From the start, this obviously isn’t a totally original record, at least in how this is being marketed. First off, this is a concept album dedicated to Metro Boomin’s mother, who passed away just prior to the recording of this album. Although the album title references The Beach Boys song of the same name, there is somewhat more criminally (at least to older listeners) cover album art that directly plagiarises a huge album from 1975, Pink Floyd’s Wish You Were Here, which itself was fantastic. Although the music scene is more diverse and interesting than ever, this actually isn’t very respectful to those older artists and points out that stealing ideas is the new norm. Having said that, this album ironically turned out to be a hit upon release, and Metro Boomin in general has done well as of late. Featuring a bunch of guest Rappers and blockbuster production, let’s take a good listen to this recording and hear if it sounds any good today.

On Time (with John Legend) begins with autotuned harmonies that actually sound fantastic. Some spoken word parts from John Legend are here, as he introduces “Metro mutha-fuckin Boomin, nigga!” and this launches into a great piece of music with glorious string sections present. This is extremely impressive, and the music here is nothing short of amazing. There are some female gospel vocals and sounds galore that are tasty. Soon enough, some percussion and basslines enter, and this recording sounds really fantastic. This is a cool piece with a vocal intermission, horns and the sound of a storm. A really excellent and beautifully colourful tune, there is a sample towards the end of Christian preaching towards the end by Morgan Freeman, which isn’t going to be to everyone’s tastes. Brilliant, though. It segues into the next song with fluttering melodies.

Superhero (Heroes & Villains) [with Future & Chris Brown] begins with some audio samples and horns that are excellent, with a ton of drug references and this is very pretty, interesting and quite intelligent music if Rap music can be considered that sort of thing. Future’s rapping isn’t the best here, but the tune itself is a magical one. An interesting, drug influenced and semi-Psychedelic piece, this has more drug references in a song than anything released in recent times. Nonetheless, a catchy and enjoyable listen. It has a piano breakdown in the second half, and the concept of the album is discussed here. Chris Brown then enters, and his singing/rapping is awesome here. Not bad for a mainstream Trap tune, this is gorgeous. Wonderful. It has an interesting outro.

Too Many Nights (feat. Don Toliver & with Future) begins with a keyboard string patch, and some random vocal samples and enters into another excellent Trap based musical piece. This is surprisingly fresh, relevant and interesting listening. Of course, this is male oriented Rap music audience wise that is highly selfish and sexist. This is very musically and lyrically unrealistic as a result. Still, this does sound like a great effort, and very amazing to hear. Likely about an actual stripper, which is weird, this still sounds extremely good for what it is. Some slight sitar sounds are in the background, to add to the eclectic flavour of this Rap/Trap tune. Awesome music, this is very impressive. Metro Boomin does make great music here. Future’s section isn’t the best towards the end here, but it fits well anyway.

Raindrops (Insane) [with Travis Scott] begins with some trippy piano, and quickly launches into an amazing tune that is about taking drugs to ease one’s pain. This is a wonderful effort musically, and the sounds, production and rapping are really refreshing. Travis Scott’s rapping is lacking energy, and this brings this tune down somewhat. Still, this is a great listen musical expression and this is one of the best and most definitive albums of the 2020s, as of writing. Sure, Rap/Trap tunes won’t appeal to everyone, but the tune is clear and amazing to listen to. Referencing music as a drug throughout, this is a stunning tune. A great three minute long tune.

Umbrella (with 21 Savage & Young Nudy) begins with a pseudo-Disco intro with female gospel vocals, piano galore and rolling drum hits, before abruptly stopping and entering a straightforward Rap piece. This is a really cool listening experience, this tune is an enjoyable and socially conscious tune that references many ongoing events of postmodern society. A really deep, direct and awesome tune, this may be one-sided Rap music, but the arrangements, rapping and quality of the songs make this a real winner. Towards the end, Young Nudy gets rapping about the pitfalls of life. Clearly, this song is more about making beats and textures that sound accessible for those who have mainstream tastes rather than a memorable tune lyrically as well. Still, it is very good indeed. It ends with a little piano, before finishing abruptly.

Trance (with Travis Scott & Young Thug) begins with some electronic sounds and muffled beats that sound interesting. Travis Scott sings nicely after some harmonies, and his voice is nicely processed here. This song eventually launches into a Trap music classic that sounds really cool. This is a stunning tune, although it is fairly mainstream music and its RnB/Rap stylings that won’t be to everyone’s tastes. Still, this is about as romantic as Gangsta Rap based music gets. The whole thing sounds irresistible throughout, and the tunes on this album are killer. There is an extended outro section with repeated lyrics and neat production sounds to match. Metro Boomin is a good mastermind of Rap/Trap with a touch of Psychedelia. This track ends with violin and other fresh sounds. Nice.

Around Me (feat. Don Toliver) continues this concept album, with some spacey Pink Floyd styled textures, minimal beats and a melancholy atmosphere. This is a rather sad sounding piece about relationships, with the usual references to illicit drug use and the like. A very good piece of music that sounds really amazing, intelligent and different. No doubt Metro Boomin loved visiting the past for his current music, which is a rare feature of music today, and something all musicians should do. A really decent and excellent piece of music to hear, although this comes across as a plea to a particular woman of sorts. Metro Boomin deserves praise for songs such as these. The song concludes with a voice sample about the heroes themselves. Excellent.

