Leven Kali is an impeccable vocalist and songwriter. I first discovered his music in 2020 when he released his High Tide album and I particularly played the mess out of his song “12345 (Get Real).” It sounds like a pure modern Pop/R&B track, but some of the production elements clearly pull from an Earth Wind & Fire 70s sonic atmosphere. Especially the bells. I found myself continuously going back to listen to it and not ever being quite sure why it was so addicting. Sometimes a composer really has an affinity for the sticky. Kali’s youthful exuberance paired with an under the surface historical musicality pulls at your eardrums like a dream to your psyche.
Fast forward to June 14, 2024 when I listened to Fana Hues new album Moth for the first time. There were a few tracks that grabbed me due to her unexplainable mesmerizing tone, but the one that really stuck out was her lead single “Paper Tigers.” I had somehow missed it when it first dropped in April, or maybe I did listen and it hadn’t hit me like it did in the album’s sequencing. The song’s production, which is a deft blend of ethereal Pop/Soul elements and a reverberating Hendrix-esque electric guitar, lifts Hues’ voice from the clouds to the solar system. Kali is one of the two producers on the track, which completely checked out for me given his penchant for the craveable. He popped up again as the world binding glue.
I noticed over the years that Kali had produced a few songs for others that I loved, but hadn’t realized the full breadth of them until I did a credit dive. He has a concise album worth of tracks that, sequenced in chronological order of release date, make a pretty dope playlist/project. Some may even come as a welcome surprise if you’re unfamiliar with his catalog. I decided to break down what I revere about the production on each track below.
“Time” by Snoh Aalegra Produced by Leven Kali
This for me and many others was the first ever song by Snoh Aalegra that caught our ears leading to us saying aloud, “Who the fuck is this?” The production is purely keys. One has to assume they were played by Kali. It’s almost like he knew Aalegra needed a track early on that was so simple that it would allow for the world to hold dear to her tone and emotion.
“Do Not Disturb” by Drake Composed by Leven Kali
Kali had such an affinity for the sticky out the gate that his first big song for someone else that he produced got sampled on a song for Drake. Thus, he got a composer credit. The Aalegra “Time” sample is used expertly here by producers Allen Ritter, 40, and Boi-1da to create a canvas for one of Drake’s most classic intrprospective outros. The bar “I’ll probly self-destruct if I ever lose, but I never do” rings crazy now over the sample.
“Invisible” by Yuna Produced by Leven Kali
Another lasting song for a smooth female r&b voice came next, but this time Kali added a few more production elements while still remaining minimal. The main keys got synthier, the drums came in with a knocking pocket, and most impressively, Kali provided some tempo swinging bass moments. He took the sound he began with Aalegra, and finessed it just enough forward that it had more volume while still keeping its core essence.
“Tragic” by Jazmine Sullivan Produced by Leven Kali
This the first driving and full production Kali did for someone else as he transitioned from light vibey vocalists to a powerhouse. This challenge clearly gave Kali more verve behind the boards. The bassline is funkier and more lyrical while the drums are more rolling. Rather than creating atmosphere, Kali instead created a pulsating canvas so Sullivan could belt her post heartbreak empowerment anthem.
“HMU for a Good Time” by Tinashe feat. Channel Tres
After Kali found his vigor instrumentally, he immediately maneuvered into the dance world. The track’s super simple and classic house sound gave Tinashe and Channel Tres plenty of space to flex their character traits. The most intriguing moments of the song though are when Kali allowed his now mastered r&b undertones to sneak in to support Tinashe’s silky croons. He provided the weaving sleekness within the slap and distortion to always keep your ear interested.
“PLASTIC OFF THE SOFA” by Beyoncé Produced by Leven Kali
The song with the most balladry and smoothness off Beyoncé’s Renaissance was, of course, partially crafted by Kali. You can feel elements of the undertones he put in the Tinashe track blended with the shimmery essences he perfected with Aalegra and Yuna. Yet in the drums you can hear the sharper pocket he found when producing for Sullivan. A culmination.
“VIRGO’S GROOVE” by Beyoncé Produced by Leven Kali
This is where the real momentum picked up for Kali. This is bar none the best song off Renaissance and if you don’t agree we have different ears. This is the peak of the quintessential Kali superpower pulling from historical soul and funk music and making it sound like the exact present moment. It is impossible to listen to this song and not want to go back to it over and over.
“LUV N DEVOTION” by Destin Conrad Produced by Leven Kali
Kali produced a sneaky top three song on Destin Conrad’s opus. Out of seemingly nowhere, he slickly brought him into a reggae/r&b world. The more anthemic elements he found on “Virgo’s Groove” also showed up here. Kali also brought back a more lyrical bassline similar to the one he used for Sullivan. I really want to see Conrad do this song live.
“BODYGUARD” by Beyoncé Composed by Leven Kali
Kali produced the best song on Renaissance and composed the best song on this year’s Cowboy Carter. He was also credited as a writer on the track with other powerhouses like Ryan Beatty. Much like “Virgo’s Groove,” “Bodyguard” feels completely current but grabs at something so familiar you can almost touch it, but not quite identify it. While the song was made by a collage of contributors, Kali’s proficiency shines through.
“Paper Tigers” by Fana Hues Produced by Leven Kali
We hear Hues on this track in a way we had never previously. She floats seamlessly into a Tina Turner-esque fervor on the hook that feels long overdue. This additional tone only makes her standard buoyant croon feel that much more glossy. Kali reached his peak thus far production wise here, making two entirely different genre styles feel like they are part of the same atmosphere.
Inside The Credits 026: Leven Kali- The Playlists