Two or three years tend to pass between ' LPs, so it was a surprise when arrived only 11 months after . Upon this set's release, said that he often writes and records immediately after the completion of each project and keeps the material to himself or a small circle of recipients. In this case, he chose to publicize his supplemental work, terming it a mixtape yet (accurately) deeming it consequential enough to make available on physical formats. indeed plays out like a tape, one consisting of 14 deliberate vignettes and full-blown tunes squeezed onto one side of an imagined C60. (As it's 32 minutes in length, consider it a slightly expanded edition.) Flow is minimal, consequently making it come off like a hurried dub for an unplanned ride. The sequence is most disjointed when a distressed visit to the scene of the 1963 Birmingham church bombing -- with disoriented and wailing as parents searching through debris for their children -- is inserted between bittersweet and temperate numbers concerning self-esteem and a faltering romance. Elsewhere, , supported vocally on occasion by and the especially well-placed and , articulates a lot more heartache and anxiety with his weeping vocals. He's at his most hollowed-out sounding with "Ice around my wrist, my touch is cold," a sharp flip of "money can't buy happiness." He's also stressed by the passing of time, citing his age (more than once) and grieving over the loss of loved ones; he even uses a rare energized moment to accept that "happiness will fade." Welcomed levity is left to , Memphis rap legends who carry "Gold Teeth," and online character BennY RevivaL, whose unremitting verses whip across the lo-fi hip-house of "Seven Hours, Pt. 1." Production-wise, this roams around with some abrupt switches, supplying slow-motion and spaced-out grooves, low-profile boom-bap, and wayward guitar scrawl with highest frequency. ' downcast disposition and the return of several collaborators -- , , and -- provide the continuity. ~ Andy Kellman