By Andre Paras
Video Editor
Almost five years out from the release of Playboi Carti’s divisive album “Whole Lotta Red,” the Atlanta-based rapper is finally back with the spontaneously released LP titled “MUSIC.”
Longtime fans will know that Jordan Terrell Carter, known professionally as Playboi Carti, has become notorious for constantly teasing the release of this record and repeatedly delaying it. This all began four years ago in March 2021, just months after “Whole Lotta Red.”
“LeTs dr0p thiS new Album . w3 noT done,” Carter posted in his stylized writing in a now deleted Instagram post, according to Vulture.
And in these past four years, he’s hyped up and changed the name of the project in the process. The album began under the name of “NARCISSIST,” in August 2021. Later that year, Carter debuted a Narcissist clothing line in September and a now-cancelled “NARCISSIST” tour the month after. It was in April 2022 that Carter declared the name of the record as we know it today.
“I was about to name my album ‘Music’ because that’s where I’m at, you know what I’m saying?” Carter said in an interview with XXL Magazine. “‘Music,’ because that’s all it is at this point.”
With the latest release date slated for March 14, 2025, it was looking like Playboi Carti again failed to deliver on his promise come midnight. However, in his typical late fashion, he later delayed and released the album on March 14 at 3 a.m. EST instead.
One notable change fans will notice on this album compared to previous works is Carter further exploring his deeper voice inflections, as opposed to his high-pitched baby-like voice that kick started his career. He’s tapped into this side of his rap performances on recent collaborations with The Weeknd and Travis Scott for example, but this is the first time he’s done it on his own released record.
“MUSIC” clocks in at one hour and 16 minutes, and boasts a lengthy 30-song tracklist. There is a lot of filler not memorable enough to discuss, however I did want to talk about some of the highlights.
“POP OUT” is the opener and sets the tone for the album with its familiar abrasive, rage anthem sound, reminiscent of Carter’s earlier big hits.
“EVIL J0RDAN” is a song I’ve heard countless times through its previously released snippet on social media, but as a full track this one lived up to its hype sound. Playboi Carti goes off on his unique lifestyle and aesthetic as a rapper in connection to his distinct fashion choices and emo influences.
Compton rapper Kendrick Lamar shines on three different tracks on this record, using his recent slew of collaborations to experiment with modern rap flows and respond to events in hip-hop culture. On “BACKD00R,” he opens up about his quick rise to the top of the music world, his continued confidence as being the best rapper in the game and even subtly references Drake.
The list of features was hidden on streaming services on release day, but includes Future, Jhené Aiko, Kendrick Lamar, Lil Uzi Vert, Skepta, Travis Scott, Ty Dolla $ign, The Weeknd and Young Thug, according to Genius. A good amount of the tracks were also worked on by notable producers like Kanye West and Metro Boomin.
Now, with quite the wait and a well decorated list of both performers and producers all across the record, you wouldn’t expect Carter’s lowest quality work to come from that. And that’s to attribute to a few major problems that majorly affect this listening experience.
For starters, this album certainly should have had an edit. There’s many songs I’m indifferent toward, and the tracks that are quality suffer in the process. Either it became this way over the years of “MUSIC” and its realization, or was intentionally stuffed to boost streams.
The sound and production of this record was also a major gripe of mine. Despite the long list of renowned producers, there’s something about these beats that feel cheap to me. I feel like I’ve heard productions of similar quality created by fans on social media. It felt like any half-decent rap producer or friend I know could hop on their platform of choice and churn out beats worthy of putting on this record effortlessly.
I think this follows the trend of Carter’s recent label mates of Opium, a rap collective which he founded, capitalizing on the sound that got Playboi Carti famous in the first place. Carter is just playing a clone of himself on this record in a personality crisis blending the sounds of label-mates like Ken Carson, Destroy Lonely and Homixide Gang.
With “MUSIC,” Playboi Carti loses that unique X-factor that caused his initial rise to popularity and separated him amidst the cloud rap scene in the first place.
