This is the new collaborative effort from 2 household names in the trap subgenre of hip hop, Future & Lil Uzi Vert. The 2 have come together a handful of times throughout the last few years with songs like “Too Much Sauce” or Wassup” but after dropping a couple singles this past summer, they have seen fit to take things to the next level on PLUTO X BABY PLUTO.
The opener “Stripes Like Burberry” sees the 2 talking about wanting to make their mother’s proud over a energizing instrumental from DJ Esco whereas the next song “Marni on Me” pays tribute to the Italian clothing company Marni over a bland beat. The track “Sleeping on the Floor” talks about partying over an instrumental with some rubbery bass while the song “Real Baby Pluto” talks about their alter egos over a banger beat from Zaytoven.
The track “Drankin’ n’ Smokin’” talks about women over a calming instrumental while the song “$1M Play” talks about shooting it up over a woodwind-infused beat. The track “Plastic” talks about their Cartiers over an instrumental with some strings while the song “That’s It” talks about their woadies being coyotes over an hypnotic beat from Wheezy.
The track “Bought a Bad Bitch” talks about how fine their girls are over a nondescript instrumental while the song “Rockstar Chainz” is a solo Future cut about feeing like autopilot over an uneventful beat. The track “Lullaby” right after is of course an Uzi solo cut about doing wrong over a DY instrumental with an AMAZING vocal sample while the song “She Never Been to Pluto” is the duo getting back together to talk about kicking hoes out like Kudos over an EDM/trap fusion.
The track “F-Off Dat” talks about smoking a good pack over a plain instrumental while the next song “I Don’t Wanna Break Up” talks about wanting to stay with their significant others over a moody beat. The penultimate track “Bankroll” talks about their money over a triumphant instrumental & then the closer “Moment of Clarity” talks about everyday being a movie premiere over a luxurious Turbo beat.
For the 4 month wait, the end result is pretty mid. Not only is Uzi carrying a good portion of the tape, but I wish he & Future took more risks because on the production on here is just so mediocre & safely played. Would’ve been a much better EP if you ask me.
This is the 8th full-length album from Atlanta rapper, singer & songwriter Future. Lot a people don’t know that he got his start being brought into the Dungeon Family thanks to his cousin Rico Wade of Organized Noize but he did become one of the leading figures in the trap subgenre with releases like Honest, Monster, Beast Mode, 56 Nights & my personal favorite: D.S. 2 (Dirty Sprite 2). It’s been a little over a year since Future’s last album The WIZRD, but he’s now coming out of the shadows with High Off Life.
Things kick off with “Trapped in the Sun”, where Future talks about giving game to his sons over a tense instrumental. The next song “HiTek Tek” of course gets materialistic over a bland instrumental while the track “Touch the Sky” talks about how no one can finesse him over a cavernous Southside beat. The song “Solitaries” with Travis Scott sees the 2 getting boastful over a lively beat from Wheezy & Mike Dean while the track “Ridin’ Strikers” talks about sending shooters & the way that the So Icey Boyz’ instrumental on here transitions during the last minute or so is just jaw-dropping.
The song “One of My” gets annoyingly repetitive over a dime a dozen trap beat while the track “Posted with Demons” talks about pimpin’ over a DJ Spinz beat with some luscious string sections. The song “Hard to Choose One” talks about having too many bitches over a keyboard heavy instrumental while the track “Trillionaire” with YoungBoy Never Broke Again sees the 2 vapidly talking about becoming richer than they already are over a comatose instrumental.
The track “Harlem Shake” with Young Thug sees the 2 talking about being trap stars over an Italian-flavored beat while the song “Up the River” pretty much addresses that he’s the one a lot of trap rappers got their styles from over an euphoric beat. The track “Pray for a Key” gets reflective over a cloudy TM88 beat with some occasional vinyl crackling if you listen very closely while the song “Too Comfortable” is a message to all the hoes that wanna fuck with him over an acoustic trap beat.
The track “All Bad” with Lil Uzi Vert sees the 2 talking about how fine the women around them are over a colorful instrumental while the song “Outer Space Bih” talks about over a DY beat with a piano-loop that’s sweet to the ear. The track “Accepting My Flaws” is a beautiful thank you to Lori Harvey backed by a heavenly instrumental while the song “Life is Good” with Drake is pretty much 2 mediocre solo songs from each artist combined into 1.
The track “Last Name” with Lil Durk sees the 2 talking about paranoia over a dismal beat while the song “Tycoon” talks about being a magnate over a sedating instrumental. The penultimate track “100 Shooters” with Doe Boy & Meek Mill sees the 3 talking about how street their are over a woodwind-infused Tay Keith beat & then the album finishes off with a pointless sequel to “Life is Good” except it’s Future on the first half then DaBaby & Lil Baby on the other.
You know I wasn’t really looking forward to this album given how hit or miss Future’s discography has been since 2017, but this is definitely one of his better releases within the past 3 years. Some tracks during the 70 minutes runtime definitely could’ve been left on the cutting room floor, but the production is a lot more interesting for the most part & the songwriting is a lot catchier too.
Future is a 35 year old rapper, singer & songwriter from Atlanta, Georgia who came up as a member of the Dungeon Family thanks to his cousin Rico Wade of Organized Noize. He officially made his debut in 2012 with Pluto & would later follow it up with a hot streak of modern day trap essentials like Honest, Monster, Beast Mode & my personal favorite of his: D.S. 2 (Dirty Sprite 2). However since 2017, Future has mostly been painting himself in a corner & prioritizing quantity over quality. I mean sure HNDRXX took a more sensual approach & SUPER SLIMEY showed a pretty great chemistry with fellow trap trailblazer Young Thug, but Beast Mode 2 was a step down from the predecessor & he got with Juice WRLD last fall to put out a collab tape that literally should’ve never happened: WRLD on Drugs. Finally at the very beginning of this year, Future’s previous album The WIZRD was just passable even though it showed NO artistic evolution WHATSOEVER. All that being said, I was curious in trying out his debut EP over here that he randomly decided to drop.
