Skillibeng has experienced a whirlwind of success since his 2019 single "Brik Pan Brik" took Jamaica by storm. From sold-out shows around the world to a steady stream of #1 hits on the dancehall charts, he has made a significant impact in the music scene. His follow-up hits, including "Badman," and the release of his debut album, Prodigy, have propelled him into the global spotlight. This success has led to collaborations with some of dancehall's biggest names and endorsements from internationally renowned artists such as Drake and Nicki Minaj.

Emwah Ryan Warmington, who hails from Saint Thomas Parish and grew up in the rural community of Lyssops, has built a solid discography with two previous EPs and three albums. His EP International is particularly notable for its diverse fusion of sounds and genres, further solidifying Skillibeng's position as a leader among the new generation of dancehall artists.

The EP begins with a remix of "New Gears" featuring Vybz Kartel, where both artists flow over a solid beat. It showcases the veteran artist working alongside a next-generation star. One standout track is "DADA," which features a sample from "Din Daa Daa" by George Kranz, along with a snippet from the 1966 "Bam Bam" by Byron Lee. Skillibeng shared, “The inspiration behind ‘DADA’ was the beat. It had the sound I was looking for. ‘DADA’ is the first track released from my highly anticipated EP titled International. This project essentially involves using different types of beats from various cultures and mixing them with Jamaican Patois as an experiment to showcase creativity and diversity.”

"Nipple Point" opens with a heavy beat, featuring electronic sounds that guide us through the song as Skillibeng delivers a strong and distinctive flow. Ghanaian pop sensation MOLIY joins Skillibeng on the track "Too Hot." This Afrobeat-inspired song highlights Skillibeng's immense confidence, emphasizing that his talent is so exceptional that he is "too hot to handle," making it difficult for other artists to compete with him.

The song "Anywhere" features a solid dancehall track with Ty Dolla $ign and Major Lazer. It speaks to the desire to escape a difficult or monotonous life and the longing for a change of scenery, often through money or travel, to achieve a better and more exciting existence. The lyrics convey a yearning to be in a place that is more glamorous, expensive, or exotic than the current reality. Skillibeng delivers a tight flow, while Ty Dolla $ign elevates the track even further.

On the other hand, "Bakaz," featuring Shaz, showcases a fusion of styles in its production, driven by a snare drum that guides the listener through the song. Skillibeng adopts a quicker flow here; however, I would have liked to hear more from Shaz.

"Big Strap," featuring Young Nudy, brings an old-school hip-hop vibe by sampling "Misdemeanor" by Foster Sylvers, which is also well-known from "It’s Funky Enough" by The D.O.C. Skillibeng delivers a fantastic rap flow, while Young Nudy sounds like he stepped straight out of the 90s for his verses.

Next is the "Tip Remix," featuring Ayetian and Nvtzz, who deliver a fast-paced flow with Skillibeng keeping up as they flow over this upbeat, Afro-Caribbean-inspired track.

"Ivany" refers to Jamaican TikToker and social media personality Ivany Wright. This track is a dancehall song dedicated to her and is produced by JWonder and Addy Prod. It’s a provocative song inspired by the viral spread of her explicit content, resulting in a bass-heavy dancehall banger.

The iconic Bam Bam riddim, famously known for Chaka Demus & Pliers’ hit "Murder She Wrote" in 1992, has been sampled by American producer Yeti for Skillibeng’s song, titled "Boom." The track features Dominican singer Tokischa, who delivers a rapid-fire verse that contrasts with Skillibeng’s slower, laid-back flow.

The EP concludes with the track "New Gears," which features a sample from the 1964 song "Mon amie la rose" by French singer Françoise Hardy. This sampling of Hardy's classic song brings a unique and unexpected element to the collaboration.

Skillibeng's latest project, International, marks a significant milestone in his career, solidifying his reputation as an artist who transcends genre and leads the new wave of dancehall. He skillfully blends contemporary styles with innovative and creative elements, while still paying homage to the past. Skillibeng's knack for merging raw, street-oriented lyrics with global musical influences and pulsating beats makes him capable of energizing dancefloors. His storytelling keeps fans engaged and captivated. This project celebrates the power of music to unite cultures and touch hearts around the world. Skillibeng invites listeners on a sonic journey, weaving together authentic street narratives with international sounds, and once again demonstrates why he is a voice for a new generation.

One Love – Todd M. Judd

Matisyahu has released his 8th studio album, Ancient Child, which not only features a soulful and energetic collection of new music but also pushes the boundaries of genre with his innovative approach. The album highlights his ability to explore new sounds and establish a truly unique presence in modern music. The title, Ancient Child, perfectly reflects the project’s themes of knowledge, curiosity, generational connection, and progression. It represents Matisyahu's personal journey, encompassing his spiritual beliefs, experiences of fatherhood, and aspirations for leading a better life.

