{"id":1204,"date":"2020-02-17T21:23:32","date_gmt":"2020-02-17T21:23:32","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/denzel-curry-kenny-beats-unlocked\/"},"modified":"2020-02-17T21:23:32","modified_gmt":"2020-02-17T21:23:32","slug":"denzel-curry-kenny-beats-unlocked","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/denzel-curry-kenny-beats-unlocked\/","title":{"rendered":"Denzel Curry and Kenny Beats: What Exactly is Being ‘UNLOCKED?’"},"content":{"rendered":"
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\"Unlocked.jpg\"<\/p><\/div>\n<\/p><\/div>\n<\/figure><\/div>\n

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by James Ammirato<\/strong><\/p>\n

Less than a year ago, Kenny Beats started a YouTube series dubbed \u201cThe Cave,\u201d presumably after his aptly named beat laboratory. The series is simple; he invites current rappers on the show, makes a beat in 10 minutes, and has the MC freestyle over it. It\u2019s a fun thing to watch, each respective artist bringing their skillset to the table and (typically) knocking it out of the park. On top of this, a lot of the rappers are friends of Kenny, and a good amount have made collab albums with him that are typically well-received. 2018 saw Kenny working with Vince Staples and Freddie Gibbs, and just last year he collaborated with Rico Nasty and 03 Greedo. Now in early 2020, his series continues, this time with the unstoppable Denzel Curry, who\u2019s been dropping projects left and right since 2016. The project was recorded in the 24-hour span following Curry\u2019s appearance on The Cave, but what came out of the session, the 17-minute UNLOCKED<\/em>, unfortunately, embodies the essence of the series in the worst possible ways; it\u2019s rushed, unruly, and overall a poor matchup between rapper and producer. <\/p>\n

The project starts with \u201cTrack 01.\u201d Immediately we\u2019re able to tell that Kenny has been listening to a lot of Madvillainy, and is very much playing to Madlib\u2019s fanbase. I\u2019m reminded of \u201cThe Illest Villains,\u201d Madvillainy\u2019s intro and the tone-setter for what\u2019s to come. However, unlike MF Doom\u2019s characteristic fa\u00e7ade of a comic book villain, Curry closer embodies a cartoonish ripoff, and while the production itself is enjoyable, it\u2019s hard to not instantly classify the track as simple Madlib worship. In recent years, we\u2019ve seen something of a resurgence in the teamwork between an MC and a DJ, an exciting, dare I say nostalgic phenomenon, but it\u2019s too easy to assign a classic status to any duo that fits the bill just because of their apparent status as an icon. <\/p>\n

The album continues in a similar fashion, Curry typically starts tracks slowly, an admittedly bold technique for the usually fast-spitting lyricist, but by \u201cPyro\u201d the system has become formulaic, and any additional vocal experimentation by way of filtering or auto-tune seems somewhat half-assed. Meanwhile, Kenny Beats\u2019 production is experiencing welcome change. On other projects, I was concerned he was beginning to lean far too heavily on an 808-based trap beat style, a trend very obviously \u201cof the era\u201d so to speak, but much of the production on UNLOCKED<\/em> leans more toward boom-bap, a refreshing addition to the established producer\u2019s repertoire. The sample at the end of \u201cTake_it_Back_v2\u201d provides the cinematic atmosphere the album is trying to give the listener quite successfully. Curry\u2019s laid-back nature at the beginning of \u201cLay_Up.m4a\u201d also presents a nice variation to his usual style, but he proves later that he can\u2019t keep it low-key, and I wonder if he\u2019ll ever try to make his palate as diverse as he claims it to be. Another example of this is the intro, \u201cI don\u2019t write rhymes \/ I write checks\u201d from \u201cSo.Incredible.pkg;\u201d the couplet is delivered with such ease but is almost immediately tossed to the side for a rapid-fire delivery a verse later.<\/p>\n

Further highlighting Beats\u2019 artistic evolution is \u201cTrack07,\u201d essentially his time to truly shine on the project. He seems to have been digging into more sample-based production, recalling such pioneers as DJ Shadow and J Dilla, and of course Madlib. I greatly appreciate Kenny\u2019s willingness to update his style, which previously seemed on the brink of growing stale. He\u2019s clearly taken this project to experiment with more chill ideas, an interesting choice considering Denzel\u2019s most recent project was nothing but the hardest verses I\u2019ve heard in some time, featuring the likes of Zillakami and Ghostemane. On \u201c\u2018 Cosmic \u2018 .m4a\u201d Kenny takes the project home, the final 30 seconds being an outro that salvages the project ever so slightly, but still seems somewhat abrupt. <\/p>\n

Overall, UNLOCKED<\/em> left me rather disappointed. Although Beats\u2019 production seems to be evolving more than people may be giving it credit for, the fault with this record lies in Curry\u2019s rapping, which has (characteristically) not changed much. The two might work well in the context of Kenny\u2019s studio, but in terms of the artistic partnership, there\u2019s not a lot of reward that can be reaped from them working together. <\/p>\n

On the subject of them being mismatched, I would love to see two separate projects come out of this. I\u2019m speculating one with the same verses from Curry and different beats, maybe from FnZ or Ronny J, people Curry is already proven to work well with, and one with the same beats from Kenny, just with a different artist rapping over them, like Jpegmafia, or at least someone with more versatility. For now, I think Denzel needs to stay in his lane and do some more growth in the other direction, similar to 13lood In 13lood Out<\/em>, before switching gears and doing a straight-ahead boom-bap project, even if it is with one of his homies.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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