Despite what you heard, Lil Uzi Vert is not having it. The Diamond-certified recording artist made that very clear on their latest music album, Pink Tape. On the cover of the album, Uzi resiliently stands in front of a pink and white colored flag while wearing a jacket with the same design. It’s a very suitable stance given that the “Just Wanna Rock” rapper tends to always be ahead of the wave.
Lil Durk recently admitted on Rylo Rodriguez’s “Room Comfort” that it took some convincing for Lil Uzi Vert to release Pink Tape, and at first listen, one can see why. The 26-track album, along with two visual components for a Pink Tape trailer and the “Just Wanna Rock” video, delves into various subgenres of hip hop, ranging from his signature hip hop bangers to heavy trap metal, that somehow are cohesive enough to create a copacetic vibe.
There’s definitely controversy attached to Pink Tape. Let’s start with Uzi’s first lyrical rampage on the opening song “Flooded The Face,” where the artist raps, “First of all, I f*** eight b***** a day / How could you ever say Lil Uzi gay?”
Uzi makes it no mystery that they is aware of the naysayers. If that wasn’t enough convincing, one of them is called out on “Suicide Doors.” The song features notorious hip hop commentator and activist Charleston White, who uses derogatory labels to define Uzi’s artistry and creative expression.
Uzi also takes risks by featuring Travis Scott on “Aye,” amid the news of the Houston rapper being legally liable for the Astroworld catastrophe. Even more odd, the follow-up song just so happens to be titled “Crush Em.” Yikes!
It gets more messy with “Spin Again,” the very dreamy hip hop bop Uzi recently performed at the 2023 BET Awards that caused him to get into a little trouble with his significant other (JT of City Girls). “Spin Again” has definite replay value, but unfortunately it happens to be the shortest song on the entire album.
Nicki Minaj, the curator of the classic entry The Pinkprint, made an appearance on “Endless Fashion,” which sampled Eiffel 65’s 1998 single “Blue (Da Ba Dee) (DJ Ponte Ice Pop Mix).” Minaj jabs at Zeus Network producer Natalie Nunn and shouts out the late Virgil Abloh on the three-minute collaboration.
“Rehab” rounds up the controversy, as Uzi reflects on a harrowing experience in rehab. Uzi raps, “Going through withdraws, you saw the signs / I was literally just out my mind / I’m the s***, I couldn’t hold my bowels / Rehab centers don’t even got no crowds.”
Honestly, Pink Tape takes some luring of the listener, especially those who may be partial to conventional hip hop. The first few tracks hit with the familiar melodies, heavy base, and mesmerizing cadence of Uzi’s past.
That mood cleverly transitions to high-energy experimentation by the time “Amped” arrives. Uzi relies on his unbelievable ability to make unique ad libs and repetitive phrases an entire premise of a song. It works well.
Just as quickly, the mood changes again to hip hop pop on “x2” as perky electronic instrumentation maintains the spirited energy while aligning with Uzi’s melodic sing rap, a similar technique used on songs such as, “Died and Came Back,” and “That Fiya.”
Watch the Official Trailer for Pink Tape
Fast forward to the third act of Pink Tape, Uzi bridges his viral hit “Just Wanna Rock” to a mind-dizzying journey into innovative rap. The chest-thumping “Fire Alarm” plays with pitches and tones to make for a mosh pit dance banger.
The moshing continues with “CS,” where Uzi belts out heartfelt lyrics over rock band instrumentation, and “Werewolf,” featuring Bring Me The Horizon. Uzi eventually returns to their ways on “Pluto to Mars,” an inspirational victory song doting about his glorious rise, and “Zoom,” one of three bonus tracks.
Pink Tape is a lot to take in at once. However, from concept to design, it’s clear that Uzi cannot be put in a box — even if that means the critics will never understand the movement.
Listen to Lil Uzi Vert’s Pink Tape
