BROCKHAMPTON "iridescence" Album Review

Oh yeah, it’s time!!!!! I know one or two of you are probably still waiting to hear my thoughts on Troye Sivan, but we have more pressing matters, my friends, because it is time for a review of the new BROCKHAMPTON album “iridescence.”

This is the latest studio album (and major-label debut) from the Texas-based boy band BROCKHAMPTON. You may have heard of this group before, as they blew up in 2017 with their “SATURATION” trilogy of albums, which became some of the year’s most critically acclaimed records. The band brought with said trilogy of albums a very cutting-edge, different style of hip-hop, and one that seemed impossible given the size of the group (there’s like 13 people in the band, holy moly). Now, after said albums, the group went through some rather turbulent times: they planned to release an album called “Team Effort” in 2018, but delayed it indefinitely and announced that their 4th studio album would be called “Puppy.” However, despite a positive coming in the form of their signing to Sony’s RCA Records label, a negative came in the departure of group member Ameer Vann, after news broke of his sexual misconduct and verbal/mental abuse. The group did bounce back during the Summer, however, releasing three singles in the form of “1999 WILDFIRE,” “1998 TRUMAN,” and “1997 DIANA” on Beats 1 Radio (none of which made this album, might I add).

Now, I’m sure you guys remember this (because there’s a small chance if you’re reading this, you were one of the people that put me on to these guys), but BROCKHAMPTON’s “Saturation” trilogy were some of my most-requested albums to review, so I gave them a listen over the Summer (in fact, “SATURATION III” was my milestone 100th review). I’m glad I listened to you guys because the “SATURATION” trilogy is excellent, and I love BROCKHAMPTON. Not only is their style so cutting-edge, different, and exciting, but it’s also so emotional and gorgeous, and I’ve continued to thoroughly enjoy each album with more repeat listens. So, naturally, I was excited for wherever the group was going to go next, especially with this being considered the first of their “The Best Years Of Our Lives” trilogy. And I did enjoy the “1999 WILDFIRE,” “1998 TRUMAN” and “1997 DIANA” tracks upon hearing them the first time, however, any expectations or predictions I could’ve made went away when I found out that none of those three singles would make the final album. So, all bets are off in terms of what this could be like, but I’m still excited because BROCKHAMPTON is a group I adore, so what do they bring with “iridescence?” Is the beginning of this new era a beautiful one? Well, let’s find out:

NEW ORLEANS: Alright, so this time, there’s no “every title has the same number of letters in it” thing, they’re just going right in. Not only are they talking about their come-up, but they’re also giving us their first collaboration, with none other than…Jaden Smith? Well, that’s the last person I’d want to collaborate with BROCKHAMPTON, but hey, his appearance is much smaller so I was hoping he’d come through. Overall, the group brings more very weird, quirky, cutting-edge production here, and Dom’s verse hits hard right from the jump. Kevin’s hook is pretty fun, bearface’s vocals are much different than before but still welcome, Matt’s flow is smooth, and Joba and Merlyn’s performances are very charismatic and energetic. And Jaden’s feature actually works here, given that he’s only here for a short time and all he does is sing-rap smoothly over the hook. Already, this one is a banger. I really like it!

THUG LIFE: This track is all Dom and bearface (the latter of which makes me happy, because I always want to hear more bearface), as Dom talks all about his own negative attributes and personality traits. This one leads in perfectly from the last cut, and it’s a more moody, emotional cut with very sad keys and an absolutely beautiful hook from Kevin, bearface, and the London Community Gospel. Dom sing-raps on his verse here, and his rather broken, sad vocals are really effective, as is his rather slanted, not entirely straight flow. Not gonna lie, this song really had me in my feelings, it’s such a gorgeous cut that, even at just 2 minutes, might honestly be one of my favorites from the group.

BERLIN: What seems to be a song advocating for the end of violence, this cut has a slightly more abrasive feel to it, though thankfully it’s not overly aggressive. The track features some very weird, filtered, and really fascinating percussion, and bearface’s vocals, though heavily filtered, are really fun on the hook. Dom’s performance is really a highlight here, but it’s always a team effort with these guys, and I think everyone comes through with very energetic and memorable vocal performances with very sticky melodies and flows. The track gets rather heavy at the tail-end, but in this case, that’s not a bad thing, as it helps add some variation and makes the song really enticing.

SOMETHING ABOUT HIM: All Kevin all the time on this one! This cut, which probably has the most letters I’ve ever seen in a BROCKHAMPTON title, sees Kevin talking about his love for his long-term boyfriend Jaden Walker, who I might add helped create “1998 TRUMAN” and “1997 DIANA” as he was credited for “styling” on the song. The song is slightly slower and moodier, with somewhat downtempo percussion and some rather seductive instrumentals. Kevin’s vocals take a lot of twists and turns on this very short track, with a lot of different filters and sounds, but he makes each angle very kinetic and interesting, and it ends up being a very sweet song that, even for its short length, begs repeat listens.

