Vince Staples Self Titled LP | Album Review
A hazy look at the life of Vince Staples
Hailing from Long Beach, California, Vince Staples has made a name for himself as hip-hop’s West Coast provocateur. Listen to an interview or check his Twitter and you’ll notice the 28-year-old is miles beyond his age. If rap didn’t work out, he could’ve easily been a comedian. However, outside of his clever wit, humour, and attention-grabbing personality, he is somewhat of an outsider in the rap game. While touching on the reality he lived dealing with gang banging, friends dying and more in Ramona Park, Vince’s music has been steeped in nihilism and self-reflection. He doesn’t rejoice about the life he lived, rather he’s always pondered it.
His 2015 debut Summertime ’06 was a dark, murky look into his youth, a tragic summer that would change his life. His follow-up EP Prima Donna and the avant-garde Big Fish Theory explored Vince’s takes on the pressures of fame, cynicism, and depression. He did brighten things up though on his last album, 2018’s FM! Built around a radio show hosted by Big Boy’s Neighbourhood, it was a hyphy, pure West Coast romp with bouncy beats and Vince’s tongue-in-cheek lyrics in full force.
Vince Staples, the new self-titled LP that precedes another upcoming album and a Netflix show, presents us with an artist that is even more contemplative than before. It’s only fitting that he would name the album after himself, as this truly is Vince Staples, showcasing his raw and honest self for all to hear.
Teaming up with Kenny Beats (who helmed the production of FM!) Vince Staples is a hazy project like no other Vince Staples album. It doesn’t feel like some strange new direction, rather the production seems fit for an artist like Vince. Those hoping for another “Norf Norf” or “Yeah Right” will be severely disappointed, there’s a lack of actual “bangers” on this new album, which isn’t a bad thing. Vince Staples makes up for that with the album’s low-key production and Vince’s innate ability to slide on any beat given to him.
Even for producer Kenny Beats, this album is way out of his repertoire from his signature heavy 808’s. The beats here are slow, woozy, and packed with melody. Kenny creates a hypnotic vibe with the synths and drum beats on the opener “ARE YOU WITH THAT?”. sampling an old soul song and flipping it on its head for “SUNDOWN TOWN” similar to a Drake song. Adding sparks of glimmery piano keys throughout “THE SHINING”, contrasting the song’s heavy bass. The album does get a bit bouncy on “LIL FADE” and “MHM”, both of which would’ve fit perfectly on his previous album for their L.A. groove. For the most part though, the production feels stripped down and minimal, thematically it fits well for Vince’s lyrics.
Vince’s cadence throughout this self-titled LP is monotonous, he’s not excited nor does he sound depressed. He’s still telling tales of his life in Long Beach, but he presents it with a stronger sense of paranoia as if he’s always in fight or flight mode. He’s constantly keeping his head on swivel, whether he’s at a meet and greet (“when I see my fans, I’m too paranoid to shake they hands”) or taking a trip on the conveniently named “TAKING TRIPS” (“can’t even hit the beach without my heat, it’s in my trunks”). He tells himself to not get murdered in the first verse of “THE SHINING”, Vince’s delivery along with the rest of the song isn’t him being fearful, rather it’s another mundane thing on his agenda. He’s become distrustful of friends and family that see him as a piggy bank on “LAW OF AVERAGES”, warning anybody that he’ll put them on a t-shirt if they test him.
Vince’s music has always been characterized by his life in Long Beach, hearing these war stories are not new but on Vince Staples, they sound much rawer. His reason and confidence to fire back on “LIL FADE” or his pleas to go back home à la Wizard of Oz on “TAKE ME HOME” sound 10x more real. It’s not a life most would want, which is why he asks listeners on the chorus of “ARE YOU WITH THAT?”: (“are you with that like I’m with that?”). Vince has perfected his ability of hood tales that sound honest and defensive rather than dangerous and glorifying. His lyricism topped off with the album’s muted production puts him on center stage.
Clocking in at 22 mins, Vince Staples is a short-lived experience, but one that opens up another avenue into the mind of Vince Staples. Kenny Beats goes a little out of his zone with the production to create a woozy atmosphere, perfect for Vince’s flows and storytelling. The final result is a decent album that gives us a little more insight into the artist.
Normally with reviews, I don’t give any numerical scores, as I find my rating could change over time but, I feel confident to start scoring albums I review starting with this one.
Vince Staples gets a 7/10. The production and Vince’s bars are great, however, with the short length, I feel as if there could’ve been room for a little more. The whole thing could’ve benefitted from being a little longer in my opinion. It’s nowhere near as catchy as his last few albums, but it’s a solid addition to his discography. If you like Vince’s storytelling from previous projects and can get with the album’s hazy beats, then you might like this album.
Favourite Tracks: ARE YOU WITH THAT? LAW OF AVERAGES, SUNDOWN TOWN, THE SHINING, TAKING TRIPS, LIL FADE.
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