B Fhukken Have’s new single “Babyfood”

If you’ve been following the American hip-hop underground in the last couple of years, there’s a pretty good chance that you’ve already caught wind of some of B Fhukken Have’s music, but with his new single “Babyfood” getting ready to drop, it’s awfully hard to ignore the buzz that his work has been attracting in 2019. In the song “Windy City,” listeners witness a five and a half minute journey from the simplistic to the swaggering beset by elements from across the hip-hop spectrum fused together in an elegant patchwork of beats and melodies, but the layered sound never generates confusion amongst a casual audience. Other tracks like “Beef Stew” and “XIXXCI” are even more elaborate in structure, but their literate lyrics make them come across as being so much more homespun than a lot of the similarly stylized songs I’ve heard in 2019 have. Whether he’s getting cinematic with us in “Resurection Paradise (Beef Music Mix)” or tapping into effervescent harmonies with a seamless command in “Babyfood,” B Fhukken Have has come to take his throne atop the contemporary rap syndicate, and he’s acting like it in most everything he records.

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The instrumentation is just as important as the lyrics are in telling a story for B Fhukken Have, and never is that more true than it is in “Resurection Paradise (Beef Music Mix)” and “Beef Stew,” both of which take off from highly evocative melodic introductions that linger in the air long after the verses have started to pummel us. All five of the songs I’ve mentioned focus us towards empowering a mood more than they do a specific plot, which is quite an oddity among modern rap songs but nevertheless translates brilliantly here. By wearing his heart on his sleeve with us, even when it would seem prudent to put up a front and act the part of a mainstream MC, he dismisses the very notion of throwing away the honest components within his music. It feels like B Fhukken Have has something really important that he’s trying to tell us beyond what he’s discussing so fluently in “Babyfood” and “XIXXCI;” he’s a wizard with the waves of harmony and percussion that he manipulates into rhythmic grooves, and his readiness to bare it all to us is, at least from where I sit, something to be treasured among rap fans.

He’s still got a little room for growth, as does any artist just setting out on the path to superstardom, but B Fhukken Have is a performer, songwriter and poet that the hip-hop underground needs to be taking very seriously at the moment. There’s not on instance in “XIXXCI,” “Babyfood,” “Windy City,” “Resurection Paradise (Beef Music Mix)” or “Beef Stew” where he gives us any reason to think his work isn’t the real article, and although I think that he needs to stay on the same aesthetical trajectory he’s on with this group of songs, I can see where it would be incredibly possible for him to experiment with his sound’s parameters and still retain a sense of self in future recordings. Anything’s possible right now, and B Fhukken proves that in every one of these mighty melodies.

Samuel Pratt

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