Three years ago this young man from South Chicago broke into the genre like a cartoon Tasmanian devil. Something similar happened in the mid-noughties with the arrival of Kanye, now calling Chance "my favorite artist" — he also appeared in the twilight era of gangsta rap in the pink Polo with songs about the Christmas dinner in the family circle. It was extravagant, naive and very music.
The sanguine and bouncy “Acid Rap” was not like absolutely anything. Under live played jazz and flying juke Chance read about how in the Stone age, father and son invented the game of baseball and about the fear of getting caught stoned in the eyes of the ancestors. Don't forget about things happening on the streets of Chicago sheet, “where it is easier to find the trunk than the free space in the Parking lot”. People had their sound and their own take on the genre, in no time became a star in the States (although for the Russian public remained misunderstood) and has become one of the most successful brands in the indie hip-hop, showing that it is not required to sign the onerous contract with a big label to become financially successful — and even Vice versa.
If you heard enchanting verse from Chance The Rapper, who opened the recent Kanye album (and according to some, the best moment of the LP), I can roughly imagine what awaits you on the “Coloring Book”. Spiritual gospel rap with choral hosannas, organ riffs and the conductor highlight recitative. Fun, loud, majestic. Notes that sound increasingly stood out in his songs between the release of “Acid Rap” and “Coloring Book” for a simple reason: he became a father. Gratitude and joy caused by this event is the heart and soul of his new album. Much will become clearer if you read the author's interview covers the “Coloring Book”, where he says that a frame adorning a mixtape, copied from a picture where Chance is holding his daughter.
“Coloring Book” is music for adult children. Didn't Infante, and the one who has not forgotten how once upon a time we were catching fireflies in the backyard, took the VHS tape rentals and dreamed of the elixir of giant “Space Jam” (everything here is). “My head is decorated with scars, I'm the boy who lived” is not just a reference to the Potterian, and cultural marker that haloupek (or just younger) will remember many.
On the “Coloring Book” he talks about his childhood, but does so not to escape from the fallen family of the present, but rather in anticipation of the opening, awaiting his child. “We need to clear the streets of the city, so my daughter had more space for games” — it reads “Angels”. Fatherhood is a superpower, allowed to look at myself and my music differently. Yes, he perhaps goes too far with Church hymns, where it becomes a little sickly, but in his position, which is understandable, and forgivable.
If you think songs about love for his daughter and God and cool swirling rap — incompatible, prepare to be surprised. It shoots bright lines is not more often almost, than change the tone of the vocal cadences. As an exemplary Christian Chance in one song will read that he tries to always be humble, and then (already as a model, rapper), praising himself, so not too tough, and the majority of colleagues: “I publicly talk to God, he keeps my rhymes in the couplets. He believes that new track is fire. Perhaps, we are fans of each other”.
In addition to the devil Chance in one of the songs promises to drown in the toilet, he's spitting venom in the direction of the bosses of the record labels, which, according to the rapper, his face told his friends-the artists — their property. “How can you call yourself “boss”? — makes fun of their Chance — because you own so many bosses!” And it's not just a demonstration of independence, it is the words of a man who has proved in fact the failure and irrelevance of the old business schemes by which the present day industry works. In fact, given the cross-cutting theme of the album, he says: “Why do I need labels, if my bro is an angel?”
He calls himself “the only one who doesn't care about his mixtapes”, and calls on the track odnodumtsev Young Thug and Lil Yachty, untwist with free street releases ("I resent that every song in iTunes costs $1, said Chance in an interview. — I release for free, not because it is not worth $1, but because it is much more expensive"). Guests of the album is generally a separate story. Kanye West, Justin Bieber, Future, Jay Electronica, Lil Wayne and many others — a number they may host and pressure, but charisma Chance The Rapper does not allow him to get lost; in this Church he is a DJ. It is also quite significant that Chance to assert their creative and business autonomy (not without reservations), quietly cooperating with the biggest pop stars of the generation. The scheme of work of artists has changed a lot, he just realized it before the others.
It is interesting to compare this album, in fact, a Christian rap tune thematically “To Pimp a Butterfly”. Both authors refer to the root of black music, much emphasis on religious grounds and growing up in adverse circumstances. But Kendrick and Chance come to similar conclusions in different ways: one through the stoicism and faith, the other through the birth of a child and the accompanying revelation. Plus contrary to popular Chance in the current afromusic the trend shows that the black — not so sad and oppressed. Every line sounds as if he is constrained not to laugh. If there is an exclamation point at the end of each sentence is.
By far, this album will not work recommend to anyone. Someone listening to rap for very different themes and moods, others will stumble over the mere epithet “Christian”, and others will shrug, say, the childishness of some sort. But you still try. It really is "childishness" — but in a very different sense, remind yourself about it.
Such artists and such albums in the genre appear very infrequently. And not to listen. Nobody wants to belong to one of the losers who admit: “I didn't listen to “College Dropout” when that came out. Understood only many years later”.