Hi, everyone. Mike the Neve, Jack Tano here, the internet's busiest music nerd. It's time for a review of this new future in Metroboomen Project, We Don't Trust You. Here we have a new collab album with another, a sequel, very soon on the way from two Titans in modern day rap music. That would be Rapper and Singer Future, as well as producer extraordinaire, Metroboomen. Two men who you could say have done a lot to shape the sound these days. Between the popularity of Future's very repetitive, entrancing flows, his embrace of more psychedelic instrumentals, combined with his delivery that puts more of an emphasis on how catchy his flows are, the emotion in his voice over the content in his bars, there There's reason to believe that a lot of artists of the current generation, especially some of these rage dudes, would not be here without future. Meanwhile, Metro Boomen has been behind the beat on some of the biggest game changers over the past 10 years. Numerous top-tier future singles, including Mask Off, I Love M'Conan's Tuesday, Travis Scott's 3500, Father Stretch My Hands One, off of Kanye's T-lop, a Jumpman from Future and Drake, The Weekend's Heartless, as well as Savage Mode, both one and two with 21 Savage.

And these tracks represent just a slice of Metro's growing production discography. He's also been spearheading more solo projects where he works with a range of artists, showcasing not just his talent for rap beats, but synth layers, arrangements, compositions, not to mention the soundtrack music he's been putting in work on recently, too. The guy has really been expanding the sound and commercial potential for trap music for a while now, and I think that continues to be the case for We Don't Trust You, where I have to stress how significant it is he is doing a record like this alongside Future, considering how much of their respective success has been tied together, doing part to certain songs. Future is also very much responsible for Metro's most beloved producer tag. That would be, If young Metro don't trust you, I'm going to shoot you. Oh, no.

He's going to shoot me.

I'm too young and beautiful to die. Well, only if he doesn't trust you.

Well, what do I got to do? Mr. Metro, please. I'll do anything for You need to trust me. Oh, no. Look, he's right behind you. He's over there.

But yeah, it is pretty significant that Metro and Future are coming together on this large of a scale with this record. As we already know, they work together well. They have complementary styles, and they're now both at a in their careers where they've grown so much in terms of versatility and influence. But by that same token, I did go into this record worried that the familiarity, creatively speaking between these two guys, would result in an album with no ambition. As Future does have a tendency to go on autopilot sometimes, and as the amount of work Metro puts out each year increases, so do the amount of average beats he puts out. However, I actually think Metro and Future managed to bring the best out of each other on this project. Project, resulting in one of the most intoxicating and refined trap albums of the year. There's a decent amount of variety among the songs on this project, too. It really does justify its run time that's just short of an hour. I can tell Metro really looked at this record on a macro level and cared quite a bit about the flow, the way these tracks progressed into one another, especially when you take into account how many tight and fluid transitions there are between each song.

Let's kick things off with the first track, We Don't Trust You, which is a very moody opener where Future is allowed to rift essentially for almost four minutes straight with a few vocal drops peppered in here and there. It's not the strongest song on the album in terms of structure, but the beat transitions are on point. I think the atmosphere surrounding the instrumental is quite eerie, and I love these high school or college football band type horn builds that pop in here and there. They really elevate the song quite a bit. This is just one of many moments on this record where Metro is given some of these cinematic trap beats and epic flair. The track at least works in that sense. I can't deny, Future does really bury the theme and the core sentiment of the album in my head. Past this point, the record's best moments bring a very simple but effective formula where you get some straightforward beats, some head nodding flows from future, where he's really rocking with the lower register of his voice and giving us a performance that reads almost as meditative, hypnotic. Then Metro goes on from there to color the extra space surrounding all of this with progressive synth layers, string passages, some interesting electronics, too.

The song Young Metro, for example, has almost an '80s dystopian sci-fi soundtrack quality to it with some background vocal assists from The Weakened himself, where he underscores almost the entirety of the track really well. You have moments like this where Metro is the one really stealing the show others, where it's Future, such as on A No Love, where his refrains are really what is making the track work from the calls of A No Love to selling drugs. Lyrically, Future is actually spitting on this track about the tribulations of dealing drugs and trusting the wrong people. Then Type Shit is another moment where Metro's production is really what is at the forefront. This track sounds like what you would get if you used your grandfather clock as a sample for a trap beat. Plus, there's an intergalactic instrumental transition that meets with a Travis Scott feature on the track. I would say the only downside to the cut that drags it down a bit is a very underwhelming and basic Playboy Cardi feature on the back end, where he's not only hitting us with this low puberty voice inflection, but there are points where he barely even sounds coherent during it.

