Showing posts with label R&B. Show all posts
Showing posts with label R&B. Show all posts

Tuesday 5 December 2023

Mase "Harlem World" (1997)

 

A long overdue followup on No Way Out, I've finally picked up Harlem World, Mase's solo debut. He'd made a soft impression, a voice fit for variety in the mix but unsurprisingly tame on his own. The casual carefree laid back spoken raps didn't amount to much across a lengthy CD filling record. Although it went multi platinum, its legacy feels like a byproduct of the era. Mase runs through the typical themes apprising his status, playing himself as a ladies man and taking shots at his haters.

His cadence is smooth, easy on the ears but rarely does his words muster up the energy to really grab your attention with standout rhymes. Harlem World mostly rolls by a pleasant ride on average beats spliced with goofy interludes. Stated as such in a lyric, the albums best tracks are simply recycled hits from the past decade. That and many of its instrumentals highlight this Bad Boy Records formula candidly.

With typical features from Puff, DMX, Jay-Z, The Lox and many more, the album gets by on a run of the mill routine. The later, however, elevates! 24 Hours To Live lays down a firm concept, asking a question and letting everyone run through their answers verse by verse. Its a great setup for visual raps that The LOX dominate! The following I Need To Be sinks to a low with very questionable topicality that seems to just slip under the radar of controversy when it comes up in Hip Hop music.

The closing Jealous Guy is an amusing piss take. A tongue in cheek jab at "the haters". These rappers drop some ruthless off key singing over top of the smooth R&B singers beneath. Fun once but an earache after the third spin. Overall, this album felt very average, with little memorable to take away. It feels like the hype and promise of the record label made this one a success. Not bad but firmly average at best.

Rating: 4/10

Wednesday 6 September 2023

Potatohead People "Mellow Fantasy" (2020)

Mellow Fantasy, a breezy affair of performative Jazz Hop. Slick in design and execution, the Jazz Fusion adjacent instrumental artistry of this dynamic duo indulges in soft affable tunefulness. One can "tune in and tune out", an effortless listen. A feathery glow blows in the winds of every track, a cushy soothing groove, infusing dauntless jives within an airy carefree stride, letting its plentiful good vibes flow forth.

Hidden Levels breaks its relaxed stride. Injecting a quirky baseline, its harder bass kick thump gets rocking with the arrival of infectious claps. Forrest Mortifee illuminates this track with a colorful timid tenderness in voice, swaying on the songs texture with a breathy performance reminiscent of Hiatus Kaiyote's Nal Palm. The theme returns twice with both Bunnie and Kendra Dias bringing 90s R&B voices to the fold.

This highlights the albums structure, alternating collaborations with rapers and singers between shorter instrumental cuts. This time, less emphasis is placed on lead instruments, serving more as a slice of cool atmosphere between its voiced chops. Although I missed this dexterous dazzle of melodic manifestation, the bigger picture is a consistent vibe, nailed exquisitely. All pieces present fit this pleasant puzzle.

Rating: 7/10

Wednesday 23 August 2023

Lauryn Hill "The Miseducation Of Lauryn Hill" (1998)

 

As thee lone solo release by rapper slash actress Lauryn Hill, Miseducation's reputation has been cemented by time as a remarkable mic drop. After life in movies and The Fugees, this smash record solidified her reputation. Subsequently withdrawing from the limelight, this remains as her lasting legacy and a record I've been criminally slow to get around too. Doo Wop & Everything Is Everything still stir feelings and memories fresh from my preteen years, a period before the roots of what I adore today was established. Similar to my experience of Puff Daddy's No Way Out, this was an opportunity to step into an alternate past had I gravitated to it at the time.

My nostalgia could have set high expectations but I took this one at face value, for how it felt today. This may explain my lack of affinity with the critical acclaim bestowed upon its meaty eight minutes. Most songs hit the five minute mark with solid Hip Hop beats, embellished by Jazz, Funk & Soul alike instrumental performances to liven up its loops. Sadly, a fair portion of tracks leaned into a dreary sombre tones, reflecting on life's struggles with gospel hardship vibrating on moody expressions. That's not to say these R&B grooves aren't beautiful or stunning in their heavy presence, just a personal mismatch I failed to indulge upon, despite Lauryn's exquisite singing voice.

