Uncle Murda — Don‘t Come Outside, Vol. 3

Third episode of the "Don't Come Outside" series created by Brooklyn rapper Uncle Murda.

The dude doesn't stray from the streets and together with his friend Que Benz, he offers another captivating project, with some conscious and political extracts in addition to the usual thug bars. The production very often falls on the choice of mixing boom bap and snare drum, which combined with some random samples and functional hooks, offers a disjointed and confused soundscape for the rapper, who decides to spit straight-hardcore on almost any rhythm: these frayed and disordered elements often try to slow his flow.

The intro has a heavy snare drum and a good deep soul chipmunk sample in the background, then in "Change Gone Come" he's aided by a great Mysonne spot, while in the third pick the host Lil Tjay stands out, with his youthful delivery on a vibrating drum. After the mediocre "Bro Shit", the rapper attempts to pay homage to Nas on a usual boom bap trap, but, despite the honest samples and hardcore delivery, I don't think the cut lives up to the title. "Party Full of Demons" and "Russian Roulette" round out a fairly lean section of the record, Uncle Murda delivers bars with his hardcore style, then he greets the guests. Benny the Butcher shows up in "Whole Lotta Money", spitting velvety on another boom bap trap, while Que Banz offers an autotune hook.

"Nothing Like Me" hosts the performances of Conway the Machine and Dios Moreno, the artist from Buffalo performs his bars with a smoothness dope flow on a beat more energetic than usual and a decent drum, Dios Moreno on the chorus. Three songs characterized by autotune follow: the tenth one has a heavy and pounding drum machine and Jase hook with autotune, in a song in which the energy of Uncle Murda descends. "Down Bad" features a sizzling drum, then Rich Starz closes the album with another hook with autotune, on a boom bap trap.

The effort is swinging, a roller coaster with continuous ups and downs: I don't think this is one of his most successful projects, he tries to grab the attention of the mainstream audience, by choosing an oblique and confused production that clearly doesn't favor him in most cases, and trying to compensate with tight rapping style and rough lyrics. The record, personally, leaves me Noreaga's "Melvin Flynt" vibes: it wouldn't be sufficient, however, to put a negative rating on an album that has at least two Griselda feats is against my religion.

Highlights: "Intro", "Change Gone Come", "Whole Lotta Money", "Nothing Like Me".

Rating: 6/10.