On Friday, March 14, 2025, Atlanta rapper Playboi Carti dropped his highly anticipated 77-minute third studio album, MUSIC, featuring 30 tracks. Since he released his last album, Whole Lotta Red, Dec. 25, 2020, fans have eagerly awaited this new project. MUSIC continues in a similarly experimental vein to Carti’s previous albums, blending high-energy trap sounds with industrial and electronic influences, but subtle inconsistencies make this album feel less polished.

Rising to fame with his self-titled mixtape in 2017, Carti became a pioneer of the rage rap music scene. His 2020 album Whole Lotta Red cemented his status as a genre-bending artist, pushing the boundaries of trap music with aggressive vocals and abrasive production.

Carti opens with “POP OUT,” an underwhelming start to a long-awaited album. Carti embraces a deeper tone, contrary to his signature “baby voice,” an interesting but ultimately disappointing introduction to MUSIC. The aggressive delivery from Carti and the repetitive use of the phrase “pop out” made for a lackluster opening track. “Pop it, pop, pop, pop, Schyeah, pop out, pop, Schyeah,” Carti raps in the song’s second chorus, setting an equivocal precursor for the album. 

The following tracks, “CRUSH,” “KPOP,” “EVIL J0RDAN,” and “MOJO JOJO” showcase more refined production, entertaining beats, and improved lyrics. However, extensive snippets that leaked and circulated across social media months before MUSIC’s release diminished their impact.

Furthermore, excessive use of the adlib, “Swamp Izzo,” and feigned gunshot sound effects ruined “EVIL J0RDAN,” one of the most anticipated songs of the album. Even Kendrick Lamar, widely regarded as one of the greatest rappers of all time, struggled to make sense of “MOJO JOJO” with odd lyrics. “I need that beep, beep, beep, beep, extraterrestrial Carti, you know,” raps Lamar. 

“CRUSH” and “KPOP” didn’t disappoint quality-wise, but due to their leaks to social media in early 2024, both songs felt less exciting upon release. 

After tracks six and seven, “PHILLY,” featuring Travis Scott, and “RADAR,” the album shifts to a more romantic tone with “RATHER LIE,” “FINE SH*T,” and “BACKD00R.” In these tracks, Carti returns to his signature soft voice, characteristic of his previous albums Whole Lotta Red and Die Lit. However, he also exhibits his vocal versatility, alternating between his soft tone and the newfound aggressive tone used in the previous songs. 

These tracks offer a refreshing break from the relentless energy of the first third of the album, providing a more relaxed listening experience. “FINE SH*T” and “BACKD00R” didn’t stand out, but “RATHER LIE’s” soulful ambiance and euphonious feature from The Weeknd solidify it as one of the best songs of the album.  

Track 15, “GOOD CREDIT,” has a third feature from Kendrick Lamar. The track starts strong, as Carti raps swiftly and aggressively to glide over the beat. However, the second half takes an unexpected turn as Kendrick Lamar switches to a peculiar style that feels bizarre and difficult to follow. “Kids on my body and that’s on my kids, I kid with nobody, huh,” raps Lamar. Coming off of his Super Bowl halftime show performance, Kendrick Lamar is at the top of every rap list ranking right now, and while individually talented, it’s clear the two artists don’t collaborate well.

Carti’s 17th track on MUSIC, “I SEEEEEE YOU BABY BOI,” is easily one of the most engaging tracks of the album. Once again, Carti resurrects his signature “baby voice,” giving an almost nostalgic feel. The track couples a fast trap beat with distorted EDM elements, unconventional to Carti’s style, but giving it a dreamlike atmosphere. Lyrically, Carti explores themes of introspection and vulnerability, exemplified by verses like “Even though that you lied to me” and “Yeah, how do I know that you down for me?” This track successfully blends past influences with new experimental elements, making it one of the best of the album.

While Kendrick Lamar’s uncharacteristic and awkward features on earlier tracks may have had new fans doubtful of Carti’s ability to collaborate with other artists, track 21, “WE NEED ALL DA VIBES,” proves this notion wrong. Featuring rappers Young Thug and Ty Dolla $ign, the song is vibrant, dynamic, and boasts discernible lyrics, not typical of Carti’s catalog. 

Track 24, titled “TWIN TRIM,”  has a fun beat and energetic production, reminiscent of a Mario Kart soundtrack. After 40 seconds of a brimming instrumental, Lil Uzi Vert enters the track in total Uzi fashion. This track proves to be significant because surprisingly, it doesn’t include any vocals from Playboi Carti, and serves as the solo for Lil Uzi Vert that we didn’t know we needed.  

Despite Carti’s nearly four-year hiatus from the music scene, a period during which many fans believed he was meticulously working on this album, the remainder of the album feels unfinished -with the exception of track 28, “HBA.” While Carti uses intricate samples, as heard in “LIKE WEEZY,” many of the songs are about two minutes or less, making them feel incomplete. No songs stuck out as particularly bad, but due to their brevity and mediocrity, they were forgettable.

MUSIC is an ambitious but inconsistent project. While Carti attempts to innovate, the album’s repetitive elements, overuse of ad-libs, and the leaking of some of its strongest tracks hinder its quality. Nevertheless, songs like “RATHER LIE,” “I SEEEEEE YOU BABY BOI,” and “WE NEED ALL DA VIBES” prove that Carti still can entertain and captivate his audience. Ultimately, the album’s versatility earns it four out of five feathers.