Archive for the ‘Music’ Category

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Top 10 albums of 2012.

December 17, 2012

It’s that time of year again! Here are my top 10 albums of the year. Enjoy and please share your 2012 music picks! 🙂

10. Usher – Looking 4 Myself

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It doesn’t recapture the heady heights of My Way or 8701, but it’s an effort that tries to combine R&B, dance and pop with a newfound maturity. Highlights: Climax, I Care For U, Lemme See, Looking 4 Myself, Euphoria

 

9. B.Slade – Deep Purple

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He does it again! After the excellent Diesel and Stealth albums, B.Slade hits us with Deep Purple. His beats and vocals are sicker than what mainstream is ready for – it feels like real R&B. Highlights: PHONy PONy, TwerK, Deep Purple, Lo Siento

8. Alicia Keys – Girl On Fire

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Alicia Keys has yet to make a bad album. This album has a quiet beauty, maturity and warmth to it, which is appropriate considering her newfound motherhood. Highlights: Brand New Me, When It’s All Over, New Day, Girl On Fire, Not Even The King

7. Brandy – Two Eleven

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A well-deserved hit single heralded this unabashedly R&B album. Brandy’s voice is once again harmonious and emotive; the beats are once again forward-thinking. It feels like coming home. Highlights: Wildest Dreams, Let Me Go, Without You, Put It Down, What You Need

6. Tamia – Beautiful Surprise

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One of the best vocalists around, this is more classic R&B that just hits all the right spots. It’s wonderfully romantic and a sweet delight to listen to. Highlights: Give Me You, It’s Not Fair, Still Love You, Still

5. Lana Del Rey – Born To Die

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A new voice and a new style that started of the year with a sophisticated bang. Lana Del Rey also demonstrated she knows how to make an artful music video (see: National Anthem, Ride). The Paradise re-release was a nice addition to this record, but the original album was solid all the way through and married Nancy Sinatra with deep beats. Highlights: Born To Die, Blue Jeans, Video Games, National Anthem, This Is What Makes Us Girls.

4. Nicki Minaj – Pink Friday: Roman Reloaded (read the full-length review here)

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A schizophrenic album that calculatedly veers between popular music styles, but is stuffed with so many hits that it’s undeniable. Nicki Minaj’s re-release The Re-Up only added 7 more top tracks to the era. Highlights: Roman Holiday, Come On A Cone, I Am Your Leader, Beez In The Trap, Starships, Pound The Alarm, Automatic, Beautiful Sinner, Fire Burns, Gun Shot, Freedom, I’m Legit, The Boys (yes, that many!)

3. Frank Ocean – channel ORANGE (read the full-length review here)

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An architect of brave new R&B and soul that breaks boundaries and touches hearts, Frank Ocean has arrived with an album that transcends the sum of its parts. Highlights: Thinkin Bout You, Sweet Life, Pyramids, Lost, Bad Religion, Forrest Gump

2. Jessie Ware – Devotion 

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Her music is like a young, modern Sade. Irresistible, fresh, smooth and beautiful from beginning to end. An exciting new talent that sounds classic and up to date all at once. Highlights: the whole thing.

1. Rihanna – Unapologetic (read the full-length review here)

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Rihanna proved that she can equal Rated R. An album full of emotionally resonant, musically forward-thinking songs that epitomise what pop is and should be in 2012. Highlights: Diamonds, Numb, Loveeeeeee Song, Jump, What Now, Love Without Tragedy / Mother Mary, Get It Over With, Lost In Paradise, Half Of Me

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Rihanna – Unapologetic. (album review)

December 2, 2012

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Unapologetic might be Rihanna’s best album yet. In truth, I’ve been struggling to work out how to start a review of this album without referring to her previous masterpiece Rated R, which was a tour de force that exposed an angry, vulnerable girl trying to figure out the aftermath of love gone wrong. This album came out when I was in the midst of trying to untangle and deal with my own feelings of unrequited love, and resonated with me on such a level. On the other hand, Unapologetic comes out when I am happily in love and settled in my own life. This time, Rihanna’s narrative is quite different to my own – and yet Unapologetic, to its credit, still connects with the listener, drawing them into her fury that this time is more simmering than explosive (on Rated R, all-out rage only begins to subside into a quieter, more vulnerable, bubbling – yet nevertheless powerful – anger at around “Photographs”, two thirds of the way through the record).