The album opens with "Pro-Cess," a hip-hop-inspired track that features a minimalistic introduction before transitioning into an electronic beat reminiscent of reggaeton, enhanced by catchy synths. The song "Anxiety" delves into deeply personal themes, reflecting the artist's struggles with anxiety and his longing for hope and spiritual release. This track is another gem from Matisyahu, beautifully blending smooth textures, raw emotion, and energy, all accompanied by meaningful lyrics. It features simple, smooth drums and moody keys, complemented by a thoughtful rhyme from BLP Kosher.

"Sound Foundation" features an upbeat groove that takes fans back to Matisyahu’s roots while capturing his motivational spirit. The song emphasizes that healing begins with a solid foundation and is an anthem sure to have fans singing along at festivals and concerts. His vocals and songwriting truly shine in this track, delivering an inspiring hook and a positive energy throughout.

In "Crossroads," Matisyahu showcases an impressive lyrical flow, accompanied by a melody that includes layers and a charming Spanish-sounding guitar. The production quality is top-notch, perfectly complementing Matisyahu’s seamless flow.

Matisyahu brings us a powerful reminder of his fearless creativity with the next track, "Son Come Up." This infectious collaboration with his son Laivy features a unique blend of hip-hop and reggae fusion. Laivy adds heartfelt emotion to the song, which serves as a prayer – a father's plea for his children to rise "like the sun" and illuminate a fractured world. "Son Come Up" is the spark that ignited his project, Ancient Child. Matisyahu recently shared with AMFM Magazine, “It was the first song I wrote, and it felt like a prophecy. I have been exploring this idea for 20 years, ever since I dove into Kabbalah and Chassidut,” he explained, “hoping his children will shine brighter than he ever could.”

In "Rockets," Matisyahu navigates a blend of reggae, rap, and cross-genre collaborations, enhanced by a soothing piano and handclaps. His younger son, Duvbear, joins him on this reflective track, delivering a quick rap that beautifully complements Matisyahu’s fatherly flow. The next track, "Find A Way," seamlessly combines hip-hop, reggae, and soul with diverse influences such as Afro-pop. It features a pure sound, highlighted by silver bell samples and steel drums. Matisyahu's vocals are exceptional as he effortlessly rides the rhythm.

One of my favorite tracks is "Smoke & Mirrors," which features a reggae influence combined with a sweet hip-hop vibe. The song focuses on finding clarity and beauty through life’s struggles and challenges, with powerful emotions conveyed by Matisyahu. It has a laid-back, chill vibe, and the beat is just right, allowing Matisyahu to showcase one of his best vocal flows.

"Wake Up" is vibrant, filled with rich strings and a strong beat. Once again, Matisyahu impresses with his vocals, varying his styles and cadence to elevate the song to another level.

Continuing with the positive vibes, "Ritual" highlights Matisyahu's sharp vocals. He addresses internal conflicts, sets boundaries, and finds strength from within, delivering an unforgettable hook. This track has a slower, more meditative production that contrasts with the album's more upbeat songs, featuring smooth, layered production and melodies.

One of my favorites from the album, "Rockin Tempos," features Duvbear and has a strong, hard beat. Matisyahu flows methodically over the fresh, organic rhythm, pouring so much emotion into this song about staying steady and maintaining inner strength and peace amidst chaos, uncertainty, and life's ever-changing pace. The track has an almost garage-rock influence, blending classic rock and punk vibes with hip-hop elements. Duvbear adds a great lyrical flow that elevates the song to another level.

Matisyahu has evolved his musical style and explored new directions over the past few albums while maintaining a consistent focus on his songwriting, message, passion, and creativity. This latest album features thoughtful lyrics, innovative production, and a blend of genres that goes beyond his traditional reggae sound, resulting in music that is both personal and universally relatable. Long-time fans will resonate with the deeply spiritual songs that carry significant meaning, while newer listeners will be drawn in by the genre-blending and captivating creativity, as well as Matisyahu's engaging lyrics and flow. By combining meaningful lyrics, rhythms that inspire both thought and movement, and authentic messaging, this album showcases his love for family, faith, and exceptional creativity, ensuring that listeners will appreciate it.

One Love – Todd M. Judd

The ten-piece riddim collective Naya Rockers has released their new benefit album, Higher Education. This album was created to support youth music education at the Alpha School of Music, located in Kingston, Jamaica, a place that has significantly shaped reggae history. Higher Education serves as a fundraiser and features numerous artists, including Stephen Marley, Queen Omega, and Sister Nancy.

Critics have praised the album for its seamless blend of reggae with other genres such as New Orleans R&B, ska, and dub, resulting in a cohesive yet fresh sound. The high-quality production of the album enhances its ability to connect generations while supporting a worthy cause. It represents an international effort, having been recorded across five countries in fifteen studios, with contributions from a global network of musicians and engineers, including Grammy-winning artists.

The Alpha Boys’ School played a crucial role in the emergence of reggae music, particularly when Sister Mary Ignatius Davies began directing the music program there. She taught many students who went on to have influential roles in reggae and ska, including members of The Skatalites, Bob Marley and the Wailers, as well as dancehall star Yellowman.

