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Album Reviews

Written by Iman Music for Underground Underdogs

HATESONNY’s latest release, The Sounds in My Head, is a 3 track EP that embodies the young rapper’s captivatingly dark yet carefree sound. The Sounds In My Head allows listeners a peek into Sonny’s life and his surrounding thoughts. HATESONNY described the project as being “inspired by stages of thought” where he takes us through the beginning of his day in the first track, to his “more positive thoughts where it’s just all good energy,” and full circle to the last song with his “more frequent thoughts of depression also self destructive tendencies.”

The EP opens up with “Good Morning,” produced by Austin based musician war manga. Sonny’s low monotoned voice melts with war manga’s loopy and eerie beat. “Good Morning” encapsulates Sonny’s determination to live life as easily as possible. He raps about the easiness of him getting to money as he goes about an eventful yet not eventful day involving insomnia and his relationship with drugs and women. This song is the preview of how he starts his day and what goes through his head.

The EP transitions into the more upbeat second track, “I Just,“ produced by Deaf, another Texas based producer hailing from Houston. We see the reoccurring theme of women in the EP and how Sonny paints himself as a hero amongst women. Lines like “I just fell in love with a bitch” and ”I just scooped a bitch and took her out the scene” show us his nonchalant yet arrogant attitude towards the girl, or girls, mentioned. Deaf’s entertaining production matched with Sonny’s meticulously planted flow hypnotizes you to melt with the song. The last song, “Self Destruct,” wraps the project together in the most destructive yet organized way. Closing the EP out, Sonny presents his darkest, most depressing thoughts as he is accompanied by Minnesota rapper Zero. Produced by Maryland native Ravi, the beat is dirty enough to get you wrapped into the same murky mental space that the duo present on this song. Zero’s guttural sound completes the gloominess that Sonny delivers consistently.

Originally meant to be a full tape that was eventually cut down to just 3 tracks, The Sounds In My Head presents HATESONNY’s degenerating thought process through hypnotizing beats paired with his energizing, monotone flow creating the perfect window into the young artist’s mind. Listen to the full EP here.

Written by Gerard ‘Muppity’ Mullin for Underground Underdogs

Extra Lucky 2 was finally delivered to fans on May 5th, the long awaited follow-up to Lucki and Brent Rambo‘s collaborative EP from two years ago. At only 5 tracks, the EP provides a brief, but candid, look behind the scenes of Lucki’s recent lifestyle thrust upon him. Both Extra Luckys may seem like they are leftover tracks at a glance, yet the cohesive tracklist and atmospheric beats offers a tightly stitched EP.

Brent Rambo is responsible for the production on every song of the project, and his eclectic style is a perfect match for Lucki’s constant mood swings. Lucki’s highs experienced through getting money (or quite literally getting high) are juxtaposed with his cuttingly deep lows of downfalls in love, lust, and addiction. Rambo’s infamous “ready?” producer tag sampled from video game Crazy Taxi is fitting for his production style. Following each tag is a dive into whatever world Rambo has imagined for the track, whether it be shining lights, grimy alleys, or a more somber atmosphere.

The opening track of the project, “90 Milligrams” gives a glimpse into how Lucki views himself and the weight that has been put on his shoulders. Kids see him as the savior of his neighborhood; the one that made it out, a role model for so many others from his city. But this just seems to heighten his self-loathing for his battle with drugs, and creates a horrible self-image for himself whenever he is high. It shows where his values remain despite his newfound success, “It’s really an honor I’m with legends at dinner doe, not even with rappers, I’m with scammers and stripper hoes.” Lucki is not one for the spotlight, instead preferring the company of those he came up with.

This healthy distrust is a common theme across the project. Lucki opts to stay low-key and do his own thing, following his own path as opposed to putting himself on a pedestal higher than the common man. Keeping himself as such a relatable figure is what makes his music so important and emotional, as anyone can empathize with his issues.

Lucki’s skepticism of those around him is emphasized on the track, “Over You,” which is ironic as the hook makes it clear he is still caught up in whoever he is “over.” The dissonant production is yet another reminder of the synchronization between the two Chicago favorites, with the instrumental matching Lucki’s reeling vocals with every new compression of the beat. Throughout the project Lucki shows that he is more aware of the precarious position he is in as an up-and-coming rapper than he lets on, even though he spends so much time seemingly lost in the moment. “Half the world is watching… half these hoes be plotting wanna rob me while I’m high.” For fans of Lucki, he reassures that his downfall won’t be for those attempting to make it happen.

