6/5/16 saw the launch of Skepta’s hotly anticipated new album: Konnichiwa. This release was a long time coming, with the grime pioneer’s last full-length recording, Blacklisted, dating back to 2012. The newest instalment ofJoseph Junior Adenuga’s discography was released by his Boy Better Know label and features a star-studded line-up of guest appearances. Skepta has notably been spending more time in America since the recording of his last album, with Noisey making a documentary called Top Boy, following his sold-out tour of the east-coast (a must see). The links he has made in the states, most famously with hip-hop giantDrake, have undoubtedly made a massive contribution to the global grime explosion in recent times. His rising prominence in the US has seen grime go from a scene that was unheard of even by many people in its birthplace of the UK, to a widely recognised and most importantly, appreciated genre that has the potential to compete with the popularity of American hip-hop. Adenuga’s work has not gone unnoticed. He was named as one of NME’s People of the Year for “taking grime global”, and his 2015 single, 'Shutdown', won the honour of Track of the Year, also hosted by NME. Followers of Skepta and the grime scene in general have been eager to hear the influence of the Tottenham MC’s globetrotting experiences in his music, and I am sure they will not be disappointed.
This project opens with the title-track, 'Konnichiwa', which features some fittingly oriental gongs, swords and woodwind to set the aura of this evidently Japanese-inspired album. This track provides a brief backdrop of Skepta’s recent history, referencing his surprise appearance at Wireless when he performed 'Shutdown' alongside Drake, and his recent return to Nigeria, his country of origin. The next track is 'Lyrics', an ode to the world of clashes and diss-tracks in the UK grime scene, inspired by a classic phrase from one of Wiley’s (fellow grime god) old clashes. The lyrical content here is highly critical of grime MC’s superficial bravados, especially long-time nemesis Devilman, and a strong verse from up-and-coming MCNovelist is accompanied by a crushing bassline. 'Corn on the Curb', featuring Wiley, is an interesting addition to the track list. This is because of the inclusion of a phone call between Chip and a seemingly deflated Skepta, where Chip offers some words of encouragement, citing Skepta as one of the most influential figures in their shared home of North London. The striking instrumental of 'Crime Riddim' renders it to be one of the stand-out songs of the album, and 'It Ain’t Safe' is an aggressive anthem that showcases Skepta’s hip-hop influences.
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'Ladies Hit Squad' changes the mood of the album with its smooth intoxication of an instrumental, accompanied by ASAP Nast’s distinctive vocals. The following track, 'Numbers', features Pharrell Williams. This is a fairly unexpected appearance, however Pharrell’s transcendent status will inevitably add to the resurgence of grime and its ever-growing worldwide popularity. Next up is my personal favourite track, 'Man', which boasts a killer instrumental that is reminiscent of Skepta’s trademark sound. The infectious chant of a chorus is sure to help this song become a grime anthem and one of the most well-received elements of Konnichiwa. This is followed by two successive singles, 'Shutdown' and 'That’s Not Me'. These two fan-favourites have led the way in the rejuvenation of grime in recent years, opening up the work of artists like Skepta and his brother Jme to new audiences. The iconic electronic instrumentals have helped Skepta do what little have done before: enter mainstream radio stations and charts while staying true to the original conventions of grime. In mine and many other’s view, it is very frustrating to see so many grime MCs turn to adapting their sound to make it more radio-friendly, in order to enjoy more fame in the top 40 (think Wiley – 'Heatwave'). However, songs like 'That’s Not Me' and 'Shutdown' have brought a greater recognition of grime for what it is, paving the way for artists like Stormzy to steer the new wave of grime into a more universally celebrated light. The penultimate track of the project is 'Detox', which features verses from fellow members of the Boy Better Know collective such as Shorty, Frisco and Jammer. Although it may not be as exemplary as singles like the 2009 BBK hit 'Too Many Man', Skepta once again shows his integrity in sharing the glory of his work with his long-time friends and collaborators, which is one of the main ways he has almost single-handedly reawakened the grime scene. 'Text Me Back' is a heartfelt conclusion to arguably the biggest grime release of the year. It is as much of a confession of the distance he has put between him and his loved ones due to his hard work and dedication of late, as a reminder of his humble motives of success despite his recently heightened fame. He speaks of his “vision/of all the fam living in better conditions”, which highlights Skepta’s taxing path from his troubled past to musical stardom.
Konnichiwa uncovers a new standard of both instrumental and lyrical quality, raising the bar for future grime releases. Skepta’s stamp is all over this album, and all it takes to recognise the hard work and dedication that has gone into the years of crafting such a masterpiece is to listen to it, word for word. The expectations for the release were high. The buzz was ignited by the chaotic visuals in the recently revealed video for 'Man' (where Skepta and his entourage destroy a car after drenching a raving crowd with champagne, the carnage being shot by legendary grime cameraman Risky Roadz) and the launch party live-streamed from Tokyo. Skepta truly delivered with this piece, blending some of his most adored singles with brand new material that is both intelligent in its lyricism and sure to rock crowds at upcoming gigs and festivals, such as BBK’s main stage slot at Reading & Leeds. With future releases from the likes of Stormzy and Wiley on the cards, they will have to pull out something very special to live up to the earthquake caused by Konnichiwa: the most exciting work yet from the reigning king of grime.