Diva Devotee

[Vocal Profile] Billie Eilish

2024-06-08T15:35:00.000+01:00

Vocal Type: Soprano
Vocal Range: D3 - A5 (2 octaves, 4 notes)
Whistle Register: Unknown
Vocal Pluses: Billie Eilish is known for her ethereal, intimate vocal style. She has the ability to create unique and captivating atmospherics with her voice, which has lead to a distinct and recognisable styling.

Billie may not prioritize power or extensive range, but her innovative approach and control make her a compelling and influential figure. Billie's voice is ultimately distinguished by its soft, warm and airy timbre. This distinctive tone creates an intimate and haunting atmosphere, however despite this delicate approach, she exhibits remarkable control over her voice. She maintains consistent pitch and smooth transitions across her range, even while employing her characteristic breathy delivery.

Billie's ability to convey deep emotion through subtle vocal nuances is said to be one of her strongest assets. Her soft, almost whispered singing style draws listeners in, creating a sense of vulnerability and intimacy that enhances the emotional impact of her songs [Everything I wanted].

Billie is well known for her falsetto register, blending it seamlessly with her chest voice to create a smooth, continuous sound [CHIHIRO]. This technique adds to the dreamlike quality of her music and showcases a level of vocal agility. Although Billie does not frequently use melisma, when she does, it is precise and controlled, adding a delicate ornamentation to her lines. Her vocal agility allows her to navigate through melodic lines smoothly that she is able to apply a waverying vibrato [Skinny].

While Billie often employs a minimalist approach, she has shown versatility in exploring different genres and styles. Her voice adapts well to electronic, pop, and alternative influences, allowing her to experiment and innovate within her unique sonic landscape.

Vocal Negatives:
Billie's vocal style prioritizes subtlety and intimacy over power and is not known for belting nor larger vocals. This can make her voice less impactful in contexts that require a strong, commanding presence. .

[Vocal Profile] Keke Wyatt Vocal Range

2020-01-15T03:38:00.000+00:00

Post by: Montrez Rambo

Voice Type: Spinto Soprano
Vocal Range: 3 octaves, six notes, 1 semitone F#2-F6
Whistle Register: Unknown
Tessitura: G#4-G#5
Vocal Pluses: A dark, medium weight soprano voice, capable of producing large columns of sound in the middle and upper reaches with great ease throughout the entirety of the range.

The lower register is dark in color and extensive, capable of extending down to F#2 (6:50) live. However, the lower register is best in the third octave, able to begin supporting as early as D#3.

The middle register is warm with a relatively dark color. It is very agile and large belts can start as early as G#4. As the voice enters the fifth octave, it immediately begins to bloom. The natural dark color shines through and the natural metal of the voice begins to show. The upper middle register continues to expand, having darkness, weight and power, taking a headier approach starting as soon as E5. She has incredible stamina able to hit E5s(1:42) back to back without fatigue. Despite the increase volume, the voice can exhibit heroic levels of agility (3:36).

The upper register continues to be expansive, the upper belts are supported with piercing characteristics to G#5 (4:20). She has extended her mix upwards to Bb5 with a more head dominated approach. The voice strongest area is it's head register, being full, warm and embodied up to an impressive and supported F6 (2:35).

Vocal Negatives: The low notes, though extensive are often achieved with an extremely depressed larynx. Her upper middle register can have passagio issues around E5-F5 (2:44). She can over-sing and become off-key at times, though rare.

[Vocal Profile] Cynthia Erivo

2019-12-01T04:43:00.002+00:00

Post by: Montrez Rambo

Vocal Type: Lyric Soprano
Vocal Range: 3 Octaves, 1 semitone C#3-D6
Whistle Register: Unknown
Tessitura: F4-F5
Vocal Pluses: Bright, feminine and coppery voice with a full and dark lower register, identifiable and weighty middle, and a booming and broad upper register.

The voice has weight and color down to D3 and can be made round and projected beginning at E3. Ultimately, the voice has ease in all areas of the lower register.

The middle voice is relatively, bright with a youthful soprano-like color (The Color Purple). However the brighter color can be forgone and a warmer, darker, richer sound can be made (I did Something Bad). The middle register gets robust very early as well, starting at D#4 and mid-belts begin at F4. The voice, despite the bright an soprano-like color carries a considerable amount of weight and volume all the way up her middle register.

The upper register belts are very weighty and dark in color, with a stringy color. She approaches this area often with a tall vowel, high soft palate and forward placement which gives her the ability to navigate her passagio. Above F#5, the voice leans far more into a headier mix and retains tonality up to G5. The voice thins slightly as we get to G#5 and above, her mix extending all the way up to Bb5.

The head voice retains the overall bright color of the voice but begins to lose ease above B5. The HV can carry weight but normally a lighter approach is taken.

