It’s easy to get distracted by the list of collaborators associated with this British producer and songwriter. With the likes of The xx, Damon Albarn, and Bobby Womack enlisting the talents of Kwes, as well as the one and only Yeezus sampling him, there’s understandable anticipation for his debut release.
Right from its beginnings ilp leans towards the experimental side of electronic pop. Opener ‘Rollerblades’ also reveals a lot about the production that underpins this record. Kwes’ vocals are often swamped in reverb, backed by sometimes-simple instrumentation but lush sonic arrangements. It can be a lot to take in.
The track ‘36’ is the clearest example of a fully formed song structure and comes off as the most confident track on the album. Its clear melody and strong structure reveals an inherent understanding of more conventional pop. The opposite of that is ‘Chagall’, a free-form and atmospheric track that challenges the listener to hold on.
Whilst there are so many interest elements introduced throughout each track, it’s an album that’s hard to stay engaged with. On some occasions the vocals seem to meander and be lost among the other sounds. There can be a charm to Kwes’ timid approach with his vocals, but too often it’s an unwanted distraction.
ilp shows the potential of an extremely gifted artist. No doubt it will resonate with some people more than others, but there’s a continuous struggle between the experimental elements and more straightforward song ideas. Whether he heads towards more experimental music or towards conventional pop, a more self-assured result can be expected.
