His music is weightless, decked out with lounge guitar and gossamer string samples.

He’s not far off on “Montreux” when he compares his music to Marvin Gaye’s 1980 performance at that famous jazz festival. And though his rhymes are dense and drunk with language, they’re never hard to follow. If you miss a detail, there’s bound to be something else you can sink into a couple bars down. It’s the kind of luxury rap you can listen to in just about any situation and feel like you’re sipping mimosas by the beach. So the compilation passes by like a cloud, and the individual tapes blend into each other. It’s a listening experience not unlike Todd Rundgren’s Something/Anything?, the gold standard for double albums that deepen and get weirder as they go on. The first Pilot Talk is the most song-oriented and, accordingly, has the best individual songs-“Skybourne,” a posse cut with Big K.R.I.T., Smoke DZA and the psychedelic shimmer of a Shuggie Otis song and “Breakfast,” which is the best song about getting high I’ve ever heard.

Pilot Talk 2 is all about language, light on the choruses and heavy on the shenanigans, and the beats are earthier and less baroque than on the first.

It’s a little weirder, a little harder to just put on in the background.

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