ASAP Ferg produces a new album of background music and demonstrates little on an offering that feels both rushed and dated.
Opening with two equable tracks, ASAP enables verse establishing himself over songs named after celebrities Marilyn Manson and Dennis Rodman, dispatching an effortless verbal showcase. Bragging of the usual camaraderie elements that include jewels, misogyny and riches, these tracks though not unusual, gain respect through its production. The 10 track album opens as it means to go on, gracing speakers with lyrics that seem like they were pulled from a leftover writers auction or put together in haste.
The small haul of tracks shows some signs of promise, as a southern style beat opens up on In it featuring Mulatto. The content is lacking, though the track’s production carries both artists, and they make up for this with flow as I am compelled to switch off a download that feels like it is taking up valuable memory.
Alas, not much fortune is gained from awaiting the next offering ‘No Ceilings‘ featuring Lil’ Wayne & Jay Gwuapo, where a severely outdated autotune is grafted onto a beat that feels like it has been repurposed from the producer’s catalogue and dusted off for low-cost sale. Think of a knock-off t-shirt doing its best to emulate your favourite brand.
The next joint – ‘Mask‘ feels enveloped from the rest of the track listing, gathering momentum as if from nowhere. Its beat, brimming with bass, features artist ANTHA who matches ASAP pound for pound, edging the track and ultimately makes it her own before a welcome intermission kicks in.
‘Move Ya Hips‘, a song featuring Nicki Minaj & MadeinTYO feels like a group threw together verses for the sake of it, and surprisingly, Nicki Minaj actually sounds ok. Though it is not enough to resurrect an album that trashed itself as it was being recorded.
Value and Aussie Freaks are saved only from the fact we know the album is coming to a close.
Puff Daddy features on the last track – Hectic, a politically charged song that strays far from the album’s tempo: “They act racist to our faces, huh (Get hectic), Feel oppressed and won’t say shit, huh (Get hectic), Am I silent? Audacious (Get hectic)”. Hectic is better served in isolation, though it’s inclusion is welcome. It’s electronic beat similar to one of Mick Gordon’s, later transitions to another where Ferg occupies another state calling for justice and accountability.
Floor Seats II wasn’t the best offering, giving little more than a nod to the fact ASAP Ferg can rhyme. It feels rushed, staggered, but more importantly – not the standard we expect from a professional recording artist. Though this is a poor outing – it’s survived by the artist’s enthusiasm and its track production. Thematically this is a party album, but if ASAP is looking for acclaim, he won’t be getting any here.