When Danny Brown released his 2011 breakout album XXX, the world was introduced to one of the most boldly original, yet divisive artists hip hop has ever seen. The stylistically scatterbrained rapper turned heads with his ability to switch from a stone-faced delivery to an abrasive, high-pitched verbal assault that you either hated or loved upon first listen. Above all else, he came across as an intriguing figure that was fully confident in his eccentric style, willing to expose vulnerability that contrasts his drug-fueled, party animal side.
This split personality has served as a focal point in Danny's career, marking his transition from an indie rap purist, delivering bars over J-Dilla beats to a zany character that became known in the EDM community for the controlled chaos he spit over trap and grime beats. The energy he brought to these party tracks was simply on another level than his peers when combined with notorious live antics and legendary quotable interviews, made the rapper somewhat of a cultural meme.
Leading up to the release of his latest album, Old, it seemed as if the now 32-year-old MC would continue to ride the wave of success he had seen by making hedonistic party anthems despite his awareness of the perils of this lifestyle of addiction as pointed out by past tracks like "DNA" and "Party All The Time." There was indication, however, that the artist's first major release wouldn't be merely a regurgitation of XXX, telling critics "If people are just looking for dick-sucking jokes, there isn't too many of them."
Continuing his pattern of dual mentality albums, Old, is made of up Side A, in which Danny reflects on his emotionally scarring upbringing in inner-city Detroit and Side B, which finds him indulging in every substance he can ingest in an effort to forget the demons of his past. The album's opening track "Side A (Old)" finds the rapper addressing fans who wish he would go back to his boom-bap style, a sound that reminds him of scenes of a dark time marked by struggle and crime he wants no part of anymore.
Side A is all about the bleak imagery Brown has endured through three decades of living in one of America's most poverty stricken cities and finds him at his most thoughtful lyrically. With lines about his mother braiding hair on the porch, dope fiends getting beat with a hammer, and domestic abuse, the MC's storytelling ability brings listener into the hellish reality that was his early life. No track does this more effectively than, "Torture," as the album's darkest instrumental is paired with a painful recollection of the desensitization the rapper has experienced. This is rap at its most powerful, and Danny at his most serious as he repeats "Look in my mind and see the horrors, all the shit that I've seen" on the hook. Scenes of a crackhead burning his lip lighting a crack pipe on a stove and sexual abuse are almost too detailed to be delivered with such indifference.
The following track, "Lonely," offers little relief from this nightmare in terms of narrative, dealing with the loner mentality that his environment fostered. It's genius lies in the incredible production, featuring a psychedelic, almost uplifting beat that backs Danny's melancholic flow is easily one of the most creative instrumentals in hip hop this year.
Rap isn't always noted for it's introspection, especially when it questions the storied "rising rapper" narrative that so many lyricists blindly glorify. "Clean Up" finds the MC dealing with his newfound fame, addressing his destructive habits, and regretfully ignoring texts from his daughter while faded in a hotel as he attempts to pull himself together and make the most of the opportunity he last built his life around.
"Side B (Dope Song)" begins with a rich instrumental then quickly starts the album's party, and at this point, much needed comic relief. Tracks like "Dubstep" and "Handstand" show off a clear British influence, working with grime artists Scrufizzer and Dark E Freaker while Danny fires off near indecipherable lines with an unparalleled aggression. While the second half boasts some impressive production credits like, A-Trak, Rustie, and SKYWLKR, it falls victim to redundancy as track after track of maximalist party rap seem to blend together into one long indulgent stretch. Despite overstaying its' welcome, this sound shows off the incredible range of an artist capable of many characters. For every moment of trauma on Side A, the rapper lets loose twice as hard on Side B and no matter how grating the spastic delivery can become, it's clear that it acts as a form of release and escapism that grabs your attention in a way no other MC can.
The final track, "Float On" featuring a chorus from British pop singer Charli XCX, is refreshing return to honesty that finds the rapper reflecting on his one grounding force in his ever chaotic existence; music. Lines like "had music in my heart, but my thoughts wouldn't listen," and prayers hoping to "live long enough to see my influence in this genre of music" make for a humble conclusion to a record that covers an incredible amount of emotional territory. Much like last year's Good Kid, M.A.A.D City, which vaulted Kendrick Lamar into stardom, Old is a powerful statement that depicts a grim reality, yet is able to radiate a message of achievement and self-actualization.
Grade: A-
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