It’s winter 2016. I’m driving through downtown Boise late one night with my crewwhen suddenly, my friend asks for the coveted aux cord. What he played next happens to now be one of my favorite modern artists — Noname.
Originally from Chicago, she began her career as a slam poet, garnering initial attention after a collaboration with Chance the Rapper.
Rapping gracefully over what she calls “lullaby rap music,” Noname backs her dense, yet clever wordplay, with smooth and often sultry jazz. Peppering that sound with more experimental orchestrations, she’s able to create something new and profound.
Noname was — and still is — a poet at heart, and this is reflected in her ability to provide such personable yet personal verses.
Never afraid to get political or bring up her darkest issues, she’s able to weave a tapestry of ups and downs in emotion — often one after the other.
With the acceleration in music availability becoming almost exponential these days, especially regarding modern hip-hop, Noname overcame these odds two years ago with her bubbly breakout mixtape “Telefone.” Not only did it receive critical acclaim, but it also had somewhat of a unique cult following.
Still touring until this recent new release, the mixtape has a playtime of 33 minutes — an even greater feat considering she is completely independent and belongs to no label.
Her triumphant sophomore follow-up, “Room 25,” improves upon everything thus far.
Opening with the charming track “Self,” Noname sets the mood for her most personal work to date.
She explains her mentality going into the album and doesn’t hesitate to get political with tracks such as “Blaxploitation” and “Prayer Song.”
With lines like “bad sleep triggered by bad government” and “apple pie on Sunday morning, obesity and heart disease,” she shows again her unwillingness to shy away from fiery issues. “Window” follows a large return to form with an expansive arrangement of strings, which marks where Noname will transition into a more introspective and meditative sound. This is especially present on tracks “Don’t forget about me” and “Regal.”
She explains, “I know my body’s fragile, know it’s made from clay” and delves into her fears of newly found celebrity, however smallthey may be.
“Montego Bae” shows a newer side to Noname’s songwriting, showcasing an upbeat Latin jazz bass line and rhythm backing. Her humor comes off especially here and her enjoyable word-weaving is a highlight on the album.
On “Ace,” Noname features two of her contemporaries, Smino and Saba, and includes the catchiest chorus across the entire record.
The following tracks “Part of me” and “With you” return to her inward gaze, providing melancholier beats and emotion. However, the closing self-titled track “no name” takes the cake in terms of self-searching. It feels particularly conclusive and transcendent in not just completing the album, but begging the listener to start it over from scratch.
If “Telefone” was a soulful phone call, then “Room 25” is a dense and emotionally volatile letter, straight from the heart. It improves on everything Noname has offered so far, and I, for one, cannot wait to see what I’ll be listening to next time I’m driving anywhere, alone or with friends.
Oliver Blumenstein can be reached at [email protected]