What will always separate Kingdom's music though, is the way that he uses those R&B samples. With many current producers, you feel like the vocal snippets have been shoehorned in at the last minute for the sake of it (usually during a breakdown), but Kingdom's approach is far more hip-hop: either he'll find a hook, and base the song around it, or he'll treat a sampled a cappella like a guest verse (see last year's "Bust Broke," where the entire track gives way for a brief appearance by Faith Evans). On Dreama's lead track, the minimal, crooked "Let You No," he opts for the former, bringing a line from UK singer Sadie Ama's "Fallin'" further and further into the foreground until it's completely dominant.
Another key factor of Kingdom's music is his inventive take on rhythm ("Bust Broke" switched time signature and is nearly impossible to be mixed past the drop). It doesn't always hit the spot on Dreama—for every "Let You No," where the irregular bursts of 808 kicks add to the track's brittle, minimalist feel, there's a "Hood by Air Theme," where the stop-start chamber juke can begin to jar—but it keeps you on your toes. Dreama is a weird, experimental record by any standards—almost definitely the weirdest that Kingdom's released to date—but it's also full of soul and unfiltered expression; the sort of record that should be cherished in an age of copycats.