The purpose built next generation interstellar Dawn Richard thread

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does 'blackout'-era britney have much crossover w/ this stuff? i'm listening to "radar" (love love love) right now and i could see the drama being pitched up slightly in a way that would totally fit w/ the 'LTTP sound'

pop the s1ock (J0rdan S.), Tuesday, 22 February 2011 06:42 (five years ago) Permalink

"vibrate" is nuts

pop the s1ock (J0rdan S.), Tuesday, 22 February 2011 07:13 (five years ago) Permalink

i'd love to hear a version of a tell tale heart where several of the songs didn't sound like they were recorded underwater

YES (i mean, i assume this will be the actual album if and when it emerges)

blackout's a good comparison point, i mentioned it in my LTTP review from the "constant surprising sonic thrillz" standpoint, but re: dawn specifically there's also that impulse to get drunk and curse and act out sexually running through it (though obv she's coming at it from a more controlled persona...)

lex pretend, Tuesday, 22 February 2011 08:08 (five years ago) Permalink

Yeah she's interesting in that she's a controlled singer doing "unhinged" R&B - there are aspects of this album that remind me of K Michelle and Fantasia and J Hudson and Brooke Valentine in parts but it's mostly sonic rather than vocal.

This works for me though I'll have to think about why, can't come up with a neat explanation for it yet.

Tim F, Tuesday, 22 February 2011 10:03 (five years ago) Permalink

i'm still unbelievably pissed off that my chat w/dawn and kalenna has been lost to the vagaries of hard drive death - they said some really interesting things, esp re: their differing singing/songwriting styles, and both generally came across as totally smart and totally on it, and a bit like...necessary to keep diddy down to earth?

tim, you heard the last danity kane album right? if not, omg you need it. (i probably need their first one! never heard it)

lex pretend, Tuesday, 22 February 2011 10:07 (five years ago) Permalink

I think I heard and liked the singles? I can't remember now if I checked out the album or not.

In my head I kind of just slot Danity Kane as halfway between Dream and Pussycat Dolls and keep forgetting that this is based purely on pop-cultural arithmetic rather than what they actually sound like.

Tim F, Tuesday, 22 February 2011 10:11 (five years ago) Permalink

it's not entirely offbase w/r/t what they sound like either

that was probably one of my favourites off the album, which made a really great companion piece at the time to...blackout, as it happens - danja helmed a good chunk of it and most of the beats were rather great.

lex pretend, Tuesday, 22 February 2011 10:14 (five years ago) Permalink

"bulletproof" is so immense, steel pistons grinding into motion

lex pretend, Tuesday, 22 February 2011 12:20 (five years ago) Permalink

Love "Superhero"

banjee trillness (The Reverend), Tuesday, 22 February 2011 20:46 (five years ago) Permalink

http://www.cdbaby.com/cd/dawnangelique

Wrong-Way Willy (Andy K), Tuesday, 22 February 2011 21:33 (five years ago) Permalink

any good?

kl0p's son (k3vin k.), Tuesday, 22 February 2011 21:49 (five years ago) Permalink

booty in da pants

pop the s1ock (J0rdan S.), Tuesday, 22 February 2011 21:50 (five years ago) Permalink

does 'blackout'-era britney have much crossover w/ this stuff? i'm listening to "radar" (love love love) right now and i could see the drama being pitched up slightly in a way that would totally fit w/ the 'LTTP sound'

― pop the s1ock (J0rdan S.), Tuesday, February 22, 2011 1:42 AM (15 hours ago) Bookmark Suggest Ban Permalink

um aside from multiple beats by Danja on both albums i don't really see any connection beyond urban-leaning pop and pop-leaning rap/R&B kinda meeting each other halfway. also lol @ blackout-era britney like that's some kind of defining touchstone of anything outside the ilx hivemind.

some dude, Tuesday, 22 February 2011 21:57 (five years ago) Permalink

it's a defining touchstone of the pop genre, i think - almost certainly the most critically acclaimed of her albums

lex pretend, Wednesday, 23 February 2011 00:02 (five years ago) Permalink

the popjustice crowd (and most top 40/pop fans I've talked to) generally consider it to be the best pop album of at least the second half of the decade, if that means anything

prolego, Wednesday, 23 February 2011 00:23 (five years ago) Permalink

yeah i was exaggerating about it being a big deal only on ilm but calling it her most critically acclaimed album is i think pretty off -- on metacritic it's 3% lower than Circus, 5% lower than In The Zone, 11% lower than Oops -- it's only put on a pedestal in a very particular internet bubble.

some dude, Wednesday, 23 February 2011 01:00 (five years ago) Permalink

Eh, Metacritic only analyzes initial reviews, not an album's long-term legacy.

banjee trillness (The Reverend), Wednesday, 23 February 2011 01:24 (five years ago) Permalink

yeah obviously there's a lot of nuance that it doesn't accurately measure -- i'm just saying there's this kind of assumption that it's universally regarded as the high point of her career that i don't think really holds water

some dude, Wednesday, 23 February 2011 01:36 (five years ago) Permalink

Realistically though Dawn Richard is highly unlikely to attain any success outside of that internet bubble (or an overlapping one) so it's not so misfounded or misleading a point of comparison.

