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As Wayne heads into a new decade-his fourth as a professional rapper-it’s hard to know where his head is at, where he’s coming from, or where he’s going. Aside from a few moments, like “Bastard (Satan’s Kid),” which touches on Wayne’s father’s neglectful parenting, Funeral is emotionally adrift.
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Lil Wayne’s previous album, Tha Carter V, was also overlong, but it was at least anchored by a gentle familial undercurrent. The simple removal of the album’s eight worst songs would have framed Wayne less as an unruly fire hose and more as a madcap rap virtuoso, which he is. While that version of Wayne tempered his referential, stream-of-consciousness style with masterful pacing and comedic timing, too many songs on Funeral -like “Darkside,” “Wayne’s World,” “Mama Mia,” and the title track-devolve into word vomit, as if he’s trying to spew out entire verses in a single breath. These are the quintessential, delightfully random moments that Wayne fans have lived for since his Drought 3 days. Funeral is pockmarked with duds.įuneral is also studded with classic Wayne-isms-like when he shouts out Sinead O’Connor, casually references the condiment Heinz 57, and cooks up a bit of wordplay inspired by Eric Snow, the former NBA player whose unremarkable career peaked in 2003. There’s “Trust Nobody,” sunk by a banal and out-of-place Adam Levine hook “Get Out Of My Head,” soured by the great rap pedant XXXTentacion “Sights and Silencers,” a surprisingly limp The-Dream ballad that he should have just given to Jeremih and “Dreams,” which sounds like Wayne’s audition for a high school production of an Andrew Lloyd Webber musical. In truth, it peaks early, on “Mahogany.” Amidst a smoky Eryn Allen Kane sample (produced by Mannie Fresh and Sarcastic Sounds), Wayne harnesses his run-on sentence syndrome by tracing the many associative strands that run away from the word ‘mahogany’: “Mahogany door handle to match the floor panel/ Mahogany sand, mahogany Dior sandal.” The battle for the album’s worst song is much more contentious. The Private Lives of Liza Minnelli (The Rainbow Ends Here)įuneral is wildly uneven, a landscape of pronounced highs and lows.
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It is rife with defects-poor editing, clumsy sequencing, and a pupu platter of room-temperature trap beats-that highlight Wayne’s worst tendencies as much his stylistic flair. Despite an encouraging performance from the Best Rapper Alive emeritus, Funeral represents a failure of album construction.
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He is, at times, still a wonder-an ageless Swiss army knife who can carve up any beat with any gadget in his toolkit, who deploys angular flows and zany metaphors and executes dicey hairpin vocal turns from mutter to wail. Wayne has good reason to indulge this impulse. This album is the work of latter-day Mixtape Weezy, who is eager to treat songs as exercises, to prioritize spectacle over substance, to showcase his technical daring and singular lyrical imagination. These trials have little bearing on the direction of his 13 th studio album Funeral, in which he eschews introspection and sets out on a mission to bury other rappers across a digressive 24-song tracklist. Pre-order “ Tha Carter Singles Collection.A creative slump, a year-long stint in jail, the seizures, the bitter, prolonged label battle-the ‘10s were a tough decade for Lil Wayne. Wayne also launched the specialty Tha Carter IV Topps trading cards – making him the first rapper to have his own trading card collection. The mixtape follows the release of Lil Wayne’s Tha Carter IV (Complete Edition) on streaming platforms in celebration of the critically acclaimed album’s 10th anniversary. Building on the momentum from previous collaborations such as “End of Discussion” on Rich the Kid’s chart-topping The World Is Yours, this latest banger illuminates their inimitable chemistry together. To introduce the project, they served up a new joint single and video entitled “Feelin’ Like Tunechi.” On the track, bass bumps beneath a dreamy loop as Rich The Kid comes through with a chantable chorus, “I been feelin’ like Tunechi.” Meanwhile, the rap legend pulls up with a woozy and warbling melodic verse of his own. The announcement follows Lil Wayne and Rich The Kid’s collaborative mixtape, Trust Fund Babies.