Average User Score: 5.6Aug 20, 2014Wiz Khalifa seems to be one of the most genuine in the industry, and the positive energy surrounding the music is loving, but the experienceWiz Khalifa seems to be one of the most genuine in the industry, and the positive energy surrounding the music is loving, but the experience itself is just plain boring and repetitive on "Blacc Hollywood".
From themes to production, to Wiz struggle with bars, it varies as little as Kanye's interviews lately. Though continuing from track "The Sleaze", it leaps higher than ever, serving some fresh and more ear-grabbing hooks and raps than to say.. the two/thirds. But even so, appearing on track nine of an album of thirteen it is not enough when the highlights comes up so late in. And while Wiz probably wont (at this point) top the brilliance and cohesion of "Kush & Orange Juice", on the debut album the following singles, at least showed his charm and some catchy pop tunes.
"House In The Hills" is wonderful compared to a handful, featuring some afro influenced production and introspective lyrics of his life- lifestyle[s] and characteristics people like to jab on to him. "Promises" is him singing (kind of?), actually doing the better job here than his rapping, almost asking myself "why not more?" when most is rambling of rap-speak, sing-song-rapping with production instead at the end being the more attractive attraction. But the only replay-valued tracks really are the ones left of off the standard LP.
Wiz has shown that he is capable of making an album, but this time, the rhymes and songs are not memorable, just worn off, literally, as the word itself being thrown into this album.
The songcrafting is less joyful and more of a hashtag rap on "Blacc Hollywood". The mixtapes prior to this, in my opinion were somewhat enjoyable, fun and original to his sound, the trap/club project "Blacc Hollywood" may not be something already too familiar to Wiz' catalogue, sonically, and that is pretty much the lacking.. Wiz does not sound witty nor smooth nor creative and new over these instrumentals as others already mastering it.
This is pretty much background music, and it is fine as that so long beats slaps, cause other than that digging deeply in is where you find nothing much.… Expand
Average User Score: 8.3Aug 12, 2014"LP1" is one monumental debut in Pop music, the poster child [reminiscence] of the Björk's- Aaliyah's and Portishead's delivers with a more"LP1" is one monumental debut in Pop music, the poster child [reminiscence] of the Björk's- Aaliyah's and Portishead's delivers with a more complete experience than ever!
"I love another, and thus I hate myself" are the on-going words for the opener "Preface". Words directly brought out from a poem by Sir Thomas Wyatt, and formally based upon, conceptually that is the placement of this album over some experimental and soul[ed] production and lyrics.
From heavenly beginnings, the deeper the cuts plays on the more pattering, heavy and haunting the music goes.
The visually Queen of the Damned, ancient Egyptian inspired leading single of off the LP, "Two Weeks", (and this years most refreshing tune) features her most breathy, melodic, straightforward realm but also capturing a catchy and interesting both sonically- vocally performance of what contemporary Pop/R&B on the radio been missing. A power ballad, though rawer and more vivid than others with it's desperate "Pull out of the incisor, give me two weeks/You won’t recognize her/Mouth open you're high; Motherf**ker, get your mouth open you know you’re mine; I can f*ck you better than her" all sung in a hypnotizing and soulsucking sensual falsetto ontop of extravagantly- dazzling and bombastic instrumentals.
The minimalistic touch and climaxes of previous work continues a way on here, tracks like the 'not so present now', heartbreaking, lonely and the polishing verse-to-verse melody of fellow UK artist Rita Ora's "R.I.P", "Pendulum" whom for every chorus that serves builds up to more epic. With guitar riffs that beatifully stretches, pianos who add drama and wash of synthesizers circled around the starts already atmosphere but looses up from every second that is of spac[e]ious feel when the intense get harder for the minute that displays and as the titel itself, it feels like death nearby your throat with the many instruments and futuristic cards being thrown at.
FKA twigs varies though on her characters than what was on her EP's, she has a control of not being too one dimensional as in when Psalm like sung "Closer" comes by. And not to just drop by out of nowhere, it feels natural and organic, slightly cuter and less out there at your face despite the lyrics. The high pitched vocals that inconsistently shows through the song is a sweet put from the darker steam that is on the album, Vampire Weekend-esque as had on their last year album with the track "Ya Hey".
"Is she the girl from the video/Stop, stop lying to me" sings twigs in a higher register, that yeah could play on -acts- not necessarily, but if we are being rather specific it talks about her career being the girl in the music videos as a dancer for artists like Jessie J. The track is "Video Girl", a track with one of this years most infectious yet simple choruses with it's "You lie and you lie and you lie" it is a track that seems to be self questionable a little bit, but more so a dialogue discussing her career before taking music seriously.
