'USEE4YOURSELF'

Dare I say, it has no misses... 
IDK delivers an impressive project that gets better with every track. The progression on this album is noteworthy from start finish.

The opener may be a little different, but what good intro isn't? If you're into the deeper meaning behind a body of work, IDK makes it clear that he's running from something with this opener, but from what? 

'Santa Monica BLVD' is perhaps the least memorable off the project, but that doesn't mean it's not good.  It's a bit of a side of IDK that we are already used to. We know he’s capable of this high energy from his last album.  Santa Monica Blvd goes hard, and it slaps in the whip,  it just wasn't as impressive as the rest of the album. However, the format is the reason behind the cohesiveness of the project, since it just raises the bar with every track. 

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'Dogs Don't Lie' was the first track to have a music video. An interesting choice to highlight one of the calmer offerings on the project. We already begin to see the strong transition work at the end of this track, with the final words working perfectly into the interlude that’s next. 

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'Truth' serves as a perfect short segue into the next 'Pradadabang' with Young Thug. A great transition that almost makes you want to play the interlude beforehand to really get the full experience. The interludes like this throughout the project just further the cause of keeping the album cohesive. 

Thug does what he does best and effortlessly kills his verse, the ad libs, and the hook. This was one of the major single's off the album and it's easy to see why. 

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'Shoot My Shot' is another heater. Production remains on point, the hook is there, the wordplay is there, and off-set adds an exciting appearance to switch the vibe a tad. This one sounds like the club banger of the project and was the first single off the album. 

"When I used to shoot my shot, you would matrix, 

Now you re-appear but I hate tricks". 

Another flawlessly executed transition into a less club ready and more street ready cut. 'Red' offers an addictive sample as the centerpiece of it's production along with a violin way before the 808 even kicks in. Westside Gunn (who's been on an incredible feature run this year) delivers his entire verse over the simplistic instrumental. The hook eventually comes around and the 808's really hit midway through the track. The beat continues to build adding claps and keys while dropping other elements in contrast. The unique take on production catches your ear while creating pockets for different bridges, deliveries, and sonic styles all in one track. The beat's openings offer the perfect opportunity to clear the way for Jay electronica to do what he does best and take us to the most radical spectrum of bar heavy rap. Jay elec is always on a different wavelength and is no different here, flexing his wisdom and understanding rather than anything of monetary value. The track also has a brief MF doom offering as well. A personal favorite off the album, this one hits unlike anything else out right now. 

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"Lamar Odom with the stroke, 

Girl you got my d*** (ha ha ha ha ha ha, haaard)" 

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The 'Jelly' interlude is interesting because it's just friends laughing about girls trying to get men jealous over a "hush little baby instrumental."  It seems so playful and harmless; just friends sharing laughs.... Until the lullaby starts to fade and the conversation takes a tragic turn when Jay (IDK) takes on a much more serious tone and alludes to the feelings he has when he thinks about losing his mother.  

The more you listen, the more it makes you feel as if the discomfort it evokes is intentional. 

Perhaps not the smoothest of segues, but the abruptness of it all gives a powerful change of pace none-the-less. 

'Puerto Rico' is one that sticks with you immediately. IDK and Lucky Daye put their chemistry on display with one of the best songs on the 17 track project. This is the track that gets stuck in your head. Slowing things down a bit, this one also has its own build up. However,  leading up to a slower paced hook rather than picking up the tempo for a pleasant surprise . It's something you just need to hear and feel to understand. It’s a vibe you can’t miss. It's one of those tracks that makes you feel like you're on a vacation... or at least you should be.

The album is still picking up 10 tracks in at this point. 

After another short and unorthodox yet fitting interlude it transitions right into another top track of the project '10 Feet'.

