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"A$VP X LIFE X RIP YAMS" A$AP Rocky tweets just hours after his second studio album has prematurely leaked onto the interwebs, to a feverish online audience manically clicking Sharebeast and Zippyshare links, an entire week before his June 2 release date. To battle the hasty exposé, Rocky announces an early release of the long-awaited project, and at long last, At.Long.Last.A$AP is here.

It's been nearly two-and-a-half years since the Harlem rapper presented his debut album Long. Live. A$AP and five months since the untimely death of Rocky's mentor, friend and A$AP architect, A$AP Yams. Since the tribute-paying sophomore album artwork was released and experimental singles 'L$D' and 'Everyday' were freed into the sonic stratosphere, it became apparent we'd be seeing the Pretty Motherf*cker at his most creative and exposed - which is precisely what fans were given on the long-awaited 18-track oeuvre.

On A.L.L.A, Lord Flacko's pen-work is cavernous, production multifaceted and theatrics opulent. With Danger Mouse in the executive-producer seat, along with particular production from Jim Jonsin, Kanye West, Mark Ronson and Clams Casino, the eclectic group of ardent contributors have donated note-by-note to Rocky's colourful and psychedelic experience, that's cause to trip on.

An emotional guitar riff quiets "church bells and choir sounds" on the project opener 'Holy Ghost', as Rocky addresses religious hypocrisy, before delicate piano and reflective storytelling then share Rocky's 'Canal St.' come-up that provides a vivid depiction of the young hustler's past. Distorted vocals and intoxicated production follow on the murky cut 'Fine Whine', which acts as a promising scumbag anthem, particularly since Rocky and featured-artist Future both lost their leading ladies via rapper tendencies, this past year. In just the first three cuts, the sounds are vast and varied, yet the comprehensive auditory affairs flow through meticulous sequencing.

Yes, project single 'L$D' in all its melodic affluence may frighten veteran A$AP fans, but the jiggy Flacko returns on the up-tempo 'Excuse Me', that welcomes Rocky at his most lavish and lyrical, while boasting about casually dropping $40K on some Rick Owens and a short trip to the Bahamas. Surprisingly though, intricacy is lacking on 'Electric Body', one of the album's weakest cuts, despite assistance from prized collaborator and TDE spitter, ScHoolboy Q. Although the two were able to pump out DJ-favoured bangers, 'Hands On The Wheel' and 'Brand New Guy', the charismatic duo falls short this time around. But the misstep is rare.

A prodigious rolodex of rap royalty, including Mos Def, Kanye West and M.I.A, bid meticulously crafted features that contribute more than just an esteemed name and witty 16 to the affluent project, serving instead as subordinate layers to the complexity of Rocky's monochromatic theme. And despite their revered rap title, the trophy for standout collaborator is solely claimed by formerly homeless and previously unanimous London singer/songwriter Joe Fox, who appears an unwavering five times throughout the polygonal project.

"I guess the new me is gonna get some taking used to," Rocky raps on the exceptional 'Excuse Me'. But A$AP Rocky has always been an innovator and his creative attempts have always been bold. At.Long.Last.A$AP is no different there.

Yams would be proud.

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