It's goofy, it's basic, and redundant as his flow doesn't even vary all that much from Futures on the track. Moving on, we hear a pinnacle of creepy Trap Alchemy on the song GTA. I mean, given just how hard and just ghoulish the beat on this track is, I'm halfway expecting a drop from Trapaholix to pop in here and there, or even like DJ Paul throwing out a Mafia. Yeah, some big three, six vibes on this track for sure. Then Future is absolutely hilarious on the track Clostrophobic, with, again, more simple but very infectious flows as as well as standout refrains with him going on about feeling claustrophobic, and as a result, he has to buy another mansion. As the track digs deeper, he's just embracing larger levels of ridiculous success. Then like that is, of course, the infamous song featuring that Kendrick Lamar verse that has everybody talking about this record where he's throwing shots at Drake and Jay Cole. He's referencing the track they recently dropped, First Person Shooting, where Cole is celebrating being a part of the big three of hip hop. Kendrick saying on this track, Fuck the big three, it's just big me.

But yeah, all around strong performance from Kendrick, of course, in terms of delivery, vocal inflections, lyrisism. Future is entertaining on the song as well. But really what I love so much about this track is this throwback, clunky, groovy, Dirty South style instrumental with these squawking synth horn leads that are so odd but simultaneously so memorable. This is handily one of the hardest beats Metro did on this entire record. There are a few other additional surprises on the record, too, like on the song Fried Shea Vibe, where Future can be seen really yucking it up, not taking himself too seriously, singing about blowing racks on a stripper, being totally fried out of his mind while just feeling like this woman is a vibe. Meanwhile, Metro is soundtracking this debauchery with very pretty glistening synthesizers as if we're hearing a cough, syrup, marinated trap version of LL Cool J's I need love. Then everyday hustle is another nice switch up on the record. The time goes to three, four. We get some nice quality soul chops and a cool Rick Ross feature on the back-end. Then a beat switch where Future actually picks his flow up and shows that he's not going to be completely outwrapped by Ross, getting a bit competitive there and just adding more personality, more dynamics to the track, which is all for the better.

Then toward the tail end of this thing, Metro and Future really saved one of the best choruses for last on What the Fuck You Me, which is just straight, catchy, heat, no more, no less. Now, with this record, again, being almost an hour and having 16 tracks, of course, there are a few duds here and there, especially with one of the core criticisms of this album being that it is so chill. It is so laid back. It is just so quiet. I really do think a handful songs where future is bringing that monster level of energy would have broken things up a bit. I'm talking about moments like the first leg of ice attack, which just feels like a waste of time given how forgettable it is and how hard the beat switch is right after, which could also be said for the first half of Magic Don Juan. The song Slimed In as well, I think could have used some oomph because there are at least several other tracks on this record that are riding at about a similar energy level, but they're catchier and just feature better instrumentals. Then Running Out of Time to My Ears is maybe the most meh and forgettable song on the record, where Future is really trying to be in his RnB bag.

Of course, the results are awkward because while he can sing on some lines here and there on a song, his range is still limited, and he's not primarily a singer, at least to my ears. Not to mention the beat on this track is really lacking. Where the hell is the low end? Nearly every song up until this point has some great bass, some punchy kicks, a nice frequency range going on in terms of the instrumental palate and the mix. But this track just feels so much thinner than every other song on the album, and I have no idea why. So, yeah, the record, in my opinion, does not have the strongest first leg, and there are a few songs here and there that I think serve as potholes in the overall run time of the album. But the bop to flop ratio overall is Still very good. And once again, I think Future and Metro are doing some of their best stuff together here. I mean, this is handily some of the hottest shit Future has been on since, like the Monster era, which is why I'm feeling a strong 7 to a light 8 on this album.

Tran. Zission. Have you given this album a listen? Did you love it? Did you hate it? What would you rate it? You're the best, you're the best. What should I review next? Hit the like if you like. Please subscribe and please don't cry. Hit the bell as well. Over here next to my head is another video you can check out. Hit that up or a link to subscribe to the channel. Anthony Fantano, Future Metro Booming of Forever.