bbno$ by bbno$ Album Review

bbno$, born Alexander Gumuchian in Vancouver, Canada, rose from the SoundCloud / internet-meme-rap scene into a globally streaming star. Apple Music - Web Player+1 His big breakout was “Lalala” (2019) and since then he’s carved a niche in energetic, fun-first, meme-savvy rap/pop hybrids. He often describes his work as “there’s so much negativity in the world that when you listen to my music, I want you to separate from reality.” Wikipedia+1

On this ninth studio album (yes, ninth!) he doubles down on that ethos: playful, genre-blending, heavy on hooks, less heavy on world-ending lyrical depth. As one reviewer noted: “If you’re expecting important lyricism for 2025, don’t expect that.” Melodic

That doesn’t mean it’s trivial — there’s some interesting shifts in production, guest-spans, and a clear attempt to build a bigger global pop moment (singles, tour, internet rollout).

Track 1. “bag TF up”

Opening the album with a bang, “bag TF up” immediately throws you into the theme of “go get your money”, “level up”, bbno$ persona on maximal. The beat is high-energy, bounce-heavy, the hook repetitive and ear-wormy. Lyrically he isn’t hiding anything: he wants bags, getting it in, you better bag up. It sets the tone—party, flex, fun.What’s interesting: as a first track it demands you lean in expecting the fun, not the introspection. Some fans on Reddit commented the repetitiveness gets strong here, but that’s kind of the point. Reddit+1Musically, production leans toward EDM-rap crossover, with big drops and stadium feel. In a way, it primes for the live show that the album rollout promises.

Track 2. “bing bong (feat. VNLLA)”

Track 2 slows slightly but keeps the bounce. Featuring social media creator VNLLA (formerly Vanilla Mace) in her first musical outing, the track is playful, full of internet-culture references (the “bing bong” catchphrase, role-reversal video, etc) and double-entendres. LionhearTV+1Lyrically, it plays with identity, with bbno$ as the butler in the video to her mansion, flipping the usual dynamic. The underlying beat is a swaggering-house groove, melody light but effective. It’s one of those tracks made for TikTok, memeing, live jumping.From a review standpoint: clever move to bring in a creator crossover, merging music and internet personality. It also signals bbno$ isn’t purely sticking to rap but embracing digital culture fully.

Track 3. “gigolo”

Here bbno$ leans into tongue-in-cheek bravado: referencing the “gigolo” lifestyle—flirt, charm, transaction. The music is disco‐influenced (funky bassline, shimmer synths) which gives the track a retro flair. Lyrically he walks the line of self-aware buffoonery: yes he brags, but you know he’s also having fun with it.It’s a good third track because it offers slight variation from the first two: less full-tilt club, more groove, but still party-minded.

Track 4. “eat slay love (feat. Käärijä)”

This track stands out: a feature with Finnish artist Käärijä adds international flavour and a slightly darker edge. The title plays off Eat, Pray, Love, but re-framed as “eat, slay, love”—consume success, slay competition, love the ride. The beat is more minimal at points, giving space for Käärijä’s voice, some melodic hooks, and a hint of seriousness (even if tongue-in-cheek).I like this one because bbno$ lets a bit more breathing room, subtlety, demonstrating he can do more than pure meme-rap. It’s a glimpse of maturity or at least diversity in his palette.

Track 5. “it boy”

One of the pre-released singles, “it boy” is firmly in the viral-earworm camp. Simple chorus, rhythmic cadence, hook you’ll hum unintentionally later. The lyricism isn’t deep—he plays “it boy”, the object of desire, the person everyone talks about—but it fits the album’s mode: entertainment first.Given its pre-single status, it anchors the album in the current moment: this is the track you’ll hear in TikTok-clips, live-snippets, playlists.

Track 6. “estrella”

Shifting gears toward a more Latin-influenced sound, “estrella” (meaning “star”) shows bbno$ exploring global pop cues: reggaeton flavour, Spanish/English cross-over, party-vibes under club lights in Rio, Madrid or Miami. A reviewer from Geek&Life notes the “vibrante de los ritmos latinoamericanos” on this track. Geek and LifeLyrically, he uses star imagery, fame, lights—less serious, more celebratory. Musically, this is one of the moments where the album broadens its geography and sonic scope.

Track 7. “come to brazil”

Another global-oriented track, this one full of braggadocio and invitation: “come to Brazil”, party with me, see the lights, get lost in the beat. Musically, big drops, tropical-house touches, big festival energy. The lyrics lean into travel, nightlife, excess—but again with a wink.In terms of the album’s arc, this is the “world-tour” moment—he’s not just making underground rap, he’s making global pop-rap.