Early on in the record, we get a few harder cuts. Rugged beats, record scratches and Lauryn pivoting to her raw rapping persona. Delivering tight rhymes with lyrical depth on a firm masculine cadence. Her narratives are mightily written, holding attention for a whole song on her own. That substantive depth is present throughout. Something about her raps cuts the mood, putting them front and center, unable to avert.

Miseducation is also interwoven with two other aspects. Love and a musical tapestry. With interludes between songs, seemingly a teacher talking to a classroom about love, Lauryn seems to grappling with a personal story through this externalization as the students discuss various aspects of the four letter word. The musical tapestry comes with some welcome Wu-Tang samples but also timely lifts of samples, grooves and chorused from well known songs. It gives the whole expression a sense of roots into other artists works. A nice sentiment she pulls of a touch of class.

In conclusion, my many repetitions did not warm me up to the majority of its R&B moods. They dominated its tone despite a healthy variety of textures stretching from Spanish guitar to Gospel church organs. Lauryn herself an impressive creative force, both in the musical arrangements and as a performer, showing off much tenderness in her voice with a strong philosophy of mind backing her personal direction. Well worth the time but not quite a classic for me sadly. Maybe if discovered back in the nineties at an impressionable time, this could have been quite different.

Rating: 7/10

Friday 18 August 2023

Potatohead People "Nick & Astro's Guide To The Galaxy" (2018)

 

 Reveling in the merits of predecessor Big Luxury, the Potatohead People duo, Nick Wisdom and Astrological, return with another Jazz Hop indulgence. Again, the quality of compositions on display set it apart from expectant groovy indulgences of the genre. Sung choruses, guest rap verses and instrument solos break up the looped foundations. The beats are class, slick jazzy moods frequently leaning into G-Funk and dreamy detours as spurts of soft instrumentation and reverb ups the indulgence.

Last outing, guest verses and lyrics illuminated the runtime. This time, its instrumental cuts grab attention as the songs drift with non linear feeling. The core rhythms stand firm but around them breezy Sax solos, dreamy acoustic guitar licks and Jazz Fusion keyboard tones wrap the groove in organic expression. Especially captivating is the closer Rituals. Its eclectic pull of glitched vocals, gritty saw bass and House pianos acts as a closing novelty you could imagine fitting snugly on a 90s Trip Hop record.

Ultimately, its not too dissimilar a project with a similar flow. The pair lean into a more diverse source of inspirations which they wield to fit their mold. The result tips the scales as its interesting assembly of sounds gets to flourish in the spotlight. The beats built for rhymes come rigid and stiff in contrast. The raps contributed by guests Illa J and the like, have less of an impact than before. Either way, its another quality Jazz Hop craft to pluck out some personal favorites from, that I'm sure will last with time.

Rating: 7/10

Wednesday 31 May 2023

Jessie Ware "That! Feels Good" (2023)

 

Following up on the stunning What's Your Pleasure, singer-songwriter Jessie Ware leans even harder into this craft of love. Going beyond a revivalist sentiment, her passionate presence and luminous instrumentals play like a force of infection pulling one into a personal fantasy from a bygone era. These songs ooze with class, as a slick production steeped in attitude. A return to the glory of 70s Disco, Funk and Pop, steeped with a little 90s Dance pianos, House grooves and Daft Punk sensibilities.

The opening stretch has a groovy rhythmic persuasion. A beautiful balance is stuck, inspired words swoon over mighty bold melodies, full of upbeat jovial spirit, striving forth with a dance-able confidence. The theme of empowerment in pursuit of pleasure and indulgence is executed with warmth and compassion. A very humanist oriented energy emanates, painting vivid images of fun social parties and the nightlife bliss.

Past its first five songs, a few tracks hit a subtle difference in stride. It seems 70s cheese and less favorable cliches of that era get a keen focus. Raunchy "wink wink" lyrics, chirpy melodies and quirky hooks paint an interesting picture of bygone trends, reviving them with a lot of energy. Initially, these crude strides turned me off but repetition has worked its charm. I'm still not sold but I can't deny its a brilliant exercise in taking dated ideas and putting on polish, while clearly having fun in the process.

