New Rap Releases | Benny the Butcher, BNYX, ShittyBoyz, Desiigner, & More

This is Friday to Friday, your weekly rap wrap-up going through the releases in rap and hip-hop from Friday, April 17th to Friday, April 24th. My name is Jacob. I have with me today producer hailing from Detroit, Michigan, Gav aka Lunar G.

What's up?

As well as artist and producer hailing from the Twin Cities, Minnesota, Terry V.

Yo.

Yo, the releases from this week are Band Gang Lonnie Bands with Medicinal Use Only. Benny the Butcher and Fuego Base with Ashes in the Safe. Adrien Young with Younger Kuru with Backstage Hologram. Khaki Kid with Girl Bites Dog. Teesus and Diamond with UI Scooty Boys. Designer with Two Deluxe, or maybe it's II, I'm not sure. Red Cafe with Once in a Red Moon. Mike Shab with Hood Olympics 2, with Steu Bangas and AG with Selfie. Flea Lord with Everything I Never Said. Tony Yo with the 420 Tape. Don Ready with It Must Be God. Yapage with Dead Rap. C. Honcho with H6. Patty with While Y'all Wait. Natural Elements with Alignment. Tokisha with Amore and Droga. Flying Lotus with 1983, an instrumental project. Lol Rose with Rose Volume 3. Mellows with Braun. Dope with No Country for Old Men. Blue and Exile with Time Heals Everything. And lastly, Sir Michael Rocks with Rocks Paper Scissors. And then we got some singles to talk about this week as well.

So, let's get into the picks for this week. I will kick it off with Benny the Butcher and Fuego Bass. A dual album from them, a collab album, you could say. Ashes in the Safe is the title, with burning money on the cover.

Mhm.

And Fuego Bass is one of the leading MCs of the Black Soprano Family outside of Benny. So, I was stoked to see a dual album from these two. Of course, you get hella drug bars, grimy beats, a lot of drug bars on this one. Yeah, they pass back and forth really well and they kept it short and sweet. It was only 25 minutes. Pretty short project, but a strong project from that team, 'cause I don't like everything that comes out from Black Soprano Family. I think some of it's a little too mixtapeish, but this felt like a really well put together little short and sweet project.

Yeah, I haven't heard too much from Fuego Bass, but this man snap. Like the bars were on point, the production, the boom bap. Like this album was dope. I think my favorite one is either "Like It Is" or um "Big Shirley," just because like I love Martin. So for that Big Shirley reference. And then they also sampled um Kanye's "Robocop" for that one, which is actually a really dope—

Yeah, which was actually a really dope flip of that sample because I've always liked that end part of the song where the strings come in and then, you know, he does his thing. But yeah, this album was dope. I think this was my favorite release out of the ones that showed up on the Spotify playlist. I really liked the first four tracks. Like it was just four in a row that were just hitting. Not to say that the second half is bad. I just think they sort of ordered it in a way where you get a lot of the heat right off the bat. Those first four, "Sundial," "Pyrex," and "Prayers," "Like It Is," like you said, Terry, and "Rev X" featuring I think it's Su Sle or Su. Those first four tracks were banging.

Yeah, really strong project. Yeah, I think it had the stank face on throughout this whole project. It was it was it was really dope. I should have looked up who the producer was or who they went to because normally those Griselda um they work with Conductor a lot, right?

So, this is Black Soprano Family, which is specifically Benny's label. Uh, they have in-house producers.

Okay. Yeah. Production standpoint, lyric standpoint. Yeah. Ashes in the Safe, man. Check it out.

Definitely agreed. Cool. Uh, Gav, you want to do a pick?

Yeah, I'll um I'll talk about the Band Gang Lonnie Bands and Cornfed Ted. That album, Medicinal Use Only. I personally am a big fan of Band Gang Lonnie Bands. He's been an artist that I've been following for quite some time. Uh, he's a Detroit, like, local artist. And what's cool is he's also the producer for the whole project.

Ah, I did not realize that.

Yeah, he produces most of his own [expletive]. I don't know Cornfed Ted really, to be honest. He might be part of stuff that I'm aware of, but I just, I don't know his name off the top of my head. But I thought the production on this album is really what stood out to me. There were a few standout songs like "100 M's," "Double Up," and "Hate Life" were probably my three favorite. Some of the production on that [expletive] was wild. And then most of the bars are kind of just like laid-back lean rap. Um, kind of Detroit rap, kind of mellow [expletive]. Yeah, it's not like they're flexing or doing anything outrageous. It's more vibe music than anything, but found myself bumping this loud in my car throughout the day. Bass was hitting on it.

