More Chaos
I came into A Great Chaos with low expectations. Not because I hate Ken Carson or Rage music—I just didn’t expect to walk away with anything that stuck. But surprisingly? I actually vibed with this way more than X or even Great Chaos. It’s cleaner, a bit more polished, and honestly, it feels like Ken’s finally starting to carve out his identity—though there’s still plenty of noise (literally and figuratively) he has to break through.
The album kicks off with “Lord of Chaos”, and it’s basically Ken kicking the door down. The beat is aggressive and warped beyond recognition, and while it’s a tone-setter, it almost dares you to tap out early. Same goes for “Xposed” and “Money Spread”—both of which come fully equipped with blown-out 808s and synths that sound like a glitching video game on acid. I’m not going to lie, this kind of opener gave me whiplash. I’m not a die-hard Rage fan, so this barrage of abrasive sound made me wonder if I was in for 50 minutes of head trauma.
But around “Trap Jump” and especially “LiveLeak”, something changes. The production smooths out just enough to let Ken breathe, and that’s when his potential becomes clear. “Trap Jump” rides a menacing loop that actually lets Ken’s delivery land, while “LiveLeak” brings a surprising amount of atmosphere. The beat is icy, the energy is focused, and for once, there’s some actual space in the mix. It’s easily one of the most listenable tracks here and a good example of what Rage could be if artists slowed down a bit and let things breathe.
Ken’s voice is also a key difference here. Unlike Playboi Carti—his label boss and sonic twin in many ways—Ken doesn't lean too hard into the vocal gymnastics. There’s less of that “is this baby talk or an alien transmission” vibe. He’s clearer, more structured, and even though he doesn’t say much lyrically, at least you can understand him most of the time.
Still, there’s a serious issue with A Great Chaos: why is this 21 tracks long? With songs like “200 Kash”, “Down2Earth”, and “Confetti”, it’s clear that not every idea needed to make the final cut. A lot of the middle section bleeds together—same BPM, same textures, same empty flexing. If this was trimmed to a tight 10–12 tracks, it could’ve hit harder and made a stronger statement.
That said, there are real highlights. “Kryptonite” is easily the best track on here—dark, spacey, and hypnotic in a way that doesn’t feel forced. “Blakk Rokkstar” is another moment where Ken feels fully in control, balancing his usual energy with more structure. And “Thx” stands out for its moodiness—almost something you’d expect from Carti’s Whole Lotta Red sessions, but with more coherence.
But here’s the thing: for all its improvement, A Great Chaos doesn’t feel like the kind of project that’s going to level Ken up. There’s no obvious hit here. Even with a Carti feature tacked on at the end, nothing screams this is going to chart. And while that doesn’t have to matter, you can tell Ken wants this album to elevate him—hence the scale, the title, the branding, everything. He wants this to be his moment. But it’s not quite there.
Still, I won’t lie—I didn’t hate this. I didn’t even dislike it. For a genre I usually bounce off of, this was a surprisingly smooth listen with a few tracks I’d come back to. It’s not perfect. It’s not revolutionary. But it’s Ken Carson showing real growth. He’s still stuck in the shadow of Carti and the chaos of Opium, but give him time. With the right direction (and maybe a label that actually supports its artists?), he might carve out something truly unique.
KEN CARSON - MORE CHAOS
RATING - 7/10
FAVORITE TRACK - Kryptonite
GENRE - Rage, Hip-Hop, Trap