Metro Boomin brings a range of musical guests feat. 21 Savage, Future, Travis Scott & others.
One of the most exciting producers in the Hip Hop scene Metro Boomin wasn’t expected to bring out his sophomore album “Heroes & Villains” this good. Metro Boomin has had a difficult year. He said as much on social sites, bemoaning how “crying everyday is the new normal” after his mom was murdered-suicide. It would have been reasonable, if not anticipated, Metro to take a moment to sorrow.
Metro, on the other hand, appears to have poured much more of his new enthusiasm into his genre: a superb lp rollout, combined with practically every significant figure in hip-hop music, sees Metro deliver one of this year’s best rap albums. Metro Boomin developed an orchestral, trap-influenced style that took his songs into darker territory.
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As a producer, Metro unquestionably depends on his contacts and the artists he can secure for his record. Therefore, it is fortunate for him because he clearly knows everyone in the hip-hop scene.
The album’s opening track, “On Time,” establishes the mood for Heroes & Villains. It shifts from John Legend’s gospel reciting to a segment with lots of drums prior to actually concluding with narrators from A$AP Rocky and Morgan Freeman, hinting at the clash of art forms and painters that can be heard all through the album. Metro Boomin pairs Future up in “Superhero (Heroes & Villians)” with a percussion rhythm that seems like it was created by the orchestra of diablo. Future is prompted by the rhythm to reveal his smuggest self. He boasts about using a coffin like a rocket, becoming the ruler of the streets, and taking drugs all through the entire piece.
Chris Brown sings this song’s last verse with a lot of fire. His contribution slightly disproves Future’s evil actions. I enjoy how well this song establishes the mood for the entire album.
The album’s center, however, is made up of multiple wins from Future and Travis Scott, while Don Toliver also shows up frequently among Metro Boomin’s array of artists. In fact, Don’s big line on the Future-assisted song “Too Many Nights” is one of the album’s opening moments. A nearly rockabilly intensity is added to “Raindrops” by Travis Scott, whereas the strutting “Metro Spider” makes use of a competent, though not very memorable, Young Thug feature. With eerie pianist notes that you could hear in a cinematic scenario if someone is being hauled into the chamber where they will be executed, “Umbrella” is propelled by chilly sound. Babs uses the phrase “Chopper” the least during the song, followed by 21 Savage and Young Nudy. Guys also discuss shooting more pictures than Kanye West’s Twitter account. It’s essential to listen to “Umbrella” if you want a true Metro Boomin vibe.
The variety of genres I perceive in “Trance” is astounding. “Trance” makes me think of music is a genre, electronic dance music, thrillers, and even swing dancing. As I listened to the song, I realized how much I enjoyed listening to Travis Scott glide over this kind of sound, particularly when he displays his soft lyrical side. Another thing I discovered is that Young Thug is a true expert at fusing many genres. Both performers genuinely embody versatility.
It was a slew choice for The Weeknd to include 21 Savage on his cover of Mario Winans’s timeless “I Don’t Wanna Know” song.
R&B performers used to sing songs about being duped in the past. Not that they aren’t still being duped; it’s simply not on record. Anyhow, The Weeknd transforms as Mario Winans for the song “Creepin'” to sing about a girl he thinks is fooling with another person. What I adore about him is how his ethereal, moving voice perfectly captures the depth of suffering one would feel. Regarding 21 Savage, he recounts his personal experience of a girl playing with his mind.
The composition of Niagara Falls is its strongest point. You receive this really emotional atmospheric track called “Niagara Falls (Foot or 2)” that readily touches people’s emotions. Travis Scott’s skills on this track are its second-best feature. I dig the way he shifts from either being animated or quiet. Morgan Freeman’s outro is this album’s third finest feature. The spontaneous verse by 21 Savage, who I feel will not really match the song, comes in last. “Niagara Falls (Foot or 2)” is one of the few tracks on this record that actually gets people to listen.
In the song, 21 brags about his huge cash account, the publicity he gets, and his skill at striking targets without injuring civilians.
When you give Savage a beat you can make, he is unbeatable. In the song, 21 brags about his huge cash account, the recognition he gets, and his skill at striking targets without injuring bystanders. Let’s be honest, Mustafa’s section in this song is as bizarre as eff. But I admire his message.
In fact, the album’s final song, “Feel The Fiyaaah,” seems to sum up its extravagant goals, with a cameo from the departed, great Takeoff drenched in melancholy. Takeoff and A$AP Rocky both excel in this bluesy smash.
Even though “Feel The Fiyaaah” isn’t the record’s most thrilling song, I adore how unfiltered A$AP Rocky and Takeoff’s vocals come through. I cracked a chuckle when I heard them brag about being surprise mentors, bad seeds, and smokers. RIP Takeoff. I’m still in shock that he’s gone.
Metro Boomin still manages to produce a lively album despite everything, which is even more remarkable given his present situation.
As much as I enjoyed the spine-tingling raps 21 Savage provided, the incredibly catchy melodies Travis provided, and the kickass raps, A$AP Future delivered us poison bars, Rocky and Takeoff gave us sentimental performances, and Takeoff gave us sick bars. The audio of The Weeknd’s record is ultimately its strongest component. I’ve said it before and I’ll say it once again: I don’t need any rhyming to enjoy Metro Boomin’s sounds. Because of how captivating, nuanced, rewarding, and emotional they are.
When all is said and done, Metro Boomin will be remembered as the greatest hip-hop composer of our age. He has an unrivalled talent for creating complicated, moving, dramatic, and spooky instrumentalists. He, in my opinion, amplifies the sounds of the best fanatics in hip-hop. Metro demonstrates why it’s difficult to despise either one in HEROES and VILLIANS.
