Dynamic, daring, debonair and dazzling are but a few words that can be used to describe Florida rapper Doechii. Her newest mixtape “Alligator Bites Never Heal” dropped to relatively positive but quiet appeal. It seemed to fly under the radar of most music listeners, but thanks to her continued promotion of the album, it exploded in popularity. To the surprise of some, the critically acclaimed tape led her to win a Grammy for the 2025 Rap Album of the Year.
“Alligator Bites Never Heal” is a tried-and-true mixtape. It features a little bit of everything, and to the untrained ear, seems to be all over the place. However, Doechii’s persona is exactly what it needs to feel cohesive. She weaves in and out of genres, riding each beat like a pro. From old-school hip-hop emulation to sweet and atmospheric pop rap, Doechii tries it all. This album can be likened to that of a charcuterie board or sampler palette. This is its greatest strength and weakness.
It starts off with the subdued and edgy “STANKA POOH”, where she reveals her insecurities around being an underdog and newbie to the rap game. It then transitions to the bass thumping, challenging track “BULLFROG”. Using the word “debonair” may be a puzzling synonym to attribute to Doechii, but she has the type of swagger usually reserved for male rappers. Songs like “BOILED PEANUTS” and “CATFISH” have her showing off this aspect of her personality to the world.
However, you cannot talk about this tape without talking about the smash hit “DENIAL IS A RIVER”. Performed at the Grammys, Doechii puts her entire personal life and career on display for the world to see. She discusses being cheated on by a male partner with another man, her pressure from the industry to make “Tik Tok music” and her addictions both to the hustle of her career and literal drugs. This song is told in sequence with an inner voice responding to the words she’s rapping, which is an auditory treat for listeners. For such a young rapper do display writing and storytelling skills this advanced so early in her career is extremely rare.
The 4 songs that follow “CATFISH” showcase more of a relaxed and emotionally intuitive version of Doechii. “SKIPP” has an almost dissonant feel to it, and features her playing around with the harmonies of her voice on top of a more typical rap track. “HIDE N SEEK” sees her toying with the limits of her upper singing register, and is almost reminiscent of early Doja Cat. The interlude “BLOOM” and the track “WAIT” both display Doechii being overwhelmed with her life, and include a voice recording of her talking to another person about how busy her life is.
As the album winds down, we see her return to some of the earlier sentiments of her album. “DEATH ROLL”, is an intimate and reflective track about her journey thus far. As the most mature and melancholic track on the album, Doechii ponders questions like why she made it this far, and contemplates on the things she had to give up in search for success.
The last major track on the tape is the raucous and braggadocious “NISSAN ALTIMA” which provides the last of “cocky Doechii” that is on the album. She essentially says “When I walk in, you listen”. This song sees her demanding to be seen and for others to step up their game.
“Alligator Bites Never Heal” is a treat for those seeking more alternative Hip Hop, with the same spirit that comes with rap music. Highly referential to southern legends such as Missy Elliot and Andre 3000, this album is full of personality and fun. Though some tracks may seem redundant, or copies of earlier songs, there are unique aspects to every sound on the album. This album is a slam dunk in the face to those that say small artists cannot create a culturally important body of work early in their careers.
