Album Review: Denzel Curry - ZUU
To be presented with another full-length project from famed Florida rapper Denzel Curry so soon after his sprawling 2018 opus TA13OO is surprising, but one look at the comparatively succinct ZUU and its raison d'etre becomes distressingly clear. Denzel has never shied away from his roots, but none of his previous records have so consciously embodied the sounds of the Miami trap scene, for better or for worse. The appeal of contrasting the melancholy, introspective moodiness of TA13OO with a concentrated burst of enjoyable, derivative bangers is obvious, but while Denzel no doubt had fun creating it, ZUU embodies that spirit only superficially, and the lack of depth is an issue the album cannot rise above.
The trap-heavy pair of RICKY and SPEEDBOAT released in anticipation of the record, while moderately enjoyable, foretold the project's eventual mediocrity in their underwhelming lyrics and reliance on trap clichés. Despite the former track being an explicit homage to Denzel's father (and his unwavering support of the rapper's career), its generic instrumental and annoying hook are far less compelling than SPEEDBOAT, whose melodic beat at least effectively matches the lyrics paying tribute to deceased rapper and alleged domestic abuser XXXTENTACTION, a former friend of Denzel. The anguish present in "My dawg didn't make it to 21, so I gotta make it past 24" is palpable, even if its subject is less than deserving of such an homage. Most of the other cuts here, however, have neither the creative production nor the gripping lyrics to earn a comparable amount of interest.
Denzel's most apparent asset, readily present ever since his 2016 breakthrough Imperial, is his relatively competent technical ability, which pays dividends when paired with lavish production and elevates him above most of his peers with ease. That record was similarly brief, but at least had a noticeably ominous air that meshed well with Denzel's coarse delivery and let him project his malevolence with barely restrained fury. Such malice is notably absent here, save for the closer P.A.T. which, despite a delightfully abrasive beat from longtime collaborator Ronny J, feels performative in Denzel's delivery of almost clever bars like "We'll rob you for your chain, probably pistol whip your ho/We carry hollow tips 'cause it reflects what's in my soul". The guttural growl of PlayThatBoiZay as he spits "All black, sticks out like I'm Voldemort" on the chorus is amusing, but ultimately a pale imitation of Denzel's more ambitious moments.
Speaking of, the features here are another carefully curated aspect of ZUU used to pay homage to the past and present of Florida hip-hop. Local talent Ice Billion Berg contributes a distorted hook to CAROLMART, and Kiddo Marv capably mimics Denzel's blend of arrogance and self-reflection on the dreamy, atmospheric WISH: "Every week another funeral, only time we go to church". Rick Ross reiterates his tendency to deliver guest verses better than any of his solo material, his appearance on BIRDZ oozing with effortless swagger and humorous quips like "Snort a line of this, I bet you clean your room" that provide an effective counterbalance to the beat's frantic energy. It would be impossible to argue that this record embodies Florida trap music in every aspect, yet such a blatant use of established genre stylings leaves little, if anything, to surprise listeners with.
Given the scope and quality of TA13OO, it can be difficult to reconcile that album's maturity and diversity of sound with Denzel Curry's history in the Miami trap scene that burst into the mainstream off of charismatic yet vapid Soundcloud viral hits. ZUU accomplishes, reasonably competently, what it set out to do: hark back to that scene's independent roots and rough, unfiltered passion while paying homage to Denzel's friends and contemporaries. Problem is, the sounds of trap have flooded the landscape of modern hip-hop to the point where such an unambitious project feels utterly pointless, the occasional standout beat or impressive verse being its only other merits. That Denzel is unable to provide enough personality or wit to save it is doubly disappointing given his recent work marking a high point in his career, and in the genre as a whole. Until he returns to producing more thoughtful, cohesive records, it's difficult to imagine Denzel even approaching the standard set by TA13OO, an unfortunate notion given his obvious talent.
6/10
Favourite Tracks: ZUU, BIRDZ, SHAKE 88
https://open.spotify.com/album/6PkSBdx19zarn4ae1D08gA