The first track, “Bomb Shit,” gives listeners an idea of what they’re in for. Showcasing a head-noddingly fresh, boombap-friendly beat, “Bomb” allows Rush to drop bars and pretty much tell unknowing listeners why they should listen. She speaks on her heritage, what’s made her musically and personally, and even manages to throw in a couple lines about her sex game. Thankfully, it’s not on Nicki levels of sexual energy (since too much sex talk becomes over-the-top and makes people think you’re just tits/ass/dick/what-have-you), but still manages to have you like “oh, word?”

From here, we’re led to “Money Pt. 2 (Straight Jack Move).” A sample-heavy track, it starts off quite chill and springy, then deteriorates into a track speaking on the wealth divide, overpriced things, and the government, and going dutch–as long as her dude gives her those O’s (and pays for dessert). Clearly, Ms. Rush is a woman after my own heart (I’m about 97% kidding ladies and gentlemen; don’t think I’m thinking with my dick on my reviews), since these are things often left untouched in a track of this nature. Equity and equality are two strong points in this collection, as especially indicated in Rush’s “Nasty.”

A track that calls into question government trying to dictate a woman’s right to choose and other “hot-button” issues, “Nasty” is my standout track on the EP. It has those “bars” people want, a catchy-enough hook, and some real spit. All in all, it’s a track that I’m definitely putting in my Android. “Wax Sizzle Like” has enough 90s references to make this old man smile. Plus, she manages to compare her style to both food and hot sex.

While I liked “Road Trip,” it is a track that you’ll have to go over a couple times. Why? It’s a track with multiple meanings. Each listen will probably give you something else to go “damn” about.

“Heavy Metal Rap” is a different type of track. It has a chopped-up chorus, but features a more “rock-y” production, and compares her game to various rock idols. It’s in some ways the rock remix of “Wax Sizzle Like.” While I appreciate the dopeness of the track, it–almost–treads no new ground when compared to “Wax.” It’s not a skip-worthy track, mainly for the DMC-like take on the production and the veracity of Lex’s flow on this one. However, it’s my least-favorite track on the collection.

The seven-track collection closes out with the track I featured at the end of our interview, “Hooked on Heron.” It’s a track that samples Gil-Scott Heron and speaks on NYC. There’s not much else I can say on that without gushing over the beauty on the track.