Vocal Negatives:
The lower register, though well accessed, may lack power to some. Her upper belts around her passagio can be improperly places, resulting in thin, pushed and distorted sound between F5-F#5. Her modal mix between F5-F#5 is too chest dominant.

Mariah Carey Snaps On Fallon With "The Distance"

2018-11-17T14:45:00.001+00:00

Post by: Diva Devotee

Caution is here, Betches! Go stream, buy and tell your home gurl!

Promoting the masterpiece on The Tonight Show, Mariah Carey took latest single The Distance (and its feature Ty Dolla $ign) out for a live showing. And boy, what a showing it was.

It's been a long while since I've actually done the finger snaps to a Mariah performance, however this left me so unexpectedly shook that the reaction was totally out of my control. First (like literally, first) thoughts were that the midrange was slightly tired- and this is such a bitch-move nitpick, so screw me- but the voice just kept giving. Tonally it was consistent throughout, and the belts were so similar to the recording it was only the little ad-libs and volume fluctuations from the mic placement that made the liveness apparent. I think the audience clocked it too, because those fools were cheering right along with my simple self.

The vocals were incredibly on point but so too was Mariah's confidence. This was most apparent when Ty came on to the stage and she harmonically gifted his mumbling the wings to fly. It was the musical equivalent of a "you shall go to the ball" moment. An utter contrast, to say, Kimmel and Vision of Love where she was visibly shaking.

But seriously, this new confidence points to her team finally being right. Regardless of sales- because I doubt Caution is going to do big numbers- they've managed to do something more important this era: they've lifted her legacy from the gutter that she-who-must-not-be-named dragged it into. Even those publications that once looked down their nose at Carey seem to finally be writing with a respect long overdue.

Don't be surprised if Pitchfork suddenly love her. But they can F*** right off. She'll always be our baby.

Thoughts?

Black Girls Rock Stage Gives Aretha An Awesome Tribute!

2018-09-13T10:28:00.000+01:00

My, my, my...

In honour of the late Atetha Franklin, BET brought forth some of today's most talented and soulful singers to give her a wonderful tribute on the Black Girls Rock stage.

First off, we had (my favourite) Jazmine Sullivan, singing "I Never Loved a man The way That I loved You". She embodied Aretha in full with the warm, stringy vocals while still making it her own with the incredibly swift and accurate riffs. Seriously, how fast can she go?

She played with her upper middle register hitting numerous E5s and one or two F#5s with relative ease.

It never ceases to amaze me how slept on Jazmine is when she can deliver an incredible performance like this.

Next we had Ledisi, singing "Ain't no Way". Her smooth steely tone was a contrast to Jazmine's warmer richer timbre but it worked. As Ledisi ascended up the scale it becomes clear she's a higher, bigger and brighter voice type than Jazmine. Ultimately, she brought justice to the rendition sticking the upper notes (Sounded like A5s) with grace and ease.

Following Ledisi is the much beloved Cynthia Ervio, singing "A little Prayer for You". Her smaller coppery timbre seemed as though it wouldn't work for the song at first vut it was the sweetest performance present. Not only did she hold up next to the other heavyweights but made the song her own while still giving the utmost homage to the late Atetha.

After Cynthia came the renowned Stephanie mills singing "Until you come back to me". I won't say much on the performance other than that I enjoyed it.

Lastly, we had Yolanda Adams to take us to church, delivering us with her rendition of "How I got Over!" She brought the choir ladies out with her and it was a wonderful way to end the performance.

All and all the diverse artistry on the stage came together making a stellar tribute that Aretha was most deserving of.

The performance is below:

The Queen Has Left The Building

2018-08-16T15:29:00.002+01:00

Aretha Franklin, The Queen Of Soul, has passed away at the age of 76.

Rest in peace.

[Review] Celine Dion- Ashes

2018-05-03T20:18:00.000+01:00

Post by: Diva Devotee

Ergh.

I thought I could get back in the crypt after my Christina Aguilera review. Turns out one of our most iconic Divas, Celine Dion, has other plans for me, having also chosen today to release new music.

Taken oddly from the Deadpool sequel, Ashes is unsurprisingly another ballad from Canada's second biggest import. Now, a ballad for an action film isn't all that surprising, they were all the rage in the 90s'. But for Deadpool, I'm looking for the irony or joke in getting Celine to record the zany (anti)hero's flagship song. The only thing that connects the track itself to the source material is the ashes/beauty line and the fourth-wall breaking video- which is pretty funny in all fairness.

It's no My Heart Will go On, and nor should it be. Instead Ashes is a modern ballad that goes easy on the vocals and the schmaltz. Its nice variant on the traditionally bombastic, big voiced ballad we've come to expect from Celine. And I'm okay with that since it works wonderful.

