South Floridian, Denzel Curry, introduced himself to the Soundcloud music scene in 2013 with his debut album, “Nostalgic 64.” Afterward, he released two studio albums, a mixtape, and his wildly popular single, “Ultimate.” With the true mark of a South Florida rapper, Curry’s previous albums have displayed the intense, booming bass lines and enthusiastic screaming and chanting made popular by rappers such as XXXTENTACION, Smokepurpp, and 2 Live Crew. Curry meshed his darker, sophisticated sound with South Florida’s rap scene, to pioneer his own grimy, distorted genre. Curry’s unique sound has put his name on the tongue of hip hop/ rap enthusiasts. Teetering on the verge of mainstream media, his most recent album, “TA13OO” (pronounced TABOO), illustrates the rapper’s lyrical and instrumental versatility and innovation.

Curry separates “TA13OO” into three “acts,” each one signifying a deep emotion during the album making process. The act titles, “LIGHT,” “GREY,” and “DARK,” are theoretically supposed to reflect his mood in the track and the feelings that prompted each song.  For example, the first act, “LIGHT,” features four songs, “TABOO,” “BLACK BALLOONS,” “CASH MANIAC,” and “SUMO.” “CASH MANIAC” fits the light theme perfectly. It’s the typical, braggadocious track detailing Curry’s love for money and his abundance of it. He raps over a grand, retro synthesizer with lyrics such as, “back in my palace, I'm fly like Aladdin,“ and, “bread so long, 'bouta buy the whole mall.” CASH MANIAC” isn’t an astounding or deep track, but it’ll bring the proverbial smile to one’s face and is a welcome change of pace from the darker side of the “LIGHT” act.

If the line, “darker side of the ‘LIGHT’ act,” sounds confusing then we’re on the same page. Tracks one and two  - “TABOO” and “BLACK BALLOONS” feature similar, light beats, with “TABOO’s” languid, soulful singing and “BLACK BALLOONS’” snappy hi-hat, but center around darker, more troubling topics. “TABOO” details the story of Curry’s girlfriend and her struggles with losing her innocence to molestation. Meanwhile, “BLACK BALLOONS,” personifies Curry’s struggles with suicide and depression as black balloons always hanging over his head. Far from light topics, the two tracks don’t fit the “LIGHT” theme, despite their contrasting cheerier instrumentals. The fourth song, “SUMO” is the most bizarre of the act. Opening with an aggressive, distorted bass line the song appears to be angry, however, Curry only brags about (once again) the abundance of his funds. Through the album, Curry’s “acts” idea doesn’t particularly make sense as he peppers many songs with the same themes no matter the stated mood. His acts idea is initially confusing but may be Curry’s intent to force listeners to puzzle through the meaning behind the acts and his “taboo” topics.

Curry takes an unexpected approach to drugs, modern-day rap’s monster-under-the-bed. The abuse of Xanax and Percocet has been largely ignored but continues to cast a dark shadow on the hip hop scene. While, unfortunately, many artists almost brag about their drug habits, Curry takes it in the opposite direction, speaking to prescription abuse and its impact on the current wave of artists. Considering the prominence of the drug craze in hip hop, Curry’s broaching of the subject is brave and unexpected.

In the tenth track, “THE BLACKEST BALLOON,” Curry describes drugs as the darkest balloon.  He speaks to the untimely death of 21 year old, Lil Peep, a story that others avoid like the plague, with the line, “ain't shit changed since Lil' Peep died.” Additionally Curry raps about the connections between prescription pill abuse and shootings. In the song, “PERCS,” Curry criticizes everything from the upcoming generation of artists’ one dimensional, repetitive lyrics to their glorification of Xanax and Percocet. He remarks that rappers gain popularity through a suburban, superficial fan base (“Get suburban white kids that want to hang with us”) and dragging out the same topics (“I should rap about some lean and my diamond cuts”). A much-needed interjection, Curry’s commentary on drugs is refreshing and essential. Despite its commendable nature, the song “PERCS” almost hurts my ears. The whining piano instrumental is an interesting opener but grows more annoying with each minute.

However, other tracks maintain an innovative sound, while still speaking to important themes. This includes feeling like an outsider as a black man, the current state of the country, and the de-evolution of the rap scene. These themes are most notable in standout tracks, “CLOUT COBAIN,” a catchy, yet cynical criticism of Soundcloud rappers, and “SIRENZ,” a proclamation of disgust with police brutality.

“TA13OO’s” grimy, gritty, explorative beats compliment Curry’s lyrical and vocal prowess. Coupled with insightful lyrics, a fast, decisive flow, and a tendency towards refrains, “TA13OO” is undeniably Curry’s most engrossing album. Despite not adhering to his three act structure, Curry exhibits a surprising level of emotional depth and reflection in his music.