Mirroronnarecord: the Wale album review
On a chilly November night, a crescent moon illuminates the peace of solitude and the pain of melancholy. The dark sky, devoid of distracting stars, is only adorned with the moon, standing alone in its radiant and somber glory. This same moon unveils both sides of vulnerability, the consequences of betrayal, and the assurance that follows agony.
Wale’s “everything is a lot.” a concise 18-track album with a runtime of under an hour, delivers on the promise of growth that fans expect from their favorite artist at this stage of their career. Often, artists with nearly two decades of experience struggle to find fresh ways to connect with their fans, leading to half-baked attempts at experimentation. In contrast, Wale doesn’t seek a new direction; instead, he doubles down on his foundation. He navigates through the complexities of failed relationships, depression, survivor’s remorse, and the pressure of being accepted by his parents, all while radiating an unparalleled brilliance.
On “Power and Problems,” the rapper examines the paradoxical nature of isolation he’s encountered in past relationships. Wale delivers a powerful performance, singing one of his most impactful hooks yet. He proclaims, “My power, I’ll never need no one / My problem, I’ll never need no one / My trauma, I’ll never be comfortable.” Produced by Ghostnote and OzMoses Arketex, the seventh track possesses a unique quality, seamlessly blending the characteristics of a single and a deep cut. This unique blend has contributed to its early popularity among fans.
Wale’s introspection extends beyond estranged girlfriends as he mentions his mother and parents throughout the album, hoping to gain their pride and alignment on how his life should be. Whether it’s finding a wife, choosing a different career path, or both, Wale acknowledges that they want the best for him, even if he may not reach those standards. He further explores his inner reflection by turning the “Mirroronabenz” on himself. Notoriously known for being too emotional, Wale confronts the truth about how his jadedness has eroded his self-esteem, resulting in a song of self-affirmation for himself and fellow black men. In the first verse, he raps, “And I know you just a mirror, but my fear is only you / Therefore, them lil’ boys ain’t nowhere near you / Don’t care but just annoyed that they be playing you.” This revelation comes as an overdue awakening, considering his talent should have led to recovery years ago, but the many obstacles he’s faced often feel insurmountable. Contrarily, when it comes to the art of rap and its subsequent songwriting, Wale stands atop a short list of contemporaries. Wale delves deeper on “Survive,” featuring Ty Dolla $ign and Nino Paid, where he addresses his survivor’s remorse through the loss of friends to success, drugs, and street life.
As dark as the night can be, the inner light of our glowing moon radiates a beauty. Despite the vulnerability that exposes grief and alcoholism, there’s also the vulnerability that shines a warming light on the excitement of yearning for a new interest. The R&B collaborations with Leon Thomas (“Watching Us”) and Andra Day (“Like I”) shift the emotional intensity of the album, while songs like “Where To Start,” “YSF,” and “Tomorrow Today” give EIA a much-needed energy shift. If there’s a sample in the production, count the record as a body. Very few, if any, can compete with Wale’s sample use, especially an R&B sample. See “Conundrum,” “Belly,” “Where To Start,” “Watching Us,” and “Fly Away” as proof. With and without features, Wale wears his bandaged heart on his sleeve, bearing it all with high hopes, good vibes, and magnificent melodies.
When discussing “Fly Away,” two aspects stand out: its intricate rhymes and its connection to Wale’s previous album, “Folarin II”, released in 2022, featured the revered “Dearly Beloved,” a song that resonated with fans but was arguably too short. Wale’s use of Sheryl Ann Padre’s rendition of Maxwell’s “Pretty Wings” hints at the deeper narrative of the song. However, upon listening to the lyrics, it becomes evident that the smoothness of the music doesn’t restrict Wale’s poetic genius. The first verse employs inner metaphors related to traveling and theater, while also grappling with the inevitable end of the relationship. Fans of all levels have consistently sought Wale’s poetic pen on social media, and now, they have found it in “Fly Away.”
So, what’s wrong with this album? The first mistake is not adding “Max Julien” to the final sequence. Released in October 2022 and seemingly the beginning of this current era, the single features all you expect from a Wale rap song and complements the album’s sound, lyrical content, and overall tempo.
Next, there’s a minor glitch in sequencing, but the album is so good that it’s hard to nitpick at. Although great songs, “Michael Fredo” and “Where To Start” fall in slightly awkward placements, but because they’re so good, it’s such an easy thing to ignore. And to be fair, sequencing is tough.
Lastly, out of all the features on the album, there’s only one that didn’t quite land as well as the others. As he has on this album and previous works, Wale took the chance to give a newcomer a platform, but “Survive” simply wasn’t the best opportunity for Nino Paid. This isn’t to say that he isn’t good or won’t be big one day, but it is to say that the song and its collaborator just don’t complement each other. The upside to all of this? Many will see that as nitpicking, and if you agree, then you’re most likely giving this album a 10 out of 10.
In a year that saw a dip in commercial performance for Hip-Hop, the art form itself has experienced a significant uptick. From album rollouts to fan engagement and the quality of music itself, the culture and those who truly embrace it, regardless of their role, have experienced a memorable year. Wale concludes the year firmly. Although we haven’t seen him reach some of the same commercial successes, very few of his peers have been able to improve and refine their art like him. Everything on this album shines on every level. The content is real and poignant, the lyrics are exceptional, the flows are unique, the production is perfect, and everything feels thought out. This album doesn’t boast in big features, big producers, or, unfortunately, big marketing, but what it does boast in is self-discovery, confidence, purpose, execution, and hopefully healing. Many of us focus on the opening lines of the striking intro, “Conundrum,” but Wale croons “I gave this sh*t my all” as it ends, and that couldn’t be more true. The world around DC’s ambassador may be dark and filled with costars at times, but the moon that Wale is will always shine in any form he’s in.
Smart Assessment:
9.5/10
“everything is a lot.” easily shoots up to a top three or four album in Wale’s discography. The final placement will come with time, but Wale should be proud and praised for giving his all in this body of work and doing so well with so little.
I know I said sequencing is hard, but I took a stab at it anyway. Click here to experience EIA with Smart’s touch.
