Denzel Curry’s run of acclaimed records is, at this point, staggering: ‘Melt My Eyes See Your Future,’ ‘TA13OO,’ ‘Imperial,’ ‘KING OF THE MISCHIEVOUS SOUTH,’ these are modern hip-hop classics, all spearheaded by one of the most exciting and respected names in the game right now. ‘Strictly 4 The Scythe’ was a bump in the road, sure, but it was also a hugely collaborative effort, and one where Curry’s verses were often the standouts. Later that same year, rapper/producer effort ‘ii’ reaffirms the artist’s place in the GOAT conversation.

‘ii’ is not just a follow-up to 2020’s ‘UNLOCKED,’ but also to Curry’s last two releases, both of which have traded in introspection for arrogant indulgence. From the moment the MF DOOM-esque guitar leads come flying at you on ‘GONE FISHING,’ the record’s tone is firmly established— Kenny Beats is putting together some of the most vibrant instrumentals of his career, and they’ve been arranged into an absolute blast of a project. For all its intricate wordplay, standout rapping performances and entertaining samples, the greatest compliment you can pay ‘ii’ is simply to acknowledge just how lighthearted and carefree it feels. You can practically see Curry smiling in the studio and Beats bobbing his head to the songs they’ve created, just by hitting play on ‘EVIL GRIN’ or ‘BENJAMIN.’ The duo’s chemistry is off the charts.

On a lyrical front, these songs are just as extravagant as those found on 2024’s ‘KING OF THE MISCHIEVOUS SOUTH,’ but they’re presented in a much lighter context: Curry may be bragging about his success and talent, but he’s winking at his audience all the while. The rapper’s comedic inflections almost have him sounding like Kanye West at times, pulling out rhyme schemes and similes as ridiculous as they are hilarious.

“My verse is like a heavy hand on bald heads: it’s hard not to slap it

My passion is Christ-like: write like Ernest Hemingway

But I fight like Mike with a slight bite

Real deal Holyfield type night”

You don’t need us to tell you the man absolutely dominates every single cut on the record, because it’s Denzel Curry— we’ve become so used to the shifting flows and energetic delivery he brings to ‘PRODUCT’ and ‘UPS’ that they sound almost pedestrian at this point, but no, the rapper really is just that consistent. ‘ii’ may not be making you think in quite the same way that ‘Melt My Eyez See Your Future’ did, but let it not be said that ‘COLD NIGHT IN HELL’ lacks depth (or an infectious hook to boot).

“It's a cold night in hell

The day that you motherf*ckers ever see me fail

I'm lampin' by the pool with some jewels on my wrist

I'm sorry to my fans, I got used to this sh*t”

In a similar vein to his costar, Kenny Beats is exuding confidence on this one, putting together arrangements that are nothing if not likeable. ‘GONE FISHING’ is the perfect note to kick this project off with, introducing the thrilling guitar work that will go on to define a cut like ‘CANDLELIGHT’ later in the tracklist— with a rapper as enthusiastic as Denzel Curry on the mic, you’d want to put together some high energy numbers, and the cheery instrumental breaks and crisp percussion on closer ‘DIFFERENCE’ certainly fit the bill. ‘ii’ is the sound of two modern veterans in the genre simply doing what they do best, and it’s for that reason that the album is such a comfort listen. You can sink into any cut here in safe hands, knowing that Blume’s production will almost certainly be a winner.

If anything, perhaps these nine tracks are playing things a little too safe in places— aside from some extremely by-the-numbers features from JPEGMAFIA and Westside Gunn, the greatest criticism you can levy against ‘ii’ is that there really isn’t that much to say about it. At a certain point in the tracklist, Curry and Beats take their feet off the gas, waltzing their way into some more relaxed material: ‘UPS,’ ‘BENJAMIN’ and ‘CROWN’ are all solid additions to the project on paper, but they also hammer home the extremely relaxed approach the duo have taken in the creation of this album. ‘ii’ isn’t the sound of musicians pushing to one-up themselves, and it’s for that reason that some of this material can feel almost mundane (which feels counterintuitive to say about a record that is, by all accounts, quite excellent).

Don’t let out naysaying fool you: ‘ii’ may be a little plain in its ambitions, but that just opens the door for Curry and Beats to do what they do best. The record is a brief but explosive reminder of why these two are such exciting forces in hip-hop, delivering thrilling verses and masterful instrumentals at every turn. These two are nothing if not consistent— this is just another feather in their cap.