Curren$y - The Stoned Immaculate | Album Review | By Volume

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Curren$y

The Stoned Immaculate

High as a kite Curren$y still finds time to rap circles around most of his peers.

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Author: on June 13, 2012
7.5
Jet Life Recordings / Def Jam
June 5, 2012

I think Curren$y knows. “My reputation precedes me” he explains while assuring us: “I do it like I’m doing it for TV,” on his new record and aptly titled The Stoned Immaculate. Lawsuits with old record labels aside Curren$sy seems to occupy that excellent position in the underground where you are making money, you have earned your fans and peers respect and yet are skilled enough to rest on your laurels for a bit. As Spitta likes to constantly remind his competition: he is usually a few steps ahead waiting for folks to catch up. Since releasing his first real LP proper in This Ain’t No Mixtape (2009) the man has for the most part been on an absurd tear. From dropping multiple excellent full lengths in a single year (most songs helmed by a single producer at that) then following that up run with an arguably stronger string of LPs, extended EPs and mixtapes—the New Orleans native really has little left to prove. Could be why it is so very easy to leave The Stone Immaculate feeling somewhat shortchanged in that for about three years now we have heard this hazy, soul soaked, jazzy Southern Rap without fail. Thing is by all accounts the Jet is still on course.

What can be difficult about The Stoned Immaculate initially is how fractured it comes off as. Whereas his last few records since Pilot Talk (2010)—save the cringe-inducing Muscle Car Chronicles (2012)—have all for the most part been under the control of a single producer Immaculate truly feels like his first major label record. Even as the excellent Weekend At Burnies (2011) was released through Warner Bros. like Immaculate, that record was almost completely constructed by MonstaBeats. Fittingly so as Curren$y has proven his talent at molding with producers for the long haul. His albums all have this distinct veil encapsulating them. Slight veers in style projected as aesthetics yet each time it gave his records freshness as he continued to rap more and more fiercely. The Stone Immaculate featuring contributions from a variety of exceptional guests (2Chainz, Daz Dillinger, Wale) and a grab-bag of well-known to in-house production (Pharell, K.R.I.T, J.U.S.T.I.C.E. League) is at times overstuffed.

For the most part though Spitta functions as a bit of a grounding presence for the skyward bound beats on The Stoned Immaculate; the albums weirdly saccharine production actually creates a wonderful dichotomy with Curren$y’s inherent chill. Even as songs such as the Estelle assisted “That’s The Thing” or “Take You There” featuring  Marsha Ambrosius (formerly of FLOetry) reek a little too much of Top 40 it is Curren$y who keeps them tightly knit. “And I hear what you be sayin’/And I feel your point of view/But somewhere I forget that shit/get caught up in the loot/Late night speedin’ them coupes/I respect it if you left me/but I’m glad you never do,” he expresses on the former. Portraying himself once more as constantly the vivid wordsmith even has he may have turned on the autopilot to get back to that party bumping in the cabin.

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