Pierre Born He is a producer first, even if he doesn’t admit it. On the deluxe version of Hyatt Pier 4, released in 2020, none of the words he pecked through an Auto-Tune glaze mattered as much as the dreamy combinations or hypnotic overload of product tags. The tunes have supported this project, but that’s not the only thing Pi’erre wants you to focus on. Since he first appeared on the mainstream scene with lush productions of Playboi Carti2017 Self-titled song barHe was on a mission to take rap songs seriously. on me New Movie, He achieves this by stripping some of the flavor of his musical instruments and turning attention to what he says. It mostly works out – he’s a pretty good rapper, but toning down his production isn’t worth it.
It’s not that Pi’erre was suddenly a brilliant technician; There’s no flow that will blow you away, and if you pick a punch or two, you’ll probably explode with laughter. But he compensates for this deficiency by giving the project a strong narrative pulse. This is a broken up album, or maybe an album about wanting to fall in love after a breakup. Prior to this recording, his words felt coherent and goofy. but on New Movie, there comes a point when he outdoes himself; Some of the fonts are surprisingly trivial.
Throughout the album, he cycled between sadness and bitterness, reflecting on the minute details and fond memories of the relationship, such as when his girlfriend had her hair and nails done. It’s music less concerned with the big arguments between partners, and more about the moments before and after them. “Where Are You Going” is an official breakup song, but there is no melodrama. Instead, he talks about the slow deterioration of his relationship with the past. During a time apart in Love Drills, the writing was simple but effective: “All the love we had, we now need our space.” Unlike the vast majority of postfuture Sad rap poems, there’s hardly any direct vocals here – you know, complaints along the lines of, “Oh, I’m in so much pain” or “Fuck my ex.” Refreshingly, Pierre’s melancholy is more tender and confused.
Meanwhile, the beats are solid: they’re soothing and sweet and slowly build to their climax, even if they’re a little too clean at times. What is Pi’erre Bourne’s moderately produced album? It’s like the Spike Lee movie getting a little grumpy, or the Kevin Durant game where he goes through the checkouts. Brash and busy but sweet production is his thing. The jam-packed tunes of the deluxe edition of TLOP4 He often buries his rap, but that organized mess is missing here. “Short Notes” begging for some errors. The “What You Should Do” dance segment is very basic. The beat of the flat drum on “DJ in the Car” is saved only by the sparkling auto-tuning tones it fills. Zapp and Roger in “Love the Computer” at the end of the song. When production is dry and there are plenty of lulls, the album struggles to conserve energy, especially as the beats overlap each other, as if the entire project is one never ending song.
There may be more vocal high points than production points New Movie. Pierre’s “Kingdom Hall” hook is so bad, it’s good: “You showed up in my place, Jehovah’s witness,” calms down, his voice engulfed in waves of echoes, like K-Ci and JoJo’s “crazy.” In “Kevin Heart,” romantic problems lead to some of the most exciting and engaging moments.
But Pi’erre has proven he can do a lot on the production side, an ambition he hasn’t demonstrated much here. Saccharine’s tune on “The System” is overpowering, but his opening words about nostalgic scrolling through Instagram exes are powerful enough to stand on their own. The fluttering layers of “leap in bed” push his tones into the background, but the mood is unaffected. The shimmering keys and raucous synthesizer of “Ex Factor” tell a love story better than the lyrics. Often times, its beats are not alive. He may have proven his rap to be worthwhile, but to get there, he had to curb his unique vision as a producer.