Kevin Brereton, also known by his stage name k-os, is a Canadian alternative hip-hop artist that has yet to cultivate a substantial following in the United States.

4321 · Yes! is the fourth full-length album from Toronto native k-os. - Photo courtesy of Astralwerks Records

This might be expected if k-os was an average artist of average talent or if he was simply a carbon copy of the current stars of alternative hip-hop. As his groundbreaking album Yes! shows, however, neither of these hypotheticals is even close to the truth.

Most Americans wouldn’t recognize his name if they heard it, which is unfortunate, considering the gem that is his most recent album, Yes!. His songwriting is ambitious in both breadth and depth and all his songs are executed brilliantly, combining to form an album that is both varied yet consistent in its vision.

The album starts with “Zambony,” a song that’s already a step away from convention. The track is immediately somber and soulful — an unorthodox way to introduce a hip-hop album — and is dominated by choral vocals that paint a solemn background for Brereton’s razor-sharp lyricism. k-os’ ear for complex arrangements is immediately evident, as gritty synthesizers and dramatic strings weave in and out, lifting the track from monotony.

“Astronaut” shows its genius only after a few attentive listens.

Beginning with a sample of Neil Armstrong’s voice, the song bursts with frenetic energy. A stuttering snare track backs what can only be described as a musical interpretation of abstract art — borderline bewildering but beautiful at the same time. It’s refreshing to hear a song without a contrived, Auto-Tuned hook from its chorus, instead relying on the strengths of the composition to shine.

“Burning Bridges” is where the album really begins to show off k-os’ ability to put the “alternative” in alternative hip-hop. Where others only dabble with more varied arrangements and choruses, k-os dives in fully, embracing an obvious love of — among other genres — indie rock and baroque pop. The song showcases his impressive singing voice; one can easily imagine him as a legitimate front man for an indie band with this sort of ability. Not only does he craft a solidly melodic exercise in alternative rock, he does so while retaining a hip-hop sensibility, letting his rap abilities guest star in a primarily sung piece.

“Uptown Girl” follows this blend of rock and hip-hop, where Brereton brings the lyrical heat over the somewhat Middle Eastern-sounding guitar line from Nirvana’s “Love Buzz.”

And then Yes! reveals the single most glaring example of why it’s unfathomable that k-os has not charted in America — the confusingly titled, but brilliantly crafted, “I Wish I Knew Natalie Portman.” It samples the already catchy chorus of Phantom Planet’s “California,” and sets up one of the best hooks in post-modern hip-hop history. It’s airwave-ready without being dumb or silly; the song’s concept of being on the run from the past is worlds apart from so many songs that take the girls-and-clubs route of lyricism.

Other highlights include “4321,” which is reminiscent of old-school alternative rap like the early work of The Roots, its mellow, jazz-tinged sound revived to a more upbeat pulse. “The Aviator” is a riveting reflection of imperfect progression through life, Brereton muses, Let the sermon begin, hail observant again / Watchin’ my mind spin / Watchin’ how time can turn enemies into friends.

“Mr. Telephone Man” puts bombastic bass and snare percussion with some of the most red-hot rapping this side of Eminem. Classical piano work swirls in the background while telephone beeps ring alongside.

The only true criticism might be the seeming randomness of influences and the expression of the “alternative” aspect — some songs are more rock, others not. But with a patient listen of the entire album, it somehow gels together and makes a lot of sense; the uniqueness of the tracks simply build upon each other, in the process making a very unique album.

To any devotee of hip-hop, today’s scene can seem simultaneously encouraging and depressing. There are more than a few talented artists, especially in the alternative rap scene, but, for every progressive artist, there’s one hustling in the mainstream, dealing exclusively with the conventional and the superficial.

The future success or failure of an artist like k-os might say a lot about our musical indoctrination these days, but it’s comforting to know that for every rapper content with rhyming “I miss you” with “I really wanna kiss you,” there’s another artist with some actual vision and ability.

Life and death they roll in Siamese twins / so the day that hip hop dies another life can begin, Brereton notes. Hopefully true, but, as long as there are musicians like k-os around, true hip-hop will always soldier on.