‘Mama’ explores the more intimate side of the artist’s psyche, though Aminé is not one to put up a real hard front in the first place. There isn’t as much chemistry between the artists as their previous joint efforts, and the result is jarring when put up against most of the rest of the project.Īminé follows this very non-mother approved piece with a track dedicated to his mother. Former collaborator Summer Walker comes back with ‘Easy,’ perhaps a spiritual precursor to ‘Riri.’ The pair croon on about the highs and lows of physical and mental relationships people put themselves through for various reasons, “the sex is still compatible/But I ain’t got no manual for trustin’.” Yeah, I guess. Jak Knight leads the exit, saying “There ain’t no money in havin’ hate in your heart/I know very untalented people with a lot of love in their heart who are doing great.” Back to the quagmire of love with ‘Riri,’ though the message is clearer here: Aminé gave this individual too many chances (3!), things don’t get easier, I still have a Nissan. The track starts a little grimy, a head-bopping beat with a simple sine bass, but eases up considerably for Aminé’s verse toward the end. ‘Pressure in My Arms’ unites Aminé and Northampton's slowthai with Vince Staples for a group jaunt through the dark streets of mean lines and feeling cool. There’s a lot of texture here, samples and synths coating the walls but not taking center stage. ![]() Calling back to ‘Burden,’ the beat here moves at its own pace, allowing Aminé plenty of room to speed up and slow down bars to great effect. The lead sample ‘Shimmy’ is next, a unicorn of a homage track that’s able to seamlessly interpolate bits and pieces from Ol’ Dirty Bastard’s seminal ‘Shimmy Shimmy Ya’ while still coming off strongly as its own piece the youth stands tall on the shoulders of the past, but hasn’t every youth and every past? Everything that can be has been, nothing is true everything is permitted etc. The contrast between Aminé’s softer verses and Young Thug’s sharper deliverance plays nice with the spooky beat from producer T-Minus. The complicated feelings seep into ‘Compensating,’ a joint effort between Aminé and Young Thug that explores humans’ messy attempts at understanding one another, within the romantic sphere specifically. ![]() The beat is tight here love is complicated. ![]() Writer/actor Jak Knight steps in with a brief interlude on the death of Kobe Bryant and how that event has served as a pivotal loss of innocence to a young Black person, a theme that reverberates throughout the project.Ĭharlie Wilson and JID join Aminé for ‘Roots,’ a historical and coming of age tale juxtaposed with a biology lesson with plenty of plant puns “The sun is on me, let me grow.” ‘Can’t Decide’ slides in next, ticking all the early 2000s hip-hop love ballad boxes as it drips down the speakers: Spanish guitar chords, numbers counted one at a time, visions of grandeur and riches next to despair and grief. ‘Burden’ announces this project as a “Black album” a la Shawn Carter as Aminé lays down bars about racism in and around his life growing up and in the past several months on top of a lackadaisical beat and haunting vocal sample from Darondo’s ‘Thank You God.’ The energy picks up a bit for ‘Woodlawn,’ Aminé easing into his comfort zone with some half-beat cadences and sharp rhyme schemes. ![]() Aminé has been on our radar for seemingly forever, though in reality it’s only been a few years since ‘Caroline’ graced our collective consciousness time flies when the world’s ending. Pacific coast musician Adam Aminé Daniel has arrived with his sophomore studio album, Limbo, a follow-up to the in-betweensy mixtape ONEPOINTFIVE.
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