NEXT Album Review
J. COLE- THE OFF-SEASON
J. Cole released his sixth studio album, The Off-Season, on May 14th, 2021. This is Cole’s first solo album release since K.O.D. in 2018. I hope he needs no introduction. The Off-Season is by far the biggest rap release of the year to date. Arguably the biggest of the decade thus far. This gives the North Carolina rapper a chance to set the bar ahead of Drake and Kendrick Lamar. As this generation's big three, their projects aren’t just album releases, but cultural moments to be talked about for days, months, and at best, years to come.
1) “9 5 . s o u t h”
Production build up sounds large. The organs came in like this is stadium music. Cam’ron! His presence reminds me of Nicki Minaj on My Beautiful Dark Twisted Fantasy. Drums with a mean leg drop. Cole’s rapping is all brags. This is someone who has been listening to The Blueprint. Even the production feels like “U Don’t Know.”
Whoever said this beat sounds like a Madden start menu wasn’t wrong, I can imagine this being played on a NBA 2K Soundtrack but also during the NBA Finals. Cam’ron coming back to set up a flow switch was a nice touch. Cole is rapping like he’s bulletproof. I like it.
This isn’t the punchline rap of The Warm Up, though. It’s meaner, more boastful, someone talking down from the mountain top. Lil Jon sample and the Lil Jon outro, he’s very much the middle child of Southern and East Coast hip-hop.
2) “a m a r i”
Cole sounds like he’s channeling his inner-Lil Baby. The way his flow leans into the pocket rather than sit on top of the beat is a trick. He makes this style work since the production benefits more sauce than substance.
He’s comfortable with bending his voice more. Cole’s early rapping was a lot more frigid. He’s loosening up. He’ll be rapping about doing yoga by the last album. “I never fall off with the bros” switches his infliction and the song becomes even more lively.
This is going to ring off at shows. Even the hook is seamless with the verse. “Watching Jr catch it off the backboard.” This is a keeper for me. A song that showcases how he’s adjusting to the times.
3) “m y . l i f e”
A sample with all the soul of a church choir. Jake One is a rapper’s secret weapon. This is “A Lot'' pt. 2. Cole is the most lively he’s ever sounded. The way he pushes these verses out are all passion driven. For all the credits he gets for lyricism, I credit him for conviction.
“Never seen anyone driving a Bentley, I can’t be out here mopping up Wendys.” Bro is way too tall to be mopping. Morray’s going to be a hook killer. He brought the southern soul to a rap classic. Wouldn’t be surprised if this is the one to become the single. 21 Savage has to be championed as one of the most improved rappers.
“I disrespect you, respectfully.” He took off on Cole. What Cole has in conviction, 21 has it too, but his lyricism has a different kind of sharpness that cuts right through. It has to be the knife tattoo. Keeper. Just a good rap song.
4) “a p p l y i n g . p r e s s u r e”
Cole produced this? It has such a throwback swing to it. Feels very 90s, hip-hop cypher. I’m getting Wu-Tang flashbacks. Solid flow, good wordplay. He’s getting into it. The Slim Shady bar into the Rick Ross line is the take off moment. This is a good zone for him.
“Envy keeps your pockets empty.” You instantly knew there would be pushback on the clowning a millionaire line. Still good. This is at the radio station freestyle record.
Closing out popping shit. That’s new. Cole is at his most confidence here. Even arrogant. It’s the arrogance you hear on The Blueprint when Jay is saying, “Y'all niggas can't be serious right now” at tthe start of “Breathe Easy.”
5) “p u n c h i n’ . t h e . c l o c k”
Production doesn’t innovate, but it commits to being between a throwback and of the times. A lot of different flows but the conciseness is there. This is Cole at his most focused as a rapper. I really like this storytelling. Vivid lyricism has always been where he strides. Re: “Lights Please.”
He wanted the old heads to respect this one. The Danity Kane line wasn’t the most clever but it landed. Tae Beast did this one? He’s gifted. I like this one, but I don’t think I’ll miss it. Gonna say NEXT.
6) “1 0 0 . m i l’”
Another vocal sample. I like the way it’s distorted. A melodic Cole flow. It’s been next to no singing. The whistles are a nice touch. Production gives me “Middle Child.” The high energy will have you in the gym lifting like a UFC fighter.
This is good. Another high octane performance. These songs are urgent. That Michael B Jordan line is going to haunt Twitter. He has tricks across this album. It’s the most tricks in his music since 2014 Forest Hills Drive. This isn’t my favorite, but it’s effective. This is going to be to the NBA Playoffs what Jay Rock’s “Win” was in 2019.
