Originally posted at http://itsofficial.com.au/
I knew jack about Jamie Lidell when I heard this album. Beck produced his album, so I was expecting it to be good.
It made me feel like my brain was exploding... but not in a good way.
Slammed with a mix-mash of distortion, I frantically searched for a melody until finally Jamie’s voice rung out... salvation.
This happened a few times throughout the album. Song starts, it’s going nowhere, and then Jamie pulls it together, his soulful tones reminiscent of a white-boy Andre 3000, with as much personality.
She Needs Me is super-sexy with simple keys. It’s an old school soul track with new school production.
I Wanna Be Your Telephone sounds a lot like Beck’s Sexx Laws; which is a really great song, in both executions.
And Enough’s Enough has the upbeat vibe of a 70s bloc party; with kickass flute, it’s a definite mood-turner.
From this point on the album’s best described as “Meh”.
The songs would be better if there wasn’t so much going on. When Jamie sticks to his soul/funk roots adding just a little something extra, it’s perfection. But he overdoes it and it’s ruined.
It may be creative, it may be interesting, but it’s also inconsistent; some good songs and some capable of aural injury.
He does end with a couple of corkers: Big Drift, with acoustic guitar and backup female vocals, sounds like a brooding storm before the rain falls.
Then Compass ends with You See My Light, a glorious track with a gospel feel and real emotion.
I do love a happy ending.
It made me feel like my brain was exploding... but not in a good way.
Slammed with a mix-mash of distortion, I frantically searched for a melody until finally Jamie’s voice rung out... salvation.
This happened a few times throughout the album. Song starts, it’s going nowhere, and then Jamie pulls it together, his soulful tones reminiscent of a white-boy Andre 3000, with as much personality.
She Needs Me is super-sexy with simple keys. It’s an old school soul track with new school production.
I Wanna Be Your Telephone sounds a lot like Beck’s Sexx Laws; which is a really great song, in both executions.
And Enough’s Enough has the upbeat vibe of a 70s bloc party; with kickass flute, it’s a definite mood-turner.
From this point on the album’s best described as “Meh”.
The songs would be better if there wasn’t so much going on. When Jamie sticks to his soul/funk roots adding just a little something extra, it’s perfection. But he overdoes it and it’s ruined.
It may be creative, it may be interesting, but it’s also inconsistent; some good songs and some capable of aural injury.
He does end with a couple of corkers: Big Drift, with acoustic guitar and backup female vocals, sounds like a brooding storm before the rain falls.
Then Compass ends with You See My Light, a glorious track with a gospel feel and real emotion.
I do love a happy ending.
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