Review Summary: I'm the burger king, having it my way.
I don’t think it’s too big of a stretch to say that both “Chiraq” and The Cozart
were surprising anomalies in Chief Keef’s career. The former is a strikingly pretty love letter to Sosa’s hometown that is heartbreakingly sincere and genius in its arrangement. It’s a unique song in the popular rappers discography and, because of that, its placement on this record is a bit jarring. Three songs into this surreal drill-pop with record is a downplayed ballad - the tonal shift is extremely distracting, especially since this track is immediately followed by “Soldier,” a bright club banger. By no means do I wish to write off the incredibly bright cuts like “Clutchin’,” “Viral,” and “Shorty,” it’s just that The Cozart
suffers from a lack of consistency.
That statement is two-fold. Not only do some cuts outshine others, but the amount of songs here that don’t mesh well is genuinely surprising. Even beside the previously mentioned whiplash-inducing jump, you have fun and sunny [i]Thot Breaker[i]-esque tracks like “Keep That” placed next to dark, contemporary trap bangers like “For Right Now.” The organization of the content here is distracting and genuinely detracts from the overall coherence. While this is impossible to entirely ignore, much of the content here works and confirms Sosa’s insistence on keeping his beat selection and flow delivery fluid and fresh.
It’s also important to note that this album remains an interesting anomaly in his extensive repertoire (much like the song “Chiraq”), even though the direction at time evokes his past forays into pop and the unpredictability of it reminds me of some of his more “out-there” tapes, such as Finally Rollin’ 2
or The Glory Road
. His inflections range from the yelpy highs of “Selfish” to the downpitched chants and slurred flow of “Viral” and the instrumentation ebbs from club beats to trap progressions from song to song. Yet, even though this record seems so different, it’s still incredibly Sosa. Keef’s lyricism is still clever, his flows still differentiate him from any other rapper, and frequent collaborators like 808 Mafia and DP Beats still have an undeniable chemistry with the rapper.
It’s hard to deny that, in some ways, The Cozart
is disappointing. Fans have been waiting since 2015 for this specific release and, while there’s been no shortage of Sosa material, Three years is a long time to wait for an LP that feels like a compilation with weak organization and a confused vision. Hell, I’d go as far as saying it feels half-baked and possibly unfinished in places. But, still, the gems here are some of the most interesting in his entire discography and I’m not sure that there are any tracks I’d say I dislike. It’s also relieving to see that Keef’s vision and experimental nature hasn’t stagnated. This album may not be up to the high standards set by his best releases, but The Cozart
still has a lot to like about it.