The disc is full of wait-worthy surprises and experimentation with different sounds and genres that works better than many of the mainstream collabs we've seen recently from the likes of Kano and Lethal B. Including Andrew Dummett's 'Turn Around' featuring KC – with an indescribable electronica vibe to it, 'Not To Be 4gotten' featuring Daryl Bar – which has a rowdy rock feel and 'Thank U Riddem' which (thank you KC pays some dues to bangin' Bhangra.
The sample from indie track 'Everybody's Changing' on 'I Ain't Even In Love Yet' (perfect timing for me to hear that btw), illustrates KC's ability to take on everything he hears and process and manipulate it in his own special way. A skill that only points upwards for him as an artist.
The stripping down of 'See Me Fall' featuring Jo Black results in a declaration of pure talent. 'King Kong' is the only track that screams mainstream U.S. gangster pop. But the grime punches he throws throughout lets him get away with it. 'Joe Pride' boasts an Adams family flow that deserves some less predictable, more effective lyrics. You can't help but appreciate the attention that has been given to the drumbeats. Even though each song provides the same one throughout. No song sounds the same. So you're getting your money's worth. And each track is a entire project in it's own right. Most of the tracks are truly promising. However, the immediate – 'I like the way this is going' feeling I get; tires out after reaching halfway.
It's as though the disc is a train. And KC was bombing it with an original, enticingly buck design. And then the train set off before he'd finished. As the listener,you can see the fully developed tracks, which would make you want to run after the train to get a closer, longer look and listen. But, as you watch it pass on the bridge, you can't help noticing the potential of the remaining unfilled outlines.
Don't get me wrong, the lad's got some serious serious soul. I'm talking full on 'hear me, feel me, want me' soul. The slight feeling of emptiness I'm talking about comes in the form of no dancefloor funky breaks or alterations of the same core beat in each individual track. However, the genius yet simple reggae soul background glow on fully developed 'Catchphrase' is so infectious – I'm glad it remains throughout. But the faultless beats on this track seem to produce less effort on the lyrics front. Tracks like 'Pumped Up' and 'This Is Life' end with you still saying 'and then?…' As far the lyrics as a whole go – his current mindset will most definitely work at its best with a few more enlightenments and inspirations.
Don't expect to get the club feel from this disc. But that's not really a bad thing. Seen as all the beats have a deeper effect. You could probably bboy to a several of the tracks. But I don't see you grinding or krumping heavily. This time. That's fine. In fact. It's brilliant. I love that the street feel is constant throughout.
It is what hip hop should be.
But the lack of 'dayyym' lyrics, that I am convinced he could clear his head and throw at us, means that the effect this album should have isn't that which I would hope. It should have some hard hitting, reflective, moment stopping lines. But to be honest, the powerful combination might break you down more than you can handle.
KC's Fracture Flows achieves something naturally that many 'successful' chart artists work hard, yet still fail to do. He holds onto his identity without being overly in your face and 'brrap brrap'. He knows who he is, even if he isn't sure where he's going. So, if anything, 'Volume 2' confirms one thing, this speng sure ent insecure. But if you are, then truss your girl when I tell you to put on your helmets, shin pads and gum shields before attempting to compare him to anyone but himself.