As summer wound down, Kenny Beats has blessed us with one last surprise before we start the descent into autumn. This was an unexpected drop with such little fanfare preceding its release, but Kenny Beats needs no introduction. With this debut solo album/beat tape, Kenny flexes his production chops and gives us listeners a deeper insight into his personal style, unencumbered by the demands of another artist. Whilst still including production and writing credits from a host of big names including Remi Wolf, Vince Staples, Cory Henry and more, LOUIE feels like Kenny Beats distilled and crafted into a more intimate experience compared to his production for others.
There is a clear contrast between his normally ostentatious style present on his albums for some of the most pre-eminent rappers such as Denzel Curry, SL and Rico Nasty, and the sample-based, soulful production seen on LOUIE. Whilst still incorporating some of the trap elements that dominate his discography, he focuses on a modernised boom-bap production style with the drums. Kenny squeezes out as many slick transitions and exquisite ornamentation over almost every track, and the 33 minute run time means nothing gets overdone or feels stale.
Curated for the mood to flow from a more upbeat, sunny energy at the start to slightly more mellow and melancholy towards the end culminating in “Hot Hand” which has the most intricate baseline and spoken word style rap. Inspired by Kenny’s father being diagnosed with pancreatic cancer, the wide emotional range of the album is palpable. The atmosphere is noticeably different from bright, effervescent tracks like “Hold My Head” and “Still” to the more subdued, minor “That Third Thing” and “Rotten”. The final track “Hot Hand” ends with a chaotic energy echoing the start of the project but with those minor elements still present, which might be an insight into Kenny’s headspace after hearing such devastating news.
With a more personal edge to this project, LOUIE gives listeners a fresh lens to view Kenny Beats. The announcement he produced IDLES’ most recent album seemed like an indication there was more in Kenny’s vault than straight up trap and this album does not disappoint. The inclusion of live instrumentation, some impressively chopped samples, especially on “So They Say” and “Drop 10”, and some funky melodies are a distinct step in a new direction that could point towards a more varied soundscape for his future collaborations.
When Kendrick Lamar drops a new project the whole world stops to pay attention to one of the most visible but reclusive artists of the modern era. With his sixth studio album ending a five year absence that saw fans absolutely chomping at the bit for something to sink their fangs into, Mr Morale & The Big Steppers is Kendrick’s latest tour de force and supposedly his last album with TDE. The album almost takes the form of a public therapy session, bringing the listener into Kendrick’s considerable woes and giving us a personal understanding of topics ranging from sexual abuse, generational trauma, LGBTQ+ rights, gender roles and the all encompassing impact of social media on the music industry.
Over the last few months Kendrick has hinted at the direction his latest album would take in his features with Baby Keem. While his flows are still as fluid and effortless as ever, he has incorporated a more abrasive vocal delivery particularly on ‘N95’ and ‘Saviour’ where there is clear Baby Keem influence. Throughout the album he includes more prominent drums, some beautifully graceful strings and some production in the same vein as the Black Panther album. It follows a similar formula to DAMN which has no clear stylistic focus and focuses clearly on the lyrics, contrasting To Pimp A Butterfly which was very overtly funk infused.
Still of Kendrick Lamar from the video for N95
Mr Morale & The Big Steppers brings up many important topics that are at the forefront of public awareness and speaks to Kendrick’s self-proclaimed role as the ‘voice of the people’. One of the most consistent themes is reconciliation which he comments on through the discussion of his experience of therapy, the use of excerpts from Eckhart Tolle, a prominent spiritualist, and his inclusion of Kodak Black, who’s controversial criminal history isn’t covered on the album but can be interpreted as an acceptance of an assumedly changed man. On ‘Father Time’ Kendrick reveals his struggles with his relationship with his father how this coloured his views on the world and relationships, using his confusion regarding Kanye and Drake’s reconciliation as an example of his differing perspective and highlighting the importance of understanding and reconciliation. Kendrick’s perceptions of gender roles are also explored here, noting how even with a father figure in his life he still obtained a warped view of what it means to be a man, similar to his peers who grew up without fathers. This commentary reveals the impact of therapy on Kendrick’s changed worldview and the importance of introspection and changing outdated perspectives.
