Just when you think you’ve found the right box to place songstress Maryze in, she eludes your grasp once again, her sultry voice slipping through the fingers of Pop, into R&B, and then into EDM. Like Moons is impressively diverse.
The EP opens with ‘Safe’, a slow-tempo track that lulls the listener into a false sense of security. It is immersive, and easily allows you to drift away in the midst of the atmospheric production and Maryze’s ethereal, uplifting vocals about self-love.
‘B.O.Y’, which stands for ‘Because of You’, is another slow-jam, a synth driven track, with Maryze crooning wistfully before she leaves the catchy riff to breathe. It sums up the vibe so far - the lulling background provides the soft bed upon which the listener can just sit back and relax, while Maryze cuts through the haze with insightful musings.
‘Their Hearts’ and ‘Dis-Moi’ are earworms that stand side by side on the record, and highlight Maryze’s ability to amp up the drama. Her mystical, light voice invokes comparisons to Jhené Aiko, another fan of creating a dreamy ambience in her music. ‘Dis-Moi’, however, sang in French, is the song that makes you stop and really listen. For the first time we hear an edge, the frantic synth that rises up behind Maryze’s hook, mirroring the increasing tension and desperation in her voice, pleading the song’s subject to ‘Talk to me’. ‘Dis-Moi’ shifts Maryze from being really good, but perhaps flirting with predictability, to being truly dynamic and exciting. It sounds like the kind of track that could have been written for The Weeknd, and the bassline contrasts perfectly with Maryze’s high range vocals.
Maryze cuts through the haze with insightful musings
The album finishes to a slower beat, with ‘Special’ taking us back to the calmer terrain of the opening tracks. It completes the EP beautifully, with each song showcasing Maryze’s strengths and her versatility to move across genres, while staying true to her core sound. You get a clear sense of Maryze’s openness in expressing her emotions, and this vulnerability allows the listener in. She encourages you to lower your own walls, as you experience her removing hers. This is a project about being honest to yourself and others - an apt message in an era where how you appear outwardly, whether you are a celebrity or simply a social media user, for example, seems to matter more than how you really feel on the inside.
Like Moons is a meditative, tranquil 5-course-meal, throughout which invigorating flavours and warming notes create a soothing balance, the result being an undoubtedly whetted appetite for Marzye’s next release.
The Critic: Jaden Smith seems to occupy a peculiar space in modern Hip-Hop. Most people have heard of him, but almost none have actually heard him. He has inevitably so far stood in the megastar-sized shadow of his father, Will Smith, and the mediocre success he has enjoyed is, perhaps unfairly, dismissed by cynics as being a result of Will. On ‘ERYS’, Jaden makes a mockery of them.
It is heavily experimental, and the plot of Jaden being some kind of futuristic drug dealer who sells a mind controlling substance called ‘Pink’ to the world, and everyone subsequently degenerates into masses of zombies, is wacky to say the least. It’s interesting, but I wouldn’t say that when I listen to the album, it’s a story that can be easily gleaned from the obtuse lyrics.
The opening track is peppered with left-field musings such as, “The gold and diamonds could dissolve his pride”. It’s the sort of whimsical statement I put in my University philosophy essays to try and con my tutors into thinking I’m cleverer than I actually am.
But Jaden never comes across as someone who is trying to pull the wool over anyone’s eyes. As a whole, his plot makes sense, and he deserves respect for providing us with often witty lyrics that do not succumb to the Hip Hop stereotypes of sex, money and drugs. Of course, such references make their appearances, but as a whole this album plays with a higher purpose than merely flexing and impressing the listener.
It is deep, but also kind of accessible. The spacey production, vocal distortions and mercurial features come together to form a project packed full of beautiful moments, with each off-kilter idea improving the overall effect of the album. Some artists experiment for the sake of experimenting, and even use this to hide their actual lack of originality, with the only result being music that is nigh impossible to make any sense of.
