Oh boy, where do I start? As much as I have a lot of love for a fellow San Antonio native, I’m afraid I’m going to have to be brutally honest here about Hoodlum’s latest album. Let’s get the negative aspects out of the way first, and trust me, there’s quite a bit to unpack.
Vocals—where do I even begin? Hoodlum’s delivery is, quite frankly, a struggle to listen to at times. His whisper-style rap—which he probably thought was a cool, unique touch—ends up sounding like a child trying to rap while battling through a stuffy nose. Imagine a kid with a mouth full of snot, trying to catch his breath while mumbling through bars—yeah, that’s the vibe I’m getting here. It’s frustrating because you can hear the potential in his flow, but the execution is all over the place. Out of 19 tracks, there were maybe only 2-3 where I could actually understand his lyrics and enjoy his delivery. It wasn’t until I found out that he raps with his grills in that I started to understand why the vocal performance is so hard to get through—those grills are likely mucking up his clarity and making it tough for him to articulate properly. That said, it still doesn't fully excuse the lack of polish in his vocal technique.
Then there’s the lyrical content—and I hate to say it, but it’s 2023, and Hoodlum’s lyrics fall into that cliched trap that many artists get caught in these days. It's the same old tired formula: money, women, lean, flexing. It’s all the same material we’ve heard a thousand times before, and unfortunately, nothing new is being brought to the table here. In a world where the rap genre is so oversaturated, artists need to bring something fresh and innovative to stay relevant, but this album just feels like it's recycling the same tired themes without adding any real depth or originality. Honestly, it becomes a painful listen because it feels like the same thing over and over again, with no real substance or creativity to break through.
But, as much as I’ve highlighted the negative, let’s take a moment to discuss the positives, because believe it or not, there are some redeeming qualities about this album. First of all, the production is actually solid. The beats and samples Hoodlum uses here are a real saving grace—and I’d say about 70% of the album is made bearable because of them. Whoever is working behind the scenes on these tracks deserves a lot of credit. The soundscapes are diverse, the arrangements are well-thought-out, and they elevate the project in ways Hoodlum’s vocals and lyrics fail to do. If Hoodlum keeps working with this talented producer, there’s potential for future projects that actually stand out in the rap game.
Finally, let’s talk about the features. And, to be completely honest, there is one standout feature that truly saves the album—Paul Wall. The Houston legend comes through with a flawless verse that brings an undeniable level of experience and professionalism to the table. His delivery is tight, and it’s clear he knows how to work with a well-produced track. If anything, his contribution to the album shows just how important it is to know how to craft a good verse and fit into the vibe of the song. Most of the features were decent, but there was one feature that I feel really dropped the ball—Valerie. That track and her feature felt like the lowest point on the album. It was underwhelming, and the energy didn’t match the rest of the project.
Overall, Hoodlum shows some potential with his production, but the vocals, lyrics, and some lackluster features really hold the album back from being anything more than just a casual listen. It’s a tough one to get through, and while the beats and some guest appearances add value, it’s hard to shake the feeling that this project lacks the depth and polish needed to make a real impact. If Hoodlum can clean up his vocal delivery, focus on more meaningful content, and refine his craft, he could have a much stronger offering next time around. But for now, this one’s a bit of a miss for me.
RATING: 4.5/10
NOTIABLE TRACKS:
Crooked Feat Paul Wall