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Gull Jams: Fetty Wap’s self-titled album


Staff Writer

Seven months ago, New Jersey hip-hop artist Fetty Wap graced the world with “Trap Queen,” a stroke of pop genius that peaked at number two on Billboard’s top 100.

This success was followed by three other singles all leading up to his self-titled debut album, which is catchy, but suffers in most other areas.

It is important for listeners to understand that upon listening to this debut album that it is more of a trap influenced pop album then a rap album. It’s not fair for hip-hop fans to compare Wap to the likes of Kendrick Lamar or Lupe Fiasco (who have both released great albums this year).

Wap’s style and sound is much closer to artists like Future: auto-tuned, catchy bangers with little to no lyrical backing.

The first thing to note about this album is its length:  20 tracks with several topping over five minutes.

After a full listen, it is clear that Wap needs more intricate features and instrumentals to release an album that is over an hour long, because half way through listening, Fetty runs out of new things to say.

While the back of the album has some highlights, 13 to 14 solid tracks would have been perfect for it.

Wap, himself, has a ton of personality and rides his beats pretty well. With that being said, it is clear that the instrumentals were cheaply made and lack diversity.

It took me over 10 listens to fully deceive the singles “679” and “Again” because the instrumentals’ drum patterns and song structures are too similar.

Not to say some instrumentals are not satisfying. “Trap Love” has a great, pounding chorus, “I’m Straight” features the most catchy synth melody on the album and the closer “Whateva” incorporates some beautiful piano.

Wap as a rapper/singer is either a genius or a failure, depending on who you talk to. He is often hard to understand at times (like on the tracks “Time” and “I Wonder”) and as described earlier, Wap’s topics run thin quickly.

He talks about his crew the Remy Boys, his girl the Trap Queen, his haters and his money. On top of that, hearing him say “1738,” “YEAH BABY” and “SQUA” gets old really fast.

At the same time, though, Wap has several strengths. His flow on most of the tracks is passable, and his penmanship for catchy hooks is almost at the same level as Drake.

While Wap’s voice is drowned in auto tune on several tracks, he does come through with energy and style which separates him from the likes of Rae Sremmurd and Young Thug.

Also, not having featuring artists besides fellow Remy Boy Monty is a blessing and a curse, because his personality only carries the album so far yet it shows that he has the confidence to release a debut without any stars attached to it.

Wap is a person in hip-hop that is always needed; a rapper with catchy singles that can be played at any club or party. He most certainly succeeds in this, but this doesn’t make his debut an artistic success.

The album could have been much more enjoyable, with a less bloated track listing and a more diverse production. If you’re a fan of his first four singles, then give this album a listen because it is more of the same.

If you hated them, then steer clear of Wap. While the album is fun and silly, the cons slightly outweigh the pros on this one.

The Flyer gives Fetty Wap’s self-titled album a 4/10.

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