Genuinely not sure how to intro this album. It’s been a top 10 album of mine since the first time I heard “Borrowed Love” my freshman year of high school reinforced by the multiple songs that blew up online during lockdown. “Why today?” you may wonder, if I’ve been so obsessed for so long. I wonder the same, “Why during the start of my post grad life in the city does it now feel like I’m ready?” Honestly, I went on a walk in the park and got hit with a breeze that just felt like “10 AM/Save The World,” and I just knew that it was time to write about this generational album. So without further ado, let’s get into Metro Boomin’s debut studio album, NOT ALL HEROES WEAR CAPES.
In October of 2018, after allegedly retiring from the industry (at like 25 years old), “Missing: Have you seen this man?” billboards with Metro’s face on them cropped up in Atlanta and New York. One month later, the world was blessed with this 13-track masterpiece. The star-studded roster of featured artists consists of Gucci Mane, Travis Scott, 21 Savage, Swae Lee, Gunna, Young Thug, Kodak, Drake, and more. It impresses me that so many artists were so excited about this release that it was never leaked (as far as I know) that this project was being crafted (during Metro’s alleged retirement).
After ASTROWORLD (which was released only a few months earlier), this album was probably the second one I ever considered unskippable. If you’ve read this blog at all–especially the earlier stuff–you’d know how much I love 21 Savage, especially his projects with Metro. I could write a blog post all about the first 5 tracks on Without Warning and have about Savage Mode II. Metro just knows how to make beats perfect for 21 and 21 knows how to deliver perfectly. This is a glaze sesh.
Alphonse Pierre of Pitchfork agrees with me, saying how not only does Metro help Drake, Future, and Kanye find their sound, but knows just how to pair his work with 21. Probably my favorite quote from that review: “It’s why Not All Heroes Wear Capes doesn’t feel like the typical producer album, filled with mixtape leftovers and owed favors.” I’m starting to think that I’ve been pretty spoiled, growing up with a producer like Metro who puts out albums like this and setting the tone for what others must match. I never thought of them as “mixtape leftovers” but fun ways for producers to fully embody their own sound on their own project. I digress. In conclusion, Alphonse and I definitely agree on just how huge this album is.
So let’s walk through it all:
The opener, “10AM/Save The World,” truly wakes you up to what’s about to come. Gucci’s voice matches the background instrumentals just perfectly. It’s kind of eerie but in a way that reminds me of the quiet that comes with a snowstorm, so almost like a comforting eerie. Then it transitions right into the best track on the album, “Overdue.” I am a big Travis fan, and I do have to say that this is probably a top 5 song of his. Maybe “Pray 4 Love,” “ASTROTHUNDER,” “NC-17,” “5% TINT,” and “WHAT TO DO?” are the others up there with it (don’t quote me on that, just spit-balling). “Overdue” is totally Cactus Jack’s sound post-ASTROWORLD into JACKBOYS–which is probably his prime for me (and trust I do love his earlier stuff, too).
Hit the lights and hit a right
Took everything, ain’t nothing left
Count our blessings, count your steps
At your throat like we that strep
Like so true, strep sucks. So that’s all to say, the beat and flow of this song are so good that it makes it the best song on one of the best albums and a top song for this already insanely accomplished artist. Not just a home run, but a grand slam. The only thing that could make it better was if it was longer.
Now don’t even get me started on the transition into “Don’t Come Out the House.” 21’s beautiful, deep voice and that scary little instrumental–like sure don’t have to tell me twice, I’ll stay in the house. Then to follow is a song I’ve actually really come around: “Dreamcatcher.” I think it’s slower and quieter and got a little bogged down by the tracks that surround it, but Swae Lee and Travis’s little harmonies are actually so nice. Great track on its dolo, it’s a shame it can get so hidden.
Now I don’t really think I need to hit on “Space Cadet” and “10 Freaky Girls.” We all know them, we all love them, enough said.
[Gosh I have written a lot, but there’s still the other half of the album that deserves its own attention, so read on if you’re still with me]
I read somewhere that “Up To Something” was totally early Travis and like yeah, agreed. 2016 Young Thug and Gunna vibes. It would fit comfy on a Slime Season 3-esc album, too. To follow, “Only 1” has always been a little goofy to me but honestly I’ve come to appreciate it as a great intro into another great song, “Lesbian.” Who knew Metro was so woke with a song like this? Good track but honestly I think that intro does kind of make it what it is, it would feel incomplete or just mid-tier without it.
Tracks 10, 12, and 13 are all even more tastes into the Metro sound but with their own takes. Each unique and such a great addition without ever duplicating something that has already been. “Borrowed Love” was my first intro to this album, and what a great one indeed. Totally makes sense how Metro and Swae Lee keep making music together–Metro gets how to complement Swae Lee’s voice to a T. Such a sweet sound.
Then the album finishes off with “No More” and “No Complaints.” More awesome features and gritty sounds. Kodak and Travis on “No More” and Offset on “No Complaints” are just so good. And you know what, this is some of Drake’s best stuff out there. Only Metro could pull it out of him.
My set takin’ off
Polo used to be Lacoste
Water used to be the tap, n–, not the Voss
Damn, things changed
I’m so awake
You’re probably wondering why I didn’t speak on track 11, “Only You.” It was the only swing and miss on the album. I’ll not skip when listening out of solidarity to Metro’s vision, but it’s nothing I’ll go out of my way to put on on its own–that’s for sure.
So to wrap this whole spiel up: as our friend from Pitchfork stated, this album was “cinematic.” It can only be treated as a complete project. I cannot listen to “Overdue” without “10AM/Save the World” before and “Don’t Come Out The House” after. The instrumentals all work together to paint a massive picture (of who knows what). Every once in a while, I let the instrumentals play after the album finishes and they are just chef’s kiss. I’m a firm believer that everyone needs to let them play at least once in their life to fully appreciate what Metro has blessed us with on Not All Heroes Wear Capes.
And while we can always be here to appreciate this album, and the second in this trilogy, HEROES & VILLAINS (another slam dunk), there’s still one more to come. And trust, I get all giddy just thinking about it.
Sources
https://pitchfork.com/reviews/albums/metro-boomin-not-all-heroes-wear-capes
Iz FM 
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