A generational talent gone way too soon, Juice Wrld was one of the most influential artists to this day. Born December 2, 1998, Jarad Anthony Higgins, better known as Juice Wrld, was a rising star from the Soundcloud era. Starting his musical career in high school, many of his peers persuaded him to rap and freestyle.
Releasing his first song, “Forever,” on SoundCloud in 2014, Juice Wrld knew he had the talent to continue forward. Furthermore, dropping his first EP, “999,” on June 15, 2017, which included his most streamed song today, “Lucid Dreams.”
Album Rankings
Juice Wrld performs onstage during Made In America – Day 1. (Photo by Kevin Mazur/Getty Images for Roc Nation)
According to Spotify’s Twitter on April 4, 2022, these would be the rankings based on streams. “Goodbye & Good Riddance” (6.4 B+), “Legends Never Die” (4.2B+), “Death Race For Love” (4.2B+), “Fighting Demons” (1.4B+), and”WRLD ON DRUGS” (1.1B+).
With the news/leaks of his final album, “The Party Never Ends,” potentially dropping this year. Let’s take a look at Juice Wrld’s album catalog and rank them.
Death Race For Love
A bit of a controversial pick between this album and “Goodbye & Good Riddance,” but in terms of versatility and pure talent, this album is number one. Released on March 8, 2019, this was Juice’s second studio album and the last album to be released during his lifetime.
Freestyling the album in just five days is a skill that not many can achieve. In this album, Juice Wrld speaks about taking drugs and his addictions, as well as talking about relationships and his love and lust.
An accomplishment in his career as this album was his first to score a No. 1 on the Billboard 200. As well as producing hit songs like “Robbery,” “Empty,” “Fast,” “Make Believe,” etc. The album feels like a journey into the life of Juice Wrld, as the songs reference his lifestyle and his love for his recent girlfriend, Alli Lotti.
Goodbye & Good Riddance
Arguably one of Juice Wrld’s best albums to many of his fans was also the first album that many of his fans came across. This was Juice’s first studio album, released on May 23, 2018. Featuring 17 songs with just one feature (Lil Uzi Vert), this album is a roller coaster of a journey. Including the use of skits in the album; if you listened to the songs in a specific order, you could see his journey.
In this album, the songs varied between the drug use and addiction he faced, as well as referencing his past relationships and achieving success over time.
Some of Juice Wrlds most popular songs came off this album, like “All Girls Are The Same,” “Lucid Dreams,” “Lean Wit Me,” “Armed And Dangerous,” and many more. To this day, many will believe this is the number one album to date and is a staple to his music career.
Fighting Demons
His most recent album to date, “Fighting Demons“ comes in at number three. Released on December 10, 2021, just two days after the two-year anniversary of his death. The album initially had 18 songs, but after reaching specific goals put out by Grade A, like getting a certain amount of views on YouTube and the community begging for more songs. So on March 18, 2022, five more songs were added to the album.
Again Juice Wrld referenced his battle with drug addiction and added Eminem and Justin Bieber to the album to talk about their struggles as well. The album also spoke about what the name implies, and that’s the battling of his demons. The album was mainly a catalog of leaks many fans had heard before and where the names or beats were changed but still used the original lyrics.
This album is still new to the list, but it holds a lot of fans’ favorite unreleased songs at the time. Examples would be “Burn,” “Cigarettes,” “Rockstar In His Prime,” “You Wouldn’t Understand,” and probably one of the most favorite songs in the community, “Sometimes.”
Legends Never Die
This was Juice Wrld’s first posthumous album after his death in December 2019. The album consisted of 22 songs and was realized seven months after his death on July 10, 2020. This album felt like a different vibe from the usual music he created. The album gave more of a poetic side to Juice as well as a melodic side as this album consisted of a lot of vocalizing and singing in a way.
The album came with a response of positive views, and according to Metacritic, they rated this album a 75/100 based on ten reviews. The difference with this album was that it was also released with many singles. Additionally, that meant we heard a decent amount of songs before the release.
This album did have some songs played on the radio and made big success on the music charts. Songs like “Righteous,” “Come & Go,” “Tell Me U Luv Me,” and “Smile” made significant impacts. But “Wishing Well” was probably the most influential song on this album as it spoke about his hardships with drugs and needing help.
Not much of an album, but more of a mixtape; this was Juice Wrld’s only published collab “album.” This mixtape was a joint effort between Juice Wrld and Future. Releasing on October 19, 2018, this mixtape can be considered underrated.
Even though this is a mixtape, this deserves a spot on the list, even if it’s last. The style and charisma Juice had on this album were insane. Mixed with a legend like Future, with his well-known voice and vocals, making this a special mixtape. The chemistry these two had with each other was incredible.
This mixtape barely gets spoken about, but it has made some bangers and has had some decent success. Some songs to look at for would be “Jet Lag,” “Fine China,” “Realer N Realer,” and “7 Am Freestyle.“
Even after the death of Juice Wrld, he continues to push insane numbers and has a very loyal fanbase. Arguably when he features on an album, he puts in some maximum effort and helps push that song to popularity.
We will never know how his full potential, but he will always have a special place in the rap community.
