Queens, New York emcee Grafh has officially returned with his fifth studio LP, Sometimes Money Cost Too Much. Emerging over two decades ago with his debut mixtape The Bang Out, Grafh has built a reputation for consistency, having released a substantial catalog of mixtapes and EPs throughout his career. Following the acclaim of his sophomore effort Stop Calling Art Content—produced by the late DJ Shay and released via Benny the Butcher’s Black Soprano Family Records—and his TCF Music Group debut Art of Words, expectations for this latest project were high.
The album opens with “Word Up Son,” a track that pays homage to his home borough over a sharp, horn-heavy instrumental produced by 38 Spesh. The momentum continues with “Squeeze 1st,” featuring Benny the Butcher, where the two trade bars about the consequences of street life over a gritty, bloodcurdling boom-bap beat from Mike & Keys. The collaborative energy remains high on “Outside,” which brings together Mitchy Slick and Styles P for a street-focused anthem, followed by the introspective “Documented.”
The project features a diverse array of guests, including Tech N9ne on the aggressive “Suicide” and Bun B on the atmospheric, trap-influenced “Better with Time.” While tracks like “Big League” featuring Joyner Lucas attempt to bridge rock and trap aesthetics, the results are mixed, though the project finds its footing again with the gritty “Brick by Brick.”
As the album progresses, Grafh experiments with different textures. “Rollin’” featuring Don Paul and Dope Gang Porter leans into a nervous, experimental sound, while “Twin” utilizes a sped-up soul sample to explore romantic themes. The project concludes with “Some Wounds Never Heal,” a drumless outro that offers a moment of raw, gut-wrenching introspection.
Ultimately, Sometimes Money Cost Too Much is a project of highs and lows. While Grafh remains a formidable force on the microphone, the production occasionally feels uneven, and the second half of the album lacks the punch of the opening tracks. Despite these inconsistencies, it remains a notable entry in his extensive discography.
Score: 6/10
