Little Simz - "NO THANK YOU" (2022)

Following quickly on from last year's Sometimes I Might Be Introvert which blew up Simz from bubbling up from the underground to one of the UK's biggest current rappers, NO THANK YOU surprise dropped right at the end of last year with one weeks notice and no advanced singles - showing how big Simz has blown up (especially for an truly independent artist). The record follows up on a lot of the themes of SIMBI, but without the grandiose narrative and presentation - which follows a macro-level theme that runs through her entire discography of her struggle between the desire to make grand, artistic statements and her need to make music as an immediate emotional release to whatever challenges she may be facing. Her second album (Stillness In Wonderland) was very much a prototype for the grand narrative of self-preservation in the musical landscape that SIMBI took much further, whereas GREY Area was far more raw and immediate - mainly addressing the feelings of betrayal from a messy break up. The most obvious example of Simz' need to just let it out was the Drop 6 EP, which released just over a month after the UK went into lockdown in 2020 and is one of the first examples of a 'pandemic release' I can think of.

NO THANK YOU feels like very much an amalgamation of Simz' last three releases. Inflo returns as producer and brings back a lot of the orchestral and jazzy instrumentation that made SIMBI feel so dramatic; however Simz' takes on the album are far more targeted and personal akin to GREY Area, and the whole release strategy and general off-the-cuff feel to the record is reminiscent of Drop 6. While having it's merits (none of SIMBI's melodramatic interludes, and certainly Simz' densest set of lyrics), I do feel this approach isn't necessarily the best of both worlds. The identity of the record can feel a little muddled at times, like it's caught between the two artistic directions that Simz has been flipping between for years. The majority of the tracks are long, which allows for Simz to really delve into the topics of each track, and for Inflo to add tons of gorgeous flourishes to each instrumental (including swooning orchestral swells and gospel choir backing vocals); but they don't always quite connect together.  The long track lengths also mean the pacing isn't quite as spot on as Simz usually is. On first listen the order of the tracklist made the album felt like more like a mixtape. The album opens with Angel, which is the most forward looking and positive song on the album; which is then followed by Gorilla, and swaggering bop with its jazzy bass-line and Simz' elastic flow. From Silhouette to to Broken, the album gets progressively darker and more depressing with absolutely no levity. Then after Broken, the album ends with three much shorter tracks that don't feel nowhere near as dense and monumental as the previous seven. It makes the album feel a little wonky, like it just sort of limps out after several 5min+ behemoths.

Despite the slightly off pacing, each of the first seven tracks are all really great when taken on their own merits. The aforementioned Angel opens up the record with a low-key, watery synth loop, Simz sounding very chill and laidback on the mic and the always brilliant Cleo Sol cropping up for soulful hook. The track sets the scene for the themes of the record: Simz' struggle fighting the exploitation of her art by the people surrounding her in the music business (apparently she split with her long time manager this year), and the black experience in general and the cycles of trauma and lack of support in black working class communities. After brief detour through the self-assured Gorilla, Silhouette returns to the themes established on Angel, treating the idea of betrayal as people becoming silhouettes of themselves, moving out of the clear vision of them that you thought they were. The track could have very easily fit on SIMBI, with its combination of a funk rhythm and grand orchestral flourishes. No Merci takes the orchestral swells and pairs them with a more hard hitting hip hop beat for a more direct takedown of industry BS.

X goes broader around the themes of institutional racism, and the idea of what it means to be a successful minority - and the responsibility and guilt Simz feels for essentially making it when so many don't. The gritty beat and gospel backing vocals make the song feel fit for a movie soundtrack. Heart On Fire is a little shorter than the previous tracks, but Simz' performance is so scaving and raw. The second verse is particularly impactful as Simz details how she lost sight of what she wanted to get out of making music, relying on milestones and financial goals to find some purpose. Broken is definitely the grand centrepiece to the record, as Simz ditches the music industry BS to break down mental health issues at a much more relatable and down to Earth level. The song is framed around minority communities (Simz outright states "Why is mental health a taboo in the black community?"), but the lyrics are universal enough that can relate to anyone struggling. The backing vocals repeatedly singing "When you feel broken and you don't exist / When you feel broken and you cannot fix it" really struck a nerve on first listen.

After all the heaviness, Sideways comes in with a warped soul sample and Simz sounding the most content since Angel at the start of the record. I do like the song, and it is very much needed at this point in the record; however it's barely over 2 minutes and feels somewhat underdeveloped compared to what comes before it on the album. Extending the song and adding some more instrumental layers / switch ups would have definitely pulled the song up closer to the quality of the previous songs. Following this is Who Even Cares, a washed out and effect laden synth funk song that really lacks any intensity or much depth despite how vibey it comes across on the surface. Similarly, the closer, Control, feels quite underwhelming, being a simple piano balled that doesn't really feel like it ties up the albums themes and message particularly well.

While not quite at the same level of consistency and attention to detail as Simz past couple of albums, there is still so much good stuff here that its well worth your time. It's certainly darker and heavier, so requires a more deliberate listen than the likes of GREY Area and SIMBI (and therefore I doubt it will be in constant rotation for me after years the way those two albums are), but investing your brain in the meaty lyrics will definitely reward you.