Track 8. “check”

Here we hit one of the more inventive production moments. “check” samples or heavily nods to Low Rider by War (via commentary) according to Apple Music’s credit note. Apple Music - Web Player The groove is laid-back-cool, jazzy-funk in spots, bbno$ riding the wave of “check my move/check my flex”.Lyrically, it’s still playful but more sly: better beats, better check-outs, better status. It works as a breathing point after the heavier party songs. Many fans singled this as a standout for its feel. Reddit

Track 9. “hot topic”

Released as a single ahead of the album, “hot topic” is a quintessential bbno$ track: groovy beat that nods at ’70s/disco, rap-cadence with pop references, and a chorus you’ll know after one listen. It ties together pop culture references (Britney Spears “Toxic”, Talking Heads “Psycho Killer”, Obama “Yes We Can”) in the lyric-body to show the playful literateness. Celebrity LandThis is one of the songs where you sense the album saying: “yes I can do pop culture commentary—but please don’t expect depth.” It’s more a wink than a critique.

Track 10. “yezzir”

This track doubles down on the dance-floor, big beat, club ready. The titular “yezzir” is a chant/hook, minimal lyric-body but maximal feel. Reviewers highlight this track as one of the “dance-heavy records” on the album. LionhearTVFrom the listener perspective: this is pure vibe, less attention to the words, more to the beat, the drop, the crowd.

Track 11. “rich sexy ugly”

Here we get one of the more interesting lyrical twists. The triplet “rich / sexy / ugly” sets up a triad of status, desirability, and self-awareness. He brags, but then flips: ugly might mean honest, raw, weird. Musically, it’s moody in comparison to previous tracks—synth pads, slower tempo, some introspective undertones.It’s a refreshing moment in the album where you feel bbno$ letting the veneer drop a bit (though still within the fun-first framework). This could have been a deeper track if he leaned harder into the “ugly” theme, but he keeps it light.

Track 12. “1-800 (feat. Ironmouse)”

Potentially the standout “buzz” track of the album for 2025: featuring VTuber superstar Ironmouse in her official musical debut. This is pure internet-culture meeting mainstream pop/rap. Melodic+1Musically, the track blends electronic elements, a high-energy drop, anime/VTuber aesthetic in the production and video. Lyrically, he plays on the hotline trope (“call me at 1-800”), memes, virtual meeting, avatar/real-world lines blurring. It’s one of the most “of 2025” tracks on the album—very aware of streaming culture, creator economy, digital identity.In the album flow, this is a centerpiece: shows bbno$ isn’t just doing rap but fully embracing internet-native collaboration and cross-media.

Track 13. “pump it”

“pump it” is dance-floor approval: heavy beat, pumping bass, “pump it” as call to arms (or call to hype). Lyrics are minimal but effective: “pump it, pump it, we ain’t stopping”, brags, references (he calls himself “Johnny Depp from Temu” per Apple Music commentary) Apple Music - Web PlayerThis track is less about message and more about motion. It serves the live show very well.

Track 14. “NSFW”

Turning up a notch in cheekiness, “NSFW” brings forward more risque references, sexual energy, clubbing, midnight. Musically, it keeps the tempo high, with a club-friendly drop, layered vocals, playful production flourishes (sirens, vocal chops).In terms of album narrative: this is the “adult party” lane of the record. He hasn’t gone deep into trauma or heartbreak, but he’s giving you the “after-hours” side of the life.

Track 15. “F.U.N.K.”

One of the fan-favourite deeper tracks (within this record’s frame). The title announces itself: “F.U.N.K.” is fun, but also maybe an acronym or wink. The beat blends funk-groove, old-school sampling feel, more emphasis on live instrumentation (or at least live-feel production).

Track 16. “main squeeze”

Here the album takes a relative detour: “main squeeze” is smoother, slower tempo, more melodic. The lyrics flirt with actual affection: “you’re my main squeeze”, “stay close”, “hold tight”. The production still has the bbno$ bounce, but it allows room for some heart behind the perk. Listeners appreciated this shift.

Track 17. “ADD”

Highlight track. Released as a single ahead of the album, “ADD” blends rap and electronic elements, acknowledges the titular disorder (or at least the word) in a playful but thoughtful way. Media Kombat says: “The track captures everything fans love about the viral star — playful delivery, quirky bars, and an undeniable bounce.” Media KombatIn the visuals he commissioned 20 different animators to craft the video (per review) showing he cares about creative presentation. MelodicLyrically less about romance or flex, more about the idea of distraction, hyperactivity, living fast, switching moods—fits his speedy tempos. It’s maybe the most “stand-out” track for listeners wanting something a little different.

Track 18. “like this like that”

A mid-tempo track, “like this like that” plays with opposites: “if you like this I’ll do that”, “switch the move”, “flip the script”. The production is textured—syncopated drums, background percussive touches, layered backing vocals. The lyricism is more rhetorical than declarative.In album flow terms: a bit of a palate-cleanser after “ADD”, giving a more relaxed moment before heading into the final runs.