So, yeah, I heard the first two records off of it. What's crazy was that, like you said, the production is really dope and viby, but um I could hear like maybe Trapan, um, Larry June. Like I don't know why I was listening to it. I'm like, damn, I kind of want to hear Larry flow or something like this. It's like it's similar but like it's different, like the vibe more so, like with that laidback of it. So I'm going to go back and check out the rest of it, though. You can kind of hear that Detroit sound, like usually when like with the beat, like they're rapping off beat or like they're rapping quick but with a purpose. So I'm all for finding new styles and new things like that. If it's bringing something different.

Yes, for sure.

All right. You want to do a pick, Terry?

I would go Designer, and going into Designer's Double Eye or Two, um, the deluxe album. This is my first Designer project that I listen to. I really only listen to "Panda," "Tammy Turner," and then like stuff that he's been featured on. So I don't have a big like grasp of what his sound is. And it felt like on this project he was experimenting a bit, 'cause "All or Nothing," when it first comes on, like it's more like hip-hop, and so I've only really heard him on, you know, like, so I'm like, okay, is this the new direction? So, I'm excited. Then "Money Time" comes on, "America's Baby" remix come on with Whiz on there. So, I'm like, "All right, cool, smooth." And then some of the stuff was like, "Ah." And then like, "Ah." But then some other stuff will come on. I'm like, "Cool." So, it really sounded like he got in the studio on this one. Got a selection of different type of beats and just tried to like do something on each and every one that he heard, which kind of makes, you know, interesting project.

Like the production on it is dope. I love the beats, but there's some beats on here that, and some songs he sounds like Future and I wish, like, damn, I wonder if Future actually did get a hold of this. Like what would he have done on this one? Um, "Bentley" has like a 2000s vibe to it. Timberland style beat. I love the—yeah. And so I don't know where he's going as an artist. I'm curious though. Like this project more than anything has like kind of put him on my radar for the next time he drops something. I'll be excited to check it out.

What was the other one?

Um, for real, like even that one, like that may be a single. I hope he leaves with that as a single because that song bangs. Um, but yeah, I'd say for this project, like I said, intrigue, interested. Like, it's a cool project, but I'm kind of curious to see what he does when he finds his own sound. It still looks like on this one, he's searching for a sound. At least from my take from it.

Yeah, I had a similar experience where it kicks off with "All or Nothing." He's using this super clear vocal tone. It's like this New York flow, and then I had the same thought as you, Terry, where I'm like, "Oh, cool. Is that what I'm going to get from this album? I'm actually like way more excited for this now." And then you get kind of like halfway through the album and it's like, oh, there's a lot of just that same um future-esque kind of stuff. There's some good ones on there like "Different Money" was one of the songs where he just kind of just doing this future type thing, but I liked it. But then yeah, "All or Nothing," "America's Baby" with Whiz Khalifa, and then the "LOD Freestyle." He has a super clear vocal tone. He's like a chameleon. Like he sounds like a completely different rapper on some of these songs than on others. It's kind of mind-blowing.

I also love that he had a few lines referencing "Panda" and like a line saying like, "I made some millies off Panda." And I like that actually because I don't remember him ever saying anything like that retrospectively before this album. So, I like to see that he's like actually acknowledging it and being like in a post-Panda era and not trying to sort of just spend his career trying to duplicate that. Yeah. So, yeah, he's being much more experimental and he hasn't really found his sound on this, but it's intriguing. I think that was a good word that you used, Terry.

Yeah, like you said, he um he referenced Panda, he references Timmy Turner, so like these big hits that he had and it's all like, okay, cool. But then he's also not trying to get stuck in that box, which I thought that's what he was trying to break away from, 'cause we just know him as Panda. But I don't know where he lands in terms of like what his sound is, or what his vision is going to be going forward, you know, like what is your artistry going to be now? And I think that's what he was exploring on this one, 'cause did the second half feel like more like love songs or like slowed a bit, at least at the like the first half of it?

Yep.

