leescott

 

Lee Scott comes through with a follow up to last year’s High Focus release of ‘Butterfly’ with a notably cheerier, at least on the surface; record this time coming out on Scott’s own Blah Records. Going into this album I expected to hear Lee Scott’s typical story telling rapping style to be continued with the style of instrumentals being thrown back into darker territory as heard with his previous Blah Records releases such as 2014s Tin Foil Fronts. Generally though we get quite a chipper outlook as far as beats are concerned with Boom Bappy tongue in cheek style beats to go with the rhymes being rapped over them as shown in the bouncey opener track ‘Bootl3gliving’. ‘Nice Swan’ is riddled with references to his hometown of Liverpool with Madlib style vocal skits between tracks making the whole thing sounds like one big bleak infomercial selling timeshares in the Merseyside. More somber moments in the record come from some of Lee Scott’s self produced tracks ever present in the track ‘JAMAIS VU’ which shows signs of some internal conflict over a yearning synth based beat. More tender moments occur earlier in the album on the Sam Zircon produced ‘KAPUT’ which stands out as a highlight yet again through Lee Scott’s self criticism being laid bare over a bass line so lamenting it almost sounds like a male vocal sample. Sam Zircon is the only producer on the album that appears more than once other than Scott himself, seemingly to be the gatekeeper of bleak instrumentals for bleak subject matter that Lee is all too willing to provide. Ultimately this record leads you into the false pretense through it’s early beats that it will be plain sailing over some nice jazzy beats however deeper into the album overwhelmingly sad subject matter takes over and hits the soul unexpectedly with themes varying from hating oneself, everyone else and the town where you’re from; all this while commenting on the dreariness of growing up in a place like Liverpool while also experiencing pride from coming from there. The only thing keeping this record from being utterly depressing is Lee Scott’s outstanding ability to laugh at himself and everyone else while he does it. While he might touch upon self-reflection in some of these tracks it isn’t long before he starts taking the piss once more in ‘Same Song’. Overall this is the most complete Lee Scott album with everything sounding more developed than on previous efforts.

 

8/10

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