Before this album, Peter Murphy was just a name I vaguely associated with the term “goth rock”—a genre I never thought I’d dive into, and an artist I had never actually listened to. So when Silver Shade landed on my desk, I had no context, no nostalgia, no expectations. Just curiosity. What I found was a record so sonically rich and emotionally weighty that it felt like being pulled into a world I didn’t know I needed.

The opening track, “Swoon,” wastes no time setting the tone. Murphy’s voice hits you like a bell tolling in an open cathedral—deep, commanding, and oddly comforting. The music isn’t loud or showy, but there’s a pulsing tension beneath the synths and scattered guitar that makes you lean in. That tension continues on “Hot Roy,” which sounds like a futuristic cabaret filtered through a haunted jukebox. It’s moody and theatrical without being overbearing.

What struck me most was how Silver Shade feels more like a film than a collection of songs. Tracks like “The Artroom Wonder” and “Meaning of My Life” are slow-burning, expansive, and cinematic. The lyrics are cryptic, as if they’re meant more to conjure a mood than tell a story. Even as someone unfamiliar with his previous work, I could sense this was a deeply personal album—meditative, maybe even spiritual.

“Silver Shade,” the title track, is where everything clicks. The groove is hypnotic, the vocals slink around the beat like smoke, and there’s a noir-romantic vibe that makes it feel timeless. It’s the kind of song that demands headphones and darkness.

There are playful moments too. “Cochita Is Lame” brings a surprising levity to the record, while “Soothsayer” injects a dose of upbeat weirdness that still somehow fits within the album’s ghostly framework. “Time Waits” introduces flamenco-esque guitar flourishes that caught me off guard in the best way, and “Sailmaker’s Charm” brings it all to a graceful, almost sacred close.

What makes Silver Shade so compelling, especially for someone unfamiliar with Murphy’s legacy, is how confidently it exists in its own atmosphere. It doesn’t care if you’re on board or not—it knows exactly what it is. There’s no desperate reach for relevance, no trend-chasing. Just a singular vision from someone who’s clearly been walking his own path for decades.

In an era full of algorithm-friendly music built to please everyone, Silver Shade feels like a transmission from another world. Strange, beautiful, a little intimidating—and worth the journey should you choose.

With I-Octane’s latest album, God & I, he set out to create a project that explores spiritual conflict, faith, resilience, disloyalty, and success. I-Octane pours his raw emotions into the album, delivering a wonderful mix of booming Dancehall and reflective Reggae. This journey offers an honest, burning real-life experience and a spiritual reflection. “This album is personal,” he says. “It’s me speaking with the Most High—about life, growth, loyalty, and all the struggles in between. It’s not just for fans; it’s for anyone facing their own spiritual war.”

Born Byiome Muir in Sandy Bay, Clarendon Parish, Jamaica, I-Octane is known for integrating positive messages and socially conscious lyrics into his music, drawing inspiration from his personal life experiences and Rastafarian teachings. This album showcases his growth as an artist, proving that he is still evolving and determined to stay at the top of his game.

The album begins with the title track, “God & I,” featuring the signature I-Octane flow fans have come to love. In this track, he asks God not to give up on him, expressing his devotion and need for divine presence. “Thankful” follows with a solid rootsy Reggae vibe, offering a slower groove and showcasing I-Octane’s versatility as he shifts tempos effortlessly.

Up next is “Certified Hustler,” where I-Octane changes his tempo and flow over a beat-driven track, delivering strong lyrics that align perfectly with the guitar. The seamless mix of Reggae and Dancehall continues with “Constant War,” a track that combines powerful lyrics with a compelling message. Shifting gears, I-Octane delivers a sweet love song, “Nothing Without You,” demonstrating his versatility and ability to craft heartfelt tunes.

Vershon joins I-Octane on “Life is a Blessing,” an upbeat riddim celebrating the blessings of life. The two artists complement each other beautifully, trading styles and tempos to create a feel-good, positive track. “Perception” follows with a gospel-inspired roots Reggae riddim, where I-Octane’s vocals shine brightly, delivering heartfelt lyrics. He continues the positive vibes with “Breath In My Lungs,” a song that uplifts and inspires listeners.

