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. 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Rising to the challenge posed by the Glastonbury crossover success of Stormzy, Kano is moving grime on from its tedious self-obsession. Trouble is a deceptively nostalgic tune about living in an everyday war zone that samples the late campaigner Darcus Howe, while Class of Deja finds Kano going head-to-head with veteran MCs D Double E and Ghetts in a furious old-skool back-and-forth that is testament to how thrilling a lyricist this 34-year-old can still be. Top Boy has elevated Kano to a bigger platform, and his music has managed to follow suit. Kano may seem as introverted as he was when Ghetts first met him, but he truly shines as an observer, letting his music do the talking. With 2016’s Made in the Manor, Kano delivered an album that solidified his place as one of the most important artists in the UK. With ruthlessness, Kano tells us the recipients of his mum-sucking barbs: the politicians who were responsible for Windrush, and the racist football fans who make monkey noises or throw banana peels. The government who build environments not made fit for living and blame us for trying to escape. It felt intentional when Kano utilizes a black church to sing the chorus: “Suck your, suck your, suck your, suck your, mum,” The enunciation carries itself with sophisticated flair even as it burns with the sting of insulting someone who has wronged you (a feeling you know well if you’ve ever told anyone to suck their mums before). Over an old-school Eskiboy beat, Kano holds tight of his talent, proclaiming “nobody can take these 16’s from me.”. or call +49 (0)30 235 908 500. Find out more, The Telegraph values your comments but kindly requests all posts are on topic, constructive and respectful. “This is the winner’s table and here’s your invitation.” It is an offer anyone interested in the state of British music would be foolish to refuse. It doesn’t take the holier-than-thou option of masking his lyrics as unimpeachable answers, because all of the solutions to these questions about knife crime and violence are more complex than messages on chicken boxes or putting lyrics on wax. as screen readers and screen magnifiers, and with users with disabilities who use these technologies. You might argue that grime’s tinny immediacy is blunted by maturity and high production values, but Kano’s state-of-the-nation address is both lush and desolate. 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. Alternatively, you can object to The company is committed to facilitating the accessibility and usability of its Web site for all people with Share | Sort by ADM rating Sort by most recent review. be aware that our efforts are ongoing. Perky and inventive production from Blue May and Jodi Milliner, surprising pop hooks and a fine peppering of humour ensure the results are not dour or oppressive, yet always driven by a sense of purpose. Genres: UK Hip Hop, Conscious Hip Hop. If, at any time, you have specific questions or concerns about the Kano Hoodies All Summer. The title of Hoodies All Summer may seem like a juxtaposition, but Kano has always proven himself to wear his heart on his sleeve. Kano’s “Hoodies All Summer” addresses the urban struggle in the U.K. and while it shows its influences, it pushes Grime further forward as a style of music known for albums as much as it is singles. That such a subtle operator should occasionally reach for the pianos during emotional interludes is slightly regrettable. SYM is a killer closer that finds a gospel choir intoning “Suck your mum” as Kano tenderly croons “Suck your mother if you think these niggas love these cuffs and riots.”, nyone doubting grime’s assurance as an art form needs to watch the engrossing short film that accompanies two tracks from. to the basic tariffs. 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. Sixth album from the London MC and grime exponent Kane Robinson ADM rating[?] Please Anyone doubting grime’s assurance as an art form needs to watch the engrossing short film that accompanies two tracks from Kano’s comeback album, three years on from his Mercury-nominated, Mobo-winning Made in the Manor. Hoodies All Summer, an Album by Kano. 8.0. Label PLG UK UK Release date 30/08/2019 US Release date 30/08/2019 Related Links Share. In Hattie Collins’ book This is Grime, Ghetts recalls the first time he met the East London rapper Kano through a mutual friend before they joined NASTY Crew. Hoodies All Summer speaks to the black community but takes time to listen to us through the use of vocal samples. Listen to Kano's 'Hoodies All Summer' here. But overall this excellent album’s clarion-clear narratives about knife crime and the importance of good times – exemplified on Can’t Hold We Down – are delivered not just with anger and pathos, but humour. “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. Released 30 August 2019 on Parlophone. He’s sick!”. Kano is a talented wordsmith, and he uses his words elaborately to praise a community feared by outsiders – exemplified on home town ode "Pan-Fried," where is he is joined by fellow East Londoner Kojo Funds. Opening up a dwelling speech from political activist Darcus Howe and a blistering hook: “Politician, hush don’t make a sound / Been oppressing us, couple centuries now.” Kano portrays the pressures of contemporary black British life (heavily aided by the accompanying music video/short film) describing the environments, thoughts, and fears that black Britons mull over as they hustle out of the futures the government draws out for them. The hooded sweatshirt is often seen as a signifier of youth criminality, a utilitarian garment repurposed as sinister cloak. @kittyempire666 Sun 1 Sep 2019 03.00 EDT. Funds' smooth-as-silk, patois-infused vocals married to Kano's carefree delivery over polished steel pans is perfection, while “Can’t Hold We Down” is a resistance anthem accompanied by a hope-instilling chorus from Popcaan. (WCAG 2.0 AA) as its web accessibility standard or other standards to the extent required by the Americans with Disabilities Act (”ADA”). “Kano showed me songs with a 16-bar and choruses – Weird... this is in the Garage Era when man are saying Oli Oli Oli.” He also notices Kano’s quiet disposition, a figure who was “showing man the tunes, drinking tea and just reserved.” After the meet up, Ghetts is ecstatic, praising Kano’s uniqueness in a grime scene still in its exploratory stages: “Oi your boy is fucked! The title of Hoodies All Summer may seem like a juxtaposition, but Kano has always proven himself to wear his heart on his sleeve. On that project he guided us through biographical vignettes about growing up in East Ham. address for this purpose at any time without incurring any costs other than the transmission costs according You can object to the use of your e-mail Ultimately, Hoodies All Summer sounds like it’s been ‘fixed’ by a major label trying to improve Kano’s chances of radio play by throwing some poppy hooks and production into the mix and praying for the best.
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