The logical expectation that surrounded André 3000's solo album debut has been resolved, at the very least, with a feeling somewhere between surprise and the unusual. At the end of the day, it never hurts to remember that he is one of the inhabitants of the rap Olympus, but on truly his own merits, as proven, in addition to having been half of OutKast. That is to say, a duo that is a reference in hip hop and also on its own and especially unique merits.
The fact is that this solo premiere is characterized by using coordinates different from those that have been used as a reference, since the sound that permeates this New blue sun could be described as ecstatic, dreamy..., that is, which is understood as ambient or as new age of the 21st century, in which it also includes underground jazz or experimental electronic music.
Thus, rapping is conspicuous by its absence, its space being occupied by sound architectures built by synthesizers, tiny percussion and a prominent role of the flute. All of which does not mean that it is a minimal and planning work, far from it. And, although the word is absent, it is not in some titles of the eight compositions on the album, some really Amazonian, but well explanatory: I swear, I really wanted to make a “rap” album but this is literally the way the wind blew me this time (I swear, I really wanted to make a “rap” album but this is literally the way the wind blew me this time). Not bad: from rap to contemporary ambient.
Gary Barlow and company give shape to a work without dramatic overtones, based on unrefined melodies that serve to talk about common places such as frustrated loves, confusing horizons or rainy days, although with a halo of hope. A maturity that also reflects a harmony within the band and that in turn is projected in a refreshing sound.
A collection of songs with several common denominators, such as poetic beauty, message and interpretive chemistry. The renowned Gran Canaria timplista offers in his second album an admirable incorporation of the stylistics of his countless guests, such as Pedro Guerra, Rita Payés, Vic Mirallas, Judit and Meritxell Neddermann or La Sra Tomasa.
The pianist and composer gravitates around the planet/goddess of love that gives the album its title with a magnificent sonic sensitivity also conveyed through electronic brushstrokes, violins and somewhat experimental details. She continues to command the combination of dreaminess and evocation, which often swings between the luminous and the dramatic.
