Sometimes features beautiful sampling that is used to create an aesthetic instrumental with a deep, string-laden mood. Additionally, it doubles as a great foundation for Black Thought to open up with the first verse of the record: a heartfelt detailing of diverse groups overcoming the prison that is systemic racism with art and other “master plan[s]”, as well as touching on the difficulty implicit in this endeavour.

Mid-High 8.

Cheat Codes immediately switches up the mood into a powerful, lively and deeply evocative beat that boasts a euphoric rhythmic section and a simple albeit perfectly fitting piano accompaniment. Lyrically, it tackles issues related to the black community; from the danger associated with being black in a racist nation, to the unrecognized influence black culture has had on society. Black Thought touches on how despite this cultural importance, its ties to the black community are erased. Moreover, he critiques other topics like the homogenisation of black people in a “monolith”. All in all, this leaves the listener with the bleak message that *Cheat Codes* are necessary to get out of this racially motivated oppression.

Low-Mid 9.

The Darkest Part features a pleasant Lo-Fi piano tone with occasional moments where it detunes in order to cleverly fit the mood and add sonic nuance to the track. This interesting and enjoyable approach to instrumentation is quite a nice fit for Black Thought’s flow and the Raekwon feature. However, although Raekwon’s verse is an audibly pleasant inclusion to the cut, it’s slightly less so when speaking lyrically. Speaking of the lyrics, this track is a stand-out moment in which systemic racism is linked to and criticised along with the rich. It powerfully condemns topics like the hushed approach to history in lines like: “and if I wake up alive, I bet they won’t come clean”; while simultaneously acknowledging that this past, and the slave trade, are a rather large reason for accumulated wealth today.

High 8.

No Gold Teeth features a pretty enticing, evocative, and groove-bearing beat. From the rich low end to the plucky guitar detailing, it’s really quite a treat. On the other side, the lyricism is —at times— overly boastful and it distracts from the more noteworthy aspects of the songwriting. With this, I am referring to the compellingly delivered lines exploring Black Thought’s experience with having to work harder than his peers due to a biased system.

Mid-High 8.

Because has absolutely fantastic lyricism depicting the generational burden caused by the slave trade, as well as the nuances behind a criminal lifestyle — often induced by a system that keeps people “below the poverty line” and thus “under the gun”. The lines here are filled with passion and are as bleak as they are emotive. Instrumentally, this track features some of the most noteworthy sampling on the record, as well as a beautifully delivered and catchy hook. All in all, it’s a tight package containing everything this record does well and continues it with the slightly Lo-Fi aesthetic that’s so enjoyable. Additionally, everyone is a great feature here, perfectly matching the energy level and flow of the track; except for Russ who speeds it up a bit. Although the cut is by no means weak, it does ever-so-slightly pale in comparison to other moments that manage to be more moving — but this is just a testament to the consistency of the record.

Mid 8.

Belize: right off the bat, the listener is submerged and transported, courtesy of what is arguably one of the best transitions in the record (which is high praise when talking of this album). The rest of the song doesn’t do a disservice to this beginning either, as it continues to be quite a grand and enveloping experience throughout. Lyrically, this track is also an absolute gem. Black Thought continues with a braggadocious albeit excellently charismatic attitude, while MF DOOM’s verse greatly introduces themes of growth and maturity. It’s also worth mentioning that the main topical focus of the record is somehow simultaneously maintained; for example, through the double meaning embedded in the line “with bars as hard as Angola’s”.

Mid 9.

Aquamarine sees Black Thought narrating about his undeniable skill while simultaneously pondering about his origins and place in the world. He parallels all of this with his experience against racism and concludes with a powerful message of adaptation; doing so in a fantastically delivered line-after-line, showcasing an ever-growing state of mind. Instrumentally, this track is absolutely grandiose! The main melody, the synth work, and the mellotron-like chord progressions add a commendable layer of profound-sounding sonics which accentuate the already exceptionally moving beat.

High 9.

Identical Deaths is another short, single-verse track with some nice tuned percussion and more of a laid-back instrumental. Moreover, the breakdown at the midway point is a greatly placed and executed moment with highly applaudable production and mixing to go along with it. Lyrically, using the idea of *identical deaths* to describe a recurring, self-inflicted, and vicious cycle is certainly genius. This self-aware moment of introspection is especially evocative coming after a song that spoke so heartfeltly about the ability to adapt, learn from adversity, and move onwards.

Mid 8.

Strangers is a powerful combination of many featured artists that come together to deliver verse after verse of high-energy self-praise and/or social commentary. This is done so on top of an up-tempo beat that picks up the pace from the last, more introspective track. Overall, it’s an exciting, bombastic, and perfectly produced cut with smartly implemented TV show samples — although it’s still a somewhat disappointing detour from the (personally) more interesting, thoughtful dispositions within the album; while this song remains a tad superficial. Moreover, the lyrics are not always at their best; case in point: the “barely a fart, fella” line by Killer Mike.

Low-Mid 8.

Close to Famous is a heartfelt showcase of anger against fame-chasing artists who lack the merit and insight that Black Thought does. Instrumentally, this track is another absolute beast. From the powerful, perfectly mixed bass; to the attractively shrill synth leads, this song is one of the tightest and most energetic in the tracklist.

Low 9.

Saltwater expands on ideas presented earlier regarding the danger of living in areas with a high crime rate. Previously, there was a critique directed towards the racist system that creates and maintains these areas in poverty — although this time around, Black Thought and Conway the Machine take turns to detail their experience and to admonish the states these areas are held in through highly gritty and strong-hitting lines. The instrumental is an admirable production feat as well — with an absolutely delightful and stark contrast between the large, inspiring, and even orchestral transitory sections; and the minimalist, almost trip-hop set of verses… which also happen to boast an absolutely immaculate snare tone.

Low 9.

Violas and Lupitas closes the album up with one final rapid fire of charismatically boastful lines. They all allude to skill and power, with emphasis on Black Thought’s rapping ability and general persona. Instrumentally, this track ends the record in a bit of a lull, in my opinion — not due to its more laid-back approach though; as a matter of fact, those were admittedly some of my favourite elements of the album. However, this cut is ever-so-slightly forgettable and lacking in inspiration. That being said, even if it’s a weaker point within the tracklist, it’s still a strong track in a vacuum; with quite an emotive inclusion of mellow guitar licks and a vibrato-heavy organ.

Low-Mid 8.