Yet when Weezy's formidable rap skills are the focus, he can still produce something spectacular. At its worst, the album strips away all character in favor of flavor-of-the-month styles: the flute-trap of "I Don't Sleep" is painfully generic, the XXX-featuring "Get Outta My Head" is a ghastly attempt to adapt to SoundCloud sonics, and "Sights and Silencers" sounds like a the-Dream B-side with a lackluster Wayne feature. The trendy bass-driven sonics of "Ball Hard," "Bing James," and "Bastard (Satan's Son)" constrict Wayne's personality into a low-energy drawl, resulting in tracks that would be better left on the cutting-room floor. When garish production and newer styles are given prominence over the rapper's bars, the result is utterly forgettable material.
The project's 24 tracks flip through a number of styles in order to see what sticks, fitting throwback club anthems and kitschy guitar-trap alongside modern updates of Wayne's original approach. After regaining his footing through this string of releases, the rapper's 13th studio album is a sounding board. Funeral arrives, then, on a wave of change. Coming off the lean-drenched, autotune-laden career lows of Rebirth, IANAHB2, and Dedication 4, the Louisiana rapper rebuilt his style from the ground up with thoroughly compelling results: Dedication 6 and D6 Reloaded replicated the sheer fun of mixtape-era Weezy, while 2018's Tha Carter V teased refreshing new sonic directions. As any longtime listener of Lil Wayne can attest, his late-2010s return to form has been truly remarkable.
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