8/10
Following a year-long rollout, with sporadic YouTube singles and relentless social media teasing, Playboi Carti released MUSIC (I Am Music) on Friday. His third album came just in time for his performances at Rolling Loud this past weekend.
MUSIC boasts a star-studded list of features, including artists like Kendrick Lamar, The Weeknd, Travis Scott, and Young Thug. Infamous for his elusive “vamp” persona, Carti kept fans waiting for over five years since his last album, Whole Lotta Red, in 2020. To build anticipation—or as fans put it, “aura farm,”—he’s appeared on recent hits, including “Carnival” by Kanye West and “Timeless” by The Weeknd.
The album is somewhat predictable, possessing similar edgy and hypotonic flows to the YouTube singles. Straying away from the high-pitched “baby voice” vocals that define Whole Lotta Red, Carti experiments with deeper, darker vocals throughout MUSIC. Although none of the artists signed to his record label Opium secured a verse, their influence is still apparent through thunderous and bass-heavy beats. But, MUSIC lacks the innovation needed to truly push Carti’s sound forward.
MUSIC opens with “POP OUT,” the most controversially produced track on the album. Its aggressive distortion echoes the underground trap sound that has dominated the past few years, with Carti’s vocals left submerged in the chaos. For a mainstream audience, the tumultuous mixing is deterring. You certainly can’t call it a boring track—although it’s a bold introduction that may throw off first-time Carti listeners.
“CRUSH” featuring Travis Scott is one long, extended intro, with a beat drop that never arrives. Scott’s contribution is minimal, with nothing more than a handful of random ad libs, and the track’s singular verse comes two minutes in. Until then, a church choir loops the line “Shawty gon’ let me crush / Let me crush her sh*t,” leaving “CRUSH” as three minutes of wasted potential.
“K-POP” is where the album really starts to heat up. Originally released on YouTube under the name “KETAMINE,” this track is the quintessence of Carti’s new sound: dramatic deep vocals, blazing electric guitar riffs, and otherworldly beats. His flow is one of his best yet, with effortlessly delivered witty one-liners like “I just been feelin’ myself / I found Jesus, Christian Dior.”
“EVIL J0RDAN,” a nod to Carti’s real name, Jordan Carter, delves into the rapper’s portrayed persona and lifestyle. He reminds other artists that they are not the same, and that his music changed the game—going as far as calling himself “an emo thug in my phase.” Although the track was first released as a YouTube single, the album version features a new extended intro that builds much-needed anticipation to the rapid and high-energy to the tune.
MUSIC feels less like a carefully curated project, and more like a collection of thrown together completed tracks. Carti’s artistic intent isn’t clear, and tracks like “DIS 1 GOT IT” and “CRANK” rely on over-saturated beats and energy as opposed to the experimental nature of “OLYMPIAN” and “RADAR.” While features from artists like Future and Young Thug feel natural with their off-kilter innovation, the heavy presence of artists like Kendrick Lamar feel like decisions made by Carti’s label rather than his creative team.
“MOJO JOJO” is the lesser of the three Kendrick Lamar features, mainly because Lamar’s contribution is limited to echoing ad-libs. Despite being louder than Carti’s vocals, the ad-libs somehow enhance the track’s energy and feel entirely intentional. Nothing about the track is creatively ambitious, and the repetitive loops distort the metamorphosis MUSIC should have been.
Also featuring Lamar and R&B artist Jhené Aiko, “BACKD00R” brings a much-needed sultry approach to the album. The trio’s vocals blend seamlessly in the chorus as they sing, “Ooh / I’ma make it back and probably spend it all on you,” creating a smooth melody with instant replay value. Carti’s effortless flow over a soul beat reminds listeners that he can truly do it all. Still, the fluctuating between musical styles on MUSIC makes it again feel disorganized.
While the pair are notorious for pumping out chart-toppers, “PHILLY” with Travis Scott is ultimately boring. Scott’s verse—monotone and lacking intensity—makes it feel like a throwaway track that somehow found its way onto the album, and the beat underneath falls flat. Despite sampling “Carter Son” by Youngboy Never Broke Again—defined by hard trap beats and emotionally raw lyrics—“PHILLY” brings nothing new to the table and reinforces the lack of clear structure on MUSIC as a whole.
The Weeknd’s feature on “RATHER LIE” is the perfect example of what all the album’s features should’ve been like. As he wrestles between his deep and baby voice, Carti brings a futuristic element to the song that’s further elevated by The Weeknd’s ethereal voice on an atmospheric beat. While on the surface the lyrics suggest a deceitful personal relationship, the track is likely addressing Carti’s complex relationship with his fanbase. Lyrics like “Oh, you already know I’d lie to you than lose and break your heart / I’d rather tell you a lie than tell you the truth and leave you stuck,” address his notorious nature of promising fans music and artistry that is almost never delivered.
Another moment of near-perfect execution comes on “OLYMPIAN.” The glitchy synths and beat-drop are addictive, and the track feels reminiscent of Carti’s Die Lit and Whole Lotta Red eras while simultaneously feeling innovative. “OLYMPIAN” is the kind of song made for celebrating a victory—perfect for blasting the car and feeling euphorically happy while singing along to “Too many chains / Yeah, like an Olympian.” “OLYMPIAN” has a vibe that stands out from the rest of the album, comparable only to the tracks “OPM BABI” and “LIKE WEEZY.”
With fans eagerly anticipating another collaboration from the duo, “TWIN TRIM” with Lil Uzi Vert is another feature that falls short. The track, barely stretching to a minute and a half, consists of a thirty-second introduction and a singular verse from Uzi. Carti doesn’t contribute so much as an ad-lib, leaving the song as less of a team effort and more like a “SOLO TRIM.” That said, the brief interlude boasts a catchy and playful Uzi flow that’s enjoyable on its own.
“HBA,” released earlier this year as “H00DBYAIR” on YouTube is another deep-voice MUSIC classic. As he reflects on the hate he’s received throughout his career, Carti firmly rises above, singing “My wholе career, they bite / I just be pissin’, I don’t give a f*ck.” Unlike the previously released version, the new “HBA” features unnecessarily loud snares and several missing lines, taking away from the track rather than enhancing it.
Despite its highs, MUSIC is not without its flaws. At times, the album lacks direction and is not as cohesive as his previous works. A bloated 30-song tracklist was not necessary, and at least five songs could be cut to create a refined, impactful project. Nonetheless, Carti’s signature raw energy and rage are captivating, and he continues to shape the culture in terms of music, fashion, and aesthetic.
