For those not willing to scrounge SoundCloud and blog posts for haphazardly-released singles and snippets (AKA, the vast majority of people who listen to music), Revenge is probably their first taste of Xxxtentacion and his polarizing universe. Xxx embodies a type of angst that might be appealing to younger listeners—perhaps a version of this generation’s Odd Future or Eminem—but without the wit or pathos that made those two acts so much more endearing and appealing to fans. It’s hard to enjoy music when its main motif seems to be “abusing women,” especially if the artist was previously in jail for allegedly assaulting his pregnant girlfriend. Though it’s easy to appreciate Xxx’s willingness to think outside the box musically and foray into different genres, it cannot mask his shallow content.
Of course, Xxx is far from the only rapper to be criticized for misogynist lyrics, but a larger problem lies in the fact that there seems to be no meaning beyond the lyrics taken at face value. There’s no lesson to be learned, no indication that it’s self-aware or tongue-in-cheek. When Future opens his album with “Even if I hit you once you part of my collection,” it works because you’re supposed to be disgusted with him. You listen as he grapples with his demons throughout HNDRXX and ends up begging forgiveness its excellent closer, “Sorry.” There’s no “Sorry” on Revenge, no turning point. There seems only to be hatred for hatred’s sake. It’s a shame the lyrics are caustic to the point of hindrance, as the songs themselves could be creative, fascinating, even great if more was put into the writing, but Revenge mostly sounds like if Lil Uzi Vert had a younger brother who tried to make a Death Grips album after hearing Nirvana for the first time.
Breakout single “Look At Me!” is the most sonically dissimilar track on the album, likely tacked on as an intro for name recognition and to boost units “sold” via streaming. Its haunting beat (sampling dubstep artist Mala’s “Changes“) invokes the atmosphere of a Legend of Zelda dungeon, though its content, flow, and overall style is simply a more abrasive take on contemporary rap. It’s not until the B-Side of the album that Xxx begins to call back to this distorted, more lo-fi sound he toyed with on “Look At Me!” as songs like “I Don’t Wanna Do This Anymore,” “Looking For A Star,” and “Valentine” take on contemporary R&B, the current Caribbean/dancehall trend seen on albums like More Life, and indie rock, respectively. “King” acts as a bridge, starting off softer like the previous three tracks, and then building into something more akin to metal. “YuNg BrAtZ” and “RIP Roach” fully commit to this blown-out sound, calling back more to roots of punk rock and grunge rather than Lil’s Uzi and Yachty.
Perhaps the most (only?) successful aspect of Revenge is the presentation, as Xxxtentacion’s bouts of aggression are best experienced in short bursts. At just 18 minutes long, even the tracks themselves are short, with every song but one being under three minutes, and three of the songs even being closer to the 1:30 mark. It acts almost like one of those snippet sampler mixtapes rappers used to put out in the early 2000s, transposing a collection of songs from his SoundCloud onto a commercial offering and allowing for Xxx to explore different sounds without turning off the listener by committing for a full album (or even full song). In that way, it’s the perfect bite-sized introduction to an artist whose catalog is expansive, inaccessible, and generally hard to navigate — even if it does so to mixed results.