Two years after the release of “HARDSTONE PSYCHO,” Don Toliver is back and better than ever.
While my TikTok for you page has been flooded with excited Don Toliver fans, I have never been one of them. However, when Spotify recommended his new album “OCTANE” to me, all of the high praise I had seen compelled me to listen, and I am so grateful I did.
Released Jan. 30, the album features many of Toliver’s hallmarks: features from past collaborators, bass-heavy backing tracks and his signature auto-tuned croon. Yet, despite sticking to his traditional formula, Toliver continues to refresh some of his old tricks and spins to his repertoire through another characteristic trait: interpolations.
The first track, “E85,” a type of octane and a nod to the album’s title, interpolates the melody from Malcolm Todd’s “Chest Pain (I Love).” As a huge fan of Todd’s, I was pleasantly surprised to hear a faint repetition of Todd’s chorus in the background. The combination of Todd’s music, the muffled bass in the song’s introduction and Toliver’s lyrics was a perfect kick-off to “OCTANE,” and the song has been on repeat since.
The interpolations continue immediately with the second track, “Body.” Toliver references Justin Timberlake’s “Rock Your Body,” before delving into his own lyrics on top of a trap beat. Toliver’s ability to effortlessly translate a pop song to trap rap is admirable and enjoyable.
In addition to interpolations, the album’s collaborations were another highlight. Toliver enlisted the help of many past collaborators like Teezo Touchdown, Yeat and most notably, Travis Scott, who has been one of Toliver’s most frequent collaborators. Toliver is excellent at choosing artists who add an extra sense of pizazz to the songs, and there was not a single featured artist whom I found unnecessary.
Toliver’s track with Scott, “Rosary,” was another one of my favorites on the album. Both of their verses complement each other, flowing easily with the punchy, electronic beat. Like their previous collaborations, the way they bounce off each other musically is effortless and clean, and I look forward to hearing more songs from this duo.
Another collaborative standout was “Secondhand,” featuring Afrobeats artist Rema. The song continues with the trap theme interwoven throughout the album, but unlike the equal balance of rap talent between Toliver and Scott, Rema’s verse carried “Secondhand.” It was fun to hear him experiment outside of the traditional Afrobeats genre he is associated with, and I would love to see him continue making music of this nature.
One of the album’s pitfalls was its lack of consistency. The album is very top-heavy, with four features in the first half and only one in the second. Upon my many re-listens, I have found myself focusing on the first nine tracks, with the sole exception being “Excavator,” which had the more upbeat vibe I had been enjoying. As the album continues, the songs become more mellow and subsequently weaker when compared to the strong trap theme in the first half.
Nonetheless, “OCTANE” is full of catchy earworms and flawless features. I appreciate the year of dedicated work Toliver put into this album, as well as the plethora of fun and nostalgic interpolations. So, if you see this album advertised anywhere, take this as your sign to take that leap of faith and listen. I promise you won’t regret it.
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