When Ravyn Lenae appeared on Chicago’s R & B episode in 2015, it was a tactile project. Her lyrics have been diverse: an unique neo-soul fashion that portrayed Erykah Badu’s breathy awesomeness and a mellifluous sound on FKA twigs. Between 2015 and 2017, Lenae has released two EPs, discovering a phase of other R & B that integrated features of fantasy music, rebound, and heart. Visiting visits for Noname and SZA, Lenae apparently discovered her corrugation on the 2018 Steve Lacy-produced EP Crush, a collection of bold electro-funk house tracks. It would appear She is invincible, issuing so many in a short time period that it was exciting to see what she used to have scheduled for. But the taunts do not stop, notwithstanding, Lenae ran the podcast quietly for the better part of 4 years.
Her breakthrough full-length album, HYPNOS -, comes with a seasoned revival, love-stained, move the lepidopteran through Lenae’s international tempo with a featherlight tempo. Lenae polls the recent history of heart disease, option R & B, and sometimes even Afrobeats with accuracy. But most importantly, Her breakthrough highlights her Vanguard voice brilliance as she shifts across her wide range of comfort. Lenae’s spiritual finesse creates her as an evocative tone in R & B.
The instant approach of HYPNOS is really how thrilling Lenae’s coordinations are amid comfortable instrumentals. On past albums like “Sticky” or “Free Room” Lenae touched into her larger record, Lenae’s song has become a gravitation. In the Kaytranada-produced film “Xtasy” Lenae’s sultry and gentle song cleans over the rhythm like wet beading off a ride. “Lullabye” kissing a former lover, shifts through melody, vocals, rhythm. “I hope she keeps you warm at night/This is our lullaby” she sings, but you know she’s getting to really be OK with just her poise.
Having already been praised For her song, Lenae’s voice method on HYPNOS is the job of a completeist. Her noise has flourished into a potpourri of R & B visuals over the last three decades, but notably of the’ 90s and soon ’00s. The most obvious contrast is Aaliyah, But Lenae’s voice materials rewards many on “HYPNOS”, pulling from Brandy’s “vocal bible” tunes and Solange’s pioneering vocals, Kelela’s “on é art”, and Destiny’s Child’s lullabying tunes. “Venom” a funkadelic synth-led song, felt hooked between something off OutKast’s Stankonia and Brandy’s “What About Us?”. “Why do you play me like a fool?” Lenae questions, before dropping into vocals that implode including those on Solange’s “Rise.” On “Cameo” Lenae brings back Lacy and frequent collaborator Luke Titus for a weird lineup that remembers the synth largemouth noise of Herbie Hancock’s “Chameleons.” The themes were not distancing as much as they were, they may be twinkling, enjoyable, and punctually combined.
Sounding like someone else is by no means the cap of Lenae’s clever production; she’s as confident as she can be. Instead of mimicking a classic that’s become widespread, she has sincerely explored these predecessors, adapted their tools and fashioned her own product of soft and extreme song. “Light Me Up” The album is attractive, slow-burning lynchpin, makes a multi-project of R B examples, and finds deep into the joy of sexual discovery: “Come inside/Show me you’ re the leader/switchin ‘sides/Make me a believer!” she asks. Lenae’s lightweight and encouraging composing make it a women’s style to D’ Angelo’s “Untitled (How Does It Feel).”
The manner in which Lenae would seem to investigate and intentional her choices instantaneously creates a magnetostrictive writer. On “M. I. A” She takes stock of her life and goes full-on in ways that commit to her shape changing philosophies. Taking reports from Afrobeats composer Amaarae, the music is stylish and dispassionate, jokes about the liberty to escape at a moment’s notice. On “3D” Lenae rejoins with Zero Fatigue’s Monte Booker and Smino for a shaky corrugation that ends up putting Lenae in the car of a connection moving too fast. “I’m suggesting you to keep it light/Things are best movin’ quietly” She cautions, raising her pitch with each word of warning. In her earlier work with Booker and Smino, Lenae sounded like a gorgeous vocalist, But as HYPNOS emphasizes, she can be all of those things and the star of her own story.
While the majority of HYPNOS themes are commonplace, early twentysomething experiences can be heartbreaking, Growing apart, three men, finding your footing — Lenae makes it feel easily digestible and less existential. On “Skin Tight” she ponders the kinetic energy of a past relationship with grace and respect beyond her years. The scornful acoustic numbers “Mercury” with the addition of a reservatability “Deep End” singer Foushe éd, initially comes off as a minor song on the album. But Lenae’s airy, level-minded approach is captivating — making this a bold and bittersweet highlight. Even as she whispers “I hate you fucking/Don’t ever speak my name” it’s never so painful, more like pity in the face of disgust.
Even when heartache leaves her distraught, Lenae is laser-focused on reaching for spiritual affirmation and empowerment. The album ends with a feathery touch to The heartfelt closer “Wishing you the best!” which brings together Lenae’s dizzying expression and limitless execution as a vocalist. “Each time you close your eyes, make a little wish” Lenae sings, tip-toeing down the words. It can take you out of the deepest hole. Even as she touches on trends and familiar themes, it’s Lenae’s delivery!, confidence, and its alluring presence that makes HYPNOS stand apart. As she considers her anxieties, hopes, and doubts, she reveres the music of the past in ways that show just how ready she is for her own turn.
