The machine-promoted slurring rap singer Future is in his own world in Evol, his fourth studio album. Like the title, Future "Hendrix" makes drunken backwards-love to factory-line trap beats by his friends Southside, Metro Boomin and 808 Mafia. There isn't much at all to analyze or break down in this project. Evol (Feb. 6) is an artless product pushed by the commercial music establishment, and ironically it is hardly hip-hop and definitely not real music by the traditional definitions. Future just got done releasing his last mixtape Purple Reign in January and just like it was yesterday (because it really was), DJ Khaled, who will surely get his cut, premiered Evol on the first episode of his Beats 1 Radio show, We The Best.
Evol is no different from everything else Future has ever done. In his low-pitched mumbly voice, his simple rhymes formed around catchword choruses flow with ease from his mouthpiece because they are very basic and unimaginative. He is a male-skeezer, a violent hothead and a terrible money manager in the tales he tells here. In "Ain't No Time," he complains about not having enough time to spend his precious fortune in reckless, uninformed ways, and in "Lil Haiti Baby," he again p*sses codeine just like he did in his last album DS2. In that last song, he also mentions Khaled and loudly exclaims that all he wants to do is go back to the foreign car dealer. Every once in a while, he'll spit out an interesting line like "shooting at you like an Arab" or "kill you on camera," but the vast majority of this album is junk.
Future, who up to this point has always been the same in essence, is to the rap game what Goofy is to Disney, a foolish imbecilic charade, and his conspiratorial rise has been masterminded by industry leaders behind closed doors who know his music will sell and who probably want to make the masses bigger dumb*sses. If Future is a part of the post-Carter III voice-altering rap movement, then he has played it out to exhaustion in just two poor albums, not one year apart from each other. He is harmfully characterizing the successful hip-hop artist as a ceaseless consumer of expensive cars, apparel, and drugs, a libertine philanderer and violent brutal offender. The thug element might just be complete fiction in his real life. Beware of this lie of an artist and album.
