As you may or may not have heard, the prodigious rapper known as Lil Wayne has recently started to change his tune. His latest album, “Rebirth,” which is due for release June 9, is officially being categorized and marketed as a rock album. That’s right, a rock album. “Weezy,” as fans affectionately call him, has already released the album’s first single, “Prom Queen.”

Before I begin my critique of Weezy’s latest choice in artistic direction, I would like to avoid any possible confusion: I am not a hater. I am indeed a fan of Lil Wayne and have been for years. The man has been ghostwriting for veteran rappers on platinum singles since he was 15, and he has certainly paid his dues.

Lil Wayne’s style of rhyme and sheer presence on the scene has been irrefutably one of the most influential in the hip-hop world throughout the past decade, and there is no doubt that he has played an integral role in the development of the hip-hop identity as it stands today. I have a great deal of respect for Lil Wayne both as a lyricist and as an icon.

That said, this is also precisely why I have a problem with the upcoming release of “Rebirth” — the man appears to be jeopardizing his place in hip-hop history as one of the best ever, and right in the middle of his prime. My concern lies with his adventurous attempt to infuse his own unmistakable lyrical style with hardcore and overly aggressive instrumentals.

I have only been able to listen to three tracks from Rebirth so far, and it just doesn’t seem to fit. In fact, I am brave enough to say it is just plain terrible.

Granted, I have heard only three songs, and one would hope it might get better as the album progresses, but these are among the marquee tracks being promoted on the album. They include the aforementioned single “Prom Queen,” as well as “Amazing Love” and “Ay Man,” which features the popular producer Pharrell Williams.

All these tracks noticeably attempt to break down the barriers between the worlds of hip-hop and rock through their instrumental and lyrical structure, but it feels forced and unnatural. Weezy sounds flat and uninspired over the heavy metal riffs, and when he sings it is undeniably just awful.

Lil Wayne is a rock star — there is no denying this. And I know that as an innovative and highly influential artist, Weezy has the right to pursue the creative materialization of any of his interpretations of a genre or hybrid of genres he so pleases. My argument is that he appears to be making the album for all the wrong reasons, as if he’s doing it just to prove he can, and it shows in the music.

It seems Lil Wayne has fallen so far into the sex, drugs and rock ‘n’ roll lifestyle that he has deemed it necessary to use much more aggressive and unconventional vehicle for his general and perennial message of “I’m so ill.”

But although using rock as his new medium has given Weezy an opportunity to display his creativity, he is also running the risk of losing many of his devoted fans.

My hope, for the sake of Lil Wayne’s career and hip-hop’s well-being, is that “Rebirth” is only a sidebar in Weezy’s creative life and that he will soon be back behind the mic delivering masterful verses over a hard-hitting, repetitive loop once again. Peace.

— Coldham is a Chicago senior in journalism and English.