Post Malone burst onto the music scene with the 2015 hit single White Iverson. The song peaked at number 14 on the US Billboard Hot 100, cementing Malone, also known as Austin Post, as a performer to keep an eye on.
He’s now up to four studio albums with the recent release of Twelve Carat Toothache. The hip-hop artist has certainly had his ups and downs and he’s been a bit of a controversial music figure. However, his staying power and popularity are undeniable.
He’ll never make the lyrically raw music of someone like Kendrick Lamar, but Malone has found a lane that works for him and is cruising in it beautifully.
Stoney: Post Malone’s rockystart
Stoney, the first studio album for Malone, is admittedly a bit of an inauspicious start to his music career. There are certainly good tracks on it, like Congratulations, Go Flex, I Fall Apart and others. However, it’s a very hit or miss album.
While White Iverson arguably got the music world’s attention, it’s not a particularly great song. It’s not the best on this album, and his later albums have even more superior tracks.
The Stoney era is also an interesting one for Post Malone’s overall career. He’s often found himself in the middle of pop music and hip-hop, without a clear place in either.
Now, he’s comfortable doing his own thing. In the past, particularly in the Stoney era, he tried to be what he wasn’t. There was a time in Malone’s career when he appeared to be leeching off of hip-hop and just riffing on what popular hip-hop artists did.
He was trying to sound like them, write like them and more or less be them. That’s not who he is and it resulted in a lackluster album that largely serves as a reminder for how far he’s come.
Stoney isn’t an awful album. There’s plenty to like, but there’s also a lot to ignore. For a debut album, that isn’t a major surprise, but it does firmly make this his worst album to date.
Beerbongs & Bentleys: Perhaps there’s more to Malone
With Beerbongs & Bentleys, Post Malone began to shed the label that had followed him around for Stoney. He began to make his own music and stopped worrying about being someone else.
There are still a few misses on this album, such as Candy Paint, Same B*****s or Zack and Codeine. It’s also probably too long, which is ultimately a product of the streaming era.
Still, some of the tracks on this album hold up among his best work, even almost five years later. Otherside is tremendous. Spoil My Night has perhaps Malone’s most iconic lyric delivery and a nice Swae Lee feature. Sugar Wraith, while admittedly a bit self-indulgent, is an absolute hit.
When looking back at his albums in order, it’s easy to see a lot of growth. That’s evident from Stoney to Beerbongs. Naturally, he kept growing and kept getting better, but this is a good album nonetheless.
Twelve Carat Toothache: This is who Post Malone is
Malone’s fourth studio album Twelve Carat Toothache debuted in 2022 and comes in just shy of the top spot in this list. It can certainly be argued that it’s his best work yet, too. It feels the most Post Malone of any album he’s put out yet.
Even with two bonus tracks, it’s shorter than his other albums. Finally, he shed the idea that more is better and stripped the album down to its best parts. Some of those parts, like Euthanasia or Waiting for a Miracle are pretty rough listens.
However, for the most part, the rest of the tracklist ranges from solid to incredible. It’s a shame the original version of the album doesn’t have Waiting for Never because it’s perhaps the quintessential Malone track and it’s perhaps his best to date.
Not to be outdone, the original tracklist does have When I’m Alone, which is again one of his best songs yet. His pairing with The Weekdn on One Right Now has most music fans begging for the two to work together on a full album.
The features, with the exception of Roddy Ricch’s verse on Cooped Up are really good, too. Doja Cat spins a delightful verse on I Like You (A Happier Song) and Gunna fits right in with I Cannot Be (A Sadder Song).
Lemon Tree is the most experimental song on the album and it’s yet another classic for Malone. The way he croons “better” throughout the song in a stark country twang is something no one else in the pop or hip-hop genre could pull off and it’s beautiful.
There’s a little bit of self-reflection on the artist’s part here, too, but not too much. Malone is, after all, more interested in fun than being brutally honest on his songs.
Hollywood’s Bleeding: The experiments paid off
Hollywood’s Bleeding edges out Twelve Carat Toothache by a hair to be Malone’s best album yet. It features a maturity not found on Beerbongs & Bentleys or Stoney and it’s out of the box enough to feel like exactly who the singer is.
In fact, it’s as if Malone just threw together artists and song ideas at random and it works. Malone has never been about precision or subtlety and this album doesn’t even pretend about that.
The simple fact that he put Ozzie Osbourne and Travis Scott on the same song is incredible. The fact that it’s actually a good song is even more mind-boggling. Pairing rapper Future and pop singer Halsey together was light work after that one.
The standouts here, and there are a lot, are really good. Saint-Tropez is a wonderful song- it’s a true shame it’s so short. Hollywood’s Bleeding is the best opening track a Post Malone album has had yet.
Sunflower, thanks to its place in Spider-Man: Into the Spider-Verse, has become a cultural phenomenon. It also features a brilliant Swae Lee. A Thousand Bad Times and On the Road are very different songs that are both excellent.
It’s a Malone album, so it’s not without a couple of skips. Internet is not a good song and Wow. and Enemies with DaBaby are mediocre. Still, the consistent quality across the board is better than any other Post Malone albums yet.