The production on the album is handled by twigs herself and the frequent collaborator from "EP2" and Yeezus producer Arca, involved on board is also Paul Epworth who was behind Adele's "21" (Grammy winning album and singles), Emile Haynie who is responsible for Kanye West's "Runaway", the multi-talented Sampha and Dev Hynes (whom I assume had his hands on the guitarrs). Musically it is cohesive, extremely so managing juggling 808s, electronic and it's scraping (knife hitting) beats. Successfully having a sound, a memorable touch all through and so is the lyrics and delivery.
The experimentation with genres, so to say a Beyonce, The Weeknd to Trip-hop, UK electronic- and Alternative music is a blend on here, making it an experience to broader audiences for many to enjoy and find pieces from. It may not be perfect, but the emotion from it is the winning point.
This is a testament, FKA twigs is pushing [boundaries] a step in music, evoking influences of classics and modern artists and making this into a platform, a new and fresh sound for others to catch on to.
"LP1" is one of the most wonderful, heartbreaking and creative releases tackling lust, fantasy, realism of love, identity and self independence.
"Just like you/I just touch myself".… Expand
Average User Score: 8.6Aug 8, 2014With the return of the Mac, DeMarco's mellow and laidback delivery over instrumentals- such as the many guitar driven ones, is interesting andWith the return of the Mac, DeMarco's mellow and laidback delivery over instrumentals- such as the many guitar driven ones, is interesting and becoming one of the most significant and lovely signatures to surface within music lately.
The follow-up project is more accessible, warm but the weird out-put of his John Lennon-esque character is still on play with hazy vocals and lyrics. And so in fact, the songwriting is the much improved, while musically the sophomore is a lot in line with it's predecessor. Lazy, sad, yet friendly and cartoonish-ly off kilter. "Salad Days" might not be his concept record, (just a odd man maturing from love) though what I as a listener got out from this, is a conceptual based album- especially strong at the stretch from "Let Her Go" to "Treat Her Better", that on the ears and paper is a fantastic set of storytelling. It is a beautiful piece off of an album with highlights of being catchy and serving deeper moments of self-deprecating mockery and loneliness. Seen on videos, DeMarco may be a little loose, un-predictable and too stoned for the best as the music he composes, but laying beneath is a self aware, genuine and tuneful aura- like the guy he is himself.
"Salad Days" is a great Soft rock album with sweet and fun melodies, performing sharp writings and just spreading an infectious vibe.
Note- the perfect summer record.… Expand
Average User Score: 8.2Jul 30, 2014La Roux is back, stronger and with more sharper collections brought from 80's Synthpop music.
While I did not care for the duo's debut mostlyLa Roux is back, stronger and with more sharper collections brought from 80's Synthpop music.
While I did not care for the duo's debut mostly for it's robotic production, this new record from Ella Jackson feels classy and ageless with songwriting tackling the titel "Trouble In Paradise", which where she depicts the topics of trouble and paradise, vocally and sonically on her newest New wave LP.
The five year process is a result of a cohesive Pop record, catchy, yet driven on concepts of love reaching from special ones being their paradise to rockier storytelling about a guys way of finding pleasure through prostitutes.
While lyrics has darker effects at times, as sex being manipulating and controlled, Ella's voice is the beauty on top of heavenly instrumentals. A nostalgic trip, more under influence than La Roux has ever been, still more inspiring than most music out that is trying to be.
Songs themself are for the most part great at their own, others can stand-out more than others and the closer "The Feeling" may be the only really lacking the feeling compared and suffer from flaws the same as found on their debut. And it might not have the international hit as with the single "Bulletproof" but "Trouble In Paradise" on it's own, has the greatness- the work of a fantastic album.
Overall, La Roux is out with one of the most enjoyable albums- sexier, warmer, luxurious and just more creative and fun than competitors. If it grows as it should, it will definitely end up being a favorite, and probably better in the category of Synthpop, if we even can count this record in as just that.… Expand
Average User Score: 7.1Jul 27, 2014Ab-Soul with "These Days..." with a sting of the pop-music's taste, these days.
A fun and more than ever ratchet driven project from TDE'sAb-Soul with "These Days..." with a sting of the pop-music's taste, these days.
