Pop Smoke's posthumous debut album shows us why he remains the voice of New York City. Read our review of ‘Shoot for the Stars Aim for the Moon’
refracts Brooklyn drill through various commercial styles that have, in turn, dominated the Hot 97 airwaves during the last two decades, it also reframes Pop Smoke as a direct disciple of 50 Cent, who executive produced the album. Pop has elicited frequent comparisons to 50, due mainly tois practically a 50 Cent homage. The conversational, laid-back melodicism Pop explores throughout the album is a plain reference to 50.
The stretch of R&B-inflected songs from “Enjoy Yourself” to “Diana” evokes 50 Cent, too—the hardened gangster occasionally chastened by love—but 50, an inveterate fuckboy, could never sound this sincere. “You ain’t know I could sing?” Pop chirps flirtatiously at the outset of “Mood Swings.” It is endearing to hear him lower his guard, soften his rasp, trade his boundless swagger for tenderness, and offer the mushy overtures of a kid who loves cuddling nearly as much as sex.
Posthumous albums are, by their nature, knotty undertakings. It’s unclear how much Pop’s personal interests aligned with the commercial interests of, which decenter his voice and ultimately cheapen the project. It’s easy to laugh away Virgil Abloh’s, or even the fact that “Dior” has now appeared on all three of Pop’s releases. It’s harder to get past the density of high-profile featured artists, who generally exist as empty calories filling out otherwise half-finished Pop Smoke demos.
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