Of course, Rihanna’s life has changed considerably since then. An even bigger star now than she was 3 years ago with the ability to only release number 1 singles, now she has a number 1 album to match. Meanwhile, her atomic breakup with Chris Brown (precipitated by his fists) has metamorphosed into media-baiting behaviour, ill-advised collaborations with Brown and the rumoured (likely true, if the photographs and ineloquent tweets and confessions of her ex are to be believed) rekindling of their romance. Unapologetic: why shouldn’t Rihanna forgive her abuser, her first love? Why shouldn’t she work with a hot male R&B star? Why can’t she misbehave, smoke, drink, party night after night like anyone in their early twenties? Despite what naysayers like to purvey, her career certainly hasn’t suffered for it. But the material on the album – none of which was written by Rihanna but all of which has a stamp immediately more personal than the scattergun Loud that hit dizzying heights all too infrequently, and than the ultimately unsatisfying Talk That Talk that petered out halfway after such a promising start – displays a thoughtfulness that suggests that while Rihanna may be “unapologetic”, she’s not unaware of what is going on around her, what is happening to her and certainly of what is being said or claimed about her. Unapologetic continues where Rated R left off: there are certainly hits, but nearly every song carries a depth of meaning that exudes confidence, confusion, sex and honesty.

Opener “Phresh Out The Runway” is swag personified, and is effectively Rihanna making an entrance. While it’s great to start the album, and an excellent song to listen to for an immediate energy boost when you’re half-asleep leaving the house on the way to work, it’s not the meaningful content I’ve discussed above. Neither is the other David Guetta collaboration, “Right Now”, a club diversion that rehashes previous album highlight “Where Have You Been” to pleasant but unremarkable effect. But on lead single “Diamonds”, we get a childlike chant, a sparkling midtempo strut and a powerful vocal that lyrically echoes previous megahit “We Found Love”: where there were “yellow diamonds in the sky”, now we are “shining bright like a diamond in the sky”. Rihanna’s vocals have grown more impressive over the years (whatever she’s smoking, I would like some) and where she may have simply been a vehicle for delivering hit songs even on the consistent Good Girl Gone Bad, now it’s she who transforms a song into a smash. The chorus is powerful yet sincere, and lyrics such as the telling “I choose to be happy” betray a sense of desperation in trying to convince herself that a romantic relationship is truly infallible rather than fleeting (as are the moments portrayed in the accompanying video). It’s a fantastic performance, and a refreshingly downbeat choice for a lead single that nonetheless packs punch.

The next trio of songs could all be described as downbeat yet potent, but each has its own place on the album. “Numb” works atop a sensual Egyptian-sounding ostinato and pounding drums, while Rihanna drawls monotonously that nobody “can’t tell her nothing… I’m impaired / I’m going numb, I’m going numb”. Interestingly, the vulnerability continues as the lyrics imply that for all her power and “double-dares”, Rihanna sees herself as the defective one. “Pour It Up” in contrast is celebratory of women who are in charge (like Rihanna, of course)… and yet the vocals and beats are submerged in aural tar, as if Rihanna is high off the champagne, weed and money referenced in the songs. None of these songs are instant, and yet on repeated listens they reveal themselves as worthwhile and interesting – “balling out” may not be as fun as it’s cracked up to be. “Loveeeeeee Song” is also very chill, working from a traditional R&B template that’s chopped and screwed into something less recognisable. It’s a romantic ballad dressed up as a nonchalant come-on. So far, the theme of Unapologetic is that appearances can be deceiving – Rihanna is flawless, cocky, confident, nonchalant, vulnerable, determined to be happy, numb, impaired, intoxicated, worried about “sounding too desperate”, in need of love and affection… It’s a spiralling morass of emotion dressed up as a percolating limousine ride.

