Childish Gambino "Bando Stone And The New World" (2024)

What a glorious return for Donald Glover! Bando Stone plays a treat, a wild ride through a tapestry of sonic sound. Seemingly defying labels and convention whilst being pallet-able and poppy. Its refreshing, delivering unique fusions of aesthetic and composition from start to end. This feels like a passion project, birthed from free form jam sessions, capturing the snippets of magic and fleshing them out into exotic songs.

Opening with glitches, aggression and zany vocal manipulations, a bold tone is set yet swiftly we pivot into a heartbreak ballad, gracefully fusing the odd coupling of Soul and 90s Alternative Rock. Survive toys with Dream Pop vibes, Steps Beach croons into an acoustic lullaby, then we swivel again into a dark crunking Trap beat. Unsurprisingly energies shift once more with a lively The Prodigy interpolation of Breathe. A classic!

 

 This tone switching rarely relents, keeping listeners on their tones. Its a refreshing experience, full of unusual surprises and great songwriting. Layers of voicings natural and manipulated seem to be the recurring theme, lots of joyous harmonies permeate many a song on the record. Another through line are these brief interludes painting a picture of modern man stranded in the wild. Without the tools and skills to survive, the dialogs become rather comical, birthing amusing moments between the varied music.

The New World is a hard one to summarize with words. Put simply, it needs to be experienced. The music ventures into so many avenues, siring up striking aesthetics with charm. Donald's apt lyricism delights too, littered with social commentaries and cunning observations he delivers food for thought on rap verses and entertains with creative, expressive singing, frequently shifting into the higher registers, something I don't usually tolerate well. Here I adored the exchanges with his many guests.

 

Rating: 7/10

Billie Eilish "Hit Me Hard And Soft" (2024)

 

Three years on from Happier Than Ever and still working with her brother Finneas, Billie returns reveling in crooning strides. Reminiscent of classic singers from bygone eras, she captures concise emotional narratives central to many of these songs. Let loose through an endearing vulnerability in tone and lyrics, her breathy whispers build to climactic swells, both wounded and resolute, given the mood. Finneas builds powerful current around her vocal direction. Classy instrumentation, seemingly subdued and minimal yet rises aptly with layers of subtleties to flesh out roomy indulgences. Following her lead, climaxes gratify as the two come into focus together.

  Setting aside the strident Surf Funk strut of a catchy radio earworm called Lunch, Its opening stretch of tracks have a softly sung Billie alluring over rocking baselines, bright shimmering acoustic guitars, adorning string sections and colorful saw wave arpeggios. All with that aforementioned classy touch conjuring echos of greats from decades past. This wonderful stretch ends on L'amour De Ma Vie as its final minutes pivot with a thudding pulses of nightly dance-floor energy, Billie flexing on autotune.

This leaves its final songs in the lurch as The Diner explores unease and tension through quirky bursts of melody and echoing vocals arranged for a fever dream. Bittersuite meanders through exotic, dreamy tunes never quite settling on its own intention. Blue acts to conclude, dropping in one of the albums best vocal hooks. Billie's backing track sways back and forth under her singing, I love it! Its a dramatic two minutes but again, shuffles and meanders through a handful of other arrangement ideas as the records intensity unwinds, never resolving back to that classy stride.

 Hit Me Hard And Soft is a subtle record on first impressions, seeming like a collection of decent ideas resting on the pairs merits. Repetition yields its depth, as Billie's voice comes into focus and the tracks beneath them endear. My qualm has been laid out, a sense of balance lost as its classy side doesn't quite flow with the creativity this duo were initially known. All of the music is fantastic but the arrangement locks you in for a ride that cant resolve its destination on conclusion as those final songs loose pace.

Rating: 8/10

Janelle Monáe "Dirty Computer" (2018)

 

As the last of Janelle Monáe's offerings, Dirty Computer signifies a departure from its established android protagonist narrative. Where that theme evaporates, so does its 70s Psychedelic, Soul and R&B elements. In essence, an entirely different sound with Janelle operating on the level of an 80s Pop powerhouse front-woman affirming her stature. Intermingled with trendy tones of the times, its instrumental offerings ran a little weak for my taste. Many musical elements are striped to a mild resonance, energies muted, with a hyper focus on catchy hooks and empowered braggadocio.

