Word: falsettos
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Dates: during 2000-2009
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...though these melodies may be sweet, Leslie isn’t a vocalist. He hits the notes, yes, and even slips into falsetto on occasion, but with his lack of variation in volume and tone, he can’t compare to modern R&B greats like Usher and John Legend. In “Never Gonna Break Up,” the first track, Leslie makes evident these weaknesses. The chorus is sung nearly an octave higher than the verses, in a breathy falsetto, but his voice is merely pleasant and its intensity remains stagnant. “Never...
...coolest moments show Jackson unadorned and unplugged. He sings "Human Nature" nearly a cappella, blending vocal virtuosity and a choirboy's clarity; there's nothing false about his falsetto. His Terpsichore leads viewers through how-the-hell-does-he-do-that? astonishment into a mute appreciation of Jackson's ability to channel Fred Astaire's nonchalant elegance and fit it to the percussive drive of R&B. He gives dancing class and sex. (See the top 10 Michael Jackson songs...
...effective. The album opens with two attention grabbing, upbeat tracks—also the album’s first two singles. On “We Are Golden,” Mika reinvigorates the stale theme of teen angst by pairing it with sugary pop beats, his signature falsetto, and a playfully defiant attitude expressed in lyrics such as “I live for glitter, not you.” With “Blame It on the Girls,” Mika delivers repeatable rhymes such as “he’s got looks that books...
...contributions is clear, but on “Island, IS,” Volcano Choir prove that they are indeed one cohesive band. The track centers on a mesmerizing guitar and synth riff, enforced by tropical and free-spirited percussion. Vernon’s impassioned harmonies and falsetto fit skillfully on top of the rhythmic loops. The light-heartedness of the instrumentation makes the pathos inherent in Vernon’s voice less grounded, resulting in a track that is simultaneously light and catchy yet deep and moving. The album emerges an intriguing and surprising experiment. Several of the songs...
...most part, Muse sing about one thing: the end of the world.A theme that big requires music of a similar scale to prop it up. For Muse, that means crunching guitar riffs and driving base lines overlaid with Matt Bellamy’s operatic, choirboy-gone-bad falsetto. When all these elements come together, Muse songs can be sublime slices of ominous, oddly euphoric prog rock; when they don’t, the songs veer quickly into the realm of the absurd. Through four albums of material, Muse’s releases have generally tended towards the former...