He then hands off the song to Vince Staples, who seamlessly transitions into the next verse without missing a beat.
After layering on trap drums, Aminé hops on the track to show off his clever and lighthearted lyrics, comparing the pressure of keeping up in the music industry to the tension in cartoon aardvark Arthur’s curled first. The materialistic flexes are a drastic change o f tone, but in an album that hops between genres and topics with no hesitancy, the 180-degree shift frankly does not stand out.Īminé continues chronicling his experiences with fame in “Pressure In My Palms,” which opens with an enticing ghostlike chant of the song’s title. Both rappers admirably acknowledge their past mistakes in relationships, frankly stating “it’s hard to admit that I’ve made my bed/ And you know I’ma always wish you the best.”īut this sentimentality is seemingly thrown out the window with “Shimmy,” as Aminé brags “I’m bigger than Texas, me and God text message.” Clashing harmonies distract from his grandiose claims of owning flashy cars and reaching a level of fame that has earned him haters. Featured artist Young Thug matches Aminé’s vocal dexterity by easily reaching the high-pitched melodies in their first collaboration, all the while being backed by groovy production. Regardless of other tracks’ sonic mundanity, lead single “Compensating” is a wonderful example of Aminé’s artistic range as he playfully sings the opening chorus and then immediately transitions into rapping an octave lower. And unfortunately, other songs like “Mama” and “Easy” are similarly underwhelming because of their boring song structure that leads the listener into a repetitive loop. The unlikely combination melds surprisingly well and is the only silver lining of an otherwise monotonous track about an on-and-off relationship.
Yet the laidback tempo seems to be the only element he retains in “Can’t Decide,” which pairs together a flamenco guitar-esque sound with light trap beats.
#LIMBO BAR FALLS SKIN#
His flow is fittingly meta and deliberately slow as he raps about a world in which “when your skin darker, shit gets harder.” Layered falsettos soulfully complement his easygoing verses, which deceivingly mask the weight behind his lyrics about racial injustice and discrimination. It seems difficult for the artist to maintain a sense of focus, which can probably be attributed to a desire to branch out from his in-your-face and upbeat debut album “Good For You.” Regardless of the reason, his sophomore record presents a jumble of catchy songs that struggle to unite as a cohesive album or properly showcase his artistic potential.īy welcoming the listener with the opening track “Burden,” Aminé sets expectations high with mellow backup vocals and relaxed guitar chords. In line with his sonic shifts, Aminé delves into a myriad of topics in this release, from past romances and race relations to his newfound fame. This overabundant musical exploration sadly leads to lulls and clipped changes in tone. The Portland, Oregon, rapper, whose 2016 debut single, “Caroline,” put his name on the map, unfortunately flounders in his sophomore effort, “Limbo.” While the release is a pleasant listen, it pinballs around and jerkily ventures through thumping trap beats, languid production and jazzy instrumentals. Aminé: the sophomore slump’s latest victim.
0 kommentar(er)