Tyler, the Creator has long been a marquee name in the music industry. First blowing up off of the wonky New-York-based banger “Yonkers,” the Los Angeles-born-and-raised artist would soon found music and entertainment collective ‘Odd Future.’ Undeniably himself, he’s never been one to hold his tongue. With the spotlight on him in his early 20s, he wasn’t one to shy away from controversy. For example, he was banned from the UK for his “derogatory” and “offensive” lyrics. However, his unwavering insistence on being himself would soon curate the artist a cult-like fanbase.
Calling Tyler the most controversial rapper of the early to mid 2010s hews far closer to fact than opinion. Tyler’s raspy voice meshed with grimy bangers on his earlier records, such as ‘Bastard’ and ‘Goblin’. Rapping amidst distorted drum patterns and screeching guitar riffs, his sound blended the soundscapes of New York and Los Angeles. The confident MC and producer is well-known for his “do it yourself” personality. From riding bikes around Santa Barbara to pioneering a distinct clothing style, he’s captured the imagination of an entire generation.
As Tyler references on ‘Call Me If You Get Lost,’ he really began to hit his stride around the age of 25. Releasing the controversial “Cherry Bomb,” he began to approach his career with a higher level of intent. This would bleed over into a new era for Tyler, beginning with “Flower Boy.” While he toyed with blends of pop and soul on previous records, songs such as “See You Again” and “911/Mr. Lonely” would force fans to take him more seriously. He would go on to release ‘Igor’ and ‘Call Me If You Get Lost’. Both projects ended up winning Grammys for Rap Album of the Year.
Now approaching the Spring, Tyler fans will know that he has a tendency to release every 2 years over the Summer. While there’s been rumblings of a disco record, Tyler publicly refuted this over Twitter. Fans will have to keep guessing about what’s next for one of the most talented and influential artists today.
Tyler, the Creator performs onstage during 2022 Made In America at Benjamin Franklin Parkway. (Photo by Theo Wargo/Getty Images for Roc Nation)
7. Goblin
Considering the sudden rise of the eclectic ‘Odd Future,’ ‘Goblin’ represents the first album that was highly anticipated from Tyler. Many of you may be surprised to see this record at the bottom of our list. In fact, ‘Goblin’ features both two tracks that established him as more than just an oddball internet personality. “Yonkers” is a 808-induded NYC banger, with menacing lyrics such as “I slipped myself some pink Xannies and danced around the house in all-over print pannies.” Tyler has stated that he’s never really been into drugs. However, the purposefully dramatic songwriting added to the aura and mysticism of his fame.
“She” proved that Tyler didn’t need to rely on rapping to create hits. It featured melodic vocals from Frank Ocean, 80s synths and a heavy bass. It had thousands crying out the lyrics at concerts around the world. Frank Ocean wouldn’t be the only Odd Future member on the record, with the likes of Domo Genesis and Hodgy making appearances on multiple tracks. However, Tyler purposefully keeps the feature list limited in order to draw attention to his songwriting.
‘Goblin’ very much has its flaws as an overall record. As he attempts to redefine himself amidst lofi beats and piano chords, the frequent result is tracks that feel under-produced, or are a flat-out mess. Similar to his debut mixtape, Tyler lashes out in anger through multiple personas throughout the record. However, the production doesn’t represent that in as cohesive of a manner compared to ‘Bastard.’ While he doesn’t stick the landing, it’s still an important record in his discography.
6. Bastard
Tyler’s debut mixtape, ‘Bastard’ predated much of the Odd Future hype and drama. Releasing the project at 18 years old, Tyler is very much existing in his own world rather than attempting to adhere to mainstream sounds. The production is purposefully messy, and his rapping dabbles into overtly offensive or “out of pocket” lyricism. However, there’s a certain appeal to the frankness of it all. Tyler’s messy voice was highly distinctive from the rest of the Odd Future collective, meshing well with the “ugliness” of the production on the record.
‘Bastard’ sees Tyler take a swipe at multiple aspects of his life. Whether it be his negligent father or the overall toxicity of the rap industry, he’s angry from start to finish. Distorted 808s and rugged synths parallel this emotion from start to finish, making for a cohesive listen. Tyler paints himself as a menacing, villainous character while rapping about dark topics such as kidnap or murder. At times, it’s hard to tell whether he’s playing a character or just being himself. However, it’s a record where he dives into the darkest corners of his mind.
Created on a limited budget, ‘Bastard’ is a stark contrast to the polished quality of his recent work. Therefore, it’s an essential listen for any new Tyler, the Creator fans who want to learn about how he matured both artistically and personally.
5. Cherry Bomb
Tyler’s fourth studio album, ‘Cherry Bomb’ is an awkward record that symbolized the transition phase of his career. Wanting to prove he was more than a rapper, ‘Cherry Bomb’ sees Okonma hone in on his producing and singing. More soulful than ever, the likes of Kali Uchis and Charlie Wilson contribute features. Opting to focus more on sound and less on lyricism, the result is a mixed bag.
