Mainstream rap is absolutely blowing up right now— new projects from A$AP Rocky, J. Cole, Baby Keem and more are all keeping us entertained— but never let that draw your eye too far away from the underground. Hip-hop is, first and foremost, a grassroots campaign, and rappers as charismatic as IDK always pop up when you least expect it. ‘Even The Devil Smiles’ is only labelled as a mixtape, but don’t let that dissuade you from checking it out: right here, we have an early contender for rap album of the year.

This new project from the London-born rapper is certainly brief, clocking in at a measly 35-minutes in length: rest assured that not a second of that time is wasted, devoted as it is to a whopping fifteen tracks. There’s little in the way of atmosphere here, save for the humorous phone dial of opening skit ‘JASON MiLLS’— once ‘HALO’ gets its groove on, IDK outright refuses to take his foot off the gas until the entire record has concluded. The mixtape exudes energy and charm, from its quirky samples to the rapper’s infectious mix of confidence and passion on the mic, yet also carries with it an ever-present darkness that just might make your skin crawl. If feature artists Joey Valence & Brae are a cheeky smile, IDK is the twisted grin of a serial killer— the title ‘Even The Devil Smiles’ perfectly captures the balance between carefree enthusiasm and sinister theming that defines the project, which never quite lets you get comfortable in its sound.

Right from that opening skit, IDK’s latest mixtape makes jail time a recurring motif: at times, it can feel like the rapper is spitting bars from within his cell (and if he is, he’s probably making even the likes of Hannibal Lecter nervous). The tales of self-indulgence and crime throughout the mixtape aren’t so different from what you might hear on your average trap album, but they’re delivered with an unsettling amount of glee— from the top of ‘HALO,’ the man is discussing the manner in which he’d like to commit murder, and the rest of the project doesn’t let up as far as misdemeanours are concerned.

“If I was a killer, I would be like Luigi

Do it real clean, treat the strap like a squeegee

Everybody f*ck with you and everyone needy

How the f*ck we put the co-exist when everyone greedy?”

IDK’s clearly aware of the twisted nature of the character he’s portraying here, as evidenced by the title of ‘MISOGYNISTICAL’ on a track detailing the rapper’s grudge with a past love of his. What makes ‘Even The Devil Smiles’ so thrilling is that he’s able to spell out these questionable actions and warped perspectives, but keeps them just far enough away that they don’t grow uncomfortable. The mixtape walks a tightrope, and it does it expertly— these songs feel like a host of exhilarating heist movies, narrated by a rapper who simply exudes charisma at every turn.

“I'm like a boomerang, I might call you my boo today

But when tomorrow come, I'm finna get your *ss a Uber, bae

In order to f*ck, you gotta act like you her friend

Meanwhile, I do not have the patience to pretend”

A character this extraordinary deserves the musical backing to match, and IDK’s mixtape more than delivers— our central performer surrounds himself with a host of guest features that, though many are more successful than him, feel like goons sent to do his bidding. The aforementioned Joey Valence & Brae fit in seamlessly on the comical beat of ‘CLOVER,’ going toe-to-toe with IDK himself for sheer energy and aggression: the song transitions between a modern pop chorus and filthy bass-heavy production that, somehow, both suit this tale of outright villainy. Speaking of, the late great MF DOOM also has a posthumous feature on ‘FLAKKA,’ making his dominating presence known through a scant few bars sprinkled throughout the cut. Looking at a list of guests that includes the likes of Black Thought and Pusha T, you’d think that IDK was one of the best-selling artists in the world. The rapper is clearly selective about who he works with, and that process of curation has absolutely paid off: ‘Even The Devil Smiles’ is the definition of a no-skip record.

The mixtape feels like the highlights reel of another album, punchy and consistent as it can often be. Most tracks flow effortlessly into the next, keeping the pace at an absolutely breakneck speed at all times— really, the project is nought but great idea after great idea, each in rapid-fire succession. ‘HALO’ features the first of many ear-worm hooks, which go on to define cuts like ‘DEViL,’ ‘P.O’ and ‘EVERYONE KNOWS :)’— the balance between accessibility and pure hip-hop madness feels finely tuned to keep you enthralled, always questioning where we might be going next. It’s also no accident that IDK flaunts a host of incredible beats throughout the project, indulging in the detuned eeriness of Conductor Williams and the inspired choices of No ID regularly. At times, the rapper can sound like an early Kanye, especially with bars as tongue-in-cheek as “I had dreams of f*ckin’ an R&B b*tch…

then I f*cked an R&B b*tch.” The beat selection on offer, from the hushed a capella of ‘CELL BLOCK FREESTYLE / CD ON’ to the classic samples of ‘LiFE 4 A LiFE,’ is near-flawless.

What else really needs to be said about a mixtape so overflowing with promise? IDK’s penchant for the uneasy lends itself to a record that, despite its creepy cover and dark lyrical motifs, is best enjoyed with a massive grin on your face: it’s simply a montage of excellent ideas, hitting you over the head again and again and again. ‘Even The Devil Smiles’ evokes a similar feeling to 2004’s ‘Madvillainy,’ and not just for its MF DOOM feature— that should be all you need to hear.