By Michael Belt
One thing I love about hip-hop is that many different creative outlets can be employed to express whatever comes to mind. One of these outlets is poetry. Now poetry is acknowledged in some sense, but it’s never implemented in its true form. When implemented, it just sounds out of place. The music has to be made for the lyrics, and vice-versa. There aren’t many who have successfully pulled this off. Here to change that is Kate Tempest. Known for her literary work and stage writing, Kate started a new chapter in her career with her debut solo record entitled Everybody Down. Set to the backdrop of the streets of London, the idea spawned from a novel that Tempest is currently finishing, intertwining many different stories and relationships held together by the ideals of trust, morality, and repetition. The result is mind-blowing.
Tempest dives headfirst into this world she’s created with “Marshall Law”, a sort of free verse but structured story of two strangers, Becky & Harry, both of whom meet at a bar and discuss the lesser-known and secretive aspects of their lives with mixed results, all set to a minimal synthesizer and drum machine setup. There’s so much attention to detail in this track alone I was hooked for the remainder of the record. Tempest’s flow is on point and expressive. From here we’re led into one of three tracks that can only be described as “relative interludes” that hold the story together and indirectly foreshadow future events. “The Truth” is the first of these.
It’s followed with “Lonely Daze”, which continues the narrative of the record by introducing Pete, Harry’s younger brother, who succeeds in establishing a relationship with Becky. The track gives more details about their personal lives, Becky being a student, waitress & erotic masseuse while Pete is unemployed. It’s another prime example of Kate’s attention to detail and musical abilities, being the most accessible track on the record. After more details on Harry and Pete’s home life on “Chicken”, we’re led into the second relative interlude entitled “The Beigeness”. It employs more outstanding lyricism spewing out of Kate’s nearly perfect flow.
“Theme From Becky” gets a little more personal in dealing with Becky’s profession and how it strains her relationship with Pete, which is escalated to new heights in “Stink”. The instrumentation is frantic but appropriate as tension rises between the two. The following two tracks, “The Heist” & “To The Victor The Spoils”, see the return of Harry whose drug dealing skills and emotions are put to the test when a sale goes unexpectedly wrong. Both tracks employ some of producer Dan Carey’s best instrumentation; stirring emotions and leaving the listener on the edge of their seat.
After “Circles”, the final relative interlude on the record, we’re greeted with “A Hammer”. It revolves around a plan hatched by Pete to determine whether or not Becky has remained faithful in their flawed relationship. Every story come together on the long but thrilling “Happy End”. The conclusion is surprising and exciting at the same time. After a sudden cut at the very end, the listener can’t help but beg for more.
Everybody Down produced in me that feeling you get where you hear something that completely redefines how you’ll listen to music for the rest of your life. Hidden in the details, it strikes your core and is the only thing you’ll focus on for a good while. Only one other record in my life has done this to me. As a recording artist, Kate Tempest has started out on such a high that there’s no way she can make a disappointing body of work in her future. Everybody Down should be a staple in anybody’s music library, whether they’re a fan of hip-hop or not. I’ve seen avid opponents of the genre converted over with this record alone.
[youtube] https://www.youtube.com/watch?v=VaNh4J7qghI[/youtube]
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