Rap in India isn’t a new phenomenon anymore. Every artists release in this genre is adding to the Indian-ness of Rap, shedding light on circumstances, situations and narratives that are unique to our social, cultural, political and economic landscape. The writing strives to capture the “hard life” highlighting subtleties that are other wise overlooked by many, offering a deeper and nuanced perspective of our country. It’s no mystery that writing rap requires wit and the highest form of wit, in my opinion, is humour – which happens to be the fulcrum of this album. ‘NANO’ uses humour, not just in its writing but also in its production and songwriting. A lens through which we can observe the thoughts, surroundings, happenings and much more of Rebel 7 & Lil Kabeer.
It is very evident right from the get go that both rappers are very good writers. Their style through out the album is conversational – especially with Lil Kabeer whose style exists somewhere between the spectrum of spoken-word and traditional rap. Their humour is natural and isn’t forcefully worked in to create punchlines, it’s just the way they communicate. Everything from the sonic compositions, vocal production, cadences & writing style of not just the duo, but all the featuring artists as well, hinges on humour as a perspective. And because of that, this album may not be everyones cup of tea – which I think it should – but is undeniably clear in its purpose, which is to perceive and experience hardship through humour.
Opening the album is ‘Fight Musik’, which is probably the most serious track on the album. Produced by MLHVR, the instrumental is mean boom bap, evoking a very serious atmosphere thanks to the bassline and ghostly mallets. The delivery, through the song just gets more and more obtuse. My favourite part being when Rebel 7 says,’Mera naam lene se pehle samajh uska uccharan’, feels like he’s tumbling down as he’s saying it, which makes it funny but also incredibly intelligent phrasing. ‘Namkeen’, the second features wolf.cryman who guests on other songs in the album and as such fits perfectly into this goofy aesthetic. The hook line for the song delivered by Rebel 7 is lazy and fits well with the stripped down production. Lil Kabeer’s verse is dense with stories and situations which are very unlike what you would expect from a rapper from Delhi. ‘So raha tha main bin bedsheet ke gaddon pe. Ab main ro raha hoon is apsara ki sorts of kandhon pe’ perfectly depicts what I mean. The adlibs are really what make this track complete though, adding much needed thickness to the otherwise barebones structure of the song.
‘Devdaas’ dawns a nasty beat, thats equal parts filth and animated. The production by 3bhk scratches an itch, that is rarely quenched – special shout out to bass synth. The instrumental in itself could be a statement. Rebel 7’s almost drunken delivery and genius phonetic weaving tells us why this project is so cutting edge. Lil Kabeer brings an unhinged flavour – and let it be said that this true for every song on the record. There are no rules for him and in his own words, Lil Kabeer brings ‘Modern Warfare’. ‘Shor’ gets into straight away with a beat that’s in the same sonic space as ‘Namkeen’. Flawless character consistency by Rebel 7, whose effortless coasting is refreshing as compared to his previous work where he’s expressed himself very differently.
‘Hawaai Chappal’ features Calm from Seedhe Maut who brings his singular swag. It’s a no brainer cause Seedhe Maut have been known to dabble in various styles, moods and structures in Hip Hop and Calm, showcases that. Lil Kabeer erupts on his verse, spitting with his mouth full of paan – at least that’s what I think he’s going for. His already animated lyrical style and cadence might’ve been enough, but going that extra mile really emphasises his versatility. It’s so important to acknowledge the choice of instrumentals at this point. Without it, this project would be half cooked and so insane to see producers who believe and see an alternative vision for Hip Hop. One that isn’t all about bravado but also about humour, wit and vulnerability. ‘Good Times’ is a sort of an interlude with a verse from Vaaman. The production maintaining the consistency with the light hearted tone of the album so far. The hook line intentionally sounds rhythmically off but still on, highlighting the elevated sense of humour this album has been perpetuating since the start.
‘Qainaat’ is one of teh more chill songs of the tracklist, featuring a beat that sounds eerily similar to ‘Gas Station Sushi’ fro Alfredo 2 but that’s about the only similarity. The flows of the individual artists remain singular and extremely character driven, just a little more subtle. It’s a good break away from the chaotic humour of the album and presents both the protagonists of the album in a slightly more sincere light. Wolf.cryman keeps up with their appearance,. while still largely dawning an angular verse. ‘Ada Toofani’ on this album is remix of the orginal single by Lil Kabeer. The song reintroduces witty humour and keeps Lil Kabeer’s verse from his original single, the same. Rebel 7 returns to his witty, friendly banter mode and by now in the album doesn’t have to try too hard to spit some sick schemes. It’s not like he had to try to begin with. Wolf.cryman makes one last appearance on this album and ensures that his presence is remembered with this last performance. His words perfectly describe the core mentality of this album,’Free fire nahi baby, friendly fire, friendly banter. Rap Battle is too sentimental…’.
‘White Lice B***ches’ is a spoof and is the correct ending of the album. Both the artists are presented in an even more raw way on top of an album that’s already rife with skitty and slippery behaviour. The album offers a refreshing perspective on what Hip Hop can be. It doesn’t try to hard to be funny and it doesn’t shy away from being descriptive and serious in its writing and craftsmanship. The production is highly commendable and supplements the duos ideas from the start. This album is also evidence of how far the genre has come in this country and that it’s songs don’t have talk about specific things or sound a certain way to be considered legitimate.
Listen to ‘NANO’ on Spotify & Apple Music
