Reviews

Album Review: G-Eazy – When It’s Dark Out

G-Eazy released his sophomore studio album When It’s Dark Out on December 4, 2015, following up his commercially-successful major label debut album These Things Happen.

G-Eazy himself is not a particularly stunning rapper at all, and we were less than impressed with his  debut These Things Happen. He has found a lot of success and has launched himself into mainstream popularity due to the pop-appeal of his music, but his music has also raised questions about his legitimacy and relevancy to the hip-hop culture.

G-Eazy travels pretty much the same route on his sophomore album as he did on his debut. Other than some relatively decent, high-budget production on this album, When It’s Dark Out is average at best. G-Eazy once again fails to deliver lyrically, spitting simple, corny, sometimes cringe-worthy, and very forgettable bars with little to no charisma and with very little conviction. For an artist that makes lofty claims like “I’m the coldest white rapper in the game since the one with the bleached hair” (“the one with the bleached hair” is a reference to Eminem), he does an incredibly poor job of proving it with witty lyrics, unique techinical abilities, personality, or really anything to back up such a claim.

A few more of the album’s faults: “You Got Me,” one of the album’s singles, reeks of “Worst Behavior” vibes, and is seemingly more obnoxious; “Order More” is an unsuccessful attempt at autotuned sing-rap; and “What If,” which is supposed to be one of the more serious songs on the album, is G-Eazy attempting to ask a series of earnest, thought-provoking questions for the listener to ponder, but corny, irrelevant, meaningless questions like “What if I did f*ck Madonna?” or “What if I had two bitches at once with no drama?” contradict the song’s serious intentions, and the hook by Gizzle might easily be one of the weakest, most cacophonous autotuned hooks I’ve heard.

For all it’s faults, though, this album does have a few positive moments; as I mentioned before, the production is fairly solid pretty much throughout the album, minus a few tracks. The song “Sad Boy” specifically, which is one of the best songs on When It’s Dark Out, features a simple yet beautiful beat featuring a delicate piano loop that superbly complements the introspective nature of the song. “Everything Will Be OK,” another one of the album’s few standout tracks, is G-Eazy at his most vulnerable, featuring very personal and very chilling tales of love, family, and acceptance, and complemented by a beautiful, atmospheric hook by Kehlani.

Still, the positives are few and far between, and often have nothing to do with G-Eazy himself. Aside from the previously mentioned songs and a few guest features, this project is mostly unremarkable and unmemorable.

Still, if you like the album, you can support G-Eazy by copping the album here.

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