“Ca$ino,” Baby Keem’s second studio album, was a long time coming.
The 37-minute tracklist with 11 songs has no skips in sight, but has its faults here and there.
Released on Feb. 20, fans have been awaiting his return since the drop of his first studio album, “The Melodic Blue,” and a single featuring Kendrick Lamar, “The Hillbillies.”
Ten days before the album’s release, Keem teased the album through short documentary-style posts on his social media. The clips gave insight into the album’s core themes and gave short teasers of the album tracks.
The album opens with “No Security,” a brief yet emotional track. It’s one of the more sentimental tracks on the album, showcasing a vulnerable side of Baby Keem. He reflects on family dynamics and briefly explains his radio silence.
The tone smoothly transitions to the title track, “Ca$ino.” It’s a complete mood change, highlighted with a rage beat and a mid-song mood switch.
While the beat switch is effective, the first half of the track stands out much more.
It’s a great reminder of Keem’s familiar energy and that he still has it in him.
The third track, “Birds & the Bees,” leans heavily into the style of his older work.
The song is about Keem and a girl talking back and forth, using the “birds and the bees” to insinuate a sexual relationship.
On Feb. 23, Keem released a music video featuring Lara Raj of KATSEYE and Desmond Johnson of RDC, an online content creation group. Johnson was also seen at the album’s listening party.
“Good Flirts,” the fourth track and the album’s most streamed song, features Lamar and Momo Boyd. Just like with “Birds & the Bees,” the song talks about sensuality in a romantic and playful beat.
This track is one of my least favorites of the album. Lamar’s performance wasn’t up to par with other romantic tracks he’s on, such as Mac Miller’s “God is Fair, Sexy Nasty” or “Luther” featuring SZA. It’s good, but Lamar has shown he can go much harder than this.
The next track, “House Money,” is another transition that brings the energy up to an 11. Lamar is also on this track alongside Denzel Curry as background vocals.
Keem starts the track off strong with fast flows that question his critics, ad-libs from Curry, and a memorable chorus from Lamar.
Online discussions say this is the worst feature on the album, but I disagree.
“I am not a Lyricist,” the sixth track, contradicts its own title.
While Keem employs simple rhyme schemes with a slower instrumental, the lyrics are so meaningful in how Las Vegas has shaped him as a person with the highs and lows.
“$ex Appeal,” featuring Too $hort, introduces another shift in tempo. It’s a catchy track with a repeating chorus of “too much sex appeal.”
Moving onto “Highway 95 pt.2”, a sequel to “highway 95,” a track off the deluxe version of “The Melodic Blue.”
It’s a track that delves into the negative experiences Keem went through, with abuse and neglect fueling his doubt about his ability to be a good uncle.
“Circus Circus Free$tyle”, the album’s longest track, showcases the most diversity in Keem’s vocal range.
We see Keem give a fairly boastful vibe in talking about his struggles in multiple beat switches that are equally hard-hitting.
Track 10, “Dramatic Girl,” is a more lighthearted and catchy melody that’s similar to previous tracks on the album and “16” from “The Melodic Blue.”
The track takes a pop approach as Keem expresses a deep connection with a girl who’s being “dramatic.”
The album closes with “No Blame,” a central reflection of his relationship with his mom. The track leads with the saying “Better luck next time,” and vocal chops from James Blake’s “I Never Learnt to Share.” It’s a tearjerker that acknowledges Keem’s maturity in forgiving his mother for her absence in his life, acknowledging how she went through many struggles as he did.
“Ca$ino” is another example of quality over quantity, and that time really makes art sharper. There were some underwhelming moments in the album, but it holds as a great piece in Keem’s discography with its highlights in catchiness and emotional beats.