‘Cherry Bomb’ mixes the old and new eras of Tyler. He doesn’t want to let go with the old version of himself. However, the consistently muddy and painfully mixed beats come off as worse than his older works, such as on the wild title track “Cherry Bomb.” As previously mentioned, he’s looking to root his soul influences into more of a soul-based sound. However, the result is more so an impersonation of those soundscapes rather than something that’s genuine. “Find Your Wings” and “Perfect” are charming enough, but pale in comparison the pop-soul blends on ‘Flower Boy.’
Ultimately, ‘Cherry Bomb’ was the record Tyler needed to create in order to eventually get to ‘Flower Boy’ and ‘Igor.’ His uninspiring singing would morph into the exhilarating vocal pitching on ‘Igor.’ The chord-filled tracks that were lyrically surface level would inspire him to hone in on his songwriting on ‘Flower Boy.’ Point beating, ‘Cherry Bomb’ represented the metamorphosis into who he is today.
4. Wolf
‘Wolf’ is the first record that hints at more of a conceptual, mature Tyler. More vulnerable than ever about his trying childhood, he opens up about his complex relationship with his father. On “Answer,” he’s torn between hating his father, yet knowing that “when I call, I hope you pickup your phone” amidst layered guitar strings.
A stark departure from his first two records, his third studio album is more glossy from a mixing perspective. However, his natural rapping voice doesn’t mesh with the new sonic ideas. To put it simply, his rapping and production levels don’t meet the levels he would set on projects. In many ways, ‘Call Me If You Get Lost’ symbolizes Tyler redefining the flaws on this record.
Even if ‘Wolf’ feels like an awkward departure from the “messy” days of his music, there’s still numerous quality tracks on the record. “Tamale” is goofy in the best ways possible, with a mystic chorus that somehow works. “IFHY” features Tyler’s main inspiration, Pharrell Williams. The colorful synths blended with Pharrell’s voice makes for one of the standout moments in his entire discography. Tyler experiences the full spectrum of infatuation with his love interest, repeating the phrase “I f**king hate you, but I love you.”
Tyler The Creator performs during the 2022 Forecastle Music Festival at Waterfront Park. (Photo by Stephen J. Cohen/Getty Images)
3. Call Me If You Get Lost
Traveling from Geneva to Paris, ‘Call Me If You Get Lost‘ is a collage of experiences from Tyler. Mirroring the aesthetics of 80s European films, Tyler takes on the alter-ego of Sr. Baudelaire to aid to the theme of travel. The listener is taken across the world as he curates a banger-focused mixtape from “Lumberjack” to “Lemonhead.” His lavish lifestyle puts the audience into a dreamy setting, as he unequivocally boasts about his extensive car and jewelry collection.
While his previous two albums drifted from rap into more conceptual, genre-bending releases, ‘Call Me If You Get Lost’ sees Tyler return to his roots. After falling out of love with rap, he described how working with Westside Gunn reinvigorated his love for the genre. In fact, intro track “Sr. Baudelaire” samples a Westside Gunn beat as he introduces us to his pristine world. Bringing the likes of NBA Youngboy, Lil Wayne, and 42 Dugg into the mix, he drew many comparisons to Kanye West regarding his ability to maximize the talents of his features.
However, ‘Call Me If You Get Lost’ is more in-depth than a getaway vacation. In fact, all of this boasting is a mask for his broken heart. He exposes the story on “Wilshire” on top of a lofi drum beat. It’s not a straightforward rap album. “Sweet / I Thought You Wanted To Dance” meshes reggae and soul into a groovy 10-minute experience that’s undeniably one of his best. Tracks such as “Wusyaname” and “Hot Wind Blows” sample 70s soul cuts. While “Call Me If You Get Lost” isn’t quite as threaded together or conceptual, it’s a fun vanity project that sees him in peak rapping form.
2. Flower Boy
‘Flower Boy‘ still feels like Tyler’s career-defining record. Up to this point, many argued that his artistic growth after ‘Bastard’ hadn’t lived up to his initial hype. ‘Cherry Bomb’ was met with a predominantly mixed reception, which meant that there was an inevitable pressure on Tyler to deliver with his next project. Fulling diving into the elements of pop/soul that he half-way committed to on ‘Cherry Bomb,’ ‘Flower Boy’ throws the listener into the soundscape of a lonely summer day.
Tyler sings about loneliness throughout the record. Sitting in a room with the sun shining through, he’s waiting for someone to “call me sometime.” However, the emphasis on the record is absolutely on the sound rather than the lyrics. Love-stricken and lonely, his music is rooted in sunny days biking around the park. Growing up listening to the likes of Stevie Wonder or Marvin Gaye, their influence is apparent throughout the record.
From “find some time to do something” to “can I get a kiss, and can you make it last forever,” there are so many quotable moments that stick. As Tyler puts it, his ultimate goal of music to blend ‘pretty’ and ‘hard’ music. ‘Flower Boy’ is the prime example of him doing that. While the record is missing some of the messy kinks that would distinguish his sound on ‘Igor,’ it’s drop-dead gorgeous from start to finish.
