Kelela - Cut 4 Me

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Preemptively starting this so I have a place to fan out tomorrow.

The Reverend, Tuesday, 1 October 2013 05:47 (four years ago) Permalink

"Bank Head" is top 5 this year obv.

https://www.youtube.com/watch?v=6I_2eYvrEJw

The Reverend, Tuesday, 1 October 2013 05:50 (four years ago) Permalink

it feels really weird that a few years ago this was the kind of project i dreamed of

i just don't like the direction night slugs/fade to mind have gone in over the past year or two - those awkward, stop-start beats, the lack of groove or direction, the way all their beats feel like hanging in space waiting for something to happen that never does - no melodic or rhythm hook at all. they sound pretty but you can't get your teeth into them let alone dance to them. when i listen back to the NS/F2M tracks i fell in love with, and still love, there's so much more drama and urgency about them. pretty sure all of this is completely intended and they're making exactly the kind of music they want to but it's not for me any more.

kelela does what she can with beats i mostly don't care about, i guess. "floor show" and "cut 4 me" are the best trax here on a couple of listens. it's never less than pretty and sounds a bit like i once imagined r&g would sound in places. i haven't finished giving it a chance but overall, siiiigh

lex pretend, Tuesday, 1 October 2013 08:24 (four years ago) Permalink

(it's sort of funny to me that of all that crew, ikonika's the one who's really kept pushing her music in meaty but completely distinct directions, including doing a pretty triumphant vocal track (for a singer who, left to her own devices, turned out to be totally dullsville!). not that i ever doubted ikonika's talent but she was the one who was much more consciously ~limited~ when she started out)

lex pretend, Tuesday, 1 October 2013 08:26 (four years ago) Permalink

it'll probably get lots of attention and praise because people have idealised the concept of such a record so hard, i guess

lex pretend, Tuesday, 1 October 2013 08:29 (four years ago) Permalink

Or because, you know, some of us actually like it!

twinkin' and drinkin' and ready to fly (Alex in Montreal), Tuesday, 1 October 2013 15:24 (four years ago) Permalink

But I'm not going to get into the meta conversation because I'd rather talk about how much I love the way she bites into Enemy.

twinkin' and drinkin' and ready to fly (Alex in Montreal), Tuesday, 1 October 2013 15:26 (four years ago) Permalink

Feel free to explain what's so great about it!

lex pretend, Tuesday, 1 October 2013 16:03 (four years ago) Permalink

not everything is made for dancing, lex

I make $94k Based God (rennavate), Tuesday, 1 October 2013 16:11 (four years ago) Permalink

it's not like it works on a slow jam level either *shrug*

lex pretend, Tuesday, 1 October 2013 16:22 (four years ago) Permalink

I don't have any baggage to attach to this other than having seen a few people on my feeds being enthusiastic about it and liking the songs they linked to, so when I say I think it's really good, it's because I just think it's really good, not because of any idealizing.

Greer, Tuesday, 1 October 2013 21:52 (four years ago) Permalink

I think this is really, really good. I love her voice. also love how bassy the tracks are.

My god. Pure ideology. (ey), Tuesday, 1 October 2013 22:34 (four years ago) Permalink

A kinda quirk of this I like is how often these songs start of sounding like they could be the intro to some really chipper synthpop tunes and then just become something else entirely.

Greer, Tuesday, 1 October 2013 23:08 (four years ago) Permalink

"Bank Head" is top 5 this year obv.

― The Reverend, Tuesday, October 1, 2013 1:50 AM (18 hours ago) Bookmark

the natural and just evolutionary end of the clapper

乒乓, Wednesday, 2 October 2013 00:21 (four years ago) Permalink

otm!

i just don't like the direction night slugs/fade to mind have gone in over the past year or two - those awkward, stop-start beats, the lack of groove or direction, the way all their beats feel like hanging in space waiting for something to happen that never does - no melodic or rhythm hook at all. they sound pretty but you can't get your teeth into them let alone dance to them.

Eh, that's not really true for me at all, if anything early NS/FTM stuff has taught me how to appreciate their newer stuff. And I absolutely love negative space in my dance music. Like I've long noticed when I break down with Tim over dance music it's usually because of his bias towards maximalism and mine towards minimalism. But Kelela's presence kind of makes this all moot by providing a focal point other than the beats.