Between those numbers, the music looses some of that opening vibrancy. Perhaps the endless upbeat march is a little much for me. I loved how the previous record moved into theatrical strides with emotive beats, leaning to the melancholy alongside adorning string sections. This effort felt strictly settled on its Disco dance floor orientation. The moody shift of Lightning lacks a spark on the way out to provide that variance. Overall, That! Feels Good has some absolutely brilliant, infectious music but it waivers when leaning harder into its mightily enthused ideas over and over again.

Rating: 7/10

Thursday 25 May 2023

Little Simz "No Thank You" (2022)

 

Album number five, No Thank You, is a moment for pause, a frank examination of where Little Simz currently finds herself. The brisk London accent, a 90s cadence occasionally instrumentally aligning in tone and temperament, this was a keen fit for my tastes. Its strength however, is Simz' lyrical journey. Often rhymed simple and plain, among other topics she mostly grapples with the record industry, attacking the subject from many angles, never running out of steam in the thorough process.

Wording tales of industry woes, systemic issues and ill intended individuals, an unsurprising yet deeply engaging narrative of her struggles emerges. As the theme resurfaces, each iteration serves a new purpose. Personal distress, advice for fellow musicians, how its impacted family relations. Even turning the question on herself, Simz' questions her own motives and wants as a performer allured by the industry.

Toning down the instrumental theatrics heard boldly on Sometimes I Might Be Introvert, grandiose string sections, warm ruptures of infectious Gospel, shades of Funk and Jazz. They come subtly woven into an apt chemistry for rhyme and beat to house the subject at hand. Gorilla stands out as a fun throwback to the early nineties groove of The Low End Theory. She pivots to breezy rhymes and playful swagger in cheeky yet firm style. Its a lighter, fun track among a lot of serious, expressive topics.

 With every spin I've been locked in and invested. Peaking with the pained Broken, its ending somewhat fumbles. Sideways' instrumental a tad too minimal and obnoxious, followed by an odd dreamy synth stint Who Even Cares. Seems like a couple of cuts that didn't fit were squeezed in. Also interesting, the album didn't chart well. It went under my radar for a while too, hence why I'm late to this one. Given the subject matter explored here, it seems Simz moved label for more creative freedom. This effort definitely reflects a change in attitude. Doing it for oneself, with nothing to prove.

 Rating: 8/10

Monday 24 April 2023

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

Saturday 15 April 2023

Janelle Monáe "The Electric Lady" (2013)

 

 Unabashed, bold and brazen, this sophomore follow up confidently struts its thematic concept directly into the spotlight. Where The Archandroid maneuvered its robotic humanoid inspirations with intrigue, The Electric Lady hits these beats on the nose with no subtleties. Key protagonist and android messiah, Cindi Mayweather is thrust against fear and ignorance. Crudely deployed with overt interludes between songs, a radio show host reigns in calls of colorful bigoted callers, reputing their hateful views revealed. An obvious metaphor for various phobias that grip people in current times.

Contrasting this illumination of social ills, most these songs are positive, uplifting, striding with themes of empowerment and strength. Its title track plays like an homage to the powerhouse anthems of Soul and Disco crossovers from the 70s and 80s. Unsurprisingly, this era is where much the records stylistic draw comes. On this track however, its self assured execution and expressions of female empowerment fall flat against a perfected checklist of tropes, notes and beats to hit in emulating this style.

Originality and inspiration is in question. The albums second phase hits an thematic echo with Ghetto Woman. I prefer this one, however its instrumental is clearly lifted from Stevie Wonder's blueprint of vibrant expressions. Although only palpable on occasion, much of the record drifts by without that keen infectious spark of its predecessor. Its historic sentimentality left exposed in the shadow, an awkward underwhelming stretch of luscious, warm, soft to touch music that rarely peaks.

One track hit a groove. Dance Apocalyptic swiftly picks up pace, deploying a chirpy percussive jive to wiggle with. Instrumentally soft all over, a youthful love of live emanates through its lively assemble of carefully performance instruments. Even turntable scratches can be heard in the mix. Janelle's jovial chorus and cheeky hooks are a delight, "shellang-alang-alang". One to get stuck in the ear, among a lengthy stretch of songs lacking the depth and charm seemingly lost from that last triumph.

