The Game is feeling pretty confident these days.
On Wednesday, the Compton-born rapper hit up Instagram to reflect on the current state of hip-hop and how he intends to raise the bar with Drillmatic—the long-awaited follow-up to his 2019 project, Born 2 Rap.
“I know my album gone be the best album of 2022, ’cause the energy feels like I just signed my deal,” he wrote. “You’ve never heard me rap like this, I promise you.”
The Game went on to highlight some of rap’s most acclaimed records of the year, including Pusha-T’s It’s Almost Dry, Denzel Curry’s Melt My Eyez See Your Future, Vince Staples’ Ramona Park Broke My Heart, and Kendrick Lamar’s newly released Mr. Morale & the Big Steppers. Though he was clearly impressed by this year’s batch of releases, the Game is convinced his album will stand above the rest and solidify his position as one of the greats.
“When it drops, I promise you that if you put your ear to it you will then understand why I’m the best rapper alive,” he said about Drillmatic. “My controversy has always stepped on my greatness, but that’s all about to change. This album has a strong hold on being the best album of my career. It’s just different… the last time I pulled over & wrote in my car was “I don’t need your love” on The Documentary. Only thing is, back then it was a U-Haul. Today I pulled over the G-Wagon on Labrea because I couldn’t believe how dope the shit in my head was.”
The Game concluded his message with some words of encouragement.
“Follow your dreams,” he continued, before teasing a June release. “If I could, you can. #Drillmatic is yours in less than 30 days.”
You can read Game’s full post below. Stay tuned for more information about the album.
The Game has appeared on a number of joint records throughout 2022, including Snoop Dogg’s “Jerseys in the Rafters,” Ransom’s “Circumstances,” and “Eazy” with the artist formerly known as Kanye West. However, his musical outputs have been seemingly overshadowed by a string of controversies, including his ongoing beef with 50 Cent and his criticism of the Recording Academy and Interscope Records.
