Taeyeon rising
Taeyeon WHY S. M. Entertainment
THERE’S an excess of confidence on Taeyeon’s sophomore solo mini album, and it sounds absolutely thrilling – both sonically and artistically.
From a 180 degree shift in sound to an even more impressive display of vocal prowess, the Girls’ Generation leader certainly has something special brewing with this seven- track record.
The 27- year- old explores a bolder and glossier pop landscape on opener and title track Why, flirting with EDM influences and tropical house stylings for that international flair.
Now, there’s been much debate about K- pop embracing a decidedly more American sound lately. But Taeyeon’s neon- coloured title track works more as a progressive evolution instead of simply emulating a global pop template.
The deliberately turn- up moment in the song – with the typical swirling synths and electronic drip- drops – doesn’t sound remotely awkward. In fact, it helps in showcasing the Jeonju native as an incredibly dynamic performer.
The following Starlight gives more hints regarding Taeyeon’s pop dynamism. Employing the help of R& B newcomer Dean for some sweet harmonies, the mid- tempo number is a summer perfect jam thanks to its buoyant melodies and lovesick intonations.
Elsewhere, WHY sees the singer experimenting with a multitude of genres. The collaboration with fellow bandmate Hyoyeon – despite being one of the more lacklustre numbers – is made interesting with its 60s jazz undertone.
The rest of the album gets by with impressive melodies and a general feel- good vibe. As a follow- up to her debut I, WHY is a super solid statement.
Dean 130 Mood: TRBL Universal
BUZZY R& B newcomer Dean has always had a sort of omnipresence in South Korea’s pop landscape. He was just never at the forefront of it, choosing to write hits for the idol likes of EXO to f( x) instead. With the release of 130 Mood:
TRBL, the 23- year- old makes the move from being behind the boards to standing behind the mic. The result is nothing short of impressive.
Dean’s style is one that’s rooted in smooth R& B – think Frank Ocean’s alternative flair with a touch of accessible K- pop.
On the more carnal numbers, Kendrick Lamar- like sex appeal shines through. Pour Up – a collaboration with rap maestro Zico – features gritty verses over warped bass. Meanwhile, the tumultuous
Bonnie & Clyde samples some pretty complex beats. But Dean’s honeyed vocals are at their peak on the more romantic numbers.
What 2 Do and D ( Half Moon) are sweet odes that work within the trappings of uber smooth R& B. And over on falsetto- drenched 21, Dean closes this brilliant seven- track collection with infectious soul and funk.
Grace FMA RCA Records
THE acronym of Grace Sewell’s debut album spells out “Forgive My Attitude”. Not that the Australian newcomer – known simply by her first name – actually needs much forgiveness.
In spite of its title, FMA is more soul than sass. The most attitude you would get here is the collaboration with rapper G- Eazy on the cover of Lesley Gore’s feminist anthem You Don’t Own Me, which catapulted the singer- songwriter to a modicum of success.
Since then, the Brisbane- born has been boiling under the pop radar. FMA took about two years in the making, and the quality shows.
Vintage- flavoured numbers such as How To Love Me and
Coffee ooze with heavy maturity. Part of that beyond- the- years template works thanks Grace’s evocative vocals that harkens to the likes of Amy Winehouse and Etta James.
When that voice is put to use on breezier numbers ( most notably on the cheeky opener Church On
Sunday), it glides through the polished production triumphantly. On more contemplative tracks such as the gut- wrenching New Orleans, the effect is effortless vulnerability.
But Grace still has much to discover in terms of seeking her artistry. The shortcoming here is the way the songstress dips her toes on a number of genres on the first half of the record. The most glaring mistake happens on the haphazard bossa nova touches on Crazy Over Here. As a whole though, FMA is a strong offering. This is most evi- dent on the retro- inspired Hell Of
A Girl. The girl isn’t seeking absolution, though. If anything, it’s restitution she wants – and it sounds marvellous.
Palmistry Pagan Mixpak Records
ON his debut full- length album, Benjy Keating – aka Palmistry – has his sights set on a modern and minimalist kind of bedroom pop.
There are also touches of reggae in Keating’s brand of dancehall rhythm, something that listeners would have heard from the likes of Diplo to Rihanna.
But one does get a sense that the man has loftier goals in mind. On
Pagan, Keating trades complex beats for deconstructed melodies, relying on reserved synths and mumbly auto- tuned vocals.
Like on the flirtatious Lifted, the London producer- vocalist dishes a track that’s at once gloomy and buoyant.
However, that uber minimalist sound – stripped down to Keating’s half- singing- half- mumbling method in most parts – is difficult to sustain for the full duration of an album. By the record’s halfway mark, you’d be forgiven for thinking that each song sounds awfully similar to the previous one.
The novelty is fun while it lasted though, and tracks such as the moody opener Club Aso and delicious broody electro- flavoured R& B of Adeus are scintillating teasers of a young musician’s ambitions.