The previously released “Opportunist” is a deeply personal track produced by I-Octane’s five-year-old daughter, Nahbi Reign, for NiNi Records. This self-reflective anthem, featuring Shane O, explores resilience in the face of adversity and the importance of cutting ties with negative influences. Good Girl Productions brings us “Walk With A Chip,” an upbeat Dancehall riddim where I-Octane delivers his classic sound and flow, reminiscent of his earlier work.

“Powerful Story” slows things down with a sweet groove, allowing I-Octane’s vocal flow to take center stage. “This Love” follows with a lovers rock riddim, showcasing his voice and delivering a heartfelt message about love. The theme continues with “Love Me More,” a rootsy groove with a double skank rhythm, where I-Octane’s dynamic vocal flow hits perfectly.

“Success” shifts the focus to pride and positivity, with I-Octane celebrating his achievements through another uplifting track. The album concludes with “People Hype,” an upbeat Dancehall groove that ends the journey on a high note, leaving listeners with an optimistic and positive vibe.

For an established artist who has been perfecting his craft since the age of sixteen, staying fresh and relevant while remaining true to oneself is no small feat. Albums have the power to impact audiences in profound ways, and God & I is no exception. I-Octane declared that this project was deeply personal, stating:

“A lot of people turned their backs on me over hearsay and never gave me a chance. I almost lost everything because of how they tried to tarnish my name and brand. It made me shift focus at one point, questioning why I should heal others when they had no compassion for me. But last year, I woke up and realized that if I didn’t speak my truth, I would lose myself. So, I decided to just sing without worrying about who will listen. That’s why I named the project God & I.”

With this album, I-Octane set out to create a project that reflects spiritual conflict, faith, resilience, and success—and he succeeded. This is a perfect combination of his Dancehall skills and rootsy Reggae vibe. His message throughout is not only a healing process for himself but also a source of healing for listeners facing their own struggles and spiritual questions. I-Octane is still evolving, still growing, and still entertaining. He remains on top of his game and at the forefront of the Reggae world.

One Love – Todd M. Judd

There are many monumental moments in a band's life worth celebrating: the release of their first album, their first major headlining tour, or the 10-year anniversary of being a band. The Used just hit another incredible milestone in their career, celebrating 25 years as a band. To give back to the fans who have supported them for so long, they embarked on a tour celebrating their first three albums: Self-Titled, In Love and Death, and Lies for the Liars.

This wasn’t just a setlist of their best songs from these albums. Instead, each city hosted The Used for three nights, with the band performing one album in its entirety each night. Each evening also featured a different opening band, showcasing some of the best up-and-coming talent from the area. Fans sold out all three nights at The Wiltern in Los Angeles, CA, ready to hear both the hits and the deep cuts they knew intimately.

Night 1 opened with melodic hardcore band Bite the Hand from Phoenix, AZ. They stormed the stage, ready to amp up the crowd. Vocalist Echo Breen delivered a mighty roar, screaming passionate lyrics while blending in softer melodic vocals that let the audience groove. Guitarists Conner Williams and Daniel Rancourt attacked the crowd with precision riffs, accentuating Echo’s vocal lines. Meanwhile, bassist Justynn Willingham danced around the stage, holding down the low end alongside drummer Forest Walldorf. Bite the Hand rocked the crowd with songs like “Roswel,” “TVs On,” “Razorblade,” “Smile Baby,” “Pageant Queen,” “Bent Knees,” “Stay Mad,” and “Bad Matches.” Their energy and Echo’s red-and-black hair gave them a vibe reminiscent of a heavier version of the fictional band The Clash at Demonhead from Scott Pilgrim.

