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
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
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