Back February, Big Sean followed up on his career-solidifying opus, 2015’s Dark Sky Paradise, with the commendable I Decided. Despite its redeeming qualities (like scoring the first Eminem internet-breaking moment of 2017 and Sean showing us some great “Moves”), it wasn’t the boost his résumé needed to fully convince his critics and casual fans he deserved to maintain the same conversation as you-know-who and the other guy.
But survey says a 10-month lapse may as well be a long time without songs. Call it either desperation or antsiness to reunite in the mix, however now without (much) warning, Sean links with Metro Boomin (who always wants some more) to rush out one last project prior to the curtain closes on 2017. With the exception of the 21 Savage-featuring “Pull Up N Wreck, ” which packs an enormous beat, non-e of the records indicate there’s enough chemistry between your two All-Star artists to deserve a full-length offering.
Double or Nothing is as much Young Metro’s as it is Sean Don’s, and generally, the heavily sought-after producer holds down his end of the bargain. It’s disappointing no standalone soundbed reaches the hypnotic degrees of Sean’s “Bounce Back” instant classic, but there’s still a tremendous amount of experimentation worth noting throughout the 10-song ultimate misfire.
The Atlanta maestro makes a worthy case for consideration for just about any future cash-ins inspired by “Despacito’s” Reggaeton resurgence on “Who’s Stopping Me” using its guajeo-powered groove and unassuming bass dips.
And while being truly a new-age producer (especially in the era where trap beats always clear the bar), the fusion of his golden 808s with The Brothers Johnson’s famed “Strawberry Letter 23” sample on album-anchor “No Hearts, No Love” exemplifies the way the culture could be propelled further while still recognizing the OG sound framework.
The potency of Sean’s punchlines has been the G. O. O. D. Music star’s biggest catalyst for criticism and oh god! does the facepalm emoji get a work out over these 40 minutes.
As the essential reason for the album is never specified, Sean spends a ridiculous timeframe skeeting on tracks without filter on the filler (e. g. the ethical principles heard on “Savage Time” nearly feel like a slap in the face). When he’s not “eating pussy that tastes like syrup, CÎROC, and coconut” – after blowing blunts with Rosa Parks on the back of the bus – you’ll find him phoning in entire records. Just peep the drowsy “In Tune, ” whose chorus goes “I’m in tune, I’m in tune, I’m in tune, yeah-yeah. ”
Double or Nothing‘s most engaging track comes thanks to “So Good, ” a raunchy parking lot party-starter where Detroit-bred starlet Kash Doll breezes past Sean with a well-manicured appearance, after he shits the bed with the line “Pussy so excellent, I never fuck you in the ass. ”
t’s no secret that today’s Hiphop climate demands artists to “put something out” lest they weather the storm of new rappers (or R&B line-steppers) potentially taking their spot. Maybe he wanted to pad his lavish lifestyle but considering Big Sean’s tenure in the overall game, moving strategically should be the only course of action nowadays.