WHERE THE CASH AT: Outside of one verse from Matt, this song is Merlyn’s own. Seen as something of a sequel to the song “CASH” from the first “SATURATION” album, Merlyn’s performance on this one oozes with energy and charisma, and his hook is really sticky as well. Matt’s verse is also really exciting, as his fast-paced flow meshes well with the somewhat darker electronic production and very engaging percussion. When it comes to BROCKHAMPTON, you either get the emotional songs, or the bops: this one is a bop, and it’s a damn good one.

WEIGHT: With this one, the group seems to look into their inner-demons, and talk a lot about the “weight” that they’ve carried since the “SATURATION” trilogy earned them world fame. Beyond the idea of pressure, there are also themes of self-harm, fear, drug use, alcoholism, and much more here. And with Kevin’s very sad vocal inflection on his verses, as well as the very moody synths, the sad feel is immediate with this one. The song does change to something more energetic, with a drum beat and keys that kind of remind me of a video game (I think of “Kingdom Hearts” a bit here), but it works even if the change is rather sudden. Joba’s vocals are smooth, Dom’s verse also has the sad inflection to them that worked well for Kevin, and Sammy-jo’s interlude is certainly emotional. Yeah, I dig this one a lot. Very enticing song that takes things down the emotional route that’s worked very well for the group before.

DISTRICT: The gang’s all here with this one, seeming to allude in some ways to their “new start” on the hook. The electronic production is, again, somewhat abrasive, but very pounding and really sticky. Kevin’s hook is one of the most fun choruses on the record, the flows throughout this one are consistently great, and the vocal filters many members use mesh well with said production. Maybe it was because I loved bearface’s vocals so much before on the “SATURATION” trilogy that I wish his weren’t filtered, but it’s okay because they fit perfectly, and the song ends up mixing well between being an emotional bop. I really like it!

LOOPHOLE: BROCKHAMPTON was known for their shorter “skit” interludes throughout the “SATURATION” trilogy, and it looks like they’ve got another one here. It’s just a short interview between DJ Whoo Kid and Cam’ron that talks about fame and how said fame changed friendships. The interview does have very emotional strings added to it that give it a moody feel, but as it is, it’s a 53-second song that serves its purpose as an interlude and nothing more.

TAPE: Kevin seems to embrace anger on this one, talking a lot about his disdain for writers, tweeters, journalists, and much, much more, and Joba, Matt, and Dom seem to embrace some insecurities as well. The production is a bit busy on here, and while it does capture the emotional feel rather well, I do think it's a bit too slanted and off-time for me. I do think the boys all come through with great vocal performances here, but again, some of the percussion just feels a bit clumsy and makes the song a little worse. Maybe it'll grow on me in the future, though.

J’OUVERT: What seems to reference an annual Caribbean street carnival, this song doesn’t really change much up in terms of BROCKHAMPTON’s sound, but given how weird and different their sound is, that’s okay at this point. The song has very banging production that makes it feel like a turn-up track, and the performances are very energetic, especially Joba’s (he’s definitely the highlight of the song with his smooth hook nicely juxtaposing his very shouty, harder performance on his verse). And honestly, it’s really nice to hear bearface rap a bit on this one, as his flow is really fun on his short interlude. It’s another bop, what more needs to be said?

HONEY: A track that pays respect in several ways to 50 Cent, this one has a really great lead-in from the last track, and the production feels a little less fast-paced compared to the last one. Still, it’s got a very pumping, turn-up vibe to it, with a solid synth bassline and great sampling of the Beyoncé song “Dance for You.” There’s a lot of weird sonic twists and turns on this track that really work, and the boys all sound very smooth and melodic up against these very vibrant instrumentals. This is another banger.

VIVID: Here, the boys flex just a little bit over some very dark, turn-up production with a banging drum beat and more rapid-fire flows. I love said flows on this one, as Matt and Dom bring some great technicality (I particularly find Dom’s performance fun as he switches between a more low-key inflection and a more shouty, aggressive performance very nicely). The darker production is also fantastic, helping to add another bop to BROCKHAMPTON’s long list of them, and the song is rounded out nicely by Kevin’s fun outro and bearface’s very pretty, filtered vocals on his short verse. Really like this one a lot!