The opener “XANAX DAMAGE” is a mindnumbingly repetitive piece about venting to this chick over a trap beat with a depressing acoustic guitar passage while the next track “ST. LUCIA” sounds like it could’ve been on Future’s last album, really. The song “PLEASE TELL ME” is a simp anthem a spacey beat while the track “SHOTGUN” is a horrifically corny ballad with an annoying hook & a buttery instrumental. The song “GOVERNMENT OFFICIAL” talks about the party life over a haunting trap beat & while the penultimate track “EXTRA” has an endearingly depressing tone to it, the producer FXXXXY sounds EXACTLY like Drake on the post-chorus & it’s SCARY. The EP then closes out with “LOVE THY ENEMIES”, where Future vents about his insecurities over an gloomy guitar passage.
I wasn’t expecting much from this & the end result was pretty average. It’s interesting to hear him going into a more emo direction on a few cuts, but the songs don’t sound fully complete to me. If we’re truly getting a HNDRXX 2 at some point, then I hope it’s better than this.
Future is a 35 year old rapper, singer & songwriter from Atlanta, Georgia that blew up at the beginning of the decade bringing his own unique sound to the trap subgenre. He spent 2018 doing features, the soundtrack for the recent Superfly remake, dominating the recent DJ Esco album KOLORBLIND, his BEAST MODE 2 mixtape & the redundant WRLD on Drugs collab with Juice WRLD. But now to bring in the new year, he’s delivering his 7th full-length album.
Things kick off with “Never Stop”, which talks about his come up over a disappointingly generic beat. The next song “Jumpin’ on a Jet” gets boastful over a spacey trap beat from Southside while the track “Rocket Ship” talks about how he’s been popular since his demos over an airy beat. The song “Temptation” is an introspective look at just that over a somber beat from Tay Keith & even though I didn’t care for the track “Crushed Up” at first, it did grow on me a little.
The song “F&N” talks about putting hits out with a pretty cool beat switch during the last minute or so while the track “Call the Coroner” talks about his desire to live like a drug lord over an eerie TM88 beat. The song “Talk Shit Like a Preacher” is a painfully boring bragging anthem while the track “Promise U That” talks about thug love over a spacious, bass heavy Tay Keith beat. The song “Stick To the Models” is another drab brag, but the track “Overdose” does pick back up as he’s flexin’ more charmingly over a Southside & DY beat with some bells.
The song “Krazy But True” talks about his influence over a woozy trap beat from Wheezy while the track “Servin’ Killa Kam” talks about the shit he got over a nondescript beat. The song “Baptiize” talks about his grind over an atmospheric beat that cleverly switches up into a “Slave Master” sample during the second half & even though the track “Unicorn Purp” with Young Thug & Gunna sounds like a leftover from SUPER SLIMEY, the chemistry between the 3 is flawless.
The song “Goin’ Dummi” pretty much speaks for itself over a bland beat while the track “First Off” with Travis Scott is an off the wall wealth anthem. The song “Faceshot” yet again talks about the drug game, but the skrrt adlibs at the start of every verse is annoying. The penultimate track “Ain’t Coming Back” talks about haters over a spacious beat & then the closer “Tricks on Me” talks about fame over a mellow 1985 beat.
This isn’t bad, but it’s not that great either. Not only is there nothing new sonically, but there are quite a bit of filler cuts on here as well. Yet another example of someone as boundary pushing as Future prioritizing quantity over quality.
Aside from the soundtrack for the recent Superfly remake as well as dominating the recent DJ Esco album KOLORBLIND & a ton of features (most notably: his God awful bridge on “King’s Dead” off the Black Panther soundtrack), Atlanta trap superstar Future hasn’t dropped a project in over a year. He spent 2017 dropping 2 albums back to back, the bloated self-titled album & the more pop/R&B inspired HNDRXX. Now, he is coming out of the blue with his 13th mixtape & it is a sequel to one of his most critically acclaimed tapes Beast Mode. Of course, Zaytoven is returning on the boards for it as well.
The opener “WIFI LIT” talks about being on “rich nigga shit” over an instrumental with a nice woodwind sample & it’s no “Mask Off”, but it is a solid way to start off the tape. The next track “CUDDLE MY WRIST” vents about having a monkey on his back over a laidback beat while the song “RACKS BLUE” of course about wealth over a trap beat with some gorgeous piano keys. The track “31 DAYS” talks about sex, but nothing about it sets the mood for me at all. It literally sounds like a bad leftover from HNDRXX.
The song “RED LIGHT” talks about going from sleeping on the floor at night to making millions over some somber piano chords & rubbery bass while the track “DOH DOH” with Young Scooter sees the 2 talking about counting up money over an eerie beat. “WHEN I THINK ABOUT IT” is a freestyle to “WEAK” by Larry League that is a lot better than the original song while the penultimate track “SOME MORE” is a mediocre ripoff of “Mo Reala”, which appeared on Zaytoven’s latest album Trap HoliZay. The tape finishes with “HATE THE REAL ME”, where he gets high & reminisces about the good times he had with Ciara over a cloudy beat.
I was a little concerned about this given the “King’s Dead” feature, but it went beyond my expectations. It’s not perfect at all, but I do believe’s this is just as fun as the first Beast Mode from Zaytoven’s production to Future’s delivery