Murs-athon Pt. 18 - Captain California

Jesus, I've been slacking on this Murs-athon. I haven't written about an album from Nicholas Carter for a fucking year, even after seeing him live in November (which was awesome), when I was reminded that I still have like 5 albums to go in this discography run through. As you can probably tell by my lack of posts on the subject, Murs' discography has gotten... less interesting with time. He's still a great rapper, but thanks to a lack of risk taking and increasingly generic song and album structures, the last time I was truly blown away by one of his records was with 2011's Love & Rockets Vol. 1: The Transformation, an album you can often catch me playing to this day. Thing is, every album since then has definitely been likeable (his worst work, Sweet Lord, appeared much before that album), but nonetheless not something that stands out enough to revisit. I did think the last album I reviewed from him, Brighter Daze, was an improvement over the three projects before it though, so hopefully today's review will be successful. And if not, at least it'll open up the gateway for the two projects after, which I'm actually pretty hyped to hear. 

However, the subject of today's post, 2017's Captain California, is an album that I rarely ever see talked about when it comes to the Murs catalogue, even though it houses a song with one of the worst titles I've ever seen ("God Bless Kanye West" - if this title isn't begging for clout then I don't know what is). Yes it came out during Murs' tenure with Strange Music, a period in which he was arguably at his most commercially successful thanks to a newly found audience of Technicians, but in comparison with his previous record with the label Have a Nice Life (which is a... fine album) this one has no hits, and didn't land on the Billboard charts. It probably didn't help that this album came out while Tech N9ne's music was entering freefall after his legendary run ended via the mediocre The Storm (I'll probably get around to reviewing that album in roughly 73 years), but still, surely a Krizz Kaliko feature would have maybe convinced a few more of the Strange fandom to purchase this one?

Truth be told, I'm not really expecting this album to be much different from the last couple, even if there is one production credit I'm intrigued to hear. Have a Nice Life was entertaining enough thanks to the hit singles and fairly intriguing production choices, but being that the bland "Colossus" is my only taste of Captain California thus far, I'm wondering if this project will hold up at all. 

Still, it's Murs, so it's bound to be at least somewhat good. Then again, he did make Sweet Lord...

1. Lemon Juice (feat. Curtiss King) (prod. Michael "Seven" Summers)

Already, I'm excited, because this was possibly better than any fucking song on Have a Nice Life bar the title track. Since when did modern Murs become so tasteful? Firstly, the instrumental from Seven here completely erases all the memories of his woeful work on Tech N9ne's Dominion album from this same year, with beautiful sound effects and nice drums creating a bright and surprisingly melodic backdrop that feels incredibly rich - I keep telling people this guy is fucking underrated. And not only is the beat great, but the chorus is too! Not just "better than expected", but actually great and really catchy! And while I expect the rapping to be of a certain quality, this shit is just seriously hilarious, with Murs and Curtiss trying their best to get the attention of the same lady by putting each other down on wax. This was unique, catchy, and a brilliant way to start things. I could see myself coming back here, straight up. 

2. Shakespeare On the Low (feat. Rexx Life Raj) (prod. Wax Roof)

Alternatively, this ridiculously titled song (with equally ridiculous names on its collaborators - I mean, "Wax Roof"? Are you serious?) was merely alright. Rexx Life Raj isn't blowing anyone's mind with his generic, PartyNextDoor esque performance on the hook here, and I thought we'd already worked out that these fairytale aping storylines were a bad idea on 2010's "West Coast Cinderella". Whatever, at least the instrumental was of decent quality. 

3. GBKW (God Bless Kanye West) (prod. K-R.O.K.)

Mercifully, Murs' praise for Kanye doesn't extend beyond the first line of the chorus here - this song is much more serious and moving than its silly title may imply. The track is actually about how everyone needs a prayer, whether it be a young Target worker who finds himself constantly chastised by gang members/police officers (whom is the subject of the excellent verses on this track), or a multi-millionaire who is constantly chastised by the press and general public for his every action (and remember, this was 2017, before Kanye started doing things that really did deserve all the scrutiny). Musically, this song is awesome, with the instrumental building and deconstructing itself at appropriate times to make for something very intense, while Murs drops great verses and memorable hooks that once again aren't annoyingly repetitive, like some that appeared on his previous few records. This was really great. 

