Howdy! I’d like to introduce a brand new feature where I bestow upon you my favourite new (and occasionally old) bangers that are currently occupying my fragile little headspace. I hope to update this as much as possible so the blog always has some semblance of fresh content. Here goes nothing…
First up, and the inaugural Tune In, is *drumroll please* Flyte with their latest effort, Please Eloise. These four whippersnappers, hailing from old London town, are still an unknown quantity in most parts – with only a handful of singles to their name. However, this track could well be a game changer. And in the cold winter months to follow, this tune is a welcome ray of effervescent sunshine.
While the verse is resplendent with glorious harmonies and tropical guitar licks, it’s the sugar-rush of a chorus where Flyte really hit it out the park. And this Eloise must be one hell of a lass, with jilted frontman Will Taylor repeatedly yearning for a bit of reciprocal loving. If he keeps this up, a restraining order may well be issued.
Though some may consider the tune a little kitschy, for me it’s a slice pop perfection – evoking the carefree, afro-beat stylings of an early Vampire Weekend. So it’s really no surprise these lads have already been enlisted as tour supports for huge names like Bombay Bicycle Club. And if Flyte continue to build up a head of steam on the hype machine, Please Eloise will undoubtedly be a staple of next year’s festival circuit.
Icon? Untouchable? Beatnik? The greatest rapper alive? In recent years, much has been said about Kendrick Lamar and his prolific output. From humble beginnings on West-Coast cuts like ADHD to his politically-fuelled stylings on King Kunta, no one right now is carrying the torch for hip-hop as much as this man.
But what makes him so unique? Granted, a number of Kendrick’s contemporaries may match, or even supersede him, lyrically. But it’s his fusion of gritty, observational musings accompanied with the most exquisite production that truly sets him apart. Though Section.80 was packed with promise, this formidable combo first came to the fore on the 28-year-old’s breakout record Good Kid, m.A.A.d City – which saw him take on the role of social commentator and become the mouthpiece for a new generation in urban USA. Chronicles of fatal gang feuds, the tumbling economy and other hardships in his native Compton were all presented in this semi-autobiographical memoir. It also helped that it was chock-full of bangers; very much thanks to the executive production of Dr Dre. Tight-knit, layered beats anchored by the heavyweight hooks of hits like Swimming Pools and Money Trees quite rightly garnered universal acclaim. Such was the success of K-Dot’s second studio album that it was perched prettily atop many a critic’s end-of-year lists – as well as bagging a whole host of accolades. Greatness beckoned for the hip-hop’s prodigal son.
And it was on March 15, 2015 when Kendrick Lamar was elevated to newer, dizzying climes; for this was the release date of To Pimp a Butterfly. Put simply, it revolutionised contemporary hip-hop. Never had there been a rapper so aware of their artistry – with each and every nuance a turn of sheer genius. The attention to detail on singles like Alright and the more understated These Walls truly warrant repeat listens and a damn good audio system. So, how did he achieve such levels of perfection? Answer: By warping a stagnant genre. Instead of opting for synthetic, bass-laden backing tracks that seem to pollute today’s charts, Kendrick harked back to a golden age of music. Strands of jazz and funk infuse the record, undoubtedly inspired by the likes of Prince and George Clinton, while the wordsmith himself brings it all back to date by fiercely tackling political and social themes. When meshed together, these components gift the album a shelf life that ensures it will remain a relevant staple of hip-hop culture for decades to come. The release also saw Kendrick reoccupy the role of narrator, yet this time from an even more introspective viewpoint. He addresses the insurmountable hardships faced by young black Americans, revisiting Compton yet again. Erudite social commentaries like these litter the record, but the artist is at his most poetic when reflecting on his own life – candidly rhyming about the demons that consume him and the unspoken pressures of fame. Quite frankly, To Pimp a Butterfly is a masterpiece. As a body of work it is totally unparalleled – ushering Kendrick Lamar to the head of hip-hop’s pack.
Don’t just take my word for it. A plethora of legends have all waxed lyrical about K-Dot. Most notably rap godfathers NWA, who hailed Compton’s brightest star in an excerpt which can be seen below.
Before this gushing becomes a full-blown ode to Kendrick Lamar, I leave you with this live performance from The Late Show with Stephen Colbert. Clocking in at just over six minutes, dynamic fare is completely encapsulated. From his meticulous delivery of every single bar to quite possibly the most drilled backing group in the game, it’s truly a captivating sight to behold. Oh, and he’s still only 28 years old – giving him more than enough time to stamp an indelible mark of authority as the greatest rapper of all time.
