It’s time to dive into the latest work from Isaiah Rashad, aptly titled It’s Been Awful. After a long five-year hiatus since his previous album, The Houses is Burning, fans have eagerly anticipated this new offering from one of Top Dog Entertainment’s most understated talents. However, this album presents an introspective journey that is as fragmented as it is enlightening.
Starting with the title itself, It’s Been Awful encapsulates not just recent global events, but also echoes the personal turmoil Rashad has faced over the years. This is a man who has been through the ringer, including public scrutiny over a non-consensual leak of a personal video that brought his private life into the spotlight, forcing discussions around his sexuality. Yet, as as distressing as that experience was, his music offers a poignant exploration of these trials.
The album opens with a moody soundscape that sets a melancholy tone. With syrupy rap beats and Rashad’s half-sung, half-rapped delivery, it feels like we’re entering a dream-like ambiance. Lyrically, he traverses themes of mental health struggles and emotional unrest, inviting listeners into a vulnerable headspace.
But amidst the slow introspection, tracks like Bomb provide a refreshing contrast. Here, Rashad veers into a more catchy, low-fi bedroom pop vibe, showcasing a playful side that stands out amidst the prevailing weightiness of the album. However, it raises the question: could his sound evolve further? Aside from a few energetic moments, there’s a notable restraint in the composition of many tracks that could benefit from a musical lift.
Continuing with Boy and Red, featuring SZA, it seems that while the intention is to recreate those bedroom pop charms, the execution feels rather bland. Rashad’s collaborative work often heightens the impact of his own verses, but here, the lush soundscape lacks lasting engagement. Yet, the youthful cover of love he attempts to portray is a cute touch.
As the album progresses, the dichotomy between emotional exploration and hazy beats becomes more evident, with tracks like Do I Look High vividly tackling issues related to addiction. Rashad’s clarity and engaging flow are commendable here, revealing a deeper emotional intensity that many tracks fail to deliver. It’s a clarity that fans might yearn for throughout the album, leaving listeners wishing for more moments like these.
The song GTKY (Get To Know You) emerges as another highlight, encapsulating a refreshing portrayal of youthful love, but there’s a return to familiar ground with Cameras, featuring Dominic Fike, that lacks resonance. This track, intended to be high in sentiment, unfortunately leans into overly dramatic territory, reminiscent of soundtrack muck.
Also, Act Normal attempts to dive into deeper issues of sexuality and sex addiction, a bold subject for any artist. Yet, it battles against the whimsy of its instrumental backdrop, which fails to reflect the seriousness of such topics, creating an almost surreal juxtaposition. It feels as if Rashad had something meaningful to say but didn’t quite manage to communicate it.
The album reaches its end with Superpowers, delivering one of Rashad’s better rap performances. The final freestyle track, 719, presents an unexpected and lively sound that feels out of sync with the album’s prior sentiments. The decision to close with this freestyle format may leave fans puzzled rather than satisfied, lacking a resonant conclusion that ties together the album’s emotional journey.
In conclusion, while It’s Been Awful does provide glimpses into Isaiah Rashad’s layered psyche, it ultimately leaves many themes and ideas feeling underdeveloped. Some highlights break through the gloom, but the overall emotional weight feels scattered, never fully coalescing into a cohesive experience. As much as I want to embrace this album, I’m left with a mixed impression. I’d rate It’s Been Awful around a 54 out of 60—there’s potential, yet it’s overshadowed by execution that often feels half-hearted.