A fun and more than ever ratchet driven project from TDE's most lyrical and drugged-out socially aware hippy, Ab-Soul. As the title pretty much sums up a feeling of "These Days...", it is more straightforward, it is more explicit and it is more accessible to the ears of an average-listener. Though, beneath the surface it is a thoughtful piece of work and having it's moments of darker under-tones!
In the light of Ab-Soul's previous releases, "Control System" with it's many subjects, was a mixed bag, as varied as for the many Michael Jackson fans out there (R.I.P. on that 5-year anniversary, time flies).
But now, on the follow-up [album], folks thoughts and reviews around this release, which resolute it feeling impersonal, messy, commercial and a bit strange so to say. Considering that Soul with his previous efforts made himself well-known as the brain and the most independent in TDE. But the farther one penetrates into this delusional albums core, it turns out that "These Days ..." clearly is in fact more of a photograph and a parody of the society, these days (pun) and contemporary hip hop, as he says, capturing the last two or three years of it, a time capsule.
Tracks like the over-saturated, R&B warm of a cut "Nevermind That" and the DJ Mustard-influenced (Bay Area, really, but these days.. concept, so) "Twact" is very reminiscent of songs that rotate in power these days (pun intended), but with a distinct Soulo-twist.
It is an album, that will diverse the audience, in my opinion though, Ab-Soul comes out with a handful of interesting and catchy tunes. At times, (as the cover art for this project) biblical on the fantastic and stand-out cut "Stigmata" feauturing Action Bronson and Asaad. Having a genuine and fresh interpolation of Nas‘ song, The Cross on the chorus to bring the concept all together all more vivid.
The Hip Hop references do not stop there, the highlights coming across is a hilarious Chief Keef "Love Sosa" moment on the back hand of the Black Hippy member - Jay Rock feautured "Feeling Us", and singing along with last years Drake phrase **** talk more, than **** these days.." on the fan favorite "Just Have Fun". An up-tempo track that that later on transfers the party to the second part of the track, a downfall on drugs and alcohol. The self titled part (These Days), includes more references to the mainstream scene, one to YG's "My **** on the laugh-cracking skit that interfered in-between, and on the verses where Ab-Soul is seen borrowing a Migos flow and making it finally more than a flow that is enjoyable on the ears but on paper too. The track concludes with some beautiful production, guitars and a cathcy hook by the O'My's.
The opener, "God's Reign" is one of the albums deeper cuts, feauturing more of the clever bars as we have come to know Ab for, with SZA singing the hook and Corin Roddick from the duo Purity Ring providing an excellent production for Soul to rap over, as moody, dreamy and odd as Soul himself.
The LP is not without it's flaws though, when tracks like "Twact" swerves around I can not help to think of why Ab-Soul didn't instead stack in songs like the fantastic "Christoper DRONEr", (one that could easily slip in to his top ten) to really package this project together, with talks that is relatable and issued, these days (pun once again), as he tackled the Jesus image such as.
The album finishes of with, what on paper seems to be the long awaited collaborative EP with singer/producer JMSN. While we did only get one song, the big surprise is a raw audio clip of a rap battle between, the rapper Ab-Soul and the battle-rapper Daylyt.
The album, as a whole brings, at-least, veriaty, with stunning lyrical spins as on the third verse on the dusty, boom-bap- Longterm influenced "Tree of Life", the emotionally shattered, but catchy "Closure", Q smash on "Hunnid Stax", the reprise of "Section.80s" "Ab-Soul's Outro" but now being the very own, comrade Kendrick's time to spit it, and to note, the many pop-ups on the original tracks, that includes new cuts, balancing out the mediocrity from guest features as Rick Ross, Jinx and Short Dawg.
Ab-Soul is confusing, to some confused with this one, not sure if I even understand the album at the moment, which kind of makes me love it, or how it will impact me on the long-run.
Is it perfect? Brilliantly, no, not really, though is it a stretch much to say that this is more enjoyable than "Control System"? No, not really.
But what I know is, that I'm going to try decipher this puzzle, "These Days ..." as I have been a week since the release of it.
Even if you dis-like or love Ab-Soul's new release, this might be the most interesting Hip Hop album to dig deeply into this year.
"These Days..." is un-expected, a satire of todays mainstream scene in Hip Hop we can discuss about.
*edited, in less 5000 characters*… Expand
Average User Score: 7.8Jul 23, 2014From stardom rises on "Be" to weaker shines on "Universal Mind Control", the Chicago state of mind themes falls in-between sonically, butFrom stardom rises on "Be" to weaker shines on "Universal Mind Control", the Chicago state of mind themes falls in-between sonically, but lyrically Common's 10th full length is one of Hip Hop's better to be released this year!