Rating: 6/10

Saturday 4 March 2023

Janelle Monáe "Metropolis: The Chase Suite" (2008)

 

Prelude to The Archandroid and first installment of a conceptual series of records, Metropolis is a fair introduction to Janelle's quirks as an artist. For this listener, the spoils of what follows overshadows its charms. Metropolis plays as another union of instrumentals reaching into a diverse past for inspiration, paired with sharp, groove inducing percussion, its a fantastic reinvention of timeless musical expressions.

With March Of The Wolfmasters, the thematic premise is laid bare, somewhat spelt out. Outlawed robotic romantics, a vision of science fiction imagined future, plucked from the 20th centuries early decades and intermingled with a very human narrative. So to does the music plunder gloriously with trumpeted Swing band elements, theatrical string sections and stabbing horror organ melodies spun to a jovial rhythm.

Although a brief EP, its focus slips at the end with Mr. President. Pivoting to a plea on current social woes, the shift in tone is jarring. Then proceeded by a cover of Smile her incredible voice sadly doesn't quite suite. It was however an excuse to learn about a song covered many times, going far back to Charlie Chaplin. On Metropolis, Its clear the groundwork was laid for great things to follow, however the core three songs that merited this thematic inspiration was ready for more at this point in time.

Rating: 5/10

Thursday 9 February 2023

Kid Cudi "Entergalatic" (2022)

 
Having adored a collaborative Kids See Ghosts and the psychedelic tinged Cloud Rap of Man On The Moon III, time with the American rapper slash producer seemed overdue. Lured in by the infectious hypnotic mellow sways of Do What I Want, exploring this newest record seemed like the next logical step. Entergalatic plays like a river of vibes. Its a series of Ethereal moods drifting by, mostly pronounced by its dreamy instrumentals and Kid Cudi's ability to converge on a gratifying hook.

Most the lyrical verse seem like casual commentaries on life's unfolding events. Passing observations and emotive expressions suit the conjured atmosphere. Cudi arrives calmed, smooth and chill. The beats touch on tensions and introspective degrees, never veering to far from its soothing allure. Occasionally the percussive attachment drifts into restful, relaxing states as atmospheric ambiences take hold.

A track featuring 2 Chainz, Can't Believe It, arrives with apt timing, breaking up the mid point with a nightly low key banger. Cudi's deepened flow, mostly the hook, has an uncanny resemblance to Rich Brian. Its a welcome change of pace among a river of catchy hooks and ambiguous melodies that swoon sweetly to its own rhythm. Its Kudi alone who builds much of this rapport, his guests don't bring much to the table.

Despite such good graces, little emerges beyond the sway of its tantalizing yet mellow vibes. A selection of favorites will rear their heads among the variety but the album mostly slides into mediocrity. Fertile ground for embracing the mood but never commanding the listener to yield. Could of been much more despite easy enjoyment.

Rating: 6/10

Tuesday 31 January 2023

Janelle Monáe "The Archandroid" (2010)

As both an actress and musician, Janelle Monáe is clearly an artistic talent beyond auditory constraints. A passion for cinema and theater permeates this blinding debut. I've been under its spell for some time now, losing track of how many spins have blessed these ears. Its charm resides in diversity, the execution enthralling. The Archandroid courses through cherry picked motifs conjuring remnants of musical greats yet harnessing them through a modern approach that brings out the very best of the territories it embarks upon. Its lofty, yet wonderful, concept stratifies the ages through an effeminate android who is sent back through time to encounter an unenlightened past. A firm premise for lyrical commentaries browing humanistic and social-political insights but for this instrumental mind, it served as the jumping off point. A freedom to move its stellar songs through the decades of musical evolution.

From the outset, its evolving themes are accompanied by cinematic transitions, pivots from soundtrack to contemporary and back again. Modern, popular verse chorus writing get seasoned by rich orchestration to tease the mind with its grand, visual sense of scale, fit for a movie experience. With its R&B and Hip Hop influences aptly deployed, subtle drifts into rhythm and groove blur the lines of ambitious distinctions. It allows one to enjoy the experience, engulfed in a diversity which astonishingly avoids any sense of "mash up", or "crossover", as picking apart its instrumental components reveals avenues of influences. However on occasion, its can be all to brash.