But anyway, Alex in MTL otm. "Enemy" is the most gorgeous thing ever and this tape is somehow managed to live up to my high expectations. Besides, it's 2013 and slow jams are the best type of music to dance to anyway ;-)

The Reverend, Wednesday, 2 October 2013 02:26 (four years ago) Permalink

And I like Ikonika but she's just about the border of what I'll tolerate as far as going in a more techno-y direction.

The Reverend, Wednesday, 2 October 2013 02:27 (four years ago) Permalink

Can we talk about Nguzunguzu bringing in the "Moments in Love" flip at the end of "Something Else"? Like of course they do that, but you don't actually expect them to, so it's one of those perfect moments of unexpected obviousness that make me melt.

The Reverend, Wednesday, 2 October 2013 02:29 (four years ago) Permalink

Kinda lol/fitting that I'm quite enjoying this.

Tim F, Wednesday, 2 October 2013 03:39 (four years ago) Permalink

Naturally.

The Reverend, Wednesday, 2 October 2013 04:25 (four years ago) Permalink

I think because I struggled with the dancefloor aspect of a lot of early NS and affiliated stuff in the first instance, I don't mourn its diminution the way Lex does - to my mind, engagingly intricate/fussy non-functional pseudo-R&B beats is possibly a better look for many of these producers.

Tim F, Wednesday, 2 October 2013 04:41 (four years ago) Permalink

Oh yeah, weird syncopation being the other thing that's total catnip to me.

The Reverend, Wednesday, 2 October 2013 04:43 (four years ago) Permalink

Really must hear this. Tomorrow, hopefully.

Ned Raggett, Wednesday, 2 October 2013 05:35 (four years ago) Permalink

I have seen this played out in clubs and people did dance tho

(I was DJing at an afterparty at that Basilica Sound Scape festival with the dude who runs Tr1angl3 R3cords and he played "Bank Head" and people totally got down to it- it's just a different kinda vibe)

the tune was space, Wednesday, 2 October 2013 05:39 (four years ago) Permalink

Yeah people have def danced whenever I've heard "Bank Head" out.

The Reverend, Wednesday, 2 October 2013 06:44 (four years ago) Permalink

intricate/fussy

these are negatives to me. we've been here before, where others hear "weird syncopation" i just hear stilted and awkward

i've seen people dance to latter-day night slugs, i can't do it though - just too dry and stilted.

lex pretend, Wednesday, 2 October 2013 07:20 (four years ago) Permalink

i did envisage kelela providing some sort of focal point but i feel like her songwriting does much the same "hang in the air on the verge of doing something that never happens" thing as the beats

lex pretend, Wednesday, 2 October 2013 07:21 (four years ago) Permalink

haha I chose "fussy" as an alternate expressly to allow that yr mileage would probably vary lex.

Tim F, Wednesday, 2 October 2013 07:57 (four years ago) Permalink

tbh i don't even hear them as fussy or intricate, just awkward and rigid

lex pretend, Wednesday, 2 October 2013 08:01 (four years ago) Permalink

I do too - rigid certainly, and if not always awkward to my ears then at least deliberately "ungainly" - but I suppose I can deal with it better as straight soundworld indulgence rather than when it sounds like someone took a perfectly decent house track and sprained its ankle.

It seems a reasonable thing to be turned off by though, IMO.

Tim F, Wednesday, 2 October 2013 08:11 (four years ago) Permalink

I could mostly give less of a fuck about a perfectly good house track at this point tbh

The Reverend, Wednesday, 2 October 2013 08:20 (four years ago) Permalink

Even the straightforward "functional" dance music I'm into is club or ballroom or juke or falling in between those cracks.

The Reverend, Wednesday, 2 October 2013 08:21 (four years ago) Permalink

Bun fire pon 4x4

The Reverend, Wednesday, 2 October 2013 08:23 (four years ago) Permalink

but I suppose I can deal with it better as straight soundworld indulgence rather than when it sounds like someone took a perfectly decent house track and sprained its ankle.

i'm mostly thinking of stuff like "fogs", not to mention early jam city stuff like "arpjam", which are still some of my favourite dance trax of this decade, as examples of that urgency (not nec 4x4) which i find completely lacking among NS/F2M, including kelela, lately

lex pretend, Wednesday, 2 October 2013 08:35 (four years ago) Permalink

Kelela's definitely going for a different thing than those tracks tho, more of a floaty, romantic vibe sometimes offset by jagged tracks. Something like "Bank Head" is more made to body roll and dance sexy to than stomp your feet and that's ALWAYS ALWAYS better.

