The role of the collaborative tape within modern hip-hop has seemingly become more and more of the norm. With such a widespread appreciation for the trend, the twenty-first century has housed both a myriad of iconic partnerships that have ignited some of the most decorated names or the antithesis, a Jaclyn Hyde type monstrosity that is better off forgotten. It seems with each new iteration of hip-hop, a new collection of artists rise to the occasion as they either attempt to stand the test of time with fan-service and pandering or co-create the next dynamic duo. One partnership that has seemingly been glorified through the process of an extensively intertwined history is 21 Savage and producer Metro Boomin. Making a name for themselves through a distinct blend of cut-throat performances and nocturnally blanketed, synth-heavy trap instrumentals, it was clear that within the eyes of the general audience, they were the likely successors of the formula.
Their newest album ‘SAVAGE MODE ll’, comes four years after the initial installment of similar titular status, yet feels like the bastard child of a matured grip on each artist’s respective sound. Admittedly, I was never blown away by the particularly forgettable blend of influences on the original ‘Savage Mode’. It felt like a bombardment of stripped back, generic production choices that were accentuated by Savage’s colourless droning. There was no edge, there were no teeth to the operation that had bizarrely received a warm reception. Though far from perfect, ‘SAVAGE MODE ll’ feels like a far more defined exploration into the pair’s sound. Pampered with this overarching cinematic stature – motioned by the omnipotent narration of Morgan Freeman of all people, this feels like the handbook to Savage’s very own lifestyle. Whilst it still feels a little too easy to relive those same shortcomings from the albums inaugural installment, ‘SAVAGE MODE ll’ unquestionably houses some of the pair’s most convincing work to date.
The introductory track, titled simply as ‘Intro’ is an audacious tale of epic proportions. Ushered in by the stern words of Morgan Freeman, who feels like this sage-like figure who has descended from the heavens for the sole purpose of announcing the collaboration, the track reads like a piece of otherworldly manuscript. Inscribed in these texts from seemingly foreign lands is this braggadocious language that places Savage and Metro on a sovereign like pedestal. Accompanied by sulking strings and the pitter-patter of eerie keys, the track feels like the first chance to familiarise ourselves with the dubbed ‘savage mode’ frame of reference.
Something that is made immediately clear is just how well researched and meticulously crafted Metro Boomin’s contribution to the album is. The first of many examples are exhibited on the track ‘Runnin’. Flipping a sample of Diana Ross’ ‘I Thought It Took a Little Time (But Today I Fell in Love) is simply step one in crafting his malevolent hellscape. Matched with these hulking doomsday keys, the track captures this sense of looming peril. Unfortunately, I struggle to justify granting Savage the same praise. Here, he sounds like a dysfunctional tool at Metro’s disposal. With no anger or potency in his delivery, his implied stature of unparalleled menacing tyranny falls flat. The plot only thickens when we hit his mind-numbingly tedious chorus where it feels like Savage opts to steal the Migos’ title for least creative wordplay.
This isn’t the only example of Savage criminally underestimating the importance of structure and lyrical versatility. For as charming as the vintage, N.W.A-esque production is on ‘Steppin On N!gga$’, decked out with triumphant horns and the lot, the track is only as strong as its weakest link. In this case, that title yet again falls to the monotonous droning that barrages me on every chorus Savage delivers. In his efforts to sound all-powerful and menacing, Savage instead comes off as unenthusiastic and mildly inconvenienced. Many of the same criticisms feel just as relevant on the track ‘Snitches & Rats’. The sentiment of the track remains very much fixated on Savage’s hatred for his foe. On this occasion, the lowlife sell-outs of the world, but I find his demeanor to hint at anything but that. The saving grace on this cut however is the addition of Young Nudy. With his stone-cold delivery and husky inflections, he might sound as if these were his final moments, given his wheezing, but he instead feels like a breath of fresh air ironically.
Though I had reason to believe, given the improvement displayed on his most recent album ‘i am > i was’, that Savage had ironed out his kinks regarding his malleability, it feels as if he has regressed here. Like a tight chokehold, Savage struggles to salvage chemistry outside of a tight-knit collective, as each experiment feels as if he is playing second fiddle despite his presentation suggesting dominance. The track ‘Mr. Right Now’ starts out on the right foot. Illustrious synth passages and an earth-shattering sense of passion from Savage ignite this surge of energy, only to be let down by the rapper’s inability to translate his talents to a sung performance. He is goofy, shaky, and most notably crafting a shameless imitation of a Drake song. I suppose that’s why Drake so uncharacteristically exudes such a wealth of confidence as he darts in and out of the frivolous synths so seamlessly. The track ‘Rich N!gg$ Shit’ feels like an even bigger blunder as everyone outside the reach of Young Thug’s electrifying vocal acrobatics seem to be severely punching below their weight. In retrospect, it feels like the song never even attempted to hide its existence as streaming fodder given just how lazy it is.
