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Things get pretty generic on side two, but two or three deep cuts from an artist who came out of the gate only half-formed ain’t half bad. Hey

The Filipino-British songwriter speaks to the challenges unique to 21st-century adolescence, a tricky period in which emotions are impersonally mediated through screens and exes are only an impulsive text away. Though his formal aims can register as more signified than substantiated, this ambitious track exemplifies Gunna’s ostensible evolution from trap easy-listening to big-canvas rap artistry. Wunna may not resolve the debate between fans of which of the Drip Harder collaborators consistently delivers the strongest product, but it does strengthen their connection while proving that Gunna deserves his spot in the conversation. “Sold Out Dates” and, made him and Lil Baby into bigger stars, and Thug’s presence has yielded some of his finest moments and biggest hits (“3 Headed Snake,” “Surf,” “Hot”). Album rating: 8/10

Veirs makes elegant use of her detachment on “I Sing to the Tall Man,” opening the song by reducing her husband to objective descriptors—“the tall man in the red kitchen”—before admitting that his “dark eyes and scarred chin remind [her] we are living.” She lets us in, pointing to the weight of her love and, as on “Memaloose Island,” the love’s interconnectedness with her faith in life itself. underscore the envious extravagance and comfort of Gunna’s lifestyle. Is Gunna a rapper or an Avenger? How do I breathe?/When you’re not here I’m suffocating”) and empty showcasing of Smith’s vocal range that have become the singer’s stock in trade, “Writing’s on the Wall” has no real hooks or interesting textures. Like its accompanying music video, which predicted the advent of drone cameras, what “A View to Kill” lacks in timeless elegance, it makes up for in its undeniable, danceable charisma. At 50 minutes, the album’s length isn’t an issue, but one wishes that Gunna had selected a fraction of these 18 tracks and expanded them past the two-minute mark and cut filler like “Blindfold,” “Met Gala,” and “I’m on Some.” As is, the album’s centerpiece is “Nasty Girl/On Camera,” a raunchy romanticist medley à la Justin Timberlake’s “LoveStoned/I Think She Knows” or “FutureSex/LoveSound.” Here, atop two exemplary beats, Gunna raps with brio about his global sexual escapades “all over the world.” His delivery is galvanizing, bullish, yet sweetly conversational.

Springsteen himself turns back the clock with a howling vocal and searing guitar solos on the propulsive “Burnin’ Train,” which could easily pass for an outtake from Darkness on the Edge of Town or The River. On both “Addys” and the title track, he retools OT Genasis’ “Cut It” flow to make it glide. Against a backdrop of hopelessness brought about by personal heartbreak and global disasters, My Echo is an act of self-preservation. Sal Cinquemani. NASTY GIRL/ON CAMERA

Rowin, There are great Bond songs, and then there are decent tunes that happened to become Bond themes. Like “I’m On Some,” where Gunna reflects about the moments he truly cherishes: a New York trip to buy baguette diamonds from celebrity jeweler Elliott Eliantte and purchasing his latest girlfriend liposuction just to brighten her mood. production braintrust never once let him down.

Mason, Sheryl Crow remains a surprising and controversial choice for a Bond chanteuse. I have a feeling “MOTW” is going to be the Richard Millie Plain of the album… lol. Editor’s Note: Listen to our Bond Theme playlist on Spotify. Wunna, a Single by Gunna.

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