slowthai is an example of redemption in an age of cancellation and damning articles.

What is there to expect from a slowthai record? One that encapsulates working class pride, features from esteemed artists, catchy lyrics that embed into your memory for the foreseeable future. His assured, acclaimed debut “Nothing Great About Britain” places a stamp on his ethos and messaging, whilst his follow up “TYRON” providing a vulnerability to personal struggles that resonated with fans and audiences.

His new album “UGLY” maintains all of his past tricks with an impressive list of producers (Dan Carey, Sega Bodega, Taylor Skye and Ethan P Flynn to name a few) results with a left field, post punk meeting with rap, a standout amongst his already impressive catalogue.

Northampton’s finest has surpassed expectations, with the evolution of his sound at the hands of long-time producer Kwes Darko. This musical partnership will be revered in the same manner of Nigel Godrich and Radiohead in the years to come, no doubt. 

“Trainspotting if it was put into song” This YouTube comment would suffice as a review for the album. In reference to “Yum”, the lead single from the album has slowthai taking on spoken word approach to delivering lyrics, as well as a shit tonne of distortion adjacent to Merzbow, dance elements and an overall dystopian atmospheric. The track is the perfect way to open the album, throwing off audiences with something so left field from the rest of his discography, setting us up for the absolute ride the album turns out to be. From this point onwards, the album unravels itself as a journey through his mind, bringing us to therapy sessions and the inner grimes of his mind.

By the second track, any trepidations about the project falling into the vast space of ‘underwhelming second album’ dissipates, with the track “Selfish” depicting a mental landscape of reflection with a post punk melody. Buzzy synths and searing alarm sounds fall into the production of this song that pushes for self-love.

Lyrics often find themselves as simple statements. The track “HAPPY” is easily the leading anthem for the album, with its catchy chorus ( “it's okay to cry, okay to cry H-A-P-P-Y, H-A-P-P-Y”) that follows the pursuit of happiness. One could ask for more complexity and innovation behind the writing but it’s not really the point of this album. The simple statements are made to an effect that have the album lingering with you post-listening, post work, post shower. This approach is more relatable and illustrates his reality and beginnings with his descriptions of working-class aesthetics and daily life. 

Incoherency is a charming point for the album. Some have found themselves bemused and annoyed at the contradictions of sounds yet I fall into the camp of people who found this album entertaining, smiling as the post punk rap song blends into the infective pop track. It could be seen as a borderline conceptual album, with the recurring sounds of alarms and warning remaining an forever ambient presence throughout the album, like some type of gradual indoctrination to the crowd of slowthai. 

slowthai is an example of redemption in an age of cancellation and damning articles. With his past controversies behind him and an album that demonstrates a lot of time working on himself, he is an example for men in music who often take the opposite route of sincerity and openness in regards to controversy. Bringing in his new sense of self on this latest record, he proves that betterment doesn’t have to sound boring and straight line. A lesson for some of the more ego fuelled musicians with their tail of controversies ; would’ve thought you could be provocative, challenging and authentic without being a dick? For what it has to offer in abundance, “UGLY” solidifies slowthai as a figurehead in UK music.