Get into it below.

Thoughts?

[Review] christina Aguilera - Accelerate

2018-05-03T20:00:00.002+01:00

Post by: Diva Devotee

Over the years Christina Aguilera has become more well known for her stints on The Voice than her musical output. This was much to the chagrin of her fans, who really wanted a new album. Well, today she's deemed the Fighters worthy, blessing them with the title of her eighth studio album, Liberation, and (depending on its success, I'd imagine)the lead single Accelerate.

Any good? Read on and find out...

It won't come as a shock to fans that the first release is an upbeat jamola, it has after all been the pattern for her major releases. Featuring Ty Dolls $ign and 2 chainz, some might be concerned on reading that Christina has stepped on the mumble-rap trend currently eating up the charts. But fear not fools, christina doesn't follow!! Accelerate is ultimately fresh and funky. It does have an air of the low frills- I think that might be the aesthetic of this era- but the snaky bass line and zesty synths are playful enough to hook a listener pretty much off the bat. The constant ad-libbing from Ty Dolla $ign(?)- 50/50 chance of getting that right- is grating but that might mellow with repeat listens.... God, I pray it does.

On the vocal front, this is typical Christina in that the voice is on the attack out the gate. However, it's made so much more enjoyable (and bearable) with the vocal tics and tricks being left at home. (Read:no growls, no throaty slides, no crazy melisma). The coda is also low-key beautiful with X-tina giving us some heady, slightly off, harmonies that at points were giving me Ariana Teas.

Lukewarm would summarise how I felt towards Liberation prior to hearing Accelerate. Now, I'm positively excited to hear what Christina has been cooking up in her lengthy absence. Truth be told, she always brings it, so I ain't worried.

Thoughts?

[WATCH] Beyonce - Coachella

2018-04-19T14:54:00.000+01:00

Post by: Montrez Rambo

Life is hectic at the moment- currently on patrol getting qualifications. But I had to stop to tune into Beyonce's Coachella performance.

The Queen brought culture to the table with the Central State University band. Majorettes were out there bucking, the Clark Sisters were paid homage, and Destiny's Child reunited. But that wasn't all. The almost two-hour set was also a family affair with Solange (who took part in some sisterly dancing) and hubby Jay-z joining the Diva on stage.

Beyonce was throwing an eight count like she was a majorette herself!

This was a culturally relevant extravaganza that catered to the whole team! The amount of research done to bring forth HBCU culture is simply breathtaking. Simply put, history was made.

Beyonce... paid... homage!

What makes it more impressive was that just ten months ago she was pregnant with twins!

Thoughts?

[Vocal Profile] Camila Cabello

2018-03-13T15:53:00.002+00:00

Camila Cabello

Vocal Type: Light Lyric Soprano
Vocal Range: 3 octaves and 1 note and semitone C3- Eb6
Vocal Pluses: Camila Cabello's biggest strength lies in the intrinsic character of the voice. From the lows to the top, it retains a nasal, youthful and girlish quality. With this placement, she is able to transfer inflections and tics that are present in her speaking voice, allowing for her to stand out and be identifiable whether in a harmony (Good To Go) or over a heavy production (Work). The voice is agile and capable of melisma (more so at the top of the range than anywhere else) [Sledgehammer (live)].

Despite being a soprano, Camila has a comfortable lower register. The notes here sound to be supported and well connected to the range as a whole. They're also variable in timbre: being able to take on a gravelly and gutteresque quality [Never Be The Same] or be rounded and pleasant with a weight that isn't present elsewhere in the voice [Real Friends].

The belting range is tonally very similar to what proceeds it before, carrying the traits of the Diva's spoken voice. It is light-weight and clear (in the studio) with a tinny, almost colourless tone to it [She Loves Control]. These qualities are further enhanced as it climbs, but the youthful nature of the voice is heard even right at its top [Crying in the Club].

The highest part of the range is sang almost exclusively in falsetto. This means the voice has a timbre that is light, airy and soft [Never Be the Same]. Being comfortable in this part of her range, the Diva can switch between it and other parts of the range effortlessly and quickly [In The Dark] and sing phrases in it without fatigue [Havana]

Vocal Negatives: The belting range lacks resonance and support, which is most easily noticeable in live showings.

[Review] Janelle Monae Comes Out... With Two New BOPS!!!!

2018-02-22T18:12:00.000+00:00

Post by: Montrez Rambo

I wanna start this off by stating that I know there hasn't been a lot of... 'diversity' with the past few posts. Things will change.

Now Janelle Monae, you have outdone yourself! Two new singles- Make Me Feel and Django Jane- and both are bops! Wonderful lyrics, good vocals/flow and pretty interesting productions. However, what I love most though is the visuals she gave in each. They were wildly different from previous visuals and I'm here for it!

