Lil Peep was just 21 when he died last year. On that very sad day there was much discussion in the music community about how a unique voice had been silenced. With the posthumous release of Come Over When You’re Sober, Pt. 2 (Autnmy/Access/Columbia), the young artist’s vision is earning a storm of praise.

The album, produced by Smokeasac and George Astasio of IIVI, is currently Top 10 at Apple Music and Top 5 at iTunes, is a darkly reflective amalgam of hip-hop and rock, with streaks of anxious melody and lyrical dread that recall Nine Inch Nails and Eminem. (The Deluxe version of the album features "Falling Down," his recently released collabo with XXXTentacion, and "Sunlight on Your Skin," crafted with ILoveMakonnen.) On “Life Is Beautiful,” to cite just one example, his offhand recital of the horrors we now accept as normal chills to the bone—culminating in musings about his own death.

The set has earned rapturous praise from reviewers at Rolling Stone, The Fader, NPR and other outlets, and no less than The New York Times recently ran a lengthy essay on Peep and the album, titled “Lil Peep Died Before Becoming Pop Royalty. His New Album May Change That.” Writer Jon Caramanica declared the kid born Gustav Ahr “was in the musical vanguard,” and called the album:

A work of elegiac beauty, filled with vitriol, resignation and, in a few moments, hope for change on the horizon. It is also a robust, grand-scaled pop album — a fluid amalgam of hip-hop density and rock anxiety — full of intuitive melodies and sticky emotions. It shows the star Peep was primed to become, if only the world would catch up.

Is the world catching up at last? The signs so far indicate that his music will be with us for some time.