It was the collaboration we’d all been waiting for – but Super Slimey perhaps isn’t everything we’d hoped.


But hold up – don’t get us wrong. Super Slimey isn’t bad. It’s just not Beautiful Thugger Girls, which we would literally give 11/10. Neither is it FUTURE or HNDRXX, Future’s sensational self-titled double album, which we frankly still can’t switch off almost a year later. This meeting of Atlanta’s greatest should have been mind-blowing – just something about it falls a little short.

Considering the auto-tune powerhouses grew up twenty minutes away from each other, work consistently with several of the same producers, including Metro Boomin’, Zaytoven and DJ Esco, it’s a wonder they hadn’t come together sooner. After rumours Thugger would sign to Future’s Freebandz imprint for $1.5 million dollars petered out in 2015, things seemed to go from quiet to a little sour, after an ill-advised online feud sparked by Metro Boomin over who works harder. It seemed perhaps the two kings of Atlanta trap might never connect.


However, the hatchet was well and truly buried after Thugger apologized for the “internet arguments” and named one of the tracks on his JEFFERY release Future Swag, which was included within a track list that named all his influencers and personal icons. After Future’s feature on Relationship on the flawless Beautiful Thugger Girls, it seemed the Atlanta’s auto tune dons had patched things up.


Super Slimey is certainly a syrupy, double-cupping, molly-popping, trap-tastic record. What’s more, it came out of nowhere – like What a Time to be Alive, the marketing tactics of this long-awaited collaboration has all the hallmarks of a maximum-impact drop. But considering the year that the two rappers have had, we can’t help but think it could have done a lot more. Perhaps it was the touch of tension in the air that held them back.

However, the record does start extremely strong, and perhaps that’s what makes it feel like it falls slightly flat. No Cap and Three are blistering, proving that the two rappers can serve some serious bars on the finest beats. As Thugger spits “I GOT MORE BRACELETS THAN YOU’VE GOT CHAINS BRO!” the opening track signals that we might be in for an aggressive, no holds barred, auto tune onslaught.

But as we go into All da Smoke, something feels like it peters out after Future’s magnificent opening tongue twister “Every nigga out my city became a boss/Know she rollin’, holy moly, no days off ”. Despite Future’s line certainly describing the duo’s career trajectories pretty accurately, everything after the third track feels like it lacks the energy that Future describes.

Things pick up a bit on Patek Water, which includes the only feature on the album from Migos’ Offset. Quick, bouncy, with an infectious beat that includes drum machines, strings and what appears to be pan pipes, Offset’s verse is nestled amongst some excellent Young Thug ad-lib and a super catchy hook.

However, after Real Love, which invokes some of Future’s more romantic, lean-soaked vibes from HNDRXX, we’ve kind of stopped paying attention. It’s likely to be the fearsome strength of the opening two tracks that make the contrast so jarring, but you just can’t help but feel like they aren’t really trying.


As one would expect, Super Slimey brings together most of the US’s strongest talent in beat-making, all of whom have worked with Future and Thugger at some point. Mike WiLL Made-It, Wheezy, Southside, TM88 and of course London on Da Track all feature. However, perhaps the most significant producer from both the rapper’s careers is notably absent: Metro Boomin. Having produced what was arguably their best-ever team-up Chanel Vintage, it’s surprising the 24 year-old producer wasn’t a crucial component on Future and Thugger’s first album-length collaboration.

It’s possible it was the “internet argument” sparked by Metro that’s the cause of the producer’s absence from the mixtape. Nonetheless, the fact that Super Slimey lacks Metro Boomin’s magic touch is perhaps why the record feels like it’s not quite what it should be.


It’s also entirely possible many listeners are experiencing a bit of superstar collaboration fatigue. Many of these records – most notably What a Time to Be Alive – can be interpreted as cynical products of the battle of the streaming platforms, of which sudden, surprise drops are a central marketing ploy. In some ways, fans can never be sure if they’re getting a legitimate artistic project, or something that Apple has paid millions of dollars to make happen.


Nonetheless, Super Slimey is a pleasant listen, but could have been so much more. In the wake of an incredible year for both rappers, we were hoping for something that would blow our heads off – and were left feeling a little deflated.

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