Word: never
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Dates: during 2000-2009
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...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 Gonna Break...
...primary shortcoming, “In the Avalon/Little Killer” is a maudlin piano ballad that falls short of the powerful simplicity that “All Gone, All Gone” achieves, and for which it strives. While emotive and marginally moving, the music is fairly boring, never quite leaving the ground. It is chilling, but only slightly so, and while it maintains the unmediated feeling of someone sitting down and heedlessly expressing their emotions over a few simple chords, this self-indulgent approach to songwriting can make for a boring listen...
...While investigating her friend’s murder, Rivera ends up stealing her friend’s life by sleeping with each of her former lovers. “As if remembering Olga María had injected us with renewed passion, something delicious, something I’ve never felt before.” Rivera’s increasingly sick obsession with her friend’s trysts coincides with the deepening psychological downturn that allows her to formulate political theories and presumed exposés of evil. The more Rivera’s psychological state deteriorates, the more...
...Devil in the Mirror” can sometimes become convoluted by Rivera’s disjointed thoughts and seemingly incoherent digressions, but this haziness eventually comes to highlight the distressing and straightforward condemnation that stems from Rivera’s never ceasing obsession. Each time she develops a new theory regarding Olga María’s death, a seemingly innocuous member of society is implicated and a new, authentic layer of wrongdoing is exposed...
...like confetti, but still managed to brush on the most sincere and melancholic topics like love and disappointment. These skills have persisted in his solo albums, although he has lost much of his wit and he occasionally comes off like an inarticulate confessional poet. In “The Never-Played Symphonies,” Morrissey sings, “You were one / You meant to be one / And you jumped into my face / And kissed me on the cheek / And then were gone.” This track, indicative of a prevalent flaw on “Swords...