If I say "maybe Dawn Richard's album is gonna be the 2011 equiv of Chain Letter" it's no more ridic, really.

Tim F, Wednesday, 23 February 2011 03:29 (five years ago) Permalink

yeah who knows if DR has any commercial potential (although LTTP might have legs enough to set her up well, who knows), but Blackout being singled out as a comparison point over all the other dancey Danja-produced R&B/pop albums of the last few years seemed kinda arbitrary.

some dude, Wednesday, 23 February 2011 03:36 (five years ago) Permalink

what other notable danja-produced R&B/pop albums are out there? (honest q)

Neu! romancer (dayo), Wednesday, 23 February 2011 03:42 (five years ago) Permalink

i wanna know if the first 20 seconds to "let love in" are supposed to be part of the song or if it's part of another one - sounds absolutely heavenly

kl0p's son (k3vin k.), Wednesday, 23 February 2011 03:48 (five years ago) Permalink

Really enjoying this but the shitty mixtape sound quality is really harshing my buzz. Why do these songs not sound louder?

Matt DC, Wednesday, 23 February 2011 12:05 (five years ago) Permalink

'Sounds louder' is usually a bad thing imo.

banjee trillness (The Reverend), Thursday, 24 February 2011 00:47 (five years ago) Permalink

one month passes...

i think he means the levels are quiet in an unmastered way that makes the whole thing sound less full/alive, which is a totally valid gripe and not at all an aesthetic thing.

"Hey" has not been singled out itt as a standout and that needs to be rectified.

dayo technology (some dude), Friday, 1 April 2011 20:57 (five years ago) Permalink

what other notable danja-produced R&B/pop albums are out there? (honest q)

― Neu! romancer (dayo), Tuesday, February 22, 2011 10:42 PM (1 month ago) Bookmark

if we're talking stuff from when Danja was Timbaland's right hand man (and those should probably count since Danja had a huge influence on the sound of those records), Timberlake's FutureSex and Furtado's Loose. but i was referring to stuff heavy on Danja solo productions like Diddy's LTTP and Press Play, Keri Hilson's 1st album, Danity Kane's 2nd album, Katharine McPhee's 1st album.

dayo technology (some dude), Friday, 1 April 2011 21:02 (five years ago) Permalink

"hey" is amazing yes

lex pretend, Saturday, 2 April 2011 08:27 (five years ago) Permalink

ship otm

"runway" & "vibrate" are also the joints off this

J0rdan S., Saturday, 2 April 2011 08:39 (five years ago) Permalink

i like how the art for this album could double as a los campesinos cover

J0rdan S., Saturday, 2 April 2011 08:46 (five years ago) Permalink

kmt

lex pretend, Saturday, 2 April 2011 08:46 (five years ago) Permalink

:D

J0rdan S., Saturday, 2 April 2011 08:47 (five years ago) Permalink

i feel like an asshole for loving "vibrate" the most cuz it sounds like the one that terius & los would've done

J0rdan S., Saturday, 2 April 2011 08:48 (five years ago) Permalink

do we actually have the production credits for this? i couldn't find them the other week. "vibrate" def in the "promise"/"devotion" lineage

lex pretend, Saturday, 2 April 2011 08:50 (five years ago) Permalink

if anything i feel bad for loving the swagged-out ones so much. I'M ON MY SUPERMAN SHIT, WHIPPIN UP TOWN, BLOWIN UP SHIIEEET

lex pretend, Saturday, 2 April 2011 08:51 (five years ago) Permalink

that's why "runway" is the best -- bragging about her hair being real

J0rdan S., Saturday, 2 April 2011 08:52 (five years ago) Permalink

NO HORSES UP HERE

lex pretend, Saturday, 2 April 2011 08:52 (five years ago) Permalink

exactly

J0rdan S., Saturday, 2 April 2011 08:53 (five years ago) Permalink

they say they new guccis but i had em last year
i'm rocking everything that you really wanna wear

