Album Review: 1991

Until the debut of her song “212” last December Azealia Banks’ buzz was, quite frankly, black noise. However, since “212” tuned the world into her frequency, Banks has been around the globe and back, touring, tweeting and pissing people off (notably T.I.). 1991, her new EP, demonstrates why the world continues to tune in. Composed of old songs “212” and “Liquorice” and two new songs produced by electronica artist machinedrum, at only 4 tracks, 1991 is a short piece of work. Nevertheless, in spite of its brevity, 1991 beautifully showcases the diverse range of Banks’ musical talent.

For instance, on “1991,” the title track, Banks effortlessly melds Lil’ Kim’s reminiscent braggadocio, Busta Rhymes-like staccato and Kylie Monogue-esque vocals into a jump off that you just can’t get out of your head. This diversity of sound may appear unimpressive in print, but when played over machinedrum’s airy drum machines and hard, clean bass synths, the result is pure bliss. Unsurprisingly, the lyrics are just as impressive as the song’s mechanics: “Oh, là là là, flirting with a cool French dude named Antoine/Wanna taste the pastry chocolate croissant/Ce soir with your bitch, café au lait?/Voulez-vous nigga mad francois.” Contrary to popular belief, Kanye and Jay-Z weren’t the only ones having fun in France.

The sonic diversity continues on the second track, “Van Vogue,” which is also produced by machinedrum. Performing over dog barks, here Banks’ vocals are reminiscent of Santigold, a likely influence. Banks ends the track with an interlude mocking bougie black NYU students. This seems like an odd decision until “212” comes on. On “212” this mockery becomes musical. Particularly interesting about 212 is that it explicitly showcases Banks’ ability to layer songs with multiple hooks, an ability demonstrated more subtly on other tracks. For example, though “I guess that cunt getting eaten” and “I’m a ruin you, cunt” are seemingly throwaway lines, they’re repeated in a way that makes them just as catchy as the chorus. In fact, the lines are so memorable that they’ve kind of taken on a life of their own. While repetition of non-choral lines is certainly not unique to Banks, she does it in a way that differs from a DJ scratch and rewind or a post-production echo effect. When Banks repeats a line, she actually repeats it.

1991 ends with “Liquorice,” the EP’s weakest track. The song is great outside of the EP, but when compiled with such strong companion tracks, it is a bit lackluster. It just feels phoned-in. That being said, despite its mediocre ending, all in all 1991 is both a fun ride and a brilliant, brief exposé of Banks’ skills . Azealia Banks is an exciting artist with an exciting future. Though she was born in 1991, with an upcoming mixtape, and an upcoming world tour this fall, 2012 will probably be the year Banks remembers most vividly.