The Reverend, Wednesday, 2 October 2013 08:48 (four years ago) Permalink

We really need to have a thread on drums/bass/momentum/kineticism in music and what does and doesn't work for people, not necessarily dance music either. Because early NS just did not work for me at all on a basic physical level even when it was ostensibly similar to other stuff I liked.

Matt DC, Wednesday, 2 October 2013 08:58 (four years ago) Permalink

Dance in between the beats

The Reverend, Wednesday, 2 October 2013 09:00 (four years ago) Permalink

LOL some of us do know what dancing involves Rev.

Tim F, Wednesday, 2 October 2013 09:09 (four years ago) Permalink

I guess I specifically have a love for dance music that challenges me as a dancer.

The Reverend, Wednesday, 2 October 2013 09:19 (four years ago) Permalink

This is one of the things I find awesome about footwork is basically its whole central premise as music specifically made for dance battles is the tension between how challenging it can be to dance to but still able to be danced to by a skillful dancer.

The Reverend, Wednesday, 2 October 2013 09:22 (four years ago) Permalink

Thing is it's not just about dancing is it? A lot of the listening contexts for this music happen when there's no dancing at all taking place. I like footwork because the rhythmic patterns work for me on a very basic level and would never even think of trying to dance to it. And in 99% of the situations when I actually dance anything that particularly 'challenges' me would be doomed to disaster.

Matt DC, Wednesday, 2 October 2013 09:31 (four years ago) Permalink

I mean obviously dancing is the primary purpose but if the music is any good you can get a lot out of it away from the dancefloor.

Matt DC, Wednesday, 2 October 2013 09:32 (four years ago) Permalink

I guess I specifically have a love for dance music that challenges me as a dancer.

― The Reverend, Wednesday, October 2, 2013 9:19 AM (6 hours ago) Bookmark Flag Post Permalink

I broadly have the same sympathies, which is why in general terms jungle and 2-step and funky are closer to the centre of my taste than are typical house or techno.

OTOH my preferred form of "challenge" is one where the music is rhythmically more fluent, and dares you to try to keep up, as opposed to the inverse situation where the music kinda bludgeons about in an ungainly manner, in a deliberate debasement of rhythmic fluency vis a vis, say, house - although certainly I can also think of examples of this approach which I absolutely love.

Where I think the Kelela album does well is in raising the latter approach to its own level/form of fluency through intensification. I can imagine people dancing to some of this but it seems like a secondary effect.

Tim F, Wednesday, 2 October 2013 15:39 (four years ago) Permalink

i guess the dancing thing is a red herring w/r/t kelela specifically, i'm aware it's not made for that as such, but the same issues that have made NS club tracks in the past year-ish so undanceable to me are the same issues that make this underwhelming to me, it's the rigidity and refusal to do anything except hang there twitching. prettiness is really not enough when it doesn't parlay that into meat at some point

lex pretend, Wednesday, 2 October 2013 15:44 (four years ago) Permalink

yeah i was gonna say why are we talking about this like it's a dance album

J0rdan S., Wednesday, 2 October 2013 15:45 (four years ago) Permalink

Yeah, that was a tangent. But Tim otm.

The Reverend, Wednesday, 2 October 2013 16:17 (four years ago) Permalink

hah if ever further proof were needed that tim is la puta madre when it comes to sweetening up disses

r|t|c, Wednesday, 2 October 2013 16:46 (four years ago) Permalink

Lovely listen, this. Currently on "Floor Show"

Ned Raggett, Wednesday, 2 October 2013 17:12 (four years ago) Permalink

Only about half way through but not feeling this at all. With a better vocalist it might have worked but her voice is kind of thin and the songwriting isn't really good enough for it to work as R&B. Also the beats are so torpid and lacking in energy even when they're fast.

Matt DC, Thursday, 3 October 2013 11:06 (four years ago) Permalink

i gave it another try and it's not the negative space in the beats i don't like, it's the fucking stop-start lack of a groove - like on "cut 4 me", which is probably as strong as the album gets, even there you have that pretty good loop which just PAUSES after every iteration for no reason at all. kingdom started out making infinitely better vocal music than this so it's just massively disappointing.

lex pretend, Thursday, 3 October 2013 11:32 (four years ago) Permalink

Yeah I don't think this realizes the potential of forward-looking production and R&B vocalist.

It sounds like most of these guys aren't giving Kelela their best shit and her writing is pretty boilerplate at times. This crawls to the finish line. I still like it, but it's not quite there yet.

