Music
During 2020, LA native Blxst emerged with ‘No Love Lost’, establishing the rapper-singer hybrid as a new favourite among fans of West Coast hip-hop and R&B. As he continued to build momentum, the meme became that he could not make bad songs.
Blxst has spent over a decade in the game, as a producer, writer, creative director, engineer and artist, and has kept his momentum going since his breakthrough with further mixtapes and guest appearances for the likes of Kendrick Lamar, Burna Boy and Kehlani. Despite a considerable catalogue to his name, Blxst was yet to call anything an album until now with ‘I’ll Always Come Find You’ – his official debut full-length.
—
—
‘I’ll Always Come Find You’ comprises twenty tracks broken down into four acts and conceptualised expertly. The South Central musician candidly recounts his ascension, tribulations and appreciation. It’s eclectic guest list includes appearances from 2 Chainz, Offset, Anderson .Paak, Becky G, Ty Dolla $ign, Fatman Scoop, Joyce Wrice and Kamasi Washington. Given its cinematic scope, the album fittingly kicks off with a voice exclaiming “Roll camera and action!” before 2 Chainz joins Blxst for melodic rap moment ‘Paper Route’. Blxst takes the opportunity to run through his past discography, ensuring that listeners are up to date on his accolades.
‘Long Way’ sees Blxst reunited with previous collaborator Amanda Reifer for a neo-punk-influenced rap track, while ‘Want You To Know’ provides a warming and reassuring contrast to the stark ‘Selfish Ways’ with sombre drum-heavy production. The track ends with a soundbite of women discussing love on their way to the club, before a groovy bassline drop and legendary Fatman Scoop ad-libs usher in the second act with some eerie dancefloor escapism.
Those looking for more of Blxst’s established sound will find that in ‘Reason’ and ‘Risk Taker’ – both love songs are sexy and resonant. Elsewhere, ‘Private Show’ carries a similar feel but stands out with its vocal production that melds seamlessly with a downtempo 808 pattern, before flipping for a braggadocious stint. The act concludes by leaning heavily into a West Coast sonic on ‘How Many’.
Act 3 demonstrates Blxst’s mischievous side, as he considers a more nihilistic view of love. Songs like ‘Thousand Hours’ and ‘Dance With The Devil’ – featuring Joony and Anderson .Paak respectively – offer ringside seats on Blxst’s internal conflicts. Before the album closes out, Blxst offers an honest interlude about being lost and giving gratitude at the end of ‘To The Moon’, and saxophonist Kamasi Washington contributes to a glorious ending on ‘Ten Summers Or Better’ – a celebration of his tenth summer making music.
The album in its entirety showcases Blxst as an authentic talent. ‘I’ll Always Come Find You’ gives listeners an insight into where the private artist finds himself post-breakthrough. Multi-faceted, he skates across genres – house, afrobeats, bounce, reggaeton, neo-soul – pulling flavour from each. In a time where themed albums are rare, its four acts and the running story of ‘Evgle & Son‘ as well as 95.5 radio are refreshing. Its interludes delight with surprising twists and turns throughout, and by the end we still haven’t heard one bad Blxst song.
8/10
Words: Shanté Collier-McDermott
—
—
