![]() This is Metro Boomin laying the groundwork for his next phase, which at times feels like it could be film scores. It’s why Not All Heroes Wear Capes doesn’t feel like the typical producer album, filled with mixtape leftovers and owed favors. When rappers hear that Metro Boomin tag, it’s like they’re possessed. Metro remedies that slip up with “Borrowed Love,” a crossover attempt that creates a muddy dance track for the calming vocals of Swae Lee to levitate and WizKid to show why he has become the must-know name in Afrobeats. “Only You” is a desperate swing from Metro, aimed for the thriving Afrobeats and reggaeton markets, handcuffing WizKid and J Balvin to a beat. Metro stumbles a bit when he deviates from that Atlanta sound. The “Space Cadet” instrumental, like so much of the album’s production, feels cinematic but thankfully not far removed from his Atlanta-built sound. On “Space Cadet,” Metro ushers Gunna into “The Twilight Zone” with a twinkling instrumental, and Gunna responds with one of the album’s bounciest hooks. “Up to Something” with Young Thug and Travis Scott is an instrumental that could fit into an older era of Metro, and Thug and Travis comfortably let their vocal quirks loose. Metro extends his life-giving to guests throughout the album. He manages to be both comedic and chilling, as his personality feels free, flexing his Ubereats account and using the song’s harmonica outro to speak about the pleasant experience he had when he ran into a guy he robbed from way back. Then, on “10 Freaky Girls,” Metro shows off how he refined his sampling skills during his hiatus, flipping an ’80s R&B song into a two-stepper spearheaded by 21. He then spits a hurtful bar that will crush the hearts of all of his denim-wearing supporters, “Levi jeans, low self-esteem, he on BlackPeopleMeet.” But 21 smartly doesn’t overuse the flow, returning to his standard creaky-voice when Metro’s keys kick back in. The track feels like a pump of adrenaline as the melody cuts out leaving only the rumbling bass of Tay Keith and 21’s villainous whisper. The East Atlanta rapper finds himself on three of the album’s tracks with the first “ Don’t Come Out the House,” using a sinister half-whisper flow to reciprocate the horror score energy felt by Metro’s piano keys and the drums of Memphis’ Tay Keith. Right now, there is no better case for Metro bringing the most out of an artist than 21 Savage. 1.” Not All Heroes Wear Capes doesn’t just broaden Metro’s sound, it’s a showcase for artists relieved to be working with Metro again, because that’s when they are at their most creative. Metro’s beats would become the key in unleashing the creativity in some of rap’s greatest talents: He helped Future tap into his lean-drenched emotions on DS2, transformed Travis Scott into our Auto-Tune overlord on Days Before Rodeo, and managed to scratch one of the last great musical moments out of Kanye West on “Father Stretch My Hands Pt. But where Metro really shined was an ability to elevate the artists he collaborated with-like so many of the beat-making legends. ![]() From the jump, he impacted the genre with his, “Metro Boomin want some more, nigga” tag, all but making the producer tag a necessity. Louis-bred producer flew through the beat-making ranks. Since 2013, when Metro established himself with 19 & Boomin, the St.
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