Though inconsistent, there are moments where Savage snaps out of his regressive slumber to reveal just how monstrous he can be when provoked by this ‘savage mode’. Sculpted as somewhat of a calling card, Savage enters a newly found berserk stride on ‘Glock In My Lap’. He is simply formidable as he dons this brutish exterior to strike fear into the hearts of any and all that oppose him. Whilst on the surface there’s room to argue about just how overplayed the topic is, but when Savage feels as lethal as he does here it feels nigh impossible to not tremble at his feet and comply with his foul-mouthed temper. Where ‘Glock In My Lap’ is accompanied by this disarray of torturously provoked screeching and shrill strings, it feels as if the world rests upon Savage’s shoulders in the life or death conundrum on ‘My Dawg’. With an offensively bland instrumental flaunted by Metro, Savage rises to the occasion to fill the painfully transparent deficiencies. With a fire in his belly and venom in his throat, Savage chalks up one of his most audacious ‘fuck you’ anthems in his discography.
Over the years the demand for intertwined 21 Savage and Metro Boomin material has been kept anything but tame, yet I’ve never truly found a way to glorify the pair in quite the same light. With that being said, it is undeniable that when given all the right ingredients, they strike gold here. In perhaps the greatest display of their combined talents, the track ‘Many Men’ provokes a spine chilling reaction within me. Sampling 50 Cent’s track of the same name, Savage discusses his involvement with the bubbling underwhelm of crime and how people are constantly gunning for his head. Built upon a spine of teetering poignant synths and ghostly vocal refrains, everything is on edge as the track captures a very real sense of tension and ever-looming danger.
In a similar vein to its very imperfect, hit and miss, stature throughout its duration, the album ends in much the same way. Hellbent on tying all loose ends, the dying moments of ‘SAVAGE MODE ll’ demands that Savage look within himself to mold some of his most introspective material to date. The merit-filled track of this fork in the road experiment, ‘RIP Luv’ captures Savage at a very tender moment of bittersweet reminisce. Clearly molded as a result of his external heartbreak, Savage draws upon his most emotionally potent lyrics yet. With lines like “I ain’t perfect, I was slidin’ like a earthworm, loco”, and “But I never, ever brought the dirt home ‘Rest in peace to love, I gave up a long time ago”, Savage acknowledges his own guilt in this game for two, yet comes out the other side battle-scarred. It feels like such a shame that we remain deprived of more tracks like this on the album, given just how desperately I find myself wanting more lyrical diversity and how willing Savage is to venture into his own heartache.
The answer to its successful predecessor from Savage’s ride or die experiment is the malformed closer ‘Said N Done’. Whilst I appreciate just how sentimental the message is, concerned with the security of strong platonic relationships, I am just so tired of Savage’s sluggish demeanor at this point. With its uncharacteristically bright and euphoric instrumental palette, the track is set up as this be all and end all send off where Savage has come to terms with his life, yet ends up falling into a sea of unidentifiable 21 Savage tracks given just how nondescript he is vocally. It’s a talent that Savage is seemingly yet to pick up. This refusal to translate subject matter outside of his usual frame of reference into a new sonic entity, and it is the sole factor that hinders the legitimacy and potential of a track as heartwarming as this.
At the end of the day, it is the Morgan Freeman monologue – the hill the album dies on, that captures the intent both 21 Savage and Metro Boomin have adopted on ‘SAVAGE MODE ll’. “Remain focused, move forward, and never lose faith in yourself”, the pair take the statement to heart as they stick to their guns, whilst flaunting a new and improved formula on their latest outing. Whilst it is an unquestionable improvement from its initial installment, I can’t help but feel as if Savage has taken a step back here. Deprived of the same spark that was rife on ‘i am > i was’, it feels as if he takes an unsavoury backseat that leaves me wanting more. In many ways, I see ‘SAVAGE MODE ll’ as a product of Metro’s dynamic vision. He is the puppet master that orchestrates the highest highs, yet is often betrayed by Savage, who time and time again regresses back to his inane ways.
SAVAGE MODE II – 21 Savage & Metro Boomin – 6/10
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