It does however kick off with three decent numbers. Brian Wilson of The Beach Boys lends his iconic swooning vocal sways to the background of a tender, harmonious introduction. Gears then shift as a dazzling mix of modern production collides with echos 80s Synthpop. This luminosity fades as the lyrics become bold, overt and obvious. Substance is inherent but its musical chemistry rubs me the wrong way. From here the record leans hard into the Pop trends of the time. To my ears, all to dull.

In its final third, the gears shift once again. Brushing shoulders with great songs from nostalgic eras, the influences come obvious and stiff, failing to ignite. This stripped compositional approach sours here, leaving its songs instrumentally underwhelming. Janelle seems unable to spark the magic either. Little of the conjured greatness beforehand is present. Clearly a different vision, one I'm sore I didn't connect with.

Rating: 4/10

Spellling "Mazy Fly" (2019)

Having been dazzled by an enchanting music experience with The Turning Wheel, this sophomore predecessor suffers the fate a shadow can cast. Its a notable experience Ive had on this journey when turning back the ticking hands of time. Mazy Fly has the same peculiar chemistry, a heart of soul espousing an eclectic convergence of styes and aesthetics. My lack of indulgence came about in its comparatively less nuanced approach. The brash 808 percussive pallet in the opening tracks exemplifying this bare bones feeling where the shades of chemistry seem obvious and separated.

Melted Wings brings out an of tune violin for an ambiguous dance into sorrows before being interspersed with spacey synth tones. Its a little unclear what the purpose is but followed up by more borderline cheesy, brash and bold synth tones, the melding of styles finds a spark on Hard To Please. Rubbing up against stiff percussion, its dreamy echoing Ethereal backdrop reminiscent of Julie Cruise finds much gusto as the strong synths bloom inline with Spellling's charming soulful singing.

For me this mid track was very much the albums crescendo, a peak reached that its successor cruised along. The rest of the record has these peculiar arrangements of Neo Soul, Chamber Pop, Psychedelia and Electronic aesthetics that don't quite align with the singing. The vocals swell with power and cower with breathy vulnerability but for all the orchestration animating away, It didn't resonate on the same wavelength as my first and powerful introduction to this interesting artist. I think I will leave the exploration here and keep an ear out for future releases!

Rating: 6/10

Hiatus Kaiyote "Mood Valiant" (2021)

 

Six years out from Choose Your Weapon, the Australian outfit Hiatus Kaiyote return with twelve classy cuts of modern, creative Jazz Rock to move, sooth and groove the soul! In my mind their tone, composure and aesthetics have barely budged yet something seems seductively easy and relaxing on Mood Valiant. With an emphasis on soulful vibes and vivacious singing from Nai Palm, the music often swoons and croons into eruptions of energy guided by lively percussion rhythmic power. As such the music comes with moments, gentle rivers of warm persuasion suddenly surging with its meaning as a bend in the stream swerves, relinquishing itself to the current. Not all of the record fits this stride, towards its conclusion a couple of songs linger in moody places, drifting through dreary moods, flailing a brush of color on route.

The chemistry is wonderful as one might expect from this group. Its Nai's words that frequently arises as a poetic peak to the crafty instrumentals. With lyrics being a weak point for me, her repeated hooks dig their claws in chiming of the music with thought provoking sentiments and questions to give context to the musical direction. My favorite moments often came with the mustering surges mentioned before. Another niche observation that came with my preferences were keen druming grooves finding a sweet snare kick groove to bring some passages near to a Jazz Hop equivalent. Ultimately Mood Valiant is a very stylish record, modernizing some older values with courage and passion and forging a warm environment to slip into in the process.

Rating: 7/10

Algiers "Algiers" (2015)

Algiers self titled debut record is a similar beast of burden to its surpassing successor The Underside Of Power. Release two years prior, this record plays with the rawer edge and grit you might expect closer to a formation. Its influences, attributes and roots stand more so exposed and open as the union of sounds frequents dark corridors of shadowy, dread soaked atmospheres. Its bleak resentment drags us down to hell as moments of relief and uplift are far and few between here.

The rattle and snap of Blood's percussion echos the chain gang clank its vocals personify. Subtle gospel, soulful choirs hang heads in the shame of abuse and suffering. Its a song that captures the downtrodden mood and tone of the record. Overpowering, dense guitars wail in a wall of sharp distortion and feedback, playing into the conjuring of a hellish, fearful atmosphere. Singer Fisher cries 400 years a slave, 400 years of torture, driving in the nails that seethe.

