ALBUM REVIEWS
“We’re looking for shards of life and humanity,” Garbage‘s Shirley Manson told us last spring, teasing the follow-up to the critically acclaimed 2021 album ‘No Gods No Masters’. A year on, the finished product is here in the form ‘Let All That We Imagine Be The Light’ – and it’s fair to say that the frontwoman is true to her word.
It arrives at a vital moment for Garbage. In the time since their last release, the singer has undergone surgery after an on-stage incident, confronted sexist scrutiny from the media, and been part of a number of musicians standing up against a startling rise in bigoted rhetoric from political leaders. With such challenges looming, things could have easily turned bleak on album eight. Instead, though, the band have channelled that frustration into something that seeks out hope from the rubble.
Take opener ‘There’s No Future In Optimism’. Despite its sombre title, it serves as an uplifting introduction to the record. Powerful lyrics flip cynicism on its head (“There is no future that can’t be designed / With imagination and a beautiful mind”), and its fusion of electronica, rock and alt-pop are guaranteed to glow on the live stage.
It’s once we reach the triple threat of ‘Have We Met (The Void)’, ‘Sisyphus’ and ‘Radical’, however, that ‘Let All That We Imagine…’ comes into full force. While the trilogy’s lyrics deliver gentle reminders that struggles breed strength, it’s the sonic landscapes that take the album to new heights. Combining analogue synths, gut-punch guitar riffs and intriguing dynamics, the four create something both raw and intimate, yet densely layered and cinematic. Manson’s vocals are some of her strongest yet, and intricate nuances captured by Butch Vig, Duke Erikson and Steve Marker reflect the synergy that comes from years of collaboration.
While the album leans into softer themes of love and optimism, that isn’t to say that Garbage have cast aside their intensity. In fact, with album eight, the band push back against the tired cliché that rock artists mellow with age. Yes, ‘Let All That We Imagine…’ may not be completely engulfed with white-hot rage, but in the moments where that anger does come through, it blazes. Just look at the unfiltered response to misogyny in ‘Chinese Fire Horse’ (“I’ve still got the power in my brain and my body / I’ll take no shit from you”), or the refusal to overlook intolerance in ‘Get Out My Face AKA Bad Kitty’. Garbage’s recognition of prejudice is clearer than ever, and their tolerance for bullshit is at an all time low.
If there is one thing Garbage have taken from the time since their last LP, it’s that while the world can often feel like a dark place, there is a sense of empowerment that can be reached by letting in the light. Over three decades after they formed, we are now seeing the band like never before. Not only are they showcasing some of their most intriguing and impactful material, but they’re also paving the way into a hopeful new chapter.
During a 2008 interview, Prodigy of Mobb Deep was asked if he ever feared death. Mortality followed him in every lyric he delivered, and few artists could capture that deep chill you feel when survival becomes part of your everyday life. His response carried the same tough energy that defined him, shaped by the reality of Queensbridge: “Every day I wake up like, ‘This might be my last day, and I’m not scared of it.’ I’m never scared to bite my tongue about something, or to come out and speak about something. Like, I ain’t scared of death. What you gonna do to me?”
Nine years later, at only 42, he passed away in a way that felt both tragic and strangely ordinary. While on tour with Havoc in Las Vegas, he was hospitalized for complications tied to his lifelong struggle with sickle cell anemia. There, he accidentally choked while eating alone and died. (His family would later file a wrongful death lawsuit against the hospital.)
Havoc spent years mourning his brother and bandmate, unsure how to properly honor him through music. “You wanna do something to send your comrade off with a 21-gun salute…because he deserves that,” he said recently on the Bootleg Kev podcast. With help from longtime collaborator the Alchemist, Havoc pieced together Infinite, Mobb Deep’s ninth album and part of Mass Appeal’s Legend Has It series. It marks the first posthumous release in the collection, which always comes with its own challenges. Yet Infinite flows as smoothly as any project of its kind. For better and worse, it feels like an album the duo could’ve released after 2014’s somewhat forgettable The Infamous Mobb Deep, an update to their signature gritty sound with a few hints of modern polish.
