The latest TDE signee, SiR, has been building quite some hype recently. While Top Dawg only revealed that SiR was the second ‘John Doe’ on the label earlier this year, it wasn’t a surprise considering he’d contributed vocals to Jay Rock’s latest LP and Isaiah Rashad’s summer album ‘The Sun’s Tirade‘.
Although I haven’t got round to indulge in SiR’s discography extensively yet, with his latest EP, ‘Her Too‘ now out on streaming services, I only thought it would be right to give his new EP a listen and a review.
Firstly, the cover art really sets the tone of the project. It’s dark, gloomy and sensual. Hopefully, the music will reflect the image that SiR has provided us.
“New LA” (feat. Anderson .Paak & King Mez) – The instrumental is a merge of R&B and Pop and is an instant ‘Head-Bopper’. SiR provides smooth, ecstatic vocals for his verse and the chorus and rides cooly over the beat. .Paak’s flow is just bliss. His stop-start verse adds flavour to the track and the two’s voices are a perfect match for hopefully more tracks like this. And while I haven’t listened to anything King Mez since Dre’s “Compton” album, his elastic flow and verse is a great addition.
“The Canvas” – Smooth Jazz keys introduce the track with more Pop-esque drums for the instrumental. This track sees SiR comparing the woman he’s with to that of a piece of art. He uses multiple phrases and art-lingo to paint a picture (no pun) to describe his feelings to her. Already, this is the smoothest track on the project and his light, crisp voice is just too easy to escape to.
“Don’t Call My Phone” – SiR’s vocals are pitched a little higher on this track but a Terrance Martin sounding production supports SiR’s creativity here. While it is the shortest track on the EP, the influences of Hip-Hop, Jazz and blues are evident. I only see palm trees, crashing waves and (smell, metaphorically) weed smoke when I hear this track. It’s just too fucking smooth.
“Ooh Nah Nah” (feat. Masego) – Wicked guitar strings. heavy drums. Bumping bass. Instrumental is already banging. SiR’s vocals are ridiculous on this as well. I can’t stop bopping my head back and down. It’s one of the slower tracks, however, his melodic verses are the selling point of the song as he is relentless to how he pitches his voice and composes his verses. THE FUCKING TRUMPET TOWARDS THE END IS FUCKING MAD OHMYGOD I CAN’T EVEN.
“SUGAR” – If this song ain’t as sweet as it sounds…and I’m already swaying my head. His ad-libs in the back, the wavy main vocals. SiR is just too smooth. He speaks of his lady-partner and his voice is literally like honey over the beat. There’s beautiful guitar chords and keyboards playing and a laid back Jazz drum pattern in the back.
“W$ Boi” – The final track is one of the slower-paced tracks on the EP. SiR’s vocals are a tad grittier and the instrumental is the most experimental. High-pitched synths, minimal bass and drum percussion support the idea that this is the darkest song. Gun shot sound effects take place in the middle and the lyrics are SiR’s dedication to his placement on the West Coast alongside the other Top Dawgs.
In all, it’s a beautifully dark EP. It showcases SiR’s lyrical and vocal delivery and that his production is similar to that of Kendricks‘ and Ab-Souls‘ latest releases. However, he’s paved a little lane for himself and on his debut studio album, I hope to hear the same or better quality of music as well as contributions from Terrance Martin, Kendrick Lamar, SZA, Mac Miller, Skeme and The Game.