Jaden is not one of these artists. Admittedly, it could be argued that his auto-tuned, emo rap style is heavily derivative of Kid Cudi and Travis Scott. There are definitely moments, particularly when rapping alongside Cudi on ‘On My Own’, where it is apparent where Jaden gets a lot of his inspiration from. His outlandish, self-assured antics coupled with the twitchy, euphoric nature of some ‘ERYS’ tracks provoke easy comparisons with Kanye West. Equally, Jaden’s move to regularly opt for soul-baring laments over braggadocious bars could render him a student of the Drake school of Hip Hop.
But what is this really to say? Quite frankly, 80% of rappers in today’s charts have drawn stylistic influences from at least one of Kid Cudi, Kanye and Drake. Jaden is in his own lane, and that lane sounds pretty darn good.
Some artists experiment for the sake of experimenting...Jaden is not one of these artists
The Fan: My favourite three rappers are undoubtedly Kanye, Travis Scott and Drake, so to see Jaden combining numerous strands of these artists’ styles, and then putting his own stamp on the resulting concoction obviously plays right into my hands (or my ears, I guess…).
I love experimentation in rap, but often artists such as Tyler, the Creator, Daniel Caesar and Frank Ocean are a little too introspective and cryptic for me to really get on their wavelength.
I feel like Jaden strikes the perfect balance here between being innovative and being intelligible to the listener. Oh, and there’s also the small matter of it sounding awesome - you can turn up to the electric, hard-hitting rhymes of some songs, and then wallow in the fragile sorrow of other tracks.
Standout Track: ‘Summertime in Paris’
Hidden Diamond: ‘K’
Yours sincerely, but not too seriously,
this article was originally published at phaser.com
Posthumous albums are always a tricky business. It is so difficult to get the sentiment right, to make sure the intentions are clearly to honour the artist, and not just to achieve material gain. There is even a question as to whether this music should be released at all.
It is clear from reading interviews with the likes of Vargas & Lagola, Aloe Blacc, and Carl Falk, all of whom worked together to complete Avicii’s TIM, just how much they cared about their late Swedish superstar and friend. Songs from TIM are difficult to listen to now, they say, and the nature of the songs on the new album make it evident why this is so.
It would be easy to read TIM as heavily foreshadowing the DJ’s passing. It is pervaded by darkness, with the first track, ‘Peace of Mind’, opening with the lyrics,
Bad Reputation tells the tragic story of someone hiding their depression (“I don't want to be seen in this shape I'm in/I don't want you to see how depressed I've been”), while ‘SOS’ pleads for a lover to come save them from their insomnia (“I get robbed of all my sleep/As my thoughts begin to bleed”).
Having said this, it’s strange reading through the lyrics of TIM, because on the basis of them alone it’s hard to view the album as anything but a suicide note from Avicii. However, listening to the album is an entirely different experience. The melodies are often tinged with sadness, and Carl Falk explains that Avicii would combine major and minor chords in the same line, the latter giving the songs a feeling of wistfulness. But there is an energy about each track, a sense that Avicii hadn’t lost his feeling of wonder and inspiration that shines through so prominently on his Stories hit, ‘The Nights’.
‘Never Leave Me’ is a boisterous, euphoric ode to a loved one, continuing the theme from SOS with the lyrics,
She knows how I’m feeling,
'Heaven’, his collaboration with Chris Martin, is undoubtedly the standout track, and one that fans have been waiting for since it was teased in 2014. It is overwhelmingly uplifting and positive, and initially it seems a little odd that it is positioned as the second track on TIM, as it could have provided a concluding note of happiness as the album closer. But then you remember the most tragic aspect of this album - it’s a tribute to a story that didn’t end happily.
The track that was chosen to finish TIM, ‘Fades Away’, epitomises how perfectly the sentiment of the album was judged. It references the ‘troubled times’ and the ‘trials to find somewhere we belong’ that have coloured the preceding eleven songs, but ends on a note of optimism,
All I know is that with you I’m moving on
This album carries such an emotional weight with it, that it was always going to be tough to find the balance between tones of positivity and regret. TIM finds this middle ground in a way that few other posthumous albums succeed in doing, and in my view, this is Avicii’s best work to date. His collaborators spoke with sadness about how it felt like he was on the brink of something massive musically, and how he would never get to execute this vision. TIM is as close as we can get to the perfect tribute, and the perfect reminder of how influential and talented Avicii was.
