The first installment of 's Man on the Moon series was released in 2009, when he was just starting to establish himself as a distinctive creative force. The debut studio album from the Brooklyn-based, Cleveland-bred rapper expanded on the stark emotional landscapes blueprinted by 's just a year earlier, with inspecting his insecurities, anxieties and other various demons with a shocking vulnerability that was still uncommon on rap records at the time. 's combination of lyrical openness and stardusted production felt fearless and new, and the personality that came into form on 2009's would influence the next wave of emotionally charged rappers. In the decade that followed, himself experimented with styles and approaches while perpetually battling his demons, to various degrees of success. represents both a return to form for as much as a distillation of his most successful experiments with genre and delivery. Production on preceding albums could be somewhat uneven or jarringly ragged, but production values throughout are bold and pristine. Spacy synths and enormous drums give the record a cinematic, almost sci-fi atmosphere, applying cosmic touches to both catchy pop-trap tracks like "Tequila Shots" and "Damaged" and more driving rock-inspired numbers like "The Void." The moody sung vocal lines and nocturnal energy that defined some of 's best early material are revisited on album standout "Solo Dolo, Pt. III," and the anguished autotuned hook of "Sad People" is similar. There are a few moments that disrupt the album's flow, in particular the confusing guitar twang of "Elsie's Baby Boy (flashback)," the overly dramatic bombast of "She Knows This," and the less-than-essential "Rockstar Knights," which finds descendant bellowing hollow lyrics about a self-destructive lifestyle. For every bland or fumbling track, there's one where successfully evolves his musical language. The glowing "Lovin' Me" pairs cinematic percussion and '80s movie synths with gliding sung verses and guest vocals from indie songwriter . On the other end of the spectrum, "Show Out" takes cues from drill for both its distortion-heavy instrumental and the relentless flows that zings back and forth with guests and U.K. grime MC . marries -level blockbuster production with 's distinctively troubled lyrical perspectives and gift for spaced-out late-night atmospheres. wrestles with the same struggles that have plagued him since he began sharing the complexities of his internal world, but at its best, shows that years of struggle have yielded substantial growth. ~ Fred Thomas