Jake La Furia

(This article’s English version was produced with AI-assisted translation)

Jake La Furia returns to his early name, the one he used for his graffiti tags, to title this “Fame”, produced entirely by Night Skinny and his fourth solo album—if we include the collaborative “17” (2020; with Emis Killa), which is (perhaps) his best. His career outside of Club Dogo has been that of a rapper always capable of attacking the beat, confident in his street aesthetic, yet unable to craft an effective album: enamored by the mainstream success of more commercial peers—see “Bandita” (gasp) or “El Party” (double gasp)—he diluted his power on the mic behind this or that hit. However, with Night Skinny, the chemistry is strong, as previous collaborations have shown.

The intent seems to follow the classic style evoked by the return of Club Dogo, in a way not too different from his counterpart Guè: a street-rap sound with a lot of electronic influences and beats full of references to the past, especially the late ‘90s and early 2000s, though occasionally reaching further back. No reggaeton or Latin trap moments, but rather a dark mood and the desire to once again narrate a hard and raw life, driven by a hunger for success and redemption, as heard in “Back Like Cooked Crack”, the more nostalgic “Diego Armando”, still packed with explicit verses, or the synthwave-rap hybrid “Ambition”.
“64 no brand” is the track that seems to hit the mark best: a torrent of rhymes over two different beats, with Jake La Furia as the sole voice, supported by Night Skinny, who manipulates samples without ever stealing the spotlight.
Elsewhere, collaborations abound, and while Kid Yugi steps in for a track that feels almost like a freestyle, “Milano Bloody Money” with Ernia recalls the ‘90s East Coast era.

Some tracks may feel overcrowded—despite the entertaining aspect of various rappers taking turns on the mic—but at least “L’ultimo giorno del mondo” with his longtime ally Guè and an Rkomi paying tribute to past masters, featuring a sample of “Rhythm Is A Dancer” by Snap!, revives a lost hedonism perfectly in line with the Club Dogo aesthetic.

There’s little new for Jake La Furia to tell: he, Club Dogo (both past and present), and many collaborations have already covered this ground. “Fame” benefits from cohesive production that gives the listening experience continuity, and it avoids the temptation of chasing hits, but unfortunately, it doesn’t steer clear of too many, often unnecessary, guest features (like Bresh, who sounds like he’s imitating Capo Plaza…). In the end, some tracks are worth remembering, but not the album as a whole. We were hungry for a new classic in contemporary Italian rap, and we were left with just a slight craving…

02/02/2025