7 DAYS 7 NIGHTS ENCAPSULATES RAUCOUS AND IMMERSIVE BEHAVIOURS WITH A GLARING NOD TO GENDER DIVISION.
Since the success of their highly-acclaimed, 2015, debut album ‘The Long Way Home’, South London duo Krept and Konan’s song and project release have been scarce. Aside from a hellacious feature on Abra Cadabra’s 2016 hit ‘Robbery’ (Remix), which catapulted Abz into the spotlight, song earning both a MOBO and Rated Award in the process, the Thornton Heath pair have remained quiet. Almost unerringly confident of recapturing the spotlight in the UK Rap scene
7 Days 7 Nights is the long-awaited mixtape follow-up, divided into two parts. 7 Days aims to encapsulate rugged, ominous beats and wizard-like wordplay, incorporating a triumphant mantra that runs throughout the tape. Whereas 7 Nights acts as the woozy, relaxed R&B alternative, devised as a smooth, drugged-out playlist to wile away the small hours after a heavy night of intoxicating behaviour.
Connotations of a gender split for the two projects are easily apparent. The use of traditional blue and pink colours used to highlight each tape, as 7 Days is obviously designed to sit easier with a male contingent, with the yellow tones of 7 Nights’ obviously catering for the ladies. This is embodied with the opening salvo of the first track from 7 Nights, ‘Don’t Lie’, which begins with the softy-spoken quote, ‘You need to make a nice song I can listen to at nighttime, not this grime, rap shouting stuff’.
Comedic wordplay and braggadocio is a constant presence throughout 7 Days. ‘My bread’s up, I got a pocket full of sandwiches’, one of the opening lines on the Swifta Beater-produced ‘Champions League’, typifies the self-approbation that is interjected within many of the lyrics upon the project. Production-wise, both 7 Days and 7 Nights have heavy influence from producers who have previously worked with the pair. EY and ADotSkitz are the two most prominent, with the latter producing what is sure to be one of the most successful songs from the tapes, ‘Ask Flipz’, featuring current grime poster-boy Stormzy.
The deviant beat which accompanies the song certainly leans more towards the usual conventions of a grime beat, allowing the duo to divulge a different flow, sandwiched between the ultra-consistent Stormzy, who provides a killer verse. Skepta, J Hus and R.A also complete the features on 7 Days, a real selection of artists from the upper echelons of UK Rap. The R.A assisted ‘Khalas’ is one of the standouts from both projects, the lyrical delivery of Krept in particular, akin to that from the ‘Robbery’ feature. The use of the phonetic alphabet at the culmination of his verse is Konan’s cunning wordplay at its’ conniving best.
Naturally, the pace slows considerably on 7 Nights, with several features from Hudson East and a feature from Toronto crooner Tory Lanez pacifying the R&B label which is heavily attached to this project. ‘One More Time’ explores the temptation for a final liaison with an old flame, the Jhene Aiko-assisted ‘Wrongs’ narrates the acrimonious tale of a girl done wrong by the sleazy actions of a man, an all-too familiar theme that generates much popularity amongst targeted consumers of modern-day R&B.
The idea behind the splitting of the projects into two separate bodies of work is one that is understandable both from a marketing and financial perspective, however, the similarities in many of the tracks on 7 Nights does invite the idea of a seemingly repetitive nature. 7 Days is ultimately Krept and Konan at their best, combining effervescent lyrics with piercing delivery, interspersed with devilish production to conform with the riotous and envious account of their auspicious lifestyles.