Last month, Playboi Carti released his highly anticipated album “MUSIC,” a sprawling 30-track project. The enigmatic artist has delivered yet another controversial record, cementing himself as one of rap’s most polarizing figures.
Carti has long been celebrated — and scrutinized — for his unpredictability, constantly reinventing his sound and aesthetic. His 2018 debut studio album, “Die Lit,” introduced the world to a high-pitched, repetitive style, which Carti contradicted two years later in “Whole Lotta Red,” a project that traded playful melodies for punk-inspired sounds.
While sonically scrambled, “MUSIC” grounds itself in the rap scene of Atlanta — Carti’s hometown. He draws heavily from the mixtape era of the early 2010s, not just in spirit, but also in sound. With rapid-fire snare rolls, unyielding lyrics and an unpredictable, unfiltered edge, the album mimics the wild energy of early 2010s trap tapes. Even as it dominates the charts, “MUSIC” carries the rawness of an underground release.
“MUSIC” opens with “POP OUT,” a track that features Carti’s intense vocals piercing through a grimy, thunderous instrumental. It’s his weakest album intro to date. The harsh, jarring sound doesn’t quite replicate the mythic heights of “Location,” “Long Time (Intro)” or “Rockstar Made”— openers that feel instantly legendary.
And yet, the violent, vulgar and arrogant “POP OUT” still holds weight. “I’m a reject, but I’m still turnt,” Carti declares boldly, an announcement to all listeners that he has returned, untamed and unapologetic.
The following track, “CRUSH,” which counts Houston rapper Travis Scott among its producers, blends industrial synths and choir vocals to create a song that can only be described as bizarre. The track is a mind-boggling mixture of instrumentation, as Carti’s boastful lyrics interact with the experimental beat to create a sound that is entirely his own. It’s confusing, yet just intriguing enough for you to replay the track over and over again.
Throughout the album, Carti takes aim at the heart of the Atlanta trap sound. On “RADAR,” Carti redefines the sounds of the 1017 Brick Squad era once dominated by Gucci Mane and Young Thug. With flashy lyrics and relentless snare rolls, the track resurrects the spirit of early 2010s Atlanta. It’s thrilling, electric and a signal that Carti is still redefining the rules of trap.
The first few tracks on “MUSIC” feel sonically scattered, with each song jumping into a new space. That sense of unpredictability continues in “RATHER LIE,” an immediate classic that cuts through the chaos with unexpected clarity. Carti and the Weeknd deliver vulnerable lyrics about fractured trust and toxic love over an ethereal beat. The Weeknd serenades listeners with a catchy chorus, while Carti’s verses are melodic, creative and sticky. The collaboration creates one of the most enjoyable songs on the album.
The biggest surprises on the album are the collaborations between Carti and Kendrick Lamar. Though he was featured on three tracks, Lamar’s most memorable moments come on the songs “BACKD00R” and “GOOD CREDIT.”
“BACKD00R” is light and groovy. Jhené Aiko joins Lamar in a dreamy, melodic hook that floats over the soulful beat. It’s a rare moment of serenity on the album, with Lamar showing off his arsenal of unique voices and flows.
The vibe shifts on “GOOD CREDIT,” where Carti and Lamar brag of wealth and fame over a much darker beat. Both artists are more lyrical here, rapping with a sharp bravado.
On the track “LIKE WEEZY,” Carti pays homage to rapper Lil Wayne, who released an album in 2023 titled “I Am Music” — the same phrase plastered across Carti’s album cover. The song, built around a sample of 2010 hit “Bend Over” by Atlanta group Rich Kidz, is bouncy and dripping with charisma. It’s all the reasons fans love Carti mashed together into one song, standing out as one of the album’s most infectious moments.
Tracks like “TOXIC,” “WAKE UP F1LTHY” and “K POP” all carry a villainous, sinister energy — think a glitchy soundtrack for a video game’s menacing final boss. In contrast, the brightness of “I SEEEEEE YOU BABY BOI” and “WE NEED ALL DA VIBES” injects the project with bursts of energy. The album is full of these jarring tonal shifts, displaying Carti’s ability to veer between darkness and euphoria with no advance warning.
Carti continues to make new sounds, and nowhere is this more evident than on the track “OPM BABI.” With 808s thundering and the melody raging, Carti alternates between his iconic high-pitched vocals and his newfound lower voice, while DJ Swamp Izzo repeatedly yells his own name behind blaring gunshots. It is complete and utter madness. It is chaotic and totally unfiltered. But the production’s rawness cements the track as an anthem, capturing the essence of Carti’s raging persona that is scattered throughout his discography. On “MUSIC,” Carti is relentless in his identity — defiant and unattached to the expectations of mainstream music or even the boundaries of his previous work.
Zach Robel is a Senior Staff Writer from Corvallis, Oregon, studying economics and environmental studies at Brown.
