The first time I heard Teyana Taylor’s enlighten, she became once telling of us to Google her. I believed it became once nasty conduct, using a debut single to snap on of us for no longer remembering her name after an look on MTV’s My Astronomical Candy Sixteen, but it’s also textbook Harlem shallowness to name your shot after which nail it. With reference to a decade after “Google Me,” Teyana is a singer, dancer, and actuality-tv massive name with a show dedicated to lifestyles along with her husband, Sacramento Kings taking pictures guard Iman Shumpert, and a account deal that nets her beats by Kanye West. Taylor’s current album K.T.S.E. (or Benefit That Same Energy) closes out G.O.O.D. Song’s battery of month-lengthy Wyoming initiatives on a assured high tag. Love Pusha-T’s dignified, scathing Daytona, Teyana’s account is almost too staunch for the glut of disconcerting Kanye press that preceded it. The set up West’s records found him convalescing from a number of deepest and legitimate crises, and Nas’s Nasir chatted up suited riches and wonky conspiracy theories under a pall of questions about abuse in his relationship with Kelis, Teyana’s account is staunch a mountainous aged R&B album about the fun of monogamy and motherhood. Love a gentle rain at the tip of a sizzling summer season day, K.T.S.E. feels cherish relief.
K.T.S.E. is totally different from the closing three Wyoming records because it appears to be like dinky but also fussed over. The flexibility of the melodies and words here is totally different from the sense on YE and Nasir that all the pieces ought to bear spent a little bit more time within the oven. “Gonna Love Me” is spectral hip-hop soul with a passionate lyric about craving attention from hubby while he’s at work, a lover’s thirst anthem within the spirit of Religion Evans’s “Rapidly As I Catch Home” or Ginuwine’s “So Anxious.” “Points/Retain On” suits sounds from ’60s soul and Lauryn Hill hits to a appealing, lilting melody that owes more to Cole Porter than the Fugees. “3Way” is a fundamental account-tune about adventure within the bedroom that’s each dreamlike and vivid, staunch cherish a valid, hot-blooded fantasy. What makes these songs stride with the drift is Teyana’s velvety vocal tone, which is rich in its low close and sweet in whispers. Her lines in “3Way” drip slowly over gossamer production cherish syrup over pancakes. She can nail rap flows mute, as opener “No Manners” reveals, and she can punch up to a high bawl, as she does on “Beneath no circumstances Would Like Made It,” the set up she repurposes the Marvin Sapp gospel tune of the same name for a tribute to her 2-three hundred and sixty five days-stale daughter, Junie.
I Gave to You.” “Rose in Harlem” snatches the predominant line of the Stylistics’ “Due to I Love You, Lady.” What objects these tracks except for stale Kanye (and perchance puts them in a league with Wyoming Kanye) is the sparseness of the sound. “3Way” reduces an stale Sisqo sex tune to thick jam. “Bustle” and “Points” each repurpose minute-band soul vamps without important embellishment. There’s scarcely a programmed drum on the total album; the 's the form of heat, muted melodicism you’d sooner hear on a Ka or Roc Marciano account than a Kanye one.
Soft beats allow Teyana to showcase her fluctuate as a vocalist and a author, to conjure feelings of joy and anticipation while working via have faith points. The most effective mistake is the closer, “WTP,” and if truth be told it’s handiest a tonal one. The tune reimagines the early-’90s condo anthem “(Work This) Pussy,” at the side of toasts from Mykki Blanco and audio from the seminal Contemporary York ballroom culture documentary Paris Is Burning. The beat is lethal, and the timing on the Pleasure week tribute to jubilant and trans artistry is impeccable. But closing an album of mute reflection with a fierce, industrial vogue evening jam feels jarring, cherish The Lifetime of Pablo leaving loudly on “Go” (whose video starred Teyana) forward of Ye tacked “Saint Pablo” onto the track checklist. Scoot figure that “WTP” is track eight.
Kanye’s rule of sevens for the Wyoming initiatives became once ultimately neat industry. It gave Pusha-T his closest stab at a ideal account since the Clipse and dampened the sting of knotty, inferior Kanye and Nas albums. (As important as Kanye swears the campaign became once an act of creation unburdened by his favorite perfectionism, I mute bear a faint suspicion that, on some diploma, it became once in part an strive to present of us inflamed at Kanye and Nas something else to focus on, to bag fans to rethink their skill.) I became once repeatedly irregular why Teyana’s account shall be scheduled within the closer slot, but after a pair of days with it, I’m nearly glorious it became once an strive to leverage each person’s massive name vitality on a mountainous account by an artist who deserves more shine. Rap labels are all constructed for this purpose, but few seem to bear the time to are inclined to each person they imprint. If there’s a silver lining to any of the stress of the closing month, it’ll be that underrated skill cherish Teyana and Kid Cudi and 070 Shake each acquired their moment. With the categorical commitments, the biz could perchance well maybe also scoot cherish this the total time.