One of the busiest men in the business, having already announced some more exciting collaboration albums to be released in the near future, influential super-producer Metro Boomin steps into Kendrick’s level shoes as the ultimate curator of a soundtrack based at Marvel. Exactly six months after the release of his excellent solo album, Heroes and villains, Metro recruits another colorful cast of a few familiar faces and a couple of surprises into the mix, ranging from trendy upstarts like Coi Leray to a legend in Nas. Of course, Metro has some equally big shoes to fill when it comes to matching the success of the soundtrack with the former The Spider-Verse movie, which notably spawned the worldwide smash hit “Sunflower.” While the project starts off strong with some of Metro’s groundbreaking trap flips and dynamic instrumental prowess, as a full album the film’s soundtrack approach doesn’t seem quite as appealing as some of his dedicated musical work, falling into a unusually generic territory for the beatmaker at times.

Although the song’s tone is much more sinister than “Sunflower”, it’s still a great decision that the first voice we hear on the project is Swae Lee’s on “Annihilate”. Dropping a mind-blowing, glitchy beat of distorted synth lines, quite reminiscent of Lil Wayne’s “Mama Mia,” and Wayne himself appearing on the track as well, Metro continues to prove he can outshine all his superstar guests, changing the beats with new elements going up and down in the mix and keeping things interesting as you go. The chorus feels appropriately grand and epic through its chord choices, and you have to respect the amount of spider references Wayne stuffs into his verses. Offset is a common guest on the project, and this might be his best performance of the bunch with some fast and engaging flows. Another unexpected show-stealer is Roisee, a stranger discovered by Metro on YouTube with less than 100 subscribers. Despite a muted filter on his voice, his personality, emotion and vocal talents shine through on “Am I Dreaming” and hold their own with A$AP Rocky. When the complex trap rhythm falls over the catchy hook of the violin, Rocky gets in the zone and remains as cool as ever. “All The Way Live” finds Pluto and Baby Pluto reuniting for a song that’s better than anything else on their collaborative album. Future’s repetitive hook gets a bit off-putting, but the instrumental is still top-notch Metro. Lil Uzi Vert’s howling jams inject a lot of energy here, but fizzing synths and a few hi-hats leaping to the front of the mix go a long way to grounding the flows of these two looser approached rappers.

Speaking of repetitive hooks, Offset’s one-word hook on “Danger (Spider)” has been drawing a lot of ire online, but honestly, if anyone knows how to pull off something like this, it’s a former Migos member. When Offset does it, it’s at least a little funny: the blaring synths in the background are really what I’m focusing on. Offset’s verse is serviceable, but the real draw of this song is that JID continues to demonstrate its springy, incredibly fluid flow. Although this is one of three songs that Metro did not produce here, I am very excited about the announced collaboration. project between him and JID. “Hummingbird” opens with a wild spin on the 1926 Americana and jazz classic “To-Night You Belong To Me,” first turning the volume up and then slowing it down to create a trap landscape for James Blake to play for five straight minutes. . It’s great that Metro saves what might be the most hard-hitting trap pattern here for Blake, and he’s up for the task: His oddly appropriate fit with the hip-hop world helps him here just as much as his ghost-of-a-ghost energy. victorian child. does when combining with the vintage sample. It’s a very innovative track that Blake, as always, sells with passion. “Calling”, however, is the one that curiously has attracted the most attention. With a quieter, more innocuous instrumental than Metro’s usual, we’re greeted with another decent hook from Swae Lee, but the first thing we hear afterwards is NAV’s dead-eyed cadence, robotic focus, and terrible punchlines. The tempo picks up slightly during the verses, but not enough to give this one any kind of jump. A Boogie tries to kick things up with a faster verse that pretty much stays on beat the entire time, but the transitions back to Swae’s hook are essentially non-existent.

The song “Silk & Cologne” kicks off the second half of the album by introducing listeners to the seemingly obligatory watered-down Afrobeats section that every major album must have. Lead artist EI8HT doesn’t have any other songs on Spotify, and his collaboration with Offset just finds the Migos rapper doesn’t really align with the vibe of the track: he’s designed for only one type of beat, and it’s not this pattern. of click clack. “Link Up” is Metro’s own contribution to this area, but it really feels like someone at the movie studio told him he needed to make it hot and he wasn’t passionate about it, putting together the most passable, generic dancehall track he could possibly have. . Closing the gap across the Atlantic with Wizkid and BEAM on court, he is centered by a plaintive hook from Don Toliver in his first of three appearances in the lackluster back half. He also appears on “Home” with Lil Uzi Vert, and it makes me think of how low he’s sunk since he burst onto the scene like a breath of fresh air with his unique voice. It’s now the default choice for launching a groggy mid-tempo hip hop tune to muttering an inconsequential hook. Uzi’s appearance here is very mocking – it’s the least crazy pace he’s ever been on and he has no idea what to make of it. The frenetic, nervous energy from him has nowhere to go, and he really affects things rhythmically.

Among these is “Self Love,” which has received praise online for Coi Leray’s performance. She brings a fantastic flow to the 2North Dakota verse, and it’s clear why people are loving her bubbly energy and unique delivery right now (here she throws the word “introvert” into the mix), but she’s the only thing saving another sleep-inducing beat of a producer who clearly had more pressing matters on his mind. “Nonviolent Communication” is a late gem that finds some of the project’s MVPs teaming up. After another striking intro and hook from James Blake, A$AP Rocky and 21 Savage set themselves apart by injecting a softer vibe with a charismatic mic presence. 21 doesn’t extend the same energy to “Givin’ Up (Not The One),” an appropriately titled track that sees all of his collaborators—most disappointingly, 2 Chainz—actually calling out with static flows. It closes with “Nas Morales”, where Nas appears with the energy of a guy who is above all of this giving him his stamp of approval. It’s still Nas, but a Metro collaboration should have been fireworks.

While far from his best work, possibly to be expected when it comes to a movie soundtrack album, Metro Boomin still gave it his all on a good handful of tracks here and proved why he’s on another level when it comes to working hip-hop producers. today. Now give me that JID album.

Favorite songs: Am I Dreaming, Annihilate, Hummingbird, Danger (Spider)

Least Favorite Track: Home

Score: 6/10


privacy settings

You may also like

Leave a Comment