Things become much more straightforward with “Jump” – i.e. SMASH. Dubstep breakdowns done right and made fresh and dynamic; a sample of “Pony” by Ginuwine that could have easily been problematic (as is so often the case when interpolating excellent material) but instead elevates the music; Rihanna is cocksure and forthright. But within a couple of songs, we have an explosive ballad that I saw described by a user on Popjustice as “fire and ice blasting out of the ground”. “What Now” is flawless and one of Rihanna’s best works – a mid-tempo ballad that quickly becomes bombastic, overwrought and emboldened by one of her best vocal performances to date. As drums explode and guitars roar to a climax, lyrics profess that “I spent every hour just going through the motions / I can’t even get the emotions to come out / Dry as a bone, but I just wanna shout”. The emotions certainly do come out, so palpably that the cut is utterly absorbing and one of Rihanna’s best. “Stay” directly follows this and is the quietest track on the album, serving as more evidence of Rihanna’s improvements as a vocalist and interpretative singer – she is capable of taking a song and breathe life into it, whatever the subject matter or emotional standpoint. It’s just been confirmed as Unapologetic‘s second single and appears to be a fan favourite, though I wouldn’t go any further than saying the song is fine – I would certainly champion other tracks over this one. But its contrast with the other songs on the album and with Rihanna’s usual output gives it its own place on the album.

“Nobody’s Business”, the duet with Chris Brown, is the perceived “event” of the album, sampling Michael Jackson to boot. But musically it’s a little bit flat – the existence of the duet says more than its sonic attributes. “You’ll always be mine, sing it to the world… ain’t nobody’s business.” Yet another contradiction in an album full of them, both lyrically and musically. Is Rihanna purposefully spiting all of those who supported her during the fallout of her abuse suffered at Brown’s hands? Is it offensive? Or are they just teasing? It seems very pointed when Rihanna sings “Let’s make out in this Lexus” – as opposed to what happened in a car last time! It’s a trying sentiment that seems difficult to understand – but once again, let’s remember that Rihanna is “unapologetic” so what does it matter? She is going to do what she wants, she’s young and in love, and hopefully she won’t get hurt again in such a way. “Love Without Tragedy / Mother Mary” is the album’s centrepiece that, like “The Last Song” from Rated R, captivates the listener with exceptionally personal exposure. Where the previous track aims to provoke without any substance to back it up, here the confessional actually reveals a lot. “I was his Marilyn Monroe / Brown eyes, tuxedo, fast cars / A James Dean on the low.” We are clearly taken back to that fateful night of Rihanna’s being attacked (and interestingly, she hints at Chris Brown’s alleged bisexuality to boot, which may or may not have something to do with the night in question).  The bravado of “Nobody’s Business” is completely gone here, and as the song transitions into “Mother Mary”, Rihanna sounds less sure of her swagger: “I swear I wanna change”. The lyrics touch on the nature of fame, as does worthwhile bonus track “Half Of Me”, and implies that whatever we think we know about Rihanna, us outsiders never get to see the whole picture and so we shouldn’t judge… but Rihanna understands that we inevitably will. As much as “Nobody’s Business” claimed to be happy-go-lucky and ready to dive into love-as-sex, “Love Without Tragedy / Mother Mary” shows much more depth of thought (as in “What Now”) and heart that encourages repeat listens. This is another highlight of Unapologetic.

The closing songs of the album feel like a plane coming into land. “Get It Over With” is sublime, like a song-length interlude that urges the climax to “come on and fucking rain”; anger gives way to fatigue and surrender to whatever will be, good or bad. “No Love Allowed” is, contrastingly, a deceptively sunny reggae song that once again confounds expectations set up by the previous song. But the lyrics are spooky and uncomfortable, as was its precursor in spirit, Loud‘s “Man Down”. In direct opposition to that song’s subject matter, here it’s Rihanna yelling “911 it’s a critical emergency / Better run run run and charge him with the 143.” It’s a neat (perhaps too neat?) inversion of “Man Down” and seems to shed more light on the Chris Brown saga… but as highlighted in “Half Of Me”, how much do we ever know about Rihanna? We’re not privy to the whole story – according to “Mother Mary”, she’s going to “make the best scene they’ve ever seen.” “Lost In Paradise”, last but not least, is a bass-heavy closer that implies the story is not over, because now Rihanna has to find meaning to the paradise she claims to be stranded in if she ever hopes to find her way out.

