‘Crowded Roomz’ is like the Nia Archives version of a ballad. Using subtle yet soulful melodies, she opens up about her vulnerabilities, delving into battles with social anxiety as airy synths and sombre guitars float around her. Yet still, she contrasts this with fast-paced, rapid-fire jungle drums, making the song an honest confessional that also pops off in the club.

Joey Bada$$ is in melodic mode on ‘Passport & Suitcases’. His catchy vocal inflections slide over a dreamy jazz-rap instrumental, creating the feeling of looking down at the illuminated skyscrapers from a plane taking off into the night. Kaycyy also pops up here, adding to the song’s euphoria with his smooth, feint croons.

‘BACK OUTSIDE’ feels like a celebration of Atlanta. The instrumental is rich with brass synths, akin to something you’d find on an old Gucci Mane mixtape. Anycia’s delivery is understated and woozy, representing a new generation of oddballs coming out of the city. Latto’s feature here is more straightforward, reminding you that even through all of Atlanta’s eccentricities, its talent can still bar your ass up.

‘Quicksand’ submerges you from the get-go. Atmospheric synths and howling falsetto vocals swallow the mix, which vibrates with thumping kicks. The versatility Milan Ring showcases here is admirable, switching from soft-spoken raps to the warbles of a seasoned songstress. The result is a single that is truly euphoric.

‘Doozie’ encapsulates the confident joy you can find in the club. It’s an ode to those moments of ecstasy, where you’re having a good ass time, unphased by any potential naysayers. The Jersey Club tempo of the kicks bellow like a swarm of pundits bouncing on the dancefloor. The glossy synths shine like strobe lights. Baby Lane is straight flexing, conveying the wild night through a series of triplet flows and ear-catching melodies.

It’s almost like B Wise has been waiting for his moment on Mixtape Madness’ Next Up? series. From the second the beat drops, the veteran switches flows and blends topics of introduction with well-earned braggadocio. Honestly, what more do you want me to say? It’s 3 minutes of fire raps from Wise.

On ‘2011’, Mick Jenkins sounds like he’s cooped up in his room, reflecting on his decade+ journey in the rap game. The beat is understated as if to make you focus on the words of the Chicago rapper’s career recap. He touches on both the highlights and the struggles, letting us know that he’s done his 10,000 hours. Hearing the effortless flows and intricate bars throughout this song, it’s truly hard to doubt him.

This cut from Creed Tha Kid’s new album is refreshingly different, and it’s awesome to hear him get weird with it. You’ve got these deep basslines reminiscent of Kanye West’s ‘Fade’, mixed with these flourishes of big band brass, sounding right out of a scene in Whiplash. Creed, alongside Mason Dane, flex their versatility in this atmosphere, mixing smooth raps and melodic inflections. It appears on Creed Tha Kid’s new project CREED, which you can stream now.

This new ealing song captures the feeling of being terminally online. DJ Smokey-esque DJ tags occur alongside cowbell pings and trance-inducing synths. Bayang (Tha BUSHRANGER)’s vocals echo in the distance, utilised like the old Tommy Wright III or Project Pat vocals you hear pop up in the phonk scene. You may be confused on your first listen, but the more you let the ‘KANDINSKYY’ loop, the more it enters into banger territory.