J0rdan S., Saturday, 2 April 2011 08:54 (five years ago) Permalink

i also like to think that naomi campbell references in r&b have proliferated precisely because of her capacity for assault & battery with swarovski-encrusted blackberrys

lex pretend, Saturday, 2 April 2011 08:56 (five years ago) Permalink

do we actually have the production credits for this? i couldn't find them the other week. "vibrate" def in the "promise"/"devotion" lineage

haha, no longer feel weird for suggesting to kev k that vibrate kinda sounds like promise

dayo, Saturday, 2 April 2011 10:01 (five years ago) Permalink

props to Tim F for an excellent thread title that grabbed my attention and got me to listen to this, because I probably would've ignored it otherwise. listening for the first time now, and it's amazing!

I think I fell in love with her the second I saw there was a song called "Me Myself & Y" (not quite living up to the title, especially following up the excellent excellent "Hey", but still pretty good)

bernard snowy, Saturday, 2 April 2011 12:38 (five years ago) Permalink

oh and now "Broken Record" is up next — poor lil "MMY", sandwiched in between these two motherfucking monsters

bernard snowy, Saturday, 2 April 2011 12:39 (five years ago) Permalink

okay I realize that confessing this will probably make me public enemy #1 on this thread, but I still haven't listened to Last Train — just couldn't get excited about it, honestly. but if it's anywhere near Tell Tale Heart in terms of production and atmosphere/mood...

bernard snowy, Saturday, 2 April 2011 14:08 (five years ago) Permalink

yeah TTH is very close to LTTP in sound and mood, definitely check it out. better late than never!

sarraghmaclachlan (some dude), Saturday, 2 April 2011 14:17 (five years ago) Permalink

two months pass...

dope:

doper:

The Brainwasher, Thursday, 23 June 2011 02:10 (five years ago) Permalink

I really wish there was a CDQ version of Tell Tale Heart... or at least one that isn't so compressed and muddy sounding

The Brainwasher, Thursday, 23 June 2011 02:14 (five years ago) Permalink

four months pass...

^^^

i thought this was just gonna be a prelude to an album proper but everything's gone a bit quiet on the dawn richard front? this is still amazing though

HE ON ME LIKE BUTTER ON BREAD
FRONT ROW WHEN I'M DOIN MY DANCE

all i see is angels in my eyes (lex pretend), Monday, 14 November 2011 16:36 (five years ago) Permalink

official title is the prelude to a tell tale heart, right?

all i see is angels in my eyes (lex pretend), Monday, 14 November 2011 16:36 (five years ago) Permalink

so sad you bumped this when I didn't have any dawn richard synced to my iphone

ASPIE Rocky (dayo), Monday, 14 November 2011 18:02 (five years ago) Permalink

haha i totally relate, h8 it when that happens

all i see is angels in my eyes (lex pretend), Monday, 14 November 2011 18:32 (five years ago) Permalink

this is beautiful

The burrito of ennui (Alfred, Lord Sotosyn), Monday, 21 November 2016 17:38 (two weeks ago) Permalink

I would like to sink deeper into this album but I'm in danger of just playing "Love Under Lights" on repeat for the rest of the day

¶ (DJP), Monday, 21 November 2016 18:13 (two weeks ago) Permalink

I burned out a couple projects ago—they began to sound very monotonous and dreary—but this one brought me back in. It's her best since Armour On imo

Evan R, Monday, 21 November 2016 18:16 (two weeks ago) Permalink

would argue that blackheart is extremely nonmonotonous

only song on the new one i'm unconvinced by is "tyrants" bc i'm not sure what it wants to do melodically. everything else bangs.

who is extremely unqualified to review this pop album (BradNelson), Monday, 21 November 2016 19:51 (two weeks ago) Permalink

lotta lyrics about light and expansion

who is extremely unqualified to review this pop album (BradNelson), Monday, 21 November 2016 19:57 (two weeks ago) Permalink

She seems comfortable with the house/EDM production on this one in a way she didn't w/ some of the previous ones. Before she always sounded slightly of out of place, and some of their power and intrigue came from that juxtaposition. Here the sounds fit her so well and she seems so cozy though. The whole feel is much more inviting than Blackheart and Goldenheart.

Evan R, Monday, 21 November 2016 20:36 (two weeks ago) Permalink

Perhaps this is an odd parallel but I'm reminded of Kelis' "Flesh Tone" album in terms of the artist expressing joy and exuberance.