'Make Me Feel' has a distinct funk to it and brings out some Prince vibes. Vocals weren't bad but Janelle has a distinct nasality that is either hit or miss to the masses. It doesn't distract much for me though as I was able to dive right into the song and hop on the vibe.

On the other hand 'Django Jane' services fans who've been asking for a full length rap song and the song has got me rather... shook. It's a common formula but I'm here for the bit of hardness and the pretty good as hell lyrics. What I must say though is she didn't spend as much time talking about herself as other rappers. It felt like a dialogue, one to uplift women!

Another bit of praise for Janelle is the flow change from previous efforts. One complaint from past songs was that her rap flow was always a bit similar sounding. The new rap flow matches the newer more melodic style adopted by current rappers. The analogous style change shows the ability to adapt and... considering the lyrics, organic sounding instruments and deeper message, more than likely survive.

The big thing to talk about though is what exactly is the underlying message here? Rumors have been flying around the web that apparently Janelle Monae and actress Tessa Thompson (the beautiful vixen on the video) have been dating. Fans have long expected Ms. Monae to be ya know... a little LGBTish with numerous previous songs hinting at feelings for the same sex.

The videos seems to suggest she's bisexual or lesbian and if so, I'm screaming yas from the bleachers!

With Ms. Monae, we know she'll have some elaborate story she created that these two songs fit in to. A visual album is coming on April 27th and I'm getting sick waiting for it.

Thoughts on it all? Comments welcome below...

[DISCUSSION] Is Spice Innovative?

2018-02-18T10:41:00.000+00:00

Post by: Montrez Rambo

This Article may contain a bit of... raunch. But I want to discuss a topic that has been kind of looming in my mind.

Spice is sitting atop the Dancehall world. Many as of lately have been revering her as the queen of Dancehall and she literally dominates the female space of the genre.

About a month ago, she released a single called 'Duffle Bag'. The song was completely different from her norm, offering a trap beat instead of a dancehall one as well as a different style of flow on top of accent in some parts.

But is this departure innovative? The trap scene is crowded by music like this... self-declamatory, bragging about riches type of things with women twerking in the background. But its not that common to rap on a trap beat in a half-Patois half-twang, particularly a female. Literally at the 1:30 mark, you can hear the full on Patois.

Even her previous effort, a remix of Desiigner's 'Panda' had more

By twangin, I mean when a native Patois speaker forgoes the Patois to speak in a more complete sounding English. It can sound somewhat English or American but sometimes without the authenticity. On the 'Panda Remix', Spice did catch some flak for the apparent 'Twang'.

The main difference between both flows is that in 'Duffle Bag' she sounded more American at certain points while in 'Panda Remix', she sounded more indistinctly English? Does it work?

For me, not really. I would have preferred a whole Patois on both but on that same token, Spice is trying to break through into other markets and not all people can understand her native patois. And her Patois flows bring everything and in my opinion save 'Duffle Bag'.

This effort is a price example:

The whole effort sounds try-hard. I will give her this though... She does bring lyricism hard out here!

And I appreciate her trying to branch out but her best efforts to me will always be the Dancehall ones such as, 'Jim Screechie', 'Needle Eye', 'Indicator' ect...

Thoughts?

[DISCUSSION] Is Tinashe the next Ciara?

2018-01-29T20:06:00.000+00:00

Post by: Montrez Rambo

No shade tonight... Just real bitter tea...

Tinashe has honestly become my favourite R&B/pop/ what ever you wanna call it last year, but why is she not poppin' like she could be?

She has a lot going for her... She sings quite a bit above average, dances way above average, and is very hands on with her music creation process... But her most recent release is a bit of a head scratcher and makes me second guess the claim...

First of all we must attack this wig and get it away from her! It is a no! It has to be a good reason for it because they let her film over half the music video in it.

Offset is also a no, sis... He furied the gays, so we can't have him.

My main issue though is how toned down and subdued a track this was. We've heard singles from her that really bop and this one didn't even try. The trap scene will forever be a home but in a sea of songs that sound the same, you need something to stand out from the crowd. This doesn't.

To be fair, she gave good lyrics, the choreography got really good towards the end and her makeup was stunning. This was a slightly grungier, harder effort than her previous one's and for that I am here sis. If this is the change to come along side the album 'Joyride', I'm not disappointed.

The topic of this 'Joyride' album has been a roller coaster...

I just want to dive into her relationship with her label. It isn't the best. Things initially seemed to be going well when '2 On' popped on the charts and 'Aquarius' was released. The album was critically acclaimed and her bright, girly voice over a darker, ambient but still very hip-hop influenced R&B sound seemed to be catapulting her into greatness. However something somewhere went wrong.

