Nasir

The two music minds came up with a project that wavers between brilliant synergy and occasionally uninspired filler.

There are some slight missteps, like West’s tedious hook on Everything, but Nasir proves Nas’ ongoing relevance as one of New York’s biggest living rappers, with the best overall production and best quality control since Illmatic: the curse may finally be lifting.

When you factor in all its dexterity, randomness and overall generality, it’s hard to truly believe NASIR was the album he had been cerebrally building these past six years. No, this isn’t “grown man Hip Hop” to bring balance back to whatever the younger generation of mainstream rappers are doing at the moment; nor will it ever reside in the upper echelon of the living legend’s catalog. It is, however, imperfect fine art.

The writing is so meandering and mechanical that little here feels intentional, even the gaps. And strangely, that’s the bittersweet takeaway: Nas the meticulous observer has been supplanted by Nas the nervous rambler. It doesn’t feel like an accident.

The real issue with Nasir is Nas, who seems to have taken it upon himself to become as mercurial as his producer, his rhymes shifting from acute, powerful indictments of racism to stuff that makes no sense, or seems to be there purely for the purposes of provocation.

Whilst stylistically Nasir may well have plenty of strong moments, its contradictions make it a difficult, problematic listen: it’s the silences on here which so often deafen.

Songs like this [“Adam and Eve”]--and “Stay” from Life is Good--suggest that Nas might’ve done better had he picked slower, more melancholic beats and rapped like the elder statesman he is, rather than whatever we actually got on the record.

A prevailing quantity of the tracks is either forgettable or regrettable. Nas often sounds unenthused.

The musical performances by West and his collaborators alone are able to save Nasir from total disaster and do warrant a listen. But as for Nas, he's left completely overshadowed.

Although its brighter moments ("Adam and Eve," "Cops Shot the Kid") save it from being a complete fall from grace, overall Nasir is disappointingly heedless. Hopefully his next effort is more honest.

NASIR is the weakest of the recent Kanye output, though perhaps more consistent than ye it fails to put a dent in the current hip hop conversation, feeling especially limp in comparison to the sudden arrival of a one-time nemesis and his wife.

Nasir is among the weakest Nas albums, but there’s nothing spectacular about its failure. It is, simply, the one thing Nas has avoided being all these years, through revolutionary highs and car-crash lows: dull.

His lyricism, though timely at points, is largely impersonal if not flat-out pedestrian and makes NASIR the first album in Nas’ catalog that Nas has failed to show up for.

A major step up, until Nas fluffs the rhyme ball spouting credulity-testing conspiracies. [Sep 2018, p.96]