SAN MARCOS: A reference to the city of San Marcos in Texas, where the group had their humble beginnings, this seems to be a message from the boys that they are leaving the past in the past and beginning again (which makes sense given that this is a new “era” for BROCKHAMPTION, and with the fact that the album title is all lowercase this time around, that also adds to it). I really love the guitars here, they give the song a very moody feel that I really love. Matt’s somewhat broken vocals on his verse add to said feel, Kevin and bearface’s vocals are beautiful as well, and I also love Dom and Joba’s more melodic flow on this song (oh, and the cameo from the London Community Gospel Choir at the very end is a nice touch, too). This is a very different-sounding song for BROCKHAMPTON, and I absolutely adore it. This might actually be up there as one of my favorites from the group.

TONYA: The first single that dropped before the album, this one seems to share similarities to the award-winning film “I, Tonya,” a film about someone who achieved stardom only to lose it to scandal. This song seems to play off of that idea of “unstable stardom,” while also having some subtle allusions to Ameer’s departure from the group. The song starts with a very sad piano melody, along with very emotional vocals from bearface that mesh well very with said piano. bearface actually takes the lead on this one, while the hook is delivered by Jazmine Sullivan, serpentwithfeet, and Ryan Beatty. This is honestly perfect for the sad feel the song is going for, as their vocals are all very lowkey and gorgeous up against the pianos. The song ends up taking a somewhat bigger feel once the drums kick in, but it still works and still feels somewhat lowkey, thanks largely to the sad inflections on Kevin, Dom, and Merlyn’s verses, and Joba’s more melodic vocals in his appearance. Said performances are all very sticky, and they help round out another amazing song.

FABRIC: The closer to the album, this one also feels a bit more emotional with some of the lyrics, but it seems to end off on a positive note with the group reiterating it being “the best years of [their] lives.” The production is a bit more minimal, with more lowkey synths meshing with some more downbeat and melodic flows and performances from the boys. Said emotional vocals are very nice, the very plucky feel of the song is very effective, and the hook is one of the album’s best. The song also takes on a slightly heavier feel to finish off, but again, it’s very effective and really fascinating. It leaves me fulfilled, but also wanting to hear more of what they have to offer. It’s a really beautiful ending to the album, and it’s another affirmation of why BROCKHAMPTON is one of the most interesting groups in music today.

I don’t know how they did it, but BROCKHAMPTON’s new era is off to a pretty damn good start. Continuing to show a focus no group of this size should be able to have, the boys create a perfect mix of songs, some of which are more emotional, and some of which are huge bops, but what stays consistent is just how enticing and cutting-edge they are. Even if the boys don’t really “change” their sound, said sound is just so vibrant and exciting, and the vocal performances are just so charismatic, that they manage to keep it interesting. What I can also appreciate is that the album features a few more songs with just one or two members, and I like how these kind of make them feel a bit more intimate and personal. While BROCKHAMPTON has always been about the team and the entirety of the group, it’s nice to see the boys get a little more time to themselves in the spotlight to really explore and give us a look at who they are. I’m sure I’m not the first to say it, and I definitely won’t be the last, but BROCKHAMPTON’s “iridescence” is fantastic, and if this is the beginning of the “best years” of BROCKHAMPTON’s life…well I can’t wait to see what else is in store.

Way to go, boys.

Favorite tracks: NEW ORLEANS, THUG LIFE, BERLIN, SOMETHING ABOUT HIM, WHERE THE CASH AT, WEIGHT, DISTRICT, J’OUVERT, HONEY, VIVID, SAN MARCOS, TONYA, FABRIC

Least favorite tracks: I guess TAPE, if I had to pick one.

Rating: Excellent

Bhad Bhabie "15" Mixtape Review

*snickers* Ohhhhh myyyyy God, you guys are gonna hate me for even giving this one attention. I could easily be covering Troye Sivan right now, but it’s time for a review of the new Bhad Bhabie mixtape “15.”

Bhad Bhabie is a Florida-based rapper who first blew up in late 2016 with an appearance on Dr. Phil that spawned the very viral meme catchphrase “cash me ousside, how bow dah?,” which led to her becoming the theme of a very viral dance song and earning her the nickname, “The ‘Cash Me Ousside’ Girl.” Apparently, she ended up using this meme success to begin a music career, because our constant use of this rambunctious girl’s viral catchphrase served as enablement and helped her build a following to support her music. Surprisingly enough, her music actually saw some decent success, with singles like “These Heaux,” “Hi Bich” and “Gucci Flip Flops” making their way onto the Billboard Hot 100. I know, I sometimes question how we got to this point as well.

