Black Noi$e is a 26-year-old producer from Detroit, Michigan. For those who don’t know, he is highly respected due to his stellar work on Earl Sweatshirt’s 2018 masterpiece “Some Rap Songs” and 2019 LP “Feet Of Clay”. He has just released his second album titled “OBLIVION“. With features from fan-favorite artists like Earl, Danny Brown, and Mike, will this gifted producer be able to create the ultimate experience, or will it be another messy compilation?
While Black Noi$e does no rapping himself, the featured artists do a great job at making the record feel like a fully fleshed-out experience. “Tight Leash” gives us a new verse from experimental hip hop titan Mike where he explores the concepts of brotherhood and community. On “The Band”, singer Live does an excellent job of using her scratchy vocals to make the listener feel like they are sinking down a dark pit. “Mo(u)rning” was probably the best cut on the entire record as Earl Sweatshirt livens up his flow and delivery to tell the compelling tale of how he’s learned to face adversity. Cuts like “George’s Baby” and “Glitch” show relatively unknown artists like GVVAAN and duendita’s ability to compile their emotions into creepy rage-induced ballads. “1999” with the sensational Danny Brown was a favorite of mine as his fast flow and hard delivery shifts the entire mood of the record. On its closing leg, songs like “Mutha Magick” and “Bonnie & Clyde” showcase the abilities of even more gifted up and comers like Bbymutha and Zelooperz. Overall, the varied talents apart of this record work alongside Noi$e to tie together a vocally cohesive vision.
Sonically, Black Noi$e proves why he is one of the most sought after beatmakers in the game right now. The entire project is glued together through the force of his menacing and chaotic electric infused production style. From the 23 second tone-setting intro, “14 Trillion”, all the way to oddly satisfying “Dragon Dance”, Noi$e wastes no time creating the ultimate soundtrack. Along the way, songs like “Sorry” and “Mo(u)rning” step into familiar territory as they sound like throwaways from an Earl Sweatshirt or Mike album. Some of the hungrier artists like GVVAAN and Bbymutha were willing to rap on any unorthodox instrumentals thrown at them. “1999” contains a fast-paced and multi-layered instrumental that could prelude what Danny Brown’s next album will sound like. Some of the songs like “33” and “Sorry” don’t even need vocals as they push the narrative forward purely off their spine chilling sounds. Looking at the soundscape as a whole, Black Noi$e was able to curate a unique soundtrack that was fitting to his artists and, more importantly, himself.
In conclusion, if you didn’t know who Black Noi$e was before, giving “OBLIVION” a listen should make you put some respect on his name. The guy has a God-given talent to become the leader of the next generation of sound. His ideas culminated together better than most as NOi$e was able to craft instrumentals that were outside the box, yet they managed to stay true to hip hop. The only negatives with the record are that its only 24 minutes long, and there is no definite concept despite its linked themes. If your a fan of production centric music or guys like Earl Sweatshirt, Danny Brown, and Mike, then Black Noi$e’s and his brand new album is an essential listen.