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Cole’s.” The bars seems both scarce and comparatively unmoving. Elite, the executive producer of the album, was quoted saying the album is mostly “from a perspective that is not J. However, we can tell that this is not Cole’s most free, most sincere voice. While the album’s theme of fatherhood is made clear in the final track, the first half of the album seemingly dilutes Cole’s focus. 1 he heartwarmingly swoons over a much-loved partner. Ville Mentality mentions thirsty girls, while on She’s Mine Pt. On Immortal Cole talks drugs and witnessing murders.
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However, his scope seems somewhat ambitions for a 10 track project. One cannot resist a smile when Cole charismatically raps: “with bananas and some almond milk/I never thought I’d see the day I’m drinking almond milk”. “Foldin Clothes,” despite a lackluster execution, remains a heartwarming praise of a working class, non-gendered simple love. From the bold trap hit “Immortal” to the minimalist masterpiece on the title track to the gentle vocal-driven melodies seen on She Mine Pt.1 & 2, Eyez is both an instrumental and melodic success.Ĭole also stays somewhat true to his lyrical reputation telling stories of family, friends and strangers in the context of the ever-important issues facing the black community. The instrumentation is lush from the strings to the trumpets one cannot fault the production quality. As a J Cole fan since 2009’s The Warm Up, I cannot say that Eyez stacks up to his previous efforts.Įyez has a lot going for it. He’s evolved since then, and that’s great, but why does his path to enlightenment have to be the only one? It’s jarring for an album spawned by structural racism to fall back on lines like, “The only real change come from inside” (“Change”).In all honesty, I feel let down by Eyez. This is the same guy who made distinctions between “sisters” and “hoes” (“No Role Modelz”) and began his sophomore album with a declaration of his right to say faggot (“Villuminati”). When Cole reduces violent conflict and upward mobility to matters of vague principles, he’s shrinking into himself rather than connecting to others. Scoffing at nice rides and referring to retaliatory violence as ignorance and poison may seem like well-earned wisdom, but it’s really a failure of empathy. And it can be that way because Cole’s got four albums and multiple world tours under his belt. 2,” which radiate love and are some of Cole’s most endearing odes to romantic love, partnership, and parenthood. These values shine on songs like “Foldin Clothes” and “She’s Mine Pt. Cole’s world is a land of humility, domestic work, family, and good, educated decisions. Lines like these don’t sink the ship, but they do mark the margins of Cole’s everyman trappings. “Neighbors” is ostensibly about Cole’s inability to escape racism no matter where he lives, but between the restless nights and unsolicited cop visits, Cole squeezes in an odd humblebrag: “In the driveway there’s no rapper cars/Just some shit to get from back and forth.” Elsewhere, on “Change,” a song that’s allegedly about evolving, he conservatively raps, “Bloodshed done turned to the city to a battlefield/I call it poison, you call it real.” Likewise, “Change” also features this chin-grabber: “I believe if God is real he'd never judge a man/Because he knows us all and therefore he would understand/The ignorance that make a nigga take his brother life.” Cole’s good intentions aside, this a way of talking about crime among blacks that's more interested in blaming than understanding.
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Despite leaving off “False Prophets” and “Everybody Dies,” buzz-building tracks that embody the “king-of-rap” ethos that Cole disavowed on “Fire Squad,” a pestering condescension lurks. The album only falters when Cole’s empathy reveals its limits.