For an album where Rihanna does not carry a single songwriting credit (though she is an executive producer), Unapologetic sure feels personal. And honest: an album filled with contradictions that are often calculated but nevertheless sound/feel like they have genuine meaning. The journey of the album is consistently riveting and reveals its complexities on repeated listens. There may be few answers to fans’ questions (however many sordid details it provides), but this rings less as Rihanna being deliberately elusive and more as she herself not quite knowing how to proceed. After all, she’s naked on the damn album cover – how much more vulnerable can one be, clothed only in a flimsy gauze of words, slogans and hashtags? In a world where her lover became her abuser and now may become her lover again, and where soundscapes and lyrics distort and contort around and through her voice, the one thing – no, two things – Rihanna clearly knows is how to release hit singles, and how to craft a powerful album.

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2526: track by track

November 26, 2012

As stated in my previous post, my latest album 2526 is a loose diary of the last 2 years of my life, and focuses on love, and a range of facets of that emotion. I’m now going to take you through each track and tell you a little bit more about them all.

1. My Way / Sincerity

As one might surmise, these were originally two separate songs. “My Way” was a response to the burdens of parental love and pressure from those around you who know you best and suffocate you in their desire for you to achieve the best – at the same time as you love them for wanting the best for you, you can’t help but know that ultimately you’ll end up disappointing them. Try as I might, I could write a bridge for this song, and it was unfinished for ages. “Sincerity” came from wanting to write a song called “Sincerity”, and wanting to use the classic, hard-hitting beat from the remix to “It’s All About The Benjamins”; there seemed to be a real contrast between hard and soft.  But I couldn’t write a bridge for this song either, and it went unfinished for ages as well. One day, it dawned on me to just put the two together – the subject matter of the songs went well together, and while the overall tone of the songs is one of defiance and determination, there is also love and vulnerability. And most importantly, no bitterness.

2. Distance

This is one of my two favourite songs on the album. I was heavily into the song “I Miss You” by Beyoncé (from her masterpiece 4), and the night that I received the instrumental from Citizens of the World, I had been looking forward to Toby coming down to Bristol for the weekend (this was before I had moved to London) – we hadn’t seen each other for a while and I really missed him. Except that same night, he had called me to say that he probably wouldn’t be able to make it (in the end, he did). I was feeling melancholy and yet selfish as well, and the lyrics and melody to this song subsequently came in about 15 minutes. The lyrics so vividly capture the emotions I was feeling, and the vocal delivery is something that is supposed to be downbeat and yet sincere and heartfelt. The production is perfect. I am so grateful to have recorded this song.

3. Delete U

This song was written not long after Quiet Storm was done, and the piano intro is supposed to be reminiscent of Prince / The-Dream. I remember breaking up with one of my previous dalliances and just removing all trace of him from my life. It was intriguing that rather than tangible memories, we store a lot of initial information about friends and relationships digitally and so it’s all about “pressing delete” rather than throwing things in the trash. The use of terms such as “Facebook” and “Twitter” automatically date this song (probably to its detriment, although I personally don’t think it rings as unnaturally as the lyrics about getting off the Macbook and Facebook from Brandy and Monica’s otherwise-very-good “It All Belongs To Me”), but when I’ve dated my entire album through its title, it doesn’t really matter!

4. Important

I am well aware that this song sounds really similar to “Broken-Hearted Girl” by Beyoncé, but it’s not a bad song to use as a template and I really wanted the piano and drums to be straightforward – the vocals and lyrics are supposed to occupy centre stage in this song. I wanted to talk in an honest way about how it feels when you don’t know what is going on in a relationship, and whether your priorities and feelings really mesh with those of your partner’s. Are you on the same page? I left the song open-ended – we don’t know if the couple in the song stay together or break up, because although I personally tend towards the latter, the whole point is that life and love is not clear cut and the things we think we should do, we don’t always do.  Love is complicated.

