After a couple of weeks, the album 12 is finally released. It was first scheduled to be released on January 25th. Expectations were high for this project because it was the sequel to 11, particularly given the popularity of Westside Gunn’s earlier work. 12 gives listeners the rough, high-art hip-hop experience they’ve wanted while sticking to his unique sound, including soulful samples, raw lyrics, and cinematic storytelling. Here’s a track-by-track breakdown of the album.
- MICHELLE WORLD
The album opens with MICHELLE WORLD, an atmospheric intro that sets the stage without rapping. Instead, a soulful loop repeats the words “Who is the GOAT?” repeatedly, almost as if challenging listeners to consider Gunn’s place in hip-hop. It’s a haunting yet intriguing way to start 12, building anticipation for what’s to come.
- BOSWELL
The energy kicks in immediately with BOSWELL, featuring Griselda’s Estee Nack and Stove God Cooks. Produced by The Standouts, the track is built on the grimy New York beats that Griselda fans know and love. Estee Nack opens with high energy, setting the tone for the song. Westside Gunn follows up with his signature raw and gritty delivery, ensuring his presence is felt. During his verse, Gunn pays homage to one of his most celebrated albums, Pray for Paris. This project solidified his place in high-art rap and showcased his ability to seamlessly blend luxury and street narratives. Finally, Stove God Cooks closes things out with his distinct, high-energy rap style, adding the final touch to an explosive track.
- ADAM PAGE
Featuring Stove God Cooks once again, ADAM PAGE is produced by Denny LaFlare, a longtime collaborator of Westside Gunn. The song sticks to the New York grime aesthetic but brings a unique twist with a simple boom-bap beat layered with a dramatic violin. The production alone makes it worth listening to. Gunn opens with his signature ad-libs and even pays homage to Hitler Wears Hermes 3, reminding fans of his past work. Stove God enters with a direct message to his critics, shutting down the doubters before effortlessly flowing through his verse. The song ends with a spoken segment from wrestler Hangman Adam Page, tying the track to Gunn’s love for wrestling culture.
- VEERT
On VEERT, the song features Estee Nack and Stove God Cooks again, with production from Daringer, a key figure in Gunn’s catalog. The track leans into that familiar Griselda grimy sound but with a twist: a slow guitar loop accompanied by an angelic bass creates an eerie atmosphere. Gunn’s deep, modified voice fits perfectly over the haunting beat, adding a layer of intrigue. Estee Nack’s flow remains as sharp as ever, delivering his signature gritty, no-nonsense style. Stove God, known for his energetic delivery, surprisingly brings that same high-octane performance to a slower beat, proving that sometimes, the unexpected works better than you’d think. The mix of slow and fast-paced energy on VEERT is a testament to the versatility of the Griselda crew.
- 055
On 055, featuring Stove God Cooks and produced by Crucial the Guillotine, the album shifts to a soulful, R&B-influenced sound. The track opens with Stove God rapping, “Praise Fly, praise Stove, praise both,” with “Fly” being one of Westside Gunn’s signature nicknames, short for “Flygod.” Stove God’s verse is filled with his usual themes of cars, accomplishments, and showing off, but despite the repetitive nature, it never loses its appeal; his delivery always feels fresh. Westside Gunn enters with his iconic “Ayo!” and delivers a verse that includes shoutouts to Griselda’s Boldy James, a well-known homeless figure from his neighborhood named “ EastSide Flip,” and a nod to “Sly Green,” a personal figure in his life. The track ends with a profound spoken word segment: “Be grateful for these experiences, man. I’m telling you, you don’t have to die to hear what heaven sounds like. This sounds heavenly, and if we can experience heaven on Earth by listening, then this is what I wanna hear.” This outro leaves a lasting impression, perfectly capping off the track with a sense of reverence and reflection.
- HEALTH SCIENCE
This track features Brother Tom Sos, who previously appeared on Gunn’s album “Still Praying.” The track is produced by Cee Gee, delivering a classic boom-bap beat with a unique twist of guitar elements that provide a fresh spin. Brother Tom Sos, a bit of an “enigma” to many listeners, opens the track with an intense lyricism that catches your attention and draws you in. Gunn’s verse follows, fitting smoothly into the beat with his characteristic flow. The outro includes a spoken clip of Buffalo’s very own Rick James, adding a local touch and grounding the track in the city’s essence that shaped Gunn’s sound and style.
- GUMBO YAYA
GUMBO YAYA features Brother Tom Sos again, with production by Daringer. This track picks up the pace with a slightly faster tempo and a more energetic vibe than the previous songs. Tom Sos continues to apply pressure, delivering his verses with an intensity that feels like his “rent is due.” Westside Gunn’s versatility shines through as he effortlessly adapts to any beat, bringing his signature style to a more rapid flow. As the track winds down, we hear a freestyle from “Flip” (the local figure mentioned in previous tracks), giving the song a raw, unpolished finish that feels authentic to Gunn’s roots.
- EAST MIAMI
On EAST MIAMI, Gunn enlists Estee Nack once more, with production from Cee Gee and Denny LaFlare. The beat is an unexpected blend of futuristic jazz elements that stand out from the album’s traditional grimy production. It’s a beautiful and unique sound that complements the introspective tone of the track. In his verse, Gunn reflects on an incarcerated friend, his unbreakable connections to those who would do anything for him, and the luxury designer brands that define his success. Estee Nack follows up with his verse, emphasizing his relentless pursuit of money and success, no matter his challenges. The track takes on a more profound, more personal vibe, making it one of the more reflective moments on the album.
- BURY ME WITH A STOVE
Featuring Estee Nack and produced by Denny LaFlare, BURY ME WITH A STOVE delivers exactly what fans expect—grimy yet angelic production that perfectly complements Gunn’s signature style. The slow, haunting beat creates an eerie yet soulful atmosphere, making it one of the standout instrumentals on the album. Westside Gunn and Estee Nack bring their signature energy, layering the track with their distinct ad-libs, adding even more personality and intensity to the song.
- OUTLANDER
OUTLANDER stands out as a solo track for Gunn, with production handled by Prod. Myles. While this may be the first time many listeners hear Myles’ work, he delivers a beautifully crafted beat that fits seamlessly into Gunn’s world. The song was released as a single just days before the album dropped, serving as an early glimpse into 12’s sonic direction. Gunn name-drops rap legends Master P and GZA, blending his signature luxury talk with nods to hip-hop’s greats. With his signature ad-libs and effortless flow, OUTLANDER reassured fans that 12 would be special.
- DUMP WORLD
The album closes with DUMP WORLD, featuring Stove God Cooks and Elijah Cook, with production by longtime Griselda collaborator Conductor Williams. Known for his distinct sound, Conductor delivers a beat that feels like a beautiful church choir, adding a grand and almost spiritual atmosphere to the track. Stove God opens with reflective lyrics, emphasizing the importance of staying true to oneself even as the world changes. Elijah Cook follows with soulful vocals that blend seamlessly with the choir, creating one of the most powerful moments on the album. The song then ends with a spoken segment detailing the journey of Sly Green, bringing the album full circle and reinforcing the deeper themes woven throughout 12.
Final Thoughts
Twelve lived up to its hype in every way. From the production to the features, everyone played their part flawlessly. Each beat was carefully crafted, every lyric hit with purpose, and every bar was a chef’s kiss. Westside Gunn once again proved why he’s one of the most consistent curators in hip-hop, blending gritty storytelling with high-art aesthetics. If this album indicates what’s to come, fans can only hope for more projects like this in the future.
