One may consider I Guess U Had to Be There era-defying or a new, slicked-back niche for Elucid, in which he and producer Sebb Bash set out to combine dystopian hip hop and some traditionalism, but in all honesty, it is simply a new example of the rapper drumming up chemistry with his collaborators, especially his producer.

Elucid may or may not be adaptable. What is important is that his producers always adapt to him. He invites – perhaps commands – the deranged whistling sounds that turn Cantata’s choirs into phantoms. He invites – or, get this, commands – the sketchy, discordant woodwind collages of Equiano. It’s just another great, weird thing to accommodate his great, weird style of rapping.

The emblematic moment of I Guess U Had to Be There is Elucid’s arrival on Hands n Feet, following a verse from Estee Nack. His terrifying, gritty flow emerges from fog, set against vampiric basslines and twirling pianos that bring out the personality of his flow, no matter what he’s rapping about.

But his raps themselves are still noteworthy. While Elucid invites the adaptability of others, it’s quite far out just how versatile his style of rapping is, where beginning a verse with “necromancer, dead dance for me” (The Lorax) to contrast Billy Woods’ black magic, makes as much sense, and fits as snuggly with his flow as recounting his morning routine (First Light) or, heartbreakingly, thinking to himself what kind of slave he’d be (I Say Self).

Maybe I Guess U Had to Be There represents Elucid’s quintessence to a fault, and what he is able to get out of his collaborators/producers to a fault, but if one were to predict this clever, cryptic, experimental masterclass from him, it just goes to show that Elucid’s idea of reserve is more out-there than most rappers’ daringness.

Best tracks – Hands n Feet – The Lorax – I Say Self.

Rating – 7.5 out of 10