Yeah. So I'm like, I hope he sticks with the "LOD Freestyle" kind of style, 'cause like, yes, whatever that Wu-Tang Clan like the ODB. S the Kid, uh, said the Kid Go Psycho, Old Dirty Bastard, 13 a big magazine, I'm causing havoc. Like just all the references and [expletive]. Like, I mean, he starts the song off with a Ben Wallace reference, slam hard in the paint, I ain't Ben Wallace, Tony Hawk kick flip the brick then I grind him. Like, I don't know, I like the sound a lot, but I get what you're saying too where it's like it's kind of all over the place and like I don't know. I hope other people feel the same way as me, 'cause I'm like, if he gets loud enough feedback to like go that route, like wear more Brooklyn's, net varsity jackets and rap about ODB, I'm totally cool with that.

Yeah, absolutely. And I mean he is from Brooklyn, by the way, which like I had to do my research on to understand because I got brothers in Atlanta. I thought he was from Atlanta.

He's still, you know, he's got that future flow. I thought he was from Atlanta, but no, he's from New York.

That's—yeah, I know. And I feel like that's probably part of what kind of made him interesting when he did pop with "Panda" and [expletive] and made you feel like he might be like a southern trap artist.

Yeah. I think that's just something you figure out on the journey. Um, like a lot of artists, and it's dope when they come out like they know their lane. They stick to their lane, they do their thing. I think with somebody as talented as Designer is on this project, he showed a lot of different styles, and now it's just going to come down to a refining moment. Like, you got to refine. Okay. What are you going to bring? What do you—'cause you can do hits if you want to do hits. You can do club [expletive] if you want to do club [expletive]. You showed us that you can rap too. So like you can do all of these things. Now it's just finding a way to either tell a story or how you're going to present the music. I don't know. I'm, like I said, I'm intrigued to see where he goes after this, um, after this track.

Yeah. So, I do have a question for you guys to pose based off thinking about this comparison to Future that was such a big deal 10 years ago. Why is the culture seeming more forgiving of copycats now than we were 10 years ago? Because it seems like half of the new rappers sound like Cardi or Yeat clones.

Yeah.

And they're not really getting the [expletive] for it that Designer got for sounding like Future.

We were in this weird kind of transitional period where like old heads and just OG hip-hop fans were frustrated that things were becoming kind of stale and people were running out of ideas and just kind of reusing old gimmicks and [expletive] and like starting to copycat, because I think part of hip-hop is there's so much ego involved in it. It came from being kind of like a competition type thing, you know, like I'm better than you type [expletive]. When you lose that and you just start being like, "Oh, I'm better than you," but it's also all [expletive] and I'm just doing what that guy did, I feel like it loses the heart of it, or like the roots more or less. But now I feel like we're in an era where pretty much [expletive] everything is recycled in some way or another. Like art, entertainment, music, video games, TV. Like it's all—yeah, I know it sounds super cynical, but it just feels played out. Like ideas feel kind of played out.

I agree with you. Um, 'cause if you look at like, if you step away from music and you just look at like social media, like even with people like doing skits, like everybody does like a reiteration of a different skit. Like the difference is, like it's never been in hip-hop. Like we've had that in R&B or in blues or like classic other genres where artists would take the same song and like do something different. But what's now is that it's like everything sounds the same because that's what generates income and stuff like that. So like back then you couldn't do that, and like hip-hop being as small as it was, it was able to be gatekeeping more I guess amongst the people who were creating it. And then now when it became corporate, it's all like, well, this is what's making them money, then I'm going to do an iteration of that.

And to your point when you mentioned like the OGs or the old school hip-hop heads, and just in terms of like how they would either critique artists and things who are doing stuff now. One thing I do love, again going back to that Detroit, is that I love that style. Even though some people may have—or some purists may look like, well, you know, it's offbeat, it's bad. But it's all, like, that's still in their attempt of doing that. It's still something that's new and it's still something that's fresh. So I'm all for, you know, taking somebody being inspired by it, but I don't really care for like the clones and stuff. Like why it's accepted now.

Cash, I would say more than anything. If you're popping, you popping. Even just like how ghost riding is now is accepted. If it's hot, it's hot. They don't care. Stuff like the brain rot doom scrolling, like show me the same, like you said, skit done by 10 different people over and over. Like I feel like we're more conditioned to just accept mediocrity.

Does it bother you guys? Because there are, even on this Designer, there was like songs where he legit sounded like Future.

Yeah, he still sounds like Future, like he's 10 years later, he's still using it as a big part of his whole sound.