I think it is easy to underestimate the impact Avicii has had on music, and people, around the world. The testimonial message board on his website is evidence of this, with tributes being posted from a whole range of nationalities - there are few artists whose music has touched so many people. We all remember when ‘Levels’ broke into the charts back in 2011, and essentially set the tempo for a decade that would be dominated by House/Pop fusions from EDM titans such as Calvin Harris, David Guetta, Martin Garrix and The Chainsmokers. Avicii’s crossovers into Folk, Rock and Country music broke down genre walls and introduced many new artists to fans that would not normally be interested in these kinds of music.
On a more personal note, it seems apt that I’m writing this review in the lead-up to Father’s Day. Zac Brown Band is my father and I’s favourite band, and we always have one of their CDs loaded into the car stereo, ready for our road trip sing-a-longs. The paths of our music tastes don’t often meet, but this is a great instance where we can really share our love of music with one another. And the only reason I ever heard about Zac Brown Band, was because they were featured on the Avicii song ‘Broken Arrows’, and I thought hey, why not give them a try.
Equally, I remember playing my dad Avicii’s ‘The Nights’, and he fell in love with the carpe diem spirit of the hook,
He said, one day you’ll leave this world behind,
Before any big event in my life, my dad will still text me the words, ‘Remember, these are the nights!’, just as a reminder to make the most of every moment. It seems a bit trivial to call an EDM song my favourite song, but because of the meaning associated with it, ‘The Nights’ is definitely up there for me.
Avicii has had a much bigger impact on me that I would have ever imagined. While the album is heavily tinged with grief, TIM is also the perfect celebration of Avicii’s talent in creating music that resonates with his listeners. Despite the pained lyrics and the tragic context, TIM has at its heart the message Avicii always tried his best to convey - one of hope.
Get this amazing album on CD or Vinyl below
Originally published at phaser.com
There is a unique quality that only the upper, upper echelon of artists ever have. I’m not talking about the way their melodies are strung together, the way their charisma shines through on the track, or the way their lyrics shake you to your core. Of course, these are qualities that great artists possess. But only a handful of artists reach a point in their career where you don’t listen to see if the album or single is any good. You know it’s going to be good, so you just relax, and enjoy it.
Surprisingly, not many of today’s musical icons seem to possess this quality. Drake, who keeps breaking record after record after record, even ones held by The Beatles, still brings out an album to hesitant ears. ‘Will it be as good as the last one?’, they ask. The same is true of Ariana Grande, Taylor Swift, Post Malone - most of today’s musical heavyweights still turn up with a sense of something to prove.
Ed Sheeran literally has nothing to prove. Every album he’s ever brought out has been a smash hit, and every single he drops is draped with a VIP pass to Number One before anyone’s even listened to it. A significant number of your favourite songs were probably written by him, with his writing credits stretching all the way from The Weeknd to One Direction via Justin Bieber. And what’s more, he seems like the nicest guy to set foot in the music industry.
He recently announced his upcoming No.6 Collaborations Project, following on from the No.5 that he released before he’d even been signed to a label. The two lead singles feature Justin Bieber, Chance the Rapper and PnB Rock, and are - surprise surprise - currently sitting on top of the charts. Like I said, Ed Sheeran is one of those artists you can’t help but sit back and appreciate. He said he had a bucket list of artists he really wanted to work with, so that’s what he’s going to do. And why not? He’s one of the most successful artists of all time, so why not tick off those collaborations he’s been wishing for. What do you have left to strive for when you’re the best? In Ed Sheeran’s book, it’s to simply enjoy yourself.
