Hi, everyone. Shythony Guytano here, the Internet's busiest music nerd, and I hope you're doing well.

Now, I understand that the start of this video and the thumbnail may be a bit of a shock for all of you, but I promise you, there is a method to my madness in this video with this thing on my face. For anybody who's unaware, it would seem that my identity has been stolen. My likeness has been completely hoodwinked (if in fact, that is the proper terminology), and I fear that my days left on this platform are few because I may be replaced fully very soon.

Where is this threat to my existence coming from, you may ask? Well, really, it's just due to a few letters, and I don't mean AI. In fact, what I mean is actually bbno$ or otherwise known as "Baby No Money."

Now, he's just dropped a new self-titled full-length album. But before I even had a chance to talk about and review it, he saw fit to commentate on his own 21-song, 50-minute album himself, critically speaking – which, I mean, if every artist started doing that themselves, that would be a threat enough to my work – but bbno$ actually took it a step further here and dressed exactly like me, which is why I am my identity. If I keep this hanging out and about where people can just constantly see it, surely it's just going to be copied more.

Plus, on top of it, I'm afraid that his copy of my likeness, his cosplay, as you may call it, though I don't see it as play because you're playing with my life. It's so accurate that I fear that if I am not wearing this, all of you watching this video will confuse him for me. You just won't be able to tell the damn difference because I'm actually going to be going over his review of his own album and assessing its quality.

And as I'm doing that, I don't want any of you thrown off thinking like, "Oh, why is Anthony talking about Anthony? Why is Anthony saying this about Anthony?" When In fact, that is not what is happening. I am Anthony. It is bbno$ here who is pretending to be me. He is the fake. Okay, we have now cut to a content and reaction shot over here.

This over here on the right, this is actually me. This is me. That is bbno$ in the center of your screen. Do not be fooled by his glasses, his facial hair, his good looks, great bone structure, his bald cap. That is not actually real baldness. That is a bald cap. And the room he superimposed himself, or he broke into my place of living and filmed this in my spot. I can't tell which. Either way, he really has my formula down almost perfectly, visually, which It has me quite scared.

"Hello, everybody. This is Baby No De Niro here, the internet's busiest music nerd. And today, we're going to be reviewing bbno$'s bbno$."

Wow. I'm just blown away. He's got my whole intro down perfectly. How is he doing this? It's like he studied in music review college for this.

"From the very beginning of the first listen, within matters of minutes, bbno$ is telling the listener to beg the fuck up, which I felt a little harming. For the first listen, I was contemplating my financial security. But throughout the listen, he develops the song, and it has tones of Bronkhampton."

Okay, stopping right there for a second. God damn it. I was thinking the same thing. I was thinking the same thing about the opening track. It actually was making me think about my financial status. However, it is pronounced Brockhampton. It's not Bronkhampton. However, that's a mistake most people are probably just going to overlook when watching this.

"And then immediately returns into hardstyle, setting the perfect tone for the listener with the first listen."

No, no. How is he naming all the genre influences? That's what I do. They're accurate assessments. He's listing them all.

"But it's very fascinating to know that what he has been doing and everything that he's been doing online just seems like a weird facade. And I don't really fully understand why his music has so much vulgar. It's a very vulgar project."

Okay, wait, actually, pause. Pause for a second. This is where, personally, I diverge. I mean, I don't think the bbno$, especially on the first track or even on deeper tracks, is the most vulgar album you can listen to. But on top of it, the vulgarity mostly seems to be for just pure entertainment purposes. Just good, straightforward, non-wholesome fun. It's a little cheeky, it's a little flirty, it's a little R-rated, occasionally on tracks like "Gigolo" flirting with X-rated. And it really all just contributes to a greater bombasticity variety across the entire project.

I mean, the thing is on this album, across all of its tracks, there's not a whole lot in the way of nuance. Certainly a lot of variation. You've got tracks that are more dance-oriented, more hip hop-oriented, tracks that have maybe more of a Brazilian flavor, so on and so forth, a love song, a moody closer, where his good buddy Y2K comes back and he's really crooning with autotune. He tries his hand at a lot of different things and sounds and styles, but everything is just on 10 in terms of attitude and humor and zaniness. I think that's mostly because Mr. bbno$ here just really wants himself and wants to have listeners just to have a good silly old time.

Now, even if that appeal does get a bit stale across the entire record, and it is maybe a little one note, especially with his trademark, nearly monotone rap delivery being almost changed across the entire album. Yes, it does get a little predictable after a while, but in measured or even just more focused doses, there's definitely an appeal in what bbno$ is doing here in terms of some of the raunchier topics.

"He seems like he's a very open-minded individual online, but it really comes across like he doesn't really know what he's saying, and none of what he is saying has any meaning. There's other artists like Joey Valence & Brae and just the Brockhampton and all these other artists that seemingly say something important. Whereas bbno$, on the other hand, seems like he just says absolutely nothing."

