Keyon Christ has been bubbling as a producer for years, having supplied the beat for Kanye West’s “FML” on The Life of Pablo. Now, he’s trying to make a name for himself on the mic, and the Yeezy influence is evident on his EP, They Don’t Want Us.
The project showcases potential but is bogged down by warbling vocals and cluttered production.
Keyon is more emo than aggro on They Don’t Want Us, and though this is nowhere near as refreshing as it may have been a decade ago, his comfortability in his own skin is commendable. And yet, the package in which he presents himself often mars artistry that showcases glimpses of excellence. His urgency and conviction on “Why Me!” elevate the lyrics beyond a typical pity party, as he declares “I’m over the sorrow, I’m over the pain.” But, the lyrics get lost in an industrial beat that is crowded at best and an ear-sore at worst.
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Similarly, “Something Says!” finds strength in relatability as he declares “I’m so sick and tired of being sick and tired,” but poor mixing results in a slog of a beat that hinders the power of his sentiments. Cuts like these are frustrating because they offer flashes of what Keyon could be if he tied it all together.
On such a musically-driven EP, the finest songs are when Keyon keeps it simple. “Nights Like This!” features a simple drum pattern and hand-claps, allowing the artist to showcase his impressive vocals. “Right now I need someone I can call on nights like this, this, this,” he sings, and once again taps into his accessibility. The cut is one of the strongest on the project, right alongside “Unfuckingfortunately!,” which belies the strong chemistry between Keyon and Vic Mensa and leaves anticipation reasonably high for their upcoming joint release.
Keyon is courageous in his willingness to bear his soul, though there are times where his sentiments are downright shameful. “When You Did Drugs!” details a girl he liked better when she was stoned, as he flatly tells her. Hip Hop’s, and the country’s, drug epidemic make his words flat-out shameful and make the track immediately skippable.
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Keyon hasn’t quite carved out his sense of identity yet, though he comes close on the title track. The cut is a lament over “they” – presumably, society – not believing in him, his peers, and possibly his generation. The track will painfully hit home for any millennial inheriting this nation’s mess and being told they’re the problem. The bounce of the production flirts this track with anthem-status and is almost enough to elevate this EP past its flaws. If nothing else, it shows the promise of what’s to come.
Until then, though, They Don’t Want Us stands as an uneven production by an artist still finding his voice.