Make The Bus unapologetically reeks of Bowie. Come Alive shudders with a stiff brazen union of cheesy Horror aesthetics and British Punk. The two are my least favorite cuts, Mushrooms & Roses flirts among them with an obvious Psychedelic Rock pivot fortunately saved by the mesmerizing guitar lead that pulls the song through its own dreamy haze. Fortunately everything else is utterly fantastic, mostly ruminating on 70s and 80s Soul and R&B, mingled between its theater motifs. The influence of Outcast can't be understated, Big Boi turning up to feature on Tightrope. It has the The Love Below stamp all over it. Perhaps continuing where they left off, in terms of bringing together modern percussion and sounds decades prior.

Despite distinct influences, The Archandroid never loses sight of its own story. Staying firmly rooted, flowing through its motions to conclude on a high. BaBopByeYa brings out the finest of Janelle's range. Having been a continual source of infectious engagement throughout, on this cautiously unwinding track she soars to new heights. The swells of emotion are unavoidable as her rise to utter the title words have a focal gravitas. The instrumentals gracious deconstruction somehow illuminates the word building that came before it, as each violin, piano and string seems to echo the epic embarked on. There is more I could say but its seems I am still ensnared in mighty gaze, wondering when this magical adventure might exhaust itself.

Rating: 9.5/10

Friday 27 January 2023

Maurice Brown "The Mood" (2017)

The Mood, an apt name for a record that can impose its own upon one so snugly. This forth outing of veteran Maurice Brown, composer, voice and Trumpeter, bestows itself so elegantly. The soft swaying swagger of Smooth Jazz. Extended aesthetic pallets akin to Jazz Fusion. A subtle rhythmic groove fond of Jazz Hop. Maurice creates a modern, relaxing take on the classics. Fleshed out with occasional vibrant verses by himself and guest rappers, they somehow cut the instrumental flow perfectly with the sudden arrival of deep, thought provoking lyrics. The silence between barely yearns for more, despite the expressive words and chemistry they adorn.

Past its warm welcoming open cuts that set a firm groundwork, the album moves into a couple of Avant-Garde leaning songs. Its percussion busying and with dexterous, dissonant leaning leads emerging, it end up rustling the feathers of its slick persona. Upon finding a way back with Capricorn Rising, the musical themes and key melodies seem to lack the initial dazzle that captivated ones attention. Despite still possessing an easy charm, loungy vibes and full of good mood, It seems a step lower in energy.

Destination Hope, the album closer, rekindles that early magic. Bringing on a fine R&B singer, the Jazz hybrid template finds another soothing chemistry as Chris Turner swoons in to the forefront. Returning again with an epic, softly reverberated chorus. The message is strong and sweet, the melodies croon again and then a spoken word, half rap cadence, from J Ivy blossoms briefly as a fond unity is achieved. The Mood is a hard record to knock. Despite delivering such delightful magic upon the way, it falls short of a classic album experience despite its remarkable impressions.

Rating: 7/10

Wednesday 23 November 2022

Brockhampton "The Family" (2022)


 With wounds still fresh, Brockhampton supposedly returns from their recent post Roadrunner breakup. In less than a calendar year, this resurrection paints a sour flavor in its expressed explanation of existance. Dominating the airwaves, through commentary and production, The Family arrives like a Kevin Abstract record for this outsider looking in. Peeling off scabs from a painful separation, the woes of using drama for content seems lost on the nature of this dissection of their unraveling.

On one hand, The Family plays as a wonderful self analysis, a raw reflection. Like a fly on the wall of a therapists office, we cycle through events and dramas that tore the group apart. Its candid, unabashed and sudden. The other hand, an eerie postmortem called while a pulse can still be felt. This unease is steered by Kevin, lopsided in representation and drowning the music with early era Kanye West imitations.

Often do his vocally directed instrumentals reek of Kanye's genius. So do the flows, cadence and expressive schemes play uncannily alike. Its not found at every turn but throws what could of been a luminous reflective concept record into the unease based on imitations and a questionable timing that seems to retread some of the lessons its trying to learn through this open autopsy. Despite that, there is class at play, music to be enjoyed. Production is well rounded, topicality interesting, engaging yet that lack of self awareness breeds the inescapable odd tension, throwing all feelings into doubt.