The wait for this sophomore album has been an arduous one. So many false hopes, push-backs, shade thrown at the label, and even a leak over the past two years... It's almost saddening. Even cancelled tour dates! In the midst of all the confusion, the talented young performer released an interim mixtape alongside a leaked song 'Party Favors', hoping to appease fans.

It was a time where Tinashe lashed out at fans. The leaked song didn't make a dent like she hoped it would and she demanded their support... (That's a topic for another article)...

Since then a few seemingly random singles have been released, all in a direction zig-zagging from the last. It does hint toward something rather distasteful going on behind the scene at RCA. Maybe the singles are to keep her head just above the water until an actual album and tour can be decided upon... Maybe it was to show multiple facets of the young woman. Who can exactly pinpoint it? Only she can, but we sure can speculate!

It brings up similarities with another dance-centric artist from the early 2000s. Ciara. It's not about the similarity of their artistry or what they present to us, it's about the similarities of their careers and what's going on behind the scene. Ciara is deserving of much more success than she gets, considering her talent as a performer. However her platform never pushed her they way she deserved or even made sure she had content that stood out from her peers.

Tinashe is a similar story. Her platform, for what ever reason, didn't push her the way it should when it can be argued with fierceness she deserves more. Considering her talent and very hands on approach to creating her own music, lets hope she doesn't fall off and disappear into a cloud of 'tried it'...

Now, with the arrival of 2018, things may be on the up for Tinashe. Tinashe has promised 3 new singles off the 'Joyride' album and it appears 'No Drama' is one of those efforts. We'll see what the rest of the year has in store for her.

Comments? Opinions? Am I reaching? Am I wrong? Tell me below!

[NEW MUSIC] Let's talk about Dua Lipa!

2018-01-16T15:00:00.001+00:00

I hear her all over the radio. She has one of the most recognizable and unique voices I've heard in a while and she gives one thing I love... AESTHETIC!!!

I love the way she portrays herself, dresses, and brings it with those eyebrows. There's an air of sophistication to her that is made all the more evident by that darker colored voice of hers. Everything about her comes across so smooth without a baby hair out of place.

In "IDGAF", I was feeling the whole blue versus orange, interpretative dance thing going on. It was quite different from the normal things I see so it immediately drew me in. It was a 'look'.

As far as I'm concerned, she's representing a whole underground movement on snakey men with her releases. 'New Rules', one of my favorites, has been dictating my approach to recent boy troubles. I'll leave it at that. It helped...

But the thing I want to talk most about is her voice! What draws me in is it's color. It's not too warm, not to cold. Voices that can effortlessly strike that balance do so much for me. She is one of few women who's voice make me stop in my tracks and go... 'hmm, she sounds interesting'. That was my very first impression of her a few months ago.

The voice is not the fundamentally highest voice on the planet or the lowest. It's not the most technically proficient, nor the worst. It just has an effortless appeal to it. It sticks where it's comfortable and sounds beautiful doing it.

With a voice like her's I'd love to see some refinement. The instrument is not naturally small, having a larger sound than her contemporaries in her age group. She appears to have quite a metallic sound in the upper middle voice, and clunky slightly below average agility. She overdoes the breath pressure in the fifth octave and her support and open throat goes the window as soon as we get to above C#5.

She does keep the sound forward, palate raised and tension down(ish). The voice wasn't pushed to do anything it wasn't too uncomfortable doing but it'd be nice to see what vocal coaching could get her. Overall she's a stand out natural talent and her potential cannot be denied.

I will be diving into her catalog! Thoughts and comments?

[OPEN THREAD] Happy New Years Ya'll!!!

2018-01-01T08:44:00.002+00:00

2017 was a very, very strange year... I ended up not getting a single personal goal accomplished and just being along for the ride. On that same note, it was one hell of a ride that has introduced me to good people, good food and a world of different cultures.

So how will 2018 be different? It won't... I probably still won't even get ten percent of my personal goals accomplished. I probably will become more of a alcoholic. And I probably will continue this dark and abusive love-hate relationship with food... It's totally worth it.

I will state this much though: Expect a few album reviews this year, more vocal profiles, more information packed articles and more open forum posts!

As always, the rules for the open forum:

Try not to get too perverted- this site needs to basically be "safe for work".
If somebody starts a rather controversial subject, try keeping it civil when dealing with it. If things get out of hand please flag the conversation.
It would be nice if it stuck to music, but it's not a requirement! Pop culture is extremely relevant to this blog so bring it!.
No nasty comments aimed at other users.

Does Mariah Carey Artificilaly Create her Studio Vocals?

2017-12-12T22:34:00.000+00:00

Post by: Diva Devotee

The Elusive Chanteuse was a great album, regardless of the bleak sales. But something about some of the tunes on the LP always got my Spidey senses tingling. It was definitely Mariah Carey but the voice had a Splenda quality to it in parts, if ya get what I mean.

Mariah's voice is of course subject to change and has done so with each release- there's an article or video in that. So I reconciled this unease with an adapted technique, namely shedding weight and taking a more nasal attack, to hit the higher notes.

But now, I'm feeling on these pearls, slightly shook. A canny YouTuber [EAI] has played with the pitch of Thirsty, Heavenly and Camouflage to create a vocal that is not only more natural, but that was truer to the Diva's live showings around the time. If this modulation is really what happened in the studio, we gotta ask why- especially considering the tracks also sound fabulous dahling, lowered.

Well, Mariah has told us herself that she has a penchant for higher, trickier belts to up the drama of the music. So maybe instead of ~~not being able to hit the notes~~ rerecording the material to suit a higher key, the engineers modulated the piece to give it that extra pep. Arguably it may also have been a tactic to make the voice more youthful- since it has become darker with time- but I could only see that benefiting the crunk-y Thirsty since ain't no kids gonna be bopping to Camouflage or Heavenly.

Studio magic or not, I wish Mariah would release her material in a lower key from the get go, if only so there's a chance she can perform za material live. It's an approach she appears to be road-testing, but it's been a hit and miss affair: working for her latest release, The Star but not so much for the lacklustre Lil Snowman.

Still, perhaps it says something about her vision as a creative person. I wouldn't tell an artist to use less colours or tools when trying to create the masterpieces they envisage in their noggins. Perhaps its unfair to not afford Maaza the same leeway.

Thoughts?

When the Rasp is Right! Kelly Clarskson @ AMAs 2017

2017-11-22T15:02:00.000+00:00

Post by: Diva Devotee

Kelly Clarkson has got raspy as hell lately, but I love It.

Why the love for her edge, and not Ms. Aguilera's? Quite simply, Christina sounds strained AF, losing volume, fullness and support when attacking her notes. All poor choices that could end up with the voice cracking. It makes watching her sing live anxiety inducing. And i have enough reasons to be anxious without Xtina adding to them.

Now Kelly's rasp can't be healthy- are rasps ever?- but her managing to keep support behind the notes, and it generally being in keeping with the voice as a whole, makes the timbre enjoyable to me. And on the night, though not pitch perfect by any means, it was having this little edge to the voice that added the extra flavour needed for Miss Independent and Love So Soft to really pop.

Even with the super head note Eb6 of the bridge missing, and some questionable vocal moments (1.20) Kelly still had everyone in the audience lit. And all done without moving an inch.

QWEEN!💣

Thoughts?

Pink Slays Erryone @ 2017 American Music Awards

2017-11-22T14:40:00.001+00:00

Post by: Diva Devotee

Pink is awesome.

Long time fan, almost everything the Diva has released has got a hand waving in the air 'yaaaaas!'. However, Beautiful Trauma's lead single, What About Us, surprisingly failed to land with me. Empowering lyrics, rousing vocals and a building production, it should have been a win, hyping me up for the new album. The opposite in fact happened- I could not care less about the upcoming era.

That all changed when I saw her perform the 80's laced Beautiful Trauma at the American Music Awards. Even with the crazy impressive death-defying routine and SINGING LIVE, it was actually the song that stayed with me after I was done picking my mouth up off the floor. And that's saying something, as it was a moving and poetic showing from Pink and her dancers on the side of a friggin building.

Interest piqued, the album was now on the radar. And boy was I glad I gave it a chance. Still pop in essence, Pink has softened the rock edge from her previous releases and moved to exploring other genres. It's a slightly hopscotch approach but it's held together nicely by the Diva's voice, writing and melody.

If you haven't already, check out Beautiful Trauma. It's artistic growth without the cutting down of what came before it.

Thoughts?

Christina Aguilera Has An Ugly Tone. There, I said it.

2017-11-20T13:54:00.000+00:00

Post by: Diva Devotee

Can we finally admit that Christina Aguilera manufactured, Kermit tone is ugly? I've always known it, and I'm pretty sure I've mentioned a preference for her natural voice. However I don't think I've explicitly called it ugly before. So there you are, cards on the table.

What am I talking about, exactly? Let's use yesterday's (not the best) tribute to the glorious Whitney Houston at the American Music Awards to illustrate. The Voice I'm alluding to rears its fat head during the first verse of I Will Always Love You. Prior to that, though pitchy and not keeping time with the instrumentation*- both issues continue throughout- her voice was more naturally placed. The tone here was beautiful, lighter, youthful and sweet. It only made the off-putting sound that followed more startling. And to those who think this Kermit tone is not produced through dubious methods, note the spoken parts she interjects the medleys with. They are of a lighter timbre that is much more akin to her true voice.

