Amidst a political climate that seems so frenetic and divided, the art we engage with is forced either to grapple directly with the issues plaguing the world, or to offer us a relief from those problems… or, in the case of Genesis Owusu, a hearty mixture of the two. The Australian rapper’s work has always walked a thin line between cutting social commentary and uplifting escapism, delivered through a constantly-shifting musical lens. New record ‘REDSTAR WU & THE WORLDWIDE SCOURGE’ may be his most ambitious to date.

Owusu is grappling with massive, life-altering themes on his new project, criticising the power structures and social conventions that cause so much strife in the modern world, but aside from the harrowing ‘THE WORLDWIDE SCOURGE’ (which feels like a stark dose of reality after the sunny ‘FALLING BOTH WAYS’), he’s exploring them through tongue-in-cheek references and comedic jabs. ‘RUNNING OUTTA TIME’ does declare that joy is “an act of resistance,” and this record is hardly short on cheery instrumentals and characterful arrangements: opener ‘PIRATE RADIO’ is a full-chested condemnation of America’s political elite, wrapped up in crunchy boom-bap drum loops and skittering electronic textures.

“Elon's a f*ckin’ weirdo

Who gave these incels moolah?

Spit out your threats and slurs, kid

I'll show you something crueler”

‘RESTAR WU & THE WORLDWIDE SCOURGE’ is nothing if not diverse, stringing together influences ranging from smooth funk and soul to rebellious punk and hip-hop— the glue that ties this record together is the endearing character of Owusu himself, as well as a feeling of heart and community that runs through each track. The warm synth tones and infectious Ladyhawke-backed hooks of ‘FALLING BOTH WAYS,’ as well as the sitcom outro music of closer ‘ONE4ALL,’ are just a few moments where the record preaches love and respect above all else, painting the album as a whole in a fairly optimistic light. There’s a hell of a lot of fun to be found here, almost in spite of the upsetting state of the world, and that’s entirely the point: Owusu invites you to bounce around to the echoing blasts of ‘STAMPEDE’ and the racing hi-hats of ‘LIFE KEEPS GOING,’ and it certainly doesn’t hurt that both cuts are thoroughly enjoyable on their own merits.

If that is the motto we’re working with— “joy as a form of resistance”— then the album is tasked with keeping you on your toes right up until the end: it’s for this reason that it may be Owusu’s most ambitious outing thus far, as the rapper throws in a ridiculous number of musical twists and turns to keep the spirits high and the album energetic. Sneering punk riffs play a major role in some of the project’s most boisterous moments, and even if they can become a little monotonous in their repetition, there’s nonetheless something endearing about the furious guitars on ‘MOST NORMAL AMERICAN VOTER:’ and ‘DEATH CULT ZOMBIE.’ They’re certainly a far cry from the smoothest material you’ll find on ‘HELLSTAR,’ for instance, a number defined by its lazy tempos and rich funk instrumentation. What’s really staggering isn’t necessarily the readiness with which Owusu incorporates such a range of styles, but the adaptability he flaunts in doing so— ‘BLESSED ARE THE MEEK’ and ‘LIFE KEEPS GOING’ shouldn’t work back-to-back at all, but somehow, they simply do.

That’s not to say that ‘REDSTAR WU & THE WORLDWIDE SCOURGE’ hits it out of the park every time, of course, but its tracklist does manage to remain impressive for the most part. Owusu treats the sobering themes of ‘THE WORLDWIDE SCOURGE’ with the respect and gravity they deserve, slowing the record down to a cinematic collection of impassioned verses and grim drum loops that’ll really blindside you on first listen: though most of the album deals in important topics, this is the song that isn’t pulling any punches. As it progresses, the project goes to increasing lengths to maintain its uniqueness, playing those punk riffs off against electronic soundscapes and even a full-on dance break on ‘BIG DOG.’ It’s here that the wheels do begin to come off, as the straightforward songwriting on ‘SITUATIONS’ and the bafflingly mishandled ‘4LIFE’ demonstrate, but even if this final leg isn’t as striking as what came before, it’s hard to argue that Owusu doesn’t stick the landing anyway. Somehow, through it all, the man makes it happen.

‘REDSTAR WU & THE WORLDWIDE SCOURGE’ is many things, and most of them are great: it’s a fiercely rebellious record, a poignant meditation on the world at large, a daring musical journey, and a funky-as-all-hell listen for the summer. Owusu takes some big swings here, and the vast majority of them pay off in a big way— more than anything, you can feel the passion pouring out from an album preaching community and love.