Clinton Fearon joins the Rockers for the first track, “Come With Us.” It features a light and cheerful classic reggae riddim with sweet horns, a cool groove, skanking guitars, and charming brass accents. Clinton delivers beautifully with his vocals.

Next is the title track, “Higher Education,” featuring Ivan Neville (son of Aaron Neville), which brings a bluesy and jazzy vibe. This song fuses reggae with a New Orleans R&B influence, creating a captivating sound.

The album continues with the powerful anthem “Teach The Youths,” featuring the legendary Sister Nancy, who delivers a strong vocal performance filled with meaningful lyrics. With its ringing percussion and swaying riddim, Sister Nancy's lingering vocals elevate this track to a standout.

Hector Roots Lewis joins the Rockers on “Thanks,” which features a bouncy riddim. Hector brings a soulful and emotional tone to the song, emphasizing the importance of expressing gratitude for the miracle of life and love.

Another standout track featuring the album's biggest name, Stephen Marley, brings a haunting yet uplifting feel to “The Right Path.” With an upbeat and infectious bouncing riddim, Ragga delivers a conscious message in this song about morality, highlighting the album beautifully. He sings, “I say we learn from the past, make our futures last, choose the Earth first.”

Mad Professor adds depth with his track “Dub With Us,” which features lush layers of jarring brass and sonic textures infused with a psychedelic feel. Clinton Fearon provides chilling vocals on this dub track, singing over a thick, rolling bassline.

Mike Love brings a fun, joyous, and uplifting vibe in “Long Way Down.” This ska-infused groove elevates the energy of the album, making it impossible not to get up, dance, and smile! The high energy continues in “The Brotherhood,” where Angelo Moore from Fishbone delivers gentle and charismatic vocals. The mighty Tamlins provide lovely backing harmonies, creating a delightful melody with a tasty, sliding sensation that’s captivating. This track delivers an old-school R&B feel with its retro vibes.

Queen Omega delivers a truly fantastic performance on “Words of Wisdom,” taking us on a soulful and brilliant journey through the song. The track features a sweet reggae riddim, with the bass guiding us throughout. However, it's Queen Omega's dominating vocals that truly take center stage and elevate the track—and potentially the entire album.

Micah Shemaiah contributes his soulful and unique sound to “Same Lessons to Learn,” which carries a powerful message of unity and upliftment. He delivers a beautiful message over a classic yet fresh reggae riddim, creating a blend that feels both timeless and new.

In the closing track, “Thanks Dub,” Mad Professor showcases syncopated percussion, bringing it to the forefront. This is accompanied by bright brass and shimmering guitar riffs. This instrumental dub version of “Thanks” serves as the perfect wind-down for the album and the journey that Naya Rockers have crafted for us.

With flawless production, Higher Education is a success on every level. It fulfills its mission of raising funds for an important school, showcases the collaborative nature of the album, and features beautiful songs. The assembly of such immense talent has resulted in a complete triumph. This isn’t just another reggae album; it is a masterpiece of music, message, and collaboration. I encourage you to check out this album, not only to support the Alpha Boys’ School but also to enjoy a timeless collection of beautiful music that demonstrates reggae’s power as a force for good.

One Love – Todd M. Judd

Saint Avangeline with support from Karissa Love and Max Madly turned The Roxy into an ethereal, magical realm on October 19th. It was a very poetic night that took you somewhere else for a bit. For me, I went in blind and ended up being pleasantly surprised. Each artist had a similar mystical feeling to them but was distinctly different. Meanwhile, everyone in the crowd appeared to be completely captivated and mesmerized.

Karissa Love brought us into the night with her deeply moving poetry while also elegantly moving on the stage. I loved how her outfit reminded me of the beautiful fairytale outfits you see at a renaissance fair. A lot of her poetry was unreleased, which made the experience feel more special.

She even had Saint Avangeline come on as a surprise guest to perform her poem "Strange." Karissa's deeply cutting words and Saint Avangeline’s beautifully haunting vocals felt like being trapped in a dream. Karissa's last line, “the cautionary tale of a sacred, tragic, beautiful thing,” was haunting—the kind of haunting that stays with you.

Now, Max Madly came out in an iconic goth fit with a presence that even Wednesday Addams would respect. Listening to her music makes me feel as if I’m walking through a haunted forest at night—scary, beautiful, and unpredictable. Be it when she was on guitar or just moving around on stage, she graced it with a confidence that anyone could see.

She blessed the audience with a lot of unreleased music and her songs "Delusion," "The Death of Edwina," "Morrow," and "Bones of Ours." We also got to hear her own take on the Persian song "The Seed That Dreamed of Its Own Creation." For me, her music is easy to relate to, and I’m sure the same can be said for the fans as well. If I were to put it in a category, I couldn't—her sound is unique and raw. Labeling it under a genre wouldn't do the songs justice. Her music and powerful vocals leave a chill down your spine with a desire for more.