4. Colossus (prod. DJ Rek)

On this more generic trap banger that brings up memories of "Two Step", Murs raps from the perspective of the bloke depicted on the single cover of this record, and it's... not really that inspiring. Murs was never the correct rapper for these types of instrumentals, especially when he's talking tough as nuts with total disregard for the softer persona he conveyed on almost every record since Murs 3:16: The 9th Edition - and it seems a little ridiculous at the age he is here in particular, even if, yes, he's speaking about someone else. This just doesn't move me, and seems especially jarring after the genuinely awesome previous track. Also, the hook sucks. 

5. Another Round (feat. Krizz Kaliko) (prod. Michael "Seven" Summers)

After some intial synths that are more than a little similar to those on "Pussy and Pizza" (sorry, I'd better stop the Have a Nice Life comparisons), Seven drops in his second hitter of the night in this great track that's only slightly marred by Krizz Kaliko's incredibly overdramatic vocals. Look, I'm a Krizz fan (I even, shockingly, own a couple of his albums), but when he starts singing in that ridiculous operatic tone I really have to tune out, At least the melody is solid, and it gives Murs room to drop two powerful (if somewhat hypersexual) verses that really hit you in the feels, and a short and sweet hook as well. Let's hope that this album doesn't keep up with this up and down streak - because when it's on, it's some of the most interesting Murs shit in a while. 

6. Xmas and Thanksgiving (prod. DJ Fresh)

A bit of an iffy one this, although it certainly isn't outright weak. One of the first instances of Murs teaming up with DJ Fresh (who I believe went on to produce 2020's Love & Rockets Vol. 2) is a shorter track about the story of a woman who ended up becoming a full time prostitute, and quite a successful prostitute at that. The problem is... I'm really not sure what this song's message is. The track seems very insensitive about the subject, which to me is that of someone who's lost their way in life - it's almost as though Murs is making fun of this person, especially in the bullshit hook, easily the worst element of the track. Of course, do what you want with your life, but is this really the correct way for Murs to address this? At least the beat was dope though, and excluding the hook the verses are decently written, offering insight on what leads one to this path. But overall, this just feels incomplete and, how can I put this.... slightly off. Hmm.

7. Summer (prod. MOD)

Although this track does bare similarities to a song I previously slated, "Colossus", I actually really dug this joint, produced by yet another bloke I've never heard of in my life (according to Genius.com this is in fact his only credit). The instrumental on here is booming, creative, and definitely gets the head nodding with it's deep 808s. I love it. And Murs sounds right at home, rapping from the perspective of a gang member who watches his friends get arrested and killed, yet continues to bang and even enjoy it, as that's all he knows. And unlike "Colossus", this song truly feels tragic, with the synths in the beat creating a tension that kind of exemplifies the hopelessness of the track, and the powerful return to "and I can't wait til the summer comes" as each chorus comes back around, showing that the ways will never change no matter what the protagonist goes through. See, when Murs gets serious he can create something truly great - this is excellent. 

8. 1000 Suns (prod. Michael "Seven" Summers)

Murs drops an ode to his wife, one that seems much more positive than the previous one of those we heard, "If This Should End" off of Brighter Daze. Here, it seems like Murs' marriage is still going well, which is of course great for him, except I am aware his next album is largely about their divorce, which makes this song much more tragic in the cold light of day - I think Murs has since found a new wife, which is great news of course. Seven's third and final instrumental of the night is as quality as you'd expect, if it feels a little skeletal at times, and Murs' rhymes are deep and really well thought out. This is one of the most mature songs he's done yet - excellent work. 

9. One Uh Those Days (feat. Reverie) (prod. DJ Mr. Len)

In the intro paragraphs I mention one song I was particularly hyped for based on the producer, and this one here is that very song, as of course Mr. Len is of the legendary Company Flow, one of the greatest hip-hop groups of all time, and the starting point for my favourite artist El-P. I'm not sure how this collaboration ended up coming together in 2017, but I'm damned glad that it did, as this beat is sick as hell, sounding much more like a proper underground tune than anything else from this album. This cut as a whole in fact almost reminds me of the Murs Rules the World days, as Nick's storytelling here is fascinating, with a funny ending that is also kind of powerful when you realise how close the guy he's following came to losing his life, only for one action to unknowingly save him. Reverie's guest appearance is also pretty awesome, as she comes with her signature "fuck this dumbass bitch" style. In fact, my only question is why the hook is so repetitive - the melody is fine, but when it's only the title repeated over and over it just sounds like they forgot to record over a placeholder audio. Whatever, this song is dope anyway. 