No, it doesn't. I think it—it used to bother me a lot more, but I kind of like—it's one of those things that I was like, choose which hill you want to die on kind of thing. I'm like, I think at this point I just need to find my peace in it. Like, what do I like? And that's why I really gravitated towards all the boom bap [expletive], like the boom bap revival, '90s revival kind of movement, 'cause I'm like, you know, at the end of the day, a lot of this stuff is cyclical history, just all that stuff, whatever. So, that's really where I've found kind of myself. I used to get a lot more annoyed by it. Be like, "Dude, that guy sounds like this other artist I've listened to for 10 years." Like, but now I just—I'm like, "Ah, that song's good." You know? I care a little less.

But it bothers me. Yeah, it bothers me. I don't like it. I'm a little bit more—yeah, I'm a little bit more old school with it. I always prefer unique sound. And I'm not about like things having to be more lyrical. You could be like a mumble rapper or a lean rapper, and if you figure out a way to make it unique then I'm with it. It's just about there's still some level of trying to find your own sound. But there are people like Designer that, like I called him a chameleon earlier. Like he's actually really good at imitating all types of different rap styles. So he's actually really talented. Like he didn't just randomly—like I don't think we talk enough about the people that were trying to sound like Future that didn't get a number one single like Designer did. Like there was thousands and thousands of them. Designer was the one—I mean, maybe not the one, but maybe like the most, the biggest, most noticeable one.

Yeah.

Like, so my point being that there's people that thrive off uniqueness and they can create their own sound and define their own sound for themselves. And then you have a different type of talent. It's still Designer, still talented, but he is good at kind of taking what he's heard from other people and sort of regurgitating it. It tends to be very like cookie cutter kind of music because he's not really breaking down any walls, doing anything unique, but he's still really talented. He writes good songs that people loved. He's shown that he's super versatile with his vocal range, even when he still does want to lean on the future sounding stuff. Yeah. So, yeah, ultimately it bothers me, but I think there's room for artists like Designer that are just good at regurgitating a sound.

I would say, yeah, that's this project. That is this project. Yeah. Um, let me show you that I can fit whatever mold you want.

Yeah.

I feel like with my artistry, like trying to find, like even with my own sound, there's people I hear which I would like try to incorporate that sound. Like I hear like White Grapes. I was inspired by that um Larry June um project that we just, uh, that we talked about earlier in the year. So like I'm not mad when they do it if they're either paying homage to it or they're bringing their own taste to it. But like Action Bronson and Ghostface Killah, like it didn't bother me as much because he wasn't talking about the same stuff Ghost was. The only thing was just like their vocal tones are just like how they are. But he's not trying to be Ghost 2.0 or take his own thing, right?

That's an interesting comparison. Yeah, 'cause I've never really heard that.

Oh, you haven't? Um, debate before.

No.

It's a big deal.

I'm like, oh [expletive].

Yeah, that actually 2011, like no joke, Ghostface like had a [expletive] hit out on Patrick Johnson. He was like, you know, I know people in New York, like I'm going to get you. Like he was like trying to [expletive] scare the [expletive] out of Action res. He was talking to this man with Willie Hutch playing in the background.

Just crazy 'cause like I think of them in such their own lanes, but then like when you make the comparison I'm like, "Oh yeah, they do sound super similar," you know? But like, like you said, contentwise it's so different that I never think of those two, and I love both of their music. Like I've gotten really deep into both of them as artists, like just catalog wise. So I'm like, yeah, that is kind of interesting. But I always think of Action Bronson as like almost his own thing. Like I don't know what to put him in. I don't know where he fits in, man. Like I really don't.

You know why I never heard the similarity there is because Action Bronson doesn't do the like the vocal—like that's what Ghostface had the most stylistic part about Ghost. He's like weird like little sounds and [expletive].

Yeah. And Action's never had that, though. I never really heard it. But yeah, it's just more the texture of his voice sounds similar to like—yeah. But he's not trying to emulate his style or anything like that. No. Maybe subconsciously he grew up listening to it and so, you know, he has some of the same cadences and stuff, but it's like you can't help the way that your vocal tone sounds.

No. But the thing with that is that Ghostface is from that era where, you know, where copying somebody or taking somebody was like—that was a huge no. I got my sword, you have your sword. Sharpen yours. This is mine. So yeah, I feel it.

So that was Designer II Deluxe. Next I'm going to talk about a single, Benny X featuring Quo with "Huncho Step." The reason why I want to talk about this specifically is because it's off an upcoming Benny X album called Genesis FM dropping on May 15th. And we haven't had the chance to discuss this in a few episodes, but we love to see producer-led projects on this podcast because these are where you get to see producers pushing forward with what they want to see in the music scene and industry. And this was a very unique beat. It definitely isn't something I think Quo maybe would pick on his own. So, just goes to show you get some excellent versatility from these producer albums and I'm super looking forward to hearing the full thing.

