Lil Wayne | Funeral | Album Review
Young Money Records
Rating: 4 out of 5 stars
Two years after the release of his long-awaited studio album Tha Carter V, prolific rapper Lil Wayne released his thirteenth studio album Funeral in late January. Compiled with a plethora of style, wordplay, and instrumentals, many may speculate that his career may be coming to an end, hence the title Funeral. However, that’s not the case; the album feels like the beginning of a new path in his career as an artist and has no intention of stopping anytime soon.
After Tha Carter V reached the top of the charts, it was going to be hard, as with any artist, for Wayne to withhold the hype he created. However, the opening title track, “Funeral,” debuts with a euphonic orchestral symphony and melodious piano keys that create an afterlife presence combined with Wayne’s echoing lyrics. Then it transitions into a fast-paced rap session with the subtle changing in rhythm from symphony to mellow bass and synth.
The upbeat rhythm continues in “Mama Mia,” where Wayne raps over a hard-hitting, icy trap instrumental about drugs and women. In “Dreams,” Weezy comes out as his crying voice reaches high pitch to an atmospheric melody that consists of steady percussion and trap beats, shouting “Thank God it was just a dream!”
The best tracks on Funeral are the ones in which he goes solo, hence the tracks mentioned above. However, his collaborations carry some of the strength of the album as well. “Sights And Silencers” ft. The Dream opens with subtle maraca and drum that transitions into a tranquil, dream-like sensation about love. For a second time, Wayne teams up with the late XXXTentacion in “Get Outta My Head” to a rusty, horror-like score of heavy pitch and bass about mental illness.
Funeral is overly lengthy, consisting of a long 24 tracks that run for more than an hour. However, it doesn’t feel that way; Wayne creates surreal and diverse beats that keep listener’s attention all the way to the end.
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