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The Student News Site of St. Joseph's University

The Hawk News

The Student News Site of St. Joseph's University

The Hawk News

Mixing it up

Graphic by Kaitlyn Patterson 20.
Graphic by Kaitlyn Patterson ’20.

The new mixtape from Future and Young Thug

Last week, Atlanta rappers Future and Young Thug dropped a surprise collaborative mixtape.

While “Super Slimey” boasted an impressive collection of producers, including southside and Mike Will Made It, there is only one word that comes to mind after giving this star studded record a listen: unimpressive.

The project arrived on the heels of a busy year for both artists.  In 2017, Future dropped two full-length albums in less than a week. The first, “Future,” can simply be described as mediocre at best. The album displays subpar lyricism, redundant production and a formulaic track structure that illustrates Future’s lack of artistic progression over the years.

His followup, “Hndrxx,” managed to be even worse than its predecessor. Listening to Future’s codeine-laced vocals croon over booming drums makes some of the tracks nearly unlistenable. Future has seemingly failed to come to the conclusion that the auto-tuned gargling he calls singing is almost unbearable to hear.

On the other hand, Young Thug dropped two of the best projects of 2017. “Beautiful Thugger Girls” is the epitome of why Young Thug is such an innovative and unique artist. On “BTG,” he blends beautiful production with melodic vocals and undeniably catchy hooks which captivate the listener.

Thug followed up “BTG” with “Young Martha,” a four track EP produced solely by Carnage. Although short, “Young Martha” proved to be one of the best and most creative hip-hop projects of 2017.

Going into “Super Slimey,” I knew what to expect from Future. However, I was hoping Young Thug would produce something cutting edge that would make this mixtape interesting. Unfortunately, I was wrong. This album is like eating a bowl of vanilla pudding. It’s good for the first few spoonfuls, but it gets boring in a hurry.

The production, delivery and flow on this album is similar on many tracks. I expected that from Future, but this album is clearly Young Thug attempting to sound as commercial as he possibly can, taking little to no risks.

All the tracks leading up to “Patek Water” are forgettable. My major complaint about these tracks, and some of the tracks thereafter, are the hooks, or the lack thereof, as Future and Young Thug are both typically mediocre lyricists. While Thug and Future spit bars such as on the tracks “No Cap” or “Three,” I can only hear so much about money, codeine and other elements of the trap lifestyle that both artists preach, before I want to stop listening.

Although most of the mixtape was disappointing, there were a few standout songs. “Patek Water” features a great instrumental and the first good hook on the album. Future and Young Thug have solid chemistry on the track, and Offset provides a great guest verse.

Unfortunately, my other two favorite tracks were two of the four solo tracks, which is an indication of the poor chemistry between the two artists. Future’s “Feed Me Dope” sounds like it could have come off his most successful project, “Dirty Sprite 2.” Massive drums drive the beat, and the listener is thrown into a spoke filled, codeine fueled haze for a little less than three minutes.

Young Thug’s “Killed Before” is the most memorable song on the mixtape. The track could have easily been part of “Beautiful Thugger Girls.” Young Thug warbles over an incredible guitar instrumental and glistening production from London On Da Track. The hook is infectious and Thug’s vocal delivery is spot on.

Overall, “Super Slimey” is disappointing, with 90 percent of the songs not worth revisiting. In a year where Jay-Z, IDK, Kendrick Lamar, GoldLink, Vince Staples and J.I.D among others dropped exceptional albums, “Super Slimey” is a mediocre blip during an otherwise very successful year for hip-hop.

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