No Frills Reviews

Beasties style punk-rap brought up-to-date for the 2020’s

The question of authenticity feels like it’s been particularly pertinent in the hip-hop world this year (far be it from me as a white bloke from the north east of England to be an arbiter on this, but allow me to indulge myself). The question hung over the Kendrick/Drake beef and was the reason that Drake was always destined to lose. And the rise of the undeniably shit, cosplay trap of ian sparked up the old issue of white kids profiting off black culture. So, how can I justify my opinion that two brazenly goofy white kids have put out some of the most enjoyable hip-hop of the last couple of years?

Well, because of authenticity. Authenticity doesn’t lie in some imagined sense of being true to the streets, but rather in being true to yourself. And Joey Valence & Brae are unashamedly themselves. There’s no pretence of affected cool, true confidence lies in being able to fill your lyrics with references to dorky shit like Roblox and Pokémon cards, or dropping lines like “Never did drugs, shoutout D.A.R.E.” and “Watched Marley & Me just for a good cry”.

As is obligatory for a JV&B review, I must mention that they sound like the Beastie Boys. With their frequent tag-team combos, alternating between Valence’s exuberant squall to Brae’s gruffer, but equally energetic tones. But even who they sound like points to authenticity; it shows there’s an appreciation for rap history rather than them being hollow trend-hoppers. And they don’t simply emulate, but instead update; sounding like the Beasties if they’d been brought up on a diet of EDM, crunk, and JPEGMAFIA. It’s inspiration, not imitation.

Beyond the authenticity question, No Hands is just straight-up fun. Fun music is kind of like comedies during Oscars season, and doesn’t always get the same critical recognition of ‘serious’ music. But there’s undoubtedly skill on display here. It’s in the way they tiptoe the line of absurd humour, without ever crossing into outright stupidity. From their many descriptions for eating ass. To the way they can poke fun at their own image (“I feel like Michael Cera in his swag era”), while still calling into question the credibility of others (“I’m a street plant, you’re a lab rat”).

The production, handled primarily by Valence himself, is also frequently excellent. It’s hard-hitting and party ready, with punk rock edge à la The Beasties. But there’s a subtle experimentalism with some sneakily sharp beat switches. Plus nods to a more soul-infused, 2000’s Chicago rap sound on the likes of OMNITRIX. They can’t just be dismissed as Beastie Boys with EDM beats.

An album that feels effortlessly fun and effortlessly authentic. And that’s no easy feat to pull off.

Best tunes: BUSSIT, PACKAPUNCH, THE BADDEST, OMNITRIX

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