Feature credits that count as restrained when compared to today’s other entries…
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[5.62]
Katherine St Asaph: I have little time anymore for “is [insert Mad Libs noun] feminist?” debates, as they devolve almost immediately into recaps of the current popularity and taste standings. The artists who pass correlate nicely with where the hype and/or PR’s going; meanwhile, music and messages go on elsewhere. The first track on Aurelia Dey’s debut album is called “Feminist,” single “Fokusera” is a dancehall banger about loving yourself, and beat and delivery strike with appropriate near-martial confidence; never mind star power, the force is more like a meteorite. If the language barrier’s keeping it from landing, an English release is due next year; otherwise, I’m not sure what’ll sway you, besides the sound.
[7]
Iain Mew: Over blaring siren synths like “I am the Best,” Dey makes a strong case that she is. Sam-E and Maaz add variety without losing focus; the results are as thrill-packed as they are in-your-face.
[8]
Alfred Soto: The snare pattern evokes “Matador,” and Dey’s androgynous voice looks hubris in the eye and force it to blink.
[7]
Ramzi Awn: “Fokusera” will probably age better than one would expect, but until then, it mainly serves as another half-baked wasted dance beat.
[3]
Micha Cavaseno: I can’t help but feel salty because this song, while it seems so proud to be dancehall (and lets not get it twisted, Aurelia’s home of Ghana and so much of Africa loves dancehall), keeps name-dropping the fact that its dancehall so much that, er, I can’t help but wonder if there’s air quotes around it whenever they say it. Especially for this Maaz character, whose delivery is about as detached from the dancehall as Sex and the City reruns. Plus, the production is super club-heavy, but feels nothing like a “riddim,” so any insurrection here is going to get sniffed right on out from jump. Its about as close to being what it wants to be as say, Kevin Martin. Thing is, at least someone in that compare and contrast knows they’re not going to get it right, and that they don’t fool anyone in the least.
[3]
Will Adams: Somewhat superfluous guest appearances aside, “Fokusera” makes a great case for its main star. Aurelia Dey cycles through voices with ease all while standing out from the thick club production.
[6]
Thomas Inskeep: If Major Lazer were Swedish — and good — they’d sound like this track: EDM/dancehall that pumps in a “Pon De Replay” fashion. (And this is better than that might sound.)
[6]
Brad Shoup: Against a muddy dancehall track, slodging around in the midrange, Dey provides the play. But the result is like overhearing a nice conversation in a played-out club.
[5]