Pusha T - It’s Almost Dry Review
Cocaine’s Doctor Seuss put’s out his tightest record yet with a plethora of talented features and production chops from Ye and Pharrell.
Four years since Kanye produced instant classic Daytona; Pusha T returns with It’s Almost Dry his strongest release to date. The album comes off the back of a time in which Pusha T was, like many of us, isolated from the world, writing the album whilst the streets were closed. What results is an album of refinement. With the rapper honing in on a more concentrated sound compared to his earlier work. The rapper went back to Ye for production on the album but with added involvement from Pharrell and a plethora of talented features including: Jay Z, Lil Uzi Vert and the “final” joint performance from Ye and Kid Cudi. More than anything though it’s Pusha T’s voice that shines through on this project, and that’s impressive considering the potential for show-stealing features.
The album opens with ‘Brambleton’ a track that sets a slick murky tone that runs throughout the album. Haunting synths hover transcendentally as Pusha T raps about betrayal and success; reminiscing on how far he’s came “Shit, we really used to roll around”. Whilst flaunting a voice that hits in the way getting punched in the face by a boxer would Pusha T goes into topics of discrimination. Framing himself in high speed sport cars in white affluent neighbourhoods, expertly weaving double meaning in his use of the word “race”.
“Let the Smokers Shine The Coupes” is one of the hardest tracks on the album. The beat is tight, the samples are almost demonic in their distorted screams and laughter. Pusha T compares himself to cocaine’s Dr. Seuss, a line that feels hilarious and braggadocios at the same time. “Dreamin Of The Past (feat. Kanye West)” features a gorgeous sample of Donny Hathaways interpretation of Jealous Guy by John Lennon. Pusha T breezes through soulful sounds with lyrics that look back at the artists drug-dealing history in a sentimental retrospective, as though the artist misses those days, left only to dream of the past.
“Neck & Wrist (feat. JAY-Z & Pharrell Williams)” is certainly one of the highlights on the record. The beats on this track thunderously roar before the dopey chorus worms it’s way into your ears perfectly paralleled to Jay Z’s feature. This is a track that feels like it could have been slightly longer in length but nevertheless proves a captivating listen. The following track “Just So You Remember” carries on with more cutthroat vocals and abrasive performances. There’s a sense of showmanship on this track, trying to boast a previous iteration of his personality pre becoming a father. Pusha T conveys his outward calmness in recent years is just one of many sides of him and that he could tap back into the darker sides of his personality with relative ease.
“Rock n Roll” is one of the strongest tracks on the album, if not the strongest. Whether it’s pure coincidence that it’s supposedly the last track to feature Kanye West and Kid Cudi together following their recent fallout, there’s something that feels absolute and final here. There’s an energy that calls back to old-school gangsta rap touching on topics of drugs, family, and the worth of their time.
The rest of the record is riddled with introspective bars and obligatory coke references, bare in mind Pusha T managed to sneak a coke reference into a Mcdonalds dis-track for an Arby’s advert recently. The production carries on much the same, slick beats from Pharrel and classy sampling from Kanye give this record an edge that most rappers could only dream of. However, it’s Pusha T’s vocal performances and impeccable delivery that truly make this project glisten. It feels like the artist understands his sound and place within his music more than ever before. The project feels tight and all the songs effortlessly flow into one another.
The final track “I Pray For You (feat. Labrinth, Malice & Clipse)” serves as a statement of the artist and how far he’s came. Lyrically speaking of a phoenix rising from ashes, leading as a parable to himself and his possible self-doubt. The track shows an introspective side to Pusha T that you don’t often see.
Before the album was released Pusha T said “The album of the motherfucking year is coming.” and on It’s Almost Dry the rapper almost fulfils his self-made prophecy. The album’s slick production, captivating beats and expert sampling make for an enjoyable listen on their own but with Pusha T’s expert flow, dynamic vocal deliveries and elegant bars it’s hard to see fault in this record. Perhaps the albums only downfall is that it may feature too many feature artists and at times the album lacks the ground breaking introspection of a TPAB or MBDTF. If Pusha T continues to refine his skills as a rapper and story teller he may go on to be one of the greatest rappers of all time, that’s if he’s not on that list already.
