With his third, and allegedly final, album, The Game returns to the subject he knows best: his home turf of Los Angeles. LAX is conceived as a collage-like portrait of Game’s past and present life in Southern California, as “LAX Files,” “Cali Sunshine,” and “House of Pain” weave references to local avenues, neighborhood flavors, and people. Even the sound design makes subtle reference to classic California electro. “Ya Heard,” “Let Us Live,” and the brilliant Kanye West production “Angel” echo the bass-heavy, squiggly-synth sounds so beloved by fans of L.A. radio. Lyrically, Game is still playing the maverick, unafraid to speak his mind and name names. In regards to his contentious relationship with mentor Dr. Dre (who was originally set to produce LAX by himself), Game says on “Dope Boys:” “And tell Dr. Dre to pick up a phone / Before I climb through his window like, ‘Nigga I'm Home’.” Aside from Game’s emotional dynamism, “My Life” conjures a verse that stands with the best lyricism you will hear all year: “Walk through the gates of hell, see my Impala parked in front / With the high beams on, me and the devil sharing chronic blunts / Listening to The Chronic album, playing backwards / Shooting at pictures of Don Imus for target practice.”