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Name: Ghetts – Ghetto Gospel: The New Testament Genre: Grime| UK Hip-Hop Year: 2018 Label: GIIG Featuring: Wretch 32, Little Simz, Stefflon Don, Chip, Donae’O, President T, Suspect, Kojey Radical, Ryan De La cruz, Jaybay, Rukhsana Merrise, Ghetto Gospel Choir, Confect, Leah McFall, Jordy Producers: Nutty P & others Format: mp3| 320 kbps.

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Ghetts may be one of grime’s original players, but he has never accrued the celebrity of his fellow trailblazers. That’s partly because he dodged the late noughties grime-goes-pop phenomenon – the one that provided Skepta and others with a selection of misguided Top 40 hits – but also because his reach has never extended beyond the genre. He hasn’t mined his personality online for laughs like Big Narstie and Lethal Bizzle, nor has had his profile been boosted by co-signs from grime stans such as Kanye and Drake. What the east Londoner lacks in populist nous, however, he makes up for with a serious commitment to the sound – and, judging by his second album proper, a strong conviction that grime is a vessel for more than just threats, braggadocio and the airing of personal grievances.

On Next of Kin and Window Pain, he suffuses tales of street violence with empathy, using multiple perspectives to combine brutal detail with feeling.

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Jess Song – about a womanwith cancer that rhymes “hard shoulder” with “osteosarcoma” while maintaining compassion and narrative cohesion – expands the genre’s horizons’ further, as does the straightforwardly brilliant Black Rose, which sees the rapper spit furiously about the romantic double standards faced by black women.

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Ghetto Gospel isn’t all heartfelt solicitude. There’s also plenty of entertaining but largely unremarkable grime filler – tracks that showcase Ghetts’ aggressively staccato flow over murky, shivering sonics. Pick Up the Phone, which features the gratifyingly monotone growl of President T, strings together a series of glib but strangely ominous mobile phone-based observations, while London is chilly ode to the capital backed by marching synths, and Houdini interpolates that perennial grime reference point, Beenie Man’s Who Am I. The album’s title is not merely a neat pun – some gospel flavours are present – but these tracks may not inspire a wide evangelistic following. Rather, they are a timely reminder of Ghetts’s value to the grime world, and firmly establish him as the genre’s articulate and artful conscience.