10. G Is For Gentrify (prod. Wax Roof)

Murs takes a moment to get all conscious hip-hop on us here, and over a jazzier instrumental from Wax Roof (him again!) to boot, albeit one with a slightly jarring drum loop that works well during the chantable chorus, but feels a little out of place during the verses. This track discusses the gentrification of L.A., as well as the insensitive ways that gang violence is often portrayed by the news and media, and it's definitely a well written track that incorporates elements of storytelling that are evidently essential to what this record is trying to do. While I was put off by the gimmicky title of the song initially, I find this to be a good one, even if it's best moment is perhaps when the pleasant instrumentation plays out towards the end - it is always nice when rap albums give the music some room to breathe sometimes. 

11. Animals Damnit (feat. Beleaf) (prod. Buttercream Bob)

Buttercream Bob. That's the name of the guy who produced this. God help me. Still, his work here ain't half bad, certainly good enough to forgive him for that ridiculous fucking choice of a stage name - the beat really does make you feel like you're traipsing through the jungle, especially with those weird ass noises that come in during Beleaf's passionate chorus. Murs' incredibly long verses on this one are pretty cool too, even if by the end it does feel like the song is overstaying it's welcome, given the simplicity of the instrumental that doesn't really change up at any point. But I guess the focus of this one should be mainly on the rapping anyway, and the performance from Murs is dope as he recounts tales from the hood that are fitting with the mood of this record. Could have done without the silly intro news report skit though. 

12. Ay Caramba (prod. Anthony Cruz & ARCiTEC)

Kind of an unexpected sound for this album to head into, but a welcome one - this beat is nice, with some very interesting 808s waving around these trap drums and a bouncy synth that make for a soundscape that sounds skeletal but also bangs hard, and has actually aged pretty well. Still, I'm not sure this was the best instrumental for the topic at hand - Murs' affair with the chick from "The Worst" (I'm just guessing that the tracks are connected) has gotten even more out of hand, and she's about to have his baby. Ay Caramba, right? Aside from the repetition of the title which was slightly annoying, this was a pretty nice banger - but again, I think the musical direction on the aforementioned song "The Worst" was definitely more appropriate for this type of concept. 

13. Wanna Be High (feat. Big Too Big) (prod. Wax Roof)

Oddly, the album ends with a very long skit in which Murs converses with Big Too Big over some pleasant music. Murs never really included anything in his discography like this before, and while it does bring up memories of older classic mainstream releases that would have these long-ass interludes (think Supreme Clientele in particular), I can't say this'll be one I play out every time. Still, it's fun. 

Like with every Strange Music release since roughly 2009, this album had pre-order bonus tracks which weren't available on the CD - however, the two tracks here are easily accessible as they were also released as singles on streaming platforms. So let's check them out. 

14. Survivor (prod. Oh Gosh Leotus)

An autobiographical one verse wonder which I guess was meant as a teaser for the album, as it was released as the lead single around a month in advance. This track doesn't appear to have much traction, which is a shame, as Murs does a great job over this powerful instrumental rapping about his career and his impact - you know, it's amazing how humble and yet simultaneously confident one man can come across on the same song. But Murs is certainly a unique figure, and it's great when an artist can reflect on certain things like this in a song - it's clear Murs is feeling a little better here than he was when he wrote the somewhat bittersweet "Have a Nice Life" (which felt similar in structure to this one). Honestly, if "Lemon Juice" wasn't so awesome then I'd question why this wasn't included as the opener. Dope stuff. 

15. Same 'Ol Day (feat. iMAYDAY! & Eric Biddines) (prod. Bernz)

Murs has historically teamed with Florida group iMAYDAY! ever since he signed with Strange Music in 2014, but since I never listened to their collaborative record, this is pretty much the first taste I'm having of what their collaborative music sounds like (excluding their Strangeulation Vol. II cypher), and it's pretty good, if clearly more of a iMAYDAY! track than a Murs one. Bernz' smooth bassline makes for a calming backdrop to this track about putting on a smile through the worst of times. It's a nice track - the hook is fun, and the guest rappers make the most of their time here, especially Bernz who probably does the best (our host sounds a little out of it on this one). This is certainly decent, although not exactly something that's got me jumping to listen to iMursDay! just yet. 

