070 Shake – You Can’t Kill Me: Review

There is a cadence in 070 Shake’s voice, which brings her emotions and lyrics to life while never exasperating the sound with wrought modulations. It’s a prominent aspect of Shake’s craft, as it gets used so she can ride the vibe wave on an exponential high. It has shown that Shake’s range in vocal styles never highlights an inherent weakness, so whether she is performing over more hip-hop-centric production or smooth psychedelic R&B notes, she comes at it with full strength. It continues to be the case as 070 Shake on You Can’t Kill Me as she delivers these enthralling and melancholic performances, shifting from her debut Modus Vivendi. The production gets slightly broken down, weaving these blooming synths while Shake encapsulates us with her radiant vocals. But it isn’t perfect since it doesn’t pick up steam until the second track.

You Can’t Kill Me isn’t like 070 Shake’s previous album, specifically in the construct of the production. It isn’t devoid of complex layering with the sounds, but it doesn’t deter you by taking a distinct direction that never lands, though some tracks fly past the radar because of uninteresting production. There is a frequency to it, and 070 Shake comes at it with full force and develops a sense of emotional gravitas. It doesn’t hook you with the intro, but it finally gets you with the second track, “Invited,” which has this remarkable percussion pattern that reels you in with gusto. Its percussion and synth-heavy production create an everlasting motif we hear through most tracks, adding value to its essence. Mike Dean’s mastering skills make it audibly smooth, allowing us to listen to everything 070 Shake sings. 

“Web” opens the album with little effect, but as “Invited” takes a heel turn, the consistency begins to shine. It’s a steady consistency that slightly veers out of the double lines until it lines back up with the closer, “Se Fue La Luz.” Unlike “Web,” “Se Fue La Luz” is a strong closer that sees 070 Shake lamenting a break up with a past lover and invoking a Spanish language chorus that adds brevity to the verses. Hearing 070 Shake sing in her heritage tongue adds dimensions to the performance, allowing us to hear her emotions at peak vulnerability. There is depth in 070 Shake’s vocal performance, even when the tracks have a more elevated presence. Her songwriting is reflective of her remarkable melodies, weaving colorful strings on a blank slate. You Can’t Kill Me tackles various aspects of a relationship, taking us through engaging stories, situations, and analogies reflective of the tone from its darkly moody sonic motif. 

There isn’t one song that truly grasps the spices of pop flavor, and instead, it asks to sit and pay attention. The percussion kicks up consistently, adding some internal sense of dance with the bleak synths, but it reels you with these effectively atmospheric harmonies and melodies. They create atmospheric textures that thread grooves into your ears, which enables its effectiveness. The production has heavy energy, and 070 Shake gives enough that tracks like “History,” Skin and Bones,” and “Body” offer captivating moments that stay with you. It has this vibrancy that isn’t as profound with tracks like “Come Back Home” and “Purple Walls,” which feel empty and tempered. That vibrancy comes from tweaking aspects of the production, like playing with the levels of the synths dependent on chorus or verse. 

“Come Back Home” and “Purple Walls” are examples of when minimalism isn’t as impactful because they don’t offer anything interesting through more simple drum beats. “Purple Walls” has this great emotional core, but it feels stunted by a less captivating production. Unlike it, “Wine & Spirits” is 070 Shake’s acoustic-driven ballad that sees her singing about how their celebrity can bring manipulative speculations from the media and cause a riff. There is depth and smooth transitions, but these bumps along the journey are slight blips on a great album. Though it can cause a detriment for the front-to-back listeners, sometimes these blips become forgettable compared to the dynamic instrument patterns of other tracks.

You Can’t Kill Me excels in more ways than 070 Shake’s last album Modus Vivendi, while still retaining qualities that made her craft appealing. It’s atmospheric without fault, and it develops proper sensibilities with the synths where we can hear her words. There is depth, and the production has this great raw consistency that you can’t help but get swept away. 070 Shake is a diamond in the rough for GOOD Music/Def Jam, and her career will grow.

Rating: 8 out of 10.

Gnarls Barkley – St. Elsewhere: 15 Years Later and Still Crazy.

The superlative behind an album’s time since it’s initial release carries many distinct meanings, dependent on its importance at the time. So as we approach the 15-Year mark since the release of St. Elsewhere by duo Gnarls Barkley, I start to think how it hasn’t had a monumental presence beyond its monstrous first single, “Crazy.” The duo, consisting of rapper/singer Cee-Lo Green and producer Danger Mouse, were not heavy names in the stratosphere of music for many casual listeners because they didn’t breach into pop charts or delved into the common trend at the time. You could make the case that Danger Mouse had credibility before diving in upon release, as he did some production, including lead single “Clint Eastwood,” off the debut for the band Gorillaz. So as we revisit St. Elsewhere, let’s remember the phenomenal collection of poignant tracks with an effervescent array of eclectic production that didn’t garner as much attention as the perfectly crafted “Crazy.”

