Aa

If there's one thing that Aa demonstrates in spades, it's growth. The record not only shows a wide array of styles, but lays a solid foundation for Baauer to build on in the future.

Aa, as unfortunately quick as it is, shows a phenomenal young producer at the top of his game, and it’s a joy to experience.

Already with a massive following, this expansion of Baauer’s palette sets a new pace for bass.

For what Aa ultimately assumes itself to be—a glorified promo tape of talents—the result is quite enjoyable.

Following "Harlem Shake," Aa might feel to some like an undercooked, scattershot album, experimental to its own detriment. But if Baauer were an unknown musician —which, artistically speaking, he still essentially is — it'd be a rimshot of a debut, crackling with energy and humor, well-paced, with no dud tracks and more than a few infectious ones.

Nothing bores and the album moves through its track list with a purposeful flow, and while electro-trap fiends and "Harlem Shake" lovers may be thrown by all the artful noise, Aa still rocks the house, as Baauer evolves from meme generator to master craftsman.

Aa isn't a disappointment, but clocking in at 34 minutes with a handful of tracks that feel unfinished, it's not exactly a home run either. For an album that took almost four years, it's strange that something as beautiful as "Church," which also gets a stunning reprise with Rustie, only lasts a minute and half.

Unfortunately for Baauer, the trap style that made his name is falling out of fashion, and his stabs at en vogue sounds like trop house (Body) and UK garage (Way from Me) are a little tepid.

Fresh off his viral "Harlem Shake" single, Baauer drops a full-length debut.

So many genres collide on Aa it can feel like being trapped in a virtual karaoke machine.

If imperfection is what Baauer was looking for, then he has succeeded; but that doesn’t resolve the disappointment with what could have been a brilliant album.