Towards the end of the record the rapper indulges us in his signature mumble – though he surprises us again by (shock, horror!) If you were shocked by the release of this record, it’s OK – you weren’t the only one. “You Better Move” to “Homecoming” is one of the strongest one-two punches on the album, with Uzi handling skull-crushing, bass-heavy beats in his upper register, producing a fascinating blend of low and high-end. “Know I’m starting over,” he admits over the seven-times Platinum hit; at this point in the narrative Uzi has returned to Earth, ready to restart his life, equipped with new knowledge. With deliriously good rapping and immaculate production, Uzi makes an event album live up to its name. There’s no equivalent to the “Never Bend” remix from 2018, which hinted at a world of hurt behind the “project walls.” And it works with thrilling results. At once, it feels like both the past and future. © 2020 NME is a member of the media division of BandLab Technologies. The irony of this situation―that three of the songs he released in the run-up to Atake are nowhere to be found on the album―is classic Uzi. Uzi’s decision to make Atake a featureless affair (aside from one track with Syd) is a brilliant move, allowing the album to serve as a coherent aesthetic vision for Uzi’s mission.
“Chrome Heart Tags” is a particularly exciting track, featuring production from Chief Keef, who is quickly becoming underrated as a producer. Only he could spit out three world class pop-rap songs and ignore them when album time rolls around. On ‘Urgency’ he and The Internet’s Syd lull the listener into a false sense of security, as though the chaos that permeates ‘Eternal Atake’ has finally ebbed away.
LUV Vs. the World 2 doesn’t really.
Listening to Uzi rap this free is like watching an Olympic swimmer: He’s flying and I’m exhausted for him. The duo create a hazy, hallucinogenic experience; disconnected and spacey, but with enough heft to punch in the weight class these two fight in.
Eternal Atake has a loose concept—something about abductions, aliens, and space, alluded to with a few skits and an album trailer—but none of that really matters. On “Venetia,” Uzi sums up his stance with matter-of-fact directness: “I'm not from earth, I’m from outer space.” Some of Uzi’s excessively weird tendencies may be clever marketing tactics rather than the whims of an eccentric genius, but wherever the origin of his identity comes from, he plays his role with believability, authenticity, and passion. Then, there’s the delirious ballad “Chrome Heart Tags.” It’s bigger, but Uzi is still rapping about heartache and brands few can afford. There isn’t an artist in the hip-hop game right now that is better than Lil Uzi Vert at making songs that people are going to want to create trendy dances to.
No one on Earth sounds like him, and he’s well aware of this fact. Not even two years (an eternity in rap) was able to hold back Eternal Atake, an album that will be chased for years to come. It became known by fans as the Uzi opus forever locked away by greedy label heads, but, if it ever did find its way out into the world, it would be a landmark moment for an entire generation. But he rarely stays in one specific style for more than a song or two.
As is common with projects that are put on delay like this (TLOP, ASTROWORLD, etc) there is a lot of hype that develops for the project, much of which is rooted within the frustrations with the delayed released and that artist either already having classics under their belt or showing a lot of potential or promise.
The delays, label fights, and general chaos surrounding Uzi’s much discussed Eternal Atake reached near-Detox levels of notoriety, but the album has finally arrived, and boy was it worth the wait. Lil Uzi Vert has never rapped this well. Pitchfork is the most trusted voice in music. While EA may not have any straight-to-number-one singles in the vein of “XO Tour Llif3,” the album’s consistency across one hour and 18 tracks suggests that Lil Uzi Vert is at the top of his game.
Lil Uzi Vert’s Long-Awaited Eternal Atake Should Have the Competition Taking Notes.
And somehow, Uzi met those expectations. We’re welcomed by opener ‘Baby Pluto’, which fuses Uzi’s acclaimed flows and braggadocio with a clashing trap instrumental. Uzi is not just compiling a list of brands; he paints colorful scenes down to the specificity of his Air Forces or a tag on his beanie.
And it works with thrilling results. A typical Lil Uzi Vert song boils down to a few core topics: the millions in his bank account, the cars an average person wouldn’t know how to start, jewelry that wouldn’t shine on anyone else, clothing brands that most can’t pronounce, and girls who would never bat an eyelash at someone other than Uzi. In the meantime, while Uzi beefed with a suicide cult, squared up with Rich the Kid in a coffee shop, had a short-lived retirement, and became a semi-professional Triller dancer, his delayed third album, Eternal Atake, developed a mythical aura. On “You Better Move” he raps, “I live my life like a cartoon/Reality is not my move.” It’s the most self-aware line of the year and crystallizes where Uzi is on the rap food chain right now.
© 2020 Complex Media, Inc. All Rights Reserved.
He has always been capable, but much of his breakout mixtapes took a bright and singsongy approach to pair with his lovestruck personality.
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