Tyler, the Creator performs on day 3 of Wireless Festival 2022 at Crystal Palace Park. (Photo by Burak Cingi/Redferns)
1. Igor
‘Igor‘ is Tyler, the Creator’s best album. In our opinion, it’s really not close. In fact, Tyler himself agrees with us. During an interview with Rick Rubin, he said this was the first record he created where “when people told me they liked it, I said “I know””. While ‘Flower Boy’ saw Tyler tone down his radical ideas in favor of a smoother record, ‘Igor’ is the best of both worlds. The character ‘Igor’ originates from Frankenstein. His deformed body represented a symbolic threat to the politeness of society. Tyler takes the frame of this character to archetype the overall record.
Integrating wonky vocal pitching and distorted drums with soft soul chords, ‘Igor’ sounds like Tyler more than any record before or after it. Darting from rap bangers such as “What’s Good” to the rapid punk drums on “New Magic Wand,” the 2019 record was one of the best breakup albums of the decade. The 40-minute experience was initially met with a mixed reception. However, it’s cocooned into being widely accepted as his best work. Hidden features add to the unpredictable initial listening experience. From the shocking contribution from Kanye West on “Puppet” to the Kali Uchis’s mellow vocals on “I Don’t Love You Anymore,” not explicitly putting their names on the album aids to the idea that ‘Igor’ is meant to be experienced from start to finish.
‘Igor’ Would Be The Perfect Movie Soundtrack
With Tyler openly speaking about his desire to one day direct films, it’s no coincidence that ‘Igor’ is structured like the soundtrack to a saddening romantic film. ‘Igor’s Theme’ begins with static synths, as if we’re being introduced to an 80s film. The album transitions through every stage of love to acceptance. Tyler falls in love on the groovy “I Think,” to then feeling like he needs a “New Magic Wand” to make this person love him, to finally accepting his loss on “Gone, Gone / Thank You.” ‘Igor’ is his best record from both a sonic and thematic perspective.
Let us know how you would rank Tyler’s albums in the comments below!
Yeat’s oddball cloud rap isn’t engaging enough to justify the 1-hour runtime, but is undeniably exhilarating in small doses on ‘AfterLyfe’.
Yeat has been on a creative rager since blowing up onto the scene. The mystifying MC first blew up in 2021 with eccentric vocals and a sound that blended the trap/electronic genres. Tracks such as “Sorry About That” began populating millions of videos on TikTok. Similar to fellow cloud-rappers, he got his start releasing various mixtapes on Soundcloud. Now an established trendsetter and Internet personality, he’s been a hot topic of debate throughout the hip-hop scene. Since then, Yeat has been on a mission to prove that here’s here to stay. ‘AfterLyfe’ is his sixth full-length record, and potentially his first of multiple projects to populate 2023.
Is Yeat a trend-setter building on the cloud-punk blend of trap that Playboi Carti pioneered? Is he just another derivative rapper who became famous off of sheer appeal rather than quality of music? In many ways, ‘AfterLyfe’ proves both of these perspectives correct. Featuring 22 tracks, it’s a marathon of a listen with unpredictable highs and lows. The likes of “Back Up” and “Heavyweight” employ Yeat’s oh-so-familiar distorted 808s and electronic hooks. Are they fun on one listen with a few beers in your system? Sure. However, they lack the potency of his past bangers such as “Turban.”
‘AfterLyfe’ Is Different From Anything He’s Done Before
‘AfterLyfe’ is certainly not a copy and paste of previous projects. Yeat toys with even more ridiculous ab-libs and vocal patterns. Purposefully off-beat, he’s able to keep the audience guessing on what tone or pattern he’ll employ next. Take the electric “Woa,” where Yeat seamlessly flows from low to high pitching amidst a heavy beat. He attempts to make up for the distinct lack of features by ushering in his alter-personas “Kranky Kranky” and “Luh Geeky” on tracks such as “Rav3 p4rty” and “Now.” However, YNBA (NBA Youngboy) is the one exception to this. On “Shmunk,” a warped bop, he delivers a much-needed alternative voice.
Dancehall beats and melodic acoustic strings also ease their way into the production. Take “Nun id change,” a groovy blend of dance and hip-hop that almost sounds as if it would’ve fit on Drake‘s ‘Honestly, Nevermind.’ “Back home” is driven by acoustic strings and smooth 808s, shooting more of a traditional trap sound. Emotive closer “Myself” is yet another guitar-driven cut. Melodic and introspective, Yeat celebrates his come-up into the scene with lines such as “Got all these racks, I did it.”
Yeat Shares His Vulnerabilities
While “AfterLyfe” mirrors other records regarding its constant flexing, he’s vulnerable about his shortcomings that continue to put a stain on his life. Whether it be his reclusiveness or drug-related issues, he particularly addresses this to open and close the album. On “No More Talk,” he states “I’m working on dying, ridin’ with my demons, they my deadliest friends.” He continues to reference these “demons” (and Satan specifically) throughout the record, which one can assume is a metaphor for impotent drug-use. To end the record, he states “I been druggin’, these days I’m in my hell” and “You don’t know what I feel / I don’t know how to feel.” ‘AfterLyfe’ makes it clear that he continues to fight the same demons that he was when he first began his career.