So, there you have it. Murs' sophomore Strange Music solo venture (try saying that quickly 3 times in a row). Honestly, while this thing is pretty inconsistent at times, and doesn't appear to have any real direction (although Murs stated that it was "a return to his L.A. storytelling roots", so that's something to go on), I liked it quite a lot. This album has aged far better than most of the blatantly mainstream sounding Have a Nice Life, and yet also sounds like it's going to be much more replayable than the 9th Wonder collabo Brighter Daze - in fact, it might just have those two beat, which I'm finding surprising since this silly album title/cover and amalgamation of unknown producers stacked the decks very much against it. Captain California is a legitimately good record, especially once you get through the initial wobbles of "Shakespeare On the Low", a concept that was never going to work, and "Colossus", a concept that simply didn't work regardless. Generally, the ideas for these songs as well as the execution and overall sound makes this album far more appealing from front to back than Murs' inconsistent previous solo work, even including the two pre-order bonus tracks. The highs are just as high, with "Lemon Juice" and "GBKW", as well as later cuts like "1000 Suns" and "One Uh Those Days", stacking up to "I Miss Mikey" and "Woke Up Dead" (although admittedly nothing could surpass the title track from that album) - only without the added baggage of blandness ("Pussy and Pizza"), overproduction ("Mi Corazon", "No More Control") and plain old stupidity ("Black Girls Be Like"). And this is coming from someone who actually enjoyed Have a Nice Life! Having come into this record expecting it to be pretty uninteresting, I've left with even more excitement about what's to come in the next few Murs records, and another great album from the dude to add to the ever-growing list. How I ever lost faith in the guy I don't know, because Murs of course again delivered. He's fucking dope! 

Expectations: Exceeded 

Best Track: "GBKW (God Bless Kanye West)"

Worst Track: "Colossus"

A shit-ton of other Murs reviews are available over here!

An Atmospheric Journey, Pt. 5 - Seven's Travels

Despite a lengthy gap between the first and second proper studio albums in the Atmosphere catalogue (filled, mind you, with a few EPs and a large cassette mixtape), the gap between God Loves Ugly and it's follow up Seven's Travels was rather short, at around one year. And it's easy to see why. The success of the God Loves Ugly album was unlike anything the duo could have expected - this project was incredibly well received by the entire hip-hop scene, and sold in numbers they wouldn't have dreamed of years before - this thing even entered the Billboard 200 for God's sake. It even had certain major labels asking to sign the duo, including names such as Interscope and Warner Bros that certainly aren't to be sniffed at. And while Atmos decided to stay independent and build their budding Rhymesayers label, it was still imperative to capitalise of off their newfound hype. Enter Seven's Travels. 

This next album is even longer than God Loves Ugly, spanning 19 tracks, plus a hidden joint as well. This thing seems pretty goddamn ambitious then, especially with it once again having just the one guest appearance, this time in their label's newest star Brother Ali. Atmosphere were clearly very confident in their abilities - the question is, was this confidence justified? Well, a lot of Atmosphere fans tend to argue that this project is one of the weaker ones released during the group's prime, but then again it does contain arguably their most beloved song ever, "Trying To Find a Balance", a song I'm incredibly excited to check out. 

So, will this be a worthy follow up to the brilliant God Loves Ugly, or a bloated mess that doesn't warrant the name Atmosphere on its cover? Let's find out. 

Again, all songs are of course produced by Ant. 

1. History 

A quick little introduction where Slug sings about making history over some pleasant piano and drums, perfectly setting a nice tone for the album. This isn't as impactful as "Onemosphere", but I don't think it was really trying to be - it's merely here to establish a mood, and it does it excellently. 