I make $94k Based God (rennavate), Thursday, 3 October 2013 15:37 (four years ago) Permalink

Listening to Hallucinogen EP now - great.

JWoww Gilberto (man alive), Tuesday, 10 May 2016 21:56 (one year ago) Permalink

yesss very excited for the lp

dc, Tuesday, 10 May 2016 22:11 (one year ago) Permalink

two weeks pass...

love this ep

marcos, Friday, 27 May 2016 13:47 (one year ago) Permalink

one year passes...

Her "debut album" is coming out in October and the lead single is huge: https://open.spotify.com/album/5FEEH1krjffTBOsf7xgvw6

monotony, Wednesday, 2 August 2017 00:18 (four months ago) Permalink

Super exciting day in music announcements for me between this and the new Circuit Des Yeux

Dancing on the Pylons, Wednesday, 2 August 2017 00:54 (four months ago) Permalink

Really looking forward to this album. Also she is insanely good looking.

chap, Wednesday, 2 August 2017 09:37 (four months ago) Permalink

https://www.youtube.com/watch?v=ePi5BLJogyA

monotony, Wednesday, 9 August 2017 22:57 (four months ago) Permalink

one month passes...

album out

moullet, Tuesday, 3 October 2017 20:32 (two months ago) Permalink

??????

joshywinty (josh), Wednesday, 4 October 2017 04:52 (two months ago) Permalink

album NOW out and v good

monotony, Friday, 6 October 2017 04:24 (two months ago) Permalink

last 3 tracks in particular have absolutely destroyed me

monotony, Friday, 6 October 2017 05:50 (two months ago) Permalink

So good.

morning wood truancy (Alfred, Lord Sotosyn), Friday, 6 October 2017 13:56 (two months ago) Permalink

Very excited for this.

change display name (Jordan), Friday, 6 October 2017 13:57 (two months ago) Permalink

I found her past stuff a little underwhelming. How does this compare?

Moodles, Friday, 6 October 2017 14:23 (two months ago) Permalink

it's better

ANU (sisilafami), Friday, 6 October 2017 16:24 (two months ago) Permalink

I wish Lex were still around to goad me into listening to this :(

Evan R, Friday, 6 October 2017 16:35 (two months ago) Permalink

Bank head extended mix was one of my favourite tracks from its respective year. Can't wait to hear the new one

Week of Wonders (Ross), Friday, 6 October 2017 18:20 (two months ago) Permalink

First impression - most of the best songs are in the second half. Sign of a confident artist.

chap, Monday, 9 October 2017 10:04 (two months ago) Permalink

'The High' was my favourite off the Hallucinogen EP. Does her latest expand on that facet of her sound at all or maintain it at the very least? Or has she embraced more conventional pop structures?

pomenitul, Monday, 9 October 2017 15:12 (two months ago) Permalink

i think structurally this is very much still boundary pushing for a dance/R&B hybrid, but there are songs like "LMK" and "Waitin" that I suppose that have more conventional mechanics

monotony, Tuesday, 10 October 2017 01:10 (two months ago) Permalink

"Waiting" and "Onanon" are practically Janet songs.

morning wood truancy (Alfred, Lord Sotosyn), Tuesday, 10 October 2017 01:26 (two months ago) Permalink

fuck me "frontline" is amazing

only two listens in on album so far and there's a lot to digest but so far it's pretty great

dyl, Thursday, 12 October 2017 15:43 (two months ago) Permalink

I've been listening non-stop. The best ballads remind me of Velvet Rope-era Janet.

morning wood truancy (Alfred, Lord Sotosyn), Thursday, 12 October 2017 15:53 (two months ago) Permalink

Great performance on Jools Holland (hopefully available to non-UKers)

https://www.youtube.com/watch?v=hKML5psaCs8

chap, Thursday, 12 October 2017 16:11 (two months ago) Permalink

New LP is FIRE, good lawd. Probably end up my AOTY

davey, Thursday, 12 October 2017 18:26 (two months ago) Permalink

this was a really good read https://www.residentadvisor.net/features/2524

marcos, Thursday, 12 October 2017 18:28 (two months ago) Permalink

really enjoyed this, especially "frontline"

the late great, Thursday, 12 October 2017 19:02 (two months ago) Permalink

lovely cover of Sade's "Like A Tattoo" on BBCR1:

https://www.youtube.com/watch?v=yqVxMDwGtBo

monotony, Thursday, 12 October 2017 23:26 (two months ago) Permalink

I really wish I could hear what you guys are hearing in this. There's a few nice production touches but Kelela herself doesn't bring much except a technical competency. It all feels like it's trudging along at the same pace and lacking personality.