At the peak of their debut, along with the single “Crazy,” Gnarls Barkley wasn’t part of the bigger pop and R&B/Hip-Hop niche that circulated many radio stations. From Ciara, Chamillionaire, and Chingy to Natasha Bedingfield and Daniel Powter, if your music/sound didn’t have anything that resonated with a similar stylistic direction, you most likely wouldn’t breach further into the everyday Hot 100 listener – pre streaming. St. Elsewhere had its moment in the sun and took every advantage at this peak. And it did so with the track “Crazy,” which was an embodiment of their artistry. Though the album doesn’t have cohesion for simple accessibility (based on musical sensibilities), it did bring about a lush group of sounds that flows well with Cee-Lo’s vocal performances and Danger Mouse’s complex production.

The sonic infusions within the soul-like core were ahead of the time in its stylistic approach, which was less rooted in gospel than a traditional or pop-modern soul (like Ruben Studdard). It didn’t become a genre that expanded into experimenting with these different additions, consistently, until the last few years with a plethora of new artists switching the way it sounds. This is in conjunction with what – almost – every genre has been doing recently with our technological and mental growth. However, the varying use of synths and electronic sounds adds different aspects from the music of older soul-influences that influenced them. This sound is a hybrid of a psychedelic atmosphere with either soul or R&B undertones that were more prevalent in the late 60s and 70s, like the heavy bass lines and snares. 

This is heard within the final mixes of tracks, like “St. Elsewhere” and “Go-Go Gadget Gospel,” who, outside of their biggest hit “Crazy,” are embodiments of the sounds the rest of the tracks would take from and create a bigger world outside the music. But at the time, the singles that followed didn’t have much life on the American charts outside of “Crazy.” But including “Crazy,” a lot of their singles had a second life in Europe. “Crazy” shouldn’t surprise you because of the duality it has from being nuanced to older variations and experimental, which Europe fawns over without hesitation. The base – stylistic approach to the different production allowed it to find its way into the array of glossy playlist and stations from the way the surface layer of the tracks feeds its energy to you, specifically the less unique (loose term) ones, like “Necromancer.” You can hear the difference between the vibrance of “Crazy” and the twinkly grit of “Necromancer.”

Heavy piano notes that evoke the atmospheric textures, specifically in the expanded range of Cee-Lo’s naturalistic soulful voice, streamline the production on “Crazy.” This isn’t much different from the other soul-centric/alt-rock (esque) tracks, as well as the hip-hop oriented one. Cee-Lo’s control of his raspy baritone/tenor allows for an extra level of awe as we hear him go about these various subjects. This has been a natural strength, which has helped add more to his music during his Goodie Mob days and his solo career. It’s design from its lyrics and melodies makes it accessible for covers at different tempos. 

“Crazy” has this immense popularity and prominence in performance culture, but the fact that it never reached number #1 in the Hot 100 changed how it is seen – between being a blessing and a curse. It was the better – objectively speaking – track between the two other ones that were #1 at its peak, which was #2 for seven weeks. Outside of our own continent, it soared through Europe and reached momentous heights in the UK. A plethora of similar tracks like “Smiling Faces,” “Just A Thought,” and their cover of the Violent Femmes track, “Gone Daddy Gone,” didn’t find equal footing as “Crazy.” 

But the rest of the album has a constant within the production that comes from an eclectic mix of jazz and hip-hop percussion/horns and electronic instruments that circumvent the varying grooves into the slight uniqueness of it. Cee-Lo adds definition with his lustrous vocals, which has constant changes, depending on the kind of direction it wants to take, like the bombastic “Go Go Gadget Gospel,” and their remake of the Violent Femmes song “Gone Daddy Gone.” Both songs are as infectious, if not more than “Crazy,” but it does not get remembered as much because the music world was in an era where that kind rock bravado was more poignant in pop-punk and the semi-screamo punk, like Bullet For My Valentine and All American Rejects. So for this to break through with the beautifully contrasting “Who Cares?” would have been some kind of miracle. It all comes together with the instrumental undertones, like synth bass and the minimoog. 

These varying degrees of musical impacts left an impression on a younger me. The younger version of myself, who couldn’t figure out why radio hosts were deafening their ears with cheesy bubblegum/ballad pop and rock, when something beautifully different was there, waiting for someone to call them center stage. I remember falling in love with “Crazy” when it hit its initial run on the Z100, but when I purchased the album and gave it a listen, I began to admire the various electronic instruments, like the Roland JX-3P. But as you sit there, reading the amount of gush and praise I’m giving St. Elsewhere, the popularity on the internet is stagnant and maintains the SEO search popularity akin to “one hit wonders.” 

When it comes to searching the term, “Gnarls Barkley,” on YouTube, it delivers an onslaught of “Crazy” content. There are many covers and edited montages of award show performances of the song, but within the crevices the music videos for other songs from St. Elsewhere are there at an outdated 360/480 standard definition conversion. I’m out here expressing glee with the amount of love and notoriety “Crazy” and their other songs of equal quality. Even behind the guise that search engines have, the amount of expansive content on their work is put into these short perspectives with enough expressions of love and enjoyment. 

And now, 15-Years later, St. Elsewhere hasn’t seen the kind of appraisal it deserves. Hopefully I have been able to influence you to go and listen or revisit St. Elsewhere, a masterwork of soul, waiting for new listeners to hop on board the psychedelic train to Elsewhere. And keep their name alive as we graciously wait for the release of their third album, whenever that will be.