5. Unforgettable

This song is a remix of / my spin on Drake’s “Unforgettable” from his first album Thank Me Later, and I loved the melancholy production. The chorus of my track I guess is a bit more reminiscent of the Nat King Cole classic; I wanted to have a rap song on my album, like “Armani Earrings” on Quiet Storm, but less incendiary and more vulnerable. The sample of Aaliyah just made Drake’s song so perfect. Mike has played such a big part in the last 3 years of my life that I didn’t know how to feel about it when he moved out of Bristol. Even though we worked together, it felt like we were drifting apart and I was sad about it. I wrote this song to encapsulate all of my emotions about the relationship with one of my best friends developing and evolving. Ultimately, I ended up moving a lot further away! I have grown up so much over the last 3 years, and I wanted to pay tribute to someone who had a considerable role to play in the man I am today. Friendship is love too, after all.

6. Phoenix Rising

This song evokes love as empowerment. This was the first track from Citizens of the World that I wrote to, and I had Nicole Scherzinger’s Killer Love album on repeat at the time, hence the namecheck in the first line. The production was ethereal, and I wanted a melody that really soared on the wings of the track. It was a challenging vocal to sing – particularly the end note! – but recording this track was really enjoyable because I got to do different and interesting things with my voice.

7. U Gotta Go

This song was much more fun and more upbeat – when I received the instrumental, it sounded so happy and pop! I immediately thought of “I Wanna Go” by Britney Spears – but I didn’t want to do something completely featherweight, so I flipped the song to make it a breakup anthem with some sassy lyrics about dumping a car in a lake that I cribbed from Tamia’s “Go” (aside: she is such a ridiculously talented singer!). I also wanted to make a poppy track that had some good vocal riffs in it – so I did that.

8. Sabo

This is my other favourite song on the album, because it is very personal and meaningful. Obviously, it’s addressed to Toby and it’s about him and us. I am so deeply, romantically and truly in love with him. He bought me a ring from Thomas Sabo for our 6-month anniversary, and I still wear it every day – I love it (black and silver are my favourite fashion colours, after all!) and I am so proud of it. I wanted to write a piano ballad the old fashioned way – chords and lyrics on top, no digital production – so that’s me playing the piano (the microphone isn’t great for recording the piano, so that’s why it sounds a bit honky-tonk). I was also in love with Beyonce’s “1+1” so I wanted to have some powerful vocals in the bridge, that really pulled out the soul that I wanted to express. The song turned out exactly how I wanted it to (honky-tonk aside), and I always knew it would be the end song / finale to my album.

Once again, I hope you enjoy the album!

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2526. (my new album, at last!)

November 14, 2012

This album has taken me a lot longer to get out to all of you than I had originally anticipated! After I finished working on Quiet Storm (deep breath) 3 years ago, I wanted to take a deep breath and a little bit of a break, in order to decide what I wanted to do next. I went through a lot of pretty massive life changes (all documented in this blog – thank you for coming along for the ride with me!) such as completing my postgraduate education, starting my first “proper” full-time job working in careers guidance, falling in love with my wonderful boyfriend, passing my driving test and buying a car, moving to London and working for an international school, becoming more or less self-sufficient and “adult” (or as adult as I’m going to get), moving in with Toby… Life has been incredibly hectic!

After some reflection, and listening to a lot of Toni Braxton and Sade, I decided in early 2010 that I wanted to write classic R&B ballads that were heartfelt, and that talked about love.  I remember discussing this with Nick in Caffè Nero in House of Fraser in Cabot Circus, and thinking that the world lay ahead of me. I was so amped to create new music again! Little did I know how much of a rollercoaster was in store for me, and how genuinely the journey of the following two years would take me through the ups and downs of love. Within this rollercoaster, my free time more or less disappeared, and I had hoped to complete this album ages before this, but singing and producing time was just extremely hard to come by. Hence the lean tracklist of 8 songs that you have here.

