This is almost it.
Tinashe has admitted that she has hard time getting traction since she signed to RCA and her latest singles seem to be aimed at recapturing that part of herself that we get on her mixtapes and that people seem to love. Now that we’ve heard the title track from her upcoming album, we think she might be on the right track.
There have now been three singles since the songstress decided to take control and force the release of her second studio album. We thought No Drama was okay and it grew on us as time went on. Me So Bad and Faded we non-starters for us as they really didn’t strike a chord with us and we kind of forgot about them not too long after their release. But this track…this one has a lot of potential.
The production of this track is great. There is a tension in the beat that comes from the interplay between the light highlight instruments and the heavy, hard-hitting bass and drums. You almost get the feeling of running through the jungles of South America. It switches up from time to time to give you just a little bit of a breather before picking things up again. This sounds like a Travis $cott production because, despite the dark tone in places, it still comes across as bright and bouncy without being cutesy. This could easily stand on its own and be a hit.
What really sells this track is the vocals. The decision to take things down an octave was a good one and shows some character in the singer’s voice that we don’t always get to hear. The almost tribal call of the adlibs and backing harmonies give the already thrumming beat even more energy and tension. Matching that we her more natural soprano tones for an unexpected confluence of tone make the song an easy listen and an easy repeat. She and Travis $cott also have a nice harmony together that they let rely mostly on their natural tones and adds a second layer of depth to the overall vocalization.
The biggest thing you can say about this track is that it overstays its welcome. About two-and-half minutes in, the song has run out of things to say and moves on to chorus repetition, $cott autotune adlibbing, and a mild beat-switch. Whether this is ultimately a good or bad thing depends on what follows this track on the album as Tinashe has a penchant for including her interludes at the end of her album versions of tracks (which why the album version of Company sounded different than the single version).
Joyride (the album) drops April 13.