![]() What’s more, on songs like “Darling,” on which Buckingham sits in on guitar, it seems like they’re getting new ideas out of each other. The singer is perfectly capable of matching the producers’ tuneful darkness. Nails’ tart, synthetic grooves provide the perfect base for Halsey’s tense, personal writing and cathartic vocals. Halsey’s If I Can’t Have Love, I Want Power goes a step further, tracking down Trent Reznor and Atticus Ross of Nine Inch Nails to produce and securing appearances from Dave Grohl, TV on the Radio’s Dave Sitek, former Fleetwood Mac guitarist Lindsey Buckingham, and others to help the New Jersey singer with the goth-rock rebirth this album attempts. It all sounds like the work of a savvy veteran.Pop stars disappeared into their record collections this year: Lorde paid respect to Natasha Bedingfield on Solar Power, Olivia Rodrigo served grunge-pop and pop-punk on SOUR, and Billie Eilish delivered a brand of moody singer-songwriter record more akin to 1996 than 2021 with Happier Than Ever. With only slight variations in her voice, she evokes states ranging from vexation to desire, and there's never any uncertainty in what is being put across. Wilson, consistently understated, gracefully wraps her voice around each beat, whether it snakes with trap-style percussion or surges and stammers like a late-'90s Timbaland track stuck in honey. ![]() No matter how it's packaged or consumed, there's zero doubt that Wilson and her fellow writers and producers - most prominently DJ Camper and Swagg R'celious, who take on over half of the co-production credits - made a large quantity of subtly stimulating contemporary R&B within a short timeframe. As a listening experience, these 21 songs therefore are effective more in their original configurations than in this resequenced 72-minute clump. On the surface, they verge on low-lit mood music, but deep listening reveals a little more sonic, melodic, and lyrical substance than the average set from Wilson's commercial R&B peers. ![]() Roughly similar in quality and makeup, each one of the short-form releases strongly emphasizes Wilson's specialization in vulnerable yet assured ballads and slow jams. 2, and the oddly titled H.E.R., Vol 2: The B Sides - originally issued during a 13-month period. Merciful omission of the Chris Brown-assisted "Focus" remix aside, this contains the entirety of Gabi Wilson's first three anonymously presented EPs - H.E.R., Vol. ![]()
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