After a hiatus that lasted nearly two years, rapper Nathan Feuerstein (NF) has released his long-awaited fifth studio album, HOPE. And, as per usual, he has delivered.

Feuerstein is known for his raw, emotional, and deep projects. He does not swear in his music, and does not want to put himself in a box like other more “Hollywood” rappers. Instead, he uses music as a means to process his emotions and help others.

The HOPE era was rung in by its first track and lead single of the same name, followed less than a month later by its second track, “MOTTO.” On April 7th, the full 13-track album was released. The album has two features, Cordae and Julia Michaels, and clocks in with a listening time of about 50 minutes. As a long time NF fan, I was beyond excited for his new record and could not wait to dive in.

After my first listen, I wasn’t sure how I felt about the project and whether or not it matched up to Feuerstein’s previous work, but it grows on you with every listen. While HOPE takes Feuerstein’s music and career in a new direction, the record has plenty to offer fans.

“HOPE” and “MOTTO” are the tracks that are the most authentic to Feuerstein’s previous records. “HOPE” is the perfect opening track and sets the pace for the rest of the album. It is definitely his most cinematically-produced song to date, which says a lot because cinematic music is Feuerstein’s trademark sound. In the song, he battles against his dark side, ultimately emerging more hopeful in the end. “HOPE” is more like a movie trailer than a song because of how deep it is, both lyrically and in terms of production. “I’m a prime example of what happens when you choose to not accept defeat and face your demons,” Feuerstein tells listeners in the song.

“MOTTO” has a more surface-level message than “HOPE” does, but it’s still a great song. Feuerstein raps about learning to be okay with being his own authentic self in the music industry. The production is engaging and heavy, creating strong beats for him to rap over. The song is incredibly catchy and is enjoyable to listen to. It sounds like the usual NF, but one who is more confident than in the past.

Besides “MOTTO,” there are several other hard rap tracks on the album, my favorite of which are “CAREFUL,” “PANDEMONIUM,” and “SUFFICE.” All three of these songs have signature Feuerstein flow switches and lyrics that are similar to most of his other rap songs. Where Feuerstein’s rap-based tracks most differ from one another is in terms of production. His producer always manages to stay authentic to the production of previous NF tracks while bringing in enough variety to make them distinct. Cordae’s feature on “CAREFUL” adds so much to the song as a whole, and his chemistry with Feuerstein is strong and refreshing.

“TURN MY BACK” is the rap track on the album that I feel should have been cut from the final tracklist. While the song is fine, it doesn’t add much to the album as a whole and feels repetitive in terms of both production and concept. “LET EM PRAY” adds a bit more flavor than its predecessor, so I think that it was worth adding to the album. While Feuerstein has stronger rap tracks, specifically “CLOUDS” and “TRUST” (both from his 2021 mixtape), the majority of the rap songs on HOPE bring something new to his discography and are worth your listen.

Feuerstein brings his most vulnerable lyrics to the table in his slower songs. The slower songs on HOPE are some of the album’s standouts. “MISTAKE” and “RUNNING” are the two most stripped down songs on the record–both driven mainly by guitar and piano. Both bear resemblance to previous Feuerstein tracks such as “Trauma” and “Paralyzed,” and they are also two of the album’s strongest lyrically.

“MISTAKE” focuses on Feuerstein’s challenges with his self-worth, and “RUNNING” (which is my second favorite song on the album) is a follow-up to “HOPE” that closes the record. In the song, Feuerstein lets go of his dark side and embarks on a new, more hopeful journey. It is the perfect closing song. In fact, it is by far his strongest album closer to date. “I wish you well, but I / Can no longer stand aside / And watch you sabotage / The two of us / I love you to dеath, but I / Can’t spend the rest of my / Lifе in this darkness, I’m / Done,” he sings. “RUNNING” closes the album triumphantly and frames Feuerstein’s new chapter.