Ross, Monday, 21 November 2016 21:04 (two weeks ago) Permalink

ay flesh tone is an extremely good parallel

who is extremely unqualified to review this pop album (BradNelson), Monday, 21 November 2016 21:08 (two weeks ago) Permalink

fav moment on the album at the moment is the video game death sound in the middle of "lazarus"

who is extremely unqualified to review this pop album (BradNelson), Monday, 21 November 2016 21:08 (two weeks ago) Permalink

my fav song of hers this year is "baptize" from her EP with kingdom. the rest of that is kinda bad but that song is awesome.

J0rdan S., Wednesday, 23 November 2016 18:28 (one week ago) Permalink

Dawn places third on Time's top ten songs list:
http://time.com/4575319/top-10-best-songs-2016/

human and working on getting beer (longneck), Tuesday, 29 November 2016 09:45 (one week ago) Permalink

She seems comfortable with the house/EDM production on this one in a way she didn't w/ some of the previous ones. Before she always sounded slightly of out of place, and some of their power and intrigue came from that juxtaposition.

This feels markedly different from the last few in that, even as far back as Black Lipstick, the beats have only mattered when they've been working in the service of the songs. This is the first one where it feels like the beats are the point, especially during the first half. I dunno if that's just down to weaker songwriting or just the effect of the general sensory overload here.

I like this a lot but it doesn't have much that's up there with Blackheart's sublime middle section.

Matt DC, Tuesday, 29 November 2016 10:38 (one week ago) Permalink

I'd have said Blackheart was way more of a crazy beats showcase than this, but the songwriting on Redemption isn't so much weaker - in terms of immediate hooks and straightforward melody it's her best album yet - as pared-down. When you look at the lyrics it's actually surprising how few of them there are - much of it is way more incantatory than narrative or even poetic (eg "Black Crimes" going to another level when she abandons actual words, "LA" being such an epic even though the structure is just chorus-verse-chorus-repeat central lines til end). Her Tori-like enunciation adds to this feel too, even on more narrative songs like "Hey Nikki".

lex pretend, Tuesday, 29 November 2016 10:46 (one week ago) Permalink

could not disagree w/ matt more... this album (key final chapter of the unified triptych more accurately) is literally all in the songwriting

r|t|c, Tuesday, 29 November 2016 11:26 (one week ago) Permalink

I've never cared or paid much attention to the unifying concept of the trilogy but there are fewer vocal hooks or lines sticking in my head than any of the previous albums, and when there are they're mostly in the closing stretch. I've listened to this six or seven times now and maybe there are subtleties that the production is currently overwhelming.

When you look at the lyrics it's actually surprising how few of them there are - much of it is way more incantatory than narrative

This makes more sense to me right now.

Matt DC, Tuesday, 29 November 2016 11:37 (one week ago) Permalink

Yeah I don't think the "beats are the point" here, it's more just that Machinedrum's production style tends to build up and then showcase the beats during what either are or (but for Dawn's intervention) could have been instrumental choruses, whereas Dawn's work with Druski, with some exceptions, would largely set up the beat and let it run through the track, and her work with Noisecastle III tends to be all over the place (ironically, "Black Crimes" tries exceptionally hard to fit in seamlessly with Machinedrum's sound).

Dawn is sufficiently flexible as a songwriter that she can work with and around these disparate sonic structures, and I think this tends to result in Redemption's songs being more sinuous and lithe, certainly less full-bore/full-tilt than Goldenheart, and also less wired than Blackheart.

But the other aspect of it is simply that these songs are already much more reflective to begin with, even something like "Love Under Lights" is pretty ambiguous about what kind of emotion she's wanting to broadcast or evoke. So whereas on Goldenheart it always felt like Dawn was out ahead of the production, here it's like the production sets up the mise en scene and then she's in the middle of it in a sort of negotiator's role. Our we celebrating? Mournful? Nostalgic? The fact that (I suspect) she's also chosen to place her voice a bit further back in the mix only adds to this vibe. I'd readily concede that there's nothing here that knocks me sideways like the "Sold" component of "Aderall/Sold" - rather, the songs-as-construct approach you head on while it's now Dawn's character and narrative that approach from the sides. I think this is a strength of the songwriting rather than a weakness; as if Dawn thought she needed Machinedrum's relative obviousness production-wise as a counterweight to her own increasing nuance.

Anyway if I had to choose the pick of the bunch it'd probably be BlackHeart by a whisker (or Armor On, if that's an option), but that wouldn't be because of any weakness in Redemption's songwriting.

Tim F, Tuesday, 29 November 2016 11:50 (one week ago) Permalink

haha post with r|t|c I guess.

