If we dissect the albums of an artists past what do we learn? We learn that Justin Timberlake brings Sexyback and Britney Spears wore latex. From this we can normally tell where they’re going to go down the line, Justin and his poor jokes, (‘Get it?’) Britney with her shaved head, (‘Oops I’ve Done It Again.’)
Well, this isn’t the case for Imani Coppola, her debut ‘Chupacabra’ in 1997 was a clear outline that there are many cog’s underneath the green wigs, violin solo’s, and cowgirl theme. Between then and many self released material and some 10 years after the Alternative art-rock ‘The Black and White Album’ was born, not only giving Oasis a possible law suite, but birthday chants and an overused song for TV (‘Raindrops From The Sun’).
After a stint fronting ‘Little Jackie’ and showing us how mainstream she can be, she returns! Bringing her club synths, arty views and Dub-step bombs, not all hits, what really shines over the tracks, that had me thinking, oh she’s got some sublime vocal control there and clearly shows she’s not quite done with this persona.
This release not only places Imani in a position where she joins ‘Alex Clare’ big vocals and dub-step, which is either hit or miss, but where she does introduce the “drop” she does it correctly, the album does heavily blend in to the dance curb and 80’s guitar solo’s.
Overall this album feels a step left from ‘The Black and White Album’ almost hugging the other genres of dance and feeling relative to what is currently hot in music, as a Fan of Imani since the old days, its reinventing herself that makes fans enjoy her quirky, and as much as I feel now, that I’m being too hard on the album compared to the standards of what is currently released in terms of female artists she is in a whole different test tube, she’s not insulting other artists for gimmick and press, she’s not got the fans like Gaga, she’s got the afro, attitude and marches to her own drum, something people can relate too and isn’t strapped down to label expectations or what other labels are releasing as “female artists” but with that in mind, She’s not releasing anything that could threaten ‘Adele’ or ‘Taylor Swift’ and I’m sure she couldn’t care.
This album really isn’t a statement or a political dagger, she does quote that “She’s spends her time reacting to decisions made by stupid people” just one of the nuggets of lyrical honey spouted by Imani over the album. ‘The Same Pain’ could easily land in the top 40, it holds the like ability and vocally feels like something ‘My Morning Jacket’ produced or a half mocha baby love child of one of the bands past producers.
Things I liked about The Glass Wall: This feels like a Imani album, I’ve never settled for anything other than the awkward with the many songs she produces. That said at times, I did want to skip during the first listen, but The Kids are Dangerous had me listening over and over, a fantastic first listen to new listeners, like many Imani albums, the album is split in two, half clear genius pop and then its like Bi-polar pop hit and miss.
Stand out tracks: Catch 22, The Kids Are Dangerous, The Same Pain, Alive
Avoid: Good for you.