Vince Staples “Crybaby” Review
Written by Beau Croxton
Vince Staples by Adrien Neto
On Crybaby, Vince Staples fuses dissonance and distortion with biting political commentary to deliver one of his most fiery and focused projects yet.
Vince Staples is swinging for the fences on a new sound, and on Crybaby, he hits the ball way out of the park. Crybaby finds Vince embracing a live instrumental sound that leans heavily into rock; it brings a vibrant livelihood to the tunes of this tight and focused 35 minute project.
Vince is no stranger to dissonance and distortion though— some of Vince’s earliest material on Summertime 06 and Hell Can Wait sported a distorted edge (both instrumentally and lyrically). Crybaby is all the better for taking it further in a fresh and bold new way that weaves rock elements and hip-hop seamlessly. This record carries a similar adventurous spirit to Vince’s decision to take a hard left turn into electronic music, Big Fish Theory, as it adopts these new rock-fused sounds confidently, full-heartedly, and cohesively.
Crybaby feels like a bit of an arrival point, especially after Staples was so introspective on his series of albums Vince Staples and Ramona Park Broke My Heart. He infused some of his edge on the very excellent Dark Times in 2024, and now with Crybaby, he displays a glorious sum of all the recent momentum that brings sharp lyricism, vibrant instrumentals and Vince’s trademark social commentary at the top of his game.
Throughout, Vince sharply stabs at issues like systemic racism. Vince sheds light on why these things are clear cut with no grey area for debate. Crybaby regularly criticizes modern America's pitfalls, and it is Vince’s most direct and in your face statement in many years ..but anyone would have probably guessed as much with the album’s lead single and music video.
Warning: video portrays violence
Lead single “BlackBerry Marmalade” thrives on a steady, fuzzy bassline and a warped dissonance that weaves in and out of the channels. It's a rock-tinged banger that could probably do a great job as a backdrop for Run the Jewels. The music video (above) was one hell of an entrance for Vince’s new era, as it simulates a violent episode from a lone gunman who goes on a mass shooting spree. The lyrics get straight to the point– “Empires built on bloodstained ground/ Kanye West I hope they all fall down.” Artistically speaking, it's a sign of the times video/single that grabs the current tension in America and aggressively slaps it right in your face.
“Go! Go! Gorilla” has an instrumental that leads with fuzzy bass riffs and a boom-bap approach that feels somewhere between funky Gorillaz and a scuzzier take on the basslines of “The Less I Know The Better” by Tame Impala. Vince catches fire on his flow here– and addresses his ill feelings about fearing those who are supposed to protect and serve. The instrumental palette surrounding him is fantastic, the outro has an interesting psychedelic swell that weaves into police sirens.
“White Flag” shines with climbing tic-tac basslines , dusty drums and a 60's Motown feel that recalls the Dap Kings, while Vince fittingly gives Amy Winehouse a nod. Vince holds no punches – “Hip Hop taught me y’all love black folks / But it’s not enough”
“Running Man” is an absolute beast with distorted verses, punk-rock swagger and pumped-up gang vocals. It’s embellished with a psychedelic break that shines a light on a more subdued delivery from Vince– the contrast is excellent and when the track pops back in at full intensity to blow the roof off.
“TV Guide” addresses subliminal messaging and media pacifying to numb the viewer. Of the bunch, it’s a bit by the numbers — but Vince’s wild flow in the final minute really sells it. It has killer 60s guitar fuzz pedals and thumping drums, which doesn’t hurt. “The Big Bad Wolf” is one of the record's biggest highlights —again, the basslines and riffs on this record are such a wild highlight. The track samples Slick Rick in a clever and infectious way while boasting some Vince’s trademark flows.
“Only in America” is emboldened with a lo-fi post-punk beat. The dirty instrumentals often feel like they serve as a warped representation of a not-too-distant dystopian hellscape, especially when it’s paired with the sarcastic refrain of “God Bless the USA!” and lyrics like “You can lie, you can steal / the house on the hill– Only in America”. “Do You Know the Devil” is yet another banger that has a rhythm section that feels like a dirtier and more muscular version of “Feel Good Inc”. Vince even adopts a fuzzy monotone Albarn-esque delivery as spooky sonics weave in and out of the mix.
Warning: Video contains images of violence
“Cotton” is a powerful highlight where Vince gets a chance to be more melodic and groovy. He chooses few words very wisely that manage to tell many generations of stories– the visual accompaniment (above) shines a light on his lyrical intentions. Vince’s refrain of the sorrowfully recited lyrics “I wanna see you dance for me, move for me” suggests a dig at history's tendencies to rely on black culture for entertainment despite ongoing injustices.
The chorus nods at music as a source of strength and hope. The tender piano loop echoes moments of melancholy through the resilient lyrics of the chorus– “drop the needle, turn up that volume / Record spinnin', it's so hypnotic / Music makes me feel just like cotton/ Pick me up when I feel like falling down”.
On the closer “7 in the Morning”, Vince questions the nation of war driven by greed as he raps over a more laid back, hip-hop instrumental that revolves around a western tinged whistle sample. “ War — what’s it good for? and what’s the point of peace if we can break it?”
Crybaby is an excellent update on the combo of rap, rock and politics that is heavily highlighted by Vince’s blunt perspective and lyricism. It combines Vince’s expertise in hip-hop with a bold sense of punk-rock tenacity proves to be a classic and irresistible combo
For this reviewer, Vince’s new project is his best and most exciting project since Big Fish Theory with ease– the sonic vision is nailed to a T, and his delivery and message is concise. Vince’s unflinching take on society’s imperfections is refreshing in a time when not enough artists are calling it like they see it. Every low point in history needs some incredible music to act as a sign of the times, and thanks to Vince Staples, Crybaby is a purely anthemic companion that looks bullshit in the face and calls it like it is. It’s a classic attitude and approach– sure, throwing a middle finger in the air towards injustices is nothing terribly new, but rarely in recent times has it been this stylish and sounded this good.
Occult Highlights: The Big Bad Wolf, Running Man, Blackberry Marmalade, Cotton, Go! Go! Gorilla, White Flag
(…but we recommend you listen in full all summer long)
8.8/10
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