Another track boasting impressive production that switches back and forth so swiftly that it's bound to evoke some sort of emotion from you. This project doesn't offer the typical beat switch ups in today's rap, but rather build ups in the instrumentation that go back and forth to continuously transform the track into a work of art without missing a beat. It prevents the music from being overly repetitive while giving an opportunity for the artists to experiment. We even get the sound of IDK breathing implemented on the production while other elements drop off for such a memorable take on the production. The perfect balance between space in the music and it's creativity makes the sound so original while also making way for T-Pain's surprise appearance. So short yet so easy to look forward to, T-Pain was a perfect addition to this track to really take it to the next level. It’s joyous to witness a legend who's been fairly quiet be given his flowers while still being able to add so much value to the track. 

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Boom, into 'KETO'.  We still aren't missing a beat, even between songs.  Another vibe change, and another club-ready heater. This time produced by The Neptunes. Yup. Get your dance on. And just in case that wasn't enough,  Swae Lee leaves his mark on this one complimenting the nighttime anthem with ease. Rico Nasty also offers an impressive (and less crazy than usual) verse to top it off. An interesting blend of styles that just works. 

Another flawless transition into the next track, '1995' where Jay (IDK) reflects on family struggle and his relationship with his stepfather. The prior track, 'Keto', ends with IDK changing up his lyrics on the hook of the final line of the track. 

The bar  "Take a n***a life," that we heard throughout the track, becomes "Take my stepfather's life."

It's an almost bone-chilling transition when you catch it. Perfect for the subject matter we dive into.

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"1,2,3... 3,4,5./ If a n***a touch me, he gon' meet .45" 

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This track would feel like an interlude if it weren't for the immaculate ending which is of course, is the result of another build up. It just works so well, and feels like a ray of hope on this track that's riddled with  family trauma. 

'Peloton' - Wow. What a track. Starting with a perfect sample, you don't predict where this one is going to go until it hits. When that beat drops 15 seconds in, before any lyrics, you can just tell it's about to be a banger. The production remains stellar, perhaps with it's strongest offering here on the 14th track. Again, the hook, the lyrical content, the flow, it's all there. At this point you start to believe him as he raps, 

"I be shootin' shots baby I don't miss". 

"you say you want a n***a that's gon' pay that rent.

Don't cook, don't clean cause you aint no maid. Don't serve no n***a cause you aint no slave. 

What if they call you b**ch and you look at me? and I say , "Trick I am not your security." 

An amusing take on gender roles and toxic masculinity. Another personal favorite and one you might just have to listen to in order to really understand why Peloton is an easy standout. 

'Hey Auntie'- This one is Heavy.  No , not the 808, but the content. The subject matter. You can almost see it coming but you're not sure until he drops the bomb on you. A much more serious side than what we heard previously on the project, this closing section becomes eye opening. 

'Cry in Church' - Damn. No better way at all to bring it home than this right here. With the melancholy vibe already set, Sevyn Streeter opens this one beautifully.  

"Rather free my soul, rather be alone, rather be a day-dream-er, rather be a real one..." 

It truly sets the stage for IDK to deliver a hook that sticks with you. 

"I'd rather be broke as hell than rich and sitting all alone,"

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he reflects on this deep cut. We get a great blend of singing from both artists, harmonization, and even bars before we are blessed with a word from the late DMX. Hearing the words of the recently passed legend really stick with you. 

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It makes it even more respectable to note that IDK already had another DMX prayer on his previous project before he passed. Clearly a huge inspiration for the artist, IDK used this DMX monologue as a fitting close to the track just before the final outro. 

 The final track 'Closure' is the outro,  just a mere voicemail over calming sounds that offer a come-down after such an intense and emotional ride of an album. This last piece shows an honest IDK finally opening up to his mother. It feels as though the closing track serves as an allusion to the introduction. 

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The creativity and originality of this album is off the charts. Every actual song is excellent and none of them are repetitive. The project has the ability to evoke so many emotions with it's many styles; a turn up vibe, introspectiveness, a melancholy tone, yet still cohesive from top to bottom. USEE4YOURSELF did not receive the recognition it deserved. So I'm here to deliver it. 

Easy 10.  Best project of the year when it dropped. Easy to listen to with various emotions and styles blended between the tracks. Solid features across the board without feeling feature heavy. Comical at times, serious during others, original and refreshing. We need more projects like this for hip hop.