On his new album, the 27-year-old Harlem native A$AP Ferg still features hard hitting songs, but it’s no longer the norm.
The seemingly less creative member of the A$AP Mob has stepped out of Rocky’s shadow on Always Strive and Prosper. This shows he’s capable of making songs that aren’t bangers.
The rapper released his first album Trap Lord in 2013, followed by the mixtape Ferg Forever. Both consisted mainly of loud party tracks with mostly meaningless lyrics. Listeners began to think these are the only songs the Harlem artist is capable of.
His sophomore album, Always Strive and Prosper, has thrown aside these perceptions. The opening track, “Rebirth,” begins sounding like a medieval wedding soundtrack. The instrumental quickly transitions to give off what can only be described as an electronic dungeon vibe. The track then settles in with some odd mix of the two.
Ferg describes “Strive” as house music, while “Psycho” is reminiscent of ScHoolboy Q’s album Oxymoron. “Beautiful People” doesn’t even sound like it belongs on a rap album — it gives off a more inspirational spoken word vibe than anything else.
The themes on the album are just as varied.
Ferg transitions from rapping about his upbringing in Harlem to the potential his listeners have in life, to rapping about his psycho uncle. He also flaunts his newfound wealth, promises he only wants to be with his girlfriend and vents about his desire to talk with his grandmother.
One interesting moment on the album can be found on “Yammy Gang.” The non-traditional opening instrumental leaves listeners wondering whether the next voice they hear will belong to A$AP Ferg or Patrick Stump. When the A$AP Mob begins to rap, a clap is added to the beat along with a bass. This gives the originally confusing instrumental more clarity.
Ferg’s producers have done a great job for him on this record, but at times his own inexperience disrupts otherwise solid beats.
“Uzi Gang” features a grimy instrumental, and when Marty Baller delivers his boastful verse one expects Ferg to follow suit. Instead, Ferg sings for a short duration about a sexual encounter he had. The beat changes with his entrance so it doesn’t exactly sound of out place.
Immediately after he finishes, the beat gets grimy again and Lil Uzi Vert gives an equally grimy verse. Mid-song transitions like these are occasionally successful, but here it sounds out of place.
The album then concludes with “Grandma,” an ode to his grandmother. Ferg tells listeners about his rise to fame and how he wishes his grandmother could have been there to see it all. While the lyrics are full of emotion, most of the intimacy gained during the first verse is lost when the rapper attempts to sing during the hook. The song is still enjoyable and can certainly draw emotions from listeners, but Ferg’s singing voice is probably better suited elsewhere.
While Ferg has made solid steps to remove himself from the box many put him in, there’s clearly more work to be done for him to reach his potential.
His talent and energy are enough to ensure his continuing success, but if he ever wants to blow up he’ll need to make some more changes.