Why are publications that wouldn't normally touch an r&b album fawning over this? What is it that lends this a greater sense of... legitimacy?

boxedjoy, Wednesday, 18 October 2017 08:33 (one month ago) Permalink

It’s on Warp.

michaellambert, Wednesday, 18 October 2017 10:18 (one month ago) Permalink

I liked ‘Cut 4 Me’ but haven’t gotten around to checking out the album.

michaellambert, Wednesday, 18 October 2017 10:18 (one month ago) Permalink

Label Warp
Producer
Kelela (exec.) Ariel Rechtshaid (also exec.) Jam City (also exec.) Arca Bok Bok Dubbel Dutch Kingdom Kwes Asma Maroof Mocky Aaron David Ross Al Shux Loric Sih Terror Danjah Nick Weiss

Matt DC, Wednesday, 18 October 2017 11:48 (one month ago) Permalink

I really wish I could hear what you guys are hearing in this. There's a few nice production touches but Kelela herself doesn't bring much except a technical competency. It all feels like it's trudging along at the same pace and lacking personality.

She's good at writing about confusing sex, and she can sing about it too. This and Kehlani's album are among my favorite R&B albums of the year.

morning wood truancy (Alfred, Lord Sotosyn), Wednesday, 18 October 2017 12:02 (one month ago) Permalink

The Kehlani album is probably my favourite album of the year (sorry Susanne Sundfør) and I get that this is going for a different thing anyway but I do feel like it's getting a free pass and acclaim when it's lacking in many ways. It does improve in the final tracks but compared to something like the (ultimately underwhelming) Sevyn Streeter album this just feels like a slog to get through.

The whole situation makes me think of Dawn Richard too. Redemptionheart came with Machinedrum's credibility but it was nowhere near as good as its predecessor.

boxedjoy, Wednesday, 18 October 2017 13:49 (one month ago) Permalink

I mean I hate to be comparing women of colour who make music to each other and r&b purism does nobody any favours. But it's not like the production on the Kehlani/Sevyn/whatever contemporary r&b album is particularly lacking when compared to this

boxedjoy, Wednesday, 18 October 2017 13:51 (one month ago) Permalink

I think there are different layers of contextual appreciation at work: yes, for some people the Warp / Fade To Mind connections are going to be important. But I think the other component at work is how this album plugs very carefully into a now widely celebrated critical articulation of opulent r&b balladry. An artist adopting as her aesthetic centre the trajectory of Aaliyah’s “One In A Million” —> Janet’s “Empty” —> Ciara’s “Promise” is always gonna be critical catnip (well for the last ten yeas or so at any rate).

Other r&b artists slip through this sound but it’s not their selling point - e.g. Dawn strives for something more portentous, while Kehlani is more focused on relatability.

I guess the question then becomes how one feels about the secret history of this vibe being transformed into something more concrete and explicit: of course it’d be nice if more people dove into old deep cuts like Ashanti’s “Voodoo” but I can’t begrudge the handiness of Kelela adopting this sound for a sustained exploration of its parameters, or the possibilities that affords.

Tim F, Wednesday, 18 October 2017 21:42 (one month ago) Permalink

I'm surprised to see a comment reducing Kelela's role on this album to mere technical competence. That may have applied to Cut 4 Me but I hear so much more confidence in her vocals now; without sounding too wishy washy there's a connection between sound and feeling on this album that was only hinted at in her early songs.

This video, where she discusses the meaning behind each song on the album, underscores that notion and I thought the passion with which she spoke was really telling.
https://www.youtube.com/watch?v=tWPDww10aic

monotony, Wednesday, 18 October 2017 22:30 (one month ago) Permalink

I think there are different layers of contextual appreciation at work: yes, for some people the Warp / Fade To Mind connections are going to be important. But I think the other component at work is how this album plugs very carefully into a now widely celebrated critical articulation of opulent r&b balladry. An artist adopting as her aesthetic centre the trajectory of Aaliyah’s “One In A Million” —> Janet’s “Empty” —> Ciara’s “Promise” is always gonna be critical catnip (well for the last ten yeas or so at any rate).