CHICAGO, ILLINOIS – JUNE 19: Yeat performs during the Summer Smash Festival at Douglass Park on June 19, 2022 in Chicago, Illinois. (Photo by Barry Brecheisen/WireImage)
Running at 22 tracks, ‘AfterLyfe’ is certainly a fatiguing record that loses steam over the latter half. However, this has been a running theme throughout his discography. Fans pick and choose from a handful of tracks that land with them. It’s a strategy that fits well into Internet culture; fleeting, fun, and with plenty of options. ‘AfterLyfe’ is no different. The record is a wild combination of bangers that range from redundant to flat-out fun. Additionally, Yeat mixes in new stylistic tropes, from more traditional trap structures to melodic, acoustic songs. While he’s not always able to stick the landing, the attempt is admirable in a record that continues to define Yeat as a musical force.
What did you think of ‘AfterLyfe’?
If you’ve already listened to ‘Afterlyfe,’ what are your takes on the project? Has he taken a step back by going for less of a banger-heavy record, or are the occasional switch-ups in sound refreshing? Let us know your feelings in the comments section below.
Over the years, “YB Better” has become both a valid argument supporting NBA YoungBoy’s unwavering dominance and a go-to insult for internet trolls hoping to irritate his contemporaries. Rappers like Kodak Black and Polo G have even vocalized their frustrations with fans spamming “YB Better” under their posts. Nevertheless, that hasn’t stopped YoungBoy from getting in on the fun, too. In the lead-up to his Sincerely, Kentrell album in 2021, he commissioned several “YB Better” billboards across the United States.
Despite the annoying nature of his infamous tagline, YoungBoy Never Broke Again has repeatedly proven he’s better than his competition. With four Billboard 200 chart-toppers on his rapidly growing resume, he is easily one of his generation’s top commercial performers. On the contrary, YoungBoy also doesn’t even seem too concerned with the charts. Last year, the Baton Rouge native sporadically released eight projects, and his fans ate them up with ravenous excitement. Without a doubt, the 23-year-old rapper stayed on top of his game by rewarding his cult following with endless material. Still, dropping projects nonstop can be a death sentence, and the threat of listener fatigue undoubtedly loomed over the horizon.
Nevertheless, NBA YoungBoy stormed into 2023 by announcing his first new album of the year. Then, on Friday, January 6, he delivered I Rest My Case.
DALLAS, TX – MAY 03: YoungBoy Never Broke Again performs during JMBLYA at Fair Park on May 3, 2019 in Dallas, Texas. (Photo by Cooper Neill/Getty Images)
For his fifth album, YoungBoy made the brilliant creative decision to distinguish his new music from his prolific 2022 output. However, he did so by adopting a sound that’s alien to his discography yet all too familiar to rap fans. Shockingly, I Rest My Case heavily borrows from the alternative, hyper-digital, and punk-rap soundscape of Playboi Carti’s Whole Lotta Red. In fact, one could go as far as to argue that YoungBoy may even be trolling Carti’s once-polarizing style. The cover art features graphics that are practically synonymous with Carti’s fanbase, from bats and coffins to crosses and skulls. In addition to its nearly monochromatic artwork, some of the album’s track titles seem to address the connection to WLR. Obviously, “Red” is the most eye-catching song title, but “Bitch Yeah” also feels obnoxiously reminiscent of Mario Judah’s “Bih Yah.”
It’s almost like YoungBoy is trying to one-up Carti, who’s easily one of his biggest competitors, on his own turf. As a result, I Rest My Case begs an interesting question: Is YBtruly better than any artist he’s put against?
Although it’s a brave and ambitious effort from the Never Broke Again head honcho, I Rest My Case doesn’t yield the definitive answer its title alludes to.
On one hand, YoungBoy’s new album makes for an easy and entertaining listen. The excitement of hearing one of Hip-Hop’s most prominent young acts dive head-first into a new sonic direction pairs well with the comfort of returning to one of rap’s most thrilling new subgenres. In fact, there are several times throughout I Rest My Case where YoungBoy proves that he could excel in the space if he so chose to.
ATLANTA, GA – NOVEMBER 29: (EXCLUSIVE COVERAGE) Rapper NBA YoungBoy performs onstage during Lil Baby & Friends concert to promote the new release of Lil Baby’s new album “Street Gossip” at Coca-Cola Roxy on November 29, 2018 in Atlanta, Georgia. (Photo by Paras Griffin/Getty Images)
On tracks “Louie V,” “Just Like Me,” and “Not My Friend,” he sounds like he’s been doing this forever. In addition to those standout tracks, the skits (“Top Girls,” “Top Haters,” and “I Love YB”) bring IRMC all together.
Still, it would be a lofty statement to say he makes the best version of this style of music. While there are moments when one could entertain the thought of YoungBoy doing Carti better than Carti, they are fleeting. Furthermore, IRMC would largely benefit from a beefed-up presence of songs that feel more authentic to YB’s artistry. Few tracks — including “Double Cup” and “Same Thang” — feel like YoungBoy songs, which diminishes the album’s sense of identity.
