Review: Freddie Gibbs & Madlib - Bandana

Back in 2014, when Freddie Gibbs & Madlib collaborated for the release of Piñata, it was seen as a one off event in time, just like Madvillainy, MF Doom's collaboration with Madlib a decade before. But then two years later, Madlib announced that him and Gibbs were working on a sequel. After three years of recording and a five year wait overall, the album, entitled Bandana, is finally here.

Madlib is known for his use of his samples on his work and his flips shine the most on Freestyle Shit, Education, Crime Pays and Palmolive. Due to his choice of samples from artists such as Donny Hathaway, James Brown and The Sylvers, the beats are smooth and show that Madlib hasn't lost his touch when it comes to chopping up samples.

Beat switches are a main part of the production as well, with songs like Fake Names, Cataracts and Half Manne Half Cocaine utilizing them. The first half of Half Manne Half Cocaine is a striking difference from Madlib's traditional production though, with the producer utilizing trap drums for the first time ever. Madlib's dabbling into the trap sound doesn't seem forced though and instead sounds very natural. As a result, he showcases his diversity and growth as a producer.

Only five features are on the album which are spread across fifteen tracks. This is a stark contrast from Piñata which had three times as many features over seventeen tracks, and six features on the album's title track alone. But just like how the features on Piñata were beneficial to the track they were on, the same goes for Bandana. Anderson .Paak delivers a soothing hook and verse on Giannis, Pusha T and Killer Mike flex their rap muscle on Palmolive and Mos Def and Black Thought do the same on Education, the album's penultimate track.

Due to the amount of features on the album, Gibbs has more room to let his raps shine. Situations showcases his rap skills the most, with the use of a flow that's reminiscent of a prime Bone Thugs-N-Harmony track. Gibbs also taps into his introspective side on tracks such as Cataracts, Education and Soul Right, the last track on the album.

While Piñata felt cinematic due to its use of samples from 70s blaxploitation movies, Bandana utilizes a different approach to attain a cinematic vibe. With smoother production, as well as more introspection from Gibbs, the cinematic approach is refined without sacrificing the quality of the album.

The final verse on Bandana ends with, "I can't hold no grudges, my hands is too busy catching blessings." For a man who came back to the States mentally and physically stable after he was extradited to Austria for a crime he didn't commit, as well as taking care of his only child and watching her grow, that last line is the most fitting for Gibbs during the past five years.

Final score: 9/10