ALOE BLACC



“SHINE THROUGH”



[R&B/HIP-HOP] Much like fine wine and heartbreak, Shine

Through’s Latin- and Afro-flavored tunes get better over time. It

initially strikes as too shifty a composition, with each track serving

a loose blend of soul, salsa, dancehall, calypso, roots, folk,

electronica and hip-hop. But squash the need to classify and one would

find a sound that is complex, and reflects a certain freedom only found

nowadays in deeply rooted, independent endeavors.

After all, so what if it’s emo-techno-Gregorian-bluegrass, as long as it drives party people to cut some serious rug?



The Panamanian-born Aloe Blacc produced most of the album, which

debuted on Stones Throw Records last year. The off-kilter, culturally

relevant Southern California label is best known for funk and soul

artists like Breakestra and Dudley Perkins, and indie hip-hop faves

Madlib, Peanut Butter Wolf, Lootpack and the late Jay Dee.  

No stranger to hip-hop, Aloe first began his music career as an MC

and the other half of Emanon. But in his solo effort he manages to

develop a groove that is soulful, sensual and ahead of his mainstream

peers. Already having garnered some iconic comparisons from music

critics and nods from tastemakers like Gilles Peterson, the album buzz

also earned him a “Liquid Love” remix for the Roy Ayers Virgin Ubiquity

Remixed project.  

Shine Through kicks off with melodious synthesizers in “Whole

World,” followed by a bevy of dance floor bangers, bedroom rockers and

raw Latin rhythms. “Long Time Coming” is a distant rendition of a Sam

Cooke 1960’s classic, “A Change is Gonna Come.” Dancehall vocals wrap

up broken-beats inspired “Are You Ready” while Aloe does a sparsely

digital treatment over butter-smooth vocals in “Arrive,” written about

a lover’s moment before climax.

It’s officially been added to my APR collection, as in Audio Panty

Remover—a term I regretfully did not originate. “Want Me” doesn’t get

the same accolades, however, spoiled by rap vocals at the end that

constitute of “This ain’t a love song; I’m trying to put it on you.” I

admire the candor but it’s not exactly sexy. But he does redeem himself

with the poignancy of “Inna,” produced by label mate Madlib;

percussion-rich “Patria Mia,” an ode to his Panamanian roots, and “I’m

Beautiful,” a lovely ballad dedicated to his young niece.  

“Caged Birdsong’s” stripped down bass line and heavy lyrical lashing

are inspired by a Maya Angelou novel. One of the two bonus tracks is

“Gente Ordinaria,” a beautiful, salsa remix of John Legend’s “Ordinary

People,” which I have sheepishly grown to like more than the original.

The classic layers of trumpets, percussions and sweet Spanish vocals

give the arrangement an instant vintage feel. —Stones Throw Records

2006

For more info, visit aloeblacc.com or myspace.com/aloeblaccmusic. MTW