Tom Bowles reviews Kano’s fourth album for MistaJam.com

A year ago Kano released Rock N Roller, a single featuring auto-tuned vocals and the sort of popular synthesized production that has dominated the UK singles charts of late. Peaking just outside the top 40, it was not the commercial smash achieved by some of his UK contemporaries and did not quite reach the East London emcee’s usual high standards.

While it would be melodramatic to suggest his career was at a crossroads, it was certainly interestingly poised. Three albums deep and with a fourth on the way, the 25-year-old had a decision to make – whether to stick with his 140 grime records or further broaden his musical horizons, either commercially or artistically.

His latest effort is the emphatic Method To The Maadness, an experimental body of work that is neither narrowly cast towards his grime roots nor merely a collection of singles assembled under the false guise of an LP. And perhaps surprisingly, it is as enjoyable for its diverse production as it is for its lyrical substance.

Alongside his growing maturity as an artist, it is evident his recent collaborations with Chase & Status and Gorillaz have helped inspire the overall sound of MTTM. Crucially, having toured with both artists over the past year, the music never sounds contrived, more like a natural progression.

On Spaceship, he effortlessly flows over a trademark Chase & Status bassline, candidly exploring the tale of a young girl desperate to achieve fame and celebrity (‘She loves the life, rolls the dice, hopes are high / She so admires others lives with no insight / Confused in the cocoon that she’s wrapped inside / …She dreams of living on the other side’).

The slick Bassment, crafted by Damon Albarn under his A13 production alias, sounds like a cut straight from their Plastic Beach studio sessions and sees the rapper mocking other artists for compromising their music (‘I ain’t rapping for no MD, FYI I’m a dope MC… / Endangered rappers, we’re a dying breed / Some get captured, circus actors, “radio, radio, please play me!”’).

German dance producer Boys Noize is also on board to harness this new sound, producing four tracks, including the impressive opener and overall pace setter 2 Left: Topic Of Discussion. As are British band Hot Chip, who are responsible for All + All Together, the rapper’s tale of lost friendship, and the upbeat Lady Killer, which features Kano’s long-time collaborator and good friend Ghetts.

The album’s more introspective songs come courtesy of Craigie Dodds, whose three contributions include first single Upside, which features Michelle Breeze, the sombre but victorious album closer Dark Days and Slaves, where Kano ponders his place in the music industry (‘I’ll be on a Prince protest before I become a slave to the game bro / I’ll be the artist formerly known as Kano’).

Despite being one of the UK’s finest lyricists, Kano has only ever achieved modest commercial success and having paid his dues, could have been forgiven for creating an album full of chart ready tunes. Instead, he has perhaps resisted such temptations to make a progressive album that will stand the test of time.

What a difference a year makes.