Stepping out of the shadows of Pop Smoke, Fivio Foreign has grown into his own, continuing to establish drill as a dominant genre/cultural movement in Hip-Hop. These artists have a limited range as a lyricist as the style emboldens different technical feats that an artist masters behind the microphone, like emotional focus and proper diction. Unfortunately, coded within some drill music is hate and anger, with Hot97 DJ, DJ Drewski banning the genre during his show because of the violent-gang-related content that engulfs these songs, and it’s understandable as drill has a lot to offer. Others would follow suit, but like any genre, you can subvert it the known lyrically or musically, and artists like Pop Smoke and Lil Durk did so. Fivio is another one to add to the list, especially after his debut album, B.I.B.L.E, which shows off Fivio at peak strength as a rapper while still progressing with his musical range.
We hear B.I.B.L.E stumbling at times, but Fivio’s musical ambition runs high, and working with Ye boosts the production value made by all producers involved. It tries to do something different with each track, whether it works or not, but there is an intrigue that amasses from it due to the lengths Fivio Foreign can go. He brings emotional depth and the element of surprise, especially with his approach to the themes lyrically. There is nuance in the way he approaches this, reflecting with confidence like on “Slime Them”–featuring a great verse by Lil Yachty–or reflexive like on “Feel My Struggle.” On a lyrical level, Fivio is twiddling his thumbs and delivering half-assery but his rap bars that never feel antiquated. B.I.B.L.E shows us Fivio’s growth as a lyricist and technical rapper. We hear him trying to push different flows and different sonic complexions, which sometimes work, and other times, leaves me feeling underwhelmed due to a lack of synergy.
That synergy is sometimes lost with the features as they become forgettable quickly, like Coi Leray on “What’s My Name” and Chlöe’s verse on “Hello.” It continues with Blueface on “Left Side,” who brings the energy down, and “Love Songs,” where the only ear-popping moment is Ne-Yo singing his line from “So Sick” at the end of a luscious chorus. On the other hand, “Confidence” is the opposite; A$AP Rocky comes and shines, but Fivio is almost non-existent, and the track left me wishing it was longer. However, beneath the fumbles, Fivio doesn’t back down; his flows and verses are better, and it shows, while others falter. But Fivio is there to still catch you in a web of music, specifically from the solo tracks, as he refines and reminds us of his technical talent. I can’t doubt his lyrical prowess under the guise of drill music conventions anymore. His ambition is high, and we hear it as he still tries to rap over uniquely odd samples.
“World Watching” is the most ambitious, of the bunch; it is a hybrid of two variations of “Lights” by Ellie Goulding–the original and the Bassnectar remix. When Fivio Foreign, Lil TJay, and Yung Blue start to sing or rap, the production’s proximity to that of “Lights” overwhelms them, and it leaves me scratching my head. Similarly, “B.I.B.L.E. Talk” feels forced and unnecessary. It’s here to repurpose the meaning of the album, but it gets lost with no fault from DJ Khaled’s delivery. The only interlude, there is little to it that elevates the album anymore. You remove that, along with “World Watching,” there is more cohesion amongst the tracklists.
Without that cohesion, we get a slight imbalance. Fivio Foreign wants radio-friendly tracks and songs for the ladies, like “Love Songs,” but they mostly miss. “Left Side” seems destined to make a splash on both sides because of the chorus, but Blueface doesn’t add anything to it, and others are mundane in comparison. Other times, the production comes across as overly ambitious, like “World Watching.” However, he has one that works, “Magic City” with Quavo, which perfectly mixes what we should expect from a rap single on the radio. We want to hear them flex, and it does so effortlessly. It doesn’t need the captivating chorus melodies from “Left Side” or “Love Songs” to keep going through some mediocre moments.
Ultimately, there is a lot to like about Fivio’s debut, and I’ll be spinning for years to come. But like any debut, you will have growing pains, and for Fivio, it’s song construction. A few times, there were moments where I felt songs could have been longer, taken off, or reworked for a better return. It could have elevated B.I.B.L.E to a higher plateau, but it stands firm strong as a solid debut that will leave fans hungry for an even better follow-up.