Pusha T, “It’s Almost Dry.”

The powder is fresh on Pusha T‘s fourth studio album It’s Almost Dry as the rapper returns to regale listeners with riches made from nose candy sniffers. Nas isn’t the only rapper out there fancying himself as a Tony Montana type. Push comfortably speaks about his experiences having dealt cocaine and how it built his artistry in music. There has been a lot of speculation as to what to expect of this album, following the fallout of his feud with Drake and Pusha’s collaboration with Arby’s, making a diss track about McDonald’s.

Ye, who produced Pusha T’s last album, 2018’s Daytona, returns to produce, alongside Pharrell Williams. Both producers deliver quality instrumentals that maintain a solid consistency throughout the album’s 36-minute runtime. Despite the short length, the album paces itself well with Pusha delivering numerous quotable lyrics.

It’s Almost Dry opens with “Brambleton.” The tapping of sticks on the edge of a snare drum count down the intro, a grooving synth organ melody pairs beautifully with heavy bass. Pusha T speaks openly about his frustrations with his previous manager, “Geezy” Gonzalez, following his appearance on VLAD TV. “Let The Smokers Shine The Coupes” features a chopped-up jazzy sample paired with a prominent snare. Pusha embraces his image as a self made man amid his time dealing.

“Dreaming Of The Past” leads with a sample of Donny Hathaway’s cover of John Lennon’s “Jealous Guy,” with Push and Ye reflecting on how they have achieved lifestyles they used to dream about. Ye does, unfortunately, use this as an opportunity to dig up the eye-roll-inducing drama with ex Kim Kardashian, and does so again later in the album.

Jay-Z makes an appearance on “Neck & Wrist,” where he and Pusha T rap over a primarily bass-laden track with a light warbling and shimmering synth. Push maintains his schtick bragging about his wealth and dealing, while Jay challenges those who question his street cred and reflects on how people perceive his career trajectory as a result of The Notorious B.I.G.’s passing—to which he argues not much would change, since Hov would still be Hov.

The standout track on the album is easily “Just So You Remember,” with Pusha T going full-blown Pablo Escobar on listeners as he raps with a deep intensity. “Flew your bitch to Cuba for the thrill of it/ But I ain’t go, to show you what you shoulda did/ Tennis chains to hide all my blemishes/ My joker smile, you know who the villain is,” he raps over a sample to “Six Day War” by Colonel Bagshot.

Single “Diet Coke” kicks off with a Fat Joe sample while the piano picks up for a more traditional boom-bap number. Pusha T talks about going from dealing the finest white to dealing the hottest records, highlighting the connection he finds between both professions. We get another sample, of Beyoncé’s “1+1,” with Kid Cudi’s reverberated singing delivering the chorus on “Rock N Roll.” Ye returns to deliver a verse on this track as well, with Push rapping about how on top of the world he feels—while also taking shots at Drake, whom he obliterated on diss track “The Story of Adidon.”

Lil Uzi Vert and Don Toliver hop on “Scrape It Off,” which offers a light plinking marimba melody backed up with snare. Toliver delivers an echoing chorus, while Uzi and Push flex about dealing. We then get the return of Pusha T’s intensity on “Just So You Remember,” a minimalist instrumental featuring nothing more than flute and snare. He’s at his finest when he gets up close in listeners’ faces, reminding us of who we’re talking to.

The flutes return on “Open Air,” along with some organ and bass, as Pusha raps about how his life as a dealer has been an open secret, and how it’s made him a significant influence. The album closes with “I Pray For You,” with an organ-led melody. Pusha T raps about how his musical success has made him feel invisible—with soulful vocals on the chorus courtesy of Labrinth and an appearance from Push’s brother Malice.

It’s Almost Dry is the kind of high-quality package fans have come to expect from Pusha T.

Follow editor Tim Hoffman at Twitter.com/hipsterp0tamus.