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Pusha T – King Push – Darkest Before Dawn: The Prelude | Album Review

How does King Push – Darkest Before Dawn: The Prelude compare to Pusha T’s last album My Name In My Name?

Pusha T - King Push – Darkest Before Dawn: The Prelude

Source: Artwork

Pusha T finally dropped his second studio album King Push – Darkest Before Dawn: The Prelude. Just like the title suggests, this ten-track record serves as a taster for his highly anticipated album King Push, which is expected to drop in 2016.

Pusha T continues where he left the last album, My Name Is My Name. The sampled beats and god level bass remains at the forefront of Pusha’s production while making room for some rapid high-hats and trap-influenced beats. While delivering a similar style, the overall production feels crisper than his last album. It’s heard in ‘Untouchable‘, which uses a similar style of drums but with a Notorious B.I.G sample that gives it a sharper edge. Also tracks like ‘Crutches, Crosses, Caskets‘ and ‘Got Em Covered’ sound like an updated version of MNIMN tracks ‘Numbers On The Board‘ and ‘Suicide‘.

The overwhelmingly obvious Kanye West-influenced track ‘M.P.A‘ is the album’s most underwhelming song. With the likes of Kanye, J.Cole, A$AP Rocky and The Dream all working with Pusha on this track, there’s no room for them to make much of an impact. While The Dream sings the intro, Kanye and Rocky are restricted to share a singing role on the hook that doesn’t do either of them justice, while J.Cole settles for a production credit. The soft instrumental track sounds like it’s come straight from Kanye’s My Beautiful Dark Twisted Fantasy album, but in all fairness, it compliments Pusha’s voice while he talks about three vices – money, pussy and alcohol.

As expected by now, Pusha T presents a consistently high standard of lyrics and wordplay throughout the album. ‘Sunshine‘ featuring Jill Scott, is arguably the album’s lyrical highlight as Push forces on the topic of how African-American’s are portrayed through the media and references Freddie Gray in Baltimore. These well-crafted words are enhanced by the FKA twigs inspired instrumental that works perfectly with Jill Scott’s unique voice.

It’s easy to miss Pusha T’s clever wordplay while powerful instrumentals like in the ‘Intro‘ and ‘M.F.T.R‘ featuring The Dream dominate the tracks. Just like MNIMN, Push gives the listener a consistent performance leaving little room for error. Overall, it’s another quality album and an improvement from MNIMN. This album is a prelude to King Push, so if this serves as a starter then we’re excited about the main course.

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