This album should definitely be regarded as a complete love project, with Ed simply following his heart and working with the people he genuinely wants to work with, and not just names on a list handed to him by his record label. However, while we shouldn’t overanalyse it, it could also end up being one of his most interesting albums yet. The only slight criticism that people can possibly muster against Halifax’s most prized export, is that his music is at times a little derivative. Chance the Rapper and PnB Rock are certainly not features we could ever expect on a ‘standard’ Ed Sheeran album, so maybe this is his way of answering that final question as to how versatile he really is?
To be honest, I really don’t think this has crossed his mind. No.6 looks set to simply be a fun, eclectic journey through a whole host of musical styles and genres, one that is enjoyed just as much by the artist as it is by the listener. Who can we expect on the guest-list? Ed has made no secret of his love for Hip Hop, with the ‘favourite song’ referenced in the go-to wedding track of this generation, ‘Perfect’, being revealed to be Future’s hard-hitting gangster anthem ‘March Madness’. He also worked with Future on Taylor Swift’s ‘End Game’, so an appearance from the Atlanta rapper can perhaps be presumed. Travis Scott is almost certainly on there too, with a collaboration between Scott and Sheeran leaking earlier this year, and judging by the lyrics, seems to be Track 7 on the project, called ‘Antisocial’. There will undoubtedly be some curveballs thrown at us, but all the more reason to look forward to No. 6’s release.
This is a guy at the peak of his powers, nothing to prove, and just enjoying the artistic freedom his success has brought about. Is there any pressure on Ed Sheeran to deliver us another blockbusting, record-breaking smash hit of an album? 100% not.
But are we expecting one? Absolutely.
No. 6 Collaborations Project is out on July 12th, and is available to Pre-Add on all streaming platforms now.
After the immense success of the Migos’ debut album, Culture, and their smash hit 'Bad and Boujee’, you would have thought they’d earned the right to be taken seriously. But they are talked of as something of a novelty, and a lot of people claim their popularity is merely the result of the ease with which they are turned into memes.
This seems a tad unfair, but regardless, the decision for each of the trio to release solo projects this year has provided Quavo, Takeoff and Offset, respectively, with the opportunity to show why they should be held in higher esteem, both collectively and as individual artists. However, Quavo’s solo album was disappointing, lacking the vocal innovation and melody that has made him such a sought-after feature, despite containing a handful of highlights. Takeoff’s project came and went without so much as a ripple in the unusually calm waters of the charts. So the onus was on Offset to redeem the rap group, and prevent critics from scratching their heads and wondering why they ever thought these solo experiments would be worth the risk.
Did he deliver? Well, he definitely succeeds in distancing himself from the typical style of the Migos, as well as the standard subject matter. There seems less self-assurance in Offset’s voice, as for the first time on a Migos album the loud posturing is replaced by hushed honesty. The title track, ‘Father of 4’, sets the mood for the rest of the project. After a very philosophical and perhaps overly poetic intro from Big Rube, Offset spares no time getting on topic - “I was 17 years old when I had you/ Trying to find my soul when I had you”. He names all his children, and unravels the layers of his relationship with them, opening up to the listener about how he perceives his identity as a father. While other rappers have often cited their offspring as their central motivation, these tributes can often sound trite, as the expression of love is enshrouded in trivial lyrics about Gucci belts and diamond chains.
Offset makes it clear this is not going to be one of those albums, with the artist being incredibly candid, often painfully so, about his personal life throughout Father of 4. ‘North Star’ is an emotional wade through Offset’s mental struggles, with the funk-oriented Cee-Lo Green seeming an odd choice at first, but ends up combining well for an outro that adds sentiment to the track. ‘After Dark’ is not catchy at all, but the chorus is uttered so statically that it gives you time to chew over each line, something unusual for Migos tracks, where the verses rattle along at such a speed that there is no time to think, or to stop and digest what is actually being said (albeit it normally not very much). ‘After Dark’ epitomises Offset’s move away from the typical tone and themes of his group.
