Lil Tecca first emerged on the Hip-hop scene after his 2019 hit, “Ransom,” blew up and skyrocketed him into the mainstream. Since then, he has released three albums, most recently 2021’s “We Love Tecca 2,” which received mixed reviews. This time, Tecca returned strong with this year’s release: “TEC.” Tecca excited fans with his unique promotional strategy, releasing trading cards and sending out iPod Classics with his albums to influencers like Cole Bennet. “TEC” has been rumored to be a change in the rapper’s style, stating he is “embracing different production, [and] being a little bit more vulnerable” in an interview with GQ.
The first thing that strikes me about the album is the production. The album starts remarkably strong with “Yves.” One of my favorites, the song sets expectations high for the rest of the album. The track features spacey beats reminiscent of cloud rap or hyperpop staples like Drain Gang. The juxtaposition of the fast hi-hats and the slower synth backtrack creates a chill but energetic atmosphere throughout the album. The hyperpop influence is apparent on tracks like “HVN ON EARTH” featuring Kodak Black. Kodak’s feature added another layer on top of an already fantastic song. Tecca hits fans with a flow so smooth it’s practically sung, pairing perfectly with the soft and futuristic beat. For me, the unique and interesting moments end after only a few tracks.
Those seeking more of a traditional hip-hop sound will enjoy the latter half. The trappy hi-hats on “Real Discussions” make for a catchy throwback track. “Want it Bad” is a track ripped out of the same era, reminding me of Tory Lanez or A Boogie Wit a Hoodie. I was surprised by “Dead or Alive,” a straight-up rage beat I could hear Yeat on.
The production overall was great. Most songs transition seamlessly into each other. I particularly enjoyed the transition from the titular track to “Salty.” Near the end of “TEC,” the main instrumental begins subtly fading, with the next song’s beat immediately replacing the void without listeners noticing. The album is full of satisfying moments that will have you scrolling back to hear the fade-outs.
I was disappointed by a few tracks, like Ken Carson’s feature, which I expected more from. “Fell in Love” has a clunky beat that Ken Carson drags further down with unimpressive lines, dropped clumsily. Tracks like “Either Way” featured steelpan drums and other sounds mainly attributed to pop and dance music, which I thought worked against the album’s theme, sticking out like a sore thumb.
As far as bars go, I was not impressed. That being said, Tecca’s lyricism is not bad by any means. Almost every song had effortless and catchy choruses and ear-worm beats. Unlike most artists who prioritize flows, he rarely has a corny line. Because of the lack of memorable lines, the whole album struggles to make an impact. “TEC” focuses on sending home a vibe, but a vibe is not enough to make a good album.
Score: 6.5
Jose Zamora is a writer and creator from Boston, MA. He has been a music nerd since middle school when he started his record collection. His passion for Hip-hop began when he discovered legends like Nas and Gang Starr and became obsessed with up-and-coming acts like Kendrick Lamar and A$AP Mob.
He is a recently graduated, up-coming journalist, passionate about music and culture. He is always keeping an eye out for the next big thing and is eager to put their talent in the spotlight for others to enjoy. He believes firmly that “Good art deserves to be talked about.”