Very literally, the album’s production is a blast, an absurd brilliance, outsized joy and a wonderful illustration of what Lil Nas X could invoke in the studio. (One Of Me), (Don’t Want It) are records where his self-image became clearly audible as a multifaceted musical anarchist, a pop-pointed country and rap supernova
Montero dazzles with a kaleidoscope of sonic and lyrical hues, ranging from disco (“Lost In The Citadel”) to rap (“Dollar Sign Slime”) to sumptuous pop-rock (“Life After Salem”), while (Am I Dreaming) and (Tales Of Dominica) are more lived-in, with Lil Nas X patiently discussing his battles with the industry, hopeless relationships, and the attempts to live within a whirlwind reality.
He chants defiantly and beautifully on (That’s What I Want) singing “I want, someonе to love me
I need, someonе who needs me” while multitracking he’s voice on “Void”, you dont miss the clear, pop melodies and mile wide words given space to resonate on the karaoke ballads.
The album’s primary tension between anguish, pride, sadness, and fierce dignity is laid out in the songs (Dead Right Now) and (Sun Goes Down), It’s built upon very pure emotions and a pretty clear mission statement, a testament to grit and hustle and the power of self-belief and to highlight the way the LGBTQ community continues to be marginalized, silenced and underestimated.
On “Industry Baby” he weaves bars in with Jack Harlow – pop sensibilities fluttering around them. It creates a totality of sound that they showcase the nexus of EDM, Rap and Pop in mainstream sounds
“Planet Her” meets “Montero” in the juiciest middle, both bridging their instincts between Hip Hop instrumentation and futuristic funk. The Hip Hop arrangements are voluminous, loose and tight at once, both at the front of this proscenium; each showing no restraint quite a “Scoop” from the duo.
“Call Me By Your Name” is experimental, yet brilliant, wall-slapping, wave-winder, Booty-Popper, the execution of an anthem defining Lil Nas X, martial horns, brass guitar production allows him to transform his work into a lip puckering femme fatal and slay.
“Is it for me? Am I happy?” I’m sure.