Beyonce. Drake. Skrillex. All of the following artists have defined a reputation for standing out as the household name of their respective genres. However, another common thread shared between the four heavyweights is Leven Kali, a Dutch-born singer-songwriter who has collaborated with each of them and scored a recording contract with Def Jam in the process.
Impressive accolades continue to pile up for the chameleonic producer, who’s set to grow his UK following with upcoming shows at London’s Oslo and Manchester’s YES this autumn.
Almost certain to diversify the setlist is his new EP, LK99: The Prelude, which features five tracks exploring Funk, Jazz, Indie Rock, and R&B in service of seeking companionship in a world shaped by a post-apocalyptic undertone. But has his decision to shift focus from hip-hop-adjacent grooves to a hazier, smoky psychedelic sound revealed a deeper affinity for genre-defying growth as he builds toward his third full-length album era?
https://open.spotify.com/album/5DOLO9rRo3YyKQcbYsrkqR?si=NJM8BYMJQr2C_mYYhsisIw
"Blackrock" begins the ambitious project with an outpouring of twangy, rhythmic late-70's guitar riffs and funk-inflicted, mid-tempo drum grooves.
Lyrics like "I'll let you decide how fast my heart beats" emphasize his sensitivity as the storyteller.
Imagine a collision point between Thundercat and Tame Impala, where walls of glistening distortion meet traditionally strident funk guitar licks—capturing the balance between compact drums and delicate distortion on the opener. A particularly potent monologue—"The CIA already got your mind, now whenever you open your eyes, all you see is AI"—stands out among the songwriting as a moment where flawed humanity pleads to overcome polished digitalism.
"In The End" follows with stuttering drums and sun-kissed bass guitar licks to maintain an easy-going energy. Lyrics like "Maybe it's the drugs, maybe it's the fame, I don't know what it is, but everyone's gone insane" reveal his strong thirst for companionship.
A fractured sense of harmony underpins the psychedelic production, mixed with an androgynous energy to capture a crisp character. The third track—"Sleepwalking"—is more strident in his quest for romance and connection.
Quick-witted rhythms shaped by reggae guitar loops, gentle bass drums, softly ascending synths, and steady kick patterns soundtrack this revelation. It's almost like Prince with an orange shower instead of a purple rain—trending towards a blues-inflicted '70s warmth while hybridising classical Black Music in effervescent reflection.
"Pieces" allows washing drum patterns, a brief dabble of harmonica, and shaded, muted guitar presence in the mixing to emphasize a sharper difference in tone compared to the less sorrowful cuts of the neo-psychedelic precursors found on the EP. Lyrics like "Don't give a piece of heaven to me, then kick me out of the sky" bring his elation down to earth, exploring the idea of having to regroup following a heartbreak, with a self-motivated motif of resilience when it comes to managing attachment with partners.
"Crystal Ball" is the emblem of assertion in his decision to act more carefully for the benefit of a partner. A scorching crescendo of liminal, weighty guitar melodies and more theatrical, chugging drums provides a piercing arrangement for this honest motivation.
"Are U Still" affords closure to the six-part adventure with less baggage and more passion. Lyrics like "Are U still in love, like I am" are upfront in their communication to a romantic interest, as he belts out his desire for freshness amongst hazy wah pedals and cooing harmonies.
The guitars showcase a subtle fragility, allowing a warm vocal bridge to drive the instrumentation forward in combination with tense drum riffs. A final splash of saxophone—a defiant solo to finish—is teasing a somewhat more organically jazz-oriented direction to be explored in his next studio LP effort.
Overall, LK99: The Prelude is a relaxed and blissful dive into psychedelia, hinting at a future where songs shift and evolve, with choruses that never repeat the same way by the time they reach the bridge. A smoky, funkadelic-loving energy moulds beautifully with his lyrical search for solidarity in an alienated society, while echo-laden production gives his funky, neo-psychedelic sound a more potent presence.
More clarity for the vocals, which are buried underneath layers of honeyed instrumentation, would give his lyrics a more central energy in the future.
However, it is immersive how Kali allows different genre elements to interact without overpowering one another. It is clear that he is gearing up for an eminent, seasoned future while nodding to funk's past purveyors, who have laid the groundwork for today's chart hits.
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