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The South Carolina vocalist and producer presents an attainable vision of R&B on his latest EP, an unpretentious suite of pure bedroom music greater than the sum of its vibes.
For years, R&B was the most aspirational of American music. Unlike the ardent family men of â70s and â80s soul, the leading male voices of â90s and â00s R&B were at once doting monogamists and incorrigible philanderers, forever vacillating between intimate ballads and sheepishapologies. In their lusty accounts, sex was a feat of Olympianathleticism; even the d-listers had abs like Jaheim and hairlines like Ginuwine. By 2012, the proliferation of home recording equipment and Frank Oceanâs more unassuming sound had helped lower the barriers to entry, but where Oceanâs music brimmed with piercing details, his chill-ân-B descendants modeled ambivalent restraint. Sure, every The-Dream album sounded like a penthouse with a waterbed on a rotating platform, but at
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Travels on a cloud/He’s one of the good time people now/I’m a face in the crowd/All dressed up and laughing loud/I can talk to him, and I can love him.” This was my introduction hearing the original
Nirvana’s ‘Rainbow Chaser’ (no, not Kurt Cobain’s Nirvana) on an UNCUT compilation back in the summer of 2003 entitled,
Acid Daze. It was like this crossover between symphonic pop, baroque beauty, and psychedelic phasing that was like a breath of fresh air.
They were often under the radar during the late ‘60s at the height of the Swinging London scenery during that time frame when up-and-coming bands like Pink Floyd, Family, The Nice, Traffic, and Spooky Tooth (who would later record with them) were recording their debut albums. And Nirvana were right in the middle of that scenery. That and their 6-LP box set on the Madfish label entitled