No, I totally agree. I'm listen—I'm not going to lie. I'm listening to it right now. I've been kind of like checking [expletive] out as we go 'cause I'm like, "Oh yeah, no, this is hard." Um, but I had, uh—I'm glad we're talking about this project too 'cause I had "Telepathy Love Saved," which we didn't cover. I don't remember when it came out, to be honest. But again, the beats just so [expletive] different, dude. And I love Benny X. Like I fell in love with his sound when he started popping off with Yeat and like doing all that kind of rage stuff, 'cause it was just at the perfect time in my life where I was super into that kind of music too and I was very impressed. So, and then seeing him produce, I think I saw like video of him in the studio or like a vlog or something, and just like his uh demeanor and stuff, I really just started to kind of like him as an artist and like person. So, I started to kind of pay attention to him more.

Dude, to hear this and like this project is just all over the place. And I love how it's called Genesis FM 'cause it feels like the same kind of idea that Vince Staples did in like 2015 or 16 with FM where it was kind of this poppy hip-hop sound. Like I mean Vince Staples FM thing was also like a radio skit, like announcer talking and everything, but it was just this kind of feeling that was like happy summer music, and so I don't know what that reminds me of, that like FM radio, like it's just something I feel like you'd hear on the radio. So I thought this [expletive] was really really good.

Yeah. I think the whole album is going to be all over the place. I see what you mean with the FM radio theme. It's like I could see him doing a bunch of different genres almost in the way of like you're turning the dial on the radio through the different stations kind of thing.

Thank you for putting it in words 'cause I'm like, I don't know why, but it makes sense, like why there's just FM on it.

Yeah.

Uh, okay. Okay. Yeah. It kind of feels like it's going to be a showcase.

Yeah, I think so too. It'll be an awesome Benny X showcase. Super looking forward to Genesis FM dropping on May 15th. That was Benny X and Quo, the "Huncho Step" single. Check that out. Cool. So, Gav, you've got a few singles to talk about. You want to talk about "Mold Hands"?

Man, you got me into this crazy artist, Mold Hands. These singles with this insane album art, but every single thing I've heard from them is amazing, dude. I don't know where they came from. I don't know what you would call it. It kind of feels like another Cardi clone but different. Like whatever we were talking about, that uniqueness, it just is something that I'm like I want to hear more of it every time I listen to it. Yeah, "Flash" was really really cool. I felt like this [expletive] just was a crazy distorted bass and the vocals on it just being this high, like Flash Flash kind of female sounding vocal. It reminded me kind of of like how JVB does dance vocals or like EDM kind of club vocals mixed into different kind of music. This kind of felt like that same thing with that chorus being in there. So, I don't know what it is, but I'm really really hoping we get an album or something soon, 'cause there's the one from 2023, but that's it. And that thing's only 20 minutes long. I'm like, that's more of a mixtape than anything. So, I hope all this [expletive] is leading up to something, 'cause he's relatively slept on.

Yeah. Only—I'm just looking right now, 36,000 monthly listeners on Spotify. Really super slept on for the quality level. If you guys haven't checked out Mold Hands and you're into like—it's not even rage, but it is kind of like maybe it uses rage components, but it's not like Molly rap or whatever, you know, like it's not the geeked up type [expletive]. It's just it's very very melodic.

Yeah, it is pretty polished. Like you will get these super heavy 808s and stuff, but it'll sound clean. Like I'm wondering like does this person—I just want to know more. Like they don't have any information about themselves. Like I just want—it's fascinating. Like I want to know did they produce themselves?

I mean if you look at the credits—

Oh. Uh-huh.

It's all Mold Hands. Beat maker Mold Hands. Studio personnel Mold Hands. Lyricist composer Mold Hands. Main artist Mold Hands. They do make their own.

So I'm like, I think it's a bedroom artist type [expletive], you know, that just knows what the [expletive] they're doing with their raw, 'cause I don't know how they're doing it, but I could see it too 'cause like that's hype. You're not doing polished vocals. So, like if you get the takes, you can do whatever you need to it with the post and like make it sound like this if you have sound design skill and [expletive], you know?

Yeah. And just in general, hip-hop is a genre that you can make in a home studio at like professional quality. You don't need a fancy studio really to make hip-hop. Mold Hands, if you haven't checked that [expletive] out and you like the sounds of just like rage music, just that melodic sound selection, that's definitely one to check out.