He balances the melodies well with the quick fire bars that he has become renowned for, but Migos fanatics will inevitably ask where the celebratory anthems and triplet-fuelled explosiveness has gone. The attempts to satisfy this expectation are there, with ‘On Fleek’, ‘Clout’ and ‘Legacy’ all threatening as firecrackers, but ultimately lacking the necessary spark.
On the whole, though, Father of 4 is a pleasantly surprising listen, with Offset removing his Saint Laurent mask and baring his soul to the world, spinning the Migos blueprint on its head. When he rose to stardom and married Cardi B, Offset became one of the golden boys of Hip Hop. On Father of 4, he walks with the 24-carat necklace dangling as a heavy weight on his shoulders, rather than a symbol of his success.
Lyric of the Week - Florida Georgia Line, People Are Different
"Slip on a pair of another man's shoes
You'll see by the time you get back
This old world would be a whole lot better place
If we'd all just embrace the fact
That people are different"
The country duo speak the truth. If anything, it's sad they even have to say it, but in this odd world where we still seem to struggle to accept one another, you can't blame them for re-iterating. A similar theme was covered in my Self Help Songs post on 6lack's Switch - check it out here.
Album Cover of the Week - Dave, Psychodrama
An album cover of a guy with his head set on fire? Yawn, seen it all before. But an album cover of a guy with his head set on blue fire? THAT. IS. AWESOME. For those of you wanting depth, you'd better move swiftly onto Song Title of the Week, because I chose Dave's Psychodrama on the basis of one criterion: it looks pretty darn cool. It's quite sparse and basic, but in a minimalist, artsy, electro-future-fire-mutant kind of way. And I like the colour blue.
Song Title of the Week - Drake, Lust for Life
An homage to the great Van Gogh's biography, this title on Drake's recently re-released So Far Gone mixtape is succinct, meaningful and evocative. The fact that this was the career-defining mixtape, one that dropped as Drake stood on the brink of his destiny to become the biggest rapper in the world, only serves to add to the poignance. Drake eventually got the life he so publicly lusted after - just maybe not the woman (but what was there not to love, Nicki?).
Music Video of the Week -
James Blake- Mile High (feat. Travis Scott and Metro Boomin)
Trippy and, perhaps a little guilty of self-indulgence, but nonetheless it's fun to watch, and matches the mood of the track perfectly. The video starts with Travis Scott's confused face disappearing into a tunnel of blackness as he tries to wake Blake up, before we become immersed in the UK artist's mind, which, spoiler alert, exclusively features himself and Travis Scott swirling around aimlessly. Hey, I'm not judging, 'aimless thoughts' sounds a lot like the inside of my mind. Like I said, the video's a tad over-the-top, but maybe that's what makes it so entertaining.
So these are my Aesthetics of the Week! Feel free to let me know of any good lyrics, titles, covers or videos I may have missed...
Yours sincerely, but not too seriously,
P.S. If you're looking to buy the Aesthetics of the Week:
Album Art - The 1975, A Brief Enquiry Into Online Relationships
You might have gathered from previous posts that I’m not a fan of modern rock. But for the past two ‘Album Arts of the Week’ I’ve chosen cover art from rock bands - perhaps this means they should all quit their day jobs and become artists instead of singers? I speak in jest, for rock music obviously has a lot to offer in the today’s times, especially, it seems, The 1975. Which is ironic, considering their group’s name is over 40 years old. The title of their upcoming album, A Brief Enquiry Into Online Relationships, draws intrigue, and pokes fun at the pervasiveness of technology in the 21st Century, a subject that will undoubtedly provide numerous points of interest when the album is ultimately released (See, at Maximoco Review HQ we’re so ahead of the charts, we review albums that haven’t even come out yet. That way, no-one can tell if our review is way off the mark or not).