Other r&b artists slip through this sound but it’s not their selling point - e.g. Dawn strives for something more portentous, while Kehlani is more focused on relatability.

I guess the question then becomes how one feels about the secret history of this vibe being transformed into something more concrete and explicit: of course it’d be nice if more people dove into old deep cuts like Ashanti’s “Voodoo” but I can’t begrudge the handiness of Kelela adopting this sound for a sustained exploration of its parameters, or the possibilities that affords.

― Tim F, Wednesday, October 18, 2017 4:42 PM (fifty-nine minutes ago) Bookmark Flag Post Permalink

very good post. where do you stand on this one vs. cut for you?

Listen to my homeboy Fantano (D-40), Wednesday, 18 October 2017 22:49 (one month ago) Permalink

xpost If that's in response to me monotony that wasn't my intention. I agree that Kelela's songwriting and performances are really strong here (this is part of the "sustained exploration of parameters/possibilities"), to be clear, I really like this album!

But the question of "why is X artist getting more critical shine than Y artist if Y artist is also really good" is rarely totally resolved by "because X is just better". Especially where the X and the Y proffered are Kelela and Kehlani...

Tim F, Wednesday, 18 October 2017 22:51 (one month ago) Permalink

i like kehlani more but i get why kelela gets more critical laurels

Listen to my homeboy Fantano (D-40), Wednesday, 18 October 2017 22:56 (one month ago) Permalink

xp no Tim that was in response to boxedjoy's comment upthread.

monotony, Wednesday, 18 October 2017 22:59 (one month ago) Permalink

deej it's been so long since I listened to Cut 4 Me that it's hard for me to compare the two, though that in turn implies that Cut 4 Me didn't really cut it 4 me.

Tim F, Wednesday, 18 October 2017 23:29 (one month ago) Permalink

"Empty" is the aural touchstone I had in mine too. Also: "Funny How Time Flies (When You're Having Fun)"

morning wood truancy (Alfred, Lord Sotosyn), Wednesday, 18 October 2017 23:50 (one month ago) Permalink

i like kehlani more but i get why kelela gets more critical laurels

― Listen to my homeboy Fantano (D-40)

the Kehlani album is really fucking long, as much as I love it (this doesn't address your point, I know).

morning wood truancy (Alfred, Lord Sotosyn), Wednesday, 18 October 2017 23:51 (one month ago) Permalink

this album is nice to put on but i was expecting a few big songs. i don't hear anything as good as "rewind" on here.

i was listening to this the other day while walking to get food, when i got to the place i took my headphones out and ciara "promise" was playing & i thought "damn there should be a song as good as this on here"

"altadena" is really nice tho

J0rdan S., Thursday, 19 October 2017 15:16 (one month ago) Permalink

I love the idea of an album that builds on the rhythmic inventiveness and warmthness of the OiaM/Empty/Promise continuum! But I don't think this is that album. I love the idea of the concept of this more than the actuality. Where you guys hear "sustained exploration" I hear meandering with texture and mood hiding the lack of big songs. I think you can make something slight and skeletal and it still be a "big song."

I don't mean to invoke Dawn or Kehlani or whoever to say "why can't this album sound like them" because that's not the point, this isn't trying to be grandiose or sisterly. But those artists have albums that wholly succeed in their aims, whereas this struggles to match its intent.

boxedjoy, Thursday, 19 October 2017 16:29 (one month ago) Permalink

Also, as much as I like a lot of things with production credited to Ariel Rechtshaid, and I love Jam City (a lot), I'm not sure how well it sits with me that the big critical success of contemporary r&b is a Warp-released album exec-produced by two white guys. I'm not in the US but the iTunes Marginalization thread is clear how hard a time ~traditional r&b~ is having. In the UK the situation is grim. If this was a stellar example of genre formalist excellence or astonishing innovation or visionary accomplishment then I could understand. But I don't get any of that from this.

boxedjoy, Thursday, 19 October 2017 16:36 (one month ago) Permalink

two weeks pass...

this album is undeniable imo

ToddBonzalez (BradNelson), Monday, 6 November 2017 13:32 (one month ago) Permalink

most of the best songs are in the second half

otm, stretch from "onanon" to the end especially

ToddBonzalez (BradNelson), Monday, 6 November 2017 13:34 (one month ago) Permalink

I liked it a little less than Hallucinogen at first but the more I listen to it the more I admire it. And yeah, those final four tracks are ace.

pomenitul, Monday, 6 November 2017 19:45 (one month ago) Permalink


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