Night 2 featured LA locals rosecoloredworld. Though I had heard of them before, this was my first time experiencing them live, and they won me over instantly. Vocalist Rae captivated the stage with her enticing voice, dancing and grooving with an aura that pulled the audience in. Guitarist Addison, dressed in a pinstripe suit with no shirt and sporting an afro, oozed charisma while shredding on a Les Paul guitar. His energy was reminiscent of Slash from Guns N’ Roses, and he even backed up Rae on vocals, harmonizing or trading lines to create a dynamic performance. rosecoloredworld had the audience hooked with songs like “cold day in hell,” “SPIT ME OUT,” “No One’s Home,” “hanging on (by a thread),” “Creep,” “all we had,” and “bl00dbath.” They announced an upcoming tour, and I highly recommend catching them live.

Night 3 brought a unique opener: Street Drum Corps, a percussion-based band. My first introduction to them was on The Used’s 2007 live album Berth, so I was excited to see them again. They opened with “Somehow,” as three masked members pounded on oil drums and buckets to create a banging groove. Bobby Alt then joined the stage, adding vocals to the percussive beats. Fellow percussionists Adam Alt, Jared Hren, and Nick Mason showcased their exceptional artistry, creating grooving, danceable music with makeshift drums. Fans rocked out to songs like “6th St. Bridge,” “Sdc X,” “Come Alive,” “Crazy,” “Rabbit,” “We are Machines,” “Little Ones,” and “Knock Me Out.” During one song, Street Drum Corps brought their kids on stage, making the show a family affair and a memorable experience.

When it was finally time for The Used to take the stage, they began each night with a unique video package. A large image of that night’s album artwork was projected onto a white curtain, followed by a heartfelt message from the band and footage of their journey over the years. As the curtain dropped, the crowd erupted, and the band launched into the first song of the night. For Self-Titled, they opened with “Maybe Memories,” the first song they ever wrote, making it a special moment to kick off the three-night event.

Every night, The Used were in top form. Vocalist Bert McCracken was as charismatic as ever, with fans hanging on his every word. Between songs, his smiles showed how much he still loves performing. Bassist Jeph Howard, an underrated talent, played a 5-string, 24-fret bass guitar—overkill for their music, but he made it fit perfectly. Guitarist Joey Bradford and drummer Dan Whitesides, though not part of the original lineup for these albums, played with passion and respect, delivering the true The Used experience.

Each night featured slight stage design changes, reflecting the iconic album artwork: the woman’s face from Self-Titled, the hanging heart from In Love and Death, and the surreal melting face from Lies for the Liars. On Night 2, Bert brought a young fan named Deegan on stage for “Hard to Say” and again the next night for “Liar Liar (Burn in Hell),” creating unforgettable memories. The band also introduced a couple who got engaged on stage, and Street Drum Corps returned for a few songs during Lies for the Liars, adding a nostalgic touch.

Some might think seeing the same band three nights in a row would feel repetitive, but the variation and growth across these albums made each night feel like a completely different show. For those who attended all three nights, it was a once-in-a-lifetime experience. The Used has added a second leg to this tour in the fall, and if you’re near one of the stops, don’t miss the chance to see them—even for just one night.

Thrash metal fans gathered in full force at the House of Blues Anaheim on April 26, 2025, for a night that celebrated the genre's roots and relentless energy. The event marked Exodus's 40th anniversary of their seminal album Bonded by Blood, with the band performing the album in its entirety, alongside a stellar lineup featuring Death Angel, Hirax, and Nukem.

Opening the night with a vengeance, San Diego thrashers Nukem stormed the stage and wasted no time firing up the crowd. Though they don’t perform live often, the band sounded razor-sharp. Their set pulled heavily from The Unholy Trinity, delivering precision riffs, aggressive tempo changes, and a snarling vocal performance that set a strong foundation for the chaos to come. Despite being the first band of the night, Nukem made it clear they belonged on this lineup, igniting the pit and commanding the room like seasoned veterans.

Next up were Hirax, hailing from Cypress, CA. Frontman Katon W. De Pena led the charge with unmatched vigor, diving into the crowd multiple times while continuing to belt out tracks like “Black Smoke,” “Drill Into the Brain,” and “Bombs of Death.” The intensity ramped up as the mosh pits swelled, with De Pena's dynamic stage presence amplifying the band's thrash assault. Their performance was a testament to their enduring legacy in the thrash scene.