Now, I know, some of you are all ready to give me the what for because I’m even daring to go near this thing. And I know what you’re thinking, I’m supporting a spoiled, angry, 15-year-old girl that’s had to battle back from an arrest (yes, at 13-14 years old, she was arrested for grand theft and marijuana possession) AND battle back from accusations of being a “culture vulture," so I get it: you guys are wondering why I’m enabling someone like this. Well, I’m not gonna lie, part of me is doing this because I’m a glutton for punishment, but also because I feel like Danielle has grown at least a little tiny bit as a person based on some of the recent videos I’ve seen from her, and I’m willing to give second chances. That, and even though this mixtape is 15 songs, it is lined with some big features like Lil Baby, Lil Yachty, YG, and Ty Dolla $ign, so there’s at least a chance it’s doing something decently. Let’s see if that’s the case:

15 (Intro): Danielle starts off the song by talking about how her 15 minutes have lasted longer than she expected (you know, because Cardi B didn’t talk about this already), and she does this over a very minimal, very basic trap drum beat. It’s honestly kinda stale, Danielle’s performance makes her sound like she’s trying too much to sound like a hard-ass, and I can tell lyricism isn’t her strong suit. Danielle, you wanted me to name just ONE rapper that’s better than you? Well, uh…I have a list. Denzel Curry, Pusha T, Eminem, Travis Scott…Dolly Parton...Betty White...probably Estelle Harris...did you want me to keep going?

Juice (feat. YG): Danielle talks about her “rags-to-riches” story on this track, once again doing so over some very basic, overdone trap production and click-clack percussion. Danielle’s performance once again sounds silly to me, as it just screams “15-year-old trying to sound cooler than she actually is,” and the hook doesn’t stick whatsoever either. Hell, I had some hope that YG would help save this one, but he does next to nothing of interest and it feels like he just fades into the background. I’m sure this could be a good track for children who want to seem cooler and harder than they actually are, but otherwise, I can’t take this seriously.

Gucci Flip Flops (feat. Lil Yachty): One of Danielle’s biggest singles, this is your standard trap flex song. Only difference is that it’s got a 15-year-old girl leading it, and Lil Yachty comes in for some reason. Honestly, the hook on this one just gets really grating after a while, Danielle’s vocal performance doesn’t come off as interesting to me (it again just kinda makes me giggle), the trap drums and murky keys are very generic, and I don’t find Yachty’s verse all that enticing either. I honestly just find it a bit weird that he’s talking about “fucking bitches” on a track with a 15-year-old girl. I know, he’s not talking ABOUT the 15-year-old girl, but…it’s still creepy.

Affiliated (feat. Asian Doll): Okay, I actually liked the way this one started with some of the more bright keys and energetic production…and then Asian Doll started rapping on the hook and my ears screamed “STOP!!!!!” Beyond her voice being even more grating than Danielle’s, she literally sounds like everything else out there. I actually kinda wondered if she was trying to be a female Kodak Black, and if that was the case…that’s not something you should be trying. I also find it weird that Danielle is talking all about how she “graduated from the streets” at 15, and again trying to make herself sound tougher. But you know what was the worst part? When both of them started rapping together. I was about two seconds away from having my ears literally bleed. And then when they ad-lib on the outro, it honestly sounds like listening to two very loud, annoying grandmas speak to each other. Yeah, that bad.

Geek’d (feat. Lil Baby): Once again, Danielle tries to be a bit more confident here by basically telling listeners not to mess with her because she will not be afraid to fight you. I wouldn’t be shocked if she’s talking to that Woah Vicky girl she got in a fight with before. But regardless of who she’s talking to, her song still sounds like wallpaper trap music. Again, very dark, murky, emotionless keys, a grating vocal performance that tries to make Danielle seem like a “tough girl,” and a Lil Baby performance that, while not terrible, still sounds creepy for the same reasons that Yachty’s performance did. I didn’t think I would dislike this album THIS much so far…but that’s why you never go into a Bhad Bhabie song or album with expectations, I guess.

No More Love: Ohhhhhhhhh noooooooo, Danielle’s jumping on the auto-croon bandwagon, too? Jesus. Well, it’s not as bad as when 6ix9ine did it, but it's hard to be that bad. Still, Danielle’s vocals aren’t really all that great, and the huge amounts of autotune they drowned her in don’t do much to help her either. The trap production tries to go for a sad sound, with Danielle trying to talk about a guy that she has no more love for, but honestly, it’s just dull. It’s background noise, honestly. It really doesn’t leave a lasting impression at all, it’s just white noise.

Clout Drop: An under 2-minute song that tries to take on another dark, murky feel, Danielle talks on here about how she’s not messing around with people that are chasing clout. Admittedly, I think her more rapid-fire flow on this one is actually interesting enough to keep this song from being one of the album’s worsts, but it’s just a shame it sounds like so many of the other songs on here. It feels like Danielle is settling for this very one-dimensional sound in her music, and it’s honestly not all that distinct from many others in the current wave of SoundCloud rap. And again, the length makes the song feel pretty damn unfulfilling in the end. Not one of the album’s worst, but it’s not very good.

