05.08.16

It’s been three years since Giggs’ last retail album, and the South London Hollowman is now divorced from his most lucrative label signing with
XL Recordings. But Giggs’ fanbase never forgot about him, and a terminated label contract has seemingly done little to stifle the buzz around his name.

With Landlord, Giggs presents an album rich with pond-leaping trap-ordained production. Perhaps Landlord’s well-timed comeback is indebted to the pairing of the UK’s recent embrace of southern US hip-hop alongside the celebration of its homegrown MCs. Giggs’ vocal style – a slow, conversational flow that relies on charisma rather than agility – has always been more suited to spacious, US-style beats.

Landlord is a record of personal truths – all of which Giggs wears with pride. “I dropped Walk In Da Park, got banned from the radio,” he grumbles on Intro, before outlining how his flows smash up tracks and leave everyone “Pecky-narming.” Like much of the record, it’s his marrying of on-trend Atlanta-inspired drum patterns and slurry sub bass with an LDN vernacular that makes Landlord compelling.

Guest features are also a matrimony between homespun MCs and international acts. The hunger of Stormzy’s short lived 16s on The Blow Back make it sound as if it was his debut performance. Usher’s young protege Rico Love appears on the notably pensive Of Course. CasIsDead and Young Teflon play the perfect counter to Giggs’ sedated vocal interplay. It’s also a relief to see Ard Bodied partner Dubz make the occasional appearance, reminding us that the duo’s creative chemistry work is as strong today as it was eight years ago.

Yes, maybe Landlord relies on its guest verses to keep album propped up. But with his ability to ride heavy duty beats and flip between intimidation and playful humour (“She’s telling me I’ve got handsomi- tis”), Landlord reminds us that there’s depth to the Hollow- man’s craft.

Tom Watson