Photo from appleinsider.com
By Vinny Ball
“DS2” was Future’s greatest release to date, and it saw him brooding over Metro Boomin’s hypnotic beats that were tinged with psychedelia, while “What a Time to Be Alive” was indicative of how popular he’s become, being able to trade verses with Drake.
But Future’s legacy is far from defined, and how he handles these successes will ultimately determine just how much influence he leaves behind.
So far in 2016, Future has released two projects: the “Purple Reign” mixtape and “EVOL,” the official follow-up to “DS2.” Yet aside from the DJ Esco tags littered throughout “Purple Reign,” there isn’t much distinguishing the two releases.
“EVOL” contains all the cornerstones the #FutureHive has come to expect with a release — schizophrenic trap production combined with Future’s melodic cadences focused on women, fame and drugs — yet that is the record’s greatest shortcoming. While the release might keep fans content, Future does little to test his boundaries.
The majority of Future’s rhymes throughout the record epitomize mediocrity, as they are unimaginative and devoid of much meaning.
In “In Her Mouth,” Future only comes off as misogynistic, declaring that he’d like to “f— the DA lady in her mouth.” A line so crass it is impossible to ignore when there is no other meaningful lyrical content capable of challenging it.
Whether in Future’s flows or the instrumental, the track “Program” lacks any sort variation at all. That kind of repetitiveness has its place, but here it signals one of two things: either this record was made in the span of a week, or it’s a collection of leftover tracks.
However, “EVOL” has its noteworthy moments. Unfortunately, even at their best, they are still too akin to “Dirty Sprite 2” to signal any sort of growth for Future as an artist.
“Low Life,” featuring The Weeknd, utilizes ethereal synth patches juxtaposed with crisp drum samples, while the pair addresses their nihilistic lifestyles.
“Lie to Me” undoubtedly serves as the album’s friendliest pop tune given its catchy hook and similarity to his 2012 hit, “Turn On the Lights.”
The final song, “Fly S— Only,” proves to be the album’s finest moment, as it features Future’s most melodic lines and a pop aesthetic of its own, courtesy of a guitar loop and sweeping orchestral strings.
As long as Future continues to display his greatest strength — his output — he will remain a force within the hip-hop community. But it’s difficult to get by on quantity alone.
At some point, Future will have to push beyond the boundaries of the Atlanta trap scene in order for his work to leave an impact beyond the fury of his output.