The sophomore album from the self-proclaimed #1 Rap Group in America is finally here. Pepi Boys swelled to popularity in 2020 with the release of Pepi Boys Presents ‘Pepi Boys the Album’, but they have remained quiet since the project was released into the world. Silent no more, the booming “Weston Anderson” launched on to the nation’s radar when it was cryptically uploaded to YouTube. Despite the track’s seemingly repetitive nature, the intensity of the beat and the smooth vocal performance make for an excellent contender for 2022’s anthem of the year. Pepi Boys was released seven days later on August 11, and it is clear from the opening track that the Boys mean business.

Opening with “Michael Phelps”, the bubbly synths and crisp vocals paint a picture of Olympic-sized pools – and Olympic-sized money. “Kurt Busch” follows, combining strong, triumphant instrumentation with heroic aggrandization of the group’s power. Wali Da Great makes his second appearance on a Pepi Boys track, notably taking a more subdued and lyrical approach than his feature on the Trap Remix of “Nowhere to Go”. Remember, however: he’s a pimp, not a simp.

Next comes the first and only single, “Weston Anderson”. You’ll want to rev up those trucks for this summer hit. Not to be cornered exclusively into an assortment of bangers, “DK Metcalf” shows us a more sensitive side of the Boys’ psyche, drawing influence from contemporaries such as Frank Ocean and Beyoncé. As “DK Metcalf” fades out, one of the most surprising tracks on the album is next in the queue.

“Big Mac” combines the comfort of country with the catchy choruses of pop in a reminder of the importance of love and family, using soft, drawling vocals and a guitar-driven instrumental. Quickly casting the relaxation of prior tracks aside, “Rudy Gobert” then brings the abrasiveness that America has come to adore about the Pepi Boys. “Phil Mickelson” swoops in next, with its smooth brass melodies drawing the listener in further and further. This track is characterized by its educational and reflective nature, culminating in a celebration of life and accomplishment. As soon as the listener begins to digest this, however, the low, pulsing synths of “Mark Calaway” blare through the pensive silence. The second feature of the album is awarded to Louisville-based soul artist Bo Daddy Harris, whose baritone vocals pair like wine to cheese on this sinister, brooding track.

Over as quickly as it begins, the darkness is lifted as the bright, plucky melody of “LaMelo Ball” saunters through. Listeners will notice the boundary-crossing nature of this track – breaking down the wall betwixt artist and consumer. This song is anything but “fucking stupid”.

Soon after, “Terry Bradshaw” serves as a palate cleanser, its low, eerie synths giving way to a muted vocal performance that serves to remind the audience of the slow, inevitable march of time.

Before you know it, the end of the album has arrived, climaxing in an explosion of bright melodies and melancholy vocal performances. “Josh Cribbs” serves as the perfect bookend to Pepi Boys, and reminds the world that, yes, Pepi Boys are still the #1 Rap Group in America.