Nevertheless, time has given me maturity (I hope) and more experience to draw from than I had ever anticipated! It also provided me with the wonderful opportunity to work with a fantastic songwriting/production/music-artistry team Citizens of the World, as well as to share musical insights with them through Twitter. They produced the instrumentals for three of the songs here, and I am extremely grateful to them for providing me with some creative rejuvenation along the way – I can’t wait to do more and I hope to have the opportunity to do so in the future. I was hoping to have at least two more songs finished to bring the total up to double figures, but it was not to be – and I wanted to release the album around now. Through the fullness of time, I serendipitously discovered that if you type the name “ALAN” on an old phone with a keypad like this:

… the numbers you press are 2-5-2-6. (aside: we all remember having a Nokia 3310 phone right? I used to be a demon at playing Snake.) And this album is effectively a distilled diary of my 25th and 26th years of life. Hence the title “2526” – which thus has a double meaning, of sorts, and seemed fated to be the title for this project. Having recently turned 27 and now officially in my significantly less glamorous “late 20s”, I think that this album will be the first and last example of me incorporating my age into a title. Unless I do a Janet and halve my age when I turn 40, releasing my own 20YO. My recent birthday also spurred me to release this album, because I wanted to draw a line under 2526, and start afresh with new music to come.

I sincerely hope you enjoy this record. For those who found Quiet Storm a rather lengthy musical journey, I hope that you will find this album more digestible! I will do a track-by-track soon – but to summarise in a nutshell, this album is about love in its various forms: romantic love, well-meaning but misguided love, spurned love, anger, breakups, friendship, irresistible attraction, and true love.

Download here! 

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New music: Climax (One Take Vocal) (Usher Cover)

August 2, 2012

Hurrah, some new music! I have been slowly but surely getting into Usher’s new album Looking 4 Myself, and I realised that “Climax” suits my voice and falsetto well. So I had a go at singing it – recorded this vocal in one take! I am very pleased with it – 5 minutes’ work, not a flawless vocal but certainly decent enough!  I hope you enjoy, and I hope that this tides over those of you who are waiting for new music from me… It’s coming! xx

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Frank Ocean – channel ORANGE (album review)

July 17, 2012

The first I time I took notice of Frank Ocean was when I found out that he was the writer of one of my favourite songs, “I Miss You” from Beyoncé’s 4. By this point, he was already gaining some buzz as a member of the Odd Future collective, and so I downloaded his mixtape Nostalgia, Ultra. I fell in love with songs such as “Novocane” and “American Wedding” immediately, while others such as “Swim Good” and “Strawberry Swing” grew on me after a couple of listens. I was convinced that Ocean was indeed skilled at creating R&B that was a bit more grown than the electro-dance recycling going on in the charts, and that focused on exploring human emotions. In this way, he set himself apart in my mind, and I was excited to see what he would do next.

Enter channel Orange. If anything, it’s less accessible than Nostalgia, Ultra. or than many of the songs that make up Ocean’s mammoth The Lonny Breaux Collection. For the most part, songs don’t announce themselves (and certainly not with typical verse-chorus-verse-chorus-bridge-chorus structures) as much as their melodies seep into your head with repeated listens. However, between the lush instrumentation (and there is definitely genuine instrumentation going on here; these are more than just pre-paid beats) and resonating lyrics, after each listen one takes away something more from the experience. channel ORANGE is a meticulously crafted piece of work, and there is much to discuss. It’s at times difficult to penetrate the chilled, hazy vibe of the album to find a meaty hook of the type that we’re used to – and I feel it would have been nice to have had more of these sprinkled through the album – but there’s nevertheless plenty of sustenance here.

