Collecting work from considerable talent, Vince Staples’ fantastic sophomore LP Big Fish Theory is a puzzle of rich, disparate dance influences – and no one’s in a hurry to put the pieces together.
Opener “Crabs In a Bucket” takes a minute to morph into witchy UK garage. The rapper’s eventual appearance scans as fleeting, though he ably fires back at white supremacy: “They don’t ever want to see the black man eat / Nails in the black man’s hands and feet.” In its final lap, the track goes for broke with a come-hither verse from Kilo Kish.
Even the swaggering crunk of “Big Fish” (“Counting up the hundreds by the thousands”) gives way to a rug-pulling soundbite from the late Amy Winehouse. Carried by pitter-patter percussion, “Alyssa Interlude” tastefully ties the beloved singer’s death to a loss that’s closer to home for Staples: “Sometimes, people disappear.”
Swerving from ex-svengali No I.D (producer of 2015’s Summer ’06, and this year’s 4:44 by Jay-Z) and his stark experimental hip-hop was a gallant move by Staples.
There’s myriad collaborators and guest artists – fellow Comptonite Kendrick Lamar, Damon Albarn, ASAP Rocky… – on board, but with just five credits, it’s Staples’ longtime friend / first-time creative partner Jack Sekoff who sets a clubby template for the 12-track set. Under his guidance, Big Fish Theory oozes like a Class A.
The clacking hip-house arrangements of “Love Can Be…” and “Party People” leave ample room for Staples’ smartass flow. He piledrives the political elite with quips like “Propaganda / Press pan the camera”, and on “BagBak”, incites a social revolt the youth could really get behind: “Tell the president to suck a dick / because ‘we own ya!’”
Marrying SOPHIE’s unnerving cacophonies with Flume’s frosty future bass, “Yeah Right” is a veritable haunted house of a song. Rusty tin can drums, earthquaking bass and Kendrick Lamar await Staples in the shadows, but still he barges through. That he comes out fighting on the other side is testament to his intrepid nature.