The singles certainly show that T-Pain enjoys his mellow, R&B tunes more than anything else, and the album is full of excellent slow burners.

T-Pain’s flow here is actually pretty sick, and he sounds perfectly fine without the aid of his so called crutch vocal effects. Driven by tinny drum samples and a guitar riff, it’s the most upbeat song on the album and the definition of a “club banger” that doesn’t suck.

It’s so ***ing good, yo.Īs soon as the albums real opener comes in with “Church” you can tell that T-Pain isn’t some half-baked producer making a bad mix tape. Its womanizing as hell, narrow minded and completely dependent on hooks. The album is prototypical on the outset, featuring one or two skits, a good chunk of guest artists (most of which are actually just “alter egos” for T-Pain), and booming bass. On Epiphany, T-Pain showcases his many personalities, his top notch production aesthetics, and unapologetically sexual lyrical topics. Those people, of course, are the same people who heard 10 seconds of “Bartender” to come to that conclusion. Predominately made up of underground metal, punk and indie, is there room for a positive review for an artist many would assume to be the downfall of modern hip hop? T-Pain elicits strong reactions from music lovers, most finding his extreme use of vocal effects heresy to all that is good and holy, and his songs utter pop/hip hop trash. I’m hesitant to discuss Epiphany on a site like Sputnikmusic.

Review Summary: T-Pain is starting to establish himself as a lasting source of entertainment in the vein of R.

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