If you only know MellowHype for their hard stuff, “Astro” is the essential deep cut. It’s a low-key masterpiece of early 2010s alternative hip-hop, and a reminder that Frank Ocean was already an otherworldly talent before anyone knew it.
Here’s a long-form review of — since “astro” is likely a typo or misremembered title for the track “Astro” (featuring Frank Ocean) from that 2010/2011 album. MellowHype – “Astro” (from BlackenedWhite ) If Odd Future was a chaotic punk-rock collective trapped in a skate video, MellowHype (Hodgy Beats + Left Brain) were its noirish, beat-heavy heart. And “Astro” is arguably their most atmospheric, strangely beautiful moment. mellowhype astro
Hodgy comes off introspective rather than the usual shock-value raps. He talks about trust, paranoia, and feeling alienated — fitting the “Astro” (astronaut/space) theme. Lines like “I’m in a capsule, you can’t reach me” hit harder because the beat feels isolated. His flow is lethargic but precise, sliding between the kicks. No screaming, no vulgarity for its own sake — just a young rapper sounding genuinely lost. If you only know MellowHype for their hard
“Astro” is a outlier on BlackenedWhite , which otherwise has bangers like “Fuck the Police” and “64.” It proves MellowHype could do moody, vulnerable, and melodic — not just aggression. Years later, it’s aged better than most OF catalog tracks because it doesn’t rely on shock; it relies on feeling. MellowHype – “Astro” (from BlackenedWhite ) If Odd
This is the secret weapon. Pre- channel ORANGE , Frank sings the hook in a gentle, almost drowsy falsetto: “I’m on my way to the stars / Don’t follow me, you’ll go too far.” It’s melancholic and beautiful. He elevates the track from a decent rap song to something timeless. The contrast between Hodgy’s gritty verses and Frank’s silky chorus is perfect.
Left Brain’s beat here is deceptively simple — a woozy, pitched-down synth loop, a sparse kick/snare pattern, and a bassline that feels like it’s melting. It’s lo-fi but not lazy. There’s a haunting, late-night drive quality, like watching streetlights blur through a rain-streaked window. The instrumental leaves tons of space, which is rare for OF tracks from that era, and that restraint lets the vocals breathe.