REVIEW | CunninLynguists - Rose Azura Njano

When you're a rap collective called CunninLynguists, you're gonna have to produce some pretty outstanding music in order to be taken seriously. Incidentally, the Southern American trio had never initially even aspired towards the latter, their name casually dreamt up in the early stages of formation. Seventeen years on and the group have risen from Atlantan obscurity to become one of the most acclaimed acts in The South's underground hip-hop scene. That being said, for a rap collective which has garnered such critical acclaim over the years, the release of their first proper studio album in over six years has passed pretty much under the radar.

Rose Azura Njano, CunninLynguists' ambiguously named sixth record, produced entirely by founding member Kno, is no great departure from the style which characterises their accomplished
discography. If I were to sum up my overall impression in a word it would be funky. The production is masterfully layered, making use of a variety of instruments which transcend both era and genre. Jangling 80s guitars sit comfortably alongside thunderous grand pianos and the snapping snares more familiar to fans of 2000s rap. Elements like the electric guitar solo at the end of Red Bird and the high-pitched synth tracks on Red White And Blues are shining examples of Kno's adventurous approach to the record's production, setting it apart from anything else I've heard all year.

While the album sports an eclectic range of sounds, lyrically it seems more focused, covering both social and political issues. Perhaps the most dominant theme is America's (and perhaps the world's) racial inequality covered in songs like Riot! and Violet (The Upper Room).

"Being hood ain't the absence of good
Being square don't make you equal or fair, it's not an equal affair"

Natti and Deacon The Villain, who take on the majority of the album's lyrical (as well as vocal) duties, seem wistful, even melancholy at times as they consider the state of humanity. More specifically, they dwell on the injustices which grip American (and indeed Western) society, chiefly racial inequality but also issues like gentrification (Gone) and the modern obsession with celebrity (Any Way The Wind Blows). At times sad, at others angry, Kno sets the tone and tempo of each beat according to the lyrical content of the verses. In a genre where expressing feelings makes you a 'pussy bitch', this is a step forward if nothing else.


Each track is delivered with that Southern Fried flow, reminiscent of André 3000 and Killer Mike,

with bars ending on a single emphasised word. It's a unique style, well-suited to Kno's beats but becomes a little formulaic. As is the case with so many hip-hop records, the first half is excellent but the second half drags a little and could have been spiced up with some guest features. The soft Southern tones, while certainly not devoid of passion, are at times missing a bit of excitement.
          Nevertheless, Rose Azura Njano is a chilled, meaningful and, above all unique album which deserves lots of credit.   
7/10