“Patience is bitter, but the fruit is sweet,” Jean-Jacques Rousseau once remarked, but often, the final reward isn’t quite as sweet as hoped. Four years of delays, rumors and a variety of obscure hints on his social media, at last came to fruition on March 14, 2025, when Playboi Carti finally dropped “I Am Music” a few hours after the advertised midnight drop. With so much hype generated, many listeners were searching for something groundbreaking, but the album sounds patchy and uneven, unable to generate the energy and creativity that had made his earlier work so thrilling. While there are moments of brilliance, the 30 tracks of “I Am Music” fail to meet the sky-high expectations Carti had set for himself.
The opening track, “Pop Out,” started the album on a positive note with creativity jam-packed into the song. Living up to Carti’s signature style of experimentation with a variety of sounds, “Pop Out” definitely does provide that “pop” any starting song of an album needs to entrance the listener. The coarse sound effects and distinct yelling in the background add to a very punk-like style that Carti is known for. However, at times, the sound production fell flat. The sound mixing didn’t fit the themes of the songs, and the use of unique sounds like gunshots felt out of place.
Despite Travis Scott’s involvement in “Crush,” the song feels choppy as if both artists were operating on completely different wavelengths. The beat is atmospheric but lacks any real punch, and Carti’s flow doesn’t match up with the instrumental. Meanwhile, the lyrics feel out of place, lacking the usual energy or memorable moments that make his music stand out. Instead of a high-powered collaboration, the track ends up feeling like a missed opportunity with no real direction. Moving on to the next song, “K POP” falls completely flat. Carti’s delivery feels uninspired, and the lyrics seem oddly placed against the dreamy, spacey production. The lyrics “Ice on my body, I’m the coolest/Trampoline jump for a cougar/Jump out the jungle, go hectic” felt incredibly misplaced amongst the mumble-rap technique he usually goes for. Despite the attempt to blend styles, the song never fully commits to any sound, leaving it feeling like a half-finished idea rather than a fully realized track.
“Evil J0rdan” was one of my absolute favorites in this entire album due to the success of Carti’s experimentation with the soundscape. The intro was outstanding; layered, chaotic, and thrilling in a way that encapsulates the very essence of his best work. The beat hits hard, blending Carti’s signature baby voice with eerie, almost menacing production. Unlike most of the other songs on the album, this one was fully formed, pushing the boundaries and succeeding. Carti floats on top of the beat with confidence, providing one of the most compelling listens on the album.
Another standout track was “Rather Lie.” The production here is moody and atmospheric, a perfect fit for Carti’s hazy delivery. The melodic approach worked well, bringing a hypnotic quality to the track that made it one of the few genuinely captivating moments on the album. The Weeknd’s voice stood out, and provided a contrast to the rest of the production in the album. The vocal layering made it feel heavenly, and while the lyrics were not new, the performance made the song much better
Other than these two songs, “I Am Music” feels all over the place. Too many of the tracks sound like half-baked ideas that were never fleshed out. The album does miss the cohesion of “Whole Lotta Red” or the catchiness of “Die Lit,” so it is difficult to sit through all of the 30 songs. While Carti’s experimentation is welcome, much of this album sounds like a batch of rough drafts rather than a polished masterpiece.
Tracks like “Mojo Jojo” featuring Kendrick Lamar attempt to bring a dynamic contrast between Carti’s iconic, rushed delivery and Lamar’s refined lyricism, but the result is an unbalanced track that desperately needs direction. “Philly” and “Wake Up F1lthy,” both featuring Travis Scott, are plagued by re-used beats and mediocre flows that make them fail to stand out.
Playboi Carti’s new record sounds uninspired, with repetitive tracks like “Radar” and “Fine Sh*t.” “Backdoor” (feat. Jhene Aiko & Kendrick Lamar) is beset by ill-suited vocals, and Lamar’s verse on “Good Credit” is squandered on subpar production. The UK Drill-flavored “Toxic” (feat. Skepta) is a letdown, while “I Seeeeee You Baby Boi” could have been an interlude. “Jumpin” (feat. Lil Uzi Vert) wears off, “Trim” (feat. Future) does not have any unique aspects, and “Cocaine Nose” and “We Need All Da Vibes” (feat. Ty Dolla $ign & Young Thug) are monotonous. “Olympian” and “Opm Babi” attempt to create atmosphere but does not succeed. “Twin Trim” (feat. Lil Uzi Vert) is decent but unexciting, and “Like Weezy” is lacking as a tribute. “Dis 1 Got It” and “Walk” are skips, and “HBA,” “Overly,” and “South Atlanta Baby” finish the album out on a weak, cheesy note.
Overall, “I Am Music” is an album held back by its own buzz. There are diamonds in the rough like “Evil J0rdan” and “Rather Lie,” but the rest of the songs don’t quite leave any lasting impression. It’s clear that Carti’s work over the last couple of years has been focused more on quantity rather than quality. To those who want to explore more unique types of music, I would not recommend “I Am Music.”