The track highlights the records darker tone. It and many of the songs lyrics leap from the page, others addressing police brutality and many horrors linked to the era of slavery it draws its inspiration from. Its electronics are also chained to this path, chirpy, punchy sounds of sequenced snappy beats and stabs reminiscent of 80s Hip Hop find themselves sucked into this abandon. Almost all the sounds from this eclectic tapestry of influences find themselves sinking into terror.

Its a brood, punishing listen fit for overcast skies and the cold of rainy days. At its inception Algiers dive deep into the disgust and dismay of slavery, from a very personal and unforgiving angle that Fisher time and time again ties together with his words. I'm not sure how hearing the records in this record effected my enjoyment but the darker direction and rawer tone smothered some of the magic I expected to hear like on its predecessor. Very impressive record but something restrains my enjoyment.

Favorite Tracks: Blood, Iron. Unity. Pretext.

Rating: 7/10

Teyana Taylor "K.T.S.E" (2018)

This year we've been spoiled, Kanye has brought us five hyper curated projects. The introspective and of the moment Ye, a brilliant psychedelic collaboration with Kid Cudi on Kids See Ghosts, an introduction to the highly articulate Pusha T and at bottom of the pile a disappointing production with Hip Hop legend Nas, the pairs styles just struggled to meet. The last of the five is again a highly curated seven track twenty two minute record, correction, eight tracks, an exception to the Wyoming sessions. Its actress and model Teyana Taylor second release and that's about all I know of her!

K.T.S.E is a record of two half, two tones that have moments of overlap. Its better half comprises of soft, smooth and luscious R&B licks lined with subtle, inspired hip hop beats and percussive grooves. Kanye lines up beautiful, soulful samples to let Teyana's singing swoon and sway with the warm and soulful, emotional music. Its use of instrumentation instead of synthetics adds a matured warmth and class that reminds me fondly of Black Messiah. When in these songs the record is classy, full of good moods and uplifting aura. Teyana sounds like she seeking the heights of the classics as her vocals soft inflections stir up a delicious, appetizing smoothness.

We are blessed with four or so songs that firmly move within that blueprint however hyper sexual themes of 3Way and WTP indifferently highlight and align with shifts in her singing and Kanye's production. Teyana also shifts gears with her voice, pushing the power of her voice towards the sterile and over inflected modern style Id associate with Beyonce, out of ignorance of course as R&B isn't music I delve into that often. It doesn't charm like her softer side and with indifferent lyrics and topics It can become quite the bore when before shes inches away from greatness.

 The production of WTP stands in contrast to all that came before it, an obnoxious, retro Dance tune with god awful 80s stabs and strikes repeated to insanity, a real turn off. It also plays up to some really odd laser zap sounds heard on Issues. Its such a bizarre sound given the instrumentals tone but somehow works as an interesting and unusual oddity. This is mostly a brilliant record mixed with some obnoxious production and unfavorable singing that strongly turns me off from what I was enjoying moments ago. I'm a bit fussy but every listen has been peaks, mostly peaks and valleys.

Favorite Tracks: No Manners, Gonna Love Me, Issues / Hold On

Rating: 6/10

Algiers "The Underside Of Power" (2017)

I first heard of this record in relation to Zeal And Ardor, referencing the singing which harbors bold accents of chain gang vocals and origin blues vocals. That lured me close and Ive since been sucked into this fantastically dark and rooted musical experience. Hailing from the southern city of Atlanta, Algiers are primarily a Post-Punk band fronted by singer Franklin Fisher, who's voice is a constant pleasure, strong and powerful he acts like the guiding light that unifies the mood and meaning of the instrumentals and gospel singers parading behind him. This is their sophomore album released last year to much critical acclaim and I have to share in their praise of these forty four minute of engrossing musical art.

Firmly at the core of the sound is a Post-Punk vibe emboldened by the dense, punchy baselines that patrol the musics underbelly, making itself known, laying a foundation for the atmospheres forged above. Its tight with the percussion, a refreshingly modern aesthetic that's executed without flash and flare. The tricky shuffles of fast high hats and grooving sub kicks of Trap music is to be heard but the approach is a million miles away from formulaic Hip Hop beats. With a wealth of kit samples, programmed sequences avoid repetition and meld seemingly like a drummer following the musics intensity and complimenting it as such. At times its organic and can appropriately take on a more mechanical Industrial form when its called for in darker times.

