Much has changed in the last seven years since Lazerbeak produced the entirety of chart-topping phenom Lizzo's debut solo album Lizzobangers, and his new solo album Cameron - the final installment in a trilogy of albums created for his children - continues that progression with a drastic musical turn that echoes the same life-changing experiences Beak has encountered in that timeframe. Now 39 and a father of three, with a day job that includes CEO and general manager of Doomtree Records and manager of numerous high-profile acts, Beak set out to create a project that would reflect the ever-morphing landscape that he’s embraced in his 30’s. Whereas Lizzobangers 15 short, high-energy heat rocks relied heavily on monstrous drums, punishing low end, and gnarly horn stabs - sounding at times more like the fury of Run The Jewels or the Just Blaze-helmed Rocafella Records era - Cameron finds Beak stripping every sound back to its individual core to create seven meticulously slow-building and expansive instrumental meditations that ebb and flow with a newfound patience and restraint rarely seen from the producer.

The album’s title - named after Beak’s seven-year-old son - is a reflection of this boiled-down, reflective approach and marks the second entry in his meditative instrumental trilogy. Inspired largely by his new life as a family man and a recent deep dive into all things mindfulness, self wellness, and gratitude, Cameron thrives on ambient atmospherics, gentle melodies, and carefully-crafted percussion to create its own pulsing sonic universe. Every musical element is allowed the time and space to breathe and grow into a full-fledged composition, and the lack of vocals allows Beak to explore a much richer musical sound bed, giving each instrument its own moment in a constantly revolving spotlight. Whereas 2019’s Luther relied on darker retrospection and murky electronics, and Penelope gravitated towards warm guitar tones and rich analog synths to accentuate a much lighter and brighter vision, Cameron ups the ante once again by leaning into faster tempos and frenetic rhythms to balance out the calm.

 There is a noticeable and newfound confidence that vibrates from Cameron’s 37 minute journey, one that was only hinted at on earlier releases. It’s clear that Beak is in full command here, swiftly and adeptly moving in and out of a multitude of genres and vibes with the grace of a studio vet, while harnessing the curiosity and musical playfulness of someone half his age. It’s this maturity and willingness to explore that solidifies his place as one of the most versatile producers working today. By living with and exploring this unique aural space, Lazerbeak has completed the long trek from beat-maker to full-blown producer. Cameron represents a newfound peace and balance for Lazerbeak, both creatively and personally. With one foot in the sea and the other in the sand, he’s managed to create a truly grounding and healing tour de force for our rapidly changing world.