It's always refreshing to hear a young hip-hop artist debut strongly, and that's exactly what YC the Cynic (now known as Kemba) does on GNK. The Bronx rapper is clearly a student of the classics, as there is a litany of references to artists such as Tupac, A Tribe Called Quest, and Biggie. GNK is not something to put on during a party - the album is mostly dark. YC the Cynic's rapping and producer Frank Dank's beats are both mostly ominous or introspective.
The instrumental palette does lean towards one mood, but there is enough variety to keep the listener engaged. GNK begins with "The Pacs", which is the closest it gets to traditional boom-bap and ends with "Being God", an atmospheric and hazy number without fast-paced, hard-hitting drums. The murky keys in "Know It Alls" and the flutes of "Molotovs at Poseidon" make both beats great. Despite the quality of the production, YC the Cynic himself is the highlight of GNK.
The lyrical content of GNK ranges from god complexes ("God Complex"), calling out critics ("The Heaviest Cross") and tackling issues in hip-hop and the African-American community. "Murphy's Law" is a standout track that comes with a criticism of the vapid nature of a good portion of popular hip-hop. "The N Word", is a beautiful song where YC the Cynic opines on the eternal debate over the use of "nigga". He takes the Q-Tip side of the debate, questioning that "if changing a bad neighborhood to be good is good, then why isn't changing bad words the same thing". Even with this focus on social commentary, YC the Cynic sounds just as impressive in the battle-rap context, which can be heard in his impressive performance in "Molotovs at Poseidon". GNK is a great debut album that shows much more than potential.