Saint Avangeline was glowing as she entered the stage. She looked like a fairytale princess and a renaissance painting at the same time. When the lights went blue, pink, and purple, it perfectly captured the depth of her sadness as she sang. When the lights were warmer colors, you could feel her strength and courage. Each move she made on stage felt like it had purpose to it. Her range was also impressive—she went from soft and gentle to screams that would impress any metal artist out there. She even got the crowd headbanging, and you could see the whole band was getting into it too.

She’s not afraid to talk about heavy topics that need to be addressed, such as her experience coming to terms with being sexually assaulted by a partner she trusted. This is, unfortunately, a reality for many people but still gets swept under the rug. I admire her bravery in coming forward about it. "Lilith" is a song that has given me strength even with my own experiences.

Even sitting down on a chair that looked like it was from a Victorian mansion, she still carried the same amount of power and presence in her songs. Her performance was something you couldn't look away from, and it was quite literally her first show.

Saint Avangeline captured the hearts of everyone around her during her first-ever performance. I can’t even imagine how she’s going to change the world from here—not to mention having hauntingly memorable openers like Karissa Love and Max Madly. I’m excited to catch these artists the next chance I get.

October 14th felt like stepping into a time machine to the early 2000s. The Troubadour was packed with smiles and fans from all over the world. It was a night of nostalgia that brought people together. It marked The Click Five’s epic return to Southern California since their last show here in the early 2000s. Alongside them, their opener, Buddha Trixie, kept the energy alive throughout the night.

Buddha Trixie got the crowd ready and energized for the night ahead. They brought a comedic flair to their music, paired with relatable lyrics. From the hand motions to the lead singer jumping around on stage, you could see the joy they have for performing.
Their setlist for the night included “R U DOWN?”, “Made in Heaven,” “Sexless Virgins,” “Shmoopie,” “Telekinesis,” “MUST BE FUN,” “Stay,” “7-ELEVEN,” and “Pitbull Goes to the Club.”
If you’re a fan of bands like The Wrecks, Beach Boys, and The Wombats, you’ll love Buddha Trixie. Their groovy rock sound makes you want to dance.

The anticipation reached its peak when the members of The Click Five walked onto the stage. You could feel the excitement in the room, filled with fans who had been waiting years for this moment. They kicked off their set with one of my personal favorites, “Catch Your Wave.” If you’ve ever watched edits of early 2000s teen movies, you’ve most definitely heard this nostalgic hit.

One of the most notable aspects of their performance was the constant smiles on the faces of every band member. They knew how to connect with the audience, bringing laughter and joy. Even their speeches between songs made the set more memorable and special.

In addition to “Catch Your Wave,” their setlist included “All I Need Is You,” “Happy Birthday,” “Addicted to Me,” “Time Machine,” “I Think We're Alone Now,” “Mary Jane,” “Say Goodnight,” “Don't Let Me Go,” “Empty,” “Pop Princess,” “Throwback,” “Jenny,” “Flipside,” and, for the encore, “Good Day” and their iconic hit, “Just the Girl.”
During “Empty,” they seamlessly transitioned from acoustic to electric midway through the song. It felt natural and was a first for me to witness at a live show.

The way they introduced their songs built anticipation, and the crowd responded with hands in the air, jumping and singing every lyric. They even shared how they were initially unsure about coming back, but despite the years away, they sold out The Troubadour.

It was a show you’d want to last forever—and in the memories of everyone there, it will. Even after the show ended, both bands took the time to talk to their fans, showing genuine appreciation for everyone who came out. This night felt like the start of an exciting new chapter for The Click Five and Buddha Trixie.

Keznamdi has released his highly anticipated sophomore album, BLXXD & FYAH, to critical acclaim, debuting at #1 on the iTunes Reggae albums chart. The 13-track project solidifies Keznamdi’s position as one of reggae’s most innovative artists, blending roots and modern influences into a sound that is both timeless and contemporary. Featuring collaborations with Kelissa, Mavado, Marlon Asher, and Masicka, the album is a powerful exploration of resilience, identity, and social commentary.

Keznamdi’s decision to step away from touring last year allowed him to reflect on life experiences and channel them into this deeply introspective album. “When I step into the studio to create a body of work, it’s about discovery,” he shared in a recent interview. “This album wasn’t just about clever rhymes or interesting flows; it was about the message. What am I really saying? How do I want people to feel?”

The album opens with “I Am,” a collaboration with Kelissa that sets the tone with a chilled-out riddim and introspective lyrics. The track invites listeners to reflect on their memories and limitless potential. Another standout, “Colonial Bondage,” fuses Nyabinghi drums with a one-drop beat as Keznamdi delivers impactful lyrics critiquing systemic oppression. He described the recording process as a live jam session that allowed the music to breathe, resulting in one of his favorite tracks on the album.

