Skepta, the 33-year-old Tottenham rapper, has described his new albumKonnichiwa, as exhibiting: “love, pain, death, birth.” His previous album was similarly poignant – Blacklisted was the album in which he says he “became a man”, following a self-declared mid-life crisis, and tied in with his powerful YouTube video, Underdog Psychosis, in which he stripped his life and deepest thoughts bare for all to hear. For the last few years, Skepta has been on a driven mission to make his music has authentic as possible – he remains unsigned and un-flattered by America. For grime’s DIY culture, which relies on its emcees re-investing back in the scene on a regular basis, Skepta is killing it.

Whilst Konnichiwa is a progression from Blacklisted, it holds onto the same anxieties and doubts – it flits between aggressive self-belief and charming vulnerability, seemingly building in confidence as we slide through the twelve tracks. The Japanese theme only lasts a few seconds – at the beginning of the first track, titled 'Konnichiwa'. The two-and-a-half-minute track stands as an intro, softly lulling listeners into a treacherous sense of what the album will be. It begins with the sound of tinkling running water and the slick abrasion of knives running against each other – imagine the opening credits of House of Flying Daggers. An accented woman sings, “are you looking for me?” – and already the lyrics speak grime, playfully encased in a delicate shell. It’s foreboding. A siren undercuts and the beat slams down and now we’re in. Skepta starts as he means to go on – his lyrics, interspersed with key grime references to his others songs and lyrics from the likes of Dizzee Rascal, focus on building himself up and defending himself against those who might try and come for his spot and take him down lyrically; grime’s simplest and most vital theme. In his classic, slightly monotonous and emotionless, direct delivery, Skepta challenges: “a lot of emcees disgust me/ Real talk you ain’t the best emcee in the country/how many emcees do I kill before they realise there’s nobody above me?” So far so good – no surprises. It’s Skepta as he’s always delivered, with some seriously good instrumentals.

The next track, ‘Lyrics’, offers listeners classic, old-school grime. A heavy, abrasive instrumental and lyrics peppered with references to some of grime’s most iconic raves: sidewinder, Eskimo Dance and Lord of the Mics. He continues on his tirade against other emcees, aggressively, until young emcee Novelist comes in and, paying homage to one of his defining traits, begins to rep his hometown, Lewisham. Continuing with the features, Skepta is joined by Wiley and Chip for the playfully titled ‘Corn on the Curb’; possibly the weakest track on the album because of the weakness of the features. Skepta begins with serious spoken word on how to keep believing, keep dreaming – but evolves into light-hearted playfulness, with references to grime’s classic “your mum” insults, a black man’s “ashy hand” troubles and clever play on words: ‘I don’t get VIP cos I’ve got very important places to be’. Wiley’s verse is paltry – you can barely make out what he’s saying. Compared to his killer verse at the beginning of Kano’s ‘3 Wheel Ups’, it’s disappointing. Skepta slips back into his vulnerability for a slightly bizarre end to the track – a phonecall between himself and Chip in which Chip gives him a hyped pep talk; the intention to show Skepta’s mental journey through his music. The intention is clear, but the delivery falls flat.

In the album’s continuous shift between aggression and soft vulnerability, the next two tracks, ‘Crime Riddim’ and ‘It ain’t Safe’ returns to Skepta’s tougher, ‘street’ side. ‘Crime Riddim’ is hooked on police conducting a strip and search, backed by the sound of someone loading and unloading a gun. It’s catchy and, like old-school grime, extremely repetitive. The end of the track finishes up with a playful riff on Call Of Duty, with one American player and one British player swapping empty threats from behind their screens. Video games have always played a part in grime, pioneered by D Double E's legendary "Street Fighter Riddim".

American rapper Young Lord commands the next track, ‘Ain’t Safe’. Skepta seamlessly blends a powerful grime identity with Young Lord’s West Coast rap: exactly how the relationship between the UK and America should be. It’s an already-released single, and remains one of the best tracks on the album. In fact, this is where the album gets really good, and more polished. Already- released 'Ladies Hit Squad' features grime veteran D Double E, complete with his signature nonsensical sounds, and American rapper ASAP Nast. It's laid back, slow and a little silly. But Grime has never pretended otherwise - it can be stupid, and that's what's refreshing.

Next up,'Numbers'– less earthy, and more veneered. It's good. Pharrell makes this sound slick and polished, and nods back to some of his earlier music. Truth be told it's more Pharrell than Skepta, but features are meant to be a relief from your own voice and vibe. Imagine thick, soft bubbles bouncing against the sides of a glass box- and that's what this track sounds like, along with the plumpness of the xylophone beats. Unlike some of this album's other tracks, you'll want to dance to this one. The next two already released tracks 'MAN' and 'That's Not Me' follow a similar theme: Skepta's realness. 'MAN''s grainy video, showing Skepta with his men in constant tow, is an extension of the lyrics, which emphasise his loyalty to the 'gang' and his refusal to pander to social media, fame and expectations. He sneers at your classic collars-up in the clubs: 'dressed like I just come from P.E / you're dressed like you just come from church,' calling instead for the 'tracksuit mafia.' We see a pissed off looking Lethal Bizzle, looking like he just saw Dappy from N-dubz, and a group of men scaring off a police car and destroying a car. Ok, it's not the best message to send out to the young and impressionable, but that's grime for you.

'That's not Me', featuring brother and BBK member JME and still one of grime's best tracks triggering it's revival in 2014, is an even more assertive extension of 'MAN'. It's like Skepta now knows exactly who is he and isn't. The lyrics asserting Skepta's character and principles, in grime's usual playful way, chimes with the instrumental - a grime throwback to the eskibeat, with an old-school synth that makes a festival crowd go mad. Proceeded by the slightly newer 'Shutdown' – a grime song that appeals to the mainstream masses – Skepta is alternating past and present, settling his day one fans and stirring up the new blood.

The last track of the album, proceeded by a humourous ode to weed, 'Detox', with a feature from fellow BBK member Jammer, is a heartfelt message to his mother. 'Text me Back', beginning with a ring-tone instrumental, starts by sounding like a modern love song, until the second verse becomes hazy and the addressee becomes his mother.'I gotta do these shows, because I don’t wana see another tear run down your nose/ Nah mum, your son’s got ambition/ Could have been dead could have been in prison,' he tells her resolutely with a hint of apologetic resignation and lament. It's like an explanation for his whole grime career to his mother - a conclusion to the toil of the album and everything he's had to go through to get here. It's the perfect end to the album, starting as thoughtfully as it began. *Konnichiwa *is a heroic affirmation of a man's self-belief, success and principles. Skepta's confidence and aggression is necessary to offset his own doubts and keep his place in a scene that thrives off competition. And yet Skepta is unafraid to boldly lay bare his weakness and emotion. But he beats you to any criticism you might have. He's already done it for you. He delivers lyrics laden with love and loyalty to his gang, his family and to his friend Lucas Maxwell, who tragically died last year. It's grime at its best: raw, authentic, personal and playful, and its Skepta at his best too – because he now knows exactly how good he is.

You can listen to *Konnichiwa * via Capital Xtra.

Boy Better Know will be playing at Wireless on July 10.