But you may be staring at this random arrangement of coloured dots, and wondering why it’s sitting under the ‘Album Art of the Week’ heading. I confess that I’m not artistically learned enough to be able to explain to you the subtle machinations and hidden messages behind this picture. As much of a cop-out as it may be, I simply chose it because I find it aesthetically pleasing, and it definitely gives off a minimalist, AI-fax-machine (is that a thing?) kind of feel, which ties it in perfectly with the album title. It looks like the sort of thing you’d find at a modernist art exhibition, where everyone stands around it nodding and hmm-ing pensively, when really no-one has the slightest clue as to what they are looking at. And that’s why I like it.
Song Title - 'Look Up Child', Lauren Daigle
I think this is the vocalised thought of every parent and grandparent in the world right now. Children and teenagers are glued to their phones, living their lives through the eyes of social media, which inevitably entails living life through the eyes of someone else. As Drake wisely raps on ‘Emotionless’, “I always hear people complain about the place that they live…Cause they been staring at somebody else’s version of s***”. It seems Daigle is offering a similarly poignant message for our society. There is a wonderful world to see out there, but we miss most of it because we’re too busy looking down at our phones. If you’re reading this on your phone - look up! (But of course, don’t forget to return to us later. Sorry, page-views over scenic-views). Still, see the sky, see the birds, see the trees. It’ll inspire you. Also, on a less practical note, it’ll mean you’re less likely to walk straight into a telegraph pole.
Music Video - 2 Chainz ft. Quavo, Drake: 'Bigger Than You'
Watch as child-lookalikes of three of the biggest names in rap strut around in a school and cause anarchy for the teachers. Ah, reminds me of my days of young rebellion at High School, only reading four out of the five books on the reading lists, and some days, if I was feeling really naughty, not even doing any extra work during lunch time. I know, pretty scary stuff, but don’t fret, my life is firmly back on the rails now. Anyway, it’s a fun video - check it out here https://www.youtube.com/watch?v=r26bNe0MTzs
Yours sincerely, but not too seriously,
Lyric of the Week - Kenny Chesney, ‘Get Along
He said all your really given is the sunshine and your name
Chesney’s knack for storytelling is once again highlighted, as he recounts a tale of a religious man giving him some rather deep advice. The song is of course all about the mantra of getting on with those around you (spoiler alert in the title), with a very unsubtly cloaked reference to the Christian principle of ‘Love thy neighbour’. While I appreciate the message, it is easy for songs like this to come across as overly preachy and self-righteous. But that is why I love these two lines, because they add a touch of self-deprecating humour, as Chesney recalls the profound teaching that fundamentally all we have is ‘the sunshine and our name’, but then as the singer is pondering this it ironically starts to rain. Key lesson to be learnt? Apparently you do need to take an umbrella on that summer Nashville trip you’ve been planning after all. Seriously though, as you well know, over at Maximoco HQ we hate too much seriousness, but we are suckers for a good, loving message - so that’s why these lyrics were bound to be a hit with us.
Album Art of the Week - Alice in Chains, Rainier Fog
Now, I’m a big fan of bright colours, and I’m not a big fan of rock music. So as I’m staring at this entirely black-and-white, murky album cover from a rock band, part of me wonders what I was thinking choosing this for Album Art of the Week. But for some reason, the image just looks awesome to me - I love the office-style cut-and-paste juxtaposition with the scenes of nature, and the man walking into the ‘eye’ of the storm (quite literally) creates a very ominous vibe. The writing in the bottom left-hand corner adds to the overall mystery, making this look like a poster for an upcoming horror movie, and certainly has a voyage into the unknown feel about it. Just lost out to ‘Performance’ by White Denim.
Title of the Week - ‘you should see me in a crown’, Billie Eilish
Inspired by the famous Moriaty line from BBC’s Sherlock, “In a world of locked rooms, the man with the key is king. And honey, you should see me in a crown.” This song screams confidence compacted into a sassy, pithy punchline. Also poignant because the original quote is about ‘the man’, while Billie switches this to be about herself in an empowering move. And if you’re wondering whether the standard of this blog’s spellchecking is slacking, Billie brands all her song titles without any capitals. Travis Scott did it first. Just saying.
