Hip Hop since its inception has flourished only because of community. The culture has thrived so far only because of the sheer breadth of styles the movement encapsulates. ‘SULTANATE’ is a mixtape that captures this philosophy. While it’s no secret that most collaborations work on the surface, SIyaahi has chosen a spectrum of artists who range in varying degrees of popularity. All showcasing incredible penmanship, the collaborations brings out the best in each artist on this tape and transcends the gimmicky nature many artists get stuck with.
DHH over the past few years has been nurturing its singular identity. The movement in India has become its own thing, blending global styles with artists’ roots and creating something that is truly an Indian interpretation. Through the end of the previous decade, DHH has witnessed even more experimentation and obtuse curation that works specifically in the Indian context. ‘SULTANATE” in many aspects embodies this spirit.
The tape opens with ‘First Day Out’ and already Siyaahi is pulling no punches. ACHARYA brings his UK grime and all in all its an energetic start. SIyaahi’s verses are braggadocios yet confident. He doesn’t sound like he can’t back up what he’s saying. SIyaahi’s delivery is rapid and defined – refusing to cut corners with words. ‘Terrible Wishlists’ features Delhi rapper Ikka. The production by ACHARYA is even more experimental featuring a Chicago Footwork inspired beat laced with bright, sinister keys. Siyaahi attacks the song with ferocity and agility. The combination of Footwork style beats and Indian lyricism is unique. Its exciting to see ACHARYA dig so deep in to the culture adn use palettes that are otherwise quite rare in DHH. Ikka brings his A game to the song, with a repetitive flow that morphs as he keeps going. It’s really cool to see the difference on the flows of both rappers. THe writing is actually quite introspective, compared to the energy that is being dispersed by the beat. This is true for both the first two songs.
‘Sharara’ slows things down a little bit, settling the pace of the tape into a more groovy, vibey tempo. The song definitely breaks into a more mischievous side of Siyaahi, who shows that he is more than just an introspective writer and capable of churning out easy going bangers. The production is also simpler and more approachable. ACHARYA shows restraint in his treatment and avoids doing too much. ‘Rasiya’ further slows things down as we’re finally reaching into the thick of the tape. Opening with a verse from Bhadrankar, the song is one of the more vulnerable ones on the tape. Its great to see this kind of playfulness and variety within the fist four tracks. The production is minimal but still packs a punch. The use of the Indian Classical Samples behind the melodic verse adds nuance. Pahaad’s verse is raw, dawning a slow cadence, the weight of his delivery is heavy.
‘Dukh Dard Peeda’ spotlights the struggles of Siyaahi as he charts his course through the industry. Coming from not knowing how things work to being able to pull all the strings to make this mixtape possible, the story is inspiring. The production on this song is super restrained and allows for the story to take centre stage. Bella’s slightly autotuned vocals shouldn’t have worked but surprisingly they do. His verse adds melodic character to the song. 5 songs in and all the features up till now have been meaningful and exudes each artists character. The verses are introspective and in some instances light hearted but not lazy by any measure.
‘Soch lo’ features one of the biggest names in Indian Hip Hop, Raga. The iconic voice adds so much gravitas to the track. The production, following a traditional trap palette makes the beat mean. Siyaahi continues to deliver rhyme after rhyme, carrying forward his signature introspective pen game mixed with elevated delivery. Raga’s vocal texture is as good as his presence as a writer. ‘WHO’S THAT’ brings the tape out of the deep introspective atmosphere of the previous few tracks, reigniting the tempo. The song features DRV and Yungsta who’ve been making waves in the DHH scene. THE song is a flex and it’s executed with a lot of style. All 3 rappers showcase their impeccable flow along with ACAHRYA on the beat, who dawns a indigenous string sample, making the vibe mean yet groovy.
‘Vahivat’, brings SNAPPY KAAL on the beat with a vicious song that also shows off a Gujarati verse, once again showing the importance of regional languages in the diverse culture of Indian Hip Hop. ‘Ichak Dana Bichak Dana’ and ‘CHANDELIER’ are both extremely slick on their production and delivery, the latter featuring UZIII. To wrap up the tape we have ‘Tata Indica’ featuring Dhanji, whose ability to spit in Gujarati is fierce. His vocal presence on the track carries the track and his story telling ability is unmatched. ‘SULTANATE’ is a reflection of the community that forms around the culture of HIp Hop. It definitely shows Siyaahi’s skill as a rapper, writer an dvisionary but more than that, it shows his deep understanding of the culture and the people that make it up.
Listen to SULTANATE on Spotify and Apple Music
