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Bishop Nehru

Bishop Nehru is one of hip-hop’s chosen ones. Plucked from the
masses of NYC boom bap revivalists by MF DOOM himself at just sixteen, he was being touted as the next Joey Bada$$ before the latter had even had the time to blow up.Nehru


‘Elevators’ is Nehru’s and DOOM’s second album together, with the pair also enlisting Canadian wunderkind Kaytranada to helm production for half the album.

As such it’s a project in two acts, act one master minded by Kaytranada and act two by DOOM.

While both are extremely talented in their own right, there’s no denying that DOOM’s half shines brighter.

On ‘Elevators’ Kaytranada’s otherwise energetic and upbeat production style is often lacking in bass and impact, a problem compounded by Nehru’s vocal, which lacks the confidence and depth of many of his peers.

That’s not to say there aren’t highlights. ‘No Idea’ and ‘Up Up and Away’
both pack a punch, the latter by far the most recognisable Kaytranada cut on the album.

In fact, with it’s spiralling piano and heavenly vocal samples it might just be the best track on the album.

That’s not to say there aren’t highlights. ‘No Idea’ and ‘Up Up and Away’
both pack a punch, the latter by far the most recognisable Kaytranada cut on the album. In fact,

with it’s spiralling piano and heavenly vocal samples it might just be the best track on the album.

It’s not until the DOOM produced ‘Again and Again’ that Nehru really hits stride though, coming through with a faultless flow and confident hook over a wild, jazzy beat.

‘Potassium’ continues that hot streak and you begin to see why DOOM thought so highly of this young MC all those years ago.

There’s something special about this kid, but on ‘Elevators’, I’m not convinced that Nehru, DOOM or Kaytranada have figured out

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