2. Trying To Find a Balance 

Starting things off with a bang, "Trying To Find a Balance" is one of the best fucking Atmosphere songs I've heard yet. I mean where to begin? The instrumental on this is fucking fantastic, with the female vocal samples permeating between Slug's vocals on the chorus in a way that almost reminds me of Aesop Rock's "None Shall Pass", only darker this time, and more anthemic. Every other aspect of this beat is incredible as well, mind - the string sounds that play on their own at the start before the drum beat bursts in with aggression, and the drum beat itself, which is one of Ant's best. This whole concoction is mesmerising, and Slug's vocals compliment it perfectly - I don't think I've yet heard this man sound quite so aggressive as he spits his revolution bars about the whackness of the rap game and the dilapidated state of his country. Even the chorus is sensational, especially during the repeats of the title. This might just be the best song in their discography yet. Jesus!

3. Bird Sings Why the Caged I Know 

On this slightly strange one-verse wonder, Slug spends a worrying amount of time fantasising about taking down, torturing and murdering some poor bird that he's seen flying around above him. Huh. Now of course Slug isn't actually some crazed killer of avian life - instead, he hates the bird because it can fly, free of all the troubles that lie in front of Sean down on the ground. Nonetheless, this one is pretty wild, and not for the parties - but that said, it is interesting, and Ant's instrumental helps the medicine go down smoothly. But let's hope Slug can find a slightly lighter place for his words to come from on the next few tracks....

4. Reflections 

On this joint, things are indeed in a more lighthearted place, as "Reflections" is a song about meeting a girl on tour who kind of reminds Slug of himself - almost like Eminem's "Remind Me" from Revival, only not horrible in every conceivable way. This track feels like it should have been one of the singles - the hook is catchy, the guitar laced instrumental is pretty funky, and Slug's bars are far more palatable to a wide audience than the song about murdering a bird merely for existing. "Reflections" is a legitimately fun and catchy track, and while that isn't necessarily what one comes to Atmosphere for, it is nice to have in small doses on an album like this. This is a good track. 

5. Gotta Lotta Walls 

And... we're straight into the deep end again, this time with a song all about Slug's deteriorating mental state. In the chorus here, he refers to himself as a house with lots of walls, AKA someone who it's very difficult to get through to - and most people don't care about most of his issues anyway, only wanting a couple of things out of him. It's a pretty dark concept, and during the verses Slug's lyrics become more and more depressing, as he discusses self harm and isolation - he also shouts out Murs at the start of this one, which is dope. Ant's work behind the boards here is similarly dark, the perfect backdrop to Sluggo's problems - my favourite moment being when the drums switch into something a little faster paced towards the end. This dark shit is somewhat difficult to listen to, but it is intriguing, and feels like a moment where we're starting to really delve into Slug's mind on the record. It's a very powerful moment. 

6. The Keys to Life vs. 15 Minutes Of Fame 

Wow. This one was unlike anything I've heard from the duo yet! The high energy and jumpiness here completely contrasts the previous track, with this sounding more like something to open a concert with than play whilst alone in your bedroom weeping. This shit was hype! And even then, lyrically it's still very strong, as Slug strings multiple metaphors about his not-quite-yet fame and his negative experiences trying to find success in the rap game. "The line between MC and comedian gets a little thinner, now it's nothing but roughage for lunch and punchlines for dinner". This whole song was 2 and a half minutes of pure energy, and I loved it. One of the best tracks yet. 

7. Apple

More of an interlude than anything, Slug takes 2 minutes to sing/rap in a rather gimmicky manner about rival MCs who he believes to be terrible at their art form - the title being in reference to how he'll place an apple on their heads to try to shoot off. It's a pretty funny song overall, but not really an emotional high or anything, so let's quickly move on to the next one - this one is just pure shit talk. 

8. Suicidegirls 

It's kind of unfortunate that over half of this track is taken up by some angry voicemails from some of Slug's previous lovers, as I would have loved to hear more of Sean over this experimental beat - like with quite a few tracks here this feels like nothing I've heard before from Atmosphere, and it's really awesome. When he does come in it sounds great, despite the mix on his voice being very quiet - "I used to pretend that I gave a fuck / now I do give a fuck, a little too much" is one of my favourite lines. Like the previous song this feels more like an interlude, but I'd put it far ahead of that one. This beat is nice!

9. Jason 

Just a skit, although I will say that drum beat in the background was nice. Otherwise, it's merely a prelude for...