7) “p r i d e . i s . t h e . d e v i l”
This album expands Cole’s scope in ways 4 Your Eyez Only and K.O.D. didn’t. I’m not sold on this one instantly. The production isn’t gripping and Cole’s singing doesn’t have the sting that gives his vocal performances their compelling edge. Good storytelling on the verse, though. It’s a record that gets better. I do like the idea of pride in the context of J. Cole’s career.
I think pride has been a large theme throughout his albums. He’s careful about pride, but also a bit obsessed with it. “Terrified, paranoid,” is exactly it. I like this song as a concept more than execution. Lil Baby! He landed in the pocket how Waffle House sticks to your stomach on those drunken nights. He’s taking off.
Lil Baby raps like a trackstar. Swift and engrossing. Not a word out of place. He even mentioned pride. “I can’t forget the bigger picture” might be a double entendre. He caught Cole on this one, but again, I think the setup was the intention. I’ll come back for Baby.
8) “l e t . g o . m y . h a n d”
This is jazzy. Feels like a return to early Cole. A subtle amount of singing to sing. The urgency from the prior song has slowed down. He’s in his Andre 3000 bag. A conversational flow based on a memory. IB was smart to send this to him. “I probably heard it before,” was a very Andre line. This is strong. My favorite thus far.
He’s rapping about his son and growing up fighting is a nice personal touch. He’s opening up more. Vulnerable. The Puff Daddy line was always going to be a big deal. This is like Drake rapping about dating SZA or Kendrick sharing the story about Top Dawg and his dad. Revelatory raps is its own genre. Keeper. Bas and 6lack on the bridge? It’s a mood. Is this Diddy on the outro? Diddy will have a remarkable biopic one day. I’ll come back to this.
9) “i n t e r l u d e”
I have to admit, I wasn’t sure about the “Interlude” initially. The production, the lyricism, even the length works with the album placement. Cole’s vocal clarity is interesting. He’s so pronounced. Very Drake, very Jay-Z. The way he switches the delivery is a trick. The Christ, Nipsey, and Pimp C line would’ve been much harder in an essay. “Now I’m at your neck nigga,” is the mission statement of this album. I’ll play this one again.
10) “t h e . c l i m b . b a c k”
I didn’t love this one when he initially dropped it, but like the interlude, it instantly sounds better apart of this album. I want to think more about Cole and how his music feels like it's grown more southern. This is a sharp one. B.E.T Hip Hop Awards line wasn’t talked about enough. A reference to “Folding Clothes.” There it is. Cole always has one line that just doesn’t stick.
The second verse doesn’t have the same explosion of the first, but he digs deeper into self. The rap performances on The Off-Season has to be his strongest since 2014 Forest Hills Drive. I already like this album more than Born Sinner. Sidenote: Big K.R.I.T would’ve destroyed this beat.
11) “c l o s e”
The amount of soulful beat choices have been effective. Effective is the word for this album. The flows, the production, the content, it’s all very pointed. He doesn’t take his eyes off the performance. At times it’s not quite relaxed enough. I’ve mentioned The Blueprint a few times. JAY-Z’s flow on that album is in a recliner. Comfortable. When Cole gets that, he’ll be dangerous. I like this though. I’ll come back to this one.
12) “h u n g e r . o n . h i l l s i d e”
This is a good album. He doesn’t make any of the stumbles that you expect. No radio records. No high concept storyline. Cole came to rap. A rap focus that doesn’ falter. “I put it all on A, ain’t no plan B,” lolz. “Still gonna be me when success” is a good sentiment but this is a song I don’t think I need. It’s the outro. The credits are rolling. “I’m feeling myself” is exactly what this song is. I’ll say NEXT. The song isn’t bad but it doesn’t keep the same grit as the previous records. The production is lighter, Cole is looser, I’m good.
J. Cole’s The Off-Season doesn’t confuse what the mission is: To rap. The entire album has a conciseness that’s contracted on competing. A lot more money brags and boastfulness. This superstar disposition isn’t present on any of his other projects. He made The Off-Season to make a statement.
I like The Off-Season because it reminds me of The Truly Yours EPs. Those projects were short, mostly sample-based, and the raps were introspective. These qualities are found on The Off-Season, but there’s also an intent here that’s really about delivering a good rap album. There’s bars, plenty, and even with the lines that aren’t as strong, the performance carries them. He sounds good. A rapper in shape. Not overthinking, but executing. Letting you know he’s in the conversation.
This is his strongest rap album front to back. I don’t think this is the buzzer beater project that crowns him the champion, but it keeps J. Cole in the rap playoffs. And I think we can all agree that he wants to win.
Final Tally: 2 Skips (of 12)