I haven’t expected anything good from Future since 2012 when I first heard of him. Thus, it wasn’t much of a shock when this mixtape was as mediocre as everything else he’s ever made. In fact, Beastmode 2 is one of the most by-the-numbers Future projects. Each song sounds at least somewhat alike, so much so that I didn’t even realize “WiFi Lit” had ended and “Cuddle My Wrist” has begun. His flows are generic and uninspired, and his lyrics are as uninteresting as ever. Though there are some listenable tracks like “31 Days” and “Some More,” much of this feels insignificant. It really feels like Future is less a rapper or an entertainer then he is a manufacturer passionlessly producing goods for a consumer base. But, as noted before, that’s to be expected from Future.
However, the true disappointment of this mixtape is Zaytoven. Future songs have only one redeeming quality in that they are at least sonically pleasing, and the responsibility for creating this sound falls entirely on the producer, as Future isn’t as vocally melodic as contemporaries like Lil Uzi Vert. Thus, the bulk of the sound relies on a strong, catchy beat, making it Zaytoven’s responsibility to make Future tolerable. Tragically, the producer has brought some of the most forgettable instrumentals he’s ever devised.
Almost every beat across Beastmode 2 sounds like Zaytoven leftovers; it’s spare production, if you will. They’re basic trap instrumentals without any impressive features to set them apart not only from the current trap trend, but beats within the mixtape itself. This is the case for the two aforementioned tracks, as their similarities can hardly be called ‘flow’ when the accurate word is repetition. The trademark Zaytoven piano samples mix in every once in a while, but they’re much more generic and subdued than what we’ve heard on his work with the likes of Gucci Mane. Each instrumental is overloaded with drums, perhaps for the purpose of making the songs sound better in a car where they’re typically played, but the snares and hi-hat rolls are uninspired and often indistinguishable. The only song where these overwhelming trap drums manage to glide successfully and at least uniquely is on “Some More.” Future also manages to flow a little better on that track as well.
In short, this mixtape is skippable. There’s nothing here that Future hasn’t done before or even that he hasn’t done better. It’s really just background music, which is often what people use it for. This aside, there’s the matter of the last track, “Hate The Real Me.” The ‘sad-Future-song’ of the album, it is once again bringing up discussions on Future’s mental stability and struggle with addiction. While the rapper has often said that he’s playing a character, the song has undertones that people seem to be ignoring. The idea of taking “a chance when [she] had some miles on [her]” should stand out as a red flag, as the entire song seems to be Future playing into the rap cliche of trusting the wrong (often promiscuous) woman. In this, it reflects the misogyny underlying many of those songs, as Future places the blame on this woman and her lifestyle without considering that his lifestyle (detailed within the song) could also be a factor in his losing her. It strikes me as lacking any kind of real introspection, much like many of the songs on HENDRXX. But, then again, you can’t expect much from Future.