Track 19. “two”

Another pre-released single, “two” doubles down on catchiness, countdown hooks (“one, then two, then we go”), ear-worm chorus, bounce. Some fans flagged that many of the singles felt “same-y” sonic wise but admitted they were addictive. RedditAs track 19 of 21, it reconnects the high-energy path as the album heads toward the finish line.

Track 20. “boom”

“boom” (or “boomf” per some track list print) is the penultimate smash: big drums, shouting hooks, large room vibe, “boom” as metaphor for explosion, moment, success.

Track 21. “finally up”

Closing the album with “finally up” is a nice thematic wrap: after all the flexing, parties, global shows, filler high-energy tracks, this is the moment of reflection: “finally I’m up”, “look where I came from”, “we’re here now”. The beat is smoother, slightly more atmospheric, and gives the listener a sense of closure. Reddit fans say they felt the vibe of “old bbno$” in this track. Reddit+1It doesn’t become a sob story or deep self-analysis—but it gives you the sense that the party has room to end, and maybe the next chapter begins.

Overall impressions

Pros

• The album is fun. If you tuned in expecting deep metaphors and world-changing lyricism, you’re going to be disappointed—but that’s by design. In his own words: “If you’re expecting important lyricism … don’t expect that.” Melodic

• Great production variety: from Latin-influenced (“estrella”), to funk (“F.U.N.K.”), to club/EDM hybrids (“yezzir”, “pump it”), to smoother moments (“main squeeze”, “finally up”). That helps keep 21 songs from feeling entirely same-y.

• Strong integration of internet/creator culture: the Ironmouse feature, the VNLLA collaboration, the social media rollout, the memetic hooks. It cements bbno$’s brand as modern digital-first.

• Live-show ready: Many tracks feel built for festivals, for jumping, for crowd-interaction. Considering the upcoming world tour, that’s smart.

• Hidden gems: Many listeners cite non-singles (“bag TF up”, “F.U.N.K.”, “eat slay love”) as their favourites rather than the pre-released hits. Reddit

Cons

• Because it leans fun-first, it lacks depth. Some fans and critics mention that many songs feel formulaic—especially the singles. As one Redditor put it:

“If you’re looking for a lyrical masterpiece, this is not it. It’s such a fun party vibe album though.” Reddit

• Some sonic sameness creeping in: despite the variety, there are still many high-energy club-rap tracks in a row, which for an album with 21 songs feels heavy. Several Reddit posts mention that at times it feels like “everything sounds the same”. Reddit

• Some songs expected by fans are missing. For example, “antidepressants” was expected by many but isn’t on the album. Reddit

• Because of the heavy party orientation, listeners seeking quiet, introspective or slower songs may feel underserved (though “main squeeze” and “finally up” attempt to provide that).

Cultural / Pop‐Culture Significance

In 2025, where streaming, TikTok, creator crossovers and internet memes dominate how pop music is made and consumed, bbno$ plays to the strengths of that ecosystem. The album is almost a case-study in internet-native artist strategy: viral hooks, strong visuals, creator features, global ballroom energy, touring, and social-media momentum.By featuring a VTuber (Ironmouse), leaning into global markets (Latin tracks, Finland feature), and producing videos with 20 animators, he’s bridging music, digital culture, fandom, viewership. That’s arguably more “pop culture statement” than many heavier albums that aim for “art” but miss the zeitgeist.

From a branding standpoint, this album may well be the moment that takes him from niche-internet-star to mainstream pop/rap fixture globally. The rollout numbers (14 m new followers, 150 m impressions) suggest he’s hitting ascension. Amnplify+1

Where it fits in his career

If you look at bbno$’s trajectory—from SoundCloud beginnings to multi-billion streams—this self-titled album feels like his “Ok now I’m here” statement. Not so much “I have arrived”, but “I’m making the big leap”. The fact he made it the ninth album (not the first “major”) shows maturity in his own narrative.Compared to previous albums which had more underground/quirky leanings, this one feels more polished, higher budget, higher feature count, global in reach. Yet he preserves his charm: humor, hook-driven, internet-aware.

Overall: 7.5/10

Would I recommend it? Yes — if you’re in the mood for fun, party, high-energy, catchy tunes, this is your album. If you’re expecting deep introspection, paradigm-shifting lyricism or gritty hip-hop storytelling, this might not be it.It’s an album made to be listened to loud, with friends, maybe in a car, maybe in a festival crowd, maybe while you scroll TikTok and want something that instantly lifts you.In pop‐culture terms, it’s timely, smart, and very of-the-moment. In artistic terms, it doesn’t break ground so much as polish and amplify what bbno$ already does well.