Houston rapper Maxo Kream comes through with his third studio album, WEIGHT OF THE WORLD. Maxo is a predominantly trap artist although he has always shown bigger potential. His sophomore album Brandon Banks is an essential southern trap album in my opinion. He is easily distinguishable and has great presence on the track with his bold delivery. He is also above average lyrically as he can tell vivid stories in his tracks and has some great one liner's. After the singles LOCAL JOKER and BIG PERSONA with Tyler, the Creator I was more than excited for him to finally drop the album.
The intro track, CRIPSTIAN has a booming, luxurious instrumental that has a beautiful soulful sample woven into it, and as a whole this beat is very progressive. Maxo comes onto the track aggressively with a strong flow that you can't ignore. He drops bars dodging the law and some real life losses he's had to deal with growing up. The complex, experimental production and Maxo's signature angry delivery and clever bars here are just a prelude for what this record has to offer. 11:59's instrumental has loud, pulsing 808's that are contrasted by a lighthearted piano sample. Maxo is ruthless and flows rock solid telling of his rags to riches stories and the illegal activities he partakes in.
THEY SAY is one of Maxo's best lyrical tracks as on the first half he raps from his haters perspective, rapping insults and threats that people say to him while also flowing strongly and swiftly. His insults are funny, clever and even satirical as they work very well into the flow and don't sound cluttered at all. The beat then switches to a grim trap instrumental where Maxo gets disrespectful. Here he raps, combats the hates, calling them out and boastfully addresses everything he can. The following BIG PERSONA is an emphatically proud anthem that sounds like it could've been on Tyler's most recent album, Call Me If You Get Lost. His hooks is fun and catchy, while his verse is hungry. Maxo keeps up the energy when he raps the second verse, with similar braggadocious type bars.
The beat on CEE CEE is dynamic and fun with some demonic vocal samples looped into the background. Monaleo gives a high energy performance with a commanding flow and some funny and clever punchlines. Maxo's chorus is good and is dropping entertaining and culturally relevant bars throughout his verse. The instrumental on STREETS ALONE is haunting and sounds like it was heavily inspired by AT.LONG.LAST.A$AP, which is perfect for A$AP Rocky to give an incredible guest performance. His chorus is entrancing, hilarious and fun, not to mention his silky smooth verse where he is just as entertaining. Maxo keeps up his streak of great lyricism and brings some energy to this lowkey banger. DON'T PLAY WITH SHAWTY ASS is another banger with a spacey beat, great one liners from Maxo and his distinct hostile flow.
Maxo continues to level up his lyricism on the track LOCAL JOKER, where he tells a story about being pulled over and discussing some of the stuff he's done and seen. The bouncy, progressive beat is perfect for an introspective and deep song like this one. WHAT I LOOK LIKE has a vibrant, dynamic and soulful instrumental where Maxo delivers an absolutley amazing chorus. His verse is great as well but the chorus is just so enthralling that you can't help but overlook his verse a little bit. Freddie Gibbs's verse is amazing and is just typical Freddie. He brings the energy, the charisma, the impeccable flow and he fits so well over this instrumental. FRFR has a pretty standard trap beat where the guitar strings are the only thing really giving it life. Maxo is fine here although it's hard to ignore the fact that quality wise this track is a step down from the rest of the record.
WHOLE LOTTA has an intricate instrumental that is just projecting good vibes for Maxo to rap over. He is once again reflective and deep while he works some flashy bars and funny one liners into his verse. WORTHLESS is a grim track where Maxo reflects on his addictions, specifically his Adderall addiction. Some of his lyrics are chilling on this song and his truthful and vivid storytelling make this an excellent deep cut. A minimalist yet lively instrumental is used on GREENER KNOTS, which is home to one of Maxo's strongest flows. He is once again vividly painting pictures for us with his lyrics while subsequently delivering strong one liners. Whenever Maxo raps about his come up and his struggles his lyrical versatility is on display for everyone to see.
Once again Maxo is deep in his past telling personal stories on the track MAMA'S PURSE. The instrumental is depressing and atmospheric where Maxo recounts his relationship with his mother. Rapping about how when he was younger he'd steal money from her purse to buy Jordan's and how now he tries to give her as much as he can but none of it is enough to heal the pain she's suffered. Although I've been discussing Maxo's storytelling ability, TRIPS may be his best use of it, as he raps about the murder of his brother. He starts off recounting their relationship and growing up with him, but because of his vivid lyricism you could picture his brother's last moments alive to a tee. And despite its short run time this track manages to be one of the most powerful on the album. The outro track, BELIEVE has a progressive trap beat that creates a fun and dreamy atmosphere. Don Toliver is incredible on this song as he entirely steals the show with his beautiful chorus that brings a whole different energy to the track.
Overall this is the best Maxo Kream album I've heard on nearly every front. This is easily his best produced album with experimental, intricate and constantly evolving trap beats that he flows over very well. This is also his best lyrical effort with several vivid storytelling tracks as well as fun and flashy bars and complex rhyme schemes. Every feature on this album is incredible, Tyler, Rocky, Don Toliver, Freddie Gibbs and Monaleo all bought their A games. Maxo is able to carry himself over some of these obscure sounding beats with his bold charisma. There is some great depth in these tracks but the short run time of some of them make it hard for themes to be wholly fleshed out.