On their impressive debut album, the enigmatic LA-based neo-soul duo Rhye deliver with a collection of sultry lullabies that express their affection for the fairer sex.
RHYE/ WOMAN
When the world was largely enraptured by the electronic dance music epidemic last year, there quietly emerged Rhye, an act so mysterious even the most insightful music blogs had no idea who was/were the working force behind it. Their lead-off single, Open, only intensified the suspense due to the mere fact that it was so different from what was on offer at the time.
Packed full with neo-soul sensibilities, the track harks back to much simpler times when less meant more and the songwriting still possessed a decent amount of sincerity. Who could forget opening verses like "I'm a fool for that shake in your thighs/I'm a fool for that sound in your sighs/I'm a fool for your belly"? This very candour, along with the singer's soft croon, are what make Open that much more endearing and affecting.
It wasn't long until the identity of Rhye was finally revealed. The satin-like voice often likened to that of Sade's turned out to be that of Mike Milosh who, together with his buddy Robin Hannibal, make up Rhye. Their equally tender second single, The Fall, further confirms what they are moving towards: a gorgeous soul-tinged pop sound that's tailor made for those hopelessly in love. "Don't run away/Don't slip away my dear," Milosh asks over the piano before he pleads "Make love to me one more time."
Aside from the downtempo offerings above plus Major Minor Love, Verse and the ultra silky Shed Some Blood, there are funkier jams such as Hunger, Last Dance and 3 Days. The latter sees Milosh cooing his way through playful synths and horns. It's perhaps the most relaxed number on the album, and certainly one of the standouts.
The semi-instrumental Woman perfectly concludes the romance-themed record as Milosh lends the song his glacial wail that complements the minimal beat in the background. The song's one and only word, "woman", is enunciated and expressed throughout with such intense passion, making it a suitable outro to the album whose title is dedicated to the fairer sex.
Rhye's debut album discusses love and its highs and lows in a truly honest and sophisticated fashion. Never once does it feel overexposed or emotional overwrought. The duo tactfully flirt with soul music in a way that feels contemporary, relevant and appealing.
THE PLAYLIST
Tricky/ Nothing's Changed
As the track's name suggests, UK trip-hop pioneer Tricky goes back to basics and gives us the good old sound that fans are going to salivate over before the release of his 10th studio album, False Idols. Featuring vocalist Francesca Belmonte, Nothing's Changed is a slow burner at its finest. Riding on menacing drum machines and sombre violins, the track will effortlessly work its way to your cerebrum while Belmonte softly whispers into your ears: "Nothing's changed, I still feel the same." It's as haunting as it is sublime. Stop whatever you're doing, people, the man has officially returned.
Iron & Wine/ Grace for Saints and Ramblers
If you're in the mood for something slightly more light-hearted, Iron & Wine's latest offering Grace for Saints and Ramblers comes highly recommended. Taken from his forthcoming fifth studio record, Ghost on Ghost, the song will put a smile on your face as folk crooner Samuel Beam merrily sings "They were rubbing on each other, rubbing ghost on ghost/There were jumped up punks, and the Jesus freaks." Laced with exuberant strings and horns, the song has the vintage feel-good vibe reminiscent of classic pop duo Simon and Garfunkel.
David Bowie/ The Stars Are Out Tonight
Music legend David Bowie shares with us another track from his much-talked about new album, The Next Day. Following the morose first single, The Stars Are Out Tonight is an up-tempo rock number embellished with stabs of electric guitar that's offset by Bowie's trademark vocals. "They burn you with their radiant smiles/Trap you with their beautiful eyes/They're broke and shamed or drunk or scared/But I hope they live forever," he accurately alludes to celebrities by looking from the outside in.
Yeah Yeah Yeahs/ Sacrilege
After a decade in the business, the much-loved New York art punkers can still prove why they're among the most innovative artists with Sacrilege, a new single taken from their upcoming fourth studio album, Mosquito. The track starts with a fairly subdued intro where frontwoman Karen O switches back and forth between singing and shouting. Nothing's really new there, you say? Well, not until the last 10 seconds where a full-fledged gospel choir dutifully chimes in, preaching "sacrilege, sacrilege, sacrilege you say". We never thought that a choir would sit comfortably with an indie rock tune, but the Yeah Yeah Yeahs have just shown that anything is possible.
Rita Ora/ Radioactive
While the Yeah Yeah Yeahs keep things fresh, British songstress Rita Ora would rather cash in on the tried-and-tested electronic dance music fad with the third single from her debut album, Ora. Co-written with superstar songwriter Sia Furler, Radioactive tries too hard to be this year's We Found Love, with its pumping eurodance/techno beat and uninspired songwriting that still references the Apocalypse ("This club's radioactive/Drop the ball, let me feel the beat"). We thought the lyrics to Rihanna's Diamond were bad; this is way worse.