Yung and Bhad (feat. City Girls): Do I really have to say it? This one sounds almost the exact same as the other songs on this tape. I almost couldn't tell that this was a different song. And yeah, she still has the rapid-fire flow here, but it honestly feels tiring already, and it’s not enough to have rapid-fire flow when your production is so generic and overdone. And City Girls, why? You just helped Drake make “In My Feelings,” which is a hit and a good song. Why are you reducing yourself to this mess? Ughhhhhh, let’s just move on with this thing.

Bhad Bhabie & Jack $hirak: Oh. My. God. Literally, it sounds like almost the exact same thing! Who is Danielle having a competition with on this one? And what were the terms? “Whoever makes the most generic, one-note mixtape wins?” Well, congrats, Danielle, you have won. 1st place. Still got a way to go until you dethrone the supreme champion NAV, but sooner or later, you can do it. In all seriousness, it just feels like Danielle giving us the same flow, the same dark, sinister but still one-note production, and a hook that hardly does anything to “hook.” Next song, please. I just want to be done with this.

Famous: *falls off of bed and slips into madness* Bhad Bhabie, why? What did I do to deserve this asinine music? What did I do to deserve these wallpaper trap songs, cringe-y vocal performances, and lackluster hooks? And why are you again trying to croon at points of this one? Honestly, I don’t even care that you’re famous at this point, congratulations kiddo, you made it. I just care that you use that fame to put out quality music, but it doesn’t sound like that’s happening here. It just sounds like everything coming out of your mouth is the same, and everything your producers make is the same. Is it that difficult to try something different? Hm?

Hi Bich: Okay, this is a little bit of a reprieve. One of the big singles that Danielle dropped way before the release of this tape, I have a feeling this made it onto the tape because of it being her highest-charting single yet. Honestly, I’ll take it over “These Heaux.” Simple as the song’s production and structure, it’s actually oddly catchy and it’s got a pretty fun hook as well. Danielle claps back at the haters on this one, and while some of it may come off as goofy (especially some of the lyrics on the hook), it’s actually a little more fun than most of the songs on the album. Danielle’s verses aren’t quite as strong as said hook, and I don’t want to come back to this at all in the future, but it’s definitely better than anything else this album has offered so far.

Shhh: *curls up in the corner and rocks back at forth* Danielle…tells people to “shhh” on this, but…why doesn’t she take her own advice? *snaps out of madness for a second* Okay, but seriously, Danielle just sounds like every other trap artist on this one, with a basic trap drum beat, very same-y dark production, a completely laughable and goofy hook, and another super cringe-y vocal performance. I just want this to be done already. I tried to defend Danielle, but why do all of her songs just sound the same? Please, just end this.

Trust Me (feat. Ty Dolla $ign): Ty, man, what the hell were you on to get on this one? Do you hear Danielle’s auto-croon vocals? They’re not very good! Look, I respect that Danielle is trying to go for a more emotional, lovely song here with brighter, more moody production, but I feel like even with autotune, she just doesn’t have the vocal chops to make this one work. Really, what stops this from being one of the album’s worst is that Ty actually comes in and gives it his all with a nice performance. Otherwise, this is one that merely shows me that Danielle needs some work vocally if she wants to make this emotional angle work.

Bout That: Oh, and right after she goes down the emotional route, she’s back to wanting to fight people. Man, kids these days just never know if they want to fall in love or get in a fight. And I knew I was in for a bad time with this one when it started with Danielle laughing. Jesus, if you’re a film director and you need someone with a really creepy laugh to play your villain, just cast Bhad Bhabie. Just don’t ask her to make the movie’s soundtrack, because if it’s anything like this song, it’s gonna have really basic, one-note production, cringe-y vocals, and a complete mess of a hook. Hey, at least there’s only one song left.

Bhad Bhabie Story (Outro): A nearly 7-minute song by Bhad Bhabie? Honestly, terrified. And to be real, I don’t care if this is supposed to be a more raw, emotional track and Danielle is supposed to be telling her very personal life story, this honestly just feels like the silliest way to spill your life. Like, this whole “conversational” thing just feels so silly and not at all enticing. And honestly, hearing a 15-year-old talk to me about how she smoked and “finessed people for money” really isn’t interesting whatsoever, it just feels silly and it makes me want to tell every parent in the world to control their damn child. And again, at almost 7 minutes, this just goes on WAY, WAY, WAYYYYYYYY too long. Just end already, please.

