Rocky thankfully finishes off the album strong. Without many lyrics, both rappers utilize their musical prowess to make an interesting concept (for once). No one can understand what Kodak is saying because of the grainy reception.Īgain though, the song following that Kodak blunder, “Buck Shots,” delivers a beautiful Pierre Bourne-style beat, and un-ironically, Carti features on the track.
However, as with most cases throughout this album, for every beautifully sounding track riddled with intriguing edits and vocal distortions, there’s a confusing artistic decision, like on the monotonous “Kids Turned Out Fine.” Or, the lifeless “Calldrops” where Rocky calls Kodak Black from prison to give a verse over the phone. It’s disappointing, considering Skepta brought a lot of energy to Playboi Carti’s recent release, Die Lit. Skepta and Rocky’s delivery is both predictable and mundane as well. The vocal performance from English songwriter FKA Twigs serves as a formidable closer to a fragmented concept.įor a project that presents interesting ideas production-wise, “Praise The Lord (Da shine)” seems derivative of every trap rap song that’s used a flute in the background. The soothing base on “Fukk Sleep” makes up for ASAP’s skeletal lyrics that once again, lack any logical direction. The Harlem rapper harmonizes with the instrumentals, specifically when he chants, “stoned-stoned when I’m in my zone-zone/smokin’ on the homegrown, feeling like I’m all alone.” Rocky clearly exercises his best impression of Cudi, who was probably present in the studio when this was recorded. Also, the chaos on display throughout the entire three minutes is dizzying, but in a favorable way. “Tony Tone” production-wise is very similar to the intro track, and benefits from an infectious chorus from ASAP.
This album really does sound like Rocky is testing something creatively, but without any clear direction or thematic element. The inclusion of Kid Cudi on “ASAP Forever” adds life to the lead single, but Rocky’s uninspired verse and beat switch-up suffers from any organization. The introduction track, “Distorted Records” is too short to really praise, but incorporates cockeyed baselines, with ASAP acknowledging those hypnotic acid house chords, especially when he raps, “I can feel the base/from the ceiling to the basement.” The song, while devoid of a structured length, still acts as a solid start. Nonetheless, the Harlem rapper surprised fans over Instagram with the release date of Testing. Rocky clearly decides to throw the kitchen sink right off the bat as far as production goes.
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