ARTIST: A$AP Rocky
ALBUM: AT.LONG.LAST.A$AP
LABEL: RCA
RELEASE DATE: May 26, 2015
Keepin’ it Real
Written by Silas Valentino
Harlem rapper A$AP Rocky may be one of the only players in the game who refers to his spiritual influences as lit. But that’s the approach to his sophomore record AT.LONG.LAST.A$AP (shortened to A.L.L.A. to remain consistent with the religious references) and the payoff has been successful. Instead of relying on the styles and themes found on his 2013 debut Love. Live. A$AP, he digs deeper, opting for a journey down the rabbit hole in search of solace after the passing of his collaborator and mentor A$AP Yams from earlier this year. Not only is the legacy of A$AP Yams present on the album cover, which shows a transparent photo of both Yams and Rocky melted into one, but you can hear the ambition and dedication Rocky applied to AT.LONG.LAST.A$AP to offer a suited farewell to a fallen comrade.
AT.LONG.LAST.A$AP kicks off with short speech, sounding intentionally similar to a reverend, praising our protagonist from keeping his soul from the devil before crashing into a guitar lick-heavy beat. “Church bells and choir sounds / Tell ‘em, ‘Quiet down’” begins A$AP Rocky, gliding on the theme of religion and spiritual redemption. This opening track, titled “Holy Ghost,” features one of AT.LONG.LAST.A$AP more fascinating collaborators: Joe Fox. An unknown guitarist and singer who just so happened to approach the right hip-hop superstar on the streets of London and was subsequently offered a gig on the spot after a short audition. A$AP Rocky takes Fox under his wing, continuing the spirit of mentorship he once had with A$AP Yams and giving credit to his legacy.
Easily one of the more exciting moments on AT.LONG.LAST.A$AP is the hazy, trippy single “L$D” which is carried by a smooth, electronic bass line sounding as if it had been drenched in hash oils or the synthetic drug the song’s title derives it’s inspiration. A$AP Rocky tones down the rapping and opts for some R&B vocals that highlight his range. The chorus is tight on this one, which is a reoccurring theme for the record where many tracks reach their heights during a cathartic release in the chorus. The same can be heard on the following track “Excuse Me” where Rocky’s rapping sits backseat to the explosive chorus, recalling the hip-hop/R&B hybrid of Kid Cudi.
Yet don’t let the highly produced choruses or velvet lounge vocals fool you – this is still the abrasive wordsmith that yanked our attention with his explosive debut 2011 mixtape and the bangers aren’t hidden for long. With help from Schoolboy Q, A$AP Rocky cranks up the rapid flow and braggadocio on the track “Electric Body” as well as on the potential club banger “Lord Pretty Flacko Joyde 2 (LPFJ2).” Those manipulated, deep baritone vocals that were fascinatingly jarring with his early single “Purple Swag Chapter 2” are present on AT.LONG.LAST.A$APthrough tracks “Better Things” and “Fine Wine.” This characteristic is one A$AP Rocky’s strongest and he’s not sacrificing his style even when embracing the Lord.
The final track on the album in the A$AP Yams featuring “Back Home.” With a spitfire piano melody, A$AP Rocky offers a eulogy to his friend with lyrics detailing the journey home, or the after life. After a quick verse from Yasiin Bey (formerly Mos Def) the track hits a sudden stop – before leading to a psychedelic return from A$AP Yams to finish off the album. It’s an appropriate farewell from the leader of the pack, reminding his colleagues to always strive and prosper.
With AT.LONG.LAST.A$AP, A$AP Rocky reaches for the heavens. Not just in terms of his high, drug-induced production but as a cheery farewell to his mentor Yams. In his absence remains one hip-hop’s more conscious-heavy albums of the year.