A$AP Rocky is an absolute titan in the rap game. From his early cloud rap releases to his more acclaimed records like “Testing,” many newer rap icons like Travis Scott, Playboi Carti, and ScHoolboy Q cite his work as a great inspiration for their own art. His recent release, “DON’T BE DUMB,” marks the end of an eight-year album drought from Rocky, and it is clear he has been honing his craft. This album sports a creative blossom that seems to push itself in a variety of different directions and genres across its 59-minute runtime, as well as lyrics that are reflective of his status as a committed partner to Rihanna and father. The album cover features some doodles from Tim Burton, and some single covers reminiscent of old PlayStation games, adding a vibe from this record that listeners struggle to truly pin down.
The album begins with “ORDER OF PROTECTION,” a song that, while retaining Rocky’s trademark swagger and flow, presents itself as being more reflective, with Rocky talking about where he’s been and what he’s been up to. The synth work on this track works well with this tone, and as the drums begin to build around the halfway point, Rocky’s flow syncs up with them well. A standout example of this is his rhyming with “grab” on the kicks in the refrain.
Track 2, “HELICOPTER,” is a fantastically done ode to the old Memphis era of rap, with the menacing synth lines and chord structures, as well as the subtle cowbell thrown into the percussion section. Here we see a bit more of classic Rocky, talking about smoke and whatnot.
Track 4, “STOLE YA FLOW,” is a fantastic song for several reasons, the first being the phenomenal and explosive production of every aspect of the beat. It comes across as a cohesive, overwhelming, electronic amalgamation of sound that perfectly matches the subject matter of the song: the overwhelming number of shots being thrown at Drake, another extremely popular artist and former collaborator. Songs like “STOLE YA FLOW” are part of a larger movement in the hip-hop scene that pushes back against rappers like Drake, those who seek the approval of the larger music industry and streaming numbers over the unique creative expression that can be achieved through rap music. The song is concise, and Rocky’s flows sound consistent and punchy for the entirety of the track’s runtime. It is a struggle to find a single dull moment on this one.
A final track worth mentioning is “DON’T BE DUMB / TRIP BABY,” the album’s 14th track. The phrase “trip baby” is certainly an accurate indication of what you are getting yourself into, as it feels like a significantly more amped-up version of some of his older, more psychedelic cloud rap tracks. Synthesizers and other instruments are swirling in this neat mass of sound while Rocky raps in a way that is simultaneously vague and extremely down-to-earth. There are many high points on this record, and any listener will struggle to choose one that is the highest for them.
This album is not without its flaws, however, and the biggest issue with this record is its insistence upon repetition where there really needs to be none. Track 5, “STAY HERE 4 LIFE,” features R&B icon Brent Faiyaz, but also drags on for almost six minutes without any real instrumental changes. Brent’s feature is lovely, and Rocky’s expressed hopes for a mature and private relationship are a nice sentiment, but more needs to be done to justify the song’s length.
Despite featuring legends Gorillaz and Westside Gunn, the 12th track, “WHISKEY (RELEASE ME),” falls flat. There is simply not much going on instrumentally, and the Gorillaz feature is extremely lukewarm. In addition to this, Westside Gunn’s entire feature, or lack thereof, feels like some inside joke that the listener is not in on. He simply does his classic ad-libs for a while during the song’s outro, and that’s it. “DON’T BE DUMB” has high peaks and some mundane low points, but any fan of hip-hop should be sure to give this album a try. 5/5 stars.
