Both a smorgasbord board of experimental sounds and a brief history of Ancient Egypt, reincarnation and adultery, Pyramids serves as Channel Orange’ s vital midpoint, in terms of album runtime and overall concept. Nowhere is the combination of Ocean’s story-like lyrics and ambient sonics more masterful than on Pyramids, the nine-minute magnum opus so cinematic it should be reviewed by Roger Ebert. “ Even though it’s my voice, I’m a storyteller. “ I like the anonymity that directors can have about their films ,” Ocean told The New York Times. The effect is to soundtrack the album’s stories with the precision of a filmmaker. Credit: Getty imagesīy the album’s end, the TV-centric audio asides of Channel Orange feel much the same as a couch-bound session of channel surfing, with each new station or song switching on a different lyrical screenplay. The click of a remote is heard consistently, as is tape-recorded dialogue from Forrest Gump on its namesake track, and Fear and Loathing in Las Vegas on Lost. The interlude Fertilizer, for instance, may as well be a jingle straight from a 70s commercial, with its catchy soundbites and static frequency, as if Ocean is changing stations between tracks. From there, the album remains dotted with sounds usually reserved for an afternoon in front of the telly.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |