Roddy Ricch has been creating a bit of a buzz around his music lately. He’s collaborating with all the right people, signed to a credible label, and his Spotify biography describes him as “from the streets of Compton but with a distinct southern flair, [he] lays his introspective rhymes atop melodic trap.” On paper, he’s a perfect match for me – I should be loving Please Excuse Me for Being Antisocial – and yet I can’t get my head around it.
I’ve spent the past month listening to the album, but ask me to hum you one of the tracks, and I couldn’t. Some tracks have a promising intro – ‘The Box’ and ‘Moonwalkin’ particularly, but I then lose my interest quickly. I’ve also been struggling with Ricch’s lyrics. Explicit lyrics don’t really faze me much, but I feel like Ricch is asking for a blow job every 90 seconds, and after a while, it feels very juvenile – like a teenager testing their boundaries.
As for highlights, ‘Peta’ with Meek Mill had some interesting and atmospheric flute and guitar hooks. ‘Perfect Time’ has some nice contrasts in the vocal delivery, and the piano melody on ‘Gods Eyes’ is a nice touch that captures the aspirational nature of the track. The production on Please Excuse Me for Being Antisocial is also excellent. Even when listening to it with earbuds, I got a sense of depth and didn’t really feel like I was losing out on anything. So if production technique is your jam, Please Excuse Me for Being Antisocial is definitely worth a listen.
In terms of music, I wonder if Ricch still needs to work on his style – finding the right balance between the hard and the soft; between the streets of Compton and the introspective rhymes – and maybe find some new sexual boasts. Overall, I feel like Ricch tried to do too much with too little. Please Excuse Me for Being Antisocial might have been better as another mixtape. Maybe the album will make more sense to me in five years’ time, but for now, I won’t be coming back to it.