His real name is Navyvadius Cash. I’m not really sure why we’re calling him “Future.”
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[5.43]
Anthony Easton: The writing is tight (love the line about Newports for example) and I really like how quick he spits his rhymes (though I remain confused and intrigued about what drinking “magic” is), and I am the exact right audience for this kind of nonsense. So I should be more critical, but the twanged out quick end sort of erases my critical skills, and I fall a little bit in love.
[8]
Iain Mew: No problem with the flow, and the satisfied matter-of-fact nature of the chorus really works, with Future making it sound like he can do magic without even having to do anything as gauche as trying. That attitude extending to the unexciting production is a bit of a problem, though.
[6]
Alfred Soto: Boy does the one. syllable. at. a. time. schtick get tiresome after a couple minutes. This after T.I. gets off a respectable verse tucked away at the beginning.
[4]
Brad Shoup: Future sounds so timid… did they promise him Auto-Tune to get him out of his house? He sounds like he’s recording a voicemail for a friend using a T-Pain app. I’d party with this guy, but I wouldn’t let him give the toast.
[4]
Zach Lyon: Might be my favorite thing to apparently come out of “Gucci Gucci”, though that’s saying very little. Excited for Future’s, er, future; it’ll probably beat this.
[5]
Jonathan Bogart: That woozy little hi-def processing on Future’s voice is pretty great. It could use another T.I. verse to spice up the back half, though.
[5]
Jonathan Bradley: As incongruous as the corporeality of T.I.’s verses sounds alongside Future’s wispy exhalations, the two form a logical progression in Atlanta-area rap. Where T.I.’s mellifluously physical flow suited earlier iterations of the Dirty South sound, Future’s tracks the region’s current penchant for tinny electronics with a vocal as fluid and undulating as a stream of 1s and 0s. (The locus lies in Tip’s “Whatever You Like,” for which Jim Jonsin surgically removed the rumble from the DJ Toomp sound, making way for the ethereal insubstantiality of “Magic” producer KE’s beats.) T.I. sounds better on “Magic,” but Future is more suited to its aesthetic. That said, I’m not sure whether “On my way to Aspen, I forgot to do my taxes/Call up my accountant, he gon’ make it to magic” should secure him the victory or require of him a forfeit. As far as this sound goes, I prefer my hooks stronger: “No Hands” over sorcery.
[6]