There is an undeniable dynamism to D-Block Europe. The duo, Young Adz and Dirtbike LB, are undoubtedly been one of the biggest exports to come out of UK trap, selling out Alexandra Palace twice, topping festival bills and amassing billions of streams, and have played their part in the shaping of a sound and the increasing popularity of a movement.

They are certainly not without their critics though – the sheer volume of music they’ve released is impressive, but their bodies of work are often overlong (their best project “PTSD” is 28 tracks long, for example) and at times derivative. The pair have rarely mastered condensing their sound, bringing deeper meaning to their writing or reaching the same artistic peaks as some of their contemporaries. Today, D-Block release their third studio album, Rolling Stone, and find familiar problems continuing to weigh them down slightly.

Musically, there is plenty to enjoy on the new record. One of their most diverse projects in terms of beat selection, Rolling Stone is brimming with slick mood changes with cuts like “Bando Aiko” (one of the strongest tracks on the record) and “Lady In Hermes.” The palettes are atmospheric and vibrant, swirling trap wave that Adz and LB’s autotune vocals float atop effortlessly.

Despite their years of experience, lyrically D-Block Europe have not managed to move beyond glossy descriptions of their glamorous lifestyle and a meticulous knowledge of the drug trade. There are standout bars, though, and plenty of ear worm melodies to sink your teeth into. The features are also somewhat of a mixed bag – Yxng Bane brings class and craft on “Pink Lemonade,” and it’s fun (if a little confusing) to find Kodak Black crooning away on the LP’s final cut “Still Play Valorant”. The album wouldn’t miss much without the appearance of Albanian rapper Noizy on “Eagle,” though.

More than ever, on Rolling Stone D-Block Europe find their pocket. They know what their fans wants, what they are good at, and are comfortably seated within that, not worrying too much about progressing their own artistry or the genre that they have pioneered over the past five years.

But why should they worry? They’ve found success and have every right to revel in it. If you’re a fan of UK trap, you’ll most likely like this album – just don’t expect any boundaries to be pushed.

Listen to the album…