Sy ShacklefordBrother Ali dropped his last album less than 12 months ago, and has now released one of 2025’s first hip-hop records. With “Satisfied Soul”, he reunites with longtime producer Ant. Building from the preview EP of the same name released late last November, the full length LP also comes with a noticeable distinction: You may be used to joint releases from the duo released on Rhymesayers Entertainment, but it’s Mello Music Group footing the bill this time around. But label changes notwithstanding, Ali has spat some of his best raps throughout his career while under Ant’s productions. Of all the producers he’s worked with (unJust, Jake One, and Evidence), Brother Ali always finds a way back to his first: Atmosphere’s Ant with his knack for knowing which of his sonic creations meld with Ali’s rhymes.
Though no guest stars are included, the album is nonetheless kicked off with an intro from Yasiin Bey on the opening title-track. Even under distorted guitars, snares, and rapped vocals, the head-nodding vibe that this track induces is proof of the intensity jointly delivered by bot rapper and producer. The record scratching and the multi-tracked handclap snares and children’s choir evoke the customary hip-hop sermon imagery from Ali’s cadence on “Deep Cuts”; then there’s “Higher Learning At The Skyway” which has 1970s urban funk written all over it, from the jazzy horns and guitar samples to Ali’s Blaxploitation references. Not one to shy away from shit-talking rhymes, Ali gets his braggadocious penmanship on “The Counts” and does a soulful rap over Ant’s R&B-sampling soundscape on “Cast Aside”. The first single “D.R.U.M.” makes poetic use of the titular musical instrument to convey unifying connotations.
The crisp samples in the production on “Ocean of Rage” give it a moody, but enjoyable sound, especially the woodwind sample. Over which, Ali uses his raps to convey his tranquil fury over the frustrations in his life. “Under the Stars” finishes at the two-minute mark before Ali raps insights about people over melancholic piano keys. “Personal” is just as the title indicates, with bluesy production for Ali to rap his vulnerabilities as a man and exploring how not to personalize matters. He flexes his storytelling muscles on “Two Dudes” with a fitting playful upbeat production for Ali to provide humorous first-person narratives about encounters with fellow musicians. “Better But Us” is about a domestic relationship filled with nothing but turmoil. “Head Heart Hands” has arguably the album’s best production with a melodic beat laid down for melodic self-realization raps:
The jazz-blues production on the second single, “Name of The One” stands in contrast to the subdued “Immortalized”. For the latter, Ali raps autobiographical rhymes of his experiences as both a rap artist, street preacher, and an activist. The third and final single, “Mysterious Things” reflects on life with “Human beings are mysterious things / It’s a body with a spirit that wiggles the strings / The truth doesn’t always appear as it seems / and a lot of times hearing it stings.” With “Handwriting”, Ali draws on his own past for the lyrics with the haunting vocal sample urging him to let go. Last up is “Sing Myself Whole” a sung track over a guitar-laced production that’s reminiscent of Everlast’s early solo work. Brother Ali’s quality is usually consistently up there, and “Satisfied Soul” is no exception. While he does branch out occasionally with impressive work, his best work typically falls with Ant.