Okay. Now, I don't know if I would make that same point of comparison between JVB and Brockhampton in terms of lyrical tone and everything like that. Because while certainly, especially on the latest JVB record, the duo does try to offer some more emotional moments and food for thought, so on and so forth. Both of these acts and artists do have some very silly, playful, over-the-top songs in their catalogs. I mean, in fact, that is really the draw to their bands and brands for the most part. I do think Brockhampton, especially in their brightest moments, do bolster a lot of that, though, with some actual emotional depth and substance, a little social commentary.

But I don't know. To me, what bbno$ is lacking on this project isn't so much like, is he speaking to something bigger than himself and urgent on this record, as opposed to, is he vocally and songwriting-wise, painting himself into a corner a little bit, especially with many of these songs, hitting that perfect streaming brainrot timespan pocket of one minute and 50 seconds to two minutes and change. Just really maximize that stream count.

"Balls hanging low, now the pussy playing ping pong. For people who enjoy very spacious songs that are not filled violently, relentlessly with lyrisism, this is probably not going to be a project for you, albeit on the other side, for people who love of really fun, upbeat production, Pink Pantheress and recent songs from Tyler, the Creator. I think that this is something that would resonate kindly in your world."

Okay, I'm not denying that there couldn't possibly be some Tyler, the Creator, crossover appeal here if you did really vibe with Don't Tap the Glass. And look, I will not deny the production really is a huge selling point on the album. It's really the beats across this record that do provide the versatility of style and vibe, while bbno$ is really just able to operate in that one gear and give us that trademark delivery that he's instantly recognized for. Which I mean, it's a formula that must work if you're looking to just pump out this many tracks.

And while I wouldn't say this is my favorite style of production in the world, especially when it comes to the type of beats I typically want to hear people rap on, the percussion and the bass persistently sounds really rotund and thick and huge and punchy. The samples are usually well-choped and placed together, whether it's whole chunks of songs or looped or little vocal drops or even what sounds like on the second track, "Bing Bong" I'm talking about. This track is a complete banger and a half. It's got a nice throwback electro feel, and it's got what sounds like some vocals from Kreayshawn's "Gucci Gucci".

But yeah, this record is just loaded with catchy moments exactly like that that go over really well. And it's really, again, all thanks to how good and well put together the production is. Again, it's colorful, it's in your face, it's punchy, it's hard-hitting. If you're looking for something that is going to go down well at a nonstop party, you're going to want to jam some of these tracks.

"Following the release of Taylor Swift's Life of the Showgirl, you would assume that Baby No Money would be struggling to stay alive in the world of music because her album sold 2.5 million sales first week. But weirdly enough, most people could around and call this album Life of the Showboy. Not sure why I am saying this, but as Anthony Fantano always says, I'm the busiest music nerd on the internet, bitch."

Okay, this review is falling the fuck apart. I hope all of you in the comments can see the difference in quality here. That reference to that commentary about Taylor Swift is completely uncalled for. It doesn't make sense in the context of the review at all.

We're like, about halfway into the review, how are we not talking about the progression of tracks, especially really, since there are so many? Why are we not bringing up how catchy "It Boy" is or how much the Latin flavors on "Estrella" just feel like window dressing? How are we not talking about how clunky the chorus sample on "Hot Topic" is or how "Check" is one of bbno$'s best anthems to date.

Why are we not getting into the specifics of tracks like "Come to Brazil" and how bbno$ is effectively and geniusly using so many different directions on this album appeal in short bursts of catchy songs to different audiences of people, bringing them all under the bbno$ umbrella for some all-out, massive appeal assault, where clearly this man, this man's ambitions are nothing short of some sick totalitarian musical takeover.

And I see it. All of you don't. And he's clearly just trying to hide it with this fake review. When in fact, this review is just another example of it. This guy wants to be every musician, and he wants to be the guy reviewing his music.

"Throughout the listen, I felt like there was some listener fatigue nearing somewhere half throughout the album. 21 tracks, there's going to be some misses. Although when he was speaking to me, he was very confident on the 21 songs being a non-skip album. And unfortunately, it wasn't a non-skip album. Fuck your life. 'Bing Bong' with Vanilla Mace was a dash in the pan. I felt like that song doesn't deserve to go anywhere."

Okay, now wait, hold on. Hold on one second there. I recently spoke to this man live on stream, and it was him that said the 21 track album was a no skip. Not me. He said that.

"And especially with the music, I mean, my next album has 21 tracks, and I really think it's a no skipper. I'm really proud of it."

"With that many tracks on it?"

"Yeah."

"It's a lot of tracks."

"It's a lot of tracks, and it's a lot of party."

