The biggest curio, though, is penultimate cut ‘Ghost In A Kiss’, which features Future Islands’ Samuel T. It’s an admirable attempt, but these tracks are a little bland in comparison, and it reinforces the idea that Clams should perhaps stick to what he knows best. Artists such as Kelela, Sam Dew and Mikky Ekko provide vocals for a collection of tracks which are much more pop-focused than anything we’ve ever heard from the producer before. It may seem an odd point to mention for someone who’s never put out an official album before, but Clams Casino is so synonymous with his particular brand of hip-hop that it’s no surprise to hear him go a little off-piste in the latter half of the record. Rocky in particular is pretty much phoning it in and, as a result, the track on which he features, ‘Be Somebody’, fails to hit the heights of previous Clams and Rocky projects, like ‘Wassup', ‘LVL’ and ‘Hell’. Whereas Clams pulled out all the stops and elevated their records with his work, they don’t seem as if they can be bothered to fully return the favour. However, Clams can perhaps feel short-changed by the shifts they put in. A$AP Rocky and Vince Staples, also both frequent collaborators of Clams’, crop up in the first half of the record.