One of the most talked about aspects of Mr Morale and The Big Steppers has been Kendrick’s exploration of his evolving understanding of LGBTQ+ rights. ‘Auntie Diaries’ details Kendrick’s familial relationships and their impact on shaping his views of the LGBTQ+ community, culminating in a deepened understanding of the impact of slurs and a sense of personal growth. Kendrick’s characterisation of his old views has been criticised due to his use of dead-naming and using the f-slur, however it seems like an intentional choice on multiple fronts; to target those who may still hold similar views and to emphasise his point about sensitivity. Whilst still attempting to act as an ally, his efforts are tone-deaf to the community he is trying to champion. The song also explicitly criticises specifically Christian, but broadly religious, views on the LGBTQ+ community. This all connects to the overwhelming theme of freeing the collective consciousness from restrictive, archaic thinking, moving towards a more inclusive and understanding society.
Transformation, then reciprocation, karma must return
Heal myself, secrets that I hide, buried in these words
Death threats, ego must die, but I let it purge
Pacify, broken pieces of me, it was all a blur
Mother I Sober – Kendrick Lamar
The final section of the album deals more explicitly with the impact of sexual abuse on women and men in the Black community. Kendrick explores abuse generally throughout the album with Eckhart Tolle’s discussion of “pain-bodies”, Kodak Black’s interlude where he details the neglect he suffered growing up and on ‘We Cry Together’ which lays bare the emotional abuse he dished out and received in his own relationship, but goes even deeper into the pervasive influence of sexual abuse on the two penultimate tracks ‘Mr Morale’ and ‘Mother I Sober’. In the second verse of ‘Mr Morale’, Kendrick acknowledges the role sexual abuse in the Black community in perpetuating generational trauma and uses the stories of prominent figures including R Kelly, Oprah Winfrey, Tyler Perry and his own mother to illustrate his point. He develops this point further on the following track ‘Mother I Sober’, an intensely emotive performance that lays bare Kendrick’s personal struggles with the sexual abuse in his family, his suppression and subsequent reconciliation of that grief and that of the Black community. The ending of the album drives home the therapeutic nature of the album, culminating in a sense of healing from his individual and generational traumas.
Mr. Morale & The Big Steppers is a deeply emotional album that runs the gamut of human experience. Kendrick’s albums are often significant cultural moments and this album is no exception. On first listen the album doesn’t have the same musical extravagance or hit track replayability as his other albums, but after a few listens the themes of the album leave a palpable impact in the mind. Kendrick has used the past few years creating this album to absolve himself of his trauma and also his role as an idol for his listeners. His opinions throughout the album may not sit well with everyone but that is exactly the point. Even without the self-proclaimed status as the King of Hip-Hop, Kendrick still plays an important role in making the public think, as all good lyricists do.
This year has seen the release of some incredible albums amidst the chaotic and everchanging backdrop of the pandemic. From some more obscure names, underappreciated artists to the biggest hitters in the music industry, listeners have been treated to a smorgasbord of top tier tracks. So without further ado, here are my favourite albums of 2021 and a little playlist of the highlights and some tracks from the honourable mentions below.
1. Black To The Future – Sons Of Kemet
Shabaka Hutchings and co have produced an album of gargantuan proportions which can only rightfully be placed atop my list of the album’s of this year. The release of Black To The Future relatively early in the year could have hindered it in year-end lists, but its undeniable quality throughout, heavy themes, unique composition and complex soundscapes, alongside quality features from the likes of D Double E, Joshua Idehen and Kojey Radical ensure it remained at the forefront of the conversation all year. At times the vocals can be drowned out but the real stars of the show are Shabaka and Theon Cross on the sax and tuba, so can you really blame them for focusing on them?
2. Untourable Album – Men I Trust
Men I Trust are a band I started listening to last year and I had no idea they were dropping an album in 2021. But when I heard Untourable Album it completely changed my perception of them from another airy, pedestrian female vocalist, to an emotional, inventive band who showcase their funky side alongside a flair for synths and understated drums. Characterised by a haunting atmosphere decorated with gentle instrumentation, the slick basslines, funky synths and solid song structure all make for a really enjoyable and sobering listen.
3. We’re All Alone In This Together – Dave
Dave continued to assert his dominance in the UK rap scene with the release of his latest album that saw him move from a very insular, self-focused Psychodrama to a more thematically expansive project. We’re All Alone In This Together strikes the right balance of personal tales, political commentary and good vibes as well as quality production, Dave’s signature piano melodies and impeccable features running right the way through. Personally this is Dave’s best and most ambitious album to date and puts him clearly at the pinnacle of the UK rap scene.
