Neptunes present the clones full#
The production is full and peppy call it shiny, happy pop for the '03. It's totally incongruous with the nine tracks that came before it, but it's catchy and infectious rock, nonetheless.
Neptunes present the clones mod#
The Neptunes rock band prot¿g¿s Spy Mod get to share the limelight, delivering what sounds like a cross between mid-80s indie rock and late '90s Brit Pop. This is the type of cut that would sound good out on it's own, rather than sandwiched in amongst a bunch of other like-minded tracks. While the groove is solid, it falls too much in line with some of the other tracks on the album. Simple 4/4 808 sounding bass and a contrasting high-end sound coming in on top. It resonates with a similarity to the other stripped down tracks on the album. Chimes and fluctuating symphonic synth wash over Snoop Dogg on the haunting "It Blows My Mind." Once again the 'Tunes opt for the minimalist approach, using the chime beat to propel the beat while sub-sonic undulations rumble underneath. In the end it's the MCs who truly shine, almost flowing a cappella. While the beat is intriguing, it too becomes monotonous (much like the stripped down rhythm they employed on "Light Your Ass On Fire"). The track is augmented by Pusha T from Clipse and Boo-Bonic.
Coldchain shines with his smooth rasp that is less rap and more pimp flow than anything. It's pure inverted bass that will undoubtedly boom if pushed through the right subwoofer in the right ride. Coldchain gettin' busy over a reverted vacuum anti-beat. Lunatic, but it's nice, hypnotic, and wonderfully subdued and incredibly tight example of the 'Tunes' expertise behind the boards. This is a relatively low-key jam for the St. The flow continues to remain hot with the advent of "If" in which Nelly unleashes his singsong lilt over a down tempo piano bit and bass kick. I'm not much for this kind of thing, but it's propulsive and the music and vocals mesh in a wonderfully enchanting way. The boys come correct with the R&B pomposity of "Good Girl," the bass drum marching beats echoing gently underneath Vanessa Marquez's vibrant vocals. Jay-Z, who has become the savior of many a pop anthem these past few months, delivers some nice flow over the guitar and literally saves the track from a syrupy death. In fact, it's rather derivative and it's unclear as to whether or not it's meant as homage to the glorious soul and funk of the '70s or if it's just a blatant rip off. But it doesn't bring anything new to the table. It's post-millennial R&B that is slick, slippery, and radio ready. P lets loose with a Curtis Mayfield falsetto and some Prince-styled choral arrangements. Pharrell jumps out from behind the boards for "Frontin'," which is rife in lite rhythm guitar and shuffling snares. It's intriguing, but sounds too similar to the other joints that preceded it. This time the beat is pulsed by weird whistle/flute blurts and twisted kazoo riffs. Ludacris pounds along to the chunky, clunky mechanical rave-up of "It Wasn't Us." The beat, while different, still resonates with the same feeling as the previous track. Still, this track is uncommonly infectious. In fact, that's often the biggest drawback of the bulk of the 'Tunes' tunes: they are wrapped in so much synth glory that they lack any of that ruff, rugged, and raw grit that is the essence of rap. Clipse ride the quirky rhythm fantastically, but it still sounds hollow and machine made. "Blaze of Glory," continues the minimalist rhythm expulsion, tossing in a few faux horn blasts and a burbletastic bass spasm. It's intriguing at first, but eventually drips into monotony. It's the simplest of quasi-Kraftwerkian rhythms bouncing and pinging underneath Busta's cartoon rumble. That's just the brief "Intro." The album really gets started with "Light Your Ass On Fire," a Busta Rhymes stream of consciousness ditty that reverberates with pong styled elastic electronic minimalism. The album starts out slinkily enough with squiggling synth ripples and disenfranchised voices muttering "One, two." over and over again while shifting from channel to channel. And that's what Clones is, 18 slices of futuro funk rendered into the confines of a single CD. What I'm sayin' is that I can get with the 'Tunes' vibe if I hear it on the odd hit single here and there, but trying to digest 18 nuggets of their electro machinations in one sitting is a bit tiring. But the 'Tunes sound is one of those vibes that's best used by a variety of musicians and spread around like a giant slab of butter, rather than being concentrated into one cohesive compilation.
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