Top Tracks: Angel, Gorilla, Silhouette, No Merci, X, Heart On Fire, Broken

8/10

Little Simz - "Sometimes I Might Be Introvert" (2021)

Wow, turns out masters courses are hard work - so this is the longest break I've had on here. Anyway, hopefully back to more regular posts now. Little Simz burst into the mainstream sphere with her 2019 album, GREY Area; a raw and gritty hip hop record with a concise flow and poignant introspective lyrics. It was my favourite record of that year and it has not dropped out of my rotation since. Sometimes I Might Be Introvert, while still of excellent quality, couldn't be anything more different. It is a maximalist, 'magnum opus' scale record that brings back a lot of the neo-soul and funk elements of Simz' earlier output; but amping up the confidence and gravitas to another level. At over an hour long, with 19 tracks (5 of which are grandiose orchestral and spoken word interludes), SIMBI (also Simz' personal nickname) is a behemoth. This dramatic, semi-narrative structure is clearly borrows from hip hop giants like Kanye West and Kendrick Lamar; as does the theming around the struggle between the artist and the person off the stage, and the deeper introspection on Simz' psyche. It is obvious that Simz' is aiming for this record to be mentioned in the same conversations as My Beautiful Dark Twisted Fantasy and To Pimp A Butterfly. And for the most part, she gets there.

The record kicks off with its strongest run, from the opening Introvert to I Love You, I Hate You. Introvert is this massive, world shattering orchestral hip hop song that elevates Simz' lyrics from musings about her place in the world to a 'do or die' level of intensity. This instantly transitions into the gorgeous 2nd track, Woman, featuring Cleo Sol. This is pure neo-soul serenity, with its smooth as anything instrumentation and Cleo's silky vocals on the hook. Woman once again instantly transitions into the jazzy and off-kilter Two Worlds Apart. These kind of snappy transitions are common throughout the entire album and they are all brilliant. Two Worlds Apart starts hazy and relaxed, with Simz rapping in a lackadaisical flow about a failing relationship that has gone stale. She slowly morphs into a more deliberate and confident flow as the track progresses, reflecting her realisation that she no longer needs this person. I Love You, I Hate You might have the most poignant and precise lyrics on the entire record, detailing Simz' relationship with her estranged father and the trauma and baggage that comes with a parent walking out on their family. This is all set to a snappy funk beat and warped, repeated soul sample of the line "I love you, I hate you", that just oozes intensity and importance.

Following this is the first interlude of the record, Little Q, Pt.1,  a spoken word interlude from Simz' cousin leading into Little Q, Pt.2, a song which Simz' wrote from his perspective about the experiences he has been through including a near fatal stabbing which left him in a coma. The song is built around hopeful children's choir backing vocals that give a sense of joyousness and innocence; as if it is relieving itself of the cycle of anger and violence that perpetuates in the gang cultures that sent Little Q to a hospital bed. Little Q, Pts. 1 and 2 sits as sort of a transition from the very funk and soul heavy first few tracks to the much more eclectic middle section, which starts with the first of the fantastical, orchestral interludes. While I certainly get the need for some kind of interludes on the album to break up its various styles and genres, the musical theatre-esque melodrama of them is really on the nose and doesn't really do all that much to smooth over the transitions between the different styled songs. In fact I much prefer the hard, snappy cuts such as the one between Introvert and Woman.

While all the songs in the middle section on the record are at the very least pretty great, it is the part of the record with the most sonic whiplash. Speed is a raw and gritty tune that would've fit perfectly on GREY Area with its gruff bass and fuzzy synth line. This leads directly into Standing Ovation, which follows in the same dramatic and grandiose orchestral style as Introvert. The track is dynamic with a lot of tempo changes; which makes it feel like the grand centrepiece of the album. Then the album whips back to the neo-soul sounds of the first leg with the super sexy and suave I See You, before crashing into another interlude. After this we have the edgy and sinister sounding Rollin Stone, which leads into the biggest 180 on the record, the bouncy synth-funk bop, Protect My Energy. All of these songs are good tracks, but hard to place contextually within the albums flow and progression. It feels like a whistle-stop tour of everything Simz' wants to explore.

After another dramatic interlude, the album does settle down for it's last portion. This begins with the seamless back to back due of Point And Kill and Fear No Man. These jazzy afrobeat songs ooze confidence and charisma. The sound so joyous and free, like a carnival in the street. After one last interlude, the record closes with a couple of more gentle, reflective songs; where Simz reflects on her friends, family and journey. How Did You Get Here is more broad, detailing her journey through school, finding her passion for rap, finding a group of likeminded friends, and then finally striking it out on her own and finding success. Miss Understood focuses more specifically and Simz' strenuous relationship with her sister; and how the demands of being a performing artist has caused them to grow apart. Its a bittersweet and understated way to end the record and features such a soothing emotional hook that has me singing along every time.

While I think GREY Area is technically a better album on an objective level (It's tighter and more consistent in tone and theme) and I still just about prefer it personally, SIMBI's songs alone put it in the same ballpark. I managed to go see Little Simz live a few weeks ago, and the songs hold up even better in that environment. If it had just a little less sonic whiplash, and featured some slightly less on the nose interludes I would not be able to fault it at all.

Top Tracks: Introvert, Woman, Two Worlds Apart, I love You, I Hate You, Little Q, Pt. 2, Speed, Standing Ovation, I See You, Rollin Stone, Protect My Energy, Point And Kill, Fear No Man, How Did You Get Here, Miss Understood

9/10