It's important to start by saying that this album is dominated by two things: the low frequencies and the voice. If you like low frequencies, either you're a snake or have a passion for Barry White or you usually listen to electronic music. If you like the voice, it is difficult for you to dislike Funk. Here you will find both genres. These two things are subordinate to something more important: the lack of conventionality, which here is, you could say, experimentation.

First of all, the voice seems to be light-years away from all the other sounds, distant in technical terms. When Lidell's stripped-down lament and that stormy musical ocean come back to close a few octaves away, just long enough to see each other from afar, you'll breathe a sigh of relief, but it will be brief. This is not the music Lidell and Vogel want to play for you; they just want to remind you of it. "Oh gosh" you might say "...my speakers are broken!" But no, that buzz is intentional. The feeling you get listening to the album might be that of a spectator at a Jazz concert, but what they are listening to doesn’t seem like Jazz music at all. Instead of two guitars, there are two basses and the guitarist is rather shy. Try listening to Pat It Away, and you'll understand that the comparison is quite fitting.

After this disorienting preface, I want to say that it's a beautiful album, especially the first part. Perhaps it requires some effort and needs to be listened to multiple times, but it has its Pop soul and after a while, you'll even find yourself singing along. It's hard not to feel like dancing once you digest it, and you need to be careful while driving with Hide In From The Day. Not only because you'd look like an idiot jumping around by yourself but also because with that song, you can't keep the steering wheel still. It's original yet Pop, pleasant even if it seems unbearable at first glance and it also helped me realize that the best album by the Red Hot Chili Peppers is Mother’s Milk because Funk is truly an awesome genre!

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