South East London rapper and singer, ENNY has finally released her highly anticipated debut EP, Under Twenty Five. On the 21-minute long project, the talented songwriter plays the role of a storyteller through her lyrics. The songs on the 7-track extended play are a reflection of the artist’s journey – especially in her early 20s. Through this project, ENNY touches on the dissatisfaction that came with working 9 to 5, the anxiety of getting older, and her musical journey so far.
Under Twenty Five includes previously released singles like the Black Girl anthem, “Peng Black Girls,” “Same Old,” and “I Want.” Speaking on the release, she shares, “I hope everyone that listens is able to feel the love and care that’s gone into crafting these songs because it’s not just mine, it’s ours and just the first of many.” To celebrate the release, ENNY has given EARMILK an exclusive dissection of the EP. Listen to the masterpiece below, and read along to the soulful lyricist’s words on each song.
"Same Old"
This Is the first track on the EP. It was the first song I had a session on and was made on the day I quit my job. I watched Paya Joe beard and Casper miles build this groove and just sat there in awe. I feel like the song is the ‘establishing shot‘ of the project- the busy life or mind of someone from London. You go through all these things from work to dodgy romance to bills, seeing gentrification and bad governing , you’re stuck in this constant cycle of seeing the same old things. But in the end, you kind of have this breakout moment where you’ve had enough and you quit that job or you leave that guy or just go out on a Friday night and turn with a few of your friends.
"I Want"
“I Want” Is the most upbeat track on the project. It’s just about good vibes and going after what you want. When I wrote the song, I was writing about the things I wanted at that time without putting a filter on like a “If I won the lottery’ scenario . I like to see it as a manifestation tune though I dislike the term. Its' the first song Paya and I collaborated on his production really brought the record to life.
"Malibu (ft Kinkai)"
“Malibu” Is my favourite track on the EP. It was written during the first Lockdown, I’d been suffering from writers' block and not really writing. I remember the sun was beating down and I was outside for my one legal walk and Paya sent it through and I just remember walking by the river and writing my verse and thinking this is the final track to add to the EP and I knew it needed Kinkai. Initially, Paya hated his production on it but he worked on it and had some other sick instrumentalist bless it with some vibes till it became this master piece. It feels like the coming-of-age moment on the project.
"Keisha's and Brenda’s"
Is social commentary that touches on speaking up and finding your voice in a world that often silences victims of assault. The song was produced by Paya and is the most cinematic production-wise.
"Peng Black Girls (ft Amia Brave)"
The song for my gyaldem! “Peng Black Girls” is an essence of being Under 25. It just feels like a time in my life of being a teenager growing up, Southeast London friends' family and culture. Its reflection of how we grew up and I wanted people to feel it too.
"Under 25"
I like to think of the song as the end of the beginning. This song inspired the whole EP. When this was written, doing music full-time was just a dream a hope. The song is following the journey of having that moment when you realise that you don’t have all it together you don’t know when you will but then to accept that it’s okay that you don’t. Society’s pressures on where you need to be in life are unrealistic and damaging and the sooner you breakout from that the clearer, you’ll see.
This track is my second favourite the production is crazy the feeling I get whenever the drums come just make me feel like I’m in the last part of a movie.
"Revision (2011)"
“Revision (2011)” Is the first rap I properly wrote in secondary school it was only right I put it on first body of work. It’s like an ode to my younger self.
