This is the 3rd full-length album from Philadelphia rapper & singer Lil Uzi Vert. Becoming a household name in the trap scene with their 2015 mixtape LUV is Rage & then Lil Uzi Vert vs. the World the following year, Uzi has been entangled with a nasty legal battle with Generation Now Entertainment/Atlantic Records from their debut LUV is Rage 2 until the sophomore effort Eternal Atake came out in March of 2020 to moderate reception to which they admitted themselves didn’t live up to their expectations & followed it up a week later with the far superior Lil Uzi Vert vs. the World 2 that spawned the deluxe version trend where artists would drop a “deluxe version” of their newest project that’s basically an entirely new album. Red & White last summer was a solid prelude in it’s own right, but is ending the first half of 2023 by finally unloading The Pink Tape.
“Flooded the Face” is a cloudy trap opener produced by Don Cannon calling back to the intros of both LUV is Rage projects refusing to pump the brakes along with clapping back at those questioning their sexuality whereas “Suicide Doors” is a trap metal banger that Brandon Finessin’ cooks up talking about feeling like The Crow & it’s a shame that Playboi Carti isn’t featured on it because I can definitely imagine him over this instrumental, but it’s still hard as fuck nonetheless! “Aye” featuring Travis Scott finds the 2 looking to go harder over some strings & hi-hats from BNYX of Working on Dying just before “Crush ‘Em” talks about smashing like road rage & being a player over an airy trap beat with co-production from Cubeatz & WondaGurl.
Moving on from there, “Amped” wants everyone to witness them go “amped” as Bugz Ronin fuses trap with rock once more leading into “x2” becoming an early favorite for me from Uzi’s infectiously pop rap performances about this shit being cray to the futuristically wobbly beat from both Cliffshayne & Ken Carson. “Died & Came Back” on the other hand has more glistening trap vibe feeling as if they’ve been resurrected, but then “Spin Again” talks about spinning bitches works in some synthesizers & booming sub-bass from Brandon Finessin’. Also note worth noting the Ice Spice reference during the verse that caused JT of the City Girls to flip on Uzi not too long ago.
“That Fiya” points out the .44 Magnum that they have on them accompanied by these electro synths & hi-hats while “I Gotta” gives off a more triumphant approach thanks to Outtatown talking about their ridiculous new whip. “Endless Fashion” featuring Nicki Minaj finds the 2 joining forces for an official song excluding the remix to “The Way Life Goes” (O.G.’s better). But in all seriousness, the actual music isn’t all great as they pretty much butcher Eiffel 65’s best song “Blue (Da Ba Dee)” almost as bad as Bebe Rexha & David Guetta did on “I’m Good (Blue)” last summer. However, the Republican doctor bar was funny even though both wings are on the same bird personally. “Mama, I’m Sorry” though is an improvement with it’s tropical trap beat & lyrics apologizing to their mother.
Meanwhile, “All Alone” vents about relationship struggles with a shoutout during the 2nd verse & Don Cannon bringing back that old playful Lil Uzi Vert vs. the World/The Perfect LUV Tape sound while “Nakamura” named after former 3-time IWGPヘビー級王座, 5-time IWGPインターコンチネンタル王座, IWGPタッグ王座, 2-time NXT Champion, 2-time WWE Intercontinental Champion & 2-time WWE United States Champion 中邑 真輔 talks about becoming too focused when it comes to the cash flow sampling the titular performer’s theme. It’s also worth noting that Uzi themself have said that this will be their entrance theme for their in-ring performance at WrestleMania XL next spring.
The only single released up to this point “Jus Wanna Rock” lets Internet Money Records in-house producer Synthetic fuse Philly & Jersey Club together in a tasteful manner that will get everyone to do exactly that as they got everyone to do the first night of WrestleMania XXXIX during former 8-time WWE tag team champions The Usos’ entrance against former 2-time PWG World Tag Team Champions & ROH World Tag Team Champions Kevin Owens & Sami Zayn although the latter team walked away as 2-time WWE tag team champions that night while “Fire Alarm” delves further fusing EDM & trap talking about taking percocets.
“CS” is a cover of my all-time favorite System of a Down! song “Chop Suey” that I’ll never listen to again even though I appreciate the homage to the days of where alternative & nu metal were in their prime that is until “Werewolf” featuring Bring Me the Horizon roots itself into the band’s signature metalcore sound with Oliver Sykes assisting Uzi in talking about going deeper underground with an angelically sung hook attached to it. “Pluto to Mars” points out the fact that they could never be mistaken for a lame over a feel good trap beat while “Patience” featuring Don Toliver goes for the melodic/synth direction singing about seroquel which ironically enough I actually take to help with my insomnia.
“Days Come & Go” returns to that victorious groove declaring that their love won’t stay as time goes on while “Rehab” gives off an otherworldly vibe instrumentally talking about making sure he don’t feel no drama. “The End” featuring ベビーメタルtends to favor towards the Tokyo trio’s kawaii metal sound courtesy of コバメタル with co-production from Maaly Raw to discuss being from outer space as the secret that they’re not from this Earth was revealed on “Glock in My Purse” last summer. The song “Zoom” is a cavernous trap banger produced by Wheezy telling y’all not to call their phone while the penultimate track “Of Course” sonically has a happier mood that Oogie Mane gives off drippin’ & swaggin’. “Shardai” though sends the album off warmly staying with the bag.
We’ve waited 3 years for this day to come & I will give credit to Uzi for making Pink Tape better than Eternal Atake as a full-length album, but there are some moments that I don’t see myself going back to at all either. They take some artistic risks that come from a genuine place expanding beyond trap & pop rap in favor of rage, cloud rap, trap metal, rap rock & alt-metal with an overloaded track-listing at 86 minutes as well as 26 cuts that has more hits than misses.
Score: 3.5/5
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