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.
Amplified Sound 