Westside Boogie understands he’s harmful, but he’s working on it. Poisoning — especially when it comes to partnerships — is nothing fresh in hip-hop, although it has been a bit of a parody over the past few years. And though Boogie hasn’t arrived at the Future stages of transgressive snark just yet, unloading the difficulties of affection and his period submerged in California gang culture is center to the Compton rapper’s song. Each sepia-toned brain of companions forgotten, like 2014’s “Still Be” homies aligned with the cynical love quarrels of 2016’s “Two Days” or “Nigga Needs” with Boogie courageous to become the complex protagonist through his own narrative.
Black Superheroes, Boogie’s album under Eminem’s Shady Records, lookups for deeper meaning as cruising sentimental insecurity as a Black guy. Authenticity implies little when it is not supported by an implementable change, and Boogie finds energy in acknowledging when he’s dropped off the journey. “Running from my issues/Don’t give me your praises/Just want you to know that even heroes still need saving” He tells plainly “LOLSMH II” before lambasting, and it “fame is a prison.” Like Kendrick Lamar’s Mr. Motivation & The Big Stepper, Superheroes is an emcee based in a twentysomething California emcee placing themselves through melodic treatment. Which distinction is the endeavor, that creates his challenges meaningful.
Boogie’s lyricism is now at the better when he believes in just being something else man from the box with his own set of problems. On “Stuck” the tug of war between the old and the new unfolds in the mundane (putting microcontrollers on a burger) and the fresh air (he said his family appreciates her more). “Nonchalant” is a groovy back-and-forth between Boogie and singer Mamii where he rests through his dangerous behavior ( “She into crystals to release/Meditation at the beach/I’m into acting like a thief/And comin ‘, takin’ all that peace”) and then functions shocked when she halts responding to his requests. On numerous events, he lingers on the snark of continuing to create music about the dangerous trends he’s sustaining. He’s the music play of Sisyphus, creating sentimental improvements and watching almost everything slide down the hill.
The subject is unique from The other Boogie works, there are adequate fresh differences to maintain his orthodox thinking. He’ll likely let his guard down, i’m living with the idea of love “Can’t Get Over You” and “Somethin Strange.” On “LOLSMH II” and “Prideful II” — both sequels to older songs — he rattles off tales of lust and deception worthy of an episode of Insecure. The production, primarily handled by executive producer Keyel, sways between the modernized G-funk grooves and synthetic lowrider snap that have always characterized Boogie’s music. Sometimes, = = = Like on “Prideful II” the sounds meet in the middle, hi-hats bouncing between guitar strums and vocals. Boogie sounds as comfortable singing over soul drums and smooth bass licks as he does rhyming over steady speaker-rattling drums.
Boogie handles every sound thrown his way, The structure of the album sometimes impedes its ambitions. Closer “Anthony (War)” the effect of the previous track is diminished “Windows Down” and its shock ending: confessions cut off by a car crash. This snag briefly detracts from Boogie’s intimate writing, it’s as sticky as a wad of gum. As opposed to the straightforward way 2019’s Everything’s for Sale approached the transactional nature of love and death, Here’s a tinge of irony to More Black Superheroes that gives weight to its darker moments. Honesty may be his superpower, but he doesn’t like to avoid temptation or succumb to emotional impulses. And yet, the dichotomy between trying and succeeding to improve yourself is the latent theme of the album. You can’t be a hero if You don’t want to face your demons.