The urgent back and forth records like “Digital Dash,” “I’m The Plug” and “Jumpman” work best for the pair, but there are also moments where Future’s presence overpowers the tracks. But when it comes to the music, the chemistry doesn’t translate as well long-term as it did on their single “Where Ya At?”.įuture’s presence is heavy throughout this entire project, with Metro Boomin and Southside providing the production as opposed to Drake’s go-to army of hitmakers. The result is a handful of bangers. That all added to the spontaneous narrative of the project. The fact that it was created in simply six days.
What A Time To Be Alive felt more like an event than an actual album with music on it. Hard to say if a rite of passage in every hip-hop great’s career is to drop a collaborative LP with another major talent, but if so, count this as another one checked off Future’s list. Future’s debut wasn’t a home run, but fans knew there was something worth investing in. Pluto’s biggest problems come from the overall sequencing and blatant attempts at crossover success, which eventually would come to fruition through the platinum single “Turn On The Lights.” The problem was repaired on the jam-packed re-release Pluto 3D, which featured new takes on old songs and additional records to fill out the original’s weird tracklisting. The natural trap anthem “Magic,” which scored Future his first lead hit on the Hot 100 charts, is as creative as hooks come - but comes after the questionable “Astronaut Chick.” The trifecta of “Same Damn Time,” “Long Live The Pimp,” and “Homicide” pushes the offense a bit more, but then comes “Turn On The Lights” and “You Deserve It” to remind folks of his burgeoning star power. There are a few bright spots where creativity shines through but it’s quickly smothered by the attempt at crossover magic. While he was accepted by critics and ATL’s most interesting, rising talent, looking back, the clunky album fortunately didn’t do any damage to Future’s career. It would set the stage for the release of his 2012 debut, the space-y Pluto. “Tony Montana” won over the streets, and the contribution from Drake from his debut only added to his visibility. Future quietly emerged on the scene with the heavily Auto-Tuned, breakout YC hit “ Racks” - you almost can’t recognize Future’s voice on it - and from there it was off to the races. The days of pitch-correction seemed pretty much over, only used faintly by other Southern rappers like Travis Porter and Roscoe Dash. Two years after Jay Z almost single-handedly washed away the credibility of AutoTune in the hip-hop market, and its most popular pioneer, T-Pain. T.I.), “Same Damn Time”, “Turn On The Lights”, “Neva End” The overall project feels non-canon in a sense, but still managed to provide him his third No. Even the title EVOL feels like a forced attempt to tap into his brooding, emotionless character as heard on DS2. But overall it lacks the character, ambition, and style the other projects possess.
The triumphant crooning of “Lil Haiti Baby,” the percolating “Photo Copied” and the rockstar vibes of “Fly Sh-t Only” are enough to keep the album pushing along. While it hosts the top 20, double-platinum banger “Low Life” (featuring The Weeknd) and the hit “Wicked,” the project doesn’t feature the growth or drastic change in commentary that the Future Hive has gotten used to over his year-plus streak of wins. Wedged in between the powerful DS2 and the history-making back-to-back effort of Future and HNDRXX, EVOL now feels like a transition point between the rapper’s two discernable creative peaks. The Weeknd) “Wicked”ĮVOL is quite honestly the odd sibling out of Future’s discography. Future Performs at Reebok's Zoku Sneaker Launch Party in London, Talks Back-To-Back Albums & Grammy…
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