Oh Lord, yeah, this was awful. I tried to go into this thing thinking that Bhad Bhabie would actually come through with something somewhat interesting, but as I said a bunch of times, she just felt like she was trying to repeat herself too much. Already doesn’t help that she’s a 15-year-old who’s trying to put on the “tough” persona to seem cool, and then she comes through with these really cringe-y vocal performances as well. And the beats, too! Literally, all of them just sound the exact same! You know what, I’m just gonna end this before I go completely bonkers because I feel like I’m repeating myself too much and you guys already get the point. Plus, if I continue talking about this mixtape any longer, I’m just gonna end up making myself sick. So, let’s just end it here. It sucks. Don’t listen to it. Bye.

Favorite tracks: Yeahhhhhhhh, no.

Least favorite tracks: 15 (Intro), Juice, Gucci Flip Flops, Affiliated, Geek’d, No More Love, Yung and Bhad, Bhad Bhabie & Jack $hirak, Famous, Shhh, Bout That, Bhad Bhabie Story (Outro)

Rating: Awful

Denzel Curry "TA13OO" Album Review

Alright everyone, I’ve kept you waiting long enough, so let’s go: it’s time to finally review the new Denzel Curry album “TA13OO.”

Denzel Curry is a Florida-based rapper, and one of the spearheads of the “SoundCloud rap” movement that has grown so much in recent years (even though he doesn’t really take credit as an “originator” of the movement, instead reserving that for rappers like Lil B, Gucci Mane, and Chief Keef, just to name a few). Where most of the recent SoundCloud rappers became fast bloomers, debuting around 2016-2017 and quickly growing in popularity from there, Denzel has been dropping projects since 2011. At the time, his mixtape “King Remembered Underground Tape 1991-1995” was released by SpaceGhostPurpp, who Denzel also credits for originating the “SoundCloud rap” scene. This right here is Denzel’s third studio album, following up on 2013’s “Nostalgic 64” and 2016’s “Imperial,” though he is perhaps more known for the very viral (and very meme’d) single “Ultimate” (I AM THE ONE, DON’T WEIGH A TON, DON’T NEED A GUN TO GET RESPECT UP ON THE STREET”), which was included on his 2015 double EP “32 Zel/Planet Shrooms.”

Now, I honestly can’t really say I have much experience with Denzel’s music. Not because of any malice or anything like that, but I’ve just rarely ever heard much of it outside of “Ultimate” which, again, I probably wouldn’t know if not for memes. This was his first project that really stopped me in my tracks because a number of the reviews I saw told me that the album was quite good. A lot of times, that’s all you really need to tell me to get me interested in the album, but I was also intrigued because of some of Denzel’s marketing for the album, like the cover art and some of the clips that I saw for his music videos: the direction the album was taking appeared really dark and somewhat terrifying, and further research told me the album was tackling some very difficult themes, something you don’t really see all that often out of a large majority of today’s “SoundCloud rappers.” Everything was starting to sell me on the album, so let’s find out if it lives up to the hype:

Act 1: Light

TABOO | TA13OO: Okay, so Denzel seems to really like doing unconventional things with his titles. Noted. Regardless, Denzel ironically starts off the “Light” act of the album with a very dark track, talking about molestation and his relationship with a woman who grew up suffering from some very disgusting abuse. It’s a very slow-paced, dreamy-sounding track that sees Denzel taking on a more melodic feel. I love his vocals on the hook, and he also comes through with a very charismatic and energetic performance. I also think his lyricism on his verse really hits hard, and the song works at being very sinister and eerie while possessing a lot of replay value. Already, I’m upset I didn’t review this sooner because wow, this is a crazy good starter track.

BLACK BALLOONS | 13LACK 13ALLOONZ [FEAT. TWELVE’LEN & GOLDLINK | TWELVE’LEN + GOLDL1NK]: Wow, that was a lot to type out for a title. Either way, though, Denzel talks a lot about his life and compares his own events to those in the film “IT,” with some help from fellow rapper GoldLink and R&B singer Twelve’Len. The song takes on a slightly more upbeat feel than the last cut, but it’s still got some very mellow, really intoxicating production, a fun hook, and a great verse from Denzel. The features are also very solid on here: Twelve’Len’s vocal interplay with Denzel is very solid, and GoldLink’s somewhat staccato flow on his verse is very catchy, as is the energy he brings to the table with his performance. Another really great track!

CASH MANIAC | CAZH MAN1AC [FEAT. NYYJERYA]: Showing us a bit more of the light, positive side of this first act, Denzel essentially uses this track to flex the large amounts of money that he made. He does this over a somewhat slower, but more bright instrumental that’s very synth-driven. The 808s blend well with the synths, Denzel’s flow, despite being slower, is still plenty charismatic and intriguing, and Nyyjerya is very sticky as well. Denzel’s lyricism is very interesting, as to how he portrays money as the kind of thing that suddenly solves all problems in certain points (and also, the nod to Rae Sremmurd’s “Black Beatles” was a nice touch as well). Denzel definitely crafted something special on this track.