4. Promises – Floating Points, Pharoah Sanders, London Symphony Orchestra
Promises is a genuine treasure to listen to. Having not listened to a modern classical album in a long while, when I heard Floating Points was collaborating with the London Symphony Orchestra and Pharoah Sanders for this album I was instantly intrigued and so glad I heard this album. The blending of classical instruments and electronic elements creates such vivid imagery especially towards the end of the album which feels like you’re being transported through space and walking through an alien paradise. Floating Points have truly created a modern epic with this album.
5. Crawler – IDLES
Punk band IDLES’ newest album is a 47 minute fairground rollercoaster, you can see the screws coming loose but you can’t help but get on and enjoy the ride. There’s a certain harmony to the percussive nature of the tracks on this album, which makes a point of putting melody on the back-burner in favour of disorienting volume and crashing rhythms. Kenny Beats’ role in the production of the album was an unexpected choice but he does a fantastic job and brings a refreshing crispness to their endearingly crowded sound.
6. Cavalcade – Black Midi
Black Midi have really pushed the boat out incorporating jazzy influences into their chaotic sound, creating an album that is unlike anything you’ve ever heard. Whilst their noise rock roots remain ever present, a more subdued, melodic vein has carved its way into their music. There is a real focus on both the rhythmic and melodic complexity of each track, all of which are well structured and produced, with a beautiful ebb and flow which takes you past the sometimes dissonant exterior. Cavalcade is a sonic triumph and Black Midi are entering their own realm of stardom with this unique sound.
7. Drones – Terrace Martin
Terrace Martin is a name that deserves far more recognition as for his work with so many acclaimed artists as an instrumentalist and producer, and this album enlists his large contact list to present an exposé of his talents. Drones has a mixture of R&B, jazz and rap influences which all mesh together seamlessly on the album. Whilst guest vocals are plentiful on the album and generally good quality, Terrace’s production and sax throughout the album are the real focus. The instrumental tracks on the album really give you the chance to appreciate Terrace’s talent and craftsmanship in the absence of vocals that naturally dominate the sound.
8. The House Is Burning – Isaiah Rashad
This album was one of my most anticipated of the year. 7 years, a debut album and countless snippets since Isaiah Rashad’s masterful EP Cilvia Demo, The House Is Burning is a reload of that hazy, bombastic atmosphere he entered the rap scene with. Marked by a significantly less serious vibe than his previous projects, the lyrics throughout the album reflect a new chapter in life. Less defined by the struggles with drugs and his mental health which dominated his past work, The House is Burning showcases the mind of a composed Isaiah Rashad.
9. Vince Staples – Vince Staples
Vince Staples’ self-titled album was genuinely the soundtrack to my summer. Wrestling with angsty themes from relationship issues, homelessness and gang violence, Vince is always able to inject the energy of an Impala bouncing down the California streets, regardless of the subject matter. Kenny Beats makes a reappearance on this list, providing top tier production throughout the album and really bringing a cohesive and well-rounded sound to Vince’s most recent work.
10. The Shave Experiment (Director’s Cut) – Q
The follow-up to Q’s EP of the same name is a genreless triumph. Q’s falsetto pushes through a myriad of melody lines and understated drum beats to the surface in an emotional tour-de-force. With ad-libs and beautiful motifs galore, Q builds on dreampop and R&B influences, landing in a smooth, funky and emotional space which truly is the “redefined version” he intended for this full length work.
Honourable mentions:
• Friends That Break Your Heart – James Blake • Mood Valiant – Hiatus Kaiyote • Kalopsia – Chin • Bright Green Field – Squid • Conflict Of Interest – Ghetts • City Of God – Blanco • Call Me If You Get Lost – Tyler, The Creator • An Evening With Silk Sonic – Anderson Paak & Bruno Mars • Collapsed In Sunbeams – Arlo Parks • Too Loyal For my Own Good – Headie One
Blanco first came to prominence as part of Drill group Harlem Spartans, but has also been slowly releasing singles, most notably Ringtone, Shippuden and Memphis. Now with the release of his first solo project City of God, he has fully entered the spotlight in his own right. Dominated by very percussive production and jovial lyricism cloaking some illicit themes, Blanco has expanded his repertoire beyond drill but maintaining his signature flow and high energy.