Metro Spider (with Young Thug) begins with dark piano, ghostly sounds and textures and sounds really quite good. It launches into an excellent Trap music piece that, although reeks of selfishness and bad imagery here, works quite well all the same. Since COVID-19, the world has changed for the worse, and Metro Boomin makes excellent tunes such as this one for postmodern times. A very good effort, although a little weaker than earlier cuts. There is a more rapid-fire delivery of Young Thug’s rapping present on this tune, and although the lyrics don’t make sense, this track sounds interesting and like a million bucks. A good listen, it segues into the next track.

I Can’t Save You (Interlude) [with Future & feat. Don Toliver] is a nice addition and expansion of the previous tune. It has some sweet psychedelic sounds and an excellent flow to it, although it is only a minute and a half long. Future’s rapping sounds rather awful on this song, and this isn’t a 100% necessary listening experience. It ends with some male sexist talk which is no doubt unsavoury, and likely to offend.

Creepin’ (with The Weeknd & 21 Savage) is the most popular cut from this album. Again, it sounds rather dreary. The Weeknd sings quite well on this song, although his vocals are rather drenched in autotune. A pretty listen, although this sounds rather sad and messed up as a song as a result. Sadly, it is about breaking up in a relationship and having one’s heart broken, a fairly sensitive issue. The Weeknd’s vocals to this song sound out of place. Still, this is a good tune. 21 Savage’s rapping is welcome here, and he adds some decent and interesting flavour to such a sad and messed up song. A good song, but perhaps it would have been better to get someone else rather than The Weeknd to do the main vocal part on this song. It has an interesting ending and finishes up well.

Niagara Falls (Foot or 2) [with Travis Scott & 21 Savage] begins with some weird and discordant electronic melodies, basic beats and Travis Scott sounding like he is on the nod. 21 Savage saves the day again, and his presence on this album is most welcome. A slow, steady and great listen, this is good listening about treating women like they should…in a man’s way. Sure, this is rampant sexism, but then again, what else did you expect from Rappers? It does point out the bigoted way men can treat women in this world. Regardless, this is a good song with some nice piano that is very pretty and classy. There are a few nice musical changes towards the end in terms of instrumentation, but this sounds a little lacking. Good to hear, although this is a somewhat disappointing listen. It ends with a vocal sample, before launching straight into the next song.

Walk Em Down (Don’t Kill Civilians) [with 21 Savage & feat. Mustafa] launches into an edited vocal solo Rap, before launching straight into a good piece that sounds really direct, but musically worth it. This is a standard Rap tune continuing the themes and sounds of this album, and it is really an excellent effort. A really forward thinking and fresh listen, this is likely one of the best albums from 2022. This is a good, but repetitive (especially with the piano) sounding piece that is perfect for that party where you need Rap tunes to mix up the atmosphere a bit. Mustafa’s piece adds some drama in the second half, and this breaks down into a very sad song indeed. A piece of music that really works well, if you need some moody Rap/Trap music, this is it. The second half of this tune is quite minimal, and eventually, it launches into a pretty piece of Orchestral Pop that works incredibly well. Metro Boomin deserves credit for the sounds of this album, it ends with some soft singing and piano to conclude. Nice.

Lock On Me (with Travis Scott & Future) begins with some acoustic guitar, hummed harmonies and has Travis Scott (again) rapping and the lyrics are about violence and other misadventures in life. On a logical level, this music is really forward thinking and excellent musically, although daft lyrically. Still, this song works quite well, although the songs do very much sound exactly the same as each other. The music here does sound impressive, and the whole tune is obviously born out of bad times. The acoustic guitar returns towards the end, along with a distorted vocal sample. Good to hear.

Feel The Fiyaaaah (with A$AP Rocky & feat. Takeoff) begins with some retro Disco record styled sampling, again pointing to the lack of originality here in general on this album, although that is up for discussion. Soon enough, A$AP Rocky launches into it with some rapping over the top. This isn’t the best idea here, but eventually, the music kicks in and this tune sounds quite good, at least a lot more positive than what has come before it. A really cool listen, this does paint a good piece of Rap artistry before the album ends. Some deep and thunderous bass guitar enters here as well for a bit, which is different. There is a distorted vocal intermission, followed by the guests duking it out for attention vocally with their Rap parts before this fades out well. Great to hear.

All The Money (with Gunna) [Bonus] is a good piece of music with Trap beats galore, melancholy electronic sounds and quickly enters into a really excellent listen that, quite simply, works. Gunna’s vocals here are well-recorded. A solid finish to a very good album from postmodern life that illustrates life well and sounds musically good. This is stoner music for sure, but it is very listenable and impressive all the same. Great song about money and the need for more of it, this is a really excellent listen. It ends with some rustling and a beep.

Metro Boomin and friends have made a really excellent album here that really sounds quite good, forward thinking and reflective in an introspective way. It’s not perfect all the same, and towards the end, the energy and consistency of these tracks do wear thin noticeably. Should you listen to this album, even with its flaws? Definitely, especially if you love Rap music and want to hear some fresh and decent beats. Metro Boomin’s career has taken off from here, and he won’t be looking back anytime soon.

The definitive album of 2022.

7/10