The album opens up with features from Cocaine 80s, a James Fauntleroy whom beautifully goes toe-to-toe with a smokey sample of Curtis Mayfield. Common start things off, delivering top-notch verses about his hometown, Chicago, and it's gang life and morality, and the rapper Lil Herb who did not witness to see Common's first releases spits straightforward fire, quotables and being current with the raps of Herb's tough and hard street-life "I’ve been out there three days and I got shot at three times / Felt like every bullet hit me when they flew out each nine".
The Jhené Aiko-assisted "Black Majik" tosses on mythical ideas, religiously and fantasized imageries over a creative and fresh No I.D. produced cut. Common does well, but Jhené Aiko with features-after-features keeps impressing and stealing the shows. While on that note, with Aiko the long TDE affiliated artist, it got me scratching my head asking "Where the hell did the absolutely fantastic Ab-Soul record go?" a track ("Made in Black America") who thus far was one the best tracks of the year with stunning verses from both MCs and one of No I.D.s better produced cuts in a while.
Then there is, the Kanye West inspired "Diamonds" which sonically is solid. A muddy rage fest triumph, it is quite catchy and has one interesting bump to it's drums and instrumentals. But, only five seconds in who's hook rhymes "Campaign poppin" with "Champagne poppin’" and with it's elementary ad-libs "Aye, aye, aye, aye.." all over, the feature Big Sean managed making Common's at least listenable verses made into a song that is instead a un-listenable " 'G.O.O.D. Music' " song that should not seen a date. And to case worse, the awkwardly transition to Big Sean's terrible verse do not make it any better so to say. The track would work for Big Sean I guess, but for a wordsmith like Common we expect better from an album circled around Chi.
And that's that, when Common is caught slipping away from the topic of Chicago is when it becomes uninteresting, as in "Speak My Piece" which is smooth with it's late 80's, mid 90's boom-bap feel with the Biggie-sample but at the end of the day, it's just lazily put-together with production, beat being too repetitive and un-original to be making any cut into an album. More than anything a mixtape track or a radio freestyle then, at it's finest. The "Yeezus" pre-board production on "Hustle Harder" is not much better either, and if not for the good verses by Common and Dreezy it would not had it's listens.
Despite the weak moments on here, Common's "Nobody Smiling's" is not bad, it serves as an enjoyable ode and one emotional ride for a better future to his hometown Chicago. While the titel track, again has flaws on the production it at least is interesting, and tracks like the fantastic salvation of "Kingdom" and the lovely storytelling tribute to No I.D. and the late-J Dilla on "Rewind That" does enough for it to not fall flat as with the other highlights of Common's newest LP.
If earlier released songs as the grimey and raw "Made In Black America" and the bonus on the deluxe album "7 Deadly Sins" traded places with the mediocrity of some tracks on this short 10 piece record, we would certainly come across a better packed album, a damn great one.… Expand
Average User Score: 8.7Jul 22, 2014The swedish songstress Lykke Li delivers her most saddest and heartfelt record yet.
An organic and cohesive set of piece, with one of theThe swedish songstress Lykke Li delivers her most saddest and heartfelt record yet.
An organic and cohesive set of piece, with one of the better singel's to face 2014 with "Love Me Like I'm Not Made Of Stone". A beautiful and emotional song featuring loose acoustic guitars and with a raw Li who's voice cracks open for a lover, lyrically about a dying love she's seeing un-touchable in near future. In my opinion, a new topping hit for Lykke Li. A tear-jerker at it's finest, and a much better of it we will not get from this year, surely.
While "I Never Learn" holds beauty upon it's hands, such as the stand-out "No Rest For The Wicked" where we find Li with intriguing melodies and instrumentals, the latter of it is what the record has it's bigger flaws. At times, over-saturating her voice till it only sees itself being background noise.
The production is not necessarily bad, at all, I enjoy the stripped mood all through, but with lush instrumentals and the reverb effects, the rawness of the tunes looses the better grit as the previously mentioned highlights of the album had to offer. Lykke Li, herself even has her lower, and less interesting pen-moments as the closer "Sleeping Alone".
