According to the SOLA-MI website, they are a self-described “concept band featuring Derek Webb, Josh Moore
(Co-producer of Webb’s Stockholm Syndrome and Feedback albums),
and Latifah Phillips (of The Autumn Film and Page CXVI),
commissioned and inspired by Solomon Mente’s groundbreaking fictional narrative
and film, NEXUS.” On the surface, the simple story is that Derek
did the writing, Josh did the producing and Latifah did the singing. However,
even just one listen through NEXUS
will show that such a seamless and complementary collaborative work is far more
than just a connect point A to point B and then attach to point C kind of
operation. How does a singer properly convey lyrics they didn’t write? How does
a living melody truly find its place within programmed beats, synthesized loops
and vocal samples? How do you move from the first idea to a completed creative
work? When you start asking questions like these, you’re not too terribly far
off from being able to delve into some of the questions presented within NEXUS. “Where are you just before you
wake from a dream?” “Where are you just before your first breath?”
The
concept running through NEXUS is
clearly presented in the opening track “Keynote.” The idea of singularity and
machine self-actualization is alluded to with vocal samples from the film
“Transcendent Man” based on Ray Kurzweil’s opinions and predictions on the
future state of technology and machinery. As the voices end up mashing together
over singular, bubbling tones, the track runs right into the opening strains of
“Mother Mother.” The clever juxtaposition of a mechanized drum beat and what
sounds like a heart monitor moving from death to life is a clever touch to
convey the idea of a wakening machine. Latifah’s disembodied vocals on “Mother
Mother” change back and forth from an echoey, almost robotic delivery to bursts
of emotive, melodic flourishes. The last 30 seconds or so of “Mother Mother”
sounds like a computer transmission ticked out over an ominous sonic backdrop.
It’s thematic and moving to say the least. As the first movement of “The
Naming” gurgles in, things start getting even more interesting. Broken into
three sections (“Degustation,” “Certificate” and “Selection”), “The Naming” is
a fascinating, mostly instrumental medley within the overall work.
“Degustation” is quite active and agitated, “Certificate” is both breathy and
punctuated and “Selection” is like an atmospheric announcement. As an added
note of interest, “Certificate” features a cool sample of the song “New” by one
of Derek’s talented friends, singer/songwriter Kate York.
As
the album continues, “Crowd of Silent Strangers” implies the initial struggles
faced once awake and features Latifah’s amazing vocals conveying the lonely
observations, “this meaning is so meaningless” and “this feeling is so
meaningless without you.” I’m pretty sure those lines are meant to be
multi-layered and not just specific to the story presented here. There’s some
great instrumentation and distorted beats on the outro of this one as well. “The
Blessing of Being Bloodless” kicks in next with some really cool patterns and
melodic lines. This is one of many downright danceable moments tucked away
within NEXUS. There are also some
more amazingly weighty lyrics in this one on the ideas of becoming and
transforming. “Trust Falling” maintains an overall modern flare while having
fun with some decidedly 80s keyboard tones. There are even some handclaps in
this one! Who said concept albums can’t be fun? The chorus on “Trust Falling”
sounds really incredible and again, the lyrics “I am letting go of everything,
I am opening my mouth to sing” poignantly seem to be a little more than meets
the ear. Good luck getting this one out of your head anytime soon. NEXUS closes out with “Silver Grizzly,”
a rhythmic, airy conclusion that features another huge chorus and more piercing
lyrics. As the track fades out, the heart monitor beep from “Mother Mother”
returns. However, this time it moves in the more recognizable pulses of life to
death, ending the album with the distinctive monotone drone of lifelessness.
NEXUS achieves what a
concept album, and more importantly what a genuine work of art, should. It has
a gorgeous story arc, multiple entry points, significant statements, purposeful
questions and creative moments that ebb and flow within themselves and within each
other. If that all comes across as a little too much or more than you are
usually looking for, just know it sounds really cool and has an incredible
overall tone to it. No matter the level of depth or surface you choose to
interact with NEXUS with, there’s
something there for you. However, as good as the album sounds and as impressive
as the songs are, the most mind-blowing part of NEXUS is that it is free. That’s right, free. As in, click a button,
wait a moment, own an incredible album. You have zero excuses to miss out on
this beautiful concept album (that contains an actual concept.)
SOLA-MI’s
debut album, the original motion picture soundtrack for NEXUS, can be
downloaded for free at www.sola-mi.com
Really enjoying the first effort from Sola-Mi and hoping its not just a one off album.
ReplyDeleteOh, and I'm pretty sure Quadrophenia was done by The Who, not Pink Floyd.
Ah yes, late night writings can have you leaving things out. Thanks for the heads up!
ReplyDeleteTruly moving. I cannot stop listening to it. Certainly hope to have more from this trio!
ReplyDelete