Pusha T’s newest record, “It’s Almost Dry,” is as leisurely as it is confrontational, performed from a position of casual, assumed superiority, jiggyraps writes.
,” as an inspiration in his songs; the two seem to share a cutthroat demeanor and a penchant for dispatching foes. He’s single-minded to a fault, but the work is buoyed by his cleverness and consistency. And it helps that he is a favorite of two of the best hip-hop producers of the twenty-first century: Kanye and Pharrell Williams, both of whom have made the beats that sustain his visions of a narcotic empire.
“It’s Almost Dry” is as leisurely as it is confrontational, performed from a position of casual, assumed superiority. Here, we see Pusha looking down from an upper tier of celebrity and wealth, dismissive of those he sees as lesser but unable to resist mocking their acts of gracelessness. He’s long been fluent in the idioms of shit-talking and one-upmanship, and, on this record, the targets of his disdain are posers and social climbers—those who ape a life style that they’ll never have.
Beyond a lyric where he dubs himself “cocaine’s Dr. Seuss,” Pusha makes room for some character development here. We see some reluctant reminiscing, spurred by challenges to his dealer credentials from his former manager Anthony Gonzalez, and those songs bring rich narrative payoffs. On “Brambleton,” Pusha sets the record straight about his and Gonzalez’s street history and separation, drawing parallels to feuds both real and fictional.
On previous projects, Pusha often spoke as if rap were a front for his real business. On the 2002 track “Grindin’,” he claimed to be a “legend in two games,” but he made clear that music was the side hustle. “It’s Almost Dry” is his first album to put a bit of distance between his career as a seller and his career as a rapper. If this isn’t a valedictory, it’s something similar.
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