Casanova is one of the few MC’s in the game that gives me these 90’s vibes when he raps. He isn’t super lyrical, but believes that hip hop music’s main ingredient should be energy — just like the MC’s from back in the day thought. Granted, the energy he gives off isn’t quite family friendly, but nonetheless, it is invigorating enough to hype you up and make you think about doing something that might get you arrested. With his debut album, “Commissary,” I look for the NYC native to kick ass and take names, using a style that is now considered unique in hip hop. 





A Boogie Wit Da Hoodie and Casanova are two of New York’s most respected rappers, but what I like most about their artistry is that they don’t mind crossing genres. In “Down Bitch,” they do just that, gifting us with this cutesy rap track that has A Boogie providing us with this melodic hook that is nothing less than catchy, and Cass trying his hardest to sound romantic. Every new artist needs a mushy track like this on their debut album.




“Left Right” is easily the most radio-friendly track on this album. It features this smooth instrumental that reminds me of something Snoop and Nate Dogg would rap over back in the day.

Fabolous and Chris Brown are featured on this song, but in all honesty, the star of the show is Casanova. He sets the tone with a sly ass verse and hook that has him doing his best to slide in some scallywags bedroom, finally using his inside voice for the first time on this album. From there, Chris and Loso follow suit, each utilizing Casanova’s laid back demeanor. You would think Chris and Fabolous would play savior to this song, but that is definitely not the case here.




“Catch A Body” is the perfect way to start an album. It has this patriotic feel to it, but is also gritty as s**t. It’s almost like Casanova is trying to let the listeners know that he’s NY’s super hero, but can also be their villain if you push him. As for his bars, they are all threats that let his foes know he’s ready to go to war with anyone messing with his wave. Honestly, I’m not even sure he’s rapping on this song, it sounds more like a barely-rhyming rant, to me.




What are the odds that Casanova had G-Eazy and Rich the Kid in a choke hold when he tried to negotiate a way to have them both feature on a remix to his “Go Best Friend” track? 

“Go Best Friend” will be 2018’s strip club anthem. The beat attached to it is pretty exhilarating, Casanova’s disrespectful words towards women fits right in with other strip club tracks from the past, and G-Eazy, the same guy that made “No Limit,” 2017’s’ strip club anthem, put up a very solid verse. As for Rich The Kid’s part, I thought it was impressive, but I’m going to need him to stop promoting his “Plug Walk” single on all of his features.

Last time I tried to call a girl a “Best Friend,” she ended up extorting me on Facebook. So fellas, becareful who you call a “Best Friend.”




“Set Trippin’” is the track that made Casanova a known commodity in the rap game. It got heavy play in the east coast, as it sorta mimicked the gritty appeal of the “Ooohs” and “Hot N***a”s of the world.

I was literally terrified the first time I heard this song. The violent taunting Cass was doing throughout it sounded so heinous — both lyrically and vocally. It’s almost like he wanted the song to serve as a warning shot, but unfortunately, that s**t blew up.

They should document how much saliva and sweat was on the mic after the making of this record.


1. CATCH A BODY (4.5/5)

2, GRIPPED UP (4/5)

3. GO BEST FRIEND 2.0 (4.5/5)

4. DOWN BITCH (3.8/5)

5. SET TRIPPIN’ (5/5)

6. RED DOT (3.7/5)

7. LEFT RIGHT (4/5)

8. WHY YOU LIE? (3.8/5)

9. SET TRIPPIN (REMIX) (3.8/5)




Casanova sounds like a more organized Tekashi 6ix9ine. He screams, he’s explosive, but his bars are way more intricate. He also has more of a vast musical selection, opting to take his sound wherever the potential of money-making takes it.

I know this album is short (Only 9 songs, and one is a remix to “Set Trippin”), but it’s a shame that Casanova only really talks about two topics on it (Killing and F**king B**thes). I have no problem with the topics at hand, as like other rap fans, the whole flossy talk has gotten old, to me. but Unfortunately, I can see commercial rap fans sticking him in this box that doesn’t really get opened unless you’re mad at the world, which can really deprive you of the versatile styles of music he’s capable of giving you. Oh well, that n***a ain’t paying me to market him.

This is a beyond solid album. Cass really gave us fans something we can enjoy.