Out front, loading the music with texture, dynamism and charisma is an arsenal of instruments. Guitars, pianos, keyboards playing a myriad of synth tones, the saxophone, stringed instruments and even a glockenspiel makes an appearance as the four multi-instrumentalists utilize their talents in the dense web of sound they create together. It can be a lot to unpackage and after many, many plays through the soundscapes still feel like a maze of detail to stair into. Under its emergent melodies play drones, distortions and memorizing rattles of reverberated sounds that somehow don't descend into chaos and broaden the scope of sound.

The record flows with a sense of progression, in its opening phases Fisher commands the music with his empowered, deep, emotive voice, flexing his words with expressive affections that resonate with Blues and Soul vibes. The music is inherently dark in a personal manor, burden and destitute surround his voice, the source of strength and uplift that lurks beyond the pale. There is an almost biblical quality to the epic that is his presence and on the title track we have a moment of gleam and uplift, overcoming the horror as choral gospel chants illuminate his performance rising up above all else. As the record progresses the instrumentals seemingly grow and overtake his importance as the drums get more mechanical and two tracks nearing end have him in absence.

The Underside Of Power is a riveting experience devoid of a weak spot. Its engrossing chemistry of powerful song writing and an energetic textural experience lasts its run time without a hitch. Everything feels meaningful and full of purpose. Without a gimmick or flash in the pan this really feel like an album to stand the test of time. Its place in the musical landscape is unique, its not pushing boundaries in any direction but showing where overlaps are to made, a combination of influences and sounds that becomes more than all its apparent parts. Truly wonderful.

Favorite Tracks: The Underside Of Power, Death March, Hymn For An Average Man

Rating: 9/10

Frank Ocean "Blonde" (2016)

A musicians name can only be mentioned so many times before it becomes an obligation to give them your time. This blunt sea I kept hearing of is part of the Odd Future collective led by Tyler The Creator and it seems that his acclaim and success has out run both of them. Frank's silky and soft yet powerful and swooning voice has all the traits of a timeless R&B singer. The ultra indulgent, laid back and careless vibes of the album in its psychedelic setting put the young singer in an unrivaled position of uniqueness, a potent potion has found its audience with those who give it the time.

For me the glorification of hyper-sexual, drug abusing lifestyle can be a a real turn off in the opening stages of the record, Frank technically prostituting a women for drugs with a rather precarious choice of words among other lyrics can be difficult to stomach. Despite some disagreeable perspectives his voice is golden and it resonates with the instrumentals wonderfully as even pitch shifts, vocal effects and a splash of auto tune sound ever so tasteful, creating unique expressions rather than compensating a weak vocalist. He brings you invitingly into his world, the easy going persona and soothing singing is simply infectious.

Dreamy and psychedelic instrumentation with big washes of of reverberations and an arsenal of pianos, strings, violins, cellos, guitars, organs and keyboards bring about an organic expression, a tapestry unraveling in the simplest of forms as many of the songs here have luminous complimentary sounds that build on top of a simple, minimalist song format. Its not particularly dense, just light and airy, breezy as a few instruments build up the atmosphere around Frank's voice which is given its due spotlight on every song, remaining the focal point.

I'm very fond of the Be Yourself interlude, who I assume is Frank's mother giving some sound advice to avoid peer pressures and be comfortable with oneself. It seems almost to be ridiculed by the following tracks lyrical content. Poetry and expressive use of words are not my strong point and so I have a hard time pinpointing who he is on this record as there are many contradicting lyrics to my interpretation, it dispels a little of the indulgence but the vibes of the record are wonderful.

The album has a lot of content, its pacing is slow and steady, the variety of tracks, the avoidance of relying on drum tracks and interesting interludes pack a lot of substance into the experience. Although the opening tracks are the ones I anticipate the most its always fun to see it through as musings like Facebook Story between the more estranged tracks make markers leading to the curious interviews in the "hidden track" at the end. The whole thing feels structure less and lucid, a nice experience. This record is really something, will have to back track on Frank's other two albums!

