It’s bratty, flighty, and funny, a laundry list of romantic capers and brand-name items Uzi knows you can’t afford. There’s a whiff of Future in trap mode filtered through lightning-fast trash talk reminiscent at once of Lil Wayne at his peak, Chicago drill technicians, and Philly spitters like Meek Mill and newcomers half his age. Cuts like “Lo Mein,” “POP,” and “Homecoming” fuse styles from different regions. Baby Pluto is a smart-mouthed street rapper so geeked to get his syllables out that he almost races past the beat. Atake is easily Uzi’s finest work, and if sales go where the projections suggest they’re headed, it’ll also mark his most successful commercial release to date.Įternal Atake is a space opera in three acts, each named after a separate Uzi persona with a unique skill set.
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After two years of frustrations with Atlantic Records and threats of retirement, Lil Uzi Vert is back this month with Eternal Atake, the sophomore album fans feared would never see the light of day. When he’s away, he’s out improving his craft. If you thought label woes could take him out, you were wrong again. You screwed up betting on him being intimidated by Rich the Kid in their 2018 dispute. Like a Shōnen Jump hero, Uzi always wins in the end, even when the odds seem powerfully stacked against him. The Philly star is short in stature with a massive personality, a shit talker who’s also in touch with his feelings, a sharp dresser with a flair for colorful hair.
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When the album’s finished, it leaves you with the feeling all great major label rap projects do, the sense that the competition is off somewhere licking wounds and taking notes.Ī lot of rappers say they love anime, but Lil Uzi Vert is the rare artist who deserves a series of his own.