Welcome again to “Split Record Review,” where two writers each provide their take on the same album. This week, the often melodic and somber “TA13OO” by Denzel Curry is covered. Consisting of three acts, or discs, the landmark set of songs in Curry’s catalog was released in July 2018. Immediately, fans marveled over Curry’s introspection and ear for production, which has arguably grown better since. On his previous album, “Imperial,” Curry ensured his legacy wouldn’t be defined by fast raps, and “TA13OO” strengthened the argument that he was one of the best rappers to emerge from the 2010s. Let’s see what these writers have to say about the record, though.
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Henry’s Review
Now that we’re on the third edition of “Split Record Review,” a clear divide between me and James’ core taste in music is evident. Personally, I’m more excited about this review than last week with King Gizzard and the Lizard Wizard. Denzel Curry has long been lauded as one of the greats of trap and conscious hip hop. While I’ve heard his work before, this is the first time I’ve sat down and listened to one of his records cover-to-cover.
Something that immediately stands out is the album’s format, being split into three discs, acting as three distinct acts. It’s a little corny, as James mentions, but adds a flavor to the album that’s something to think about, despite how cheesy it may be.
The first disc is full of ear worms. The first three tracks are nonstop infectious hooks, ethereal synths with slick TR-808 beats underneath. “Black Balloons” is a personal favorite; however, I might just be a sucker for upbeat choruses and slap bass.
The last track, “Sumo,” takes a drastic turn to a darker sound, ushering the record into the realm of hardcore. Curry’s writing ability shines on this track, cramming countless double entendres and puns over an uneasy, siren-filled instrumental. As a counter to the slick, considered instrumentals of the former three songs, “Sumo” has a much more urgent sound, complete with the loud and crunchy bass sound that has become a hallmark in trap.
The second act continues the loud, hardcore sound with “Super Saiyan Superman.” At just over two minutes, it’s the shortest track on the record, however Curry’s lightning-fast bars still offer a lot to take in.
“Mad I Got It” is one of my favorites; blending an infectious hook with head bobbing bars on top of a dark, sparse beat. It’s very dreamlike, a feeling that can be found lingering throughout the record but is most concentrated on this track. “Clout Cobain” is one of the darkest tracks on the album. Living up to the record’s title, Curry’s lyricism is at its bleakest on this song, making several references to death and Kurt Cobain’s untimely demise. The track again features a very sparse instrumental; the subject matter and Curry’s voice take center stage.
The third and final act of the album opens with one of my favorite tracks, “The Blackest Balloon.” Curry’s flow is incredibly infectious and shines through the growly bass and reverb-drenched beat. The shouted chorus is one of my favorite hooks throughout the record and hasn’t left my mind since I heard it.
Another one of my favorite cuts, “Vengeance” has easily the most memorable features on the record from JPEGMafia, who we covered earlier on “Split Record Review.” The track is one of the most intense on the album, with many verses towing the line of shouting. Another standout feature, ZillaKami’s gravelly voice is most at home under a heavy beat like this one.
While hardcore might not be my favorite genre of hip-hop, this record is a standout. I might not have as much to say in terms of analysis as James, however, I’d like to thank him for putting me on to Denzel Curry, who’s been on my ever-expanding list of artists that I need to explore more.
Rating: 4/5
James’ Review
While I hate to refer to music released in the past decade as “nostalgic,” I must admit I’ve heard the collection of songs on Denzel Curry’s “TA13OO” too many times to count. I’ll be the first to admit the shtick of having your 43-minute rap album contain three acts is a tacky way to make the album seem deeper than it is. Nevertheless, the songs are banging. I find the four disjointed songs in “Act I: Light” to start the record off on a weird note, though the introductory/title track gives a harrowing glimpse into Curry’s childhood as he discusses past trauma in the third person, lining with the dissociation one may feel when experiencing childhood trauma.
Immediately following, however, are “Black Balloons” and “Cash Maniac,” two chorus-heavy cuts that are both strong on wordplay in the verses but are sonically dissimilar to the title track. Revisiting “Cash Maniac” made me discover the bar, “I like ‘Black Beatles,’ but act like Black Sabbath / I smoke the O-Z when shit gets erratic,” which I likely didn’t understand in 2018 but appreciate even more now. The Charlie Heat production on “Sumo” sounds a little dated by now, and the chorus does get grating over time, but it’s a safe song that Curry used as the first single for “TA13OO.” Upon further research, Ski Mask the Slump God was supposed to be featured on the track, and it’s a shame that he wasn’t because he and this beat would’ve been as compatible as bread and butter.
The mysterious bass-backed beat on “Super Saiyan Superman” keeps the song feeling new, and Curry’s flow is favorable for fans of his popular track, “Ultimate.” “Switch It Up” is a breath of fresh air from this more conventional area of the record, with production by long-time collaborator Ronny J and authoritative delivery from Curry that almost sounds as if he’s preaching. I will highlight this disc, “Act II: Gray,” does a better job of providing a consistently ominous mood, giving the listener a lingering feeling that a sharp turn in tone is soon to happen.
“Sirens” is a star-studded track with Billie Eilish on the chorus and JID on a featured verse. Both were still fairly up-and-coming at the time, but their talents shone through, and Curry still carries his weight. “Clout Cobain” is another single with a memorable chorus and a murky trap beat. The predominant theme is about Kurt Cobain and his untimely death but bars like “I’m feeling like Raichu ‘cause everything shocking to me” turn this track up mood-wise. It additionally has its own artwork, depicting Curry wearing clown makeup that he smears on the artwork for the entire album, as well as the subsequent “Act III: Dark.”
As alluded to in a previous paragraph, there is a major tone switch in sound and on Curry’s part in this act. Frequent references to his deceased brother, Treon “Tree” Johnson, are made in “The Blackest Balloon” and “Percs.” The former is easy to get confused with a previous song due to its title, though the many themes it addresses make it a departure from the lighter “Black Balloons.” “The Blackest Balloon” mentions school shootings and further references to deceased acquaintances of his, including Lil Peep and XXXTENTACION, as he imitates X’s trademark flow when mentioning him.
“Vengeance” is a highlight for many, featuring the previously discussed JPEGMafia and screamo rapper ZillaKami, both of whom make strong cases for themselves as artists in their verses. Curry delivers a divisive and distorted chorus that I could go without, but the song as a whole is impeccable. Finally, “Black Metal Terrorist” would fit right on Curry’s follow-up album, “ZUU,” with more production from Ronny J and the most intense beat on the album by far. It’s quite the outro for the final disc, where Curry finally brings this album together into something cohesive. Three batches of tracks that were of the quality found on “Act III: Dark” would’ve made for one of the best albums of the 2010s; instead, there are sporadic moments of genius in between many passable tracks throughout the entire record.
In hindsight, I would’ve swapped the scores I give to this record and what I gave to “Nonagon Infinity” by King Gizzard and the Lizard Wizard in the last edition of “Split Record Review.” Either way, both are excellent records that have a lot to unpack. Henry hadn’t listened to “TA13OO” fully until now, and I hadn’t heard all of “Nonagon Infinity,” so being able to enhance our collective encyclopedic knowledge of music one album at a time is enjoyable.
Rating: 4/5