Genesis Owusu - Smiling With No Teeth Review

DANCING WITH THE POTENT, MELTING POT SPICES

Well then. Welcome to the big leagues, Genesis Owusu. Hip-Hop has been in dire straits the past couple years, and while Owusu isn't reinventing anything, his rejuvenated fervor and soulful dalliance was much needed. Smiling With No Teeth incorporates a lineage of cultured appreciation, stirring the melting pot with meaningful digest. Though his identity remains a target for criticism (the influences are both vast and overt, more on that later), quality is unquestionable. This is a debut worth savoring, a career, that when propped up, is bound to shake out some riches. Gold chains, lush production, words of wisdom, Owusu's brand of comprehensive Neo-Soul treads confidently around antithetical ideas, with the ultimate goal of inclusivity. Smiling With No Teeth is a tour de force of exploration, one that bridges the gap between mainstream and left field, exposing each half to the merits of the other.

I mean, 'On The Move!' makes that exceedingly clear, as Owusu imitates Death Grips' Ride for the first half before transitioning into an Alternative R&B playground with vocals akin to James Blake for the second. All in the span of two minutes. The song encapsulates Smiling to a tee, as Owusu's influences shape the album with surmounting one-upmanship. Whether it's Anderson .Paak ('Centrefold'), IGOR-era Tyler The Creator ('Waitin' On You'), Young Fathers ('Drown'), Brockhampton ('A Song About Fishing'), or even slowthai in his Synth Punk pyromania ('Black Dogs!'), there's no denying the excessive significance other, clout-carrying musicians have on Owusu. The extravagant bombast ultimately leads to Gorillaz comparisons as well, an impressive feat given the sole feature - Kirin Callinan on 'Drown' - stands in stark contrast to Damon Albarn's eclectic soiree of genre-defining characters.

Typically, a lack of individuality poses valid criticism that is difficult to overcome. With one exception: Excellence. And Smiling has that in spades. Moderately slow out the gate, Owusu hits the ground running on the remarkable 'Don't Need You,' a hook-driven romp playing on his Funk dazzle and charismatic gruff. 'Drown' uplifts with the best of TV On The Radio, incorporating slight Gospel aspects amidst the flurry of psychoactive synthesizers. His religious and optimistic outlook finds a more suitable home in 'Smiling With No Teeth' - which borrows the sleek coolness of D'Angelo - and personal favorite 'No Looking Back,' a rousing Neo-Soul celebration with choir harmonies, triumphal horns, and a gamesome organ. There's something for everyone here, no doubt. Even the sudden, arguably unnecessary juxtaposition of 'Bye Bye' should satisfy those waiting on anything from Black Hippy. Smiling With No Teeth borrows a lot, but achieves more. For a debut from a relative unknown, that's a rarity worth cherishing.