Best Kept MTL presents: Bad Nylon | Freshest Hip Hop Collective! #MusicMondays
Bad Nylon don’t sing, they rap!
Formed in 2015, Bad Nylon has been hard at work releasing EPs and singles, all the way to their latest album bébé, t’es unique. Driven by the creative forces of ZOZ, DJ Audrey Bélanger, Marie-Gold and Kayiri, the group hasn’t kept quiet on the road to their stunning new record. The band’s constant ability to subvert expectations in the genre, while leaning into some of hip hops more eccentric tendencies wholeheartedly. While we’re looking at their latest work today for Music Mondays, you have to do yourself a favour and check out their previous mix-tapes.
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While the group’s previous releases have a hunger and vicious energy that makes them really pop, they really sound like they’ve matured on bébé, t’es unique. As they open their album on a crisp ride through a Montreal elevator, you feel like you’re being brought to a new space as you enter the lo-fi swagger of “Girl Gang.” Throughout the album they never shy away from satirizing rap, like when they get in trouble with the cops for stealing the show. It’s the sense of space and mood on the album that really sets its apart from their previous releases however as tracks like “Palm Bae” and “Saint-Colomban High I” create a clear location in your mind.
They’ll lull you into the dreamy video game-inspired grooves of “Projet Principal” before pushing the their beat-work into more abrasive territories. While the sound of something like “P.C.G.” is overtly aggressive, it feeds into their hilariously self-aware style as they explain they can be tough without needing to be mean or uncivilized. They also present an intimacy and vulnerability on their softer interlude tracks that really reveals a lot about the group as people, showing their humanity outside of the rapping.They mix as much nineties influence into their sound as they lyrics as well, making many tracks on the album feel like a dissection of everything the members grew up on. While it can be disorientating to hear a dance beat like this on the self-deprecating humour of “Late Child,” they actually lean into the sound and deliver some cheeky harmonies over the chorus. They equally abstract on their ambitious album-closer “Rappa” as they try to redefine what it really means to be in hip hop over explosive guitars and beats.
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