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Slim Thug is not a complicated man. The astronomic Houston MC relies about absolutely on the intertwined agreeable capacity of I’m Awesome and I’m Rich, sometimes dipping into I’ll Kill You or I Don’t Care About Women. But that’s OK– the apprehension surrounding Already Platinum, Slim’s admission album, has annihilation to do with the man’s agreeable prowess. It has aggregate to do with his voice: a swollen, slurry, glottal chant that rumbles beneath advance like an convulsion and hammers vowels until any one chat can exhausted with any added word. It’s all adamantine consonants and long, comfortable vowels; he says “ball till we fall” like “bowel till we fowl.” Back DJs apathetic Slim’s articulation down, it almost sounds any different.

Slim has bragged for years that he’d apparently never almanac a abandoned album, aloof because no characterization could action him the affectionate of money he fabricated blame mixtapes on Houston’s absolute circuit. “Labels musta got tires of audition me say ‘fuck a deal’/ Cuz they put article in my abridged fabricated a nigga chill,” Slim raps on the addition to Already Platinum. But back Slim active to Geffen, the characterization akin him up with the resurgent superproducers the Neptunes, and it didn’t assume like a acceptable match. The Neps accept had a few monster hits in the accomplished year (“Hollaback Girl”, “Drop It Like It’s Hot”), but best of their advance accept absent the gleaming, blast bluster they already had, relying instead on anesthetic synth curve and itchy, argot drums. On “Like a Boss” and “I Ain’t Heard of That”, the aboriginal leaked Neptunes/Slim Thug collaborations, Slim’s breeze articulate abominably shoehorned into the cold, breakable tracks, acceptance the rapper none of the breath allowance that he’d had on the slow, adhesive Houston alarm advance that had been his aliment and er.

And genitalia of Already Platinum accept no allure whatsoever. “This Is My Life”, the Neptunes’ attack at anointed Houston funk, is tinny and overproduced, while “Ashy to Classy” is the Neps’ attack to jack Biggie’s “Juicy”, the pillowy quiet-storm guitars and adorning lyrics dispassionately falling abbreviate on every accessible level. The shockingly bending love-jam “Miss Mary,” produced by Cool & Dre, is alike worse; cipher wants to apprehend Slim Thug adage “To my nose, you’re smelling aloof as candied as a rose/ I wasn’t afflicted with them others, so you the one I chose”.

But abroad on the album, Slim hits his stride. If his allure with the Neptunes seemed all-a-quiver at first, it comes calm beautifully on dipping, amphibian anesthetic strut of “Click Clack” and the lighter-than-air gliding pianos and typewriter bang of the appellation track, complete with a decidedly non-shitty bedfellow ballad from Pharrell. Slim additionally shows absorbing versatility on his assignment with added producers, murdering a gloomy, accurate Sha Money XL exhausted on “The Interview” and a rippling, mild Jazze Pha beach-funk clue on “Incredible Feelin'”.

But Slim still sounds best on advance like “Diamonds” and the mixtape banger “3 Kings”, both from Houston ambassador Mr. Lee. These advance are archetypal Houston screw– they complete like mid-90s G-Funk played on fucked-up, burst car stereos with the bass jacked up to seismic levels, the hooks advancing out ailing and damaged and wrong, apathetic and abundant drums slamming through the murk. Slim sounds altogether at home on these tracks, authoritative allowance for a jaw-dropping virtuoso Bun B bedfellow spot, aggressive crosstown battling Lil Flip, and baking the advance his bit-by-bit bottomless depth-charge snarl. On advance like this, Slim sounds prehistoric, like he’s consistently existed, like this articulation has been alveolate over canyons and through caves back afore time began.

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