Illinois-based emcee Rota and producer Lucca, known collectively as The Nocturnals, are the newest additions to the ever-growing Black Rainbow Collective.
As this, their new self-described “weird hip-hop album” begins, it quotes the Oasis anthem “Champagne Supernova,” and we immediately know that we are not in typical hip-hop territory. That said, on the opening track and lead single Whoa Now. (Feat. Emma B), there is definitely a traditional boom-bap quality to some of the instrumentation, as well as something altogether much more indie-leaning and modern. Lyrically, we’re reminded of the genius of Aesop Rock, the versatility of El-P and the knowing tongue-in-cheek dark humour of Open Mike Eagle, with a beat that reminds us (a bit) of A Milli and Goblin-era Tyler, The Creator. Make no mistake at all, this shit absolutely slaps – but it also makes you think.
The second track – Parting Words – begins, and we’re immediately reminded of Plastic Beach-era Gorillaz – specifically White Flag. The juxtaposition of abstract patchwork pieces of music like this, accompanied by the loquacious precision of a rapper (and published poet) of the calibre of Rota, is frankly mind-boggling. The assignment was clearly very well understood, though, and he skips over the beat like it’s nothing. There’s also a touch of early Le Sac vs Pip here. Also, a special shout out to the line “They say my jokes are getting old, I’m like, well, so is your Mama”. LOL.
2021 has a Backseat Freestyle vibe about it – it must be the bells? – as well as a hard-to-explain, spooky, sinister quality. Rota wrote the song when we were emerging from quarantine, which might explain the foreboding vibe. He explains he was “reflecting on how bizarre all our lives had become. It felt like all our rules of social interaction were being rewritten. I desperately wanted to interact more with friends again, but didn’t know what it would be like.” We remember that feeling, and this reminds us of how glad we are that those days are now behind us.
If you’re bored, just slap a Nazi in the face (best title ever, by the way) is an introspective, analytical exploration of the self and the influences of the world that shape us. With references to everything from marriage to taxes and from WW3 to homophobia – this one doesn’t hold back. The combination of the creeping, persistent bass that features predominantly throughout the track reminds us a little of BADBADNOTGOOD and their work with Ghostface Killah.
Dull Boy reminds us a bit of Atmosphere – the production is crisp and clean, yet also unusual and unique, a style that Ant from the famous duo specializes in. The vocal is one of the most atypical and characterful on the album. We also love that it manages to reference The Shining, Weezer, Judge Dredd, Radiohead and He-Man (well, Skeletor). It’s basically geek hop, and we’re absolutely here for it.
Loop Loop Loop is an eerie atmospheric piece built around a slinky, minimal, bass-heavy instrumental and a vocal performance that sounds unmistakably like Heath Ledger’s Joker in The Dark Knight. Centred around the issue of insomnia (which appears to be a recurring theme for the duo named The Nocturnals) and the sensations and ruminations that accompany it – it’s an introspective and deeply personal problem. Still, I’m sure it’s also highly relatable to many. The “I get over it fast or not at all” line had us thinking about instances where this was true for ourselves or people close to us. The track is infectious in its unshakeable, persistent nature and feels almost hypnotic. Rota also manages to sound a bit like a cross between B-Real and Eminem by the end of the track. The next tune, ‘1000 Sheep,’ is another study on insomnia and the frustration and feelings it brings. The aggressively distorted, broken breakbeats behind the compelling vocals are almost Yeezus-like in the verses and something entirely different in the chorus.
Gimme the Coverage (Feat Sara) is a song about frustration, ineptitude and annoyance. In the words of the artist, “One day, I had trouble filling a prescription, so I wrote an angry song about it”. We’ve all been there. Again, relatable. The last track, Pardon Me, Ma’am, is another introspective moment where Rota seems to analyze both himself and the situation and circumstances that make him that way. He mentions failure, his internal monologue, and professional ethical conflict. Still, at the same time, he points to the influence of big pharma, change, and religion. “I’m still finding ways to get better all the time”, he sings throughout the track. If that’s the case, we look forward to what comes next, ‘coz this is fantastic. What a revelation.
Written by Kinda Grizzly