Music Video of the Week - ‘One Day’, Logic ft. Ryan Tedder
To be honest, I started watching this with a sceptical eye. Logic already played the humanitarian card last year with his National Suicide Prevention hit single ‘1-800-273-8255'. ‘One Day’ dropped out of the blue, following a very thuggish Bobby Tarantino mixtape, and handily just in time for the VMAs. Logic performed, of course, and while it was moving it was also in danger of coming across as an attempt to jump on the anti-Trump bandwagon, and using the well-publicised border crisis to fuel another surge up the charts. But whatever your feelings about the actual track, or his VMA’s performance, the music video is undoubtedly poignant and well-constructed. It begins as expected, with a dramatisation of the separation of a family trying to cross into the USA, and then we fast forward to follow the lives of one of the children who has been separated and given a new home, as well as a boy who grows up to become a neo-Nazi. The plot line is a little convoluted at times, but the conclusion more than makes up for this. The message is one that is very relevant to our times, and you can be as mistrusting of Logic’s motives as you like, and I don’t even really like the song, but viewed as an isolated piece of art, this music video is incredibly inspiring and captures what it is trying to communicate perfectly.
Yours sincerely, but not too seriously,
Usually, if I mention the name ‘Jason Mraz’ to someone, they’ll pause for a while and adopt a quizzical expression, reaching back into the dregs of their memory to find why the name rings a bell. Then the light switches on, and they remember with a smile. He is probably most famous for his motivational hit, ‘I Won’t Give Up’, and the wonderfully playful chart-topper, ‘I’m Yours’.
Having taken a break from producing music to star in Broadway’s Waitress, you could have been forgiven for wondering Mraz would ever return to brighten up the charts with his carefree optimism. But thankfully on Know, his new album, this is exactly what he does.
From the introduction to the conclusion, Know plays like the soundtrack to that moment at school where you were finally allowed onto the big field for summer (or maybe that was just one of my countryside childhood quirks). Mraz’s contagious happiness fizzles through the listener, and - call me corny - it’s the first album I’ve listened to in a while that’s actually made me smile to myself at the singer’s innocent humour.
The beauty of Know is undoubtedly its message, which is obvious from simply looking at the tracklist - the likes of ‘Better With You’, ‘Might As Well Dance’ and ‘Love Is Still The Answer’ immediately extinguish any doubts that Mraz has become hardened by life since when he first burst onto the scene. If anything, he sounds even happier, now being married and enjoying life in the US. He admits he was tempted to go down a darker path with his music after his last album, partly as a result of the seemingly exponential amount of issues that litter the world today, saying, “I wrote a lot of frustrated, angry, even sad songs between then and now, but nothing I wanted to come forward with; nothing I wanted to sing.”
Instead he penned ‘Have It All’, the album’s lead single, inspired by a blessing he received from a Myanmar monk in 2012. It is jam-packed with just about every positive, Pinterest-spawned mantra in existence (“May the best of your todays be the worst of your tomorrows”/“May you always lead from the beating in your chest”, and the more typical Mraz lyric, “May you get a gold star on your next test”). What I love is that you can tell he’s genuinely written the tracks himself, because they’re too off-the-wall and wholesomely ingenuous to have been manufactured by a songwriting team, as lots of modern tracks are.
It would be easy for the cheesy punchlines and unbounded joyousness of this record to come across as too much, and perhaps even sickeningly sweet. But Jason Mraz delivers them with enough cheek and playful innocence that it works, and you can’t help but dance along. A lot of motivational, message-heavy projects can entail less attention being paid to the actual melodies, and okay, perhaps Mraz’s style is a bit too dated to really breach the current Top 40. But make no mistake - the songs on Know are as catchy as ever. The buoyant ode to getting lost in the moment with love, ‘Might As Well Dance’, is a clear highlight, while the Meghan Trainor assisted ‘More Than Friends’ adds drive to the generally light-hearted strummings of the rest of the album.
The breezy hooks, the twinkling riffs and the lovable lyrics are reminiscent of peak MIKA, where people let their guard down and just enjoyed themselves amongst the bubbly pop of his falsetto anthems.