“River Jordan” brings a gospel-infused roots vibe, showcasing Keznamdi’s vocal prowess over acoustic guitar. The spiritual groove continues with “Natty Dreadlocks (Live Roots Version),” inspired by an incident where a young girl was barred from school because of her locks. Keznamdi’s heartfelt lyrics address the ongoing discrimination against Rastafarian culture, making the song both timely and powerful.

Keznamdi also pays homage to reggae legends with a reimagined version of Toots and the Maytals’ “Pomp and Pride,” staying true to the original message while adding his unique touch. “Serious Times” reflects on the challenges of the global pandemic, pairing an upbeat rhythm with Keznamdi’s sharp lyricism.

“Identity Crisis” carries a profound message of resilience in the digital age, urging listeners to reclaim their sense of self amidst social media pressures. The track’s simple melody allows Keznamdi’s flow and emotion to take center stage. Similarly, “Pressure” delivers a rootsy Dancehall vibe, encouraging perseverance through life’s obstacles.

The album also explores themes of love and family. “Somebody” is a heartfelt love song dedicated to someone special, while “Bread and Butta” highlights the grind and hard work needed to provide for loved ones. Set to a Hip-Hop beat, the track captures the essence of everyday sustenance and resilience.

The anthemic “Bun Di Ganja (Roots Version)” features Mavado and Marlon Asher, blending soothing melodies with powerful social commentary. Mavado’s classic flow complements Keznamdi’s lyrics, creating a hypnotic and meditative ganja tribute. “Forever Grateful,” featuring Masicka, celebrates life’s accomplishments and lessons learned. Keznamdi praised Masicka as “the voice of the streets,” whose uplifting presence adds depth to the track.

The album concludes with “Time,” a poignant reflection on cherishing life’s essential moments. Blending traditional reggae with elements of Dancehall, Afrobeats, and Soul, the track encapsulates Keznamdi’s ability to create music that is both deeply personal and universally resonant.

BLXXD & FYAH is more than just an album—it’s a call to action. Keznamdi blends genres effortlessly, nodding to his reggae roots while delivering a sound that is global and urgent. The title itself embodies his message: “Blood” symbolizes sacrifice and struggle, while “Fyah” represents transformation and resistance. Together, they strike a balance between the weight of oppression and the passion needed to push back.

“As Nina Simone once said, ‘An artist’s duty… is to reflect the times,’” Keznamdi shared. “Through every beat, every lyric, and every note on this album, I wasn’t just making music—I was telling stories. Stories of struggle, resilience, and resistance. Stories of the third world, of the unheard, of those fighting against the weight of oppression.”

With BLXXD & FYAH, Keznamdi delivers one of the top reggae albums of 2025, proving that reggae’s mission to inspire, comfort, and challenge the status quo remains as vital as ever.

One Love – Todd M. Judd

After the abrupt cancellation of the 2025 edition, Sick New World (SNW) is back and not just in one city. In 2026 the festival returns with two major one-day events, in Las Vegas and Fort Worth, Texas, re-asserting itself as one of the boldest heavy/alt-rock festivals in the U.S. Here’s your early look at what to expect.

Debuting in 2023 with a successful lineup, Sick New World quickly built a reputation for its heavy-rock, nu-metal, industrial and gothic-leaning lineup. With the cancellation behind them, organizers are now rebooting in 2026, with a bifurcated strategy: the original Vegas event plus a brand-new Texas debut.

2026 Dates & Locations

Las Vegas, NV: Scheduled for April 25, 2026 at the Las Vegas Festival Grounds.

Fort Worth, TX: Inaugural Texas edition set for October 24, 2026 at the Texas Motor Speedway.

The 2026 editions lean into the festival’s core: heavy, alternative and genre-crossing rock.

Las Vegas, NV (April 25, 2026)

Headlined by System of a Down, with major support from Korn. The bill also features Bring Me the Horizon, Marilyn Manson, Evanescence, Ministry, AFI, Cypress Hill, Acid Bath (notably), and more.

Fort Worth, TX (October 24, 2026)

A standout heavy-metal lineup featuring System of a Down again, plus Slayer (celebrating 40 years of Reign in Blood), Deftones, Evanescence (again), Ministry, AFI, Mastodon, and others.

Signup for the official Sick New World mailing list for presale codes!

https://www.sicknewworldfest.com/vegas

Las Vegas presale begins this Friday, October 23rd.

For fans of heavy, alternative and genre-hybrid rock festivals, 2026 is shaping up to be a comeback year for Sick New World. With a strong lineup anchored by System of a Down and a savvy dual-city format, the festival is making a statement: it’s not just back, it’s expanding. Whether you’ve been to Sick New World before or this is your first rodeo, now’s the time to get ahead of tickets, travel, and planning

Just twelve months after releasing Man Down, Ice Cube returns with his twelfth and latest album, Man Up. At 56 years old, the emcee, actor, film producer, BIG3 founder, CubeVision founder, and songwriter shows no signs of slowing down since his days with N.W.A.. The timing of this album suggests it could be a follow-up or continuation of Man Down, possibly featuring leftover tracks that didn’t make the final cut. However, upon listening, it’s evident that Man Up is unique in both its production and lyrics. While it may serve as a companion to Man Down, it is not a direct sequel.

