“LK99” FINDS ITS STRENGTH IN RAW, GENRE-BLENDING SOUL
Leven Kali might not be a familiar name to most R&B and Hip-Hop fans, but he has been a frequent collaborator for some major artists over the past decade. He appeared on Playboi Carti’s “Flex” and earned writing credits on Drake’s “Do Not Disturb,” Skrillex’s “Still Here (With The Ones That I Came With),” and Beyoncé’s Grammy-winning album “Renaissance” in 2022.
While he has stayed busy working with some of the world's most notable musicians, he has taken a nearly six-year hiatus since releasing his last full-length project, “HIGHTIDE.” With “LK99,” Kali looks to rekindle the momentum from his impressive earlier solo works, balancing nontraditional R&B production with lyrical themes of dependency and romantic uncertainty.
“LK99” starts very strong with one of my favorite tracks, “BREATHE!” True to the song title, it opens with Kali taking heavy rhythmic breaths before quickly transitioning into the melody of the song: “Just breathe/Nothing left to do but go deep/Just breathe/Nothing left to prove/you got me/Just breathe.” He relies on this incredibly catchy hook throughout the song. He first uses it to transition into lyrics about convincing a lover to give their relationship another chance and later, after a slowly developing bridge, to add a sense of finality to the end of the song. The layered guitar, keyboard, and drums on the track set the tone for a project that relies heavily on mixing these sounds.
Next, a short interlude, “Stars, Stripes and Credit Card Swipes” sees Kali showcase his vocal talent as well as some satirical commentary on the nature of consumer culture.
“Are U Still” begins as a smooth R&B track before moving into a more disco direction. Originally released as a single, it marked Kali’s debut with Def Jam Records. The first half of the track reminds me a lot of Steve Lacy’s “Gemini Rights,” especially in the drum sound that takes center stage. You can feel the yearning in his voice; the same emotion that is often missing from modern R&B records. The track ends with an impressive horn solo from Keyon Harrold, which adds a jazz feel to an extremely solid record.
“Redmedy” is a more low-key and simple cut, focusing on themes of deep commitment. “When there’s no more words and I’m left in silence/You are my pen and page and writer.” While it features some sweet lyricism, the instrumentals don’t particularly stand out, making it a forgettable track on an album with so much competition.
I feel similarly about “Starlet” and the repeated “Aye-ya-ya, aye-ya-ya” background vocals definitely took away from what enjoyment I did have. The outro is the strongest part of the song, especially the beautiful vocal layering when Kali repeats “Starlet, starlet.”
“Grab It” combines elements of both funk and R&B, and Kali is again urging a lover to “feel the fire” and live life to the fullest. It’s not one of my favorites on the album, but it acts as the blueprint for the themes explored throughout “LK99.”
The album's final five-track run is its strongest stretch. To this point, Kali has delivered a solid but not necessarily memorable project, which changes with “Jus a Lil’ Bit.” The emotionally raw vocals and writing on the chorus are one of my favorite points of the project, as Kali repeats “One kiss, one night/I don’t need much/Jus’ a lil’ of you.”
“Pieces” sees him explore whether an ex-lover ever truly considered his feelings. “Ah, Picking up the (pieces on the floor)” is repeated in the hook, and the later addition of “You wanna make love/You wanna get high.” Kali reflects on what this lover's true priorities really were, again showcasing some raw, rock-influenced vocals.
“Sleepwalking” has garnered the most streaming attention from “LK99,” and while it’s a fan favorite, it’s probably my least favorite track from the back half of the album. Kali largely repeats his hook, “I’ve been sleepwalking and daydreaming,” with very minimal adjustment in lyrical focus or production. It’s a relaxed, carefree track, but the lack of depth makes it feel like a song where Kali truly is sleepwalking instead of being fully committed to his sound.
I hear some really significant shades of Childish Gambino’s “Sober” during the first half of “Raining Sun.” As the title suggests, it’s a track that feels like a beam of sunshine. The robotic, futuristic background somewhat disrupts an otherwise warm groove, but the energy Kali brings to this song makes it a powerful listen.
A lot of the most impressive moments on “LK99” come from the rawness in the vocal performances. Meaning, the final track should be the rawest yet. On “Without U,” Kali explains how, despite all his cars, clothes, and money, he still feels like a part of him is missing without a past lover. This song is a massive change of pace from the rest of the album, as a more acoustic track. Kali ends the record with “All these crowds with strangers smiling/I'm on an island, in silence/Something's still missing without you/Without you,” capturing his message to his lost lover and ending the project on an intimately personal note.
“LK99” is a memorable reintroduction to the mainstream for Kali. His soulful energy, captivating instrumentals, and catchy vocal performances result in a project that feels like a breath of fresh air in the modern R&B scene. Even when the lyricism blurs the tracks together, the emotional vulnerability keeps the record warm and engaging. The dance, funk, neo-soul, and R&B elements combine into a project that transcends genre with ease.
Ultimately, creating an album that is ambitious and groovy. The talent is undeniable throughout this project, and Kali’s soul, funk, and electronic influences clearly separate him from his peers. I can’t wait to see what he releases in the coming years.
