When it does veer off the beaten path it does so by mirroring the latest trends, leaving haphazard auto-tune, redundant beat structures, and stale content in its wake. ![]() Shadow Of A Doubt however doesn’t sway too far from its origins, nearly mimicking its mixtape predecessors, namely Baby Face Killa. On Piñata, Madlib helped with that in spades, providing a perpendicular sound Gibbs hasn’t been accustomed to, leading to mutual companionship arriving from drastically different viewpoints. There’s no doubt Gibbs holds this mantle high, but it’s a mantle easily reached, one that doesn’t attain to change the scene or provide a creative force to drive listeners its way. While each half is in overabundance and far from original, Gibbs may have helped lead the merger of both sounds this decade, spitting lyrical intensity over bass slaps, hi-hats, and trap-happy beats. And from one listen of Shadow Of A Doubt, his third LP, it’s clear recess is in session with a distinct return to his mixtape days of grinding up Gangsta Rap and Trap in a blend that respects both ends. While I think his collab with Madlib fell short in some areas, it certainly wasn’t due to lack of effort and work ethic. ![]() In an interview with Exclaim Freddie Gibbs made the differences between Piñata, his 2014 record with Madlib, and Shadow Of A Doubt clear by saying “if Piñata was a term paper, this shit is like recess.” That comparison could not be more apt.
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