10. Cats Van Bags (feat. Brother Ali)

I'm actually already familiar with this absolute fucking banger, and I almost wish I wasn't, as it would be absolute bliss to hear this for the first time again in the midst of this album. It just sounds completely unlike everything else, and in a great way. The incredibly rough synths teamed with some of the hardest drums Ant has ever cooked up make for one of the sickest beats I've ever heard, especially at the start when it drops in out of the weird scraping sound effects that begin the track. And although the hook is a little polarising (I still find it catchy, mind), Brother Ali and Slug absolutely do this fantastic instrumental justice with some of the best performances I've yet heard from them, as they go back and forth about the titular subject (touring, basically). The flow switch ups here make for some incredibly interesting verses, and I love the song's layout. "Flesh" was good, but as collaborations on Atmosphere albums go, this one pretty much wipes the floor with everything else. It's fucking insane, and might well be the best track here - maybe their best song yet. 

11. Los Angeles 

Kind of a random ode to the city of Los Angeles thrown in amongst these much more personal/artist specific tracks, but I still liked this, mostly because of how weird the beat is - it's made up of vocals where someone is doing their best impression of a drowning yet surprisingly melodic animal, simply placed over drums for one of the more standout backdrops of the evening. Lyrically it's a bit off, but overall this was a fun interlude. 

12. Lifter Puller 

Hey, I recognise that sample! Fans of modern mainstream hip-hop might join me in immediately noting that the sample here was later used (slightly more effectively, please don't shoot me Atmosphere fans) on Tyler, the Creator's song "Sir. Baudelaire", an instrumental actually taken from an earlier Westside Gunn track of which the name escapes me right now. And yes, the beat here isn't quite as strong as that one, but this song is still pretty impactful, if perhaps a little too long for its own good - at 6 minutes, "Lifter Puller" is a bit of a behemoth. Even so, Slug's lyrics about a failing relationship do tend to stick more often than not, and the vocal sample is very haunting and atmospheric (no pun). The storytelling lyrics here are exactly what I wanted to see from this act, and the story in question is told in a very engaging way. This is a good one. 

13. Shoes 

One interesting thing about this album is how it keeps going back and forth between impactful, full song length cuts, and shorter interlude-type tracks with much less serious subject matter. I can't really think of another album that does it this frequently, but I know I've got one somewhere. Anyway, "Shoes" is the latter, a song where Slug attempts to convince a girl he met to have sex with him whilst he's incredibly drunk - he fails, so props to him for admitting that in a world of incredibly insecure rappers who wouldn't dream of admitting such a thing. Still, this is probably the worst song yet - the instrumental is way too skeletal, the fake drunk voice way too annoying, and the chorus is simply unenjoyable. There are some fun moments on this one, but you wouldn't catch me bumping it. The metaphor here, allegedly about Slug slowly losing his mind whilst drunk, is also not that clever. Sorry.

14. National Disgrace

Slug's ode to those who became famous and made a hash of it, much like he perhaps intended to at the time, given the unstable personality he exhibits across some of these early records. This track, while not my favourite on the record by any means, is certainly an improvement over the previous cut - Slug's lyrics are much more focused, and Ant's instrumental manages to have a bit of a country twang to it and still not suck. In fact, the only part of this one I wasn't the biggest fan of was Slug's goofy singing towards the end, but of course it was perhaps the point to make himself look a bit of a "jerk-off" there. This is a pretty funny song, and it's good to see that Slug matured with age and didn't end up becoming the subject of this song, even if I do enjoy these more volatile early recordings a lot of the time. 

15. Denvemolorado 

Another shorter cut, this one almost entirely sung, which isn't great, although I did really enjoy the beat here. In fact, Slug's singing towards the very end of the song was actually pretty good - it's just a shame he had to initially overdo it in the verse. I certainly wouldn't skip this, but I'd be shocked if anyone named it a standout. 

16. Liquor Lyles Cool July 

Even if the instrumental here from Ant indicates this track as another more lighthearted moment in the tracklist, the one verse wonder from Slug is actually quite moving. Sluggo tells a detailed experience of sitting at a bar drinking, observing the place, and noticing a woman who he finds particularly attractive waiting there. He wonders in his head what she would think of him, what a relationship would be like - but never goes over, and they both leave having never interacted. The skit at the end places an interesting touch onto the story as well. I feel like this is one shorter song where it could have benefited from some elongation, but as it stands this shit was really well written. It's another highlight for me!

