Hopped in the studio almost immediately and began putting down new thoughts and Aminé began the record directly coming off tour for his debut While “Caroline” was the start to Aminé’s career, Limbo will prove to be a giant leapįorward still. “After high school,” he says, “I couldn’t use that equipmentĪnymore because I didn’t go there anymore. In those car rides to school with his mother. But it also unexpectedly flamed the spark that had sprouted He and his peers were supposed toīe doing schoolwork, but instead they used the old mics and equipment toįreestyle over popular beets they played from YouTube. But where it felt like only Aminé could make the vibrant Good for You, ONEPOINTFIVE falls squarely into a bracket with the rest of his flex-rap colleagues, and many of them play the showboat better and more convincingly.Aminé recalls later being in class for radio programing inīenson Polytechnic High School in Portland. That isn’t to say they can’t be satisfying, because Aminé, Pasqué, and Tee-Watt have delivered one of the better-produced trap records of the year with quirky, off-kilter beats that shift and patter in cool ways. Now his songs tuck neatly into the contemporary trap fold. Aminé once seemed like an outlier, the fun-loving Portland boy content to be himself on rap’s fringes. Even the palette he and his producer Pasqué are working with is darker, the scenes in his songs more overcast. Money can turn friends to hangers-on turn suitors to opportunists turn lovers to liabilities turn a light-hearted upstart rapper into a cynical big shot. Positivity has been sold as Aminé’s defining trait, but he is slowly shifting away from that energy. Whoever” is a frank admission of grief and on “Why?” he raps, “I need love, I’m depressed/I’m a fool, I’m a mess.” But these are tiny thought bubbles popped by shiny objects, blips along a half-hour cruise through new-money trappings. There are brief pivots toward the prudence of previous work, to be sure: The opener, “Dr. He’s richer now, but no less anxious: “Birthdays these days be the worst days/’Cause I know I’m gettin’ older and not happier.” And yet, the new album still devolves into aimless materialist raps that feel empty. “Money don’t make you happy, it just makes you wanna get richer,” he rapped. He imagined stacking coins as a fool’s errand, like drinking salt water to quench one’s thirst. Good for You’s “Money” was a thoughtful consumerist critique that weighed tipping the personal scale against the scourges of late capitalism. He’s less clever writing from this space, basically not saying anything Migos haven’t said already.Īminé used to judge rappers for this kind of talk. On songs like “Hiccup” and “DapperDan,” he loses sight of his reflection admiring his jewels, and on “Chingy,” his boasts lack imagination. They are significantly less interesting, less curious, and less story-driven. The songs on ONEPOINTFIVE aren’t rapped with the same joy as those on Good for You. But in these songs of excess, Aminé’s feel-good music starts to lose some of the stained, lived-in quality that once made it so rich. Niggas call they albums mixtapes cause if it flops, it’s an EP,” he joked in a promo video.) Regardless of classification, ONEPOINTFIVE is a project about adjusting to a new class of rapper, how shifting tax brackets come with a new outlook on life. (“Mixtapes are albums and albums are mixtapes. His new “EP/LP/Mixtape/Album,” ONEPOINTFIVE, the follow-up to 2017’s Good for You, was released on a whim, as if merely a trifle, another casual flex. His optimism has waned and he's turned his attention to expensive things-owning them, flaunting them, seeking comfort in them. But his music has become more vainglorious this summer, for what he's dubbed flexing season. His songs had a knowing wit and a kind of brightness that made him a beacon in an era of rap gloomcasters. Aminé crashed the rap ranks two years ago with an offbeat tease called “ Caroline,” which went quadruple-platinum and positioned him as an outsider star.
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