Day 53: Offset, 21 Savage & Metro Boomin’ — Without Warning
Have you ever wondered what 21 Savage and Offset talk about while Amber Rose and Cardi B are in the bathroom on their double date? I can’t guarantee that Without Warning is an accurate representation of that, but it finds two of Atlanta’s standard-bearing MC’s putting their contrasting styles to the test over ten tracks produced by Metro Boomin’.
All three of the the collaborative album’s principle artists have already had pretty successful years, so Without Warning has the feels more like a “why not” victory lap before turning the calendar to 2018 rather than some kind of do-or-die release. Judged with a proportional level of scrutiny, the album is an interesting case study in what happens when you try to make two of the more diametrically opposed rap flows play nice with each other over some top-notch production.
After repeated listens, the key word for Without Warning is consistency. While it feels like it’s (perhaps by design) devoid of anything resembling a major hit or even a go-to track, Metro Boomin’s ace production and the quality of the rappers involved makes for a pretty even-keeled affair. Fitting for a surprise Halloween release, young Metro works in the same spooky, syrupy template that made Savage Mode such a successful coming-out party for 21 last year. Much like Savage himself, the production doesn’t need to rely on bombast or wasted energy to assert itself, which is perhaps why it’s such a perfect template for one half of Without Warning’s duo.
Given the work 21’s done to take his signature hushed monotone from gimmick to an asset, the only valid critique one could offer of his rapping is that it necessitates a certain production style lest the beat drown him out or leave him lagging behind. Metro Boomin’ is more than happy to oblige for the most part, though it’s definitely interesting to observe how the production on the two Offset-only tracks (“Ric Flair Drip” and “Nightmare”) pick up the pace.
Speaking of which, the most fun to be had listening to the tape is hearing how the slow, methodical 21 Savage and the triplet-flowing Offset trade verses over the same beat. The juxtaposition makes Offset’s delivery sound more vital and uptempo than ever, while 21 showcases a seemingly zenlike patience, sometimes stretching one or two syllables in a space where Offset might comfortably fit four or five. They mostly stick to their signature cadences, but 21 does deserve some credit for trying to step outside of his comfort zone to keep up with Offset on “Mad Stalkers”
Lyrically, both get some decent bars and barbs in. 21 Savage gets points for his verse on “Ghostface Killers”, which references Madden and Kim Jong Un and slipping in a quality line like “you broke ass rappers food, issa po boy”. His economical delivery is all about less is more, with smart lines having more space to land. Offset, of course, gets points for the degree of difficulty it takes just to string lyrics together in the context of a beat, and should be judged as such. What he lacks in knockout punches, he often more than makes up for with a steady stream of quick jabs that showcase an equal level of skill.
Provided you view it as a bonus companion piece to Issa Album and Culture, Without Warning is easy enough to enjoy. The stylistic contrast at work is sharper than Super Slimey, though there arguably isn’t quite the same level of interplay between the two artists here. Regardless, it’s hard to be disappointed by more decent tracks from 21 Savage, and the chance to hear Offset shine without Quavo (with the exception of “Rap Saved Me”) and Takeoff makes it a worthy listen for Migos fans too. While the joy of this Halloween treat will likely wear off as we start to move into next year, it’s a fun detour that gives Atlanta rap fans something sweet to snack on for a little while.
This is Day 53 in my 100 albums in 100 days series, where I review a new album or EP I haven’t heard in full before every day through December 31st. Check out yesterday’s post or see the full archives for more.
