ALBUM REVIEWS
For 15 years, BABYMETAL have carved out a unique space in metal, injecting a scarcely seen playfulness and providing blistering instrumentals that give some of the heaviest names a run for their money. But trust the Japanese trio to continue giving everything they have, especially considering the year they’ve had so far. In 2025 alone, they signed with corporate giant Capitol, headlined their first European arena tour and announced their biggest US shows with Black Veil Brides.
Building on that momentum, the band’s fourth album, ‘Metal Forth’, sees them continue to push boundaries and enlist some huge collaborations to take things up a notch. Tom Morello’s work on ‘METALLI!!’ captures a sonic new sound that complements their respective styles, and Bloodywood’s appearance on ‘Kon! Kon!’ introduces an invigorated folk element that makes it more captivating than many of their past releases. The collaboration with Slaughter To Prevail on ‘Song 3’ showcases eruptive riffs and unforgiving growls ablaze, and the two distinctive styles blend seamlessly to reach experimental new heights.
The same can be said of ‘KxAxWxAxIxI’ and the whimsical partnership with Djent heavyweights Polyphia, ‘Sunset Kiss’. In less than three-minutes apiece, SU-METAL, MOAMETAL and MOMOMETAL substitute pure, unbridled heaviness for more substance than usual. Instead of back-to-back intensity, the emphasis shifts towards the flow of the song. Scathing aspects are introduced gradually and eloquently, and the end result is more satisfying than an abundance of metal clichés.
While some tracks on ‘Metal Forth’ showcase the best aspects of each artist, others feel forced, and the end result dilutes the signature sound of the group. The collaboration with Poppy on ‘From Me To U’ struggles to locate a common ground, and instead focuses on creating a whirlwind of heavy metal tropes that lack purpose. The same can be extended to the energy-laden ‘RATATATA’ with Electric Callboy; just because BABYMETAL can join forces with some big names in modern-day metal, that doesn’t mean they always should.
There is no doubt that BABYMETAL are looking to make their biggest statement to date with ‘Metal Forth’, and no one can accuse them of playing it safe. The choice to join forces with so many artists was always a huge risk, and unfortunately, it sometimes ends up dampening the charm that first set them apart from the masses. But in the moments where it does come together, it’s both epic and intriguing as hell. If there is one thing to take from album four, it’s that, even 15 years into their discography, BABYMETAL are not afraid to push boundaries and are still looking to rewrite the rules of metal.
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.