But with that being said, when Li is at her best, as the sweet and most pop-py sounding, sonically and vocally "Gunshot" it is phenomenal and one memorable anthem after another. "I Never Learn" is less technical but more of a simpel straightforward and heartbroken Lykke Li, which is not a bad thing, not her best LP to date but maybe her most enjoyable one.… Expand
Average User Score: 8.2Jul 18, 2014Less lo-fi and sketchy and more of the polished How To Dress Well project from Tom Krell. Either way, "What Is This Heart?" is certainly oneLess lo-fi and sketchy and more of the polished How To Dress Well project from Tom Krell. Either way, "What Is This Heart?" is certainly one of the most beautiful Pop and Alternative R&B records to come out this year and on longer run!
As every album, every release with Tom Krell, he surrounds himself with shattered and heartfelt tunes. More than ever, dealing with heartbreak and capturing his own cloud filling atmosphere to sing around.
"What Is This Heart?" is like one trip to LA's Magic Mountain, it is intriguing, haunting but on another note dark, most vulnerable and alone yet leaving a listener strong thus it's surface.
Melodies brighter and heavier, less tentative and bolder and more of an accomplished piece of work for Krell's already brilliant but odd discography. The songs have taking a stretch, a new key to play as the orchestral beauty, depthful and hurt "Pour Cyril" whom easily could had it's place on a Terrence Malick picture or any optional international drama film. And the six minute long of straightforward but heart-hitting, chopped love letter of "Words I Don't Remember" that could aspire in awe an audience of young romance as depressing but joyous and living as movies like "The Fault in Our Stars".
Songs that were hanging as ideas and fast in and outs on earlier LPs, feel more complete on this new set of tracks.
“Pop, but not populist” - HTDW, in other words, to slight different context. Yes, it is more "Pop" than material from say the groundbreaking debut "Love Remains" that initially paved a way for new alternative/sub-genre up-comers (see; The Weeknd, Frank Ocean, Miguel, etc..). The R&B and darkness still lays it's part, though lighter on executes as "Very Best Friend" it may bell in, which with title alone could be a hint to the 90s cut "Best Friend" featured the late-songstress Aaliyah and musician Missy Elliott. But on this round, poppier and bouncy electronica with "My very best friend.." through out the chorus I guess.
With artists mentioned as such Frank Ocean, who managed to find a spot in the mainstream without sacrificing the-ir definite of art, is it a matter of time just till we see Tom Krell and his outfit as How To Dress Well to dominance a role in the new wave of R&B (or, see PBR&B) he set a scene for and up-lifted in the late 2000s. Or is the sound behind too weird and bearing with his spooky vocals and falsetto?
None man can tell.
Still on the third album in, "What Is This Heart?" delivers catchy and touching performances on top of striking instrumentals with many of this years best tracks (see; "Face Again" an anguish Krell over a schizo lyrically and sonically race on distorted, heart-raising industrial production [singers take on Death Grips a la] through pure pain).
This is the underground but "big-budget" record that varies from Wes Anderson's playful and sugar-sweet dialogue sequences to an end third of Tarantino's Django.
A must experience for 2014, an inspiring and influential experience that leave marks!… Expand
Average User Score: 6.6Jul 14, 2014An album that sadly fails on the expectations and greatness of Sam Smith's voice!
As most, I came across Smith for his features on the duoAn album that sadly fails on the expectations and greatness of Sam Smith's voice!
As most, I came across Smith for his features on the duo Disclosure- and Naughty Boy's big hits, "Latch" and "La La La" (respectively), songs he provided his excellent pipes for.
Aside the brilliant beat use from the two, Sam Smith's angelic soul was a reason to fall in-love with. A voice that lead to push the tracks higher on the charts, and for the many continuously radio plays.
He was a star in the making, a young man whom critics and fans hailed as pretty much the up-coming of an Adele, in opposite gender though.
With a couple of great songs and EPs later, it looked heavenly for Sam Smith and his debut LP "In The Lonely Hour".
Songs such as "Stay With Me" was one of them early ones, and the anticipations for his debut went all sky-rocket. It is a perfect example of a stunning ballad with beautifully layered production behind his on-point lyrics and vocal-delivery about a one night stand Sam wants to hold on till, Smith is a loner.
While unrequited love, loneliness and sadness is something most people know a thing or two about, too much of it, can hurt on the wrong foot (see: "Like I Can"). Cause past the four-five opening tracks, songs on the second-half becomes all more filler, corny and more of an everlasting long cut of the same-samey.
Even the second track, "Good Thing" that starts off wonderful with whispery guitar riffs, gripping vocals and catchy melodies, suffers from Hollywood cheesiness on the string department when the bridge kicks in.
That's most of the album in emotions, it feels like a soul lost in Hollywood, and not the concept record of being the love-letter to the man he loved. Instead we get A-B-C rhymes about "June" and "Spoon" on a track like "Not in That Way".
