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Lil Uzi Vert - Eternal Atake (Album Review)

Updated: Apr 23, 2020

Finally, 599 days after 'Eternal Atake' was meant to drop - Lil Uzi Vert has released it. One of 2020's most anticipated albums is out - catching us all off guard as the album was meant to drop a week later. Uzi had been very active on Twitter as of lately - even getting the fans to vote for the album cover - and planned his roll out almost perfectly. Onto the actual album itself, we get some of Uzi's best production yet. It's still his same electronic, synth heavy production - but the more futuristic elements and sounds thrown in there fit the theme perfectly and it's a joy to listen to. For Uzi himself, he's not lyrically dense and doesn't really spit any bars on this album - but he's not generic either which is also a positive. His flow is fire and devastating as it always has been with his typical quick, relentless flow. Uzi also sticks with his unique, melodic cadence and sonically it's nice to hear. The subject matter varies depending on which character he's playing. We get Baby Pluto at the beginning of the album - who likes to flex and brag about his watches and money a lot. We then shift to Renji for the next few tracks who is supposed to be sweet and nice. We still get a lot of flexing, but he focuses on softer subject matter too. Finally, there's the Uzi section, and his subject matter like Baby Pluto is all about flexing. Finally, it's worth a mention that during the outro's of a few songs there's this whole narrative of Uzi being abducted by aliens and then freed in time to drop his album. There's been a few theories floating around about this, with one I personally believe being that this is a metaphor for what his old record label had done to him.

The album begins on an OK start with 'Baby Pluto' - I'd want a better start for such a long awaited album though. The production is more dimmed down on this song and his melodies aren't too interesting. 'Lo Mein' is pretty boring. I'll give it credit for the hook being nice but it isn't a great start to the album. We get a good song with 'Silly Watch' finally. The keyboard beat is fire, Uzi's melodies are good as are the switches and more importantly the flow switches keep it interesting - and his flow is always good. The hook of 'POP' is dumb but really catchy. The productions fine and once again it's a decent song - but nothing more than that. There's a sample from some kind of pinball game on 'You Better Move' which is actually amazing as is the bass line on this beat. The hook once again is dumb but catchy with Uzi's verses being nothing crazy but an easy listen. At this stage of the album, 'Homecoming' is arguably the best song on this album. Firstly, the beat is amazing - especially the 808s which go crazy. Uzi's flow is fire and his whole cadence and melody are on point. Onto the Renji part of the album which begins with 'I'm Sorry'. It's a more emotional song from Uzi focusing on a breakup with an ex with similar themes of bragging in there too. The melody of the hook sounds great and the beat is more watered down to fit the theme of the song well. Track 8 is 'Celebration Station' and we're on a good run as of now. The melody is great again and there's a more melancholy style (in a way). No complaints with it as Uzi's flow and cadence are great again - especially in verse 2.

At the halfway point we have the song 'Bigger Than Life' which I like, it's good but compared to the last few I feel it doesn't match them in terms of enjoyability. The second half of the album begins with 'Chrome Heart Tags' and let me first say Chief Keef absolutely kills the beat - especially the choir themed singing in the background. Once again Uzi's melodies provide entertainment and make the song enjoyable. Lil Uzi then opens up about his past experiences with women on 'Bust Me' and how they wouldn't want him until he became famous. New subject matter makes it that little bit more interesting, and as most songs on this album I enjoy - it's due to his melodic tone and production. Then we get a heavenly beat with 'Prices' and the song is so catchy - some of Uzi's best work. Syd has the only feature of the album on 'Urgency' and fits the track well with a nice verse. For Uzi, it's the same reasons I enjoy the other songs - what more can I say. Also would like to add Syd's final addition to the final hook sounds really nice. 'Venetia' features some kind of xylophone instrument in the beat that sounds incredible. His quick flow, melodic cadence are at their peak here and it's a real key highlight of the album. Another amazing song from Uzi is 'Secure the Bag' with its dystopian, swirling beat but an even better song follows titled 'P2'. It's part two to one of my all time favourite songs 'XO Tour Llif3'. While it's not unique or original, the nostalgia is too much and it just makes me really happy to listen to. One of two bonus tracks begins with 'Futsal Shuffle 2020' which I love for its electronic beat, catchy hook and quick flowed verses - all of which are showcases of Lil Uzi Vert at his best. Finally, 'That Way'. While it's not as good as some other songs on the album and the Backstreet Boy's sample strikes me as odd - it's definitely a highlight and I'd listen to the song again.

To conclude, the album is extremely consistent. What stops it from being a higher score is the fact the highs aren't as high as other Uzi albums, and the subject matter is a bit repetitive. Overall, a solid body of work and it will get a few spins from me personally.

FAVOURITE TRACKS: I'm Sorry, Prices, Venetia, Secure The Bag, P2, Futal Shuffle 2020


OVERALL RATING: Solid 7.5/10

*REVISED SCORE: Review may not match favourite tracks and overall rating because I've since re-listened and changed my score.*

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