“DELRESTO (ECHOES),” one of the album’s lead singles, features the vocal talents of Beyoncé throughout, as well as crediting her for production and composition. Underneath this beat can be heard the deep bass and hi-hats that draw fans to his sound, but they are a secondary consideration rather than the overwhelming texture. It is once again introduced by vocal harmonies, briskly moving into a triplet-based beat. “SIRENS” is an excellent example of this blend. Rather, they’re more subtly blended within a wide array of musical tools. This isn’t to say that “UTOPIA” represents a complete left turn in Scott’s production many of the facets that have defined his repertoire are still audible, but they aren’t always the go-to sounds. The prominent sub-bass and rapid-fire trap hi-hats take a backseat to more acoustic-sounding drums and more melodic instrumentation. This beat, too, begins softly, with a bell harmony being joined by occasional bass notes and a synth countermelody, all with a lo-fi vinyl crackle.įor much of the album, the mixing and arranging is mellower than one might expect from Scott. West does make an appearance on “THANK GOD,” credited both as a composer and producer. Although he isn’t featured here, the instrumentation and arrangement reflect the sounds of Kanye West’s earlier work. When the bass comes in, it’s uncharacteristically quiet, allowing the higher frequencies to come through more clearly. The beat is made up of crunchy, overdriven drums and a sample of a bright stringed instrument. The rapper’s fourth studio album brings together a stacked cast of musicians and producers, resulting in a sonically diverse work with notes of Kanye West, Beyoncé, Bon Iver, Bad Bunny, SZA and many others.Īn appetizer of the album’s conceptual nature comes in “HYAENA.” Its introduction features isolated vocal lines and harmonies reminiscent of a Kendrick Lamar opening.
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