After setting himself up with a number of diverse singles throughout 2019, Baby Bari has cemented a secure spot as one of the underground’s most daring and promising acts with his newest project Grudge

Rather than establishing any sort of pattern or cohesive trend with his overall sound as the typical artist in his situation would, Bari definitively takes his own route by showcasing what can only be defined as his full scope of sonic diversity. This notion is illustrated by admiring the structure of the EP itself, as it displays 4 distinct tracks all with drastically different styles. 

As short as the project is, it certainly takes the listener on somewhat of an emotional and stylistic roller coaster.

It kicks off with the only song that could serve as the opener, that being “Kill la Kill.” Not only is this the most upbeat track on the project, but it is also arguably its most unique and raucous offering as well. The song is saturated in an early-2000s R&B groove, and it is highly reminiscent of that era’s signature feeling in both lyrical content and sound structure comparatively. Without question, this is a single unlike any other this year. It calls back to a time and sound that has yet to be fully revived yet — one that the general public will be desperate to hear more of as the 2020s approach. 

“You Know I’m No Good” follows in the tracklist, and for those familiar with Bari’s previous work, it will be the most familiar sounding out of any of these tracks. The focus on guitar work – both acoustic and electric – along with the lyrical themes presented are really what he has built himself up on thus far in his career. 

With “Choke”, another guitar-centered instrumental is introduced, yet this one differs from the former due to its slower pace and chorus-filled atmosphere. This is the crooning ballad on the project, and both Bari and the lone feature on the project Pink Contrails make the track the most directly thematic one out of the entire track list — centering in on a particularly bad relationship and its corresponding consequences. 

The project concludes with “Untitled” — the only fully acoustic offering. Channeling lyrical allusions to Frank Ocean over a solemn and moving riff, it is the ideal way to end this already wild ride. 

This EP is just the start of what should be a lucrative future for Bari. As diverse as this entire experience is in its entirety, four distinct tracks might not even be half of his stylistic repertoire. Even still, these songs give a compelling impression unlike any other in its wake.