Ology
by Gallant
User Score
8.6

Universal acclaim- based on 26 Ratings

User score distribution:
  1. Positive: 23 out of 26
  2. Mixed: 2 out of 26
  3. Negative: 1 out of 26
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  1. Blanche
    Oct 11, 2016
    6
    Believe me, I'm trying really hard to properly enjoy this album. But the somewhat obvious inconsistencies just weigh it down. Despite Gallant's clearly fantastic voice, despite STINT and the other producers doing a great job, the instrumentation and vocals don't always meet eye to eye. I quite like Bone+Tissue, Weight In Gold, Shotgun, Bourbon, Open Up, Counting and Chandra. TheBelieve me, I'm trying really hard to properly enjoy this album. But the somewhat obvious inconsistencies just weigh it down. Despite Gallant's clearly fantastic voice, despite STINT and the other producers doing a great job, the instrumentation and vocals don't always meet eye to eye. I quite like Bone+Tissue, Weight In Gold, Shotgun, Bourbon, Open Up, Counting and Chandra. The alternative R&B vocals by Gallant connects with the quirky, spluttering, chopped up samples and synths of the electronic production. The high-pitch vocals, the lyricism and tribal beats in Counting are utilised very well to produce some great aesthetics. Open Up has a pitch-bending mechanism going on with the synth which I feel really transcends with Gallant's voice nicely. Even Chandra itself features a much more emotionally driven, orchestral perspective of him which is both interesting and mesmerising to the ears. Episode is certainly a grower, a track I didn't like at first but have grown to enjoy. Gallant's soothing vocals certainly helped with that.

    Other tracks are not so much growers. The chorus in Jupiter is incredibly underwhelming and unexciting; Gallant's shrill falsetto vocals (although beautiful and technically very impressive) gradually becomes overused and a trait he relies on too much - in fact it soon becomes irritating with the constant "ooohs" in the middle of the tracks; Jhene Aiko's vocal delivery sounds imbalanced against Gallant's in the mix of Skipping Stones, to the extent where it sounds like they are singing against each other rather than with each other; the clicks on the latter portion of Chandra doesn't resonate with me at all and I feel as though they should have been replaced by electronic snares instead. Even the extremely short experimental interludes titled First and Last had some serious potential to be extended to full length, three to four minute tracks to produce some amazing songs.

    Any other tracks I haven't talked about are tracks I'm indifferent towards.

    I like the album. I think it's good and is worth listening to, but nothing more. The traces of hip-hop, funk, and the electronic flair that sits under the alternative R&B style of Gallant's voice and lyricism are respectable but remain unpolished. Perhaps I will really enjoy a future album by him when he starts to really push for the next gear, because the potential of Gallant is - without a shadow of doubt - there for all of us to see.    … Expand
  2. DadEsquire
    Jun 20, 2016
    6
    When you have a voice as bold and beautiful as Gallant’s, you’re bound to turn some heads. Since the release of his EP “Zebra” in 2014, he’s garnered acclaim from Elton John, Sufjan Stevens, Zane Lowe, and Seal, and has been compared to R&B contemporaries like The Weeknd and Frank Ocean, as well as the aforementioned Seal.

    Despite this, I didn’t care for “Zebra.” It sounded no different    When you have a voice as bold and beautiful as Gallant’s, you’re bound to turn some heads. Since the release of his EP “Zebra” in 2014, he’s garnered acclaim from Elton John, Sufjan Stevens, Zane Lowe, and Seal, and has been compared to R&B contemporaries like The Weeknd and Frank Ocean, as well as the aforementioned Seal.

    Despite this, I didn’t care for “Zebra.” It sounded no different from Soundcloud’s endless stream of bland alt R&B and trap musicians, such as Cashmere Cat, Flume, and SOHN. Gallant’s voice was the most impressive piece, so I wondered how much more enjoyable he would be with proper instrumentation. My curiosity was only heightened after seeing him perform live. It seems Gallant thought about this too, as “Ology” has greatly expanded the singer’s sound.

