The arrival of Long.Live.A$AP seemed as though it would up to the most hyped release to never come to fruition since Azealia Banks' elusive, blink-and-it-will-be-delayed, Broke With Expensive Taste. But the comparisons with A$AP Rocky and Banks don't stop there. Both uttering in a strong New York drone, braggadocios words and mannerisms tantamount to the east coast's static cultural landscape where little has changed since a heavy-set, dark skinned man by the name of Biggie Smalls, battle-rapped while selling drugs on the murky side streets of Brooklyn.

But with Rocky there is a strong sense that if you peep over musical frontier, lies the future of New York hip-hop. Make no mistake of this: the image of 23-year-old clinging tightly to the photoshopped American flag on the cover of his major label debut speaks swathes in subtext - 'I'm living the American dream and never letting it go'. It's a psyche synonymous with being not just a 'made American' but an 'American' in general. And those who don't live it find themselves as mere inhibitors of the country, unable to prescribe themselves this honoured identity. But Rocky is American now – in the same way that Michelle Obama controversially proclaimed that she felt like one when her husband first took office. He's American because he's made it out of the derelict and forgotten gutters of the ghetto to make something out of nothing; he's American because he did it on his own damn terms.

"I thought I'd probably die in prison/expensive taste in women" Rocky quips on the introductory track 'Long.Live.A$AP'. This track is testament to a virtual revolution that occurred when, just last month Mase – the shattered old remnant of New York's ancien regime – became a free agent upon the expiry of his Bad Boy Records contract. That the production of this track represents the start of a new age – a production that straddles the future in an accomplished and controlled form – there is no longer a place for the Karl Kani wearing gangsta rapper, turned suit wearing evangelical priest, turned suit wearing evangelical gangsta rapper. There is no room for him as hip-hop assuredly strides into a new era.

Liberté to express the rap over the oblique Clams Casino production of 'LVL', "let me introduce you to the new swag" he jibes though not without instructive and true authority. Egalité to rap with "me and my nigga, Skrillex" - your indie critics least favourite pop-star dubstep producer on 'Wild For the Night'. Perhaps not a stand out track in either rapping or production on this album, it's not intolerable and will likely be part of diffused soundtracks to many debauched nights out. And fraternité to rap alongside the most exciting members of his proto-generation over 'Train' and still find away to stand out against Danny Brown's effervescent screams, Action Bronson's perfectly matched steady flow and, Big K.R.I.Ts southern drawl.

Long,Live.A$AP; Welcome to the New East Coast Order – but perhaps in production only. Pretty 'clothes get weirder' Flacko, may be tipped as high fashion's first model rapper, but the themes remain the same as other rappers that have 'made it'. He talks of the difficulty of adjusting to the jealous 'haters' that rear their head open his unexpected success of 'Suddenly', or thirsty women who break their necks on doing a double takes as men coloured with diamonds walk past them on 'Goldie'. Where Rocky manages to gain some individuality, apart from production, isn't where he is either introspective of quintessential, mind, but the way he expresses these positions. Something like first hearing the steady, melodic tones of early 90s Snoop Dogg, Rocky also has a flare for merging almost inextricably with the productions, as though the sounds were made for him, and only him. 2 Chainz ill-matched and scratchy appearance over 'Fuckin' Problem' serves only to juxtapose Rocky and Drake's steady glide over the busy beat.

On the album's stand out track of 'Phoenix', Rocky's buoyant honesty is allowed to have full effect over Dangermouse's understated and considerate production, "Now the world is in my palm/take cover niggas" as one shot blazes and releases muted sonic shrapnel and subdued hums. He's sure of himself and his achievements and as the album comes to a close, we are convinced of it too.

"I know them Harlem niggas gon' be feelin' this," rapped Rocky on opening track 'Palace' of the game changing mixtape Live.Love.A$AP. A renewed culture, a renewed lifestyle – a brand of hip-hop that has, once again, abstracted from its initial homestead so that it's present not just over poor urban neighbourhoods of Brazilian favelas but affluent Orange County Streets as W1 postcodes. It's not just Harlem that feels the reverberations of that mixtape and this major label release but many worlds – from music, to fashion and the wider arts. On Long.Live.A$AP he's not just a Harlem boy, he's geared for the arenas and shabby-cum-arty London nightclubs; riding the cultural and artistic wave of Americanisation to the absolute maximum.