On paper, it feels like everything has been rewound. Aside from a brief COVID reference and one cringey Havoc line about getting canceled for a joke about chromosomes, most of the lyrics are either locked in time (“Taj Mahal” references the old Trump casino) or so universal they could live anywhere. Instead of calling on a team of producers like they did for Infamous, Havoc handles 11 of the 15 tracks himself, with Alchemist revisiting the dirty, menacing textures he perfected on Murda Muzik and Infamy for the remaining four.
The strongest Havoc beats from Mobb Deep’s golden era twisted familiar sounds into something dangerous. That edge is still there on songs like “The M. The O. The B. The B.” and “Mr. Magik,” where the tension mixes with the quieter, stripped-down percussion style he used on Kanye’s The Life of Pablo. It gives the low-end even more power. Meanwhile, Alchemist falls back into the rugged rhythms that made his name — dusty drums and echoing samples. The shimmering haze of “Taj Mahal” feels like something from an old Street Sweepers mixtape, while “Score Points” and “My Era” would fit perfectly on one of his earlier collaborations with Prodigy.
Prodigy is present on every track, never halfway in. He raps at least one verse on each song and even takes on some of the hooks. His voice is as cold and sharp as ever (“RIP, you can’t son me/My pop’s dead,” he spits on “My Era”), even when his writing circles back to familiar themes. There are still small gaps here and there, but Havoc and Alchemist treat his vocals with care. What matters most is that the bond between Havoc and Prodigy still feels unbroken. They were never flashy lyricists or complex writers — their power came from directness, from how rooted they stayed in LeFrak City no matter how far their fame reached. “Mr. Magik” gets closest to that old-school Mobb Deep feel, especially when they pass the mic back and forth, going at rivals, dodging CIA agents, and spending nights with mistresses. The same goes for “Easy Bruh,” a song driven by drums, faint piano keys, sirens, and some of Prodigy’s sharpest lines on the album (“Niggas mad? Put a cape on ’em/Now they super mad” actually made me laugh out loud). At its best, Infinite feels effortless, Mobb Deep comfortable in their seasoned, world-weary selves.
Things drift off when the production stretches too far or leans toward trends. Some guest spots make perfect sense, like Big Noyd showing up on “The M. The O. The B. The B.” with his trademark nasal intensity, or Ghostface and Raekwon bringing color and life to “Clear Black Nights.” But the Clipse feature on “Look at Me” feels more trendy than meaningful, and Nas, another close ally, drops in with one of those standard Mass Appeal-style verses that sound recycled from his recent albums. “Down For You,” which flips Samuel Barber’s “Adagio for Strings” into a hard-hitting love track, is a welcome addition to Mobb Deep’s catalog of street romance. Still, it loses impact when it reappears later on, this time swapping Jorja Smith’s hook for one by H.E.R. I can understand the decision, the beat goes hard — but it’s hard to take Nas seriously when he’s rapping about keeping a side chick like Tony Soprano. It’s one of the few moments that feels forced, and because there are so few, they stand out more.
Posthumous rap albums in the last decade have often been tangled in questions of control and exploitation. Thankfully, Infinite avoids those traps. It doesn’t carry the awkward tension that surrounded Gang Starr’s One of The Best Yet, nor does it feel stitched together the way DMX’s Exodus did. It never feels like Havoc or anyone else is cashing in on Prodigy’s legacy. In fact, it’s moving to hear them side by side again, even when Prodigy’s words hit too close, meditating on death while “staring up at the cosmos” on “Pour The Henny,” or dodging enemies both real and imagined as he gambles in Atlantic City. Still, much of the album feels like a return to familiar ground, reworking echoes of their strongest years. There are no moments that reach the levels of The Infamous or Hell on Earth, but Infinite does succeed in giving one of hip-hop’s greatest duos one final, heartfelt ride.