Rating: 4/10

Friday 17 June 2022

Post Malone "Twelve Carat Toothache" (2022)

 

Its all to easy to over-analyze, dissect and buy into ones own critical thought. As one of popular musics most illuminated figures, Post Malone's music arrives through a lens of impact and relevance. This initially soured my experience. With a lack of obvious growth, new dimension or creative streak to latch onto, it seemed Twelve Carat Toothache was a firm disappointment. Post's unique vocal manipulation, now fine tuned to a peak, the day-dreaming instrumental glow and trendy hi-hat shuffling Trap inspired beats routine to a fault. It all seemed like a safe bet at first glance.

I'm glad I stuck with it. Some records just take a few extra spins to get going, ya know? I've now found the soundtrack to my summer. Its lyrical struggles deal with the double edged sword of fame, the ills of alcohol and mental health battles with his musical creativity. Despite this, glossy overtones and breezy reverbs stream a wealth of warm, thick melodies, track after track. Whenever an attentive glance gives thought to his embattled words, a darker tone is felt. Only on a couple of instrumentals do they manifest through tension and soft dreariness in mood. Otherwise, a sunny record.

The poor response from journalists seems warranted. A flawed record, forged in a thickle moment for Post. Despite this, its presence holds. This string of songs has an ambience, it holds its slick smoothness gracefully, the brightest of hooks bursting out between plenty of interlude paced moments. He still has his knack, its just used sparingly. Not a jam packed set of songs but its pacing works in a casual way.

Nestled right at the end is an absolute banger. The Weeknd once again features and brings the 80s Synthwave inspired aesthetic along for the ride. He frequently provides great songs to other artists and must be killing it with this approach of on-boarding listeners to your sound through features. Anyways, final thoughts? Its a mixed record in terms of what lands. Its percussion-less songs often a weaker cut yet its glossy tone and warm dreamy mood lets it drift by with an ease I can get onboard with.

Rating: 6/10

Thursday 9 June 2022

Doja Cat "Planet Her" (2021)

 

With slick easy vibes, smooth breezy aesthetics and sweet yet spicy persona, Doja Cat lends her sharp harmonious chords, breathy voicings and quirky raps too a dreamy psychedelic Trap and R&B experience. With a team of over ten plus producers, a surprisingly cohesive mood emerges across the record. Led by the cutting percussive presence of shuffling hi-hats, snappy claps and crunky snares, deep bass hits punch and rumble below. It leaves space for tinges of Ethereal and Dream Pop instrumentation to usher a spin on the trendy popular sounds of the times. The contrast between rhythm section and everything else is surprisingly inviting.

Planet Her plays with a sense of depth as Doja is central in shaping her songs with hooks, choruses and raps over the deliberately underwhelming roll of traditional melodies. Her personality manifests, at times highly sexual and literal far beyond suggestive, into a variety of topics, often dealing with fame, prominence and perception. Her performances felt like thee endearing factor. Especially so when her voice shifts up pitch. Navel, quirky, swift, the cadence, creative inflections and self assured attitude reigns over lyrical content, although the value of words is a common pitfall for this listener who feels the melody and aesthetic far more so.

Speaking on aesthetics, the housing of her various voices, through reverberation, panning and placing, is a constant delight. So often does the handling of her singing seem to elevate what she expresses. Its as if their is a great understanding between artist and producers. Some highlights include the anthemic opening Woman and a great feature from The Weeknd. Wherever he goes, his take on the Synthwave genre seems to follow. The tone fits well into the variety of temperaments offered, leaning into aggressive Trap rap grooves and opposite the fiesty, hints of R&B, Soul and Dream Pop grace the modern Pop music sound with a gentler touch. All in all Planet Her is a fantastic record from a young artist with style and persona in abundance.

Rating: 7/10

Sunday 17 April 2022

Marvin Gaye "What's Going On - The Deroit Mix" (1971)

 

Stepping outside the Motown framework and operating as an individual artist, Marvin's personal expression reflecting the struggles of African-American life during the Vietnam War birthed a beautiful moment in musical history. Often considered one of the greatest records of all time by critics, What's Going On left me enamored by its grace, humanity and sorrows. Since then, its always been an enduring warmth to return too. Marvin's timeless voice a charm tragically lost from this world all too soon.

