Brandy
“Afrodisiac”
Created in the aftermath of Brandy’s divorce, references to hurt, pain and mistakes pepper almost every song on “Afrodisiac,” the singer’s fourth album. And, other than the “tabloid expose-with music!” feel of first song “Who I Am,” Brandy has created a compelling narrative from her emotional turmoil.
Brandy dumped longtime producer Rodney Jerkins; this time around, Timbaland is Brandy’s chief collaborator. He accessorizes her vocals with his trademark combination of offbeat samples and sound effects. The results occasionally feel shopworn, but creations like “I Tried” are fresh and new, combining the thudding of Iron Maiden with forlorn Brandy’s attempts to overlook her man’s philandering. The title track is a sexy carnival ride, while “Should I Go” borrows from Coldplay’s “Clocks,” as the singer ponders “should I go?/should I stay?” in her relationship and decides “I’m in control either way.
Brandy spends most of what is undoubtedly her best album celebrating newfound independence. The singer truly breaks free on first single “Talk About Our Love,” a partnering with rapper/producer Kanye West. With its blossoming chorus, this song wins the prize for most likely to blare from car stereos all summer long.
– Rachel Kipp, Associated Press
Felix Da Housecat
“Devin Dazzle and The Neon Fever”
You’ll have to put on your thinking cap on tight if you want to enjoy “Devin Dazzle and The Neon Fever,” a new album from remix specialist Felix Da Housecat.
It requires a thorough background in dance and 1980s music in order to see where it’s coming from and where it purports to take music in the future.
Unfortunately it never quite gets there.
Felix has done remix work for artists such as Madonna, Garbage and New Order over his 20 years in the business, so it’s no shock that he finds true value in ‘80s-esque themes and sounds. “Devin Dazzle” is full of buzzing synthesized sounds and crashing guitar work. The result is an interesting experiment that falls well short of pure entertainment.
Tracks like “Short Skirts” are too smarmy, too gimmicky with little heart to latch on to. On this track, coy vocals from the all-girl group The Neon Fever gives us the catty hook: “High heels to break your backs, gold rings to crush your jaws … don’t try to touch us baby.”
This so-called electroclash style has been tried a lot recently, most notably by DJ Keoki, where it humbly failed as well and is scarcely heard on the club scene. It’s all nuance, all artist reflection on others’ past material while carrying little substance of its own. It’s mere creation isn’t substantive enough.
“Devin Dazzle” is the best track, with its over-synthesized break-beat style. The listener can grasp this. It’s slower than the other songs, but with twice the energy and purpose.
– Ron Harris, Associated Press
Youssou N’Dour
“Egypt”
Senegal’s most famous son makes a departure from his trademark talking-drum driven, griot-style funkiness to share with us lush, devotional songs that celebrate his Islamic faith. It is a mature, mystical sound that reminds us what can be accomplished when cultures unite for a higher purpose.
With “Egypt,” N’Dour intended to release an album that “praises the tolerance” of his faith. During a time when the religion and its adherents are under scrutiny, N’Dour exhorts, “So whoever you might be/ Please go on believing/ Doing right, avoiding wrong/ Free yourself from all masters except for God” over joyful strings that sound like the soundtrack to a sunrise.
“Egypt” features lyrics reverencing Islamic caliphs (supreme religious leaders) and saints set to Arabic orchestral arrangements using traditional instruments. N’Dour’s powerful tenor takes a wistful turn. He sounds like he’s issuing the call to prayer over an accompanying string orchestra.
N’Dour is once again melding cultures to create new and powerful sounds, making a bold and beautiful statement.
– Aimee Maude Sims, Associated Press
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