Tim F, Tuesday, 29 November 2016 11:50 (one week ago) Permalink

lol rtc

who is extremely unqualified to review this pop album (BradNelson), Tuesday, 29 November 2016 12:01 (one week ago) Permalink

I've been assuming that Dawn has had A LOT of input into the beats here, like I have no real idea which bits are Machinedrum-produced and which aren't.

Matt DC, Tuesday, 29 November 2016 12:04 (one week ago) Permalink

I wouldn't suggest that she doesn't, but a lot of these beats bear heavy resemblance to the recent Machinedrum album, to the point where I tend to assume that Dawn quite deliberately brought in his "sound" on several tracks.

but yeah the actual production credits don't necessarily breakdown the way I might expect.

Tim F, Tuesday, 29 November 2016 12:09 (one week ago) Permalink

I'm not sure I've heard anything recently like "The Louvre." It's part of a chain of songs by women in which her character wanders landscapes while other people do their routines and she loses her mind (Suzanne Vega's "In Liverpool," Aimee Mann's "Fourth of July"), but the arrangement – wow. Those violins: lightness and dread.

The burrito of ennui (Alfred, Lord Sotosyn), Tuesday, 29 November 2016 12:20 (one week ago) Permalink

I don't think there's that much resemblance between Redemption and solo Machinedrum - not compared to "Not Above That" and "Wake Up", certainly

lex pretend, Tuesday, 29 November 2016 12:25 (one week ago) Permalink

Well yeah the difference is that Redemption is like actual songs

Tim F, Tuesday, 29 November 2016 12:32 (one week ago) Permalink

That's not fair: "Not Above That" is a perfectly decent real song, but it feels very distant from the rest of Dawn's solo work. Hearing Dawn be an R&B "siren" is weird.

Tim F, Tuesday, 29 November 2016 12:34 (one week ago) Permalink

I'm not sure I've heard anything recently like "The Louvre." It's part of a chain of songs by women in which her character wanders landscapes while other people do their routines and she loses her mind (Suzanne Vega's "In Liverpool," Aimee Mann's "Fourth of July"), but the arrangement – wow. Those violins: lightness and dread.

― The burrito of ennui (Alfred, Lord Sotosyn), Tuesday, November 29, 2016 12:20 PM (four hours ago) Bookmark Flag Post Permalink

it's a pretty unique inversion of both the trad r&b bedroom jam and the art gallery crossover experiment: it sounds like she's wandering the Louvre but the actual narrative takes place in private; it's in lieu of putting her lover on display that Dawn arranges the song as if she had. And it brings it back to the devotional songs on Armor On, "Heaven" and "Scripture", where she's kneeling to this idea of love that's equivalent to religious faith or artistic rapture.

lex pretend, Tuesday, 29 November 2016 16:37 (one week ago) Permalink

(I love how you can group Dawn songs by thematic or sonic connection through her albums, as well as in the albums themselves, kind of like her discography works on two axes. Like how "Billie Jean" and "Hey Nikki" are obviously a pair but you could expand that to "James Dean" as well etc etc)

lex pretend, Tuesday, 29 November 2016 16:41 (one week ago) Permalink

(The other great thing about Dawn's character songs like those three is that she might retell modern myths from different perspectives but it's never the straightforward or expected one - not inversions but subtle shifts in angle. Like "Hey Nikki" could've so easily just been "Darling Nikki"...but from HER PERSPECTIVE!!!111 - but it's just fleshing her out by approaching her with more awe and reverence)

lex pretend, Tuesday, 29 November 2016 16:51 (one week ago) Permalink

something i wrote in my review but that got cut is the way the chorus of "hey nikki" sounds kind of submerged makes it feel like it's "darling nikki" actively bleeding into her song

who is extremely unqualified to review this pop album (BradNelson), Tuesday, 29 November 2016 16:57 (one week ago) Permalink

That's not fair: "Not Above That" is a perfectly decent real song, but it feels very distant from the rest of Dawn's solo work. Hearing Dawn be an R&B "siren" is weird.

― Tim F, 29. november 2016 12:34 (five hours ago) Bookmark Flag Post Permalink

Well, Maya Vik of Young Michael Douglas fame wrote it, and it feels very much like a Maya Vik song to me, at least.

human and working on getting beer (longneck), Tuesday, 29 November 2016 18:07 (one week ago) Permalink

Currently digging the Kate Bush vamping on "Lillies." This album does so many things in such a short span.

birthday party, cheesecake, jelly beans, boom (tipsy mothra), Thursday, 1 December 2016 04:12 (five days ago) Permalink


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