Hearing of an alternative mix to the record intrigued me greatly. Turns out this "Detroit Mix" is the original mixing before his associate Barry Gordy stepped in, who was against the album's theme long before it materialized. The subsequent changes elevated the symphony elements, the first change I noticed upon listening. It will be forever impossible to truly assess which mix better suits the music. On paper this more roomy, closer mix has an intimate quality, further authenticating Marvin's views.

Its string components are pushed back, the baseline feels neighborly, the saxophone more prominent, pushing forth the Jazz component. With a rawer voice, not overstated by layering and reverbs, this mix is admittedly less grabbing in tone. All nine songs are still beautiful and moving, reaching still through its intimate aesthetic.

With a deeply ingrained memory of the original as I knew it, this mix will always feel inferior despite offering up a cleaner take on the music. The spaciousness unlocked by its later design gives a crooning energy to the string sections. Marvin's overlapping vocal lines are magical, softer and soothing in presence. Although accompanying singers feel distant and a little less personal, pretty much all of the changes were for the best to my ears. Rawness and authenticity are not always the key principle in production. Embellishment and studio magic can bring so much if done right. For me, the original record is still the way to hear it.

Rating: 8/10

Sunday 30 January 2022

Rachel Chinouriri "Fourº In Winter" (2021)

With calming, softly sung wordings and crafty subdued instrumentals, singer Rachel Chinouriri steers R&B to the shadows with gentle Ethereal vibes to forge a unique sound. These eight tracks fit snugly together as they ebb and flow through the cloudy ambiguity of dreamy sound manipulation and tight traditional arrangements driven by sharp percussive grooves. Throughout it all she remains present as both the focal point and as an embellishment of textural layering, the music being interwoven with vocal manipulations. It gives the music a warm and curious tone where shadows, darkness and limbo, the usual arsenal of words in my vocabulary for description. They just doesn't feel quite fitting for the direction she drifts towards.

At twenty three minutes its an indulgence that never falters, crooning through these timeless spaces where melodies have devolved into brief surges of ambiguous sound. Its an amorphous experience. Give Me A Reason kicks us off straight into its curious mood as the slow tempo and pallet of odd sounds work there easy wonder. The ending however sours, a collaboration injecting a plain talking male voice with a verse structure to switch the vibe up, a contrast that didn't offer much in my opinion.

All between is a wonderful ride. Instrumentally its vaguely reminiscent of Jan Amit, possibly some Post-Rock artists where sparse acoustic guitars and airy synths take over. Vocally its Billie Eilish but more so because of her soft and breathy, intimate performances. In borders ASMR on occasions, which more often that not, doesn't rub me the right way. In this instance it works so well with the dreamy atmosphere, most of the time... In one or two moments she goes a bit far with it. Otherwise I really enjoyed this gem, very unique, occupying an interesting space between genres.

Rating: 6/10

Sunday 23 January 2022

The Weeknd "Dawn FM" (2022)

Having made waves with his retro inspired After Hours, The Weekend returns two years on with Dawn FM. Leaning deeper into the nostalgia of 80s Pop music and aesthetics of Synthwave, this sixteen track dive sustains more of an album experience that its predecessor. Equally, without a spearhead song like Blinding Lights, it endures with consistency of mood. One can simply dip in at any point and relax with easy vibes, breezy cruising instrumentals and wonderful falsetto singing. So often do those high notes become the peak in this narrow range of creative avenues explored.

Thematically structured around the concept of an ethereal radio station, a handful of its spaced apart interludes play like broadcast ads. Decoded, its theme of suspension in limbo signals a direction out for the listener. Its a wonderful tie in, melding the overall mood with a bigger picture. The album doesn't peer into the unease or eeriness of the situation but essentially forges a link with its retroactive stylistic inspirations, as if the lyrical narratives explored reflect on memories gone by.

The lyrics themselves often linger on relationships, love and heartbreak with a common "looking back" perspective. Luckily his voice is charming, a soft and strong flow that can gracefully sweep between notes, lingering on them with emotion and passion in the vibrations. That's where the feeling is felt for me. Lyrically the concepts are often simple, straightforward and in the latter half of the track listing tend to feel rather shallow in terms of depth. The words recycled are unimaginative lines and sentences from love songs Ive heard done to death by many an artist before him.

