NF returns with “Hope”, a new album after 4 years.
Upon the heels of two Billboard 200 #1 compendiums, NF, the Michigan- grounded rapper, presents his fifth album, “Hope,” which regrettably offers an insipid array of what his devout listeners have come to appreciate and respect, yet may continue to elicit objectiveness from the broader cult.
The LP commences with the title track, tempting listeners with a meagre, nearly spoken-word opening. Still, it isn’t long before the string instrumentation builds to a top, and an important louder, brasher, and sonic product explodes into the song. similar stylistic rudiments will be familiar to hot listeners of NF’s affair, as will the direct lyricism employed in the song, touting belief in oneself. “It’s time to give the people commodity different,” he proclaims, but the remaining songs on the disc disappointingly fail to deliver on this pledge of novelty.
The song that ensues, “Aphorism,” sprucely criticizes the music assiduity as a whole. NF ardently advocates for authentic individualism over assiduity unity, steadfastly refusing to suck to marker demands song and a “record full of radio songs.” Nonetheless, similar radio-friendly melodies are present throughout the entire album, including songs like “Careful” and “Serve,” which snappily supplicate up recollections of G- Eazy’s “No Limit,” yet without the royal seductiveness that carried the song and employ contemporary rap product. There are indeed tracks that lean towards pop music, like “Gone” and “Mistake.” The former boasts many sonic surprises, similar to the welcome addition of a womanish voice in the album. still, both songs are largely citable, offering nothing notable or unique narratively.
An exception worth noting is “Mama,” a poignant homage to the rapper’s departed mama. The song interweaves potent piano passions, an emotive ditty circle, and a calmer oral delivery to give a largely affecting experience. The frequent chorus of” I got ta know Mama” is exceedingly relatable, with the rapper reaching beyond the confines of mortality, hopeless to know if his mama has set up peace. It’s the type of piece that’s exceptionally welcome in post-COVID times, furnishing solace to a plethora of listeners.
For a rapper who last released an EP before the epidemic, this record contains expansive contemplations, tones, and soul-searching. Still, similar rudiments aren’t uncommon in NF’s former workshop, as he’s no way one to wince down from darker, weightier themes. What’s further surprising, however, is that for an introspective rapper who came to a father between his last album and this bone, there’s veritably little on the album that covers the experience of motherhood. An exception is “Pellet,” a song that blends an ultramodern sonic palette with NF’s classic inflow and meter to produce a love letter to his woman.
It’s one of the brief moments where the rapper feels more like a person, a mortal being, as opposed to a smorgasbord of extreme feelings. Similar axes are current in songs like “Happy,” one of the stronger products, which incorporates further slyness to convey its communication. Lyrically, the song sees the rapper lamenting baggage, trauma, and other issues, without inescapably making the story his own. still, it’s snappily neutralized by the following track, ” Tophet,” where the brasher product makes a comeback behind tone- aggrandizing lyrics that come more repetitious as the song drags on. similar braggadocio is also apparent in “Let Em Supplicate” and “Turn My Back.”
The ultimate is the album’s strongest immolation of considerate wordplay, internal minstrelsy, and other sound bias. In addition to a sportful diss on Drake, which lands as aimlessly as one would imagine, the song contains praise for Kanye West. For an artist making a living in a kidney that’s so deeply embedded in the African American experience, the praise for West, whose unmannered recklessness, similar to wearing an “All Lives Matter” T-shirt, has foisted damage on both African Americans and others marginalized groups, marks as plaintively unhappy, which feels tone- defeating to the overall point of the song.
The EP concludes with “Running” Handling a slow, guitar-heavy track in which the rapper seems determined to defy his demons and let go. still, the lyrics feel like a first draft, and the meagre pop product does not relatively deliver the emotional punch that the song seems to be erecting towards.
Overall, there’s clearly plenitude to recommend about the record. pious followers of NF will really find it important to enjoy, as numerous of the songs feature his trademark style of direct, honest lyricism set against a background of the brash, contemporary product. Still, for others, the album may feel half-ignited, unrefined, repetitious, and eventually normal.
The album had promised to “give the people commodity different,” but unfortunately, the album fails to live up to that pledge. While there are clearly moments of excellence, like the moving homage to his mama in “Mama” and the important soul-searching in “Happy,” the EP as a whole feels like a collection of retreads of familiar themes and sounds.
Eventually, whether the LP resonates with listeners will probably depend on their previous experience with music. For longtime fans, Hope will probably be a welcome addition to his discography, offering further of the introspective, emotionally charged music that they have come to know and love. Still, for beginners to NF’s world, the album may not be the stylish place to start, lacking the newness and invention that might draw in new listeners.
In conclusion, while Hope is clearly a competent and pleasurable music album, it falls short of the high prospects set by NF’s former work. With its repetitious themes and lack of truly name moments, the EP fails to leave a lasting print, and may eventually be forgotten in the ocean of other rap releases in 2021.
Nevertheless, fans of the rapper will no doubt appreciate the new material and find comfort in his uninterrupted commitment to honesty and vulnerability in his music.
