While the English musician has occasionally flashed a deft hand as a hip-hop producer, we’ve never heard anything quite like these instrumentals from him. and Dahi push past their own boundaries here, Prima Donna’s two most adventurous beats come courtesy of James Blake. “Loco” matches Staples’ breathless narration of his descent into madness with shrill glissandos more importantly, it contains some of the EP’s most richly evocative lyrics (“I’m in the black Benz speeding with my black skin gleaming” is a whole poem in a single line).Īs much as No I.D. “Pimp Hand” sounds like a heart monitor wired up to a trunk full of muffled subwoofers. “Smile” is practically a rap-rock song: fuzzed-out bass, a steady guitar upstroke, an unapologetic solo in its midsection. and DJ Dahi return to produce the bulk of Prima Donna’s tracks, though their mandate this time around seems to be sonic experimentation. Far from an effortless victory lap, Prima Donna finds the rapper veering off in a number of different directions in search of new sounds to bend to his will. Still, while Staples might have just cemented his aesthetic, he’s already looking beyond it. Despite the impressive array of producers who worked on the album (No I.D., Clams Casino, DJ Dahi, Mikky Ekko), Summertime’s feel was uniform, a creaky, humid canvas on which Staples painted his morally ambiguous street tales.

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