What better antidote could there be to all the sorrow and seriousness of 2018?
Yours sincerely, but not seriously,
Image by Moses Namkung on Flickr
The first of our ‘Rough Diamond’ series, where I will be giving another chance to projects that flopped critically, and seeing if any of these supposedly ugly ducklings are actually just swans in disguise...
Earlier this year, Tyga surprised fans by dropping a singing album. He has always had a distinctive rap flow that has sustained his career for numerous years, so this was certainly a curveball to then produce an all-singing (not quite all-dancing) project.
Now, a lot of contemporary music lovers, even those whose Facebook newsfeed is a merry-go-round of Rap-Up, Complex, Genius and HipHopDX stories, won’t have even known Kyoto was released. It went very much under the radar, with Tyga not really holding the same industry presence as he did when the Young Money flagship first set sail - even though there have been signs of a resurgence with the success of his recent single with Offset, ‘Taste’.
But the backdrop to Kyoto adds significance to the release, because it was composed amid the rapper’s split from Kylie Jenner, and her quick turn-around and surprise pregnancy with Travis Scott. It has never really been the thing to make love-based or break-up albums in Hip Hop, which is what made Kanye’s 808s and Heartbreak such a game-changer. Emo-Rap is now, of course, a much more widely populated sub-genre, and Juice WRLD’s recent surge into the charts has revitalised it even more. His album, Goodbye and Good Riddance has all the nihilism and soul-searching of 808s, and has propelled him into being the poster boy of this new wave of rap.
However, while most critics would scoff at the mere thought of Goodbye and Good Riddance being mentioned in the same sentence as Kyoto, I think the latter offers a lot that Juice WRLD does not. It is much easier to listen to, for one, which would be many a reviewer’s argument for why it holds less artistic value. But why does 21st Century art have to be uncomfortable? Nowadays plays and art exhibitions often seem to have one goal in mind, to take the recipient out of their comfort zone.
Well, I don’t know about you, but I’m not too fond of feeling uncomfortable. While I appreciate painfully honest works of art that are clearly a therapeutic medium for the creator, I think these pieces are often less constructive for the viewer or listener. I listen to Goodbye and Good Riddance and feel almost guilty that I’m not suffering as badly as Juice WRLD, and if I’m in a good mood and I listen to it, it just puts a downer on the moment.
Kyoto is also filled with a lot of pain, but it is a lot less bitter and more eclectic. Tyga conveys the suffering in a much subtler, softer, less angsty manner, and personally, I find the songs a lot catchier. I could listen to any of the tracks on there purely for their beats and melodies, without having to get too involved with the anguish. It is undoubtedly introspective, and also feels as though it has been created to help the artist more than the listener. But because the rhymes feel more uncertain, and the flow is less confident than what we are used to from Tyga, the project still invites the listener’s empathy. He covers such an array of emotions that it is very difficult not to find one that you can connect with, whereas Goodbye and Good Riddance feels more like one long, dark vibe.
‘U Cry’ is undoubtedly the centrepiece, with the pained lyrics fusing magically with the delicate piano sample to create a level of exposure that places Tyga on new ground. He details the feelings of anxiety as his girl keeps partying without him, only to call him afterwards, a narrative not often portrayed in the rap world, which only adds to its poignancy. The alpa male is replaced by a vulnerable lover, and the album benefits from this.
Is Kyoto a masterpiece? Not by any stretch of the imagination. But it certainly has something to offer that has been overlooked critically. Upon the album’s release, Tyga was ridiculed for changing tack and singing, rather than sticking to his usual, flashy script of brightly coloured cars, pool parties and groupies. Kyoto is understated and underrated, proving that sometimes, less is indeed more.
Yours sincerely, but not too seriously,
Hello! I'm currently studying Philosophy & Theology at Oxford University, UK. Having always loved writing and music in equal measure, and having always hated decision-making, I figured hey, why do I need to choose between the two?
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