Ice Cube takes center stage on this album, with Scarface being the only guest artist appearing on a few tracks. Hip-Hop has often been perceived as a young person’s genre, but Cube and other "old school" rappers have challenged this notion in recent years. Although their messages may have evolved, they continue to resonate. “I’ve always stood for speaking truth to power and making music that reflects reality,” Cube stated. “Man Up is about accountability, resilience, and reminding people of the root causes of real problems. Hip-Hop didn’t create the struggle — it gave us the language to call it out.”

“Man Power” kicks off the album with a hard-hitting West Coast beat. Ice Cube delivers strong, in-your-face lyrics that feel slightly forced at times, but he still impresses. In “What You Gonna Do About It?”, the beat remains powerful, and Cube brings his signature hardcore lyrics that seamlessly flow with the rhythm. His confidence shines through in this track.

"Freedumb" showcases Ice Cube’s classic edge as he critiques our dependency on AI and technology, calling out the youth for relying too heavily on platforms like ChatGPT. The production is solid, and Cube’s emotions are palpable in every line.

With a smooth, chill, and laid-back groove, “Guess What?” may initially feel slightly out of place, but the more you listen, the more the song grows on you. Cube delivers a relaxed vibe as he raps, even surprising listeners with a bit of singing. Featuring a solid melody, the hook adds a nice twist. If Snoop Dogg can do it, why not Cube?

One of the standout tracks, “Forget Me If You Ain’t Wit Me,” features a catchy, dope beat and an aggressive rhythm. This is classic Cube, delivering hard-hitting rhymes with his signature flow. The production has a vibe reminiscent of G-Unit, but it blends seamlessly with Cube’s style, making it work perfectly.

Starting with a sample from Robert Townsend’s Hollywood Shuffle in the "I Can't Do This" scene, “Before Hip Hop” is a bass-heavy jam filled with anecdotes about life prior to the genre’s emergence. The track examines the timelines of various crimes and lifestyles that existed before Hip-Hop’s perceived influence on society.

In a statement, Ice Cube remarked, “It’s easy and lazy to look at what’s going on in many communities and blame Hip-Hop for everything. But the reality is that the violence, pain, and broken systems were already here. Those who opposed Hip-Hop often had racially motivated biases. They didn’t or wouldn’t compare white-led movies to rap artists; they were entrenched in their views and had already made up their minds.”

Cube later added, “‘Before Hip Hop’ calls out the revisionists, showing that crime and injustice existed long before Hip-Hop music. We didn’t cause it — we just called it out.”

Scarface contributes a great flow on his verse in the track “Act My Age,” which features a simple, deep beat. This song emphasizes Cube and Scarface delivering a strong message. Both artists assert that they still deserve respect and are far from being washed up, with Cube displaying a gritty flow reminiscent of his earlier, villainous days.

“Ratchet Ass Mouth” features Ice Cube advising young men to choose smart, intelligent women instead of those who may bring them down. With a deep bass line, Cube delivers the message:
“Hey young punk, listen to your uncle. Keep your mind off junk in the trunk. Focus on the grind, just like a monk. While girls get high and women get drunk, get your money right, and they'll come to you. When you choose someone, don’t be foolish. Don’t just focus on looks; make sure the conversation isn’t dizzying. Ensure that she isn't ditzy.”

“Respect My Space” has a strong beat and bass, making it a head-bobbing tune as Cube makes it clear that he is ready for a battle. He firmly expresses the need for others to acknowledge and respect personal boundaries, both physical and emotional.

“Forget Me Knots” is sampled next in “California Dreamin’.” Although this song doesn’t fit the typical Cube style, he makes it work with a smooth flow and a calmer tone. It allows listeners to let down their guard, relax, and enjoy a bit of G-Funk vibe.

We continue with that funky groove in “That Salt and Pepper,” produced by Eric Sermon. This song discusses adulthood and the freedom from old worries. The lyrics reflect this sentiment:
“They’re all looking at us because they admire that grown man status (I love it). We don’t chase anyone; young bucks are the ones chasing like Jason. Always smelling good, always representing the hood. See, I’m a true provider.”

Cube delivers an upbeat, 70s funk-inspired track with “Bring Everybody,” where he confidently expresses his untouchable status. The funky drumming and some scratching from the turntables keep listeners dancing throughout the song. Cube showcases a quick flow in a style that is quite different from what we’ve seen from him before.

Next, a remix of “It’s My Ego” features Scarface and Quake Matthews, standing out as one of the stronger tracks from Man Down. While Quake Matthews demonstrates his talent, Scarface steals the spotlight once again with his impressive rhymes.