Thus, the album’s strengths directly lead to its most glaring flaws. Love him or hate him, YoungBoy Never Broke Again has consistently been one of the most unique new acts. Without a doubt, many up-and-coming rappers have morphed into mini NBA YoungBoys due to the young rapper’s success and influence. Balanced against the originality of his past work, I Rest My Case feels like a step backward. Hip-Hop has progressed so far that albums like Whole Lotta Red and IRMC can thrive, but some things haven’t changed. For instance, biting still remains a cardinal sin in rap to this day. So while the idea of YoungBoy cosplaying as Carti sounds entertaining, the album feels antithetical to everything that YB has built for himself.
In conclusion, I Rest My Case is a solid and refreshing new offering from NBA YoungBoy, but it’s simply too derivative to stand on its own as a great album.
Now that you’ve read HNHH‘s review of I Rest My Case, we want to hear from you as well. Are you feeling the Baton Rouge native’s new sound? Does the originality, or lack thereof, affect your ability to enjoy his latest body of work? In the comment section below, let us know your thoughts and opinions on I Rest My Case.
Furthermore, you can also give NBA YoungBoy’s new album a rating of your own here.
Hip-hop’s obsession with grading, categorizing, and sweeping statements can be as burdensome as it is flattering, especially when the consensus is that you’re one of the finest in your field.
As soon as you’re dubbed the “greatest” of an era, time frame, or particular movement, the pressure that this accolade exerts is immense. Suddenly, great is no longer good enough and slip-ups are all but unfathomable to those who believe you have the recipe to make seminal music with every outing. Saddled with this kind of pressure, it’s understandable that many people will wilt. Coupled with the decreasing hunger and tenacity that comes with success, gaining such a degree of reverence too soon can actually be destructive. Suddenly, you’re operating from a vastly different airspace than the one in which you initially thrived. Yet for those who can never lose sight of how and why they embarked on their creative journey in the first place, the added sense of occasion that’s hard-wired into every body of work is anything but demotivating.
In the case of Metro Boomin, the fact that he’s been assigned such subtitles as “the most trusted guy in rap” and the defining producer of a generation since his early 20’s has done nothing to deter him from seeking to continually deliver work that is not only of the highest standard but quite literally alters perceptions of what is sonically possible within his own universe.
A man who leads with the heartening ideology of Why would I wanna do something that I did?, Metro Boomin isn’t a producer who’d off-handedly release any product to the world in order to flood the market. After all, this is a guy who’d already obtained a platinum-selling solo project by age 25 with Not All Heroes Wear Capes. Perhaps, most impressively of all, this is the very same St. Louis-born man who besieged ATL to the extent that his sound practically became the thudding heartbeat of its music scene.
ATLANTA, GA – DECEMBER 02: Metro Boomin attends Metro Boomin “Heros & Villains” Official Album release Party on December 2, 2022 in Atlanta, Georgia.(Photo by Prince Williams/Wireimage)
So, while it’s fair to say that Metro has very little to prove at this point and could coast by making beats from time-to-time, that doesn’t mean he doesn’t still have the desire to create and realize his own vision in long form. Five years on from his debut standalone project and two years after the release of Savage Mode II, Metro’s latest record, Heroes & Villains is inherently bittersweet and was almost derailed entirely by the tragic death of his mother. Suddenly bereft of his biggest supporter, a talk with his aunt reaffirmed his faith in the power of music.
“[She] was just like, ‘Everything you’re feeling right now, you could channel that”, Metro Boomin recalled her telling him. “That’s when a lot of the most impactful art and music has ever been made.’”
The result was Heroes & Villains. Although it was made under the all-encompassing shadow of sorrow, it’s safe to say that Metro followed a proud hip-hop tradition of turning tragedy into triumph on this blockbuster, tour-de-force of a project.
Metro Boomin is best known for his contributions to the world of trap, but his a persistent desire for him to push his sound in recent years has done its part to prevent any stagnation. “As the ambassador-representative of what’s going on, I look at it like a real responsibility,” he recently informed GQ. It’s no exaggeration to say that he certainly lived up to that manifesto with his production across the project.
Opening with “On Time”, the magnanimous tones of A$AP Rocky signal Metro’s re-entry into our solar system. Built on exultant vocal harmonies as John Legend plays the lead in his very own choir, a sample of a speech from embattled Homelander of The Boys speaks to the duality of man that resides at the heart of the project.
Lines such as “you need me to save you, I am the only one who possibly can” not only speaks to the gravity of Metro returning as a conquering hero but acts as a symbolic nod to the ingenuity that he brings to the game. He may relish the power that he wields yet knows that what he does is for the greater good of hip-hop’s creative climate.
Segueing with style to spare into the Pluto-led “Superhero”, its 808s and intimidatingly distorted horns permit Future to float like he’s been catapulted back to the days of DS2.
It’s clear that phoning it in couldn’t have been further from Metro’s mind. Across Heroes & Villains near 50-minute runtime, Metro maximizes the efficacy of every hi-hat and recurring synth motif without ever making them outstay their welcome. Aside from what he’s physically doing behind the boards, the project is also the site of Metro pushing artists into new terrain in one instance, while providing a sleek new take on their trademark style in the very next breath.
