Review Summary: Like Mike Tyson on drugs: Hard hitting but perpetually unfocused
This Wiley fellow is certainly a bit of a strange one to dissect. He's under the somewhat nebulous category of "grime", a hip-hop/ hobo's stew which incorporates lo-fi, noise, UK garage and drum/bass influences, among others. Apparently. Admittedly I'm not overly familiar with the genre as a whole, with names like Dizzee Rascal, Ghetts or Skepta being only nominally recognizable to me. That aside, being someone who's much better acquainted with more mainstream U.S fare, I was quite entertained by this new album from Wiley. Utilizing a lot of punchy dubstep and UK drum/bass elements as a backdrop, Wiley spits chaotic rapid-fire bars with some really memorable lines and hooks that elevate it amongst standard hip-hop fare.
From a standard rap analysis perspective, the fundamental elements of a good release are accounted for. He has a solid flow and rhythm which seem well suited to the fast paced cadence; a diverse display of while perhaps not overly memorable but very competent beats and sonic accompaniment with a healthy dose of dubstep/wonky flavoring; respectable production and decent lyrics. There's even a certain energy and enthusiasm with every verse of his delivery. While not really packed with the most potent political messages, innovative rhymes or interesting content, there's certainly enough substance as to not be distracting. From my understanding of his music, he's not the type of artist that's going to change how you think about the world at large, crack you up or make you sad with his social commentaries, or really challenge you all that much (although he's clever at times). But what he can do is release, musically solid, entertaining and very accessible relief from the dredges of rap mediocrity. Which is o.k. Not everyone has to be Death Grips or whatever and turn the genre on it's head; in all honesty that *** in large quantities can probably kill you.
The track "No Skylarking", instantly stood out to me and really typifies the kind of strengths I'm talking about. No frills, catchy hooks, strong delivery and serviceable beats. Despite the heavy use of the electronics for support, I think Wiley is strongest where everything is more stripped back, where it's just you and his flow in a one-on-one street fight where his verbal barrages are flattening your face against a brick wall and not really think about the stuff he's saying. Tracks like "No Skylarking" and "Badman" have him charging in with an armored troop carrier through your living room wall AK-47 blazing from the open hatch ready to have sex with your significant other. Not to say I dislike the heavier beats, like on say "Step 21" or "On a Level"; I find them quite enjoyable but I'm not sure if this is just par for the grime course.
There are some issues that keep me from really enjoying this record though. One of the most obvious soft spots are the guest features, which are definitely a necessity as the Wiley formula could use some diversity in style. But sadly, I find the choices to be serviceable at best and tiresome at worst. At times the album feels like a comic who's run out material early in his set and isn't above trying annoying things to keep us entertained. Usually it manifests itself as being purely uninteresting but is occasionally unpleasant. For instance, on "Busy" the ridiculous repetition of the letter z is a cheese grater on my face and needs to be removed post haste. More notably I'm not sure who let the baby into the studio on "Drive By" but somehow the sound it made during recording never got edited out. It's the musical equivalent of having an infant make loud incoherent noises and taunting faces at you during a long car ride. How these noises relate to a drive by is beyond me but it's relatively high order on the track list implies someone in creative process thought it was one of the better ideas. Baffling. Much like the final track "Snake's and Ladders 2" which must be some brainiac's solution to fit all the songs on the back of the album cover without making the font tiny, as it is one song like a schizophrenic Siamese Twin is one person. Which is a strange analogy that can be extended to the entirety of this album. I understand that his style is chaotic and random, but it just feels far too loose. While I'm sure there's a joke in here somewhere, a good tightening up would do a world of good.
But I'm much better at expressing problems than strengths and these quibbles should not dissuade you from giving this album a listen. When it's focused on gritty, flowing, catchy, fun songs it's absolutely trilling. While it tends to get distracted and needs better coach and cut man, it'll knock you out when it lands.
