Amidst elusive appearances and promising leaks Playboi Carti’s third studio album ‘Whole Lotta Red’ seemed destined for greatness, and his loyal fanbase expected a masterpiece. His previous two albums, ‘Die Lit’ and the self-titled ‘Playboi Carti’ pioneered a unique, almost psychedelic style of trap music, so when WLR dropped on Christmas Day 2020, Carti listeners were left bemused. The infantile vocals and bouncy rhythms he had become famous for had been abandoned. In their place we find abrasive electronics layered upon punk inspired instrumentals and strained vocals you find at the end of a Metallica concert. It was dark, abrasive and not what fans expected at all.

Wave after wave of critical opinions appeared upon social media, with some people being underwhelmed by the project and others shocked by the coarse aesthetic Carti had landed upon. Various accounts began titling the album ‘Whole Lotta Skips’, and at the time I had to agree. This new direction Carti had taken his sound was too much, there were certainly some good tracks, yet they seemed lost within a sea of vampire themed vocals and ruthless half trap half rock beats. It wasn’t received well upon people’s first listens, with music enthusiast Anthony Fantano giving the record a decent five. However, within his review he suggested the album could create an 808s and Heartbreaks type moment, in which, with time, people learn to disregard the production as messy, instead labelling it as experimental and refreshing. And this exact reaction ensued in the coming months. As more and more people returned to the album, opinions changed and Carti’s masterpiece was unearthed.

Suddenly the brutal sound of the opening track ‘Stop Breathing’ was music to fans’ ears. This was an album made to be blasted out a car speaker at full volume, it was a new Carti who was frighteningly unapologetic, and people began to appreciate him for it. Carti takes an endless supply of bright and serrated beats and packs them together, end on end, so that the album careens wildly towards an exciting and unknown destination. This new direction is characterised by the feeling of non-conformity, which initially turned so many listeners away. Instead of expected structure we get pure chaos. Entire verses transform into almost blood curdling chants, like those upon ‘On That Time’, in which Carti continuously screams “D-R-A-C-O”. Then there is the skull rattling beat of ‘Stop Breathing’ where Carti works up these exhausted vocals as if he is at the end of a set. This coupled with the immense energy of the production, results in a record that constantly keeps you on the edge of your seat.

For many the standout track is the humorous ‘Vamp Anthem’. Totally unique in its style, the song samples composer, Johann Sebastian Bach’s piece ‘Toccata and Fuge in D Minor’ creating this twisted, trap take on Gothic organ music. Lyrics like: “You come ’round by my gang, we gon’ let them bullets fly”, fill the track with references to Carti’s reckless lifestyle, and support the hectic energy of the song. With a two-minute run time it encompasses the vampiric aesthetic displayed throughout the album and highlights the zany ideas at the records core.

As the album progresses into its closing segments the electronic sounds alter into those more atypical with Carti’s iconic style. The three-track run of ‘Sky’, ‘Over’ and ‘ILoveUIHateU’ are typified by ethereal synths, snappy trap drums and of course Carti’s trademark vocals. They are all closer to the classic Carti sound and remind us he is still capable of the catchy, spacey beats we know and love.

It is very rare to get an album that is so ahead of its time that it is initially disregarded entirely. Kanye did it with 808s, Pink Floyd did it with ‘The Wall’, and now Carti has done the same with ‘Whole Lotta Red’. Its progressive and drastically ambitious with its ideas, making it one of the most exciting projects of recent time. I urge you, if you haven’t already, give it one more listen.