Despite being revered as arguably rap's top producer, at the moment, Pi'erre Bourne is determined to make a name for himself as an artist. Whether it be him announcing a solo tour or referring his making of TLOP 4 to when Kanye West first made the switch from producer to rapper/producer, it's clear Pi'erre isn't content with being behind the scenes.
The result of Pi'erre's ambition is 50 minutes of A1 production accompanied by mostly average autotuned lyrics. However, occasionally, there are moments when Pi'erre manages to craft an addictive melody and even slips out a few compelling lines, creating a project that grows on the listener the more its played and shows true potential for Bourne, as an artist.
The Good
Despite Pi'erre's voice being identical to nearly half of Soundcloud, thanks to the drowning of his voice in autotune, TLOP 4 is filled with memorable melodies. Aside from his ability to create a unique production experience, Pi'erre shines brightest when he effortlessly flows around his production to deliver a catchy set of repetitive lines, whether it be on a hook or just random repetition thrown into a verse.
Look no further than 'Be Mine' where Pi'erre blesses the migraine community with the chorus we never knew we needed,
"Ayy, baby give me migraine, Baby, give me my space, pull up, yeah, to my place, Show me like it’s my estate, she want me 'cause my name, Rubber on so I'm safe, livin' life is so strange."
It's a laid-back hook that when matched with the uniqueness of the song's production, which features the sampling of a tiger's roar as an integral piece, becomes embedded into the listener's mind.
Of course, the highlight of the album is the production, as Pi'erre is spearheading the sound from some of today's artists. The production is simple yet charismatic, thanks to the distinctive sound effects, the repeated implementation of his signature drop, and the use of the retro mixtape voiceover.
The Bad
The criticism towards this project have all fell under the same category; either someone complains that another artist would sound better over the beats, or they just label Pi'erre's lyrics as mid. The argument of another artist, Lil Uzi, and Playboi Carti being the most common names thrown out, isn't fair to Pi'erre, as that same critique can be given to 95 percent of rap. Of course, two of the best young artists would sound better on this beat, they're two of the best for a reason.
Nevertheless, the lyricism critique does hold weight. Unlike his peers, Pi'erre doesn't have a distinct enough sound to make up for mediocre lyrics. The biggest negative of the entire project is the simple lines that come through crystal clear as nothing more than filler until Pi'erre can save himself, and the song, with the chorus. For example, on 'Stereotypes' he stumbles his way to the hook by rapping,
"I'm just on my grind (I'm just on my grind)Gotta kickflip (Wait)Baby, I can't swim, I'ma skinny dip, huhI'ma dive in, dive in and front flipWait, open up that mouth, baby loose lips, ayy(Yo, Pi'erre, you wanna come out here?)Slam dunk in that pussy, baby, Shawn Kemp".
The Verdict
Overall, TLOP 4 is a good, not great, project. The production and melodic chorus' of the project carry Pi'erre Bourne into the sphere of being a legitimate artist. However, if Pi'erre ever wants to truly shed the shadow of his peers and dump the strictly a producer tag like Kanye West, he has to take a note from West's book and work with writers to make his lyricism more compelling, as his verses are the only element holding him back from achieving the status he is chasing.
Score: Tobias Harris/10