Denzel Curry- Ta13oo Review
It’s been a peculiar come up for the Killa’Aquarius. Despite spending a few years as a relative underground success, with the release of a couple of mixtapes while a collaborator with the infamous Raider Klan, it wasn’t until his super-saiyan single “Ultimate” hit the internet that Denzel Curry came into the world as we know him today. It’s still his biggest song to date, as it has fallen victim to the most prevalent narrative curse in the world today: it became a meme. Ultimate is a relic, much like Childish Gambino’s “Redbone”, it will live forever in the upper echelons of the meme-sphere. From that moment henceforth, he had been tasked with a quest that no mere mortal has achieved: in order for him to succeed as an artist, he needed to break the meme. Imperial did that. Though initially released for free on the seminal music sharing platform SoundCloud, it was later promoted to album status via an official release through Loma Vista records. And what an album it was. Curry came through with an infallible project, a classic by modern standards. It showcased the rapper’s creativity, his ingenuity, his ability as a storyteller, his taste for good production, but mostly importantly it showed that he was no regular mc; he was something new. He rattled out flows that fused the quickfire triplet cadences of Bone Thugz with the bombastic presence of an Ol’ Dirty Bastard to nuclear effect. It showed to his new fans that Ultimate was no fluke, that he could produce that level of energy whenever it suited him, this evident in songs like “ULT”, a song that his fans have adopted as his national anthem at this point. But he also had songs like “This Life”, a smooth, melodic track that showcased Zel’s diversity and range as an artist. Despite Imperial’s near unanimous critical praise, and Curry finding himself on XXL’s 2016 Freshman list, he has not hit the mainstream in the way that he ought to have done, and has remained a hidden gem in some respects. The hard work, however, was done. Curry had shaken off the meme and showed the world that he has what it takes to be a ground-breaking artist, and staked his claim on the crown. The release of the dark and glitchy “13” EP in 2017 further proved Denzel’s calibre, but at 5 tracks, the project seemed to serve as something to chew over while he worked in his next full length project.
Earlier this month, Denzel Curry officially announced his new full length LP, Taboo, with the release of the lead single “Clout Cobain”. The song, coupled with an incredible music video, depicted Denzel Curry in clown makeup performing to a mob of teenagers, all riddled with face tattoos and all with styrofoam cups in hand. The mob watches and laughs as Denzel delivers a story of exploitation and prescription drug addiction, all under the command of the evidently sinister circus master. The video was an aesthetic triumph, the metaphor was very clear. Denzel blurred the lines between face tattoos and clown paint. He, much like Danny Brown did on Atrocity Exhibition, outlined the fact that music fans have a tendency to fetishize and glorify tragedy. We obsess over the tragic anti-hero character like Kurt Cobain, whom is heavily referenced in the songs chorus. It also highlights the insidious aspects of industry, that corporations will attempt to glorify and capitalize on people’s tragedy for themselves. Curry remains and independent artist.
Two days later he announced the album’s full tracklist and release dates. Dates. The album would be released in three parts: Light, Grey and Dark, released over three days. By the 27th of July we would have the whole album.
And now we have it.
The “light” section of the album gets off to soulful start with the hazy titular track “Taboo”. On this track Curry, Curry inducts the listener into his world, welcoming you into the “darker side of taboo”. This chorus almost serves as a warning. Denzel rides this soothing, peaceful instrumental while letting you know what you are in for. Things seem fine now, but the ominous tone of the song suggests that things are going to get dark, fast. That being said, the second track, Black Balloons, is a feel-good radio-friendly hit. The song features some bubbly synths and a crisp 80’s drum beat. On this song (as well as the entire album), Curry refers to Black Balloons as his worries and troubles, and on this particular cut, is glad to see the back of them. Goldlink’s verse on the song is a highlight, with his quasi-melodic delivery matching the care-free vibe of the song perfectly. Cash Maniac, the third song on the “Light”, is a trap-infused summer banger. Reminiscent of what Joey Badass achieved on his last project, Curry expertly blends pop-rap sensibilities with a strong, empowering narrative of self-worth and accomplishment. You start to understand why these songs have found themselves on the “light” side. Besides having an upbeat aesthetic, Curry seems to be a man liberated on these tracks. He appreciates the fruits of his labour, he is thankful for what he has achieved. As opposed to what we saw in the “Clout Cobain” video, where Curry explored the darker side of his artistry and position in the rap-game, on the “light” side he seems hopeful, accomplished, and appreciative. The song also features an incredible hook courtesy of Nyyjerya, who adds a lot of swag and character to the track. Sumo, the final track in the first section, is a certified heater. On this song we find Denzel Curry going berserk over a mind-bending beat cooked up by GOOD music in house producer and Kanye West collaborator, Charlie Heat. Between the sinister arpeggios that move that song, the unruly 808 bass, and Denzel’s rapid vocal performance, is some incredible sharp and braggadocios lyricism. The end product is possibly the hardest song of 2018 so far. Though it may not be as chilled out as any of the other songs on the light side, it perfectly evokes Curry’s mind-set at this point. He’s channelled all of the good energy that has come from his success and compressed it to the point of destabilisation, with explosive results. It is also a perfect segue into the next section, “Grey”.
