Raises questions about leanness in rap- wanting more vs wanting it to end quicker (or what the fuck's with that middle section etc), and apparently experimentation, nostalgic homecomings, and longevity. To call it just a return would be to trivialize its conceptual boldness, general fucked-up-ness, and most importantly/impressively, confidence, both leading to, and enhanced by, its leanness. It's a hell of a trick for sure- post-apex experimentation hiding behind a tried aesthetic standard that appeals to nostalgic bros who won't see the vision through the rose-tint (and so won't have a panic attack), and also provides a trap for critics wanting an easy-out (i.e. put acclaim down to nostalgic dickriders who either wish they were old enough to buy 36 Chambers in 1993 or only started listening to rap ~3 years ago)- an easy enough response to which is the simple if this shit was by an unknown/newcomer, there's no way you wouldn't think it was this year's freak masterpiece, which might be effective and even true in some cases, but the thing is- i) nobody else could've made this and ii) at no other point in his career could Ghostface have made it either. It's unexpected and yet it makes so much sense, it does everything it can and yet it teases- a familiar du-du-da-da-da from Tearz or even a possession from the ghost of ODB- a Lazarus sort of dead and alive, having existed both then and now, refreshed but dusty, straight-faced, determined, and deliberate where it matters. A ghost not just visible but capable of murder. Gripping like anything could derail this shit, but nothing ever does. Ghost just kills it.
A
thing / w/o voice then support it
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