SUMO | ZUMO: Okay, I was hyped for this one because I heard Denzel references “Sly Cooper” on it. Mad respect on that one, mad respect. Beyond that, though, this seems to be the album’s biggest single, and it seems like one Denzel created a lot of hype for. And for all the right reasons, because it’s a really hype single! I love the very dark but still upbeat turn-up production on this one, Denzel’s performance is ferocious as he delivers the hook and his verses with so much conviction and punch! His bars are also clever, and while I was mostly looking forward to the “Sly Cooper” reference, I ended up getting a bigger kick out of his reference to the Cartoon Network show “Chowder,” where he even referenced how Schnitzel always says “rada” and actually weaved it in nicely to the song. Easily one of my favorites on the album, a great ending to Act 1.

Overall, Act 1 really kicks things off strong. Won’t go super in-depth about it since it’s so short, but I feel like Act 1 on its own certainly stands out as a showcase of Denzel’s ear for eerie, dark production and very intense performances. He handles a number of different vibes on this side and makes each of them work!

Act 2: Gray

SUPER SAIYAN SUPERMAN | ZUPER ZA1YAN ZUPERMAN: The beginning of the “Gray” act of the album sees Denzel comparing himself to that of the Super Saiyan characters in “Dragon Ball Z,” both in his lyricism and in his very flashy, unstoppable flow. Said flashy flow is certainly really fun and energetic, and despite the song’s short length (it clocks at just over 2 minutes), Denzel makes it hit hard with that fast-paced flow and the very dark, woozy instrumentals here. I also love how the song ends with so many weird sonic elements just sticking together to make something really intriguing. Sometimes, when you throw too much together at once, it just feels tacky, but Denzel makes it work here, and he crafts a track that is high-energy but also very mysterious.

SWITCH IT UP | ZW1TCH 1T UP: Moving closer to the “Dark” side of the album, Denzel literally “switches it up” on this track, going from talking about his flashy “Super Saiyan” side to exploring themes of paranoia and bipolar disorder. Once again, the 808s and the instrumentals are very menacing and creepy, and I absolutely LOVE Denzel’s vocal performance on this one. I think Denzel really embraces his energy and large-ham style to come through with an extremely entertaining performance, and of course, his flow is really sweet as well. I think Denzel had some hard themes to talk about on this one, but he explored them very well and made a great track out of it!

MAD I GOT IT | MAD 1 GOT 1T: Pushing even further into the “Dark” side, Denzel talks on this track about how fame has ruined relationships for him and made his close friends jealous. Denzel’s hook is more melodic, and his vocals are not over-the-top, but they sound very nice. The production also consists of some very dark, throbbing piano keys and a pounding, rattling 808 drum beat. The song also takes a lot of different sonic turns, with some very weird (and successful) bridges and a hard-hitting beat switch before the third verse that adds an extra layer of enjoyment to the song. Much like how Denzel says to “make like a roller coaster,” this song works like a roller coaster; it twists and turns in so many directions, and it’s all the better for it.

SIRENS | ZIRENZ [FEAT. J.I.D. | J.1.D.]: Denzel gets political on this cut: he talks all about the state of America, police brutality, gun violence, and the justice system, among several other things. Can’t remember the last time one of the modern “SoundCloud rappers” got explicitly political on one of their cuts, so big props to Denzel on this one. And props to his production as well: it’s rattling and at times terrifying, while also being energetic and upbeat. Denzel’s flow is strong and his lyricism is very clever as he critiques America, but what really sells the song is his very angry, hard performance here. J.I.D.’s verse also features some really great rapid-fire flow, and Billie Eilish’s vocals on the hook blend very well with Denzel’s. This is another really hard-hitting track, and it’s one of the album’s most essential cuts.

CLOUT COBAIN | CLOUT CO13A1N: Another one of the album’s biggest singles, Denzel talks about how a desire for fame can become self-destructive, and how his success has led to paranoia and suicidal thoughts, comparing his struggle to that of Kurt Cobain. I love the very ethereal, atmospheric production here, it kind of feels like a very demented lullaby with some energetic 808 drum beats thrown in for good measure. Denzel’s vocals here are also very emotional, his melodies and flow are very catchy, and his lyricism is also very powerful. I can see how this one got a single release, because it does feel like it has the most commercial potential out of the songs so far, but that’s all for the better because it’s an excellent listen.

Overall, Act 2 doesn’t really change the style much from Act 1, as Denzel’s production is still dark and hard-hitting. That doesn’t really matter all that much, though, because the music itself is still fantastic. Denzel’s production and vocal performances are admirable, as is his ability to tackle such hard-hitting and dark themes. Even if it doesn’t change things up much, I’m just glad the second act continued to provide some very great, memorable cuts.