“Grey” opens with “Super Saiyan Superman”, yet another unhinged trap banger. The song serves as a reminder to his peers that, regardless of what mind-set he is in, he will tear every single one of them apart on record. He effectively floors the opposition on this track, and just when you think he might be letting up, Denzel hits the listener with “Switch it up”, the standout track on the album. The chorus “That n**** nice, that n**** mean. Switch it up”, explains the thought-process behind the “Grey” section very effectively. Denzel is in the everyday grey area, this binary world between right and wrong, the space that we all find ourselves in most of the time. The instrumental that Zel goes over on this song, produced by 2018’s most prolific beat-maker, Ronny J, sends your blood running through your veins at double speed. Stand out bar on this song is undoubtedly: “One of my homies he pulled a gun on me, he turned the code on me like meet the maker.” It’s a harrowing metaphor that serves as prime example of the sense of complexity with which Curry constructs his rhymes. Denzel has always had bars though; the big difference now is that his delivery has gone from explosive to downright insane. It’s unpredictable, each bar with be delivered with a difference cadence and inflection. This is particularly evident on the next track, “Mad I Got it”. The song finds Curry switching between his regular bark and his newly honed singing chops. His ability to switch it up the way he does separates him from the majority of his peers. The bar on the chorus about his not wanting the head from his opponents girl because he “drops knowledge” is downright genius, and oozes with bravado. The song also features an incredible beat switch towards the end, which gives Denzel leeway to come in with a more serious, confidential verse to perfectly round of the song. The next song is “Sirens”, which features vocal assistance from up and coming alternative pop artist Billie Eilish and J. Cole’s padawan, J.I.D. “Sirens” is a meditation on the social state of the US, with the performers touching on topics such as police-brutality, Trump, and gun violence in the United States. A Florida native, Denzel Curry is more qualified than most to speak upon the subject. Denzel lost his brother to police brutality, a tragedy that he himself has cited as being the driving force behind his artistic work-rate and expression. Standout bars on this track come thick and fast, but J.I.D’s poignant metaphor: “I’m so neglected, in the wrong direction with a long erection, got no protection.” This displays well the deadly trap for black youths in the states: they’re forced into bad life decisions as a result of their neglect, they go all in and they risk everything, because what other choice do they have? Curry’s final verse on the song is one of the high points of the entire album; it’s full of rich metaphors and sharp wordplay. The last few lines of the verse serve as a perfect transition to “Clout Cobain”, with Denzel acknowledging the prescribed sin within this new age of hip hop. “Genocide, Genesis, they say it’s a new beginning. I’m a sinner, you a sinner, I can see the devil grinnin’, damn.”
“Dark” is where things start to get cryptic, muddy, unsympathetic, and scary. The first song, “The Blackest Balloon”, may initially come across as an ignorant SoundCloud banger, what with the Lil Pumpesque ad libs and the repetitiveness of the flows. But upon closer observation, you’ll find that the song is much more sinister than you might think. The chorus finds Curry likening his situation to that of a horror movie, one where he can hear his dead brother calling to him in his mind. Denzel contemplates the darker sides of his success; he references the late Lil Peep, saying that nothing has changed in regards to industry’s attitude to mental health and drugs since his tragic passing. The next song, Percs, finds Curry at the end of tether. It’s a battlecry: Zel is sending a warning shot to rappers who glorify drugs and struggle, those who catalyse the issues which Curry deals with on this album. The two follow up tracks, Vengeance and Black Metal Terrorist, depict Curry fully over the edge. He has lost all form of decency, sympathy and understanding. He is murderous, psychotic and dangerous. This is what the “Dark” act is all about. It’s the darkest part of his personality, a darkness that festers within everyone. We shouldn’t talk about it, we mustn’t, after all; it’s taboo.Denzel’s performance on the final track, Black Metal Terrorist, might be the most unhinged we’ve Curry since Ultimate. It’s straight insanity, with the only interruptions coming from his alter ego, Denny Cascade, imploring him to “Finish them Zel…send them to hell.” With so many questions, and not enough answers, Denzel closes the album.
This album is truly stunning; the depth of story telling is incredible. If I were to go into every theme and narrative technique that Denzel Curry has managed to pack into this masterpiece, I would be doing you all a disservice. You have to listen to this album for yourself; each and every person who listens to it will take something different from it. All I can do is commend Denzel Curry on living up to the hype, and producing the pre-eminent project of the year so far.
