MUDBOY

Sheck Wes could benefit from a bit more fine-tuning and editing. But the album’s low-points could very well be just some growing pains. Ultimately, Mudboy establishes him as an exciting up-and-comer with a fresh, electric style.

From front to back, there’s a particular charm to each and every cut that threads them together into a cohesive body of work, Sheck’s signature “bitch!” adlib serving as the proverbial icing on the cake.

The best thing about Mudboy is that it's got me hooked on Sheck and his style, which is so clearly his own. The future looks bright for him; hopefully he does not disappoint.

There isn’t enough content in Mudboy to make it much other than a vibe.

Mudboy stalls when Sheck Wes is forced to do the dirty work of rapping—writing coherent stories, spitting engaging verses, changing cadences and rhyme structures—basically anything that isn’t adlibbing the word “bitch” or saying his name incessantly.

Mudboy is one of the oddest trap rap albums I've heard in a while.

MUDBOY is more a plod through some of modern rap’s worst habits than it is the frenzied dash into the future that “Mo Bamba” promised.