Method Records
slowthai’s music has always revelled in confrontation. His mercury-nominated debut, the brilliant Nothing Great About Britain, saw him tearing strips off the government, raging against Brexit, poverty, classicism, and racism. It was bleak and brutal, shockingly candid, bristling with anger and intent, but with humour. NGAB was unapologetically direct, but there was a sincerity to his sentiments, an authenticity to his words; slowthai became the voice of the overlooked. Confrontation is at the heart of his latest effort, UGLY, but this time slowthai is turning inwards, examining his demons.
2021’s Tyron saw slowthai move in a more introspective direction, driven by the solitude of lockdown, while still espousing his social awareness. Tyron emerged from a cloud of controversy after an unsavoury incident at the 2020 NME Awards with Katherine Ryan earned him widespread condemnation. Despite Ryan’s apology and his own, the brutal backlash dimmed his halo as something of a people’s champion. slowthai often cuts something of a misunderstood figure, the frenetic energy masking a sensitive side that he explores on UGLY, unravelling his psyche and revealing new sides of himself, emotionally and musically. The swagger may be diminished, but the power is overwhelming.
UGLY is a misleading title; it’s actually an acronym for “U Gotta Love Yourself”, an enduring image, literally in slowthai’s case, as he has the words tattoed on his face. His face may carry a permanent message, but a lot has changed in slowthai’s life since TYRON; becoming a father for the first time has clearly shaped his thinking, and there’s a sense of growth throughout UGLY. The development is reflected musically as he veers into a rockier territory, a decision that he describes as “trying to emulate the spirit of the brotherhood ethos that bands have”. There are contributions from Fontaines D.C., Jockstrap’s Taylor Skye, and Beabadoobee guitarist Jacob Bugden, but slowthai still cuts a solitary figure despite the collaborations.
The eerie, modular intro, ‘YUM’, begins the album’s journey of self-reflection and bristles with conflict, like he’s being pulled in two different directions. Describing substance abuse and “smokin’ weed, singin’ Lauryn Hill” might sound braggadocious, but the whole track is filled with slowthai’s panicked, demonic breathing. ‘Sooner’ is similarly honest, the sunny sound belying some dark messages as he sings, “I couldn’t deal with half the things, so I put em’ in a pile”. slowthai confronts his previous propensities for self-destruction with robust candour, therapeutically analysing his past decisions.
But as he battles his inner demons, there’s a sense of light as he begins to unlock what makes him happy. The tender acoustic closer, ‘25%’, sees him reflecting on the importance of loved ones in making us feel complete, “I had a vacancy you could fill”. ‘HAPPY’ serves as the album’s core, “I would give everything for a smile”, he sings, recognising that happiness is the ultimate goal of the journey. The ridiculously catchy, repetitive bop of ‘Feel Good’ serves as a burst of energy to pull you out of the doldrums, the song’s title perfectly encapsulating its sound.
Among the more mellow moments, there’s still some of the anger that surged through Nothing Great About Britain. ‘F**k It Puppet’ simmers with a quiet rage, slowthai trying to shut out negative voices and seeking a sense of retribution: “Wanna watch the world burn, ’cause the world been burning me”. ‘UGLY’ delves into social politics and slowthai’s sense of alienation: “We’re just puppets in a simulation/White screen, bein’ brainwashed to a regime”. The sinister electro-punk of ‘Selfish’ sees him unlock his trademark snarl, berating those who kiss ass to get ahead. It also serves as something of a turning point, though, as slowthai recognises that elements of selfishness are important, such as self-love and being happy. slowthai’s wordplay has always been imaginative and acerbic, but UGLY seems him ascend to another level.
Despite its more introspective nature, slowthai still indulges in some of the storytelling that populated Nothing Great About Britain, where he showed a Damon Albarn-like talent for creating characters (No, I’m not comparing NGAB to Parklife). ‘Never Again’ documents a childhood sweetheart’s demise in a subtly heart-wrenchingly manner, from bumping into her parents at the supermarket to dropping to his knees in front of her memorial. ‘Wotz Funny’ is a series of vignettes about urban characters, slowthai repeatedly asking “What’s funny” in the chorus, recognising society’s unfortunate tendency to often laugh at those less humorous.
The album’s grittier sound, full of fuzzy guitars and muddy bass lines, enhances UGLY’s words, creating a gripping atmosphere. slowthai may not have a conventionally beautiful singing voice, but he is able to transmit his emotions excellently, pulling you inside his tortured mind. UGLY is the sound of creative freedom; slowthai makes music for himself, finding confidence in vulnerability and creating a compelling listen. Verdict? His best album yet.