It all begins with a dialogue between Rick and Morty about what all Logic fans have all been thinking: it’s time to go back to the hard stuff.

Or, as Rick puts it in the opening track, “Grandpa’s Spaceship,” “That Bobby Tarantino shit.”

Bobby Tarantino II grants the TV show characters’—and fans’—wishes, and without a moment’s hesitation, spills into the track “Overnight,” a synth-y and proud track quelling listener’s assumptions that

Logic’s success happened “overnight.” And he doesn’t mince words, rapping bars such as “Really so hard, to stop acting like a bitch?”

The album doesn’t spare any shred of bravado, often colliding light, almost mad scientist string and vocal samples over heavy, gravelly beats to further emphasize his shift away from what the majority of the public grew to know him as—the rapper softie who talks about feelings and sings with full church choirs.

But he doesn’t lose that sense entirely, as he shouldn’t—it’s a sense that’s deeply rooted in what he cares about.

Bobby Tarantino II acts as the balancing act between his old and new style.

And he’s not shy in how he’s presenting it all, rapping in the song “Wizard of Oz,” “I don’t mean to stunt on they asses/ But I’m finna stunt on they asses.”

Artists such as Wiz Khalifa, Big Sean, and 2 Chainz all make an appearance, delivering verses that match the machismo Logic achieves in the album.

It’s all tied together with the album cover in Logic’s traditional oil-painting portrait featuring him unraveling a bloody wound on his hand as he stares straight into whoever looks at the cover.

This signifies his readiness to reiterate what he and his loyal, day-one fans have known since the beginning: that he’s always been a hard rapper.