R&BULLY: KANE WAVE FINDS BALANCE WITH “DON’T DRINK THE WATER”

Kane Wave’s eccentric, high-octane 2018 debut Hoodstar was an interesting moment for modern Buffalo Hip-Hop. Bringing the grungy, left-of-underground sound to the city’s forefront, the dynamic rapper’s boldness as an artist has helped him build and refine his music into what it is today - a boundary-less space of thundering 808s, audacious lyricism and pocket croons - or what he likes to call “R&Bully.” The rising artist’s dark aesthetic married with Street Rap and R&B has been on a long, creative journey. But his most recent offering finds a gentler meeting of the 2 genres.

There’s a handful of reasons why Wave’s Don’t Drink The Water sounds grand. For one, we’ve been on this journey with him. Since Hoodstar, the enigmatic singer/songwriter/rapper has experimented with almost every genre. From the soulful ballads on Selfloveclub to steamy, trap-flavored tracks on One Of A Kind to the confessional, rage-induced loose singles throughout his discography, Kane Wave doesn’t hold back when he’s creating - and he’s had impressive execution so far.

Since the last time we spoke with him on the heels of his 2020 R&B record Loverboi release, Wave was fully encompassed in his “Loverboi” persona. Leading with confessional raps and entrenched in his spur-of-the-moment harmonies, the softer side of his sound took center stage - but it didn’t last long before he switched it up ( Cue “Home For Christmas” - a new-gen, novelty, holiday single that dropped late last year). If there’s one thing that we can bet on Kane Wave is that he is unpredictable, and that’s what makes him exciting.

So what stands out on Don’t Drink The Water? Balance. It’s the underlying Midas touch of being a versatile artist. Kane Wave’s gift to fluidly flow between R&B and Rap is in its genius on DDTW, and it doesn’t feel forced. Wave’s rough edges are smoothed out on tracks like “Syndicated Business,” “Got What I Came For,” and “Off Right Now.” He takes the minimal route with great care; his sonics are atmospheric, smooth, and introspective. “Got What I Came For,” is a major standout not only for the impressive features by fellow vocalists Jaymarr and Nelle’, but how well they bounce off of each other. The production value is pristine from the adlibs to the arrangements.

Even as he dials up the energy towards the end of the project, he doesn’t lose the soulful melodies and R&B elements on his more crass tracks. “Slimeball,” “Screws Loose,” “Badnews,” and “Meet Me In Miami” is Kane Wave in his element. Energetic and no-holds-barred is what his listeners love and he delivers. “Slimeball” is an instant turn-up track with thumping percussion and an infectious synth where Kane Wave and K-Pi$tol go back and forth about “trying to get paid,” while “Meet Me In Miami” is a winner’s circle anthem. With calculated bravado and an 80s-inspired groove, Kane Wave finds himself deep in his bag touching on all the parts of being a cocky bachelor. DDTW is such a well-rounded view of Kane Wave’s abilities, it’s not surprising he made his own genre.