Pop Smoke — Shoot for the Stars, Aim For the Moon: Review
2020 has had many unfortunate events happen so subsequently, that in our own modern way one could say it’s the start of another Depression. Though not as great as the 30s, since the US is the only one still in parallel. Through this current Pandemic and the loss of icons Kobe Bryant, Carl Reiner, and Pop Smoke (in his own right).
The rapper’s unfortunate passing came at the height of the New York City drill trend. The amount of hype driven behind his collection of Meet The Woo mixtapes flooded over into his debut Shoot for the Stars, Aim For the Moon. Unfortunately Pop Smoke bridges too many waters where some pass and others don’t.
Pop Smoke’s voice is iconic in its own way with its gruff abrasive demeanor. Though when the album crosses the paths of more calm and subdued R&B it dissuades into mediocrity. It’s like being seduced and crooned for by what we believe bull dogs to sound like in a movie. This is what drives that second half into a repetitive series of songs that doesn’t drive home many awe inspiring moments.
The first half, however, shines with vigorous bars and strong flows. It never threshes the borders of mediocrity, like “Gangstas” and “For The Night.” Both reminiscent of early — pre Shady Records 50 Cent in. The similarities vary far and in between style and delivery. And he really shines in that regard even if there are some questionable choices like on the sampling.
When it comes to sampling, unfortunately the lauded “Got It On Me,” doesn’t eclipse the word of mouth. The subpar use of “Many Men (Death Wish)” dilutes the structure and meaning of the track. The flip devoids the chorus from meaning. There is no point to create a party-hype track about having people wanting to kill you. It’s like people partying to Eminem’s verse on “Dead Wrong.”
When Pop Smoke doesn’t wander into mediocrity, the tracks he composes are a testament to his strengths. And the way he is able to curate proper transitions and features make it feel less daunting from the weaker ones, like Lil Baby and Karol G. The latter of which comes in with her basic self — like most of her tracks. It’s a waste of a smooth and tantalizing instrumental.
Most of the instrumentals embody fresh patterns and layers with more depth than a DaBaby song. The same can’t be said for the lyricism on like 40% of the album, but the mindlessness works with the stronger and harder hitting instrumentals, like on “West Coast Shit” produced by Mustard and Bongo ByTheWay.
Pop Smoke’s untimely passing is a travesty for the modern world with data tracking and the availability to dox, but he leaves a unique legacy for the many varying sounds that have grown from the city burbs. Shoot for the Stars, Aim for the Moon is a solid — label debut for Pop Smoke, even with some less desirable tracks. It leaves wonder about the ceiling he could eclipse and really transcend Hip-Hop.