“MAMA” and “BULLET” are two of the more emotional tracks on the record that both exhibit Feuerstein’s growth as an artist and person. “MAMA” is a follow-up to 2016’s tear-jerker “How Could You Leave Us.” Both songs are about the death of Feuerstein’s mom from a drug overdose, but “MAMA” looks at the pain of that loss in a different way. In the song, Feuerstein sings about hoping that his mom has found peace in heaven. It has undertones of forgiveness and coming to terms with a traumatic and deeply painful event. It demonstrates incredible growth from Feuerstein’s feelings about the loss of his mom discussed in “How Could You Leave Us.” “Yeah, I pray you see me down here lookin’ up / Still got a lot of things that I need healin’ from / But I’ll get there eventually, so don’t you worry none / I just hope you finally got some peace and you feel happy, Mom, I love you,” he says at the end of the song.

“BULLET” was written for Feuerstein’s wife, Bridgette, whom he married in 2018. The song discusses her journey after the birth of their son. Feuerstein describes the admirable ways in which his wife has handled the challenges that come after birth, and how he himself has both succeeded and failed. Lyrically the song could be better in some areas, but the message of the song is clear and serves as a glimpse of Feuerstein’s personal life with his wife and son through music. It is a stronger version of 2017’s “You’re Special,” using stronger lyrics and a more intriguing and less basic production.

While HOPE includes some familiar song types and sounds, Feuerstein also uses the album to experiment with new genres, specifically through the songs “HAPPY” and “GONE.” Both tracks sound more like a pop song than a rap song, and they sound good!

“HAPPY” is the third single from HOPE and is my favorite song on the record. Its production goes in the most pop-like direction Feuerstein has ever attempted. The song is catchy, relatable, and lyrically incredible. While some listeners might not enjoy the song’s pop sound, I think it creates a very radio-friendly song, and one that targets audiences beyond rap. It shows off how well Feuerstein can sing, and he as always approaches discussing mental health with a vulnerability that is very admirable. “I just can’t imagine / Who I’d be if I was happy,” he sings.

“GONE” features Julia Michaels, an artist I never thought Feuerstein would ever collaborate with. I was so excited to hear this song and was not disappointed. Michaels and Feuerstein have beautiful chemistry and Michaels adds her unique vocals and strong lyrics to the track. The song is a million times better with Michaels than it would have been if Feuerstein had done it alone or with another rapper. “GONE” is another more pop-like song, but less so than “HAPPY.” The production layers piano and string instruments and varies in terms of dynamics, adding to the song’s engagement. The song is centered around a breakup, a topic that Feuerstein has not tackled in his music since getting married. This song proves he can still accurately and fully depict these topics in his music. GONE is another track that would be a good fit for the radio.

As a whole, HOPE takes Feuerstein’s music and career in a new and more positive direction. While it might not be as dark and sad as his previous work, the album still encapsulates all of the aspects of Feuerstein’s music that have captivated fans since the beginning of his career. The album is chock full of positive undertones as well as some more familiar sounds and darker tracks.

Feuerstein’s willingness to try new things is one of the strongest parts of the record. Venturing into a more pop lane showcases his vocal abilities and versatility, as well as increases the probability of some of the songs from the record getting radio time. Both the newer and more familiar tracks on the album showcase Feuerstein’s ability to match strong production with sound lyrics. Some tracks are more authentic to him than others (“HOPE” especially), but I like how he is experimenting with different sounds.

Julia Michaels and Cordae are amazing additions to the record and add more depth and variety to the record. Feuerstein has always been very intentional with his features, and the ones on HOPE are certainly no exception, in fact, they might be my two favorite features from him to date.

Overall, HOPE is an album that grows on you with every listen. It may take some time to get used to, but by paying close attention to production choices and absorbing the lyrics of each song, it’s clear that the deep emotion and vulnerability on Feuerstein’s previous records are still present on this one. It is an album that is both hopeful and dark, but ultimately takes listeners on a journey that depicts the new chapter of Feuerstein’s life and career, one where he can see a brighter future for himself and for his family.

HOPE is worth many listens and deserves just as much recognition as Feuerstein’s previous work. As Feuerstein evolves as a person, his music evolves as well, but he still manages to stay true to his roots…flawlessly.