The album closes on a high note with “All Work No Play,” which features a fantastic West Coast beat. Cube’s energy in this track is off the charts, delivering a powerful message to the OGs. This song includes some of Cube’s best lyrics and flow on the album, providing a strong and impactful conclusion.

Ice Cube delivered a solid follow-up to Man Down, showcasing a different style and message. While the production on Man Down may have been slightly stronger, the lyrics and flow in Man Up are sharper and more impactful. Cube recently stated in an interview, “I think they go hand in hand in a way. The first record, ‘Man Down,’ is more of a statement about where we are as men in this society and how we’re perceived, not how we actually are.” He added, “On the other hand, ‘Man Up’ is a call to action, challenging us with the question, ‘Okay, what are you going to do about it?’”

Ice Cube unapologetically embraces his masculinity while delivering a raw, classic West Coast Hip-Hop album. The consistency throughout the album is commendable, as Cube conveys a meaningful message while positioning himself as a contemporary critic. His sharp mind remains his greatest asset as he navigates the Hip-Hop battlefield with confidence.

One Love – Todd M. Judd

Genesis refers to the origin or beginning of something, and Rik Jam and producer Phillip McFarlane have established a strong foundation and relationship while creating a new path for both the artist and producer, as well as for roots Reggae music. Originally from Fletcher Land, Ronaldo Ricketts, known as Rik Jam, moved to Stadium Gardens with his father after the passing of his mother. He began his musical journey in the choir at St. Andrew Technical High School, a common starting point for many Jamaican artists. Rik Jam shares, “As I participated in various rehearsals and live performances, I quickly realized that music was my life goal. I felt a passion within me each time I sang; I didn’t just want to sing the words of a song; I wanted my music to resonate with my audience.” During a high school band competition, he met Phillip McFarlane, which sparked his journey toward a professional music career. After completing his education, Rik Jam recorded his debut track, “Love Never Lost,” in 2018, marking the beginning of his evolution as an artist.

The album begins with “The Genesis Intro,” a brief introduction to Rik Jam and his new project. While it sets the tone beautifully, I wish this track had been developed into a full song. “Hear My Cry” follows as a spiritually charged piece addressing social issues, showcasing Rik Jam's vulnerable side. Another noteworthy track is “Journey,” written three years ago. This song discusses a corrupt world government system that people must navigate and endure. The lyrics convey the struggles of life:
“This is a journey. I tell you, life is so sweet, but often you can't find food to eat. In the streets, I remind you, better prepare for Judgment Day. For the weeping and wailing, and the gnashing of teeth, you’d better start counting the days. The feast has turned to famine; it's the end of days. And I say, oh, you know that life is tough. You know that the system is corrupt, because everything is taken as a joke.”

“Caution” delivers a strong beat, with Rik Jam’s impressive lyrics flowing seamlessly alongside the rhythm. This hard-hitting song addresses the harsh realities of life in Jamaica’s inner-city communities, emphasizing the importance of being cautious and aware of the dangers present on the streets. In contrast, “Give Praise” offers a beautiful roots Reggae tune. This spiritual song showcases Rik’s sweet voice, creating a mood that uplifts listeners. You can’t help but feel good after listening to it.

Phillip McFarlane presents a delightful Lovers Rock track titled “Fight With You,” featuring Rik Jam and Hawaiian singer Taye Louise. Together, they create a standout piece highlighted by the soulful connection between their voices, captivating listeners with their stunning vocals.

In another noteworthy song, “Emotions,” Rik Jam expresses his feelings over a simple acoustic guitar arrangement. His voice serves as a vessel for his sentiments, allowing him to convey deep emotion with passion and eloquence.

Eric Rachmany, the lead singer of Rebelution, joins Rik Jam on the track “Stereo.” Together, they create a Reggae song infused with a California beach vibe that is sure to appeal to a wide audience. The chemistry between Eric and Rik is exceptional.

In the powerful track “Book of Life,” Rik Jam flows over a strong riddim, varying his cadence as he shares hard-learned lessons, personal struggles, and his faith.

“True Love” features a delightful production as Rik Jam delivers heartfelt lyrics dedicated to the woman he loves. He sings, “You are my lady, yeah. I want to express my thoughts and feelings to you, the only one. Lately, I've realized that we've been holding on. No other girl can compare to your love; it is so amazing that I can trust you. No one else can match your love.” Rik skillfully changes his cadence and vocal delivery, giving the song an impressive finish.

Taye Louise returns alongside Rik Jam’s labelmate Dalwayne in the Hip-Hop-inspired track “Troubled Streets.” While this song may feel somewhat out of place on a rootsy Reggae album, it adds fresh energy and injects new life into the project. Taye’s vocals shine on the hook, and Dalwayne complements Rik Jam’s style perfectly.

Rik and Phillip present a fusion of modern Reggae and urban rhythms in their track “Cry Blood.” This song shifts away from the rootsy Reggae vibe of the album and offers a stylistic change that some listeners may find refreshing. MediSun adds his high-level musical artistry with a soulful Hip-Hop sound that makes you want to bob your head along to the beat.

