I’m genuinely not sure how to introduce this album. It’s been a top 10 of mine since the first time I heard “Borrowed Love” my freshman year of high school which was quickly followed by the multiple songs that blew up online during lockdown sophomore year. “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 to unleash these sentiments?” 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 that moment I knew that it was time to finally 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 ~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, those hints turned into the world being 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 while being crafted (as far as I know).
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 already have written about Savage Mode II. Metro just knows how to make beats perfect for 21, and, you know what, 21 knows how to deliver perfectly. This is a glaze sesh.
Alphonse Pierre of Pitchfork agrees with me, saying how not only does Metro know how to accompany 21 so sweetly, but he also helps Drake, Future, and Kanye find their best sound. 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 sets the tone for what others must match. I never thought of his releases as “mixtape leftovers” but always fun ways for a producer to fully embody his own sound on his own project. I digress. 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, making it a comforting sort of 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). And while I do love his earlier stuff, too, “Overdue” is an embodiment of Cactus Jack’s sound in its prime: post-ASTROWORLD, pre-JACKBOYS.
Hit the lights and hit a right
Took everything, ain’t nothing left
Count your blessings, count your steps
At your throat like we that strep
So true, strep sucks. That’s all to say, the beat and flow of this song are so good that it makes it one of the best songs out there from an already insanely accomplished artist. This is not just a home run, but a grand slam. The only thing that could make it better was if it was longer (but there could be an argument that it being so short makes you appreciate it even more).
Now don’t even get me started on the transition into “Don’t Come Out the House.” With 21’s beautiful, deep voice and that scary little instrumental, you 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 to: “Dreamcatcher.” I think it’s slower and quieter and has gotten a little bogged down by the tracks that surround it, but Swae Lee and Travis’s little harmonies are so nice together. 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 giving early Travis and agreed. It’s really giving 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, in all honesty, I’ve come to appreciate it as a great interlude into another superb song, “Lesbian.” Who knew Metro was so woke with a song like this? It’s a good track on its own but the interlude does 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 to the entire project without ever duplicating something that has already been done. “Borrowed Love” was my first introduction to this album, and what a great one indeed. It totally makes sense how Metro and Swae Lee have continued making music together–Metro gets how to complement Swae Lee’s voice to a T. Such a sweet, satisfying sound.
Then the album finishes off with “No More” and “No Complaints.” These are even 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, I think 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 refrain from skipping 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, cohesive, entrancing picture (of who knows what). Every once in a while, I let the instrumentals play (released on the deluxe album) after the main songs finish, and they are just chef’s kiss. I’m a firm believer that everyone needs to listen to those raw instrumentals 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
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