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Funky, chunky, and cheesy but bolstered by solid production with mostly live drum and bass the entire album is right in my wheelhouse. Find out more "It's a War" is certainly a thrilling lead-off track and "I'm Ready" is a funkin' highlight for sure but everything is quality & fun. Kano has won the admiration of both his grime peers and indie luminaries such as Damon Albarn in his decade and a half of dextrous wordplay over UK bass and garage-indebted beats. All rights reserved. The album’s high point is Trouble, a sprawling, multi-part epic that addresses the socio-economic causes of the UK’s knife-crime epidemic.
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He is a quiet sort of star, who tends to avoid the outward trappings of his success. AllMusic Review by Paul Simpson [+] Much like fellow grime originators Dizzee Rascal and Wiley, Kano released a highly acclaimed debut album during the genre's first wave circa 2003-2005, then proceeded to spend the following decades alternating between commercially oriented and underground-minded material, with varying results. Kano's self-titled debut album offers a diverse selection of US and Continental disco with liberal helpings of electro. The latest offers and discount codes from popular brands on Telegraph Voucher Codes “Politicians, hush, don’t make a sound/ Been oppressing us a couple of centuries now/ And these gunshots never reach your town,” Kano raps before offering hope for both victims and perpetrators of violence.We rely on advertising to help fund our award-winning journalism.We urge you to turn off your ad blocker for The Telegraph website so that you can continue to access our quality content in the future. The track at its centre, Teardrops – which opens with a spine-tinging blend of piano and electronic loops and has a gorgeous, elegiac orchestral coda – is a desperate, angry and moving account of everyday racial injustices in modern Britain.
It’s like carnival, too: the horns are mobile and wander about the stage, while a few steel pan players shimmy to the fore. The steady backbeat of Jamaican culture, and the sound systems that gave birth to the original 00s garage and grime crews, are all deeply entrenched in Kano’s offering, audibly on Caribbean-leaning tracks such as Can’t Hold We Down.Although this gig is a celebration of how far Kano has come in six albums, and a testament to how nuanced his iteration of grime can be, the raw materials here remain true to source. Kano review – the grime star comes of age Royal Albert Hall, London The star of TV’s Top Boy storms the Albert Hall with a set that fuses beauty with the raw sound of the streets As a genre, grime has hit any number of conventional milestones in recent years. Stormzy has headlined Glastonbury, Skepta and Dave have won Mercury prizes and Wiley has been given an MBE, to name a few – but there is still something deeply symbolic in this east London takeover of the seat of the British musical establishment. Read our community guidelines in full At 34, Kano (real name: Kane Robinson) has been around since the early days of a fierce, electronic-based genre that put British rap on the map in the Noughties.
Thanks to his starring role as Sully on the recently revived However varied an artist Kano has become, the energy definitely peaks for the straight-up grime tracksCrucially, Kano’s own musical oeuvre has ranged far from the tinny, dystopian urgency of grime’s early productions, becoming more nimble and musical by the album. His control is foregrounded from the off, on opening track “Black tie/ Trouser crease/Another funeral/ Another rest in peace,” he accuses in a disgusted staccato on Another strand to Kano’s lyricism finds him putting street aggro to one side and dwelling on ordinary life, with vignettes of normal people just spending their time. The Telegraph values your comments but kindly requests all posts are on topic, constructive and respectful. © 2020 Guardian News & Media Limited or its affiliated companies.
He has always exhibited substantial skill, switching up tempos and expertly shifting between a tough, attacking spoken style, a more playful reggae patois and snatches of singing in a plain but tuneful voice.The album’s high point is Trouble, a sprawling, multi-part epic that addresses the socio-economic causes of the UK’s knife-crime epidemic. It’s not an absolute first: BBC 1Xtra staged a At 34, Robinson is now a wiser elder statesman, still immersed in the culture, but able to see the bigger picture, musically and sociologically. His latest – Tonight, Kano takes full advantage of the Albert Hall’s hallowed acoustics to bring It’s like church: everyone bar the guest MCs is wearing white and the gospel singers stamp their mellifluous authority on a number of songs. “We used to dream of the most frivolous things/ ’Til we brought the most ridiculous of rings/ Now we’re trying to keep our brethren out the bin,” Kano raps, underlining his themes of empathy, maturity and responsibility for his community.Hoodies All Summer is the album that grime has been crying out for, an audacious state-of-the-nation address from one of its most articulate lyricists. However varied an artist Kano has become, the energy definitely peaks for the straight-up grime tracks, with a moshpit forming for Kano’s ancient 2007 breakthrough track, P’s
Funky, chunky, and cheesy but bolstered by solid production with mostly live drum and bass the entire album is right in my wheelhouse. Find out more "It's a War" is certainly a thrilling lead-off track and "I'm Ready" is a funkin' highlight for sure but everything is quality & fun. Kano has won the admiration of both his grime peers and indie luminaries such as Damon Albarn in his decade and a half of dextrous wordplay over UK bass and garage-indebted beats. All rights reserved. The album’s high point is Trouble, a sprawling, multi-part epic that addresses the socio-economic causes of the UK’s knife-crime epidemic.