Okay, the last two I'll talk about are both Detroit artists. Totally different ends of the spectrum though, which is really fun. So, we had uh "Timeout" by Shitty Boys and Baby Tron. Stan Will and uh TRD, some of the dudes in Shitty Boys, but that was, you know, classic Baby Tron. I personally liked the beat more than the last project that we talked about. I felt like it was more palatable. It wasn't as experimental. Like, we were kind of talking about some of the beat selection on the last project being a little like, what am I listening to right now? Not in a bad way, but just challenged you. So, I felt like this was a little more straightforward, but nothing like crazy crazy to talk about. Just good Shitty Boys bars, Detroit rap.

I was a little more excited about the White Rose Moxy single, "Rave," 'cause he has one of my favorite songs with "Tricks" remix with Baby Smooth. Two of my favorite Detroit artists. And this is nothing like anything that he's done yet. This is totally like techno ghetto tech club music. Oh. Um, which he's always—yeah. He's always had incorporated into his beats 'cause if I'm not mistaken, he produces his own stuff as well.

Oh, yeah. We love artist producer artist.

Yeah. Yeah. He—so, he's the producer, but he's not the beat maker. So, he worked with After Wes and Jericks um for this one. But, I got to say, this is a really cool one. It's totally just something that you'll hear at a festival or in a club. Just heavy like synths, very very big, wide sounding, and then you just get kind of like drum and bass type drums. I personally think this is going to be really sweet, especially if he does a project that's kind of more focused on like techno dance music. I'm a big fan of EDM and club music despite my lack of going to clubs. But yeah, I think this will be really cool, though. So something to definitely check out.

Yeah. Yeah. If you guys get a chance, there are a couple good singles. Excellent. I think that is all of our releases that we're going to talk about this week. Let's talk about what else we've been doing in music. For me, I had a slower week. I'll just plug my usual stuff. You can follow us at Frequency Overflow on Instagram, TikTok, everywhere. And you can check out our beats at frequencyoverflow.com, or if you want to get anything mixed and mastered by us, feel free to email us at frequencyoverflow@gmail.com. And yeah, that's all for me for this week. What do you got going on this week, Gav?

Um, I've just been working on a couple beats for some buddies of mine. Uh, Link Sinatra that we talked about last week requested a beat. So, I've been working on that for him. Just doing some sample flips. But that's really been the uh the main extent of it. Yeah. I was just trying to bust those out and sharpen up a couple other beats that I had laying around on the hard drive. So, you can follow me on SoundCloud, Instagram, TikTok, YouTube, pretty much everything. Prod by lunar.g.

Awesome. What about you, Terry?

Um, I just did a feature for an artist that I have not yet met or interacted with, so I'm kind of curious to see how that's going to go. Oh, yeah. There's this artist named Yosoy Ringo and um we just been chatting and he was like, hey I got something, I don't know, you know, sent him my way so I did something to it. So we'll see what happens after that. As always, you guys can follow me on Instagram, YouTube, TikTok at Yo Terry V. Pretty soon we'll be dropping some more music. I just have to just press the button at this point for sure.

Oh yeah. So releases coming up next week. We have Cadence Weapon with Forager, Fatboy Sherief and Childhood Actor with Crayola Circles, French Montana and Max B with Wave Gods 2, Cosmo Brothers, Rosco P, Cold Chain, and Nicholas Craraven with Play with Something Safe, Odyssey and Hino with From Tacoma with Love. Plus, we got a release date revealed for Drake's Iceman this week, May 15th. So, the countdown begins on that. I thought he might try and drop it on top of Isaiah Rashad's album on May 1st to just be bitter to the TDE family, but uh now it looks like it's going to be May 15.

Leave Isaiah out of it, bro.

That's the other one I'm most looking forward to coming up is the Isaiah Rashad album as well. So yeah, that's what's coming up next week. Thank you listeners. If you haven't already, please give us a like and subscribe on YouTube, or if you're listening on Spotify or Apple Podcast, take a second to rate us five stars. Save the F2F Spotify playlist to follow along with what we're listening to throughout the week. It's what we use to listen to the weekly releases, and you guys should do the same. You can find that link in the description. To get a hold of us, you can email fridaytofrpodcast@gmail.com. Our intro and outro music by Lunar G. Find him at prod by lunar.g. Podcast edited by me, Jacob from Frequency Overflow. You can find me at Frequency Overflow. Join us every week to stay in tune with hip-hop releases from Friday to Friday. Peace.

Peace.