We Still Don’t Trust You-Future & Metro Boomin

We Still Don’t Trust You is the followup to We Don’t Trust You, released on April 12th. It’s a drastically different record from the one that came about a month before. We Don’t Trust You was a dark, game checking record that showed that Future and Metro are still in the height of their power. Off the strength of songs such as “Like That”, “Type Shit” and “We Don’t Trust You” as well as the overall quality of the album tracks I could see that album aging really well.

This album will definitely age well, though probably in a different way, as evidence of both Metro and Future’s more experimental and off of the straight and narrow style music. It’s got a much softer, pop-esque record, with very different production and songwriting from the first. I think it’s definitely one of the more interesting Future records out there, sonically and melodically. So let’s dive in, track by track like last time.

We Still Don’t Trust You, the lead-off to this record. The “We Still Don’t Trust You” refrain is pretty good. Future does a good job here of actually singing. The Weeknd shows up and contributes without carrying. A good thematic opener for the record. The beat is kind of simple, but very good, with some interesting stabs and urgent background synths. Metro casually cooks here.

Drink N Dance is more of an uptempo dark R&B number, with a twist of Future. It’s actually pretty fun and infectious, with a very well placed Future verse which he runs. It was at this point on the first listen I was like “oh this is gonna be a pop record.” It’s straightforward and catchy. What more should I say?

Out of My Hands is one of the better songs, beats and bars in all, on this whole project. It’s got a great “comfortable but bored” vibe that wouldn’t feel out of place in a lot of Future records. The beat is chill and simple, but well arranged, with good buildups that elevate the section Future is working on.

Jealous is another straightforward pop number, this time finding Future pining for a woman. He needs her, she makes him jealous. He’s very emotional about this and needs closure on this issue. The beat is pretty good. Metro’s production is generally “less is more” but this song really illustrates that this record is truly gonna be his style of pop, laced with the ATL trap philosophy.

This Sunday is one of those songs we occasionally get where Future just sort of spins over a beat. It’s like some trap counterpoint, with the melodies Future is singing not necessarily bringing the most obvious solutions to the pocket in the beat. The beat is very minimalistic, a few synth loops over some drums.

Luv Bad Bitches is a trap ballad, complete with the creeping sub and sex/X rhymes in the verse. As you can guess, it’s about Future’s love of bad bitches. “I like good girls, but I luv luv luv bad bitches” he explains to us. Makes sense to me.

The beat on this next track Amazing (Interlude) is pretty interesting. It feels like some Aphex Twin made in an empty boutique. The general theme is “things that amaze Future”, which tends to be women and expensive cars. It’s got some nice samples that show Metro’s skill not just as a beatmaker but also a producer.

All To Myself is a straighforward R&B number with a sunshiny beat, nice crisp drum machines and a strong vocal performance from Future and his album buddy The Weeknd. The Weeknd sounds great. He disses Drake and the OVO crew on this record, so that’s interesting. In general it’s a light track, but does have some fun tea.

Nights Like This has a great beat and melody, an excellent Future track. I love this song. It feels like one that will age well with the album and probably be remembered as a standout. The beat is one of Metro’s best on this project. It might be his best. The vocal chop and the sample are infectious.

Came To The Party is another strong track. It features Future going in on his verses, waxing poetic about fame, power and wealth. The lion is free, passion and fury evident in his voice. This is another “of a mold” Future tracks and this is one of the good ones. Just a bar laden dirge. Subdued but well arranged beat.

Right 4 U is a pop number. This one is a little hectic. I’m not fully sure it works, but it’s certainly interesting. It’s very…loud in some parts, then it feels too quiet. Interesting beat. I think it’s good. Overall the song is not bad or anything. It’s solid and doesn’t feel like a throwaway. I think it’s more of a head scratcher to me as an individual.

I was surprised by Mile High Memories. It’s like, an actual put together narrative about a girl Future had sex with on a plane, who he then has an infatuation. He’s texting her, he’s about it. “Mile High Club you remember?” he asks. “Popping like a pimple” is absolutely shameful though. Production wise, it’s got a guitar and some nice backing harmonies over a continous synth doing some runs. I mean, it’s not the next wheel, but it plays.

It was at this point the album began to be a little too long. Overload is a track that, while okay, doesn’t feel as strong as many of the other tracks on this album and over all feels a little mailed in. It doesn’t hit as hard as a lot of the other cuts on here. That’s okay, it’s just my opinion.

Gracious is a standout strictly based on it’s beat. It’s just some awesome, emotive, shimmering Metro production that could easily have been the best beat on someone else’s album. Honestly think the beat is better than the song here.

This next song was hyped up because of a non-existent Michael Jackson. That would be Beat It. Similar to the previous track, the song is okay, but the beat is ridiculous. The sample, which sounds like Lana Del Rey, is awesome, pure magic. Every element of this beat works and it ultimately is what makes the song. Future is up to his typical hi-jinks, telling a woman who disappointed him to “beat it.” Reasonable I guess.

Always Be My Fault is another track that has the Weeknd and it feels like a Weeknd track. It has a boxy, spacey feel, much like Trilogy did. I think it’s actually a very good track. The hook is subtly very catch. What’s interesting is that even though it feels like a Weeknd song, Future absolutely kills it. He might have the stronger vocal here. Though the Weeknd’s “Bedroom like a graveyard” is a great line. “Played me like a cello” is not. The “It’s gonna always be my fault” is a simple but awesome chorus.

One Big Family is another track that I enjoyed from this album. Solid beat, solid bars, what have you. It’s just got that bounce and energy that makes a good Future deep cut. The “big family” here is Future and all his hoes, as it should be. The number is 20, which seems like a lot, but for Future, this is nothing. “I swam through outer space, I’m from another planet” he says, without an ounce of tongue in cheek, and honestly, I believe it.

Oh man Red Leather. This song is dry. Instead of an explosive pop/dark R&B finish, we get a “let’s spit bars” type beat. It’s really subdued, more built for the whack ass J Cole feature at the end of this. It’s basically Future freestyling for like 4 minutes before J Cole drops an egg, with this completely lame verse about really wanting to cheat on his wife, but he can’t because he’s married. What the fuck. What the fuck. “Might run a train on a bitch, Penn Station…” sounding more like Platform 5 and 3/4 the way this dude spits. I was wrong about J Cole.

That about wraps up this review. Overall I think it was a decent record track by track, with some standouts worth revisiting, such as “Night Like This”, “Always Be My Fault” and “Out of My Hands.” There were some really good things on this project and a few great things. The samples and beats were on point all across this record. I think in a vacuum I, along with many others, would appreciate this record more if it had come out by itself, as opposed to sandwiched in between a tougher We Don’t Trust You and followed by an all time great EP/mixtape in We Still Don’t Trust You (The Mixtape). It will take time to figure out where this record sits for many. For me personally I could see it falling into the same spot as Hendrxx, a record I like and respect a lot, but don’t really visit that often. I liked hard Future, what can I say? Either way, this is a good record, worthy of your ears and I encourage to give it a spin and come up with your own opinions.