The album then returns to its roots Reggae feel with “Stronger,” where Rik Jam delivers more positive and uplifting lyrics. This is the perfect song to play when you need a pick-me-up.

The album concludes with “Hail The King,” which might just be the standout track. It features an incredible riddim produced by Irie Yute Tapes and Phillip McFarlane. On this conscious track, Rik Jam shines with beautiful vocals and profound lyrics about staying grateful throughout our journeys. This song ties the entire album together and serves as a perfect ending to this wonderful musical journey.

In recent years, Rik Jam has continued to develop his sound in collaboration with Phillip McFarlane. Sharing a vision and a commitment to the essence of music, message, and roots Reggae foundations, Rik and Phillip create a soul-inspiring journey enriched with beautiful instrumentation, reflective lyrics, and modern riddims. Genesis marks a significant turning point for Rik Jam as he transitions from his initial phase (genesis) to a broader exploration of his music, energy, spirituality, and expression. This album offers listeners a diverse experience while remaining true to the roots vibe. In a year filled with exceptional Reggae albums, this one stands out at the top of the list.

One Love – Todd M. Judd

Marking 25 years as a band, The Used decided to celebrate in style with a unique set of shows, playing three separate nights in each city. Night one featured their Self-Titled album in its entirety, night two showcased In Love and Death, and night three was dedicated to Lies for the Liars. This special celebration of the band’s first three albums hit nine cities earlier this year and was so successful and beloved that they embarked on a second leg, hitting six more cities. The tour kicked off at the House of Blues in Anaheim, CA, where fans packed the showroom for a chance to sing along with every song across three nights. I was fortunate to be in the room on night three for the deep cuts from Lies for the Liars.

Opening the night was emo heartthrobs Escape the Fate. Lead singer Craig Mabbitt performed with a huge smile on his face, clearly enjoying every second of being able to share the stage with The Used again. Guitarist Matti Hoffman carried the emo boy flag proudly with his swoopy hair and loose-fitting clothes, all while playing with incredible character and style.

Bassist Erik Jensen, stepping in as rhythm guitarist while TJ Bell takes a short hiatus, brought just as much attack to the guitar as TJ. Drummer Robert Ortiz held down the beat with his cool-guy style, rocking shades and frequently standing to slam on his drums while hyping up the crowd. Fans of The Used have likely been listening to Escape the Fate just as long, so the band had the entire crowd singing along to every song, including “Gorgeous Nightmare,” “H8 MY SELF,” “Low,” “The Flood,” “This War Is Ours (The Guillotine II),” “Broken Heart,” and “One for the Money.”

Having performed alongside The Used for much of their career, Escape the Fate’s set felt like a throwback to the late 2000s heyday of emo music, and the crowd loved every second of it.

Before The Used took the stage, a video package played, reminiscing about the band’s history and expressing gratitude to both old and new fans who have been along for the ride. As the curtain dropped, the band launched into the opening track, “The Ripper.” Diehard fans immediately went wild for this deep cut, as it was never a single. The mosh pit opened up, crowd surfers began pouring over the barricade, and the front row felt like it might tip over as fans reached out to connect with the band.

Vocalist Bert McCracken was visibly moved by the joy and energy of the fans, constantly smiling and giggling between songs in response to their reactions. Though the band doesn’t often perform many of these songs live, Bert gave his all, pouring his heart into the lyrics he wrote and holds close.

Bassist Jepha Howard, a founding member alongside Bert, was equally energized, dancing around the stage and roaring through the screamed lyrics. Guitarist Joey Bradford and drummer Dan Whitesides, though not part of the original lineup for Lies for the Liars, played with passion and precision, fully understanding how much this music means to the fans.

During “Paralyzed,” Bert invited a few fans on stage for a dance-off, creating a unique and memorable moment for those lucky enough to join the band.

The most emotional moment of the night came with the final song, “Smother Me.” A ballad about longing and the desire to be someone’s special person, the song filled the room with raw emotion as fans sang along. Many in the crowd were visibly moved to tears, reflecting on loved ones they wished were with them or those they had lost. For a band known for high-energy and screamo songs, ending the night—and the three-day run—with such a powerful ballad reinforced why The Used holds such a special place in their fans’ hearts.

This special run of shows was a gift to fans, and I feel lucky to have seen all three albums performed live earlier this year when the band came to Los Angeles. However, re-experiencing Lies for the Liars in Anaheim felt even more significant. Perhaps it was because I only got to see one night this time and wanted to savor every moment, or maybe it was the chance to truly appreciate the deep cuts. Either way, The Used made this a night to remember for everyone in attendance.

While I’d love to see even more of their albums performed in their entirety, that seems unlikely anytime soon. Regardless, I know I’ll be there the next time The Used, the greatest band in the world, comes through Southern California.