15 Songs, 36 Minutes

EDITORS’ NOTES

When iann dior emerged at the start of 2019 with an instantly viral debut single (the Nick Mira-produced “Cutthroat”) and a deal with 10K Projects, some rap fans questioned whether the Corpus Christi, Texas, MC was an industry plant. Hence the title of his second album, equal parts brilliant troll move and savvy search-optimization strategy. Where dior’s first album, Nothings Ever Good Enough, was filled with pleasant but predictable emo-rap angst, Industry Plant shows the self-proclaimed sad boy finding his own perspective—namely, leaning all the way in on his emo and pop-punk influences, complete with a Travis Barker guest spot (“Darkside”) and a bizarrely catchy Sum 41 interpolation (“In Too Deep”). Turns out dior’s at his best when he’s going full rock star: The wallowy grunge of “Gone Girl” and the Sting-esque melodrama of “Urself” are the rapper’s most charming tracks to date, industry plant or not.

EDITORS’ NOTES

When iann dior emerged at the start of 2019 with an instantly viral debut single (the Nick Mira-produced “Cutthroat”) and a deal with 10K Projects, some rap fans questioned whether the Corpus Christi, Texas, MC was an industry plant. Hence the title of his second album, equal parts brilliant troll move and savvy search-optimization strategy. Where dior’s first album, Nothings Ever Good Enough, was filled with pleasant but predictable emo-rap angst, Industry Plant shows the self-proclaimed sad boy finding his own perspective—namely, leaning all the way in on his emo and pop-punk influences, complete with a Travis Barker guest spot (“Darkside”) and a bizarrely catchy Sum 41 interpolation (“In Too Deep”). Turns out dior’s at his best when he’s going full rock star: The wallowy grunge of “Gone Girl” and the Sting-esque melodrama of “Urself” are the rapper’s most charming tracks to date, industry plant or not.

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