Playboi Carti releases ‘MUSIC’

By Jay’Mi Vazquez

Managing Editor

After five years of leaks, snippets and a canceled tour, rapper Playboi Carti has finally released his album “MUSIC.” 

The 30-track album, released on March 14, has been met with mixed reactions, receiving both praise and criticism. 

Carti’s post-release statement, “Everyday people will find a new song dey love on dis album,” holds some truth, though it is a sentiment that takes time to fully appreciate. 

At its best, the album bursts with energy, capturing Carti’s signature style while exploring new sounds. 

Tracks like “PHILLY” with Travis Scott and “FINE SH**” quickly become fan favorites—infectious, familiar, yet fresh. 

Even “RATHER LIE” featuring The Weeknd flows seamlessly, benefiting both artists. 

Longtime collaborator Lil Uzi Vert also shines, with tracks like “TWIN TRIM” and “JUMPIN” standing out, showing their strong chemistry. 

However, “I AM MUSIC” has its flaws. Some songs feel rushed, as if thrown together hastily. 

Tracks like “CRANK,” “POP OUT,” “DIS 1 GOT IT” and “WALK” rely on their beats but lack the punch and energy that define Carti’s best work. 

These songs feel more like fillers than an evolution of Carti’s sound, with beats overpowering his vocals, making them almost unrecognizable. 

Songs like “COCAINE NOSE” leave listeners wondering if the album was shaped more by industry pressures than artistic intent. 

One of the more controversial aspects is Kendrick Lamar’s involvement. With three appearances on “MOJO JOJO,” “BACKD00R” and “GOOD CREDIT,” the collaborations feel forced. 

While “GOOD CREDIT” works best, Kendrick’s introspective, complex style clashes with Carti’s chaotic, freewheeling approach. Instead of blending naturally, these collaborations feel like mismatched sounds. 

Despite this, “MUSIC” succeeds in balancing Carti’s past and present. 

Longtime fans will recognize echoes of “Die Lit” and “Whole Lotta Red,” but there is also a shift to attract newer audiences. 

The album alternates between aggressive tracks like “OPM BABI” and “COCAINE NOSE” and smoother, more mainstream moments like “WE NEED ALL DA VIBES” featuring Young Thug and Ty Dolla $ign. 

There are playful nods to Carti’s earlier “baby-voice” phase, adding nostalgia. 

However, by trying to appeal to various fan segments, the album sometimes lacks the focused vision that made “Whole Lotta Red” so revolutionary. 

This album cannot be judged after just one listen. 

Tracks like “OLYMPIAN” and “MUNYAN,” which may feel underwhelming at first, grow on you after repeated plays. 

Given the long wait and high expectations, many might expect something groundbreaking, but “MUSIC” still stands out with its energetic moments and a few standout tracks. 

Despite a few questionable choices, it is a valuable addition to Carti’s growing catalog.