After two free and strong mixtapes, Ty Dolla $ign drops The Beach House EP for all who have helped to build his reputation as one of California’s main players in the ratchet&b game.
1. Ty Dolla $ign’s world is full of hoes.
Early on, it’s easy to figure out the muses behind Ty’s music, being the inspiration behind or at least appearing on every song. Sometimes, he even gets a little creative and refers to them as “bitches.” On “Familiar,” he sums it up best by saying that he “got so many hoes I can’t remember.” As magnificent as these women must be, the truth of the matter is that his reliance on such a basic theme feels shallow and grows boring incredibly fast.
2. Ty Dolla $ign’s world is also full of rappers.
In fact, he has too many to list that appear on this EP. And with the EP’s standing at only seven tracks, the overabundance of rappers takes the spotlight away from Ty. As he’s demonstrated before, and even in flashes on this project, we know that he’s talented enough to make a great song all on his own, without the added weight on unnecessary rap verses.
3. He must be really “Paranoid.”
We aren’t penalizing him for the sequencing, but it’s too weird to not mention that the “Paranoid (Remix)” directly follows the OG version on the EP’s tracklist. If anything, the same song in a row is a curious decision by the label, but then again, presumably they also thought it was necessary for all those rappers to stop by and take the spotlight from our ratchet hero. But on a project as short as The Beach House EP, the same exact song two times in a row almost guarantees instant-skip, even if the guest spots from Trey Songz and French Montana make it shine in its own unique way.
4. Nonetheless, he is far more interesting than what his label is letting on in this EP.
We’ve noticed that there might be more to Ty $ than the ho-wrangling, orgy man that he wants us to think he is, and probably is (like here and here). While we thought the EP might explore a deeper side to the producer-singer, it didn’t. Just see the three preceding points of hoes, rappers, and what happens when you have too many love interests.
5. Instead, we are left with glimpses of the true musician.
Take the introduction, for example, the orchestral, spoken-word “Work.” That lush beginning, conjuring images of Justin Timberlake’s “Pusha Love Girl,” certainly did not foreshadow what was to come. The final song, “Never Be The Same,” also had him swearing that it was all different, and waxing about nothing will be the same, but Ty stuck mainly to same drum machine-and-croon combo for the glut of the EP. This was his chance to push his musical borders, but instead he left a lot to be desired.