Vince Staples is no stranger to experimenting within the realm of hip hop, but the particular fusion of hip hop and EDM on this record makes for Vince’s strongest collection of songs. He brought in producers who are talented in more electronic sounding stuff like Flume, SOPHIE, and even Justin Vernon. I don’t think this album would be anywhere near as good as it is if he didn’t choose the right people. DeVille, Chris (July 9, 2021). "Stream Vince Staples' New Self-Titled Album". Stereogum. Archived from the original on July 20, 2021 . Retrieved July 20, 2021. producer 1, 3, 8, 10, 12, songwriter 1, 3, 8, 10, 12, electric guitar 3, keyboards 3, bass guitar 8, programming 1, 3, 8, 10 a b Okon, Wongo (July 3, 2021). "Vince Staples Recruited Foushee For His Forthcoming Self-Titled Album". Uproxx. Archived from the original on July 5, 2021 . Retrieved July 7, 2021.

Gee, Andre (December 1, 2021). "The Best Albums of 2021". Complex. Archived from the original on December 20, 2021 . Retrieved December 4, 2021. Staples’ 2016 EP, Prima Donna, opened with a budding rap star dying by suicide before tracing the path that led him there, and Big Fish Theory further explores the theme. Amy Winehouse speaks in the opening seconds of “Alyssa Interlude” (via an excerpt from a 2006 interview), setting the tone: “I’m quite a self-destructive person, so I guess I keep giving myself material,” she concludes, a sobering look into her process. Winehouse has long been a source of inspiration for Staples (the documentary Amy was the initial spark for Prima Donna), and he has openly criticized the public’s treatment of the late singer. The symbiotic relationship and resulting tension between a tortured artist and their audience weighs heavy on Vince’s mind (See: the “Señorita” video or the Prima Donna short film). These weighty questions seep into Big Fish Theory, where he sneaks in outcries like “Propaganda, press pan the camera/Please don’t look at me in my face/Everybody might see my pain/Off the rail, might off myself.” Suicide comes up elsewhere on the record. There are references to Basquiat and he calls himself the new River Phoenix. Amid the partying and paper-chasing, there are flashes of darkness and melancholy: “How am I supposed to have a good time when death and destruction is all I see?” Fitzgerald, Kiana (December 1, 2021). "The 50 Best Albums of 2021". NPR Music. Archived from the original on December 3, 2021 . Retrieved December 4, 2021. Noor, Sun (December 1, 2021). "Exclaim!'s 50 Best Albums of 2021". Exclaim!. Archived from the original on December 6, 2021 . Retrieved December 6, 2021. I’m a mind more than I am an entertainer to a lot of people,” Staples says, adding “I appreciate that my fanbase is willing to go on this ride with me. I’m ready to diversify what we’re doing and see how we affect the world.” That trip has begun with the recent announcement of his new graphic novel, Limbo Beach.it's fair to give it a chance then retract your attention just as it concludes, at least the first time. it doesn't present itself as futuristic, pop appeal, neither is it a colossal sprawl of fresh west coast ideas. vince staples' eponymous is an alienated introspection into the man's path of life, the one he has lived through in the past, and what lasting effects it had on him. when you take the flash and blazing guns out of the equation, what is left is a murky, skeletal temple of reflection and internal growth.

Staples’ disillusionment comes into sharp focus on “The Spirit of Monster Kody,” a 45-second skit that’s voiced by Sanyika Shakur, fka “Monster” Kody Scott, an infamously violent member of the Eight Tray Gangster Crips who wrote an autobiography about his troubled life. In his speech, Kody speaks of defying expectations and drawing inspiration from the legendary rebel Joseph Cinqué. Free of additional context, it’s powerful, even inspiring. But what Staples leaves unsaid is that despite his triumphs, Kody’s end was as tragic as his beginning—last summer, his body was found decomposing in a tent at a homeless encampment near San Diego. a b Williams, Kyann-Sian (July 8, 2021). "Vince Staples – 'Vince Staples' album review: a spectacular slow-burn". NME. Archived from the original on July 9, 2021 . Retrieved July 8, 2021.Staples has been consistently clear about the distinction between his work and what an “entertainer” like Drake does. To call this album entertainment would almost feel disrespectful. This is a document of a young man’s pain, a chronicle of his disillusionment barely disguised by his deadpan voice. Even the things that once grounded him—the people and places that shaped him into who he is—look different now. Ten years into a career of recounting the decisions he made to get here, he has more available options than ever—and he finally appears ready to move on. Devlin, Ben (July 9, 2021). "Vince Staples – Vince Staples". musicOMH. Archived from the original on January 5, 2022 . Retrieved July 16, 2021. a b Green, Dylan (July 9, 2021). "Vince Staples Vince Staples". Pitchfork. Archived from the original on July 9, 2021 . Retrieved July 8, 2021. Chow, Andrew R.; Lang, Cady (December 4, 2021). "The 10 Best Albums of 2021". Time. Archived from the original on December 6, 2021 . Retrieved December 6, 2021.