Though his physical mask stays on, Tageel (Instagram) peels back layers of his persona on his debut album ‘Kitab,’ exposing a vulnerability and emotional depth that was previously hidden from view. The Sudanese rapper takes us on an immersive journey with this 13-track sonic exploration. The album shifts effortlessly from the intensity of drill and trap to laid-back melodies, with a buoyancy that keeps the energy fresh and surprising.
To be Sudanese is to be born with music in your soul. It’s an intrinsic part of our genetic making and resistance in this case, is futile. This passion burned in Tageel from childhood, nurtured by a family steeped in music. Composers, poets, musicians – their influence shaped the artist he is today.
During his university years in Turkey, he fell hard for hip-hop. “Rap music resonated with me in way no other art form has” he says. “I obsessively paid attention to flows and beats, I loved the freedom and I think rap is one of the most honest forms of expressions, musically.”
Kitab embodies that freedom. Tageel refuses to be boxed in, effortlessly switching between genres while staying true to his Sudanese lyrics and sharp penmanship. “I really want to show people what I can do musically. I’m only getting started.” He collaborates with an impressive roster of 12 producers, many of them rising stars in their own right, and although producers work behind the scenes, they serve as the true architects of sound, skillfully challenging rappers to explore new realms.
The album explodes with Wd3vtif and Husvwvibes’ cinematic string arrangement on “House Party,” eagerly building anticipation for the beat drop. Catchy yet light in Tageel’s lyrical approach, it is the perfect balancing act for an intro track. However, the shift in Tageel’s lyrical prowess is immediately felt when we move onto the second track “Buffalo.” His delivery over Cymona’s classic drill beat is focused and powerful. He fully embraces trap on tracks like “Da Ana” (produced by the rising Sudanese star Toohaa) and “Nana” (courtesy of Drwes), his playful cadence reminiscent of early Atlanta trap artists. Delivering his verses with a laid-back demeanor. “It was fun, I haven’t had the chance to dabble in trap previously but with Loop and Nana I feel like I really nailed it.”
There’s one track in particular that caught my attention – “Bashkatib.” The track is titled after one of the nickname’s given to the late great Sudanese music icon, Mohammed Al Amin. Produced by 06 and Mazin ‘Cheese’ and featuring soulful background vocals by Sudanese singer roTation, the song is a two-part journey. The first half finds Tageel baring his soul. His vocals are raw and honest, conveying a sense of frustration and defeat. These feelings were especially palpable in lyrics like “دقي يا دنيا كسري المنيه حطمي شراعو” and “سجاره ورا سجاره بي افكارنا نتجارى”.
Then, with a dramatic shift in the beat, a transformation occurs. Tageel unleashes a torrent of intricate wordplay, his confidence radiating through his sharper delivery. It’s as if a different side of him emerges, one brimming with self-assured swagger. The smooth transition between these contrasting sections keeps listeners on their toes, surprised yet enthralled by the unexpected turn of events.
“Najma” offers a soulful respite from the album’s harder-hitting tracks. Featuring the velvety harmonies of Sudanese singers Mvndila and MaMan, the song finds Tageel’s own voice nestled in-between delicate melodies. Each artist lays their vulnerabilities bare, each infusing their distinct sound, rendering this track a stunning synergy within the album.
Kitab concludes with “Sk3IB”, a track that nods to Tageel’s debut single “Bl3ks,” produced by MOSAUCE. Tageel’s opening verse in the outro begins with “انا الكتاب الما بتقري، البقولو ليك في الراب، ما بتحكي”.
كتاب here is a double entendre, one for Tageel as a person and one for Kitab, the album. The rapper invites listeners into intimate parts of his personal struggles, the feeling of never being fully settled in one place, having lived most of his life as a nomad from city to city, and not being able to return home. A soul-crushing feeling we all know too well. Tageel then proceeds to say قريتها ليهم عكسيه and then begins to rap the last few lines to what may sound to many as gibberish, but really, it is a clear nod to Sudan’s street culture. Tageel speaks in a type of randok (slang) that is being made popular through Sudanese rap and a big part of Tageel’s personality and self-expression. He concludes the outro by doubling down on what he initially established during our conversation by saying: بادي بادي لسه, باقي باقي دي تيسته Kitab is only the tip of the iceberg.
Tageel shares his struggles – the rootlessness of a nomadic life, the ache of being unable to return home. Yet, he ends on a defiant note. Much like the name entails, Tageel is a solid contender in rap’s heavyweight division. From introspective depths to bold proclamations, Kitab is both a powerful debut and a promise of even greater things to come.
For more in-depth dives into MENA’s musical landscape check out our dedicated music coverage here.
