Woiii, guess who’s back!
After being AWOL for far too long, Cadell has returned on a whole next flex. With a fresh set of riddims to screw your face up to, you cannot help but acknowledge the levels, Cadell has seriously patterned in his absence. The project has been heavily inspired by Drill, Trap and R&B, and is an exposé of Cadell‘ s life on road, and within the U.K. music scene. Cadell provides us insights into the authenticity of his peers from both sides of the track, into his past in both arenas, and his future, as he sees it, in the music industry.
Cadell shares that he is ready to bless the scene, and do up music all the way, now. He comes with passion and drive from the off, and sits comfortably within the different genres and influences he has chosen. He has selected some excellent producers and beats, and the project is engineered to a an extremely high standard. Cadell projects himself making it in this ting, and and after taking in this project, you have to agree, he deserves to.
The Hotline 4 instrumental immediately makes you grin like a Cheshire Cat with its design. The Nokia ringtone is a quintessential British staple memory, and this has been fused with some crisp, skippy, drums and a heavy 808, all in a Drill tempo. Wordplay comes hard as per, with some grimey flows, and clear motivation in his voice, Cadell sets out his intentions immediately, sharing its family and crew all the way, if you weren’t on road with him, you’re not coming with him now, he’s sorry he kept quitting, he’s ready to collect the coin for all his people dem, and no one’s getting in the way. A wave.
Track 2 comes dark with it, utilising a slower beat and a haunting melody, mirroring the title ‘Risky’, we feel a distinct shift in style and tempo, towards trap. A soulful, threatening hook, sung by Ryan De La Cruz (UK r&B singer and actor, featured in Ill Manors), sets the tone for Cadell to come in and deliver hard hitting bars and flows to the instrumental, shelling about his sketchy past, and how shit really goes down in ends. Cadell shares his opinions on being stuck in the trap, being desperate to get that money, and wonders if it was worth it, but reminds us, he’s more than road, and he’s more than Grime, and he’s coming for everything, still. Fire.
Cadell completely switches it up with ‘That’s That’, Feat. Tike Turner. Coming with an emotive, created with a dreamlike melody and clean drums, complimented by Tike Turner’s soothing voice on the hook, juxtaposed by the content of the lyrics, and the police radio and sirens heard in the background. ‘That’s that’ is an all encompassing riddim that encapsulates life on road, sharing the pain of lost loved ones along the way, being caught in the trap, and forever chasing P, with Cadell delivering it in a way that can speak to anyone. Cadell also sings on this track, another hint that there’s far more about him, than we know. Deep.
The intro to ‘Docklands Light Railway’ provides much insight into both the caring and the rough sides to Cadell. Backed by a trap inspired beat, he talks about locking himself in the studio, his girlfriend having to wait while he mashes works, and he pays respect to all those he’s lost, calling them all out by name, along with all those close to him, that have been taken by the system. He later talks about mandem in the industry that he feels deserve some attention, showing heart for more than just himself. Later, when the riddim finally comes in proper (over halfway through the song), Cadell delivers some cutting bars, referencing the fakers, the wasters, the haters and telling man to stop always stepping for clout, when the mandem ain’t real. Cadell shows that he protects his own and shows no mercy. A duality played out well by the riddim.
The halfway point of this album, track 5, aptly titled ‘Cadell’, leaves no doubt that Cadell is E3 and road, through and through. With bars like ‘East London bubble and squeak, I do my sutting and skeet’, laid over a beautiful orchestral melody and some drilly drums, Cadell experiments with flows in a way that forces a little lean and bop, and doesn’t shy away from talking about his past, and doing up road, as he starkly contrasts himself against the fakes, and pop sell outs. Repping Bow throughout, Cadell shells that he’ll be making p from it forever, because he’s a real one. Cold.
‘Rrlegends’, Feat. Grimey & 3rd General, is a vibe, and unapologetically drill. A bass/kick heavy instrumental, with skippy snares/hi-hats, brass stabs, sirens, vocal samples, gun shots and clicks, comes alongside some hard hitting, gritty, and aggressive verses. With some devilish features from MCs Grimey and 3rd General, the whole song is an authentically patterned testament to life on road, securing the bag, never being caught slipping,and never going broke again. Hard.
2/3s of the way through the album, Cadell slows it right down for ‘End of Press Conference’. An easy going, almost R&B inspired beat, replete with underwater style bell melodies, which provides a different platform again, for Cadell, where he spits about the potential existence of God in relation to how he had to come up, and grow up alone, both on road and in music. Cadell determines that he will get to the bag for all his crew and his youngers, and feed them all. Wavey.
‘Every One Of You’ switches up on us again, with an upbeat, boom bap style instrumental and a heavy west coast vibe, which Cadell patterns with a nostalgic journey of gratitude. ‘Every one of you’ portrays such a heartfelt composition from Cadell, referencing how thankful he is for certain family members, friends and music scene peers he’s had along the way, and promising faithfully to do up the ting proper. Emotive.
Cadell closes the project with ‘Baby Show Me Your Demons’, a soulful, jazzy, laid back instrumental, he patterns with his views about love, music and the industry. He spits with a certain jaded weariness, about labels, flying solo, and gyal. Cadell is nothing if not brutally honest. Both wavey and cold, all at once, fully creative.
A raw, thought provoking, and carefully constructed insight, into the life and mind of Cadell, on road, in music, in his past and for the future. In 31 minutes he manages to give you a serious tour around his perspective on the world, his life on ends, and his plans for himself and all of his. The levels are consistent throughout; unwavering, yet experimental and hungry.
Level up Cadell. Cop it!