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Skipping styles like hopscotch, we see Kano tackle assured, chugging rap-rock ("Typical Me"); Latin-tinged, Hennesy-sipping party vibes ("Remember Me"); reflective garden-gate philosophy ("How We Livin"); and thuggish, slice-of-London-life drama (Ghetto Kid) with equal charm and proficiency. His debut single, "Boys Love Girls" a bouncy, comical encapsulation of playground sexual politics, included here as a bonus track still sounds like perhaps his finest moment. But on Home Sweet Home, Kano has grown in many directions, and somewhat miraculously, every one suits him --Louis Pattison
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Whereas Jay Z has been in mainstream for a while, this guy is just coming up from the UK underground scene, supposedly, yet he spits fire better than many mainstream rappers in the US who have been around a long time - "I got punchlines / and I got kick lines / And I aint commericial but I got hit lines." While I'm not saying that the UK rap scene is better overall (sorry people), this and the new Mitchell Brothers album really hit me hard due to how suprisingly unique these albums were, and why some other people in the U.S. just don't "get it."
Production on the other hand, is a pure gem. I've never heard original MIDI production with no sampling this good in my life. Whoever produces for Kano (I know Kano does some himself and the Mitchell brothers do some) really, really knows what they are doing with MIDI and has an excellent background in music theory, especially for "grime" hip hop beats.
Highlights:
Nite Nite (mitchell brothers beat for this is crazy)
The title track
P's & Q's
Signs in life (this track hits hard as hell and Kano rips it for 6 minutes)
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