But which one’s Cappadonna?…
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[5.57]
Tara Hillegeist: The striking narrative here isn’t so much Nast sounding more energized than I’ve ever heard him or Method sliding in with a guest verse to remind how even a little of him goes a long way — it’s the beat backing both of them. A dusty lope stretching like a dried-up creek of close-ups on squinting eyes under a bone-bleaching sun, it’s the most audacious way to pay respects by way of a boast on a cut littered with them (start with the name; “I’m crazy/the ’90s raised me” not thirty seconds in; a Meth guest spot; by the time we’re done here, the referents lie on the ground like the disemboweled corpses of shogun assassins), preempting a sneer by up-raising the bet. Ty Beats puts the Mob in direct legacy to the Clan by sonic fealty — a Venom Mob to stand beside the 36 Chambers. They haven’t done near enough to live up to the claim yet, but thanks to Nast’s greedy, syllable-choking runs, they almost do; as bar-play goes, you don’t go more ’90s NYC than a string of dense and breathless verbosity that wobbles like smoke and body-blows. Here’s hoping they can back it up with more depth when L.O.R.D. drops. Until then — from one ’90s kid to another — this is a nice tribute.
[7]
Alfred Soto: If the presence of Method Man isn’t enough, the snare track is pure nineties. Proficient and colorless. “Funky” yes, “swag” maybe.
[6]
Patrick St. Michel: Less of a reverent throwback to ’90s rap and more A$AP Mob trying to expand their fan demographics (here’s one for the people craving “real” rap), “Trillmatic” appropriately sounds a bit too focus-group-assembled. The hook is just lazy, the moments of Wu-Tang aggression are forced and even Method Man shows up and leaves just as quick. It’s alright, but might as well just listen to the YouTube rip of Tical.
[5]
Anthony Easton: As punishment for this, these people should spend a few solid hours listening to Maggot Brain and try to absorb the true meaning of funk.
[1]
Megan Harrington: Very kind of A$AP Nast to credit the whole mob above himself, but this is his track. Nast’s verses aren’t much beyond fast, but his hook is a timely update on the sticky classic “wickity-wickity wack;” it’s built for retweets, substitute any two nouns of your choosing, provided they’re funky squared. Method Man shows up, casually uses his verse for some one armed push-ups that expose the mob as dandies, and disappears having taught the tots to think better of attempting a Wu-Tang redux.
[6]
Brad Shoup: Weird to hear Meth head west for his cadence. It’s still good, Breaking Bad line aside. Nast is just that, summoning glory days with a flow studded with the Breaking Bads of ’90s references: Shaq and Tommy. Hell, even the beat dropping out is vintage. But Chant was hip for a time too, and the proggy men’s choir in the background is a welcome new trick. All I needed was for a few bars to be traded.
[7]
Ramzi Awn: Dope beats with a male chorus in the background should come back. Lush like Jimmy Jam and boombox-worthy, “Trillmatic” could stand a repeat or two.
[7]