@BedstuyBetty Isn't Seeing The 20/20 Experience

Justin Timberlake's The 20/20 Experience Reviewed By Bedstuy Betty

It’s late, it’s still brutally cold outside, and this rum in my glass isn’t lifting me up. I’m in need of something nostalgic but still smooth and danceable. Unfortunately for me, what my editor left in my inbox is not necessarily in line with my cravings. Like that bad case of hay fever you get indicating that Spring is near, Justin Timberlake is also trying to jump back into the swing of things with his new album The 20/20 Experience.

Initially, it was rather hard to sit through for one continuous listen. Mainly because Timberlake appears to clutch from a grab bag of different sounds from different eras, and then combine them in a manner that while valiant comes off messy. From the very first track “Pusher Love Girl”, it begins with a beautiful orchestral set only to come to a screeching halt with saccharine sweet modernized doo-wop. The next track, his breakout single “Suit and Tie” is pleasantly catchy, perfectly suited for wedding dance floors and other large functions. The addition of Jay-Z’s verse doesn’t do much to enhance the track and he sounds like he knows it with lazy delivery. The following song “Don’t Hold the Wall” surprisingly kept me body rolling. Timbaland’s production shines on this track as he effortlessly mixes bhangra rhythms, which provides a perfect background for JT’s vocals making something both hypnotic and sensual. A later track, “Tunnel Vision” is another seamless fusion of production and voice. Timberlake even laces the song with his beatbox stylings, which isn’t as corny as it would seem.

Bedstuy Betty Reviews The Weeknd's House of Balloons

These days the world of R&B is taking on a more hallucinatory and surreal approach with artists such as Frank Ocean, James Blake, and Beach House at the wheel.  With that said, The Weeknd is definitely the newest alum.  House of Balloons is equal parts grimy debauchery and polished production as 22-year-old singer Abel Tesfaye belts in falsetto about drugs, sex, and partying. Initially generating a low buzz in late 2010 when a few tracks were uploaded to YouTube for consumption as well as a cosign from Drake on his blog, not much was known about the Toronto-based group which is also comprised of producers Martin “Doc” McKinney and Illangelo.  With such themes, I probably would like to maintain an air of anonymity myself.  Don’t misunderstand though, House of Balloons is exactly what you want playing after a party at 5 in the morning when almost everyone has gone home and there’s littered glasses and bottles everywhere.

With the opening lyric on the first track “High For This”, “you don’t know what’s in store, but you know just what you’re here for...” Tesfaye creates a seductive aura over a hypnotic beat with light distortion. Throughout the song, there’s an evident quality of desire that is both visceral and alluring as he assures a girl for whatever act they’re about to engage in, she should be in an altered state. The Weeknd samples Siouxie and the Banshees’ “Happy House” for its title track as his falsetto implores the listener throughout the chorus that “this is a happy house” but as the song progresses it becomes slightly more mournful. Then like walking through a portal into an almost Odd Future setting, “Glass Table Girls” is quite obviously about that powdery white stuff while Tesfaye switches his style up opting out the falsetto for a sing-songy rap that’s more ramble than structured. The raw element of honesty present throughout the album also appears here as one lyric states: “I heard he do drugs now, you heard wrong I’ve been on it for a minute...”

Suffice to say with such hints, The Weeknd obviously lives it up and knows the party scene intimately. However their body of work thus far, also carries an honesty that’s indicative of the potential growth in R&B. While there’s little news about their next moves, Drake has tapped the singer for the OVO Festival in Toronto for late July along with rapper Rick Ross and there are rumors that he may end up working with Drake’s producer Noah "40" Shebib. We’ll see how long The Weeknd maintains their air of mystery.

Bedstuy Betty Reviews Frank Ocean's Nostalgia, Ultra

It’s increasingly rare that one finds a song, let alone an EP that possesses a cinematic feel coupled with stellar production, and innovative lyrics that provides a fully satisfactory experience. Most would scoff that such an occurrence is impossible. Well non-believers, your search is over; Nostalgia, Ultra by Odd Future’s Frank Ocean is exactly that and more. While most have come to expect from the group, their standard version of horror core in a vein similar to that of Eminem, Ocean’s mixtape is akin to a breath of fresh air. However, don’t romanticize him too strongly. His lyrics still belie a crassness that’s in good standing with the group’s general archetype.

The EP starts off with the interlude “Street Fighter” which is essentially the sounds of someone going through the motions of switching between cassette tapes (remember that, kids?). The first actual song is “Strawberry Swing”, which is sampled from a Coldplay track of the same title. It speaks on a remembrance of simpler times, the nostalgia almost tangible as you drift away into the prettiness of this track, only to be brought back to reality by a harsh alarm clock towards the end. The next track “Novacane” has a slight early 2000’s R&B swing to it as Ocean croons about his craving for a girl with dentistry aspirations as she pays for her tuition “doing porn in the valley”. He doesn’t appear to be put off by it though as he wishes to be with her constantly, equating her love to the numbing effects of the track title.

Ocean reveals another facet to his soul with the song “We All Try”, a simply evocative piece where he speaks on his beliefs with the resounding assurance that we all try to be better people despite our faults. Very similar in vibe to any one of Marvin’s socially conscious classics, I wouldn’t readily admit to this but it moved me to tears. A following track “Lovecrimes” reverts back to the familiar direction of this EP, as Ocean sings about a certain girl that drives him insane while a scene from Kubrick’s “Eyes Wide Shut” plays out underneath both the melody and the lyrics. While one would think of this as disconcerting, the juxtaposition is oddly perfect. Other notable tracks include “Songs for Women”, “There Will Be Tears”, “American Wedding”, and “Nature Feels” where Ocean samples from artists such as Mr. Hudson, The Eagles, and MGMT.

