I don’t want to seem like a yes-man, but Future’s not putting a foot wrong; ‘HNDRXX’ is gorgeous, a hallucinatory pop/trap/R&B whirlwind that balances pleasure and pain – even innocence and arrogance like they’re the same damn thing. Well, innocence might be a little too strong (we’re talking about a guy who kicked off his last project with, ‘Your baby mama fuck me better when the rent’s due’). Nevertheless, this thing dazzles. ‘HNDRXX’ trades in the unadulterated, head-bopping grit of ‘FUTURE’ for falsetto-led victory laps, decadent anecdotes and heartfelt confessions – bathing them in the melodic warmth of R&B instrumentation from a variety of eras.
I shouldn’t really have to fill you in on Future’s last album, I mean, it dropped last week for fuck sake. Anyway, it turned out to be the best version of what, I imagine, we all expected: a Super Future trapathon. Everything about it was relentless, and I suppose, in some ways, conclusive. He could have left it there. Alas, that’s really not his style; a follow-up was announced. Despite the fact that‘FUTURE’managed to colour inside the lines of his well-recognised formula and still keep things interesting, a further seventeen tracks of pure bass and bravado may have triggered some thumb-twiddling. So, a change of pace was pretty essential.
People seem to be arguing a lot about Future’s hot streak: when did it start, when did it end, or even when – if ever – will it end? Well, it’s safe to say that it started late in 2014 with ‘Monster’. After a messy split with Ciara, Future decided to become a caricature of his new public persona, creating a project typified by three things: desperation, punishing low-end and crushed auto-tune.
The upshot: some of the most emotionally compelling hip-hop in a while – somehow managing to convey despair at 95 bpm. Following this came a slew of albums and mixtapes, namely: ‘56 Nights’, ‘Beast Mode’, ‘DS2’, ‘Purple Reign’, ‘What a Time to Be Alive’ (with Drake) and ‘EVOL’, all of which stuck to that same aesthetic more or less – and all of which were homeruns in their own right. With his latest album, then, the streak’s still intact; ‘FUTURE’ doesn’t reinvent the wheel, however, it’s an excellent demonstration that the Atlantan has his particular brand of punch-drunk trap down to a fine art.
It’s been eighteen long years since A Tribe Called Quest released an album (‘The Love Movement’), however, their latest offering, ‘We Got it From Here’, makes it abundantly clear that the spaced-out jazz-rap aficionados still know how to kick it. Despite sticking to their rock-steady blueprint of pensive rhymes and groovy soundscapes, the contextual poignancy of Phife Dawg’s death and the volatility of the American political landscape imbue ‘WGIFH’ with an urgency unlike any other Tribe LP.
With that in mind, ‘WGIFH’ plays like a funky self-help audiobook for the post-electoral apocalypse and beyond; causes for concern and celebration are well balanced, demonstrating that the Tribe’s verbal proficiency is one that transcends age.