Before releasing his studio debut
Please Excuse Me for Being AntiSocial
, Compton-raised/Atlanta-adjacent rapper
Roddy Ricch
had already firmly established his hybrid style. On tracks like his breakout single "Die Young" and his featured appearance on the anthemic
Mustard
song "Ballin',"
Ricch
served up bars about struggling through hardships to achieve wealth and greatness, all delivered in a fluid, partially sung style that melded trap toughness with smooth melodies. This approach shows up sometimes on
AntiSocial
, but during the course of 16 tracks,
displays a versatile range. Over a looped acoustic guitar sample and hyperactive trap hi-hats on "Big Stepper,"
again recounts his rise from dealing drugs to living the good life making millions off his music. The hardened veneer of the song makes it almost unrecognizable from the smooth sung hooks and laid-back flows of the spacy
Lil Durk
-assisted track "Moonwalkin'" and the spare, piano-driven,
-produced beat of "High Fashion."
switches between romantic moments like this and booming brag-fests like "Start wit Me," focusing on either smart, reflective lyricism or melodic presence. By the album's last quarter,
almost takes on the feel of a mixtape, with production and style shifting dramatically song to song. The sultry, distant R&B vibes of "Bacc Seat" blur into sentimental Auto-Tuned singing on "Prayers to the Trap God," and backing from a full gospel choir on finale "War Baby." Each track boasts tight production and passionate performances by
, enough to keep his quickly changing styles from feeling too jarring. At times,
feels like it's trying to offer something for everyone, and it becomes difficult to locate
's personality among the different window dressings. Regardless, it's a strong collection and highlights how
can mold himself into different styles and keep things exciting in almost any stylistic configuration. ~ Fred Thomas