike C adds turntable presence, and G&E trade verses with the seasoned interplay their partnership is built on. The visual matches the nocturnal label—darker palette, measured pacing and enough restraint to let the production's texture do its own talking.

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Bascur "Rapero Crónico" [VIDEO]

Bascur's "Rapero Crónico" marks a declared twenty-year milestone—a career compressed into a single track rather than stretched across a retrospective compilation. DJ Rams provides the beat, Texastudio handled mix and master, and the visual production integrates El Dyam's graffiti alongside contributions from The North Style (editing), Ese De Buhh (camera) and Art By Znake (design). The title translates the commitment directly: chronic rapper, permanent condition. Bascur writes his own lyrics and delivers them with the weight of someone treating longevity as evidence rather than decoration. The production stays grounded enough to let the writing carry the anniversary without turning the record into a ceremony. Impactando Tu Craneo handled the executive production. The result is a Latin American underground rap statement that treats two decades not as nostalgia but as an ongoing argument for persistence.

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Grunge Gallardo "Grow Diaries" [EP]

 

Grunge Gallardo's *Grow Diaries* runs six tracks through a horticultural frame—"Black Farmers," "Build Ya Garden," "Dancin In The Water," "Drinks & Candies" and two features with Tabetha Da Genie ("No Surprises" and "Designer Buds," the latter also featuring Ambassador Rick). The garden concept is not a loose metaphor; it shapes the titles, the vocabulary and the structure of the project. Most cuts stay below two minutes, keeping the EP closer to a sketch sequence than a fully expanded album. That brevity works if the writing is dense enough to justify the short forms. No producer or engineering credits are listed, so *Grow Diaries* stands on its theme, its compact shape and its carefully placed guest appearances.

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Duck City Music "For the Babies" (feat. Cameron Penn) [VIDEO]

Duck City Music's "For the Babies" turns fatherhood into the record's organizing force rather than a passing lyrical topic. DCM's CHJ and DiagNosis write from inside the daily weight—work, focus, sacrifice and the awareness that every decision now carries a second meaning because children are watching. Nam Nitty's production keeps the mood soulful without letting it slip into easy sentimentality. There is warmth in the arrangement, but the drums stay grounded enough to remind listeners that the struggle described is practical, not abstract. Cameron Penn's emotionally charged hook ties each verse back to the central point: everything hits different when it is done for your kids. The track works because it treats parental devotion as lived experience rather than motivational decoration. CHJ and DiagNosis deliver their observations with enough specificity to avoid the generic fatherhood anthem, and the production supports that restraint. No video or engineering credits are listed.

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PR Dean x Semore Buckz x IAMPROFIT "Price Matchin'" [SINGLE]

PR Dean, Semore Buckz and IAMPROFIT make "Price Matchin'" a three-name exchange that lets the title do the conceptual framing—competitive pricing as competitive rapping, value measured verse by verse. The single runs on that symmetry: three voices, one premise and no credit listed beyond the artists themselves. Without producer, label or engineering details on record, the focus stays on the vocal exchange and whether each MC delivers enough to justify the shared billing. The title promises accountability; the track needs to match it.

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Billy Obey "Family Portrait" [VIDEO]

Billy Obey's "Family Portrait" video pulls from *Rhymebook of the Recently Deceased*, written and recorded in the Church of Xul. D-Low Beats produced the track, Dizze Dahmer handled mix and master, and We R Media delivered the visual. The title promises intimacy, and the production honors that without softening it. D-Low Beats creates a backdrop that feels personal and pressurized rather than warm, while Billy Obey's delivery treats the family theme as something worth examining under tension. The Church of Xul recording credit sets a deliberate atmospheric frame—this is a domestic portrait drawn in a space designed for darkness, not comfort.

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