So he's just straight up lying here. However, he is bringing up the listener fatigue, which I would agree with to an extent, but I think, I don't know, it happens a little bit more after the halfway point. I wouldn't say it's exactly like strictly a halfway point, listener fatigue vibe. It's more of a record that has a good chunk of highlights on it, and you're just going to want to pick out your favorites after you're done listening to it, but still.

"Sampling Kreashawn in the big 2025, bbno$, what are you doing?"

What is happening? This man is not me. He is the bizarro version of me. I've already brought this up as a talking point one, and it's not even a bad thing. I feel like Kreashawn's era of hip hop and her moment – her popularity – is almost like coming back around. She's almost relevant again. If there was ever a time to sample Creshawn and bring her back to the light, it's now. I don't I don't agree with this assessment. I don't agree with this at all. And given that Baby No Money is the guy who actually did this on his own album, I'm starting to think he's just saying things he doesn't even agree with in this review. These are not even things he thinks.

When I spoke to bbno$ originally, he told me about this song nearing the end of the album called 'Finally Up'. I don't know why he put that song at the end, but I think every single time he does release a project, historically, when I have listened, every single last song has the tone of where the next project may go to, or it's a left field-produced song."

Okay, before he finishes that thought, I will say, "Finally Up" was a track for me personally, was a bit of a highlight. I need to listen to it a little bit more. I don't know if I took to it just because it sounded so different from everything else previous to it, and I was looking for maybe just a bit more variation. But genuinely, I did think his distorted, autotuned lead vocals – that are a little Kanye-flavored, frankly – were actually pretty cool and a nice change of pace. I don't know if an entire project of stuff like this would blow me away, but I certainly wouldn't mind hearing more songs heading in this direction.

And he's clearly giving us a bit of a preview here. But even if this song doesn't actually end up panning out into more tracks like it, it is pretty standard for an artist when making an album to end the record off with one of the longer, moodier tracks. It happens. It's a formula. It's an old standby. It's an artistic choice. You don't need to defend, I think.

"It was a cherry on top once I got through the whole album, and it definitely was not a painful listen. Albeit, I do think that 21 songs for a normal listener like me – and I just had only one single coffee to drink this morning, and I did not go on my morning walk – it was a little on the longer side."

Oh, my God. How does he know? How does he know about my coffees? How does he know about my morning walks? This man is taking, embodying me to a new level.

The 2 minute to 2:25 minute song length felt just right with bbno$ style and production. I just wish he was saying something more. End of the day, some of my favorite tracks probably would have to be "Bag the Fuck Up", "Gigolo", and "Boom". Some of my least favorite tracks on the album would probably have to be "Two", "Bing Bong", and "ADD".

No, wait, wait, wait. Hold on, wait. "ADD", few of these are some of my favorite tracks on the record, frankly. As far as actual least faves, I would probably more or least pump it. That just seems like such a generic gym track. Again, "Hot Topic" is definitely in there. I don't know if we needed two Brazilian-flavored cuts per se, but also I would shout out to a "1-800". That track rules. "It Boy", "Eat, Slay, Love." There's definitely some undeniable bangers on this album. If you go into it like expecting it to be too serious. If you just go into this record having a good time, you're going to have a good time.

"All in all, pretty good project. If you want to go wake up and blare your ears out with maniacal production, maniacal rapping, and ridiculous lyrisism, I'm going to give it a really strong six, but a really light seven. And that's about it for this one. Go check it out."

Damn it, damn it, It, damn it. He's got my scores down. And on a good day, that's maybe in about the range I would consider for this project. It's a fun album. It's got a lot of very good highlights. It's just a little still one-dimensional, even with all the genre switching across the record. Because still, at the end of the day, those surface-level changes aren't really enough to vary the tracklist up, especially considering it's so long. There's so many songs because underneath those floorboards, you have the song structures and you have the lyrics, which aren't really changing up in tone or in formula all that much.

Look, I hope this isn't the start to a really dark trend. I'll just say that. And of course, he uploaded this on his YouTube channel, bbnogames, because he obviously uploaded this to play games with me, play a game with my life. Hopefully, we see no more reviews from Mr. bbno$ over here because I'm going to give your review a light five.

You got the look, you got some of the speech patterns and mannerisms down for sure. Some of those things and observations I would make are definitely not things and observations I would say. And also five minutes for an album with this much material is a little scant, as there were a lot of details and tracks and solid singles that, frankly, I was wondering what your thoughts were on, and yet I did not receive them. The score was pretty fair despite the fact that it was your record. I guess I'll say that.

I don't know. Maybe the five I just gave you is a bit biased, but we're just going to have to leave it there. I'm not changing the score right now. Let me know what you guys thought of this review in the comments. I'm sure you will.

bbno$, self-titled album, forever.