Rating: 3.5/5
For fans of: Lady Sovereign, M.I.A., The Streets
Tracks to download: ‘Bonkers,’ ‘Freaky Freaky,’ ‘Can’t Tek Me No More’

After first listening to Dizzee Rascal (real name Dylan Mills) last March, I was immediately hooked. For those who don’t know of Mills, he is one of the stars of “grime” music. This largely underground East London genre combines dance hall with heavier-hitting rap. Think M.I.A. with more hip-hop. Rascal raps about the social and economic circumstances of his situation and upbringing. This unedited look at the lives of lower-class city dwellers has brought Rascal much critical praise on all of his albums up to this point, including the 2003 Mercury Prize (an award for the best album in England and Ireland) for his debut, “Boy in da Corner.”

After years—and three CDs worth—of grime, Mills is ready for a change. “Tongue N’ Cheek” takes a more pop- and dance-oriented approach to music than previously done. It’s full of radio-friendly hits, which can be seen either as good or bad, depending on your taste.

The album starts off with one of the best songs on the album. In “Bonkers,” Mills raps about topics he is familiar with: sex and violence. The song takes an unexpected turn when it becomes apparent that it is a humorous take on the issues. The second track, “Road Rage,” continues in this vein, with its comedic take on, unsurprisingly, road rage. Despite its rather dubious morals, the song has undeniably catchy beats and vocals.

The album carries on in a typical pop fashion, fast paced song here, slower song there, though Mills’ distinctive voice constantly reminds the listener of his rough roots. “Dirtee Cash” is particularly noteworthy; it starts off sounding like an ’80s dance hit and then is quickly overshadowed by an eerie voice in the background repeating “dirtee cash” and a series of girls’ voices whooping the background. By the time Mills’ voice appears, the track has become thoroughly confusing. He continues to rap about society’s obsession with money and fame, and how he hasn’t forgotten where he came from. Despite how far he has wandered from his original music, this track appears to make good on that statement: he aptly and accurately describes the working-class lifestyle.

The album winds down with “Bad Behaviour,” a departure from the rest of the album. It is significantly mellower than the pop hits that precede it and is a partial return to Rascal’s grime roots. This is unsurprising given that its producer, Tiësto, is a DJ who is known for producing electronic dance music. For fans of Rascal’s earlier work, this change in pace is a welcome return.

Rascal’s entrance into the pop music world will excite many, but it could leave die-hard fans shaking their heads. While his new sound is by no means unsuccessful, it does leave something to be desired. His earlier albums (especially “Boy in da Corner” and “Maths + English”) are, speaking from a purist’s perspective, stronger than “Tongue N’ Cheek.”