On Friday, March 16th, X bequeathed the first chapter of his trilogy, the ambiguously titled ?. At eighteen tracks, the sophomore project was considerably longer than its predecessor. To be honest, that’s not saying much. Save for a few exceptions, X has yet to embrace the traditional song structure; the majority of ?’s chapters feature but a single verse and chorus. While this brevity guarantees that we don’t have to stay in one place too long, it comes with a price. At times, the scenic route may be preferable.

One such instance comes during “Moonlight.” With an unconventional, yet extremely hard instrumental from David Kutch, Robert Soukiasyan & John Cunningham, X delivers one of his most immediate bangers to date. Yet the experience is over before it truly begins, and it’s hard not to lament the missed opportunity. We all know X can spit, and a beat like invites myriad different flows; it would be been dope to see X showcase some of his technical prowess, but instead, he opts to remain in his comfort zone.

Yet song structures are pretty much the only element connecting ? and 17. Stylistically, X seems intent on pursuing every musical instinct, fleeting as they may be. From the acoustic trappings of “Alone Part 3” and “Before I Close My Eyes,” to the brash, abrasive “Floor 555”, to the reggaeton pop of “i don’t speak spanish lol,” ? has something for everyone. In some ways, the scattershot amalgamation of genre is a testament to X’s versatility. In others, it’s one of the project’s biggest detractors.

Transitioning from the “the remedy for a broken heart” into “Floor 555” is a jarring derailment of an otherwise cohesive introductory section; while the “Look At Me” die-hards deserve to be appeased, it shouldn’t come at the cost of album cohesion. Even the live instrumentation of “Numb” feels like a misstep, as neither the arrangement nor melody are particularly memorable. “Pain=BESTFRIEND” does feature an improved melodic structure, but seems pulled from an Emo album circa 2008. X’s commitment to honoring his various influences is admirable, but it may have behooved him to spend a little bit more time on sequencing this artistic kaleidoscope.

Despite an sagging middle section, ? features some of X’s most nuanced and impressive material to date. The aforementioned “Moonlight” is a potential candidate for his best yet, while “Hope” features a sincere and stylistically appropriate melodic approach. His collaboration with Joey Bada$$ is nothing short of excellent, and hearing the pair trade bars over a smoky, film noir instrumental is a frustrating reminder of what this album could have been. Truthfully, X’s bars are so rare, they tend to stand out as a welcome surprise.

Album closer “before I close my eyes” ends ? on a quiet, yet optimistic note, and the fingerpicked guitars and string work make for a lovely parting moment. Yet the thematic weight is diluted by the abundance of non-sequiturs. Did this album really need songs like “going down?” or the Matt Ox assisted $$$? I appreciate a reference to The Witcher as much as the next man, but the candy coated, obnoxious gloss somehow cheapens some of the album’s genuine sincerity.

Don’t get it twisted. There is much to enjoy where ? is concerned. It may lack