Like clockwork, trendsetting Atlanta trap trio Migos is back with their sequel project “Culture II” (CII) just a day short of a year after the release of “Culture.” CII picks up right where Migos left off, delivering improved flows and somewhat evolved instrumentals infused with a “whole lotta gang sh*t.”

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There is an increasingly larger trend of albums that operate more like mixtapes, and CII is no exception. Quantity over quality is prioritized, and the album is an exhaustive one hour and forty-six minutes long, making this Migos’ largest project to date. Despite this runtime, and a handful of flops, CII proves itself creative enough to justify its existence.

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Musically, the trap sound Migos brings to the table is becoming more eclectic, with an appreciable brightness thanks to the addition of brass instruments. On “BBO,” a horn section can be heard, giving 21 Savage’s performance the same sonic authority of a Jay Z record. Later, “Too Playa” features both 2 Chainz and a saxophone melody which, juxtaposed with the digital grit of Quavo’s “we too playa,” makes for mesmerizing tension.

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The overall production of CII is highly exploratory. “Stir Fry,” produced by Pharrell, features what sounds like a P.E. gym whistle, which accents the gymnastic tempo-switches on the track, especially in Offset’s verse. “Open It Up,” from producer Cardo, “keep[s] it copasetic” with enjambed sound effects, like Quavo’s avian “brrr” after mentioning his “coupe with the wings,” or the rolling cash machine that’s heard in place of rapid gunfire shortly after Quavo mentions the “shells in the pump” and the “bale in the trunk” in the final hook. Metro Boomin is brought on for “Higher We Go” and “Emoji a Chain;” the latter concluding with an instrumental breakdown in the same vein as those heard on “Without Warning” last year, which is becoming one of Metro’s stylistic motifs.

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Lyrically, what Migos offer in terms of flow and quip is fairly unique, despite stale content about trapping, rapping, money, and women – a formula which has yet to fail them. Over the course of the last year, public speculation on Migos has varied. At first, Quavo seemed like an obvious front runner of the group, landing a feature on Drake’s “More Life” playlist, only to be overtaken by Offset thanks to his recent performances and his relationship with Cardi B. However, CII cultivates a balanced portrayal of all three, as Takeoff comes into his own, delivering excellently paced verses on tracks like “Narcos,” and “White Sand.” Quavo continues to interject lowkey humor into his performances, such as his “yoda” adlib after rapping “money to the stars,” or his pronouncement on “Crown the Kings:” “[they] might think we UPS the way we mail ‘em.”

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Migos CII is, unfortunately for some and fortunately for others, the new benchmark in hip-hop. This benchmark, however diluted by unnecessary tracks and sale-grabbing features, pushes the bar far past “Culture [1],” exhibiting innovative trap re-imaginings among an equally long list of basic trap filler. Despite what nostalgic hip-hop traditionalists may say about the state of hip-hop, Migos’ CII affluently redefines their own style as “real rap, no mumble.”