Still, despite being released exclusively on iTunes and Apple Music, Future’s EVOL manages to climb to the very top of the Billboard Top 200 chart in the week of its release, selling the equivalent of 134,000 copies. It is not until the last few songs that the mood changes slightly, becoming more intriguing to the listener.
EVOL comes with no announcement about a month after the surprise release of the mixtape Purple Reign, produced by DJ Esco and Metro Boomin.įor the most part, especially in the first half, the album is rather monotonous but still an easy-flowing record.
‘EVOL’ by Future Album Reviewįuture’s new album was one of the most anticipated releases of early 2016, but it is questionable whether it lives up to the expectations. Rather, he opts out for a familiar trap sound and raps about drugs, sex and a life of luxury. The prolific Atlanta rapper is still on the top of his game, yet he fails to bring his work to the next level. He sounds paranoid, protective, and manipulative, flatly admitting "I got way, way too many issues." As Future stretches this championship run as far as he can, we can wonder: How good can he get? How much longer can this last? When does this become numbing? The answers remain to be seen, but two months into 2016, two minor-yet-good releases don't show a sign of slowing down.Future’s fourth studio album EVOL surprises with a big debut on the top of the music charts. "Lie to Me," arguably the album's best song, scrapes the maximal, spacey landscape Future's so skillfully explored before, and it's the moment where Future communicates most clearly what's behind his tremendous output-it's not the breakup, it's not the decadence, it's not the success, it's the combination of all three. " Low Life" has the sultriness of House of Balloons/* Thursday-*era Weeknd, when Abel still seemed like a mysterious, hedonistic force, and Future's by-the-numbers bars reinforce the feeling that it is, in fact, a Weeknd track featuring Future.
The album boasts some of Future's more interesting beats since 56 Nights or " I Serve the Base," particularly "Photo Copied," which pops and boops like " Beez in the Trap"'s cousin, and the sing-song patter of "Xanny Family" which uses an ultra-repetitive hook to mesmerizing effect. Future stretches his voice to the breaking point, and while it's often been the thing carrying his pathos, here he's screaming "I just wanna go back to the Bentley store" like an addict who's totally fallen off the path. They feel more obligatory than outright bad: Of the big brash odes to decadence Future has been doing post- Honest, "Lil Haiti Baby" is the keeper, with a punishing low end recalling the extreme maximalism Lex Luger perfected in 2011. It's billed as something of a minor release (in the same way What a Time to Be Alive was minor but they still wanted your money for it), but it's still an "official" one, meaning Future swings for a few radio hits here. Future had seen the dark wood, and now he was sorting it out.
Purple Reign went to some dark places, but something about its brevity, and the finality of its closing duo of solemn tracks, felt like an attempt at turning the page, finding a new way forward.
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