"BLACK FRIDAYZ thrives where Thirteen leans into what he described as the record's "luxurious, above and beyond" sound, on soaring, world-beating songs like "Fake Killa," "Champain," and "Chiraq Child" with the young firebrand lil2posh. The synth portamentos and victory lap chords will immediately transport some millennial listeners to scrolling Datpiff for Roscoe Dash and Rich Kidz tapes, but the pastiche isn't as overt as it was on previous projects. Like Carti's retro-Futuristic turns all over , Thirteen's homage is generative, not conservative."
"BNYX, the star producer with an ear to the pavement, meets Thirteen where he's at on "Palace," melding Tron-esque synth constellations with a vintage Lex Luger riser and chintzy drum fill. I kinda miss his grainy vocal takes on Clique City, Vol. 2, which fleshed out his PhD-level study of the mixtape era, but this record's studio-quality polish pushes him in interesting directions."
BLACK FRIDAYZ emphasizes a luxurious, above-and-beyond sonic palette across soaring tracks like "Fake Killa," "Champain," and "Chiraq Child." The record uses synth portamentos and victory lap chords that evoke mixtape-era sounds without overt pastiche. Production alternates between grainy mixtape textures and studio-quality polish, with BNYX contributing Tron-esque synth constellations, Lex Luger–style risers, and chintzy drum fills. Vocal delivery shifts from Auto-crooned, Travis Scott–influenced melodies to blistering chants on moshpit-ready tracks like "Blacc Friday." The overall approach balances nostalgic homage with generative, forward-facing reinterpretation aimed at live festival audiences.
Read at Pitchfork
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