Death Angel, sharing roots with Exodus in the Bay Area, took the stage next, delivering a set that had the crowd in a frenzy. Opening with classics from their debut album The Ultra-Violence, they played “Evil Priest” and “Voracious Souls,” setting the stage for a relentless thrash experience. Guitarists Rob Cavestany and Ted Aguilar unleashed blistering riffs, while bassist Damien Sisson and drummer Will Carroll provided a thunderous rhythm section. Vocalist Mark Osegueda's powerful delivery resonated throughout, and his interactions with the audience added a personal touch to the performance. The set concluded with “Thrown to the Wolves,” leaving fans exhilarated and eager for more.

As the headliners, Exodus delivered a performance that lived up to the monumental occasion. With Rob Dukes back at the helm, the band opened with “Bonded by Blood,” followed by the first five tracks from the album, delivering a nostalgic and powerful set. Guitarists Gary Holt and Lee Altus showcased their legendary riffing prowess, while bassist Jack Gibson and drummer Tom Hunting provided a relentless rhythm section. A highlight of the evening was the live debut of their Scorpions cover, “He’s a Woman - She’s a Man,” featuring guest vocals by Mark Osegueda. This rare and electrifying moment was a standout of the night. The show culminated with “Strike of the Beast,” sending the crowd into a final, frenzied mosh that encapsulated the spirit of thrash metal.

This show was a celebration of thrash metal's rich history and vibrant present. From the explosive energy of Nukem to the enduring power of Exodus, the night was a testament to the genre's legacy and its passionate community. Each band brought their unique flavor to the stage, creating an unforgettable experience for all in attendance.

After over 20 years in the dancehall business, Ding Dong has finally dropped his first full-length project. Ding Dong has been a prominent figure in the dancehall scene for over two decades, collaborating with countless artists. Known for his energetic performances and vibes, this album is expected to showcase his unique style and musical versatility, offering fans a fresh perspective on his artistic journey.

The 44-year-old deejay rose to notoriety with hits like “Bad Man Forward/Bad Man Pull Up,” “Fling,” “Watch Dem,” and “Genna Bounce.” He also founded the dance crew Ravers Clavers, which has played a pivotal role in shaping dancehall culture and fueling his global influence and appeal.

The album kicks off with “Glory” featuring Vanessa Bling, set to a chill beat complemented by Vanessa’s beautiful voice. Ding Dong’s raw vocals blend seamlessly with hers. Next is “Dance Bwoy,” featuring a heavier beat and a classic dancehall sound, with Ding Dong delivering sharp lyrics and a great flow.

Stalk Ashley and Govana join Ding Dong on “Who She Choose.” Stalk Ashley shines on the chorus, while Govana and Ding Dong trade verses, battling for her love. Previously released “Street Jump,” featuring Skeng and Kaka Highflames, hits with high-energy dancehall vibes, masterfully mixed and mastered by Blackspyda (Masta Shifu). “Working with Skeng and Kaka Highflames on ‘Street Jump’ has been an exhilarating experience,” said Ding Dong. “Their raw energy and unique styles bring an exciting dimension to the track. Together, we're not just making music; we're creating vibes that uplift and energize the dancehall scene, keeping the spirit high and the dance moves flowing.”

“Pow” follows with a theatrical intro and an up-tempo beat, delivering another classic dancehall riddim. “Old Skool/New Skool” samples R. Kelly’s “Fiesta” (itself sampled from Pavlo’s “Fantasia”) for a nostalgic yet fresh production. British singer and DJ Afro B. joins Ding Dong on “Step,” blending dancehall and Afrobeats into an irresistible groove.

“WYFT” features Busta Rhymes and Popeye Caution on an upbeat riddim. Ding Dong’s flow is impressive, but Busta Rhymes steals the show with his reggae-inspired delivery and sharp lyrics. “Vent” shifts the tempo, focusing on Ding Dong’s lyrical prowess, making it one of the album’s standout tracks.

