I'd like to think that Dev Hynes' personal revelation that he's actually black was something like Richard Pryor's discovery in See No Evil, Hear No Evil. Of course it was probably never that funny. For years, Hynes' old project of Lightspeed Champion literally championed ode's of nerdom and lovelorn lust...and occasionally complaining at why his best friends were listening to crunk.
The point is, Hynes was unique in a musical genre which, racebaiting aside, is mostly full of white under-thirties. But race never played a part in Hynes' lyrics or themes. Heck, in it's earliest incarnation, Blood Orange always felt like the continuation of Hynes' fascination with eighties pop and RnB and the unique imagery of crossdressers rather than political grandstanding of social issues.
I fell out of favour with Blood Orange with the release of the second album Cupid Deluxe. Much like Bloc Party's Nextwave Sessions, it was a release so thoroughly average, I couldn't muster the strength to apply finger to key.
I tried, many times to get it, as the desperate audio hoarder who used to rip every demo released on Hynes' Blood Orange blog refused to let something as average as it was become part of his discography. But each listen provided the same outcome; it starts off great, but the longer the record goes on, the more it wanes and bores.
But we're not here to babble about a record I should have reviewed years ago, instead we're here to review an album released early and to get back to the very first point.
Blood Orange's third album Freetown Sound was announced for those either too black, not black enough, too queer or not queer enough and the under appreciated. So inadvertently, I felt like the album was going to be an uphill struggle to understand because, unlike the SJWs and harpies on social media, I don't pretend to understand the struggles that black and gay people go through (that and everyone feels, at some point, unappreciated).
That and if the creeping RnB influences that became more prevalent on Cupid Deluxe, than Freetown Sound would fully immerse itself in all stereotypes, tropes and clichés of the genre. Not to say RnB can't be amazing, but Hynes' previous outstanding works were him with a guitar and string arrangements, whereas Blood Orange is still to find it's feet.
Of course there are pluses. One of the major plus points from the stereotypes of RnB is the tracklisting, which reads like every RnB release of the past two decades. At seventeen songs and a multitude of female guest vocalists, it's the longest Blood Orange release yet.
But, even more thankfully, unlike Cupid Deluxe which had songs that were simply extended with all the substance of a deflated balloon, the tracks are much shorter and makes the album flow better.
Whilst there's no skits, there are plenty of samples and influences embedded in the record to give narrative. Opening instrumental By Ourselves features a swooning saxophone sample by Charles Mingus and poet Ashlee Haze, setting the tone of a political album. Following straight on is Augustine (a title in reference to the same African writer in Dylan's I Saw Saint Augustine), Hynes using spoken word for verses and falsetto for a catchy chorus, it's a great opening sequence and sets the back and forth tone of the record.
There's more political grandstanding than ever before, the absolute best being Hands Up, with lyrics obviously looking at the multitude of black people shot by the police. Hynes' lyrics are cleverly lost on vocal delivery and an excellent finalé of guitars and synths, it's the closest the album comes to continuing the original styles on Coastal Grooves and even Home Recordings. It's somehow very pop, yet hardhitting, without feeling intrusive or heavy-handed.
Juicy 1-4 includes the prayer of Mary of Africa as the chorus, but the final sequence sees Hynes cover slavery and selling dreams, it's a decent pop song, but it's outro in particular sets it apart from its chart contemporaries. Debbie Harry features on E.V.P.; a delicious concoction of eighties synths, a funky bass and Hynes again going for the spoken word verses and falsetto chorus, whilst the longest track on the album, it never overstays its welcome.
Harry is one of many female stars on the record, Hynes' previous work with Carly Rae Jepsen pays off here with Hadron Collider, utilising gentle piano keys and Jepsen's underrated vocals for a superb finish. Nelly Furtado appears on Better Than Me, her vocal delivery compliments the catchy, driving beat and catchier chorus.
Whilst there's a platoon of female stars at the helm, unlike Kayne West's last album where he felt like a guest on his own album, the musical styles, despite all the influences, feel distinctly like Hynes. Whilst Cupid Deluxe felt like a conglomerate of Michael Jackson, Billy Ocean and others without the substance, Freetown Sound however, allows Hynes to mix his own creation and styles.
The only real downside to the record is the build to the end, which is a shame as there's just over fifty minutes of Hynes' best here. Whilst I Know has some beautiful piano work, the different vocal styles try bouncing off one another to little effect. The actual final track Better Numb is stripped back with layers of the mix purposely distorted, but with very little interesting instrumentation, it's a track that screams for something distinct and leaves the record clamouring for a finalé that never arrives.
I never expected Freetown Sound to be Blood Orange's best album, but it well and truly is. It was clear early on with the sequence of By Ourselves to Best to You that this was something special and, whilst the ending is a bit of a downer, the rest of the record is a treat.
Whilst there's some big names that usually could grab the spotlight and never let go, Freetown Sound is Hynes' moment to shine, let some of his grievances and uncomfortable truths with the world come to light, but in turn, you'll have a great time finding them out.
8/10
H
@Retcon_Nation
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