If you don’t know Watsky, you might remember seeing him perform in season six of HBO’s Russell Simmons Presents Def Poetry for his slam poetry. He also became popular for a YouTube video in 2010 called “Pale kid raps fast” (which is no longer available), which got him the attention of Verizon, who asked him to appear in a commercial to promote a new product with a speed rap. Not only did Watsky decline, he felt it was such an insult to his artistic integrity that he made another video making fun of Verizon.

That attitude — an attitude of passion and artistry — seeps into his hip hop. x Infinity finds Watsky calling us to be more real with each other.

That attitude is evident in hard-hitting tracks like the anti-Trump (and anti-Clinton) “Pink Lemonade”, or the emotionally involving “Stick to Your Guns” — a protest song about gun violence, news networks, and politics. “Hit me with your truth,” Watsky raps, almost pleadingly, on the song. It’s an observation of the lack of honesty from reporters and politicians, but it’s also a cry asking us to get better at this.

If you want to hear his speed rapping, Watsky unleashes it on the virtuosic “Don’t Be Nice”, which he uses to joke about hot moms and seriously tell people that he doesn’t have time for “fake friends”.

Throughout x Infinity, which features as many bangers as it does pop-infused moments of quiet beauty, Watsky continues to plead with us to be more honest and vulnerable with each other. He leads by example on songs liked “Talking to Myself”, when he opens up about his personal struggles.

It can be hard to hear his messages through his rapping, though: Watsky’s ability is second-to-none, and five albums in, he’s only getting better. Without a doubt, he’s one of the most skilled rappers in the world right now. His thoughtful lyrics are almost a bonus.

Whether he’s speed rapping or cleverly finding ways to adjust his intonation to match the instrumentation surrounding him, every track has moments that are worth discussing. On the previously mentioned “Don’t Be Nice”, he plays with his sample and raps against it, creating lines and verses off the sampled words “Don’t” and “Don’t Be” in an astonishing display of prowess and technical mastery.

x Infinity is the album that could elevate Watsky to household name. But he’s already got the attention of hip hop fans everywhere. With x Infinity, he continues perfecting his craft.

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Malibu is smooth R&B all the way down, but it also defies categorization thanks to its hip hop guests and jazz affectations. The Waters is a fantastic example of this leaning: Paak doesn’t sing his way through, but instead raps through verses and has BJ the Chicago Kid guest. Unlike most rappers, Paak’s voice constantly feels like he’s singing, but this is most certainly rap — even if it’s accompanied by a backing choir singing the verse with him.

Songs like Put Me Thru feel like more traditional R&B, as does album opener The Bird, which is nearly Isaac Hayes-like. But immediately following it is a track featuring Schoolboy Q, which features Paak crooning and bringing the soul and Schoolboy Q bringing chorus-laden rap verses. (While we’re on the topic of Am I Wrong, I wouldn’t say every experiment on Malibu is wildly successful.)

In that sense, I can understand the comparison that Pitchfork makes with Malibu and Kendrick’s work, but in reality, Paak feels much more like BJ the Chicago Kid in his willingness to try new things and experiment. (Malibu and Butterfly do make very complementary records, though.)

Some tracks on Malibu are more successful than others, and reveal what Dre may have been mentoring Paak on with production and songwriting. Without You is wonderful, and Rhapsody’s vocal work pairs well with the laid-back R&B on hand here.

This constant blending and mixture that Paak is so expertly talented at makes Malibu feel like a multifaceted and multi-layered mystery. Anderson Paak is avoiding categorization, and aware enough of roots that he can embrace the familiar while combining a multitude of influences and experiences into something that feels like the future of multiple genres.

With the release of Malibu, it’s clear that Dre doesn’t necessarily feel he’s found a great emcee. It’s more like he’s found an equally talented songwriter and producer who can carry on his work when he retires. Paak is more than willing to carry that torch, and if Malibu is a chance for him to celebrate that accomplishment, it’s also a statement that he’s here to stay — and we ought to be grateful for that.

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