We get it, though. Christina is trying to produce a bigger and "soulful" sound by swallowing the larynx. This is a legitimate technique, but as with most things vocal (*cough* runs *cough*) Xtina takes it too far, using it excessively and pushing too low to the extent it becomes distracting to the ear. (For a good balance, see the intro to Run To You.) Ironically she employs the opposite technique when belting, spitting out the voice box to produce a raspy belt. It's a Jack-in-the-box style of singing that must wreak havoc on the chords.

It was an odd performance overall for the Lotus one. I've never seen the diva look so unsure in what she was doing. Lowered keys, still out of tune, poor timing and a thicker, more cumbersome instrument, was not what I was expecting from a Diva who can- and often does- sell a performance on confidence alone. There, were nice moments, like the afore mentioned intros to I will Always Love You and Run To You. But the larynx squeezing and drowning were not for me and detracted from the performance. I won't even comment on the faces of the audience- though I pulled the same one at the same time as the guy behind Ciara.

We've seen Christina cover the icon before with her usual confidence and flair. So could it have just been an off vocal day? Or was trying to bend to Whitney's singing style -don't hurt me, there were minute parts where I heard some of the Queen's vocal inflections come through- the thing that threw the diva off her game,

Who knows. I'm sure many will have been gagging and slayed by this tribute. Good for you. To me, it only adds weight to Christina Aguierla being a second-tier live singer.

*Some will call this a stylistic choice and an ode to Whitney's own ability to play with tempo when live. Some, and me, will laugh in your face for ever making such a travesty of a comparison.

Thoughts?

JOJO - Fuller Soprano or Higher Mezzo-Soprano?

2017-11-10T02:17:00.002+00:00

Post by: Montrez Rambo

Jojo is one of those singers that comes along and makes people turn their heads, Not only are untrained ears piqued by her vocals, but those with a vocal background also fawn over her abilities. She has a bright and coppery timbre, robust lower register, sizeable lower middle, bright and sheer upper middle and a rich upper register.

But what is her voice class though? Soprano has been tossed around as many a time as mezzo-soprano has. There's one performance that is tell-tale... Who's Loving you, Smokie Robinson tribute.

Performance breakdown:
Jojo, came out the gate swinging with a C5 run. She then went to a sizeable sustained D5. Around the fifty second mark, she sang another solid D5. A phrased F5 came about ten seconds later.

Around the one-thirty mark, Jojo began sustaining lower mid-belts hovering around A4. The belts were free with a bit of resonance and had hints of size. Shortly after was an ascension up the lower fifth octave to a climax round F5. The voice showed sultry fry-distortion at 1:39 before the F5. The F5 itself was tense and distorted (The I'm pushing out too much air kind), with a larynx raised a bit too high.

Despite the unhealthy F5, it wasn't too terribly strained and she was able to hit numerous F5s back to back throughout the performance. These F5s though, told a similar tale. Again, somewhat tense, distorted and a larynx on the rise.

With that being said, it is best noted that Jojo sings with a high and wide lifted placement combined with a kind of fry closure which gives her voice its signature brightness and character. She brings the sound more forward as she ascends, but doesn't manage her breath well at those heights, pushing the F5 out when she shouldn't really have more breath pressure than required to speak. At those heights though, it is understandably hard to sing, so this is not a knock against her. It's just stating an obvious point.

Audible fatigue could be heard beyond the two minute mark. The voice sounded more coarse. At two minutes, thirteen seconds, Jojo released her head voice. The register starkly contrasts the modal voice, being darker and richer, having a density only present in her lower middle and lower register.

She scaled down to around G3/F3 close to the two thirty mark, showing the density and richness the lower register and lower middle hold. Afterwards were a few more D5s, some solid head voice F5s and another down scale to the F3 region. She concluded with a sustained head register F5.

Now let's discuss Jojo's lovely voice, generally:

Even though Jojo has a very soprano-like timbre, her voice fundamentally is too low. I'm not discussing her lowest note or even her tessitura. I'm discussing her registration points or where she fundamentally shifts registers or shows behavioural traits associated with a certain voice type in a certain register.

For one, she shows signs of blossoming as early as D4 in her lower middle register. Her middle register has the most ease while maintaining volume around D5. Secondly, E5 showed signs of passagio issues yet to be smoothed over by the talented woman. Lastly F5 showed the voice would still bloom as she ascended but on the same token, F5 also was the area where she commonly shifted to the head register. This is a key sign that F5 maybe is a registration point, specifically since Jojo treats the note like top note territory.