    Right off the bat, we’re greeted by a nice chopped up piano sample and a brief horn swell on the track “Talking to Myself.” Other songs like “Shotgun” and “Jupiter” boast live drums, pianos, and guitars. These songs tend to sound more full and lively compared to the synth focused tracks.

    However, “Talking to Myself” also starts a trend that pops up on the rest of the album. The song putters along in cruise control up until Gallant bursts in with his signature falsetto. Of course, this isn’t a bad thing. Most pop songs utilize this “wall of sound” technique to overwhelm their listener (David Guetta’s “Titanium” is a prime example of this). It’s definitely enjoyable in bursts, listening to a song here or there, but so many of the songs on “Ology” rely on his falsetto explosion; it gets tiresome when listening to the album in one sitting.

    Most of the tracks on “Ology” have a beat that falls into one of two categories: a more traditional R&B beat, or a more trap and southern hip hop influenced beat. Gallant does fine with both genres, but I much prefer the songs with smoother grooves of R&B than the trap snares and hi-hats. The trap-influenced tracks come across as bland and uninspired, while the R&B tracks have a little bit of life to them.

    Gallant throws a curveball halfway through the album on “Episode,” an ode to 70’s funk. While I don’t care for recent interpretations of funk (see Blood Orange’s “Cupid Deluxe” and Haim’s “Days Are Gone”), Gallant’s take is undeniably satisfying. Similar to Kendrick Lamar’s “King Kunta,” “Episode” is fun because the track is backed by a really groovy bass line.

    Ultimately, Gallant’s biggest strength is also the cause of the album’s faults. At points, it feels as if the backing tracks aren’t allowed to outshine his voice, so they make no attempt at being compelling. I really want to like this album more than I do. There are flashes of interesting songwriting on “Oh, Universe” and “Chandra,” and the lyrics are thoughtful throughout, but the project as a whole is both propped up, and weighed down by Gallant’s voice. It’s nice for a couple of songs here and there, but it’s a slog to listen to in one sitting. Sure, everyone can do a couple pull-ups, but very few can do fifty. As it stands, Gallant is not one of those people.

    FAVORITE TRACKS: Oh, Universe; Weight In Gold; Jupiter; Chandra

    LEAST FAVORITE TRACKS: Counting; Open Up; Skipping Stones    … Expand
  3. PippaMontone
    Oct 7, 2016
    10
    It's amazing how this album grows on you. Each song evolves as you listen over and over, because it is indeed addictive. Gallant has great skills both in songwriting which is very distinctive and in singing which is also pretty unique. Just adore his whole album.
  4. aimalfarooq
    May 13, 2017
    8
    Incredible; listened to it in one go, and kept adding each song to a preset playlist. The tracks before the interlude sound similar, but are slick, smooth with Gallant serving flawless falsettos. The songs after the halfway point take a sudden shift, and he begins to offer something different in every track - the effect may be a little jarring, but the talent, skill and quality is all there.
  5. gr8music365
    Jul 10, 2019
    10
    Gallant is on another level. The whole album is a masterpiece. The vocals and the smooth beats are just heaven and the lyrics take you on a trip with so many scenarios.

Critic Reviews

All reviews »
Metascore
76

Generally favorable reviews - based on 5 Critic Reviews

Critic score distribution:
  1. Positive: 4 out of 5
  2. Mixed: 1 out of 5
  3. Negative: 0 out of 5
  1. Q Magazine
    Jun 6, 2016
    60
    Not a straightforward journey, then, but still a rewarding one. [#361, p.108]
  2. The Guardian
    Jun 1, 2016
    80
    If this is what R&B’s future looks like it’s brighter than ever.
    Read full review
  3. Pitchfork
    Jun 1, 2016
    75
    His words come off poetically, and in its totality, Ology is a slow burn that grows more infectious as it plays.
    Read full review
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