![]() ![]() ![]() As previously hinted “Riri” is highly derivative of Drake and is underwhelming in general. The run of straight RnB tracks to follow are a bit of a low point in the tracklist. The shorter appearances from less trendy artists like Injury Reserve, JID, slowthai and Vince Staples, deliver on their verses, neatly complimenting Aminé’s presence. Young Thug’s appearance on “Compensating” overshoots the track’s light, summery vibe, although he does stick to the track’s focus on attempting to make amends for a romantic transgression. The features across the album largely succeed in supporting Aminé without stealing focus. It’s easily one of the best tracks on the album despite the disappointing slowthai appearance. Aminé’s bars on here are some of his best on the album though, and Vince Staples comes in with a standout verse after a quality beat switch. The UK rapper sounds great over this beat as well it’s a shame he doesn’t get more time to work with it. “Pressure In My Palms” however doesn’t suffer similarly, although the brief four-bar verse from slowthai does. The consecutive tracks “Shimmy” and “Pressure In My Palms” are a return to more of a rap focus, although “Shimmy” is a little too short to register as a real highlight. “Let’s go ahead and make us all cry” is a nice intimate moment though that tugs at the heartstrings a little more powerfully. His piercing delivery on the track “Mama” is a bit of an earsore, and some of the attempts at sentimentality on this track come off rather cringey and misjudged as he tells his mother that she’s the only woman in his life who makes him smile. There are times throughout the album though where he does go very high pitched and it can sometimes be a little hard to swallow. However, I think Walker should probably have sung the chorus alone and Aminé not tried to keep up to her or hold her back. The melodic rapping on tracks like “Can’t Decide” stays head-bobbing throughout the slightly underwhelming lyrics on the track and his chemistry with Summer Walker on the duet “Easy” is quite enjoyable. “Woodlawn”, which title references Aminé’s Portland neighbourhood, is supported by a strong woodwind based trap beat with a rush of air-punching in on the chorus, while “Roots” has a more traditional soulful hip hop beat, typically suited to both guest singer Charlie Wilson and featured rapper JID, who brings his usual quotable punchlines.Īminé’s singing begins to take over from here, and it does vary in quality across the album, and the lyrical quality starts to dissipate as well. Tracks like “Burden”, “Woodlawn” and “Roots” feature some impressive rhymes and creative lyricism narrating Aminé’s come up or his artistic intentions. This opening movement is defined by strong rapping, which gives way to more singing in the second half. It’s a good tone-setter for the album kicking off its strong opening run. This is evident on the opening track “Burden”, a somewhat tasteful and laid–back cut with an alarming soul wail sampled and looped into the beat, beside the jazzy bassline, twanging guitar and stiff, short drum pattern. Although some of the detours into different genres don’t go over too well, like his eerily accurate Drake impression on the track “Riri”, it’s a versatile listen that straddles the lines between Trap, RnB and more traditional and experimental forms of hip hop quite nicely. Limbo doesn’t outstay its welcome like many albums in its style, and it’s not overly constrained by that style either. However, there are still some areas where more graft might be hoped for in the future. The versatility and humour showcased on Limbo justifiably turned some heads, my own included. Despite his appearance on the 2017 XXL Freshman cover, it has only been with the release of this sophomore record that he has come to be regarded in some circles as a force to be reckoned with in hip hop. Portland rapper/singer Adam Aminé Daniel isn’t the sort of artist who had piqued my interest until recently.
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