“Boss Bitch” stands out with its immediately intense and bumpy production. Lucki shows he still has traces of who he was when he was coming up, from rapping about still hitting stains, driving too inebriated, and still in search of a girl who can really hold him down. His hungry flow matches the underlying bass, and it’s clear Lucki is out for blood with this one, reminding everyone he is not one to be messed with.

Extra Lucky 2 may look like tracks that just didn’t make the cut for Freewave 3, but it becomes evident that Lucki is being more honest than ever about his thoughts during this turbulent time for him, and none other than Brent Rambo could arrange production that fits the extreme and chaotic moods of Lucki.

Written by Marcus Pruitt for AUDIBLWAV


The wait is finally over. After two years, various label issues, and a supposed “retirement,” Lil Uzi Vert is finally back and better than ever with his long-awaited album Eternal Atake. 


Released on March 6th, 2020, Eternal Atake has been on the waiting list for fans ever since he announced it in 2018. It consists of 16 tracks, along with the two bonus tracks “Futsal Shuffle 2020” and “That Way.” On this album, Lil Uzi Vert lives up to his name, with his flow on a majority of the tracks being akin to a little uzi. Although his flow is fairly similar throughout the album, its structure is different than all of his other projects. The first six tracks are in his Baby Pluto persona, which has a sound consisting of fast bars, loud and distorted production. Tracks 7-12 are in his Renji persona, which keeps everything more mellow and relaxed. The final 13-18 tracks are in the classic Lil Uzi Vert persona, which has a sound similar to his 2016 projects Lil Uzi Vert vs. The World and The Perfect LUV Tape.


Right off the bat, the first track, “Baby Pluto” makes listeners excited for the album. It features an introduction welcoming the listener to Eternal Atake, and follows up with some classic bars from Lil Uzi Vert, starting the album off in an upbeat manner. The upbeat sound continues throughout the first six tracks, utilizing loud 808s, synths, and high tempo. Uzi particularly puts on good performances on the tracks “Lo Mein,” “Silly Watch,” and “Homecoming,” hopping on beats that capture the psychedelic, outer space-esque sound that one would expect on Eternal Atake, and spitting bars for the entirety of each track. 


Tracks 7-12 continue to keep up the energy, but in a different way. On these tracks, the beat selection is more laid back and relaxed, matching Lil Uzi Vert’s Renji persona. The tracks utilize a multitude of instruments and vocal effects, rather than flooding everything with 808s like the earlier songs on the album. The 10th track, “Chrome Heart Tags,” especially shines among the other tracks. Produced by Chief Keef, the beat on this track utilizes a harmonizing choir, synths, and spaced out 808s to create a relaxed, ‘alternative-trap’ sound. “Prices” is an excellent track, as well, sampling Travis Scott’s 2016 track “way back” to create a sound that allows Uzi to spit his bars, while keeping the listener in a trance with the ethereal production. 


The final 13-18 tracks bring the sound back to Uzi’s prime in 2016. They draw influence from his older projects, particularly Lil Uzi Vert vs. The World and The Perfect LUV Tape. The influence is evident on tracks like “Venetia” and “P2,” where Uzi brings back his old flow, and even continues where XO TOUR Llif3 left off on “P2,” using similar flows and a beat reminiscent of the original.


When it comes to the album as a whole, Eternal Atake is fairly good. The two year wait was a bit much, but considering the issues that Lil Uzi Vert went through with his label along with the stress of his supposed “retirement,” he gets somewhat of a pass. Each track is good in its own way, and even some of the weaker tracks like “I’m Sorry” and “Secure The Bag” manage to appeal to the listener and leave them satisfied with what they’re hearing. Some fans feel as if the album is not enough for a two year wait, and that is understandable, but Uzi brings back his classic sound on this album, and the deluxe version features tracks that fans everywhere have been waiting for, so there is a little bit of everything for someone. When it comes to a rating, Eternal Atake gets a 9/10, with the standout tracks being “Lo Mein,” “Chrome Heart Tags,” “POP,” and “Prices.”