Thursday, 8 September 2011

WILTT - 08/09/11


This morning I listened to the new project by R&B goliath The-Dream, which is pretty much just The-Dream using his real name Terius Nash (Admittedly 'The-Dream' is catchier), with an album entitled "1977". So far, every release by The-Dream has fine-tuned his sound further, each record sounding smoother, lusher and SLOWEEER, so much so that 'Love King' was excruciatingly erotic in its pace. However, from the dull brown cover to no longer titling himself as 'The-Dream', there are many hints that "1977" is going to be disappointing before you listen to it. Well, it's not DISAPPOINTING, there's just something missing. There's nothing here that isn't done better on "Love VS Money", its the same dirty synths, crisp beats and sugary sweet melodies, laced with autotune. Lyrically, The-Dream (sorry, Terius) is less about sex, and more about dysfunction this time around, and quite frankly. I miss the days of "Falsetto".

I guess it's time for The Weeknd to step up and take The-Dream's place...

Later on I listened to a dire middle of the singer-songwriter called Jay Leighton, whose album was offensively dull, 'nuff said. I'll be reviewing that later this week, I'll be as complimentary as I can. I came across something else fairly dull and uninspiring in the form of a synth/indie/nothing pop band called Miracle Fortress (just amalgamate those three words and you'll have a pretty good idea of what it sounds like). On their album "Was I The Wave", the band seem content to stroll along on uninteresting melodies and stolen ideas from The Cure and Depeche Mode. BUT I'm happy to say that amoungst the dirge, I came across two surprisingly great numbers. Heartwarming, bright melodies burst from wordless harmonies in "Spectre" above new wave drums and ethereal organs, whilst "Miscalculations" has a great chorus that emerges amongst an xx-esque backdrop of sparse guitars and plinking synths. More like this guys.

But my track of the day is a grand dubstep clanger from many a compilation this year, by the one and only Skream. Tittering along a tightrope bassline, waltzing precariously, its another track that proves no one does unease and dread in dubstep like him.


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