Let me start by linking the Long.Live.A$AP production credits as a reference point. There’s a little more variety here than on LiveLoveA$AP, and a lot less Clams Casino.
That’s a good spot to start off. Maybe I’ve just listened to too many Clams beats at this point, but I don’t find either “LVL” or “Hell” to be very good tracks, and the beats are partly to blame.
Which leads to another point. Rocky is never going to carry an album with his mic. He’s not a great lyricist or storyteller. His flow isn’t impressive. He’s got some funny lines and some charisma, but he’s only as big as he is because he knows how to market himself so well, which has attracted so many great producers to work with him.
I had been telling people that at worst, this album would be solid. One way or another, the beat selection would be excellent. And most of the beats here are excellent. However, something that Rocky and I didn’t anticipate was how the album flows together. Lots of the transitions are pretty strange on the first listen-through. Go ahead and listen to “F***in’ Problems” and then “Wild for the Night”. At this point, I love both tracks, but they kill the flow of the album (again) because they don’t belong next to one another.
“Wild for the Night” is the Skrillex-produced track by Rocky that’s sure to hit a few clubs this year. I like it, but I’ve learned to appreciate Skrillex for what he is: a fidget house producer that doesn’t step outside of the box too often and knows how to make the masses attempt to dance. A lot of the tracks on this album seem to generate wildly-differing opinions, so it’s going to be subject to the listener.
As for me, I think it’s an album that’s not meant to be heard in a single sitting, which is something that generally bothers me. It’s a bit disappointing, but has a number of tracks that I’ll revisit over the course of the year.