Dawn FM shines consistently on its instrumental front. Its glossy, lush, spacy synths bring a sweet indulgence fit for its upbeat tempos and lazy slow riding grooves too. The easy going nature of Pop music is treated to an inspired aesthetic. The balance takes the better aspects of Synthwave tones without hounding them into the ground as many artist in this Retrowave movement do. On occasion The Weeknd and his production team lean hard into the buzz saws, psychedelic synth and punchy drums but its always timely and apt. Rarely do they loose focus on the underlying structure.

That brings me to the next strength of this record, song writing. Without anything to ambitious taking place, the stellar aesthetics and crooning moods seem to zap away the repetition and cycle of the verse chorus loop. Its there with the occasional shake up and interludes creating a series of soft "events" on the journey. Although not involved in song writing, Quincy Jones turns up for an interlude to see in Out Of Time. Its a seriously classic Michael Jackson alike song. It highlights a similarity in his vocal style with the King Of Pop and the instrumental pops like a PYT or Rock With You.

And that's what underpins many of the albums best songs, the brilliance of instrument variety ushering in soft plucks of guitar melody between gushes of vibrant synth and timely rock grooves. Its the subtle characterizations of Funk, Soul, R&B and Pop in the performance, beneath its oozy synth aesthetic, that make the magic. Its a true hail to the likes of Quincy. Sadly that is mostly speaking to the first half of the record as past the feature with Tyler The Creator, the gears shift pace quite notably as that song slows the pacing, cutting out the drums and transitioning us into a gentler intensity.

Its in this second half that the music tends to veer away from the variety and qualities heard on its opening stretch. The lyrics get watered down, pacing lulls on dreamy tempos and the Synthwave aesthetic grow into the main focus. We are not talking about every song but to my ears Dawn FM feels very front-loaded. Its opening tracks are truly remarkable and a peak of this era of music. Short and sweet would of been a better approach here, in aims of a classic. As a longer, drawn out, experience it does do a great job of suspending one in its spell. Either way, an impressive record!

Favorite Tracks: Sacrifice, Out of Time

Rating: 7/10

Tuesday 16 November 2021

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

Tuesday 5 October 2021

Spellling "The Turning Wheel" (2021)

 

In search of new sounds and experiences, I've found a record strung out with familiarity yet blindingly powerful in its execution of inspiration. It works for me, something I could swiftly get into and mull over these last few weeks. Chrystia Cabral, the brains behind the Spellling name, lends her immaculate voice to a timely orchestration of genre influences adjacent to the world of popular music. She is a powerhouse of breathy expression, rooted in classic soulful stylings. Her range is wide, diving with a masculine low on Magic Act and sailing to a childish, playful resonance on Little Deer. With each of these arrangements offering up a different temperament, she is the beacon that shines and guides us through these twelve offerings as they grow increasingly atmospheric, occasionally peering into a brittle darkness.

I could easily rattle off lists at this point. With a backbone of warm baselines, Organs, Pianos, String, Horns and strong vocal harmonization parade upfront in a variety of compositions that usher in many vibes. Pop music of the 60s, Soul, R&B, a little Jazz, Chamber Pop and Lounge too. There are subtle electronic influences worming there way in too. Always sounds more like an 80s Synth-pop ballad and after the slow brewing Awaken, aligned strongly with Classical ideas, the album starts to open up. Emperor With An Egg accrues various waveform instruments alongside its Classical instrumentation and the following Boys At School at school hints at Synthwave vibes which blossoms on Queen Of Wands, a track akin to Chelsea Wolfe's Pain Is Beauty. Its use of wobbly, eerie, spooky Horror synths a sensibility here that resurfaces, seemingly at odds with the mood of Sweet Talk. Little moments like this are littered throughout, sounds that seem out of context but work wonderfully.

I could go on but essentially we have bright and clear instrumentation arranged wonderfully with beautiful aesthetics and expressive instrumentation that despite showing its influences, feels entirely distinct as the web of influences weave together. The record sets out feeling more Soul and Baroque pop oriented but swells of instrumentation gives it a Progressive edge that blossoms as the songs continuously explore, bringing in more instruments, sounds and aesthetics as it goes on. Its melodies too often feel interchanged between these style, ushering in just the strangest sense of ideas in action. One can almost see the blueprint yet its outcome feels completely inspired and magical, without any design.

Rating: 8/10