Skillibeng brings his signature energy to “Di New Pull Up,” complementing Ding Dong perfectly over a high-tempo riddim. This track is one of the album’s best productions. “Work” follows with another strong beat, showcasing Ding Dong’s evolving production ideas. Both tracks are destined to dominate the clubs.

“Skate” features Bravo Ravers, delivering a hard-hitting beat and sharp lyrical flow. The album closes with “Baby Dem,” a slower groove with a tough beat, where Ding Dong delivers some of his strongest lyrics.

Unlike most debut albums, this project reflects Ding Dong’s 20 years of experience. It has everything you’d expect from a veteran dancehall artist: solid production, inventive concepts, and fantastic sound. While Ding Dong has long dominated reggae charts and festivals, this album feels more personal, showing that his journey is far from over. With fresh ideas and renewed energy, he’s just getting started.

One Love – Todd M. Judd

Tech N9ne’s music video for “This I Know” is a masterclass in simplicity and emotional storytelling, showcasing the hip-hop legend at his most introspective. Stripped of high-production frills, the video immediately pulls you into its intimate setting, placing Tech N9ne front and center, dressed in a sleek, debonair black suit that reflects the song’s confident yet contemplative tone.

Kevin 'Church' Johnson’s performance on piano is a standout element, punctuating the visuals with soulful artistry as triumphant horns and bluesy guitar lines weave through the track. Together, this rich musical backdrop and unpretentious visual approach amplifies the song’s core message.

Tech N9ne’s delivery is nothing short of captivating, as he lyrically journeys through his formative memories and affirms his indelible connection with music. Lines like “I know you show the love…this I know” resonate deeply, while his unguarded storytelling creates a big-screen-worthy narrative of resilience and self-acceptance.

The video’s understated elegance mirrors the track’s emotional depth, leaving no distraction from Tech N9ne’s raw performance. The simple, impactful direction allows every rhyme, every note, and every nuance to shine, reminding us why Tech N9ne remains unparalleled in his craft. “This I Know” isn’t just a song; it’s a poignant moment in an already legendary career.

Koffee IS BACK! She has released a new single and video, marking her return after a couple of years away from the music scene. Fans have been waiting patiently, but her absence was due to a few factors, including a period of mental health challenges and contract issues with her previous label, RCA.

We still get that signature Koffee feel and vibe, but something is different this time. There’s a new energy coming from her—a more confident, mature, and almost rebellious vibe. I love this “new” Koffee, and the chorus says it all:

“I be in my P’s all the way
When I pull up, you know the time of day, yeah
And it’s a coffee wid the K
Some call me Mikayla
I’m still Koffee when they wake up, boyeah
Getting to the paper, clean nuh need no makeup
Ain't nobody greater, yeah
I'm the baddest thing outta Jamaica, yeah.”

The video starts with Koffee stepping out of her house and jumping into her car, with Masicka playing on the radio. While this song is about Koffee asserting her dominance and letting everyone know she’s still on top, she also gives a shoutout to Masicka:

“I know they say they hit but this cup a Koffee, hippa
They proper coffee sippers, I ain't talking basic pickups
I almost drop my liquor, ‘cause right now nobody sicker
Except the one Massicka, I tell my dawgs go sick ‘em.”

There’s such confidence radiating from her throughout the video and song—it’s truly refreshing to see. She’s driving around in her sports car, smiling and waving, showing off her closet full of gear. Koffee has her own unique style and isn’t afraid to flaunt it. We see her dancing, having fun in the back of a pickup truck, and most importantly, smiling the entire time. She’s letting us know she’s better now and ready to take on the world.

“Wavier than the seven seas
I'm giving all these energies and singing all the melodies
Weh a mash up dem head
I'm trynna be a better me, not the way you remember me
I left that in the cemetery, that side of me is dead
I said what I said, I get out of bed
Make sure it spread then wash mi dreads
Keep my body fed, balance me the spirit hold a meds
Do that pon di regs, I could never be misled
Banish bad mind I said a prayer and they fled, aye
Bun Babylon the fire red.”

