Read the full review of Wiz Khalifa’s new album Multiverse.
With the release of his brand-new 17-track album Multiverse a few days back, Khalifa has revived his solo career. He contributes his whole skill set to the project, experimenting with various subjects and musical styles while producing a comprehensive collection of recordings.
Wiz Khalifa has been treating fans with a variety of projects in 2022 while devoting a significant portion of his time to his MMA training. He released Stoner’s Night, a joint album with Juicy J, in February. Then, in April, he released Full Court Press, another collaboration album with Big K.R.I.T. and Smoke DZA.
On the latest Record, he includes “Memory Lane,” “Bad A*s Bitches,” and “Iced Out Necklace,” all of which were previously published songs and which he played on Jimmy Kimmel Live! last week.
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While he delivers a few bangers, including one of the record’s highlight songs, “Iced Out Necklace,” and some aggressive material on “Bad A*s Bitches,” Wiz spends a lot of time straying from the traditional 2022 hip-hop formula, providing us with a hefty dose of meaningful and intelligent content.
Wiz Khalifa is alerted about an infection in “Iced Out Necklace.” Wiz spits lines about possessing more money, better-looking girls, and harder cocktails than we all over rhythms that will undoubtedly hell up a mediocre stereo system. The song’s significance comes from the way he raps, which is so horrible that seems like he was recently sanctioned by Biden.
“Big Daddy,” which samples Cheryl Lynn’s “Got To Be Real,” kicks off the album with some rhythm and groove. On “MVP,” which features a lot of bass guitar, we then encounter a little more bounce and funk. This would happen again later in the record with the 70s-inspired song “Like You,” where he passionately names out places all around the world in a quiet voice that could be considered cheesy.
Through album tracks like “Memory Lane,” with its own swing production, “Something Real,” an exquisite, intimate song with such a catchy melody, “Keys,” which contrasts a delightful narrative about life and relationships with percussion production, and “Nobody Knows,” where he previously again pulls out his narrative riches and discusses some family problems. In “Memory Lane,” you get a vintage Wiz delivery, which is apt.
This song is fantastic. It has an incredible Blxst-like tune, a breezy Hitmaka rhythm, and a lyrical substance that energizes Wiz only a little. Overall, this is pretty simple listen to summertime groove. He spits in the track about accepting the bright moments in a relationship while disregarding the bad.
On “Mirror Love,” he also displays his wisdom by repeating the line “can’t be frightened to discover you.” Maybe what we’re seeing here is a Wiz Khalifa who has discovered himself, possibly by discovering Divinity.
Despite not being my greatest song on the album, “We’re Not Even” is without a doubt the most sentimental track. The intense beat Wiz sets up, the melodramatic trap rhythm he works over, the fantastic rap flows he depends on, and his vocals are shockingly raw all contribute to the song’s excellence. This song is flawless in every aspect.
His confession of confidence in God in the album’s last track, “Thank Him,” inspires listeners to have faith. There appears to be headed to us is a free, contented, and cheerful Khalifa. This album oozes the liberty we’ve long known him for, possibly to a greater degree and it’s pleasant to hear and feel, and if he consistently appeared to be free of the limitations and expectations of mainstream music based on his sound, substance, and absence of prominent features.
I’m going to quit expressing my desire for Kush & Orange Juice Wiz Khalifa to return. Expecting him to transmit a form of himself that existed more than 15 years ago is absurd. Wiz Khalifa demonstrates development as an artist, a human being, a dad, and a Christian in Multiverse.
Wiz Khalifa experiments a lot on this album, as I mentioned in the headline. He experiments with the drill, gospels, experimental hip-hop, groove, R&B, and these genres across Multiverse. Even if Wiz doesn’t sound comfortable in the majority of genres, you can’t fault him for trying or being daring whenever it goes to accepting fate.
He does have records about s*x and debauchery, he also keeps track of the pals he lost, his faith in God, and his s*xual encounters. Frankly, I think he could rock with all of this lp even more if Wiz performed a little more singing, threw less lengthy openers, rebuffed his autotune a touch, and didn’t realize he was just some 70s women’s lover.
In the end, I believe that Wiz’s substance is what really sets this album apart from the competition.