Act 3: Dark:

THE BLACKEST BALLOON | THE 13LACKEZT 13ALLOON: Typing out all these alternate title names is really getting to me. My back hurts from this. Either way, we’ve finally hit the “Dark” act of the album, and Denzel gets personal here by talking about his family issues. While it’s a very emotional and personal track, Denzel juxtaposes that with some very upbeat, turn-up instrumentals and a very energetic vocal performance, complete with a hook that sounds like it’d be delivered by Pharrell Williams. That’s not a point against the song, by the way, because the hook is infectious and exciting, and Denzel’s rapid-fire flow also keeps the song very exciting. It’s personal, it’s got dark themes running throughout, and it’s also a great listen.

PERCS | PERCZ: Really? With a title that short, you still found something to change? Wow. Either way, this was another bigger single from the album, and on it, Denzel continues to reflect on his success as a rapper, while also taking shots at the state of the rap industry today. Once again, he does that over some very upbeat, energetic, turn-up instrumentals that have a bit of a subtle electronic twist to them. It’s a very pumping song with another very vibrant, ferocious performance from Denzel, who has some insanely clever bars on this one about today’s rappers (I particularly loved the line where he said “sound like ‘dur, dur, dur,’ you like ‘oh, that’s lit,’ because I’ve always listened to SoundCloud rappers and wondered how people could listen to their lyrics and say “ohhhhh, that’s hard!!!”). How does Denzel keep coming through with such bangers? I dunno, but he’s doing it and that’s all that matters.

VENGEANCE | VENGEANCE [FEAT. JPEGMAFIA & ZILLAKAMI | JPEGMAF1A + Z1LLAKAM1]: Oh, come on! You didn’t even change anything in the alternate track name! Meh. Either way, this song sees Denzel delving into some of his darkest, most violent thoughts yet, with themes of murder, kidnapping, robbery, and much, much more. Once again, the production remains very upbeat as Denzel continues to turn up on this cut, but the instrumentals are still very eerie and otherworldly, and the performances are great. Denzel, as always, brings in a very confident, intense performance, ZillaKami provides a very gruff, aggressive verse that hits hard (hey, 6ix9ine, take notes, if you want to make an aggressive performance actually hit, do it like ZillaKami does…or better yet, leave the music industry), and JPEGMAFIA comes through with a bouncy, off-the-wall performance on this one. It’s a banger, what more needs to be said?

BLACK METAL TERRORIST | 13 M T: Oh, NOW you condense the alternate track title? On the LAST song? Fine, at least I don’t have to keep typing them out. In any case, Denzel finishes off this album with a track that basically sees him “finishing” his enemies and declaring himself as the single best rapper. Big words for sure, but given the critical success of this album, he’s well on his way if he keeps delivering concepts like this one. Anyway, Denzel throws his rap style back to that of “Ultimate,” going harder than ever with very aggressive, somewhat ear-piercing screams. Still, I love the energy that goes into those screams, and I also dig how the song switches between the light, chill feel, and the more abrasive, hard-hitting feel so perfectly. It’s another banger that sees Denzel in top form, “finishing them” just as he is told to do throughout the track. Good stuff, Zel.

Overall, Act 3 once again sees Denzel not really doing much different in terms of the sonic elements of the album (it’s not like each act has a different vibe to it), but once again, that really doesn’t matter because he still comes through with the bangers on this act. Carving out his place as an artist separated from the rising wave of SoundCloud rappers, Denzel pushes through with punchy production, wild performances, great hooks, and some really solid features, ending off the album fantastically.

So, taking all of that into consideration, it should be obvious that Denzel Curry’s “TA13OO” is a wonderful album. I want to try to keep the sum up short, for one because I feel like I’d be repeating myself but also because I don’t want to push this to the point of gushing. Denzel’s production is sticky, his hooks are ear-wormy, his performances are intimidating, and his music handles very difficult themes with aplomb. The only very minor flaw that I can point out is that the whole “three-act structure” of the album is not fleshed out quite as well as it should be, since the three acts don’t really do much differently from one another, but that’s irrelevant in this case because the music hits so hard. I’m ashamed it took me this long to get to the album because it is truly fantastic. From beginning to end, it’s a roller coaster ride that you just don’t want to get off of. I can’t wait to see where Denzel goes from here, and I hope this album helps cement his name a bit more.

Now if you’ll excuse me…I’m off to go loop this album.

Favorite tracks: ALL OF THEM | ALL OF THEM

Least favorite tracks: NONE OF THEM | NONE OF THEM

Rating: EXCELLENT | EXCELLENT