Migos, critique of his album Culture III in Mondo Sonoro (2021)

Still falling far short of the revolution it brought ‘Culture’ (2017), the first American trap album that managed to sneak into the international general media thanks to its freshness but also to a very good advertising campaign, ‘Culture III‘does that Migos recover from the thump that was’Culture II‘and it makes them sound different again, without the weight of having to replicate the success of one of the most award-winning albums of recent times.

And is that ‘Culture’ was a best-selling trap album that began to signal the end of the trap, a genre that still works today but has ceased to be the king of innovation in the “hip-hop universe” (a position that now falls to the drill) and the king of featuring for artists of other genres, who today continue to approach reggaeton when looking for an urban touch in their themes. Therefore, it is surprising that in this ‘Culture III’, Migos continue to plead for what they were instead of what made them great, which was not the trap itself, but the innovation. Those who took the trap to the music media that did not accept the genre without a facelift, still do not know how to get rid of it to make way for new sounds. They went from being at the forefront to the rear in just two years, something not necessarily negative, but which, in the case of Migosleaves them unarmed to become important again.

Both Offset and Quavo and Takeoff have made the worst happen, and ‘Culture III’ it recovers sensations of the first album and makes even more evident the failure that supposed ‘Culture II’beyond ‘Walk It Talk It’. In addition to offering us a unique delivery in the world, in which the three artists come together and overlap and overlap so that every second of the song there is a good phrase, an ad-lib or a chorus, it is interesting to listen to the songs with Juice WRLD and Pop Smoke, both sadly deceased, as well as a first half record at a very good level.

I don’t know what it will be like Migos from now on. If they manage to respond again as a group or end up reduced to their individual careers in the face of paradigm shifts in a scene that changes faster and faster and that leaves more and more artists in the chopper for not knowing how to adapt.

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