Favorite Tracks: Nikes, Pink + White, Be Yourself, Skyline To

Rating: 8/10

Hiatus Kaiyote "Choose Your Weapon" (2015)

Now here's a record I never knew I needed! Four piece Australian Jazz Rock outfit Hiatus Kaiyote's second album came as a personal recommendation from the Ren-diggidy-dawg a while back and Its been on repeat ever since! The 80s aesthetic of the cover art says little to the flavor of the music but maybe volumes to the vibrant individualistic style and character the band posses. Fusing aspects of Funk, Jazz, Soul and Progressive Rock, the group take on their inspirations with an articulate voice and inspired artistic freedom.

The result? A classy musical indulgence soaked in the haze of competing instruments that bring every moment to life with their collaboration. Where direction is often led through syncopation and repetition, Hiatus take the other path and fill your cup with the spice of variety as each instrument helps color the canvas of every passing moment. The depths can be felt as each song is layered in instrumentation of which any could be the lead instrument. It brings the core songs to life as never a dull moment presents itself, we are always in the presence of animated instrumentation fighting for our attention and rarely letting one another take center stage.

The percussion brings a mix of flavors to fight for your interest. While holding the driving backbone of tempo down, a liveliness is felt in the range of sounds emerging, an expansive kit loaded with intricacies fleshes out the core rhythm with a constant energy for subtle polyrhythms, grooves, shuffles and vibrant fills. Alongside the drums guitars and synths play a similar roll of never settling for a simple and linear path, each instrument always has something to contribute, either an accent or added dimension to the songs density and trajectory. Especially the synths which make passionate use of the endless manipulation that knobs and dials can do to expand horizons and evolve the sound from a singular textured experience.

The record never stays in one place, its wild and free flowing nature has the carpet pulled from your feet right as your feeling settled. The grooves shuffle, the melodies swoon, the atmosphere sways and lights up the night with its charm but the fire starting spark of magic comes from singer Nai Palm. Her breathy voice has the range to stride with power, then whisper in the next utterance. If there is a lead here, it is her artsy voice that always rises to the top with its flair and quirk to remain fully motioned, never settling on a steady note and often adding inflections in time with the punch line of the drum beat. Its an instrument of its own, as animated and vibrant as any of the others. Some of her best moments come from the ditching of words as she devolves into the melody, free of conventional constraints, it reminds me of a child dancing, free of judgement from anyone, especially herself.

For all its merit, not everything attempted here will be to everyone's taste. Its strength is variety, which comes in a large engulfing dose. There is never a stale moment but the constant shifting and shuffling from one idea to the next doesn't always strike the charm the majority of it does and can move on you as your settling in. No bad words to be said, just that the genius chemistry these musicians have is really milked into every corner of the record. At just under seventy minutes its got so much to offer, a real cracker that's got to be the best thing Ive heard so far this year.

Favorite Tracks: Shaolin Monk Motherfunk, Breathing Underwater, By Fire, The Lung

Rating: 9/10

D'Angelo "Black Messiah" (2014)

 

Having heard rave reviews about this record, I decided to pick up a copy, despite R&B being a genre I've never given much time or attention. It was the fourteen year hiatus between records that intrigued me, despite that being somewhat irrelevant. With an open mind and a new found love for exploring music I gave it a try, and thoroughly enjoyed this record of which I had few points of reference for.

D'Angelo's back story is an interesting one, at a young age he received praise and acclaim for his voice which would guide him into the music business, creating two records that had monumental success before disappearing from the limelight, disillusioned by his fame and status. Fourteen years later we have "Black Messiah", an easy flowing record of laid back groove and soothing soul that ebbs and flows with D'Angelos harmonious voice swaggering sweet vocal infectious in an effortless breeze of ranges, peaks and styles.

His voice is a highlight, a point of attention, but the instrumentals are as much a part of the chemistry creating a chilled, versatile setting for funking grooves to content with a soulful counterpart. The bass bobs and weaves under claps and kicks that strike a powerful rhythm without need for force. The guitars, pianos, trumpets and occasional strings all contribute with a subtlety of force that can do so much with so little as each add quiet inflections to the groove in the moment's there not playing a lead, or directing the drama with sudden hits and strikes. It utilizes simplicity and executes it with cunning, for example a simple clap, kick and whistle groove on "The Door" with acoustic guitars accenting the vocal leads creates so much without filling all the spaces. Its not the sort of sound I'm used too, but I'm liking everything about it and this album is increasingly enjoyable with every listen.

Favorite Tracks: The Charade, Prayer, Another Life

Rating: 7/10