17. Good Times (Sick Pimpin')

One of the more relaxing moments on the record is this late game cut that appears to be one of the more popular on this record, and it makes sense, as this makes for very listenable music, even if it isn't really on the level of "Cats Van Bags" or "Trying To Find a Balance". Man this album has had some high points. The instrumental here is very much based on some airy guitar loops teamed with typical Ant drums, and it's pretty damned pleasant, and Slug's vocals here are strong as well for the most part, even in the more mellow chorus of the track. I won't lie and say this is a standout, but it's a solid effort nonetheless. 

18. In My Continental 

This track, as you might expect from the title, maintains a similar vibe to the last track - this one is all about Slug's thoughts and hopes that are going through his mind as he drives around in his car "splintered off the mental", which probably shouldn't be condoned. I really liked this one overall - the Slick Rick "Teacher, Teacher" interpolation paves way well for Slug's long and thought provoking verses, which are simultaneously meaningful and catchy, whilst Ant's groovy instrumental keeps your head nodding all the way through. I'd argue that this one might be an even better joint to relax to than the previous song. Awesome stuff. 

19. Always Coming Back Home To You

Like with the previous two songs, this closing track also has a relaxing feel, but unlike them, this guitar laced instrumental has something of a creepy vibe to it as well, and it's certainly a beat that stands out within the Atmosphere catalogue. The track consists of one long verse followed by a sung hook to finish, as Slug talks about various different people and scenarios he comes across whilst out on a walk that happen to remind him of his growing up - culminating in him revealing that this song might actually be an analogy for dying... maybe. If so, then his final line of "to find that she wasn't here, I was still all alone" is pretty powerful - this man isn't ready to die yet! This is a very powerful storytelling cut, and it's no wonder that it's one of Atmosphere's bigger tracks - I couldn't think of a better note to end things on.

But wait - after some silence, Atmos have one more song left in store for us. A hidden track, titled...

20. Say Shh

Slug's dedication to Minneapolis, Minnesota, the city that of course Atmosphere comes from - they were probably the first major hip-hop act coming out of there in fact. This track is a little more than a basic "I love my city" song, though - it's got a more significant meaning of taking what you're given and building something out of it. While Slug recognises that this city isn't the best in the world, it has a lot of positives that he sees that clearly outweigh the negatives for him - sure, the city doesn't have great night life and there aren't too many people to connect with, but that means there's places to park, and he can maintain a healthy lifestyle without wanting to go out all the time. The lyrics on this track are some of the most memorable on the whole record, and Ant kills the instrumental. This was a great way to close things out. 

In conclusion, I'm incredibly happy with Seven's Travels - in fact, it might be my favourite Atmosphere record yet, which I am aware is kind of a hot take amongst the Atmos community, especially given that Slug himself stated that he found this to be his worst work. For me, I don't really understand why - sure, some of the sequencing here was a little odd, especially when you had three interlude type tracks in a row from songs 7-9, and sure, "Shoes" is a bit of a whack moment that should have been left off. But man, this album is not only incredibly entertaining from front to back, but it also contains quite a few of the best songs the group have ever made. "Trying To Find a Balance" is the perfect opener, as Slug's passionate aggression mixed with Ant's dramatic and absolutely banging instrumental make for a brilliantly intriguing and catchy start to the record - whilst "Cats Van Bags" is a slapper with a sound that I really hope the group attempt more often in the future, as it's absolutely mesmerising. And there's plenty of other great moments here too - Slug's storytelling across the record is highly engaging, with most of the themes across the album still feeling pretty relevant today, meanwhile Ant brings the heat with a very varied but almost perfect across the board set of beats that will have you solemn one second and jumping right out of your seat the next. I really don't understand why so many people consider this one of the worst Atmosphere records! For me, this couldn't have been any better, and it makes me incredibly excited to see what they have in store next with the strangely titled You Can't Imagine How Much Fun We're Having - if there's been one thing wrong with the last two projects it was them both being a little daunting in length; but a 13 track project, released right in their prime? This is gonna be good. And for now, Seven's Travels stands as quite possibly my favourite Atmosphere record - don't let some of the bad press put you off, because this is a masterpiece of storytelling and production. Nice!

Best Track: "Cats Van Bags"

Worst Track: "Shoes"

Read up on my previous Atmosphere reaction/reviews over here!