NBA YOUNGBOY “THE LAST SLIMETO” ALBUM REVIEW

NBA YOUNGBOY is a really challenging artist to comprehend. Not in the sense that they are understandable, although some of his songs do pair well with a lyric read-along, but rather in the sense of who he is. Tyler, The Creator, a collaborator on “WUSYANAME,” has described him as “a sweetheart,” yet the FBI has cast the teenage rapper as the target of “Operation Never Free Again,” portraying him as a contemporary threat to civilization.

It’s difficult to pinpoint NBA YoungBoy’s actual identity, which is irritating given that Never Broke Again’s top honcho seldom ever gives interviews. Instead, one must rely on information from his songs, public appearances, and viral videos.

He appears to be The Last Slimeto for the time being. If you’re unclear as to what that implies, you’re not alone; his fourth studio album with the same title offers no insight into the importance of that ostensibly lofty title. However, The Last Slimeto elaborates on the notion of what YoungBoy Never Broke Again is as an artist.The 22-year-old phenomenon has long been hailed as one of the undisputed leaders of the next generation of rappers. His breakout run of Billboard 200 chart-toppers from 2019 to 2020 and his ability to unseat Drake’s Certified Lover Boy as the top album last fall with Sincerely, Kentrell demonstrate his unlikely track record of commercial success.

It’s difficult not to be impressed by NBA YoungBoy’s successes given the stifling number of legal problems that have dogged his career since it began and his self-described blacklist status in the music industry. The output itself, from 2020’s 38 Baby 2 through this year’s Colors mixtape, is considerably difficult to properly appreciate. That pattern is stopped by The Last Slimeto.

The Last Slimeto is an eclectic representation of YoungBoy’s abilities. The 30-track album is everything you could desire from the Never Broke Again singer—raging, poetic, emotional, and fervently argumentative. His fourth studio album displays recognizable YB traits, from his contagious defiance to the nostalgic sound that honors the legendary Louisiana Hip-Hop legends who paved the way for him.

The same is true of his less admirable musical tendencies, most notably his incessant moaning and wailing, which is usually far too annoying to pass for melody. In addition, YB’s propensity for launching lengthy projects has not only resurfaced but also become noticeably worse. With 30 tracks, this album has a ridiculously long playtime of one hour, twenty minutes, and thirty seconds.

NBA YoungBoy’s most recent release is a sprawling epic with an unexpected lack of skippable tracks, despite the fact that its drawn-out format practically works against itself. Excessively long albums typically draw criticism from fans and critics alike and fall flat as a result of housing such an excessive amount of filler. With only three guest features included on The Last Slimeto album—Kehlani, Quavo, and Rod Wave—youngboy should receive the majority of the credit for the album’s success.

The Last Slimeto is a tremendously captivating listen. The album’s highlights, from “Lost Soul Survivor” and “Digital” to “” and “Home Ain’t Home,” are made unforgettable by YB’s songwriting and emotional performance even though the beats are varied and impressive throughout.

One of The Last Slimeto’s most remarkable and compelling moments is the technicality of his bars on the moody and poetic mid-album gem “Proof,” and his brutally honest lyrics about being unable to overcome his “drink” addiction on “7 Days” add some colorful characterization to an already insane banger.

Listeners aren’t unaffected by his experiments with lighter production and more radio-friendly songs either, as “Wagwan” and the Kehlani-assisted “My Go To” represent yet another significant advancement in YoungBoy’s aural development. The Last Slimeto is essentially NBA YoungBoy’s caution to people trying to put him in a box, regardless of whether you already have a very strong opinion about the divisive young rap sensation – whether positive or negative.

YoungBoy expressly echoes that sentiment in his varied Quavo collaboration “Don’t Rate Me,” rapping, “Don’t rate me, it ain’t no limit to the things that I do/Now let me talk the blues.” It’s also important to note that NBA intensifies his unyielding bile by including the previously published song “I Hate YoungBoy” as the album’s last track.

YoungBoy’s willingness to directly address his rap rival and accept a stance that pits him and his Never Broke Again labelmates against the entire music industry is spine-tingling — and somewhat reminiscent of a legendary rapper who once pitted himself against the world at the height of his career as well. Although violent rap beefs are the last thing that anyone within the culture should be championing.

Real Hip-Hop students are aware of the serious consequences of included a diss track on an album, and given the effort NBA put into The Last Slimeto, it’s probably safe to assume that they are aware of those consequences as well. “I Hate YoungBoy” is the wonderfully ominous coda to an amazing tour de force as well as a declaration from Hip-Hop’s favorite outcast.

The Last Slimeto by YoungBoy Never Broke Again shouldn’t function logically. This album seemed almost destined to be a streaming-friendly record and consequently a low-effort commercial juggernaut that fans could pick apart easily without the pressure of listening to its 80-minute runtime due to its bloated tracklist, lack of features, and the return of many of his worst musical tendencies.

However, it was obvious that NBA YoungBoy had another idea. The shamelessly wordy fourth studio album from the Baton Rouge native is a compelling work that deserves to be listened to from beginning to end.