In the landscape of modern hip-hop, Xavier SoBased emerges as a unique voice with his self-titled debut album, ‘Xavier’. As the New York-based rapper, producer, and songwriter presents his first project under Atlantic Records, he takes listeners through a 50-minute experience filled with atmospheric sounds and personal reflections.
Xavier, known for his prolific output since the pandemic, has crafted a sound that distinctly separates him from his contemporaries in the underground rap scene. His music leans towards spacious and atmospheric vibes—qualities reminiscent of the old-school cloud rap aesthetics popularized by artists like Blade and early Young Lean. With elements of crisp trap percussion and influences from plug music and jerk, Xavier invites listeners into a soundscape that often feels more meditative than energetic.
Tracks such as ‘Mask On’, ‘Harajuku’, and ‘100,000’ showcase his ability to create hypnotic and engaging atmospheres. The intricate vocal runs and layered production within these songs form a transcendent experience that captivates the listener. However, the album also reveals weaknesses: some tracks falter in execution, appearing tedious and lacking in variation. The intro and ‘iPhone 16’ fall short, with a mix that diminishes the gripping potential of the tracks.
While Xavier may not position himself as a top-tier lyricist, his raw and honest lyricism gives a unique flavor to his music, even if it sometimes disrupts the listening experience. Lines from tracks like ‘packs gone’—where he unapologetically details his perspective—can draw listeners out of the ethereal vibe he attempts to establish. Songs like ‘Tony Hawk’ close with an instrumental outro that leaves listeners momentarily stunned.
There are moments of venturing outside his comfort zone, but the results vary. The chaotic vibe of the track ‘work work’ stands as one of the more experimental pieces, though its ambitious intent leads to a cluttered delivery, detracting from the overall flow of the album. In contrast, collaborations with artists like Osama and Zethoven do yield positive results; the track ‘Big Ben’ features a beat that perfectly complements Xavier’s nonchalant delivery, resulting in a standout moment. Additionally, ‘Scrap’ successfully balances bouncy energy with smooth flows, demonstrating his ability to create tracks with replay value.
However, as the album progresses, the mood feels unceremonious, especially with the track featuring Osama, which is lackluster compared to the skittering rhythms of previous songs. The additional streaming bonus track ‘Party at My Place’, produced by Skrillex and Dylan Brady, encapsulates the celebratory vibe Xavier aims for and highlights a potential direction for future projects.
Overall, ‘Xavier’ represents both a promising start and a collection that struggles to maintain its momentum. While there are undoubtedly highlights that showcase Xavier SoBased’s unique style, the album suffers from inconsistency, leaving listeners with a mix of unforgettable tracks and forgettable moments. The effort to blend style with substance is somewhat present, but it reminds us that growth lies ahead for this emerging artist.
In conclusion, Xavier SoBased has carved out a niche for himself amidst the rapidly evolving underground rap scene. While ‘Xavier’ delivers intriguing concepts and ambient soundscapes, it occasionally stumbles through lackluster tracks and disjointed lyrical content. As the landscape evolves, I’d give ‘Xavier’ a rating of 50—a solid debut that certainly leaves room for improvement.