It’s so great to have Koffee back, and now we wait eagerly for more!

One Love – Todd M. Judd

Who knew a Wednesday night could be so funking great? For two hours and 45 minutes, Parliament-Funkadelic tore the proverbial roof off the House of Blues in Anaheim. The packed house was treated to a packed stage that, at one point, had over 20 musicians and singers dancing and grooving to the music that makes up the DNA of funk, rhythm and blues, hip-hop, rap, rock ‘n’ roll, and, of course, the genre called P-Funk.

Leading this collective was “Dr. Funkenstein” himself, the legendary George Clinton. A producer, writer, and performer so prolific that he was releasing music with Parliament and Funkadelic as separate bands before merging the two. At 83, seeing Clinton seated on a stool in the middle of the stage wasn’t entirely surprising. But this wasn’t the typical “center stage” up front—it was the true middle, like he was the center of the P-Funk universe. He was the sun around which the rest of the members of Parliament-Funkadelic revolved. From his seat, Clinton conducted the band, but there were moments when the funk compelled him to leap up, sing, dance, and get the audience to do the same.

The songs that are the foundation of funk—the songs that have been sampled countless times—were performed with astonishing energy. Nothing was phoned in, and nothing was half-assed. How could it be, with Clinton reminding everyone to “free your mind and your ass will follow”? Tracks like “One Nation Under a Groove,” “Aqua Boogie (A Psychoalphadiscobetabioaquadoloop),” “Give Up the Funk (Tear the Roof off the Sucker),” “Flashlight,” and “Atomic Dog” were brought to life by guitarist after guitarist and singer after singer, each delivering the funk and more.

Funkadelic has always been known for its blazing guitars, dating back to the early ‘70s with the pioneering work of Eddie Hazel. When Hazel left the band in the mid-‘70s, he was aptly replaced by a young Michael “Kidd Funkadelic” Hampton, who earned the gig by performing a perfect version of Hazel’s legendary ten-minute solo “Maggot Brain.” So, it was more than a treat to see Hampton take center stage at the start of the show and later perform his own epic version of “Maggot Brain.”

While Parliament-Funkadelic isn’t quite as outrageously wardrobed as in years past, there were still moments that reminded everyone this is not your average group of musicians. A guitarist with wings? That’s Garrett Shider, son of P-Funk’s guitarist/vocalist Garry Shider, aka Starchild, aka Diaper Man. A guitarist who eventually stripped down to nothing but his undershorts? That’s Traf Truth, Clinton’s grandson. Also part of the family was singer Shonda Clinton Drennen, Clinton’s granddaughter, who went through at least three costume changes during the show.

Parliament-Funkadelic is a very egalitarian band. Every singer got a chance to step into the spotlight. Every guitarist got to show their chops. Like the line in “Flashlight,” everybody got a little light under the sun.

The night was raucous. It was chaotic. It was genius. The genius of George Clinton.

Wu-Tang Clan and producer Mathematics are back with a new raw, classic Wu sound, featuring fresh production that hits like a throwback but still feels modern and innovative. The beats are hard-hitting, and the verses are raw, intense, and incisive, delivering exactly what fans want and need. The album, Black Samson, The Bastard Swordsman, features performances by Method Man, The RZA, Cappadonna, Inspectah Deck, Ghostface Killah, Raekwon, The GZA, U-God, Kool G Rap, Nicole Bus, Kameron Corvet, Crooked I, Masta Killa, 38 Spesh, Willie the Kid, Benny the Butcher, Kurupt, Ralph McDaniels, and R.J. Payne, with additional production by The RZA. The result is a hard-hitting album with 12 new tracks that take us back to the golden age of hip-hop while making history in the process.

This album is not just about the music—it’s also a collector’s dream. Black Samson, The Bastard Swordsman is being released as a limited 5,000-piece vinyl run, with each copy featuring unique one-of-one album art created by Bennett Phillips at Macroverse. This groundbreaking concept has never been done before, making these vinyl records instant collector’s items. Mathematics designed the album artwork, while Bennett Phillips created the individual covers for the vinyl release.