You need to be a subscriber to join the conversation.
He is a quiet sort of star, who tends to avoid the outward trappings of his success. AllMusic Review by Paul Simpson [+] Much like fellow grime originators Dizzee Rascal and Wiley, Kano released a highly acclaimed debut album during the genre's first wave circa 2003-2005, then proceeded to spend the following decades alternating between commercially oriented and underground-minded material, with varying results. Kano's self-titled debut album offers a diverse selection of US and Continental disco with liberal helpings of electro. The latest offers and discount codes from popular brands on Telegraph Voucher Codes “Politicians, hush, don’t make a sound/ Been oppressing us a couple of centuries now/ And these gunshots never reach your town,” Kano raps before offering hope for both victims and perpetrators of violence.We rely on advertising to help fund our award-winning journalism.We urge you to turn off your ad blocker for The Telegraph website so that you can continue to access our quality content in the future. The track at its centre, Teardrops – which opens with a spine-tinging blend of piano and electronic loops and has a gorgeous, elegiac orchestral coda – is a desperate, angry and moving account of everyday racial injustices in modern Britain.
It’s like carnival, too: the horns are mobile and wander about the stage, while a few steel pan players shimmy to the fore. The steady backbeat of Jamaican culture, and the sound systems that gave birth to the original 00s garage and grime crews, are all deeply entrenched in Kano’s offering, audibly on Caribbean-leaning tracks such as Can’t Hold We Down.Although this gig is a celebration of how far Kano has come in six albums, and a testament to how nuanced his iteration of grime can be, the raw materials here remain true to source. Kano review – the grime star comes of age Royal Albert Hall, London The star of TV’s Top Boy storms the Albert Hall with a set that fuses beauty with the raw sound of the streets As a genre, grime has hit any number of conventional milestones in recent years. Stormzy has headlined Glastonbury, Skepta and Dave have won Mercury prizes and Wiley has been given an MBE, to name a few – but there is still something deeply symbolic in this east London takeover of the seat of the British musical establishment. Read our community guidelines in full At 34, Kano (real name: Kane Robinson) has been around since the early days of a fierce, electronic-based genre that put British rap on the map in the Noughties.
Thanks to his starring role as Sully on the recently revived However varied an artist Kano has become, the energy definitely peaks for the straight-up grime tracksCrucially, Kano’s own musical oeuvre has ranged far from the tinny, dystopian urgency of grime’s early productions, becoming more nimble and musical by the album. His control is foregrounded from the off, on opening track “Black tie/ Trouser crease/Another funeral/ Another rest in peace,” he accuses in a disgusted staccato on Another strand to Kano’s lyricism finds him putting street aggro to one side and dwelling on ordinary life, with vignettes of normal people just spending their time. The Telegraph values your comments but kindly requests all posts are on topic, constructive and respectful. © 2020 Guardian News & Media Limited or its affiliated companies.
He has always exhibited substantial skill, switching up tempos and expertly shifting between a tough, attacking spoken style, a more playful reggae patois and snatches of singing in a plain but tuneful voice.The album’s high point is Trouble, a sprawling, multi-part epic that addresses the socio-economic causes of the UK’s knife-crime epidemic. It’s not an absolute first: BBC 1Xtra staged a At 34, Robinson is now a wiser elder statesman, still immersed in the culture, but able to see the bigger picture, musically and sociologically. His latest – Tonight, Kano takes full advantage of the Albert Hall’s hallowed acoustics to bring It’s like church: everyone bar the guest MCs is wearing white and the gospel singers stamp their mellifluous authority on a number of songs. “We used to dream of the most frivolous things/ ’Til we brought the most ridiculous of rings/ Now we’re trying to keep our brethren out the bin,” Kano raps, underlining his themes of empathy, maturity and responsibility for his community.Hoodies All Summer is the album that grime has been crying out for, an audacious state-of-the-nation address from one of its most articulate lyricists. However varied an artist Kano has become, the energy definitely peaks for the straight-up grime tracks, with a moshpit forming for Kano’s ancient 2007 breakthrough track, P’s