Danny Brown’s Stardust marks a dramatic departure from the rapper’s previous work, both in sound and approach. The album’s striking cover art and track listing, featuring collaborations with artists associated with the ‘hyper-pop’ genre, left many fans uncertain about what to expect. Even more notable is that Stardust is Brown’s first album recorded in sobriety. After the release of SCARING THE HOES, his 2022 collaborative album with Jpegmafia, Brown checked himself into rehab, openly admitting to being “blackout drunk” during the recording of that project. In rehab, he found solace in the music of 100 gecs, listening to their tracks daily for eight weeks. Through them, he discovered other artists pushing boundaries in pop, like Jane Remover and the DeadAir label.
Brown’s introduction to a new wave of musical disruptors, such as Frost Children, 8485, and femtanyl, reawakened his love for music. From that moment, Stardust began to take shape. While the album’s sonic landscape may be unfamiliar, one thing remains unchanged: it’s undeniably a Danny Brown project. It retains his signature energy and wit, refined and expanded with new sounds and surprising collaborations.
The album opens with ‘Book of Daniel,’ a track that contrasts with Brown’s usual intensity. Instead of chaotic energy, the song features hopeful guitar chords and introspective lyrics. Brown reflects on the role of rap and music in his life, marking a softer, more reflective side. The production, courtesy of Quadeca, is lush and dream-like, helping Brown express a newfound sense of self-respect. “I’m sleeping real good at night, ‘cause I’m proud of myself,” he raps—offering a rare moment of peace and self-affirmation.
The album’s primary producer, Holly, is known for his work with Baauer on PLANETS MAD and collaborations with Machinedrum. While some might find his electronica-heavy style an unusual match for Brown, it’s a fitting choice for the rapper’s willingness to experiment. Brown has always defied genre boundaries, having worked with artists like Charli XCX and Blood Orange, so it’s no surprise that Holly’s eccentric beats work so well with his vision.
The first taste of this collaboration comes in the form of ‘Starburst,’ a barmy track packed with distorted vocal samples and jarring synths. Brown glides effortlessly over the beat with his signature squeaky delivery, before a dramatic beat switch transforms the track into a relentless sonic assault. The song takes another unexpected turn, introducing a spoken-word monologue from Frost Children’s Angel Prost. Her cryptic lines, “Like a vegetarian with a carnivore spirit, you stabbed at the fauna of the world, hunted it, surveying life’s riches,” add a surreal, almost spiritual layer to the track’s chaotic energy.
‘Copycats’ and ‘Baby’ feature contributions from San Francisco native Underscores, whose production elevates the tracks into the realm of sharp, inventive dance-pop. ‘Copycats’ stands out with its bratty basslines and infectious hook: “Rap star, Pop star, Rock star, gimme that, gimme that.” Meanwhile, ‘Baby’ leans into an eclectic blend of heavy hi-hats, boxing bell sounds, and bright, almost nostalgic synths. Brown’s playful and catty delivery matches the track’s whimsical energy, as he quips, “She wanna be my bae, juicy just like Ocean Spray.”
One of the most surprising moments on Stardust comes with ‘Flowers,’ a full-on synth-pop song featuring 8485. The track shines with auto-tune-laced vocals and a neon-futuristic production style. It’s a moment of self-affirmation for Brown, and his delivery is both strong and self-assured as he raps about how far he’s come.
Not all of the album’s collaborations hit the mark, however. Frost Children’s ‘Green Light’ feels out of place on Stardust. While Angel Prost’s spoken-word segments add an intriguing and vital dimension to the album, ‘Green Light’ feels more like a Frost Children track featuring Danny Brown rather than a cohesive part of his project. Despite its high production value, the track clashes with the pacing of the album, and its avant-garde qualities may alienate some listeners.
Similarly, ‘Right From Wrong’ doesn’t quite live up to its potential. While the production from Umru and NNAMDÏ is enticing, the song struggles to maintain the album’s momentum. The verses from Brown are solid, with poignant lines like, “So continue on the journey and focus on what’s ahead, ‘cause they run with lies when the truth ain’t got legs,” but the overall feel of the track feels static compared to the surrounding material.
Despite these occasional missteps, Stardust is brimming with quality. Tracks like ‘1999,’ with JOHNNASCUS, deliver aggressive hardstyle breakdowns and screamo-style verses, reminiscent of Brown’s Atrocity Exhibition. Meanwhile, ‘What You See,’ featuring Quadeca, highlights a more vulnerable side of Brown, with heartfelt lyrics and elegant production that beautifully contrast his raw delivery.
The 9-minute epic ‘The End’ is a standout, divided into three parts with each segment produced by a different artist. The first part, produced by Rye Mann, features atmospheric breakbeats and gentle piano, while Brown and Polish indie-pop artist ta ukrainka ruminate on their pasts. The second part, with production by Cynthoni (formerly Sewerslvt), sees Brown rapping with machine-like precision over a frantic beat, displaying his impeccable skill and passion. The final part, produced by Quadeca, offers a stunning closure, with Angel Prost delivering one last introspective monologue, completing the album’s sprawling narrative arc.
Stardust is an album of contradictions: unrelenting yet joyful, intense yet vulnerable. It showcases Danny Brown’s continued evolution as an artist, reflecting both his personal growth and his love for pushing musical boundaries. The album’s collaborative spirit and genre-defying sound reflect a new chapter in his career, one where he embraces the misfits and rejects conventional expectations.
While Stardust may be divisive—Brown himself warned that the album would shock fans—it is undoubtedly a work of artistic integrity, featuring bracing production, varied sounds, and some of the best songwriting of his career. As Brown transitions into this new era of sobriety, his creative output is sharper and more introspective than ever, and the future of his artistry looks brighter than ever before.