Speaking to Variety, Mathematics explained the inspiration behind the album’s title: “Well, the album has a certain feel to it. It’s an homage to Blaxploitation movies. You have movies like Black Samson, Black Caesar, and Super Fly. Those are the type of movies that I was raised on in the 1970s.” He added, “The Bastard Swordsman part of [the title] is an ode to the old karate flicks because that’s what I grew up on as well. With me, as well as all of Wu-Tang, that’s something we had in common. We all loved the old karate flicks. Bastard Swordsman is one of my favorites.”

The album opens with the “Sucker Free City” intro featuring Kurupt, Ralph McDaniels, and Brady Watt, which leads into the classic boom-bap hit “Mandingo,” featuring Raekwon, Inspectah Deck, Method Man, and Cappadonna. These four of the nine original swordsmen deliver verses that hit perfectly, blending nostalgia with maturity in their flows. Mathematics instantly pulls listeners in with a forceful and nostalgic beat.

“Roar of the Lion (The Lion’s Pit)” featuring U-God, Kool G Rap, and RZA slows things down with a groove that’s all about giving the middle finger to their enemies. The trio delivers dope lyrical flows over a hypnotic beat. The most soulful track on the album, “Claudine,” features Nicole Bus, whose voice floats beautifully over the mystic production. Method Man and Ghostface Killah also shine on this track, with Ghostface delivering a heartfelt tribute to his late mother and Method Man rapping about building a future with his special someone.

“Shaolin Vs Lama” brings back Raekwon and Inspectah Deck, delivering a definitive Wu-Tang ninja warrior beat and flow. This track feels like a time machine to early Wu-Tang and Mathematics productions, with a strong beat and message. “Executioners from Shaolin” features Inspectah Deck, GZA, and Cappadonna, who menacingly warn that no crew can take them on. This track is another classic Mathematics production, filled with sharp beats and lyrical dominance.

“Cleopatra Jones” featuring Raekwon and Masta Killa follows with a sweet piano groove. The duo raps about their affection for the same woman over a simpler production, letting their flows take center stage. “Warriors Two, Cooley High” features Method Man and Benny the Butcher, delivering raw bars over a hard-hitting beat. Benny raps about staying calm in the streets while working the drug game, and Method Man follows with piercing bars that showcase his lyrical domination—arguably the best verse on the album.

“Let’s Do It Again” featuring R.J. Payne, 38 Spesh, Willie The Kid, and RZA might have the best overall lyrical flow on the album. Each artist delivers gritty, sharp, and clever verses over a rough and tough boom-bap beat crafted by Mathematics and RZA. Heads will be bobbing to this one!

“Dolemite” featuring Cappadonna, U-God, and Masta Killa brings back the dynamic and thrilling Wu sound we grew up on. It’s a rough, gangsta vibe with an upbeat groove that’s fun to listen to. The outro, “Trouble Man,” features Kameron Corvet, whose smooth vocals shine. While it would’ve been great to hear Method Man and Ghostface Killah on this track, it still delivers a great vibe.

The album closes with “Charleston Blue, Legend of a Fighter,” featuring Nicole Bus, KXNG, and Cappadonna. With a slow groove, Nicole Bus once again steals the spotlight with her stunning vocals. KXNG delivers a heartfelt verse about fatherhood, while Cappadonna shares an open letter to his mother. It’s a chill and reflective way to end this Wu-Tang journey.

This album pays tribute to Wu-Tang’s love of Blaxploitation and martial arts films that shaped them five decades ago. It also brings us classic Mathematics productions with karate sound effects and soundbites, but with a fresh twist. Featuring all nine members, the album showcases their ability to push each other to deliver their best, with experimental lyrics and soulful storytelling.

