Monotony Monday #5 – Meek Musical Musing
Night Lovell: Good Night and Good Luck
The short of it: Top-notch production and a consistently good flow makes Night Lovell more than his genre.
On RL Grime’s 2015 Halloween mix, there was this one track that always blew me away. I figured Grime had done something to it, only to find out that no, Night Lovell is just that dope.
Lovell’s subgenre is hard to pin down–it’s easy to distinguish it from other artists by ear, but analysis is a little tougher. A YouTube commenter referred to it as shadow rap, I thought of it as spooky trap (cleverer name pending), but in reality, it’s closer to a more refined cloud rap.
Spooky trap takes the vocal samples and ambient production of cloud rap and combines them with a concentrated flow and darker tone. It seems to often have some form of layering on the vocals, deepening them, but not to the degree of anything Houstonian.
It’d be a lie to say the style doesn’t borrow- artists like Lovell reveal the legacy of Lil B and, by extension, Clams Casino. Lovell’s work is a reflection of other new artists from both the mainstream, like Travis Scott, and more Internet-popular artists like Jazz Cartier. The Lovell/Cartier connection is interesting- there’s multiple occasions where their production could be switched without any noticeable different. However, whereas Cartier leans more into the rap-pop sphere, Lovell’s influences are harder to specify- the closest being horror core. Lovell’s occasional usage of vividly violent image (“pool of blood”) reflects this, but, when mixed with his overt emotional honesty, create something far outside those bounds.
He features the Canadian-Carribean patois, and, much like Drake’s attempts on Views, ends up a bit short of a credible impersonation. Fortunately Lovell goes for the humor rather than the homage, elevating it above Drake’s efforts. This is where any comparison between the two ends.
Night Lovell manages to isolate himself as a unique talent in this era overflowing with soundcloud success.