We’re about four years removed from Ye’s infamous Wyoming series, which saw Pusha T deliver Daytona, his best work to date. It showed that we could have more with less, as it weaved a more concrete and tightly structured album–one with a definitive start-to-end without leaving much to ride the coattails of great production and rapping from Pusha. Being four years removed from his last joint, Pusha T is hungry–can you blame him? It’s a contingency for him to constantly deliver top-notch verses, but it doesn’t reflect the final creation. We’ve become accustomed to his coke raps, his intricate rhyme schemes, and (of course) his infectious, maniacal laugh. That stays constant on It’s Almost Dry, despite a heel turn after “Diet Coke,” where most tracks fail to hit the mark from external forces.
From the beginning, it starts coming at you, track by track, a plethora of energy jabbing you with these hard-hitting bars that make you want to rewind it back. Pusha T can deliver a plethora of coke and money raps, but he knows how to keep it consistently intriguing lyrically. He takes different avenues to re-enforce certain connotations of his status and wealth, using his dark drug-dealing past to relay levels on the don’t fuck with meter. It’s a cycle that has been formulaic while staying interesting. Pusha T’s control and command of his craft keep him driving with a mostly clean license, like someone with only a few parking infractions. Blemishes here and there, lyrically, but for the most part, it’s a driving constant that acquiesces with the bleak and murky production. However, Pusha takes a heel turn after “Diet Coke,” where most tracks awkwardly fade into obscurity.
Though playable, some of the tracks have individualized issues, some of which don’t come from Pusha T directly. From underwhelming features on “Rock N Roll” and “Scrape It Off” to the mundane delivery and production of “Open Air” and “Call My Bluff,” these issues create distractions, at times, making you wish he took more of a solo route. It doesn’t operate with the same consistency as the first six tracks, which come at you with Pusha exceeding past his peak. Two things are evident: the Kanye West features are underwhelming, and Pusha T shouldn’t have tried to push cross-appeal over his sonic style. Don Tolliver and Lil Uzi Vert add little to the track, except for basic melodies on the chorus from the former and a forgettably bland verse from the latter. They aren’t like Jay-Z on “Neck & Wrist,” which reminds us why they are in a tier all their own. They deliver verses that create goosebumps over eerie synth and high-pitched, slightly distorted percussion.
Production is key on It’s Almost Dry. It usually incorporates these varying subtexts in its stylistic approach, rounding out Push with an array of vinyl scratches, drum patterns, and dark synths. It keeps the bleak, grimy, and murky atmosphere while taking consistent, organic twists with their added building blocks. It’s a testament to the synergy between producers like Pharrell, Kanye West, BoogzDaBeast, and 88-Keys, to name a few. They keep us on a linear path without taking a sudden nosedive. “Rock N Roll,” for its faults, naturally emboldens a rock mentality over an electro-hop core that gets reinforced by Kid Cudi’s modulations. “Dreamin Of The Past” gives us a boom-bap core with nuances to soul music; “Let The Smokers Shine The Coupe” is a bombastic anthem that consistently plays with percussion. Sans “Call My Bluff,” each production, whether subtle or not, gives us something different than the past, adding to Pusha T’s limitless range.
Pusha T’s first three singles built up hype; they have different production styles, and Pusha T never derails, constantly hitting from all avenues that they hit exponentially; these tracks: “Diet Coke,” “Neck & Wrist,” and “Hear Me Clearly.” Even though It’s Almost Dry isn’t twelve tracks of this quality, he makes sure to close the album on a high note. “I Pray For You” continues 2022’s return of Clipse in rare form as we hear Pusha T shifting toward a more spiritually driven production that isn’t experimental like his feature on Donda. The way an organ gets incorporated boosts the depth in No Malice and Pusha T’s verses. It’s a memorable high note that makes It’s Almost Dry an interesting run-through, especially as you go through it multiple times.