Beautiful and Brutal Yard, abbreviated as B.A.B.Y., from BRIT Award-winning British rapper J Hus, is more than a mere collection of songs; it's an intricate tapestry that weaves together various thematic, cultural, and musical strands forming another unique statement in the country's ever-evolving rap scene.  

Following the success of 2017's Common Sense and 2020's Big Conspiracy, B.A.B.Y. album sees the East Londoner attempting to navigate some new thematic terrain. In fact, the album's title captures the dualism (and often, contradictions) present throughout. Across the offering, J Hus indeed blends beauty and brutality, dancing between romance and violence, never shying from explicit content.

B.A.B.Y. starts with a rejuvenating opener, Intro (THE GOAT), which hints at complex themes that unfurl throughout the record with references to past legal troubles to triumphant moments on stage. (“My third day in the jailhouse, I got rushed, had to hold a L / Next day in the holding cell, caught a pussy got his head buss"). Meanwhile, tracks like B.A.B.Y., the socially-pondering Masculine, lead single It's Crazy, and the bold, symphonic Bim Bim bring fresh and undulating energy. Elsewhere, tracks like the crude Alien Girl offer a perfect encapsulation of the J-Hus' thematic duality ("She calling me dada after I gave her the alien dagger / Your alien bunda got fatter").

Musically, the album strides through dancehall, Afroswing, and drill. A slew of collaborations with Burna Boy, Villz, Boss Belly, and Naira Marley each add a respective depth to the album's character. In an album highlight, Jorja Smith's feature on Nice Body also brings a twisting peril in its ode to intellectual stimulation (“I like you for your mind and not your nice body”) .

Then there is the partnership with Drake on Who Told You (anointed as a “song of the summer” by many). Though it might divide opinions, the track echoes the Toronto megastar's shared history and love for U.K. culture, despite questions about its necessity ("So Lilah Pi, don't make my eye cry / Let me hold your controlla, I am not one of these controlling guys"). Nonetheless, the feature is part of the album's broader tapestry.

Lyrically, J Hus showcases his dexterity and unapologetic candor, weaving intricate narratives that range from mundane to damn-near extraterrestrial. The cultural dimensions of the album are also striking. His Gambian roots and storytelling mastery seep into songs like Come Gully Bun (Gambian President), where he raps in Wolof. ("We used to all eat from one pot, we called it benachin / Or some times it was supakanja / When I walk into the room, they say, Ayy way Samba / I'm lookin' for a sexy jangha, lookin' for a sexy jigéen").

From a production standpoint, B.A.B.Y oscillates between innovative creativity and occasional hesitance. Produced by Stormzy and AJ Tracey collaborator T.S.B., it nevertheless ventures into new territories. Still, B.A.B.Y sometimes seems restrained, falling short of the synergy achieved with producer JAE5 in previous works. While some may miss the "bangers" of JAE5, others will appreciate this album's reticence and nuanced portrayal of J Hus's dualistic world.

For listeners, the album engages, challenges, and occasionally confounds. Its willingness to embrace contradictions, delve into personal experiences, and experiment with sounds offers an immersive experience that speaks to J Hus's evolving artistry. Though the album's blend of elegance and raw intensity may polarize, it pushes creative limits while preserving the controversial artist’s core identity. Rather than merely being an auditory experience, it's a compelling invitation into J Hus' world. For those willing to delve into its layered narratives, intricate melodies, and sometimes extreme content, B.A.B.Y. promises an engaging journey from an artist in command of his art.