One thing Blanco never fails to provide is a top tier beat. Throughout the album drill fans will be pleased with the quality of the beats on show, particularly the opening track “Pain” with it’s choral sample as well as the keyboards on “Shippuden”, which is my personal favourite from the album. Whilst there is some variety in the melodic side of the production with some more swung, melody driven beats on “Asura and Indra” and “Surveillance”, the hi-hats throughout the album can get quite repetitive.
It is easy to see where a lot of the inspiration for many of the lyrics on this project comes from. Multiple pop culture references can be found on every track, with Blanco showing a particular fondness for using Naruto characters and footballers to illustrate his points. Honestly his inclusion of so many references in such an fitting way can only be seen as a credit to his lyrical prowess. Aside from this, Blanco touches on other topics relevant to his life from his relationship with prison, money, crime and women. The final track “Safe Space” is a triumph to conclude on, taking place in the context of a therapist appointment, with Blanco baring his soul and revealing his emotional struggles.
The first thing that put Blanco on the map for me was his the way he uses his unique flow on beats that weren’t traditionally drill beats, such as on tracks like “Time Out”. However on a full length mixtape, the lack of variety in his flows slightly detracts from the quality when you know what you’re getting on every track. Whilst the production is very good and he has shown an ability to rap over other beats, the lack of invention in terms of flows is the biggest thing handicapping me from giving a perfect review. My only other critique has a silver lining as while the final track is very intense, it leaves you in the lurch and wanting a final concluding track. All in all, City Of God is a debut showing clear ambition from an artist that refuses to be pigeonholed into a single genre.
As one of the most critically acclaimed artists in the UK, anything Dave releases is always preceded by monumental expectations. Particularly following on from Psychodrama, arguably his best and most impactful work to date which cemented Dave on the pinnacle of UK rap, We’re All Alone In This Together has been hotly anticipated by fans and critics alike. Readers of the blog will know from my review of Psychodrama how highly I rate Dave and that album in particular, but honestly this new album equals and may even surpass the quality of his last release.
Immigration, neo-colonialism and gang violence feature throughout the album, as expected from an artist that never shies away from taking on the biggest topics. Lyrically Dave is at the top of his game. You could choose any track from the album and find insanely quotable lines, a personal favourite of mine appears on Verdansk which is full of what seems like Dave’s most refined lyrical technique, the double entendre. “Both Sides Of A Smile” is another track full to bursting with some powerful lines, both the verse/argument shared with upcoming rapper ShaSimone and the second verse backed by James Blake.
I ain’t on beating or misogyny, it’s mahogany, I got bougie wood
Verdansk – Dave
We’re All Alone In This Together highlights Dave’s revered status with the quality of features he’s been able to recruit for this album. “In The Fire” is the perfect example of this, with the surprise addition of some of UK rap’s biggest names including Fredo, Ghetts and Giggs providing clear entry into an exclusive VIP club. Elsewhere on the album seamless contributions from WizKid, Snoh Aalegra, James Blake and producer JAE5 are further proof of Dave’s starpower and his ability to fit on different styles.
Production duties for the album were shared between Dave and Kyle Evans (Dave’s close friend and collaborator), JAE5 and James Blake and the guest producers influences are very obvious. Dave’s tracks like “We’re All Alone” and “Three Rivers” are noticeably more abrasive, with (adjective) drums and very melodic motifs throughout, often played on an acoustic piano. Bright melodies and a bouncy energy characterise JAE5’s tracks; airy synths driving both tracks as opposed to Dave’s drums. James Blake centres Dave’s vocals very distinctly, particularly on “Both Sides Of A Smile”, but he also makes his own presence felt on the track during his verse and chorus with the muted drums, intricate hi-hats and vocal layering. The variety of styles on this album from R&B to rap and afro-swing are a testament to Dave’s versatility. Throughout the album the quality never drops in any aspect from the lyricism, delivery or production.
With this album, Dave has produced an hour-long triumph and clearly some of his best work to date. The storytelling throughout the album is impeccable and whilst not necessarily as culturally important as Psychodrama, it personally eclipses it with its sense of positive energy despite some harrowing tales. We’re All Alone In This Together strikes the right balance of gripping lyricism, innovative flows and mesmerising instrumentation, as well as retaining that typical consciousness that characterises Dave’s earlier music. Definitely one of my favourite albums of the year so far, Dave has set the bar high with this release.
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