Kemper Grant’s Music ‘Jungle’ Album Review

The music industry is saturated right now with so many talents. More often than not, it’s challenging to find one’s place in the crowd, something that’s especially true with new artists. Like an arena, only the best survive—and the industry isn’t a place for lazy artists.

While I still maintain that good music is no more—lyrically gone with the music fathers and mothers of the 80’s and 90’s—we still can’t deny the fact that the 21st century has some of the most venturous and creative musicians, although what majority of them sings is pure mumbo-jumbo.

So, when Kemper Grant drop his debut album tagged “Jungle,” and I was once again tasked with the mandate of reviewing this piece, the first thing that crosses my mind was, “Can any good thing comes out of Oklahoma musically?” Of course, I have to answer that all by myself.

So, I took Kemper’s Jungle to the musical theatre, dissected every bit of the 8-track album (which isn’t a bad start for an upcoming artist), and here is the verdict; Kemper’s Jungle album is…….Uhm. Let’s get to each bit of the track.

Caveat: Don’t forget that this review is based mainly on the lyrical postulation (60%), the underlying message (30%), and the beat (10%).

If you didn’t find this review helpful, at least you did know the direction it took.

Let’s get it.

Kemper’s Jungle Track-by-Track Album Review

Track #1. All Day All Night

The first track of any album is always the most important. Get it wrong, and 3 out of every five listeners won’t hesitate to press the next button. All Day All Night isn’t a bad opener by any stretch of the imagination. I like the way Kemper started with the sweet and engaging vocal melodies. The way he places and controls his tone added a vibrant and sensual signature to the overall sound. In a weird but thrilling way, Kemper’s vocals remind me of Craig David’s. The track’s sound is modern, and the production is purely hinged on high-level.

While there is no real captivating hook on the lyrics, the rap correlation by Young Polo (I wondered if he’s a Polo player) added fire to the overall rendition. You can’t take it away from the track’s opener, considering it’s a multifaceted piece of work. This should make it to current pop radio stations.

Good job, Kemper.

Track #2. Blind

Spacey, smooth sounds flowing on a sequence of rapid, staccato bars of melodies heralded this track from start to finish. The featured female vocalists didn’t disappoint either, as she perfectly complimented Kemper’s vocals. While this track lacks the first track’s commanding anthem, it passes for good melodic listening when you’re on a lonely road reminiscing.

Not bad either.

Track #3. Electra 

For the first time, kemper Grant started showing off his skill in different sounds and vibes. Electra up the ante with more fast beats, synchronizing the lyrical mentioning of “Electra, Electra” amidst a quick break in between the chorus and electrifying guitar flow beats. This track is truly engaging. No doubt.

Track #4. Hold My breath

Hold My Breath introduces a whole new different sound. The ominous sound that follows the pause in between lyrics and beat at each “I can’t hold my breath” stage, it’s a little creepy but reassuringly engaging at the same time as an emotional ballad anthem. The soul vibe that underlines the track and the progressive interval beats further make the clear vocals of Grant and lyrical rendition meaningful and thrilling to the listener. Sorry, this track is even better than the opener track.

Track #5. Uber Ride to Cry

Solid pop and disco elements give Uber Ride to Cry a catchy beat that is remarkably enchanting. The synths on this one are heavy but amazingly not sonically overcrowded. Going by the title, you might think this song is one of those depressing stuff, but how wrong I was. The vibes are professionally carefree, and the vocals on their own are heavy, giving a great touch to Kemper’s vocal structures.

Track #6. Round-A-Bout

Smooth guitar blues orientation is what Round-A-Bout brings to its listeners. The lyrics are smooth and picky, and for the first time, Grant’s vocals sound a bit different from the previous track. It is a classy bluish anthem with titbits of rock ‘n roll on the overall touch.

Track #7. Place to Park

Place to Park elucidate a funky style rendition that touches on a relationship whose chemistry and solid dynamism are marred by much strain, thereby forcing slow down. The lyrics and beat drive a wedge between expectations and reality. It’s not a bad one either.

Track #8. The Image

Classic Pop and R&B intertwine to create a fast-paced vibe and melodic synths that make this track a wild-night, party anthem. The percussion that sums up this track is something anybody who loves such music can vibe to at any time. It was a neat way to close a nice album. Kemper uses this track to send out a clear message that he is in the business to sing, not to mumble like the many mumbling bunches we have today.

Overall, Kemper Grant has displayed his musical talents on this album, but he will need to maintain the momentum and stay consistent if he wants to remain relevant.