The UK rap sensation has the biggest ego of anyone in the scene, but is his music actually good enough to justify it?
Written by Tom Cameron
In a recent interview with Zane Lowe, Vincenzo Bhatia (stage-name, Fakemink) claimed he named his debut mixtape ‘London’s Saviour’ because he didn’t see any good music coming out of there. He needed to “save” London’s rap scene, (he’s from Essex, but okay.)
The album? Okay… I guess. Chip-tuned vocals, eerie samples of Imogen Heap (how original). In Fakemink’s mind, he’s the best thing since sliced bread, even though he doesn’t actually do much that is original.
Since this tape released in late 2023, he’s blown up. Very quickly. He was the talk of the town last year, alongside other UK success stories such as EsDeeKid, Feng, and Fimiguerro. These guys have been the poster boys of the on-going UK invasion of ‘underground’ rap. (Underground has basically become the termed used for anything rap that’s alternative.)
One thing that makes him stick out though, is just how forced and calculated his persona feels. If you look at interviews with his contemporaries, there’s a sense of authenticity, they don’t come off as performative. But Mink (who has the personality of cardboard), feels different. He sounds robotic, like he’s desperate to look cool and different.
The obsession with high fashion, the skullet, the non-sensical bologna where he yaps on about how you can’t be wearing certain colours if you work with him. It reeks of desperation.
The Drake co-sign at last year’s Wireless didn’t do him good either, neither in terms of reputation nor ego. Being on the radar of the biggest rap star alive is a confidence boost already, but having him bring you out onto a headline set in your home country too? Can’t say I blame the guy for taking up such an offer.
But there are two things that are easy to notice with it. One, he’s simply not a good performer. Two, the crowd did not care. They were there for mega-star, Drake, not some random kid from Essex with a couple of underground hits.
Jump to 2026 and we now have his second album, after over a year of hype. Fakemink claimed ‘Terrified’ would be a gamechanger, that it would elevate the standard for the UK underground. The 2020s answer to ‘808s & Heartbreak’.
The roll-out felt really prolonged, even by modern rap standards. Countless interviews, one really underwhelming lead single, with a music video that felt like a big nothing. It’s hard to take him seriously when he’s prancing around in the desert trying to look cool as he blurts out nasally vocals pitched up to the max.
Given how hyped up ‘Terrified’ was online, it sure felt like it came and went within a week. This supposed “gamechanger” just felt formulaic.
Credit where it’s due, it is well produced. It’s a spacey, moody take on jerk-rap, while also being ominous and abrasive. However, Fakemink himself simply isn’t that good a rapper; he sounds robotic, recycling the same old plucky flows, deadpan vocals, weird pitching and a layer of autotune that doesn’t really do him any favours.
Had another rapper been given these beats, we may have a very good album, but instead we’re given repetitive flows and themes: being the best, luxury, girls. Mink himself admits his music focuses on both the grimy and luxurious. What annoys me most is that doesn’t sound bad in concept, and in execution, can work.
Look at his 2025 hit, ‘Easter Pink’, a thrilling indie-sleaze throwback, designed to be played in underground DJ sets and alternative parties. He’s made this vibe work before. He absolutely nailed that track and is rightfully one of his biggest hits so far.
But if you’ve heard his big numbers, then you’ve heard the flows and delivery ‘Terrified’ before.
Fans seemingly loved it… For the most part, calling it album of the year, then saying no more.
Some, like me, feel underwhelmed, acknowledging that he wouldn’t live up to his own expectations.
Or maybe I’m the fool. Maybe we’ll all be looking back in 20 years and talking about how ‘Terrified’ changed the game.