Additionally, the inclusion of some of the best underground artists feels like a passing of the torch. While the Wu-Tang Clan is far from done, they’re clearly helping to set up the next generation of lyrical swordsmen. With hard-hitting beats and cinematic production, Black Samson, The Bastard Swordsman is a musical rap odyssey. From the very first track, it’s clear this is classic Wu-Tang Clan, with Mathematics delivering pure, stark, and cinematic production for the Clan to deliver lyrically intelligent, conceptually loaded, and acoustically sharp verses.

One Love – Todd M. Judd

On May 1st, 2025, El Cid was packed to the brim with people—a clear display of a sold-out night. And if you’re wondering who the legendary performers were that made this possible, it was the iconic headliner Guardin, with support from the equally talented artists Kennedyxoxo and Sewerperson. This marked the second night of Guardin’s When The Flowers Bloom tour, and each artist brought their own unique energy to the night.

Kennedyxoxo kicked things off and had the crowd jumping off the walls right away. He has an incredible ability to get people dancing, even to the saddest songs. His setlist included tracks like “Postcard,” “Soulja Girl,” “Law of Attraction,” “Robots,” “Bull In A China Shop,” and the unreleased “Eggshells & Minefields.” The energy was electric, whether you were at the front or all the way in the back. Kennedy also knew how to engage with his audience. Hearing “Robots” was a surprise—but a very welcome one.

“Bull In A China Shop” is one of those songs that, if you relate to it, feels like getting a hug and knowing you’re not alone in what you’re going through. I often play it on repeat, so I was especially excited to hear it live. It was a set worth getting myself stuck in a corner by the stage for, and it was refreshing to see Kennedy having so much fun. Hearing “Eggshells & Minefields” for the first time, you could already tell that once it’s released, it’s going to be stuck on repeat for a lot of listeners. The lyrics are still glued to my brain—I wasn’t ready for the set to end.

Next up, Sewerperson kept the momentum going but brought a different style to his performance. His setlist featured songs like “Pull Out Couch,” “Cpt Morgn,” “It’s Quiet, Too Quiet,” “Christmas Party,” “Comatose,” and “ur the one I dream bout.” No matter how fast he rapped, the audience was right there with him, singing along word for word. The crowd clearly knew and loved his music.

There was even a wholesome moment where he responded to a fan from the stage, smiling throughout much of the set. Sewerperson wasn’t afraid to get close to the crowd, radiating confidence while moving at lightning speed across the stage. Some songs were from his days as 9TAILS, and though his style has evolved over the years, both his older and newer tracks are undeniable bangers. “Christmas Party,” one of his 9TAILS songs, was a clear crowd favorite, with waves of hands in the air. If you’re a fan of slam poetry, you’d probably enjoy Sewerperson’s music, too. He definitely left a memorable impression that had the audience wanting more.

Then, in the blink of an eye, our iconic headliner Guardin took the stage, bursting with energy. His setlist included “I Want It,” “solitary,” “lost it,” “Dim Dark Depleting,” “In My Sleep,” “I Wonder,” “hold,” “harder,” “geronimo,” “pink lemonade,” “round two,” and “charming.” His music reminds me a bit of The Front Bottoms, but with an electronic twist. There’s a sad, nostalgic feel to his songs—music for those who feel lost or are still trying to find themselves.

The flashing lights matched the music’s intensity, while the blue hues mirrored the melancholy in his lyrics. His songs feel poetic, yet they still had everyone jumping. The crowd sang along passionately, and there were moments when the audience’s voices overpowered the stage. Guardin had an upbeat yet somehow mysterious energy, sometimes darting across the stage like an airplane, other times squatting or even lying down. His movements added so much to the performance.

It was also wholesome to hear him remind the crowd to stay hydrated and to see him interacting and pointing out fans. Not a single person was standing still. “Geronimo” lives rent-free in my mind; it’s one of those songs that anyone missing the past—or even just their friends—can connect with deeply. The passion Guardin puts into his music leaves you wanting more.

Guardin, Sewerperson, and Kennedyxoxo are all incredibly talented artists worth seeing live. To catch them all in the same show was a special experience—and they’re definitely names to keep on your radar. I’m excited to see what they do next.