The album ends on a sweet and good note though with "Lay Me Down" a track listeners had experience and praise with before and after the release of the album.
The album feels uncompleted as an overall project, and well yeah the songs flows nicely into each other, it might be because it feels like the other one before that and the next one that plays on. And while we have seen a one-dimensional record hit home before, this did not with it's, at times, mediocre/un-interesting production and it's duds on lyrics and delivery.
"In The Lonely Hour" is nowhere near being a bad record, in fact it is enjoyable mostly cause of the outstanding voice of Sam Smith, and it is better than most in mainstream pop to come out.
But that's it, I/we do not want him to be an average musician, a musician to fade away. We expect risks, rawer products and less safe-zone of an album even if it is executed poorly. In the end, at least it will be mentioned and recognized.. and, respectable.
Sam Smith needs a fresh start, new team or direction to accomplish much more bigger succes, not just in sales but in hearts of sceptics, and fans as I.… Expand
Average User Score: 7.2Jun 23, 2014The singer/song-writer Ed Sheeran is back at it, with his sophmore LP "X" which was followed up by the two Hip Hop/R&B influenced tracksThe singer/song-writer Ed Sheeran is back at it, with his sophmore LP "X" which was followed up by the two Hip Hop/R&B influenced tracks "Sing" and "Don't". Songs, heavyweight producers like Pharrell and Rick Rubin (respectively) laid hands on. A more rougher and mature Ed Sheeran with a flave of urban music, packed with more experiences of the 'BS', though the same sweet and hopeless lad he remains with his ballades, better lyrically and sonically than ever.
"Sing", a cut bringing the thoughts back to the early 2000 where Neptunes production had it's landmark, a song that could easily slip in to Justin Timberlake's debut album.
"Sing" is a summer hit, finding himself more up-tempo than he has ever been and also a drastic change for Sheeran. The track swirls with guitar riffs and heavy beats throughout with verses and chorus sung in a gorgeously outstanding melisma and falsetto. Both production and vocals, makes one reminisce on a Timberlake and even Michael Jackson.
"Don't" is basically the guys anthem for women being disloyal and unfaithful with you, but deeper to the story, it is his feelings pouring out after that his fellow-celebrity crush and lover went behind his sight with another man. And who the girl is *cough, Ellie Goulding?, cough* we may never know.
The song is the closest thing a singer/song-writer is coming to 2 Pac's "California Love" and Blackstreet's "No Diggity". Two tracks Dr. Dre did what he's known for, outside of his Beats-collection, and on here the bounce infectiously got a wrap on what could, or should be Sheeran's next single. A track Sheeran has been open about the influence of.
"All my senses come to life / While I'm stumbling home as drunk as I, have ever been.." he sings shattered and lonely for some warmth on the opener "One", as he slowly realises that his woman slips out of reach for the days that goes by.
An absolutely beautiful song, that starts up with him and his acoustic guitar then with adds of a light beat-kick and orchestral melodics. The second chorus in, switches to that he knows, she is being lossed, but hopes at least for her to stay in friendship even if they don't share the same ammount of love. Where this all had it's chance to go Disney, it felt fresh and quite crushing.
While his precursor "+" shared the topics a like, the execution mostly had it's lacks, if it was a corny lyric or just a weak production, it had it's critics, it was recognized by myself to, but for this run you actually feel the emotions and don't feel the need to cringe instead. Sheeran is putting a closure to the same girl he had mentioned on "+", end chapter, good mate. This will probably be the most played for the rainy days, a song that will top at the back-hand of the year.
The album is a change pace for Sheeran, more than before, he embraces influences from other artists and genres, like The Streets influenced cut "The Man" where he raps excellent with a sing-songy flow, or if it is just a sting of touch of a rapidly vocal output of Craig David. His love for Hip Hop is all over, especially the first half which also is the stronger and more memorable part. Though all the songs might not have the fire as the six opening tracks, they still got a little charm in them without being that much of a filler.
Ed Sheeran is out this time, with a broader purpose to stay, there lyrics, melodies don't end up beeing the cheesy teen-pop, high school poetry, but, noticeably grown as an artist. He his writing more cohesive, sexier and taking his music further bringing another element to it which could have failed to his right, but ended up being the most satisfying album he has done, proven me his talents and that some mistakes, just was mistakes.
"Multiply" as pronounced, is one of the best mainstream pop music we are going to across this year, and one of the better ones in a while!… Expand