After dropping 'Prima Donna' late last year, Vince Staples swiftly re-upped to deliver 'Big Fish Theory' and if you're still doubting Staples' capabilities, you'd be wise to switch on. Staples is coming hard with projects that are tightly packed and have a unique musical stamp, although BFT differs greatly from his first album 'Summertime 06' which he dropped a few years back.

Since Summertime, Staples has ventured down a path of exploring different sounds and incorporating his new-found status into that music. BFT is just another step and that Staples can keep taking steps forward, offering a unique package with every album or EP that he drops is an incredibly impressive effort. There's a clear push towards a more electronic, garage-y sound on BFT and even trying to explain the sound that offers such a creative canvas for Staples to rap over is a difficult task.

It's definitely got an electronic dance music aspect to it, although tracks such as '745', 'Big Fish' or 'Rain Come Down' come with a thumpin' drum. You'll still find yourself doing a class hip hop head-nod to 'Bagbak', you'll feel a tingle of fear on the eerie 'SAMO' and you'll be buzzin' out when you hear the garage-sounding 'Homage' that could be just as funky with Dizzee Rascal gracing it. So yeah; Staples has tracks that a more EDM influenced and there's tracks that incorporate all sorts of different musical genres. It doesn't really matter though because the different musical influences just sound like Vince Staples.

To get that sound, Staples enjoys production from a gang of musical figures that you've probably never heard of. The most recognisable name is Flume, who is credited along with SOPHIE on 'Yeah Right' which also features Kendrick Lamar.

SOPHIE is a producer from Britain and also produced 'SAMO': (here's SOPHIE producing for Charli XCX)

Zack Sekoff is credited on five songs, the most of any producer:

Christian Rich is a duo who came up under N.E.R.D., they're credited on 'Big Fish':

GTA are another duo who are credited on 'Love Can Be...' out of Miami:

Jimmy Edgar is responsible for '745':

Ray Brady gets a credit for 'Ramona Park is Yankee Stadium' and 'Bagbak': (Ray Brady produced this Kilo Kish jam)

That's a group of producers that not too many other rappers, or artists in general are bringing together. Staples does just that without having such a vast range of sounds and musical themes pulling away from each other, oh and Staples raps all over this production. We already know Staples is a talented writer/rapper so we can only expect him to showcase his skills on production that mere mortals will struggle to flex; Staples glides through the ever-changing tempo, slams in the techniques that make him a wizard and is immensely versatile. He's equally as slick spitting swiftly on 'Homage' as he is offering gems in slow, steady fashion on '745'.

And that's just how Staples delivers his words. Obviously Staples is going to be saying some shit and BFT tends to follow a similar vibe of PD where Staples reflects on this new world of relative fame that he's found himself in, along with love matters. 'Love Can Be...' and '745' offers a slight tangent in the middle of the album, while 'Party People' comes later in the album and has Staples wanting to just have fun, despite "human issues, too strong for tissues, false bravado masked by wealth".

It's up to you to listen closely and interpret that based on your experiences and what not. Sometimes this is easy - "tell the one percent to suck a dick because we on now" (Bagbak) and Staples certainly doesn't hide messages locked away in double entendres; there's a straight up rawness to what Staples says that cut through. You just need to listen to it numerous times to catch the plethora of gems and messages sent from Lord Staples.

You can genuinely play ignorant and not try to absorb what Staples is saying thanks to Staples' gems and the impeccable production. That's the mark of a great album and you can have BFT bumpin' from your car as loud as you want it, hand out the window, vibing out.

You can also enjoy the growth of Staples and peep infinite moments of wisdom on BFT. Staples continues to explore different avenues of music, lacing it with what I perceived to be Staples settling on pure confidence in his standing in music and society. Staples isn't just the Crip from Long Beach anymore, he's experienced a wide range of people, perspectives and situations that success has brought with it. Staples isn't too far behind Kendrick Lamar in terms of pushing music and culture forward at the same time as he's pushing the way listeners think forward.

The best thing about all of this is that now we sit and wait to see what Staples will do next. Unlike other artists, we have no idea what creative direction Staples will go in and that's exciting because Staples has been impressive regardless of what production or theme he's operating under.