The Weekly Coos

As Ab-Soul would spout in the bridge for “Gotta Rap,” off his last album Herbert, “I like to call myself the God of rap/But really I just gotta rap (Gotta rap),” showcasing the ego within his earlier drug and social raps that were too hazy and atmospheric, instead of flexing what he does best. Within the core of who Ab-Soul is, is this rapper who’s on a monstrous high, and before Herbert, the last time he felt that was arguably Control System. But since re-finding himself after the tepid Do What Thou Wilt, that notion of “I just gotta rap” remains true through his latest album, Soul Burger, especially as the opening track calls back to it. It continues to balance the intimacies of who, and what Ab-Soul is and believes in while expressing this outward worldview that allows him to flex with bravado occasionally. In a sense, he delivers his earned factor, where elements of his roots remain a focused topic as he constructs something larger that develops meaning beyond what’s on the surface. Despite feeling mildly uneven, it has quality beats and some memorably great verses that will replenish you since it’s new Ab-Soul.

Soul Burger is dedicated to his friend Doeburger, who passed away in 2021, and who we’ve heard on his album, These Days, and in the album trailer. In the trailer, he delivers this beautifully illustrative verse expressing an understanding of death, giving Ab-Soul a moment for clarity to persevere and continue doing what he does. It may be why Soul has sounded so invigorated. It’s as if Doeburger is constantly by his side, and we get evidence of that with the track “Squeeze 1st 2” as they use previously recorded background voices as his hype man, and it becomes more pronounced knowing it’s the lead single. It brings dynamism to their connection, specifically in Hip-Hop, as they express themselves in more than just reflective bars. Once that becomes evident, and you keep listening to the album, you’ll notice that Soul is more creative with construction and sampling, showing confidence in the different, like how  “Squeeze 1st 2” interlopes the hook of Jay-Z’s original diss track, “Squeeze First.” It isn’t the only time you’ll hear him bring more out of what influenced him or more historical, like how he interlopes “Hunnid Stax” and “Unnecessary” (the latter of which was my introduction to Soul) on “Paiday.”

There is something to be said about Ab-Soul’s lyrical consistency throughout Soul Burger, but also choosing beats suiting his strengths while adding some experimental tinge, like the 8 Mile homage on “9 Mile,” from the “Shook Ones Pt. II” sample to incorporating Eminem’s flow in his final verse against Papa Doc in the film. It was a dope surprise that continued to heighten expectations, especially with the construction of the track; opening with Joey Bada$$ introducing a rapper as if they were on the come-up, and delivering an acappella before the beat dropped and Soul gets the locomotive moving quickly with “9 Mile.” We’re hearing him at his peak, and with the subsequent tracks, it’s a fantastic vibe filled with differentiating styles for the beats. We get some West Coast funk-flare, jazzy bap, percussion-heavy beats like “Dnd,” and more—some highlights include, “Crazier” with JID, which finds Soul rapping over a JID-Type beat, and “B.U.C.K.O. Jr” and its mildly nostalgic rap beat from the mid-2000s and Soul raps so, feeling the influence from “BM Jr” by Lil Wayne, though there’s more. It’s a macrocosm of Ab-Soul, and his elevated pen game, whether introspective or brash. 

Unfortunately, the highs have their lows, like two of the last three tracks, where like “Saudi Sweats,” don’t fit the ethos of elevating confidence and just rapping, like how “Gotta Rap” from Herbert and that re-establishment on “9 Mile.” “Peace” and “The Sky Is Limitless” are two of the last three and they don’t stand out as they feel mildly preachy, and the latter doesn’t do anything creative with its sampling of “Sky Is the Limit” by the Notorious B.I.G.. The former doesn’t mesh with the album’s flow, and as we hear Ab-Soul express his demons and his growth/life through many tracks before, it doesn’t have that same introspective reel as the final track. Lupe Fiasco and Punch don’t bring much to the table there, like Blxts and his only melody on the former. That isn’t to single them out, as Notorious N.I.Q. doesn’t make an impact with her verse on “Dnd,” wasting her moment, despite keeping the track mostly glued together alongside Soul, or the oblique flute music of “Saudi Sweats.” There is a grit to Soul Burger that is emanating from the jump, but it isn’t taking full advantage with these pivots, making it a disappointment.

I am a fan of Soul Burger, despite the missteps. It has some significant highs and dwindling lows, but Ab-Soul remains himself through it all. It’s a solid album carrying the depth and bravado we heard from Herbert, except localized and focused on different ideas. I love how the production elevates his craft as Ab-Soul still delivers whimsically constructed metaphors and overall rap bars. He’s one of, if not my favorite member of TDE for that reason alone. He cares more about the craft, without circumventing space to have a hitter that can amass traction through its catchiness, but actually, the catchiness is in his hazy, hard-strung voice delivering the juice. It’s an album I recommend, especially as a significant follow-up to Herbert.