For a soprano, that registration point would be a little higher around F#5/G5. That's not even discussing the colour of Jojo's Head Voice which isn't much soprano-like at all.

So, even though Jojo has an energetic, bright and elastic voice, it is safest to bet she is a mezzo-soprano probably of the lyric variety.

This is all just the best educated guess I could muster. The performance was great! The comments are open to discuss and please vote on where you think her voice is best placed!

Kimbra - Everybody Knows

2017-11-10T02:17:00.001+00:00

Post by: Montrez Rambo

Kimbra's releasing new music again! That meant I had to stop whatever I was doing and pay attention to see what was released. And Everybody Knows is interesting.

The music video is simple, Kimbra standing in a field being choked out by a California king sized top sheet for a bed... cool, she's weird like that. She looked gorgeous while doing it though. I'll have to watch the behind the scenes to get it because the meaning went completely over my head.

The production itself (I always have to prepare myself for her music because it tends to be outside my normal box of expectation) started off simple. But it grew and grew towards the end with a typical heavy Kimbra production.

The vocals weren't the wobbly quirky vocals of years past but smooth, warm and sultry. The lyrics too were well thought, well written. So overall, there's a lot to like here. I just want to see more from this direction.

Here's the video!

[MUSIC VIDEO] Jazmine Sullivan X Bryson Tiller - Insecure

2017-11-10T02:10:00.002+00:00

Post by: Montrez Rambo

"I'm a lady not a slave... you my n*gga not my master, I'll escape"...

Jazmine Sullivan is really coming into her own with the lyrics in new collaboration Insecure. Bryson is also on the song but we're gonna politely ignore him because... yeah, we just are.

This has become one of my favourite songs of the summer, and its one of those textbook Jazmine Sullivan moments where she changes up her sound but her scornful, mournful soul comes through.

Vocally, she delivered some solid lows, and solid mid belts. The rasp was well managed but turned all the way up at the end. Some may like it, some may not. The production, with its unfussy loop, kicking and pausing, allows for focus to be funnelled towards the simple vocals and lyrics. To have done anything else would have over-egged the cake.

The music video itself, was simple. It was a keke with the girls, Jazmine rocking them wigs dealing with her insecure man via text message. We've all been there.

Overall, issa bop! Here goes.

[LIVE] Niia ft. Jazmine Sullivan - Sideline

2017-11-10T02:00:00.000+00:00

Post by: Montrez Rambo

I have been waiting on the edge of my seat for the Niia and Jazmine Sullivan to perform Sideline live (Even if it was pre-recorded).

The visuals were nice, but this wasn't as perfect as I'd hoped.

I'll talk about what I liked first: Jazmine's short wig is my favourite piece of hair in her collection. Her overall outfit was nice. Niia too looked great with her French braid. The camera work and scene changes, when they were alone in the studio, were also nice.

The vocals were overall very consistent from both women, taking on headier placements in the upper middle belts. Jazmine reined in her rasp, though her vocals weren't completely distortion free. The orchestra instruments were also nice, but...(here comes the parts I didn't enjoy as much)

Niia's placement got weird at some parts, sounding like her tongue was tense. Also, the crescendo on chorus from the instruments sounded overpowering and took me out of the performance. It sounded too dynamic- if that's a thing. There also was dissonance on the phrasing between the two at points though it didn't detract from the rendition.

Overall, can't say I was disappointed at all. The performance was very, very good and the two had chemistry and portrayed the feelings of the song perfectly. (Also, Niia's album has been added to my long list for reviews).

Check out the performance below:

[NEW MUSIC] Toni Braxton - Deadwood

2017-11-10T01:48:00.000+00:00

Post by: Montrez Rambo

Toni Braxton isn't done ya'll. The nearly fifty year old is showing that her voice is still in good shape with the new sing Deadwood.

The track starts with some sweet, if ordinary, sounding acoustic guitar. They give way to some light weight but dark in colour vocals, a signature of Ms. Braxton. She gave upper mid-belts and growls towards the end, that forego the love it or hate hypo-nasality associated with her style.

The track's highlight is it's solid sounding lyrics. They were pretty, well thought out and didn't have me scratching my head and asking "why, Toni".

Overall, the song is very solid and I'm glad to see Toni still up and at it.

Check it out:

Thoughts?

Katy Perry Owns the Summer With "Feels".

2017-09-25T18:58:00.003+01:00

Post by: Montrez Rambo

So, I live in a vacuum sometimes. I don't get internet access that often but when I do, the first thing I do is check out every single new song I missed. And Feels by Calvin Harris is just everything I needed this summer!

There has always been something about Katy Perry that allured me. Her songs are sometimes hit or miss but baby dis feature is a bop! The production and her sweet little vocals had me from the moment the chorus took over.

Hope you all will enjoyed it as much as I did.