Album Reviews

By: Danielle Davie and Neil MacAlister

Apologies in Advance by Sylvan LaCue

Apologies in Advance is one of the most beautifully personal albums I’ve heard in a long time. The 20-track project is framed as a kind of Alcoholics Anonymous meeting for people confronting their own emotions, struggles, and insecurities that’s represented both through LaCue’s raps, and the 12-step skits interspersed between them. To be honest, many of the songs stick too closely to LaCue’s typical formula (a problem that’s plagued him for his whole career), but there’s no doubt this album contains his best work. “Best Me” is an uncertain struggle with the concept of growth, self-love, and acceptance. “P.O.M.E.” finds LaCue experimenting with more aggressive delivery (to his enormous benefit). The Jay-Z-alluding closer “5:55” is a lyrically brilliant conclusion, complemented by lush instrumentation.

     The concepts LaCue explores in his long-awaited second album are complex and introspective. It details the life of the young artist who turned to religion, Kid Cudi, and writing raps in order to work out issues of anxiety and insecurity. It is a tale of mental and emotional growth as well as a genuine inspiration. – NM

Punken by Maxo Kream

Houston rapper Maxo Kream has been working on his come-up for years, slowly building a devoted, ever-growing following, a menacing, lyrical approach to trap, and an undeniable authenticity. Sonically, Punken is far less interesting than 2015’s Maxo 187 or 2016’s Persona Tape, but what Maxo’s new album may lack in compelling sound it more than makes up for in lyrical content. Maxo’s raps are straightforward tales of poverty, drug dealing, and violence. The reality of death that accompanies an existence in gang life and the drug trade is explicitly relayed in terms neither glorifying nor boastful. Lead single “Grannies” perhaps says it best: “Wake up in the morning, load my pistol, can’t leave home without it / Come from where you see a lot of bodies, but don’t talk about it.” Punken is an unflinching look into the life of one of Houston’s fastest-rising stars, delivered with lyrical dexterity and an uncommon level of sincerity. – NM

Mr. Finish Line by Vulfpeck

Mr. Finish Line is a cool, funky, gem of an album. The instrumentals are strong, complemented by ethereal vocals, and layers of harmony in songs like “Birds of a Feather, We Rock Together,” or smooth, sultry vocals in songs like “Running Away.” Each track holds its own and draws me in, with the exception of “Captain Hook,” which is possibly the most annoying song I have ever heard.

     After listening to the album a few times, the intricacies of the instrumentals stand out. This can be attributed to all the musicians on the record, but in particular to Jack Stratton, Vulfpeck’s drummer and keyboardist, who is credited for mixing and producing the album. On their YouTube channel, Jack Stratton is also credited as “playing pancakes” on the opening track. I’m not completely sure what this means, but it seems that Vulfpeck had fun writing and recording this album, and this is something that shines through the entire record. – DD