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A month removed from the release of Alex Mali's EP "Sweet & Sour" and I still refuse to leave the Brooklyn artist's "melodic realm of unique R&B."
Standing recollected at six songs, "Sweet & Sour" tangibly dreams the ability to shut up the person you are in love with and show them, tell them and emote at them how they make you feel, how you want and think you should feel and deservedly have the ability to leave the ball in their court when it is no longer on you to make a play. Tracks like "Benjamin" (my favorite) in essence gets fly like Aaliyah choreography.
Noxious synth bass sets the rhythmic tone next to a gelid chord progression accenting the horn-accented keys playing follow the leader with a delayed bubble of squeaking melodies. Alex Mali's perspiring vocals on the verse, mystical background harmonies and scolding melody on her one word hook builds a thinly veiled line between deliberate hurt or premeditated desire. "Sweet & Sour's" only song with a feature, "Faded" (feat. Thutmose), throws mirroring melodies, vibrato and lyrics of codependency over ice to taste test the possibilities of what a relationship could really be.
"Sweet & Sour" is Alex Mali in the driver's seat, knowingly going towards what will hurt, give love or bring feelings of ease. The closing track "Obviously" is seemingly the sole moment of clarity. Alex Mali has no ceiling to just sing and digest it all as the sauntering melody from the piano's chords scrape at the emotional shield put up. Mali's searing runs against the subdued melody in the verse sounds like a needed moment to sit with yourself. "Obviously's" music conjures up the image of "Call Me By Your Name's" ending shot of Elio crying by the fire and the camera refusing to cut away from his pain. Like Elio, the vocals and the piano feel despondent and divorced from the happenings around them. They are feeling and although once euphoric, now they suck. The uncut version of the sweet and the sour.
Listen to "Sweet & Sour" below.
Lead Photo Cred: soundcloud.com
A month removed from the release of Alex Mali's EP "Sweet & Sour" and I still refuse to leave the Brooklyn artist's "melodic realm of unique R&B."
Standing recollected at six songs, "Sweet & Sour" tangibly dreams the ability to shut up the person you are in love with and show them, tell them and emote at them how they make you feel, how you want and think you should feel and deservedly have the ability to leave the ball in their court when it is no longer on you to make a play. Tracks like "Benjamin" (my favorite) in essence gets fly like Aaliyah choreography.
Noxious synth bass sets the rhythmic tone next to a gelid chord progression accenting the horn-accented keys playing follow the leader with a delayed bubble of squeaking melodies. Alex Mali's perspiring vocals on the verse, mystical background harmonies and scolding melody on her one word hook builds a thinly veiled line between deliberate hurt or premeditated desire. "Sweet & Sour's" only song with a feature, "Faded" (feat. Thutmose), throws mirroring melodies, vibrato and lyrics of codependency over ice to taste test the possibilities of what a relationship could really be.
"Sweet & Sour" is Alex Mali in the driver's seat, knowingly going towards what will hurt, give love or bring feelings of ease. The closing track "Obviously" is seemingly the sole moment of clarity. Alex Mali has no ceiling to just sing and digest it all as the sauntering melody from the piano's chords scrape at the emotional shield put up. Mali's searing runs against the subdued melody in the verse sounds like a needed moment to sit with yourself. "Obviously's" music conjures up the image of "Call Me By Your Name's" ending shot of Elio crying by the fire and the camera refusing to cut away from his pain. Like Elio, the vocals and the piano feel despondent and divorced from the happenings around them. They are feeling and although once euphoric, now they suck. The uncut version of the sweet and the sour.
Listen to "Sweet & Sour" below.
Lead Photo Cred: soundcloud.com
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