Rakim Athelson Mayers has never shied away from unconventionality. From his genre-bending mixtapes to his daring fashion sense, the 37-year-old Harlem rapper, known commonly by his stage name, A$AP Rocky, has long forgone the rigid confinements of normality for experimentation.

In the beginning, that meant joining rap group A$AP Mob in 2007 — then in its infancy — and collaborating with cloud rap pioneers Clams Casino and Main Attrakionz to craft spacey, atmospheric trap rap signified by its abrasive, hard-hitting bass and narcotic-centric lyrical content.

Later, it meant adopting protege Playboi Carti — long before the Atlanta rapper blew up with 2020 album “Whole Lotta Red” — and fostering a new generation of alternative hip hop hinging on the foundations he himself established a decade earlier.

Then, in 2018, it meant releasing perhaps his most polarizing project yet in “Testing,” an indie-infused solo album that alienated fans as much as enthralled others.

“Don’t be Dumb” is no different. The new album, released on Jan. 16, does not slack in the slightest. Despite being Rocky’s first solo album in nearly eight years, it’s business as usual for the now-veteran musician, with the New York rapper returning from his self-imposed hiatus, hungrier than ever to break new ground.

That sentiment can be felt throughout the project. Lead single “Punk Rocky” sheds Rocky’s usual trap snares for a down tempo, guitar-driven midwest emo track sonically closer to 2000s bands like American Football or Mom Jeans than anything he had released prior. “Whiskey (RELEASE ME)” recruits underground legend Westside Gunn and Gorillaz frontman Damon Albarn for an eerie four-minute trap opera characterized by a distinctive, hauntingly repetitive hook from the latter and shrill, off-kilter adlibs from the former. Both tracks utilize experimentation to their advantage, crafting unique, avant-garde songs that, while not immediately sonically pleasing, make their mark and cultivate Rocky’s thirst for innovation.

But innovation can be hit or miss, and as much as Rocky tries, some experiments just don’t land. “ROBBERY” featuring Doechii is a notable culprit. Shrill, jarringly out of place piano keys and nonsensical lyrics reminiscent to the feature artist’s similarly unpalatable “Anxiety” render the track unlistenable. The album’s finale, aptly titled “THE END,” is likewise grating. Subdued, childlike chants from feature artist Jessica Pratt, while initially effectively haunting, swiftly lose their charm with repetition. But even as experimentation falters, the effort alone deserves flowers — in an age where other artists simply settle for what works, Rocky’s affinity for testing is always welcome.

Even songs that may not deviate greatly from the standard still try new things. The opening track, “ORDER OF PROTECTION,” both calls back the Rocky of the old and breaks new ground, with braggadocious rhymes reminiscent of the rest of his discography bolstered by a bass-boosted backdrop that teeters away from Rocky’s rigid routine of cloud rap beats.

Experimentation is bound to bring forth division, and just as expected, opinion on the new release is similarly split.

“It was a little bit of a disappointment,” Palo Alto High School junior Sepi Hafizi said. “There were a few good hits, like ‘THE END’ and ‘STAY HERE 4 LIFE,’ but I was a little let down. I was excited, because he hasn’t dropped in a while. But overall, it was decent.”

Paly senior Yuvan Vishakan’s opinions are slightly more positive.
“I think it does live up to the hype,” Vishakan said. “My only criticism is that it took so long to release the album.”

Vishakan agrees with Hafizi on their favorite tracks, however.

“I especially like ‘STAY HERE 4 LIFE’ with the Brent Faiyaz feature,” Vishakan said. “His voice sounded very beautiful on the song.”