Rapper Kenny Mason released his fourth studio album, “BULLDAWG,” May 12.
Kenny has been working nonstop this decade, and by this point in his career he’s risen ranks to become one of the most respected underground rappers, collaborating with the likes of J. Cole and JID. At the same time, Kenny has experimented with the genre, combining classic rap with elements of grunge and hard rock to create a unique sound. “BULLDAWG” continues this trend, but it’s hard to realize it at first.
Kenny asserts himself boldly with the opener, “BULLKILLER.” He flawlessly moves between flows and beats as the track switches from roaring synths to a haunting sci-fi atmosphere.
“BOUNCE WIT ME” and “DOOR SWANGIN” are notable for their infectious choruses, but Kenny also manages to reflect on his desire for connection and belonging in both songs. The former illustrates his grapple with a need to be taken seriously as an artist and a person.
“WHATUWANNASAY?!” is the first song on the album to flirt with the sounds of rock music, a production element that goes on to define the back half of the project. Here, guitar and synth flairs add a sharp edge to Kenny’s nimble flows.
Tracks like “CITGO” and “TEST ME” take Kenny to his limits in terms of pure rapping ability. He performs both with insane brevity, but “TEST ME” has Kenny go toe to toe with JID, the both of them rapping at lightspeed like there’s no tomorrow.
“JUNKYARD FREESTYLE,” takes a slower pace, and it feels like Kenny catching his breath after an onslaught of catchy bangers and rapping frenzies. He raps with angst about his declining mental health and emotional turmoil while different sounds twinkle through the spacey production.
This sets the mood for “BREAK TIME” and “HERE II STAY,” two cuts that ease the tension of “JUNKYARD FREESTYLE,” but maintain its smooth and measured stride. On both tracks, Kenny introduces melodic pop and R&B elements, and he breaks out into full song by the end of the latter.
By this point in the album, it’s obvious that Kenny Mason is a great performer, with a clean and eclectic variety of beats to back him up whether he’s rapping or singing. Still, there’s a sudden shift to the alternative rock genre midway through the track list that elevates this album from good to great, and makes it truly unparalleled in the rap sphere.
“BE WHAT I WANT” anticipates the shift with a Paris Texas feature. Over droning heavy guitar production, Kenny adapts to the duo’s distinctive blend of rap and rock and works in tandem with it.
“STREET CAR” is when the album takes a full and unexpected dive into hard rock. The three minute track is a defining moment of the album, where Kenny sings about the weight of his life choices over noisy yet ethereal guitar chords. He injects the heaviness and aggression of the guitar melody into intense vocals.
This seamlessly transitions into “BLACK FIT” where Kenny spits over idiosyncratic production that blends trap drums, blaring guitar and synths, and a slower melodic section, all with ease.
On “COME TRUE” Kenny and his backing production enter a push and pull between tranquility and full on rage. There’s moments where he breaks, and goes full screamo over melancholy guitars as he reflects on his past.
Then there’s “FIND GOD,” a pop-rap cut that’s disarmingly sweet and simple on the outside. The chorus, sung by Dominic Fike – whose song “Babydoll” recently soared to social media fame– is as catchy as ever, but lying beneath it the two artists comment on the increasingly pessimistic state of the world, expressing hope that God may solve things.
“7ELEVEN” isn’t the most remarkable song of the album, but it works as a closer because it’s a welcome return to familiar territory in terms of production and vibe. Kenny muses over his lowest points, speaking on times he figuratively met God and the devil over chopped soul production.
What makes “BULLDAWG” so interesting is that, without a prior knowledge of Kenny Mason’s music, it’s impossible to anticipate the ways he blends the genres of pop, rap, R&B, and alternative rock. But it’s done so effortlessly.
The album is already incredibly enjoyable, keeping the listener on their toes with its variety of sounds and moods. On a deeper level though, digging past both the weight of the guitars and the malaise of Kenny’s fast rhymes, “BULLDAWG” presents a story of Kenny finding himself through his art, with its accompanying highs and lows.