Opening track “Thinkin Bout You” is possibly the most immediate song on the record, and it’s utterly beautiful: the way Ocean uses his falsetto is reminiscent of Prince, and evokes the feelings of at once being totally in love and feeling totally alone in that love, desolate and desperate. While not a technical vocalist to rival R. Kelly or Usher, Frank Ocean knows how to use his voice to maximum effect. The lyrics in the song evoke the unrequited first love that we all knew, and that Ocean wrote about so eloquently in his open letter posted on tumblr. The bravery of an R&B star, of a black man with ties to and props from the largely chauvinist hip hop community, to come out as bisexual two weeks before his album was released has not gone unnoticed, and should not be ignored; rightly so, it appears that Ocean’s success – and I personally believe that even without the announcement / confirmation of his sexuality, channel ORANGE would have been a hit – has been bolstered. Support has been largely overflowing, and it would appear that at last, times might be changing – and not just because Obama and Jay-Z gave black men permission to support their fellow man if that man happened to be gay or bisexual. But in terms of the music and in terms of Ocean’s letter, the focus pulls away from the object of his affections being male or female to the beauty and the intricacy of the sentiment. Sometimes Ocean sings to a boy, sometimes to a girl – but 100% of the time, it sounds beautiful, the lyrics are deep and honest, and the songs as a whole don’t simplify but rather reflect the complexity of the subject matter of being infatuated, in love and lost in love. “Bad Religion”, another standout on the album, begins with a howling organ which Ocean’s plaintive vocal joins to express his loneliness and despair. Lines like “I can’t tell you the truth about my disguise” and “It’s a bad religion to be in love with someone who could never love you” are at once more detailed than what one finds in a typical R&B song for the radio, and yet the emotions of someone in love can’t be put much more simply, or laid bare any more.

Subject matter on channel ORANGE doesn’t just limit itself to romance found and lost, but tackles other topics too. “Super Rich Kids” explores precisely that, but the lyrics could apply equally to the inhabitants of Ladera Heights and to the wealthy-yet-jaded entertainers in the music industry: “Too many bottles of this wine we can’t pronounce…too many white lies and white lines…nothing but fake friends.” The coda which robs the hook from Mary J. Blige’s “Real Love” lends the track an air of nostalgia while giving the listener something recognisable to grab onto. “Crack Rock” likens loneliness to drug addiction, and fastens to these emotions details of being ostracised by family and society. In some ways “Pyramids” is the centrepiece of the album – an epic 10 minutes that starts out evoking Egyptian deserts, before seguing into a sexier exploration of making love to a stripper called Cleopatra. While lyrically drawing parallels between how women were and are at once worshipped and subjugated by men, the production starts off bouncy, transitions through seductive into sleazy, and fades out with a howling guitar Pink Floyd or Jimi Hendrix would be proud of.

Interludes give the album a sense of constant flow, and the overarching feel is nostalgia-soaked classic quality. channel ORANGE isn’t immediately accessible to non-R&B heads, and rewards repeated listens. If I could improve anything about the album, while I commend its artistry and sense of originality and self, it would be nice for some of the songs to have some more standout hooks. But overall, Frank Ocean has done himself and the world of R&B proud with this album – it’s deep, intelligent, textured and heartfelt.

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Tube update: Liverpool Street

July 1, 2012

Yesterday, Toby and I went up to Manningtree in Essex to visit his uncle and aunt. It was my first time meeting them, so I was a bit nervous but they made me feel at home and made us a terrific lunch. They also had a beautiful golden labrador, Jack, who quickly realised that I would lavish him with the attention he craved – we took him for a walk along the estuary in the afternoon, and this walk combined with sitting outside to eat lunch, ensured that Toby and I both caught a lot more of the sun than we anticipated! We’re both a bit pink today, though at least I am starting to turn brown – perhaps I could pretend I’ve been away somewhere exotic? If only!

At Liverpool Street Station, they had a “Street Piano” – now, this was the first time I had seen one of these! Toby encouraged me to have a go (the lady who had been playing it before me was excellent, so I didn’t really know how to follow that), so I played a bit of Für Elise, and someone complimented me! This was lovely, but I couldn’t remember how the rest of the piece went, so I decided to just make something up. It was really fun, and made me miss my piano at home!  Hopefully when we move, we’ll have enough space to put a piano in our new flat, and then I can try to find one on Freecycle. 🙂