For Travis Scott, “Raindrops” invokes the psychedelically-subdued cloud-rap sound of his Rodeo days, before “Trance” sees him and Thugger do battle with poignant violin stabs. The pulsating four-on-the-floor beat on “Trance” forces La Flame to edge closer to the work of frequent Daft Punk collaborator Romanthony on the outro than anything we’ve heard from him in the past.
Elsewhere, the reverberating, poised piano of “Umbrella” gives 21 Savage the chance to resummon the macabre energy of the Savage Mode team-up, alongside a highly complimentary verse from his cousin Young Nudy. By no means is this 21’s only guest appearance but it’s a testament to the mutual respect and trust that the two have in each other. Metro Boomin later crafts a foreboding soundscape for 21 to unabashedly flex on with “Walk Em Down (Don’t Kill Civilians) — accented with the mournful vocals of Mustafa — that will live on as one of the project’s surefire defining moments.
Metro expertly aligns The Weeknd’s pained, transcendent vocals with Mario Winan’s “I Don’t Wanna Know” and the famed sample of Enya’s “Boadicea” that gave The Fugees one of their biggest hits on “Creepin.” He opts to keep the integrity, sparseness, and ambiance of the original R&B classic while updating it for a new generation, a welcomed surprise that left every listener pleasantly dumbfounded on the first listen. At the same time, 21 pushes himself out of the austere street storytelling into a place of vulnerability which is not only thrilling to witness but hard to imagine him undertaking for anyone else but his close collaborator.
Metro Boomin’s capacity to coax greatness out of his core acts is well known, but it’s still encouraging to see that he hasn’t lost his knack for tampering with an artist’s DNA as if they were born to be on his beats. Among the typically exhilarating turns from his tried-and-tested platoon of talent, Don Toliver is one man who seizes every moment that he has on the project. So, when it came time to take the lead on the mesmeric, spacious world of “Around Me,” it’s no surprise that he brought his A-game and continued to steadily switch up as the beat evolved.
Metro’s trunk-rattling production and infectious refrains make his approach clear on the project. Any track could conceivably be a single, but the album is just as thrilling in its linear setting. Where many producer albums are intended to be fragmented, Metro was set on sequencing and sustaining a vibe that eventually brings listeners to a crescendo.
INDIO, CALIFORNIA – APRIL 16: 21 Savage and Metro Boomin perform at the Sahara Tent at 2022 Coachella Valley Music and Arts Festival weekend 1 – day 2 on April 16, 2022 in Indio, California. (Photo by Matt Winkelmeyer/Getty Images for Coachella)
In recent interviews, he has claimed that the project was modeled by Dr. Dre’s 2001. The similarities register in both the production’s cinematic gravity to the tight-knit crew of collaborators that make up the album. However, one critique that’s been leveled at the album is that he should’ve incorporated some newer talents into the roster. But, to make this argument is ultimately to overlook the thematic underpinning of the project. Heroes & Villains is devised in much of the same way as a movie, complete with its protagonists & antagonists. The features on the project act more like an ensemble cast rather than a random assortment of names picked from a hat.
Naturally, many of the all-stars of his career are accounted for. Future, 21 Savage, and Young Thug are essentially his de facto Avengers or Justice League. Meanwhile, Travis Scott, Don Toliver (who Metro has claimed is akin to the Nate Dogg of the project) & ASAP Rocky are the newer recruits to his crack team, appearing as if from another franchise entirely.
On the subject of Jeffery, his delivery over the thunderous “Metro Spider” is almost unrivaled across the project. A track that features one of his most fired-up verses in years can’t be anything other than heartbreaking to hear Thug proclaim, “If anything happens, my kids got Ms so everything’s alright.”
But while the rappers naturally take a lot of the limelight, they aren’t the only ones who are allowed to stunt with their versatility and technical know-how. Case in point, the seamless transition from “Metro Spider” to “Can’t Save You” with Future & Don Toliver is one that shows the length & breadth of Metro’s imagination. Then, the scintillating guitar strains of “Lock On Me” with Trav and Future prove that he’s finding ways to work within the existing confines of trap without rehashing what’s been done before. It’s these moments that reaffirm that there’s just nobody doing it like Metro.
As forward-thinking as the project is, it no less ends on a nostalgic, almost dewy-eyed note. Metro leads “Feel The Fiyaaah” through a deft re-envisioning of an old Peabo Bryson joint á la pink polo Kanye. Meanwhile, Flacko’s opening verse is authoritative without ever threatening to overwhelm the instrumental nor detract attention from the man whose moment this really is. It’s almost fitting that Takeoff’s first posthumous track is one that shows off his exemplary and often overlooked rhyming ability in all its glory. Though he was initially slated to be on three tracks on the album before his untimely passing, the late, great Rocket Man enlists an alphabetical flow and propulsive pattern on “Feel The Fiyaaah” that would have MF DOOM or Grand Puba tipping their caps to his dazzling wordplay.
On his sophomore solo project, Metro Boomin and his all-star cast make it clear that the hero is back to reinvigorate trap music. And what’s more, he did it in style. A project which delivered on all of its promise and pomp & circumstance, its consistency and replay value certainly won’t slow down the GOAT producer calls, either. If anything, this is an album that has sufficient range and consistent quality that will undoubtedly intensify them.