Most of the content in Nostalgia, Ultra exhibits a surrealistic edge as well as a realistic depiction of how we play our life out in our heads. For a new artist, Ocean is a great indicator how good pop music could be in this generation, and it appears that folks are ravenous for it. Despite conflict with Ocean, Def Jam will be re-releasing the EP on iTunes on July 26 with “Novacane” as its first single. There are also reports that Nas has recruited him for a project. Guess I’ll be waiting around with the rest of the world for that to drop, hopefully sooner than later.

@BedstuyBetty Reviews Mara Hruby's From Her Eyes

On a late Sunday night I find myself restless, perhaps it’s because I can finally feel those notes of Spring drifting into my window or the more likely reason is because I’m an insomniac.  However, I was pleasantly surprised by From Her Eyes, the debut EP of West Coast artist Mara Hruby.  Originally from Oakland, CA she began performing in 2010 all over the Bay Area before then taking nine solid months to work on her first release, even going as far as to record as well as arrange & engineer her vocals.  The 22-year-old artist has compiled seven tracks of covers originally recorded by male artists and as music has a tendency of doing, each song has touched her life in some monumental way.

Her ethereal notes pull us in on the first track “Stereolab (Lose Myself)”, a song originally recorded by The Roots for the Dilla Joints tribute album. Her simple but beautiful voice leaves haunting harmonies over chill guitar riffs and an austere beat. This track is also Mara’s first single and there’s video out for it now directed by none other than singer/songwriter Jesse Boykins III. A following track covering Jamiroquai’s “Alright” is totally stripped down and smooth. She maintains a fine line between funk and chill jazz that I’m sure would even make Jay Kay proud. Her tonality does remind me slightly of Amel Larrieaux but that merely adds another facet to this track.

Bedstuy Betty Gives You: The Weeknd - House Of Ballons

Guest Blog - @BedstuyBetty Reviews Childish Gambino's "EP"

Review by Bedstuy Betty

Just in time for Spring, Donald Glover has released a new mixtape simply titled EP.  Five tracks filled not only with superior lyrics, but also diverse production as well as something even more intangible, desire.  Thus far, Mr. Glover has been somewhat of a golden boy with notable successes in both acting and writing; however it appears that this year will definitely be his to shine musically.  Where his prior efforts left the aftertaste of this pursuit being merely a pastime, EP leaves all doubts cleared by this point.

Beginning with the track “Be Alone”, Glover croons in his sweet falsetto over indie rock tones, violins, and soft drum kicks.  Though fairly somber and low-key, the lyrics shine through and give the fans a personal look at the effects of Glover’s growing fame while still maintaining a level of accessibility.  “Be Alone” is truly candid and can leave the listener a bit raw but still hopeful that Glover won’t find himself alone forever.

Guest Blog - @BedstuyBetty Retro Review: @itsPacDiv's Don't Mention It

Review by Bedstuy Betty

So almost a year ago, West Coast trio Pac Div dropped Don’t Mention It, a 13 track mixtape filled with goodies that seriously knock. Me, being the crochety old lady that I am usually keep my ears closed to new hip hop, so I wasn’t put on to this until I heard a buzz for the group’s most recent effort: a new mixtape called Mania!. With that disclaimer out of the way, this EP might as well have been an album with its diverse production, guest appearances from the likes of Colin Munroe, and a solid theme of smoking superb greenery, sleeping with girls that enjoy said greenery, and then still pursuing your dreams of rap stardom after you kick them out. They do however, dream of love in the future and speak on it in the title track.

Guest Blog - @BedstuyBetty Reviews J*Davey's Evil Christian Cop

Review by Bedstuy Betty

Underground indie vets J*Davey have once again laid down upon us what can only be described as aural manna.  While we still await the advent of New Designer Drug, the upcoming album by the innovative twosome; they have provided us with Evil Christian Cop, the second EP in the series The Great Mistapes. For the uninitiated masses still strolling through life with blinders on, J*Davey is an LA-based duo comprised of Briana Cartwright (she performs as Jack Davey) and producer Brooke D’Leau.  Through an eclectic mix of electronica, funk, soul, R&B, rock, and new wave, they continue to blow our minds and in an almost deity-like fashion, they do it for free.

Guest Blog - @BedstuyBetty Reviews Childish Gambino's Culdesac

Review by Bedstuy Betty

You may recognize Childish Gambino better at his regular 9 to 5, as Troy Barnes on the NBC
show “Community” or as his real life persona Donald Glover of Derrick Comedy fame, but this certainly isn’t his debut musically. Previous endeavors include Sick Boi, Pointdexter, as well as I Am Just A Rapper & II and Gambino has once again delved into his valise of talent and created Culdesac, an assortment of tracks cleanly captured and primed for general audiences.

It appears that this time around, Gambino is polishing his approach and improving his accessibility with tracks such as “Got This Money”, “I'm On It”, and “Do Ya Like” which also samples Brit songstress Adele’s hit, “Melt My Heart To Stone”. All three tracks contain a pop quality coupled with laidback production and smooth rhymes a la Kanye.