When Kwabs sings, soul pours out. His voice is richly textured and full of gravitas; a deep baritone that rumbles and reverberates, an instrument of both power and vulnerability. As it rings out effortlessly across London's sold-out Koko, you can feel the crowd hold its breath. Between songs, the cheers are as hearty and excitable as the most loyal of fanbases: exceptional, g...(展开全部) When Kwabs sings, soul pours out. His voice is richly textured and full of gravitas; a deep baritone that rumbles and reverberates, an instrument of both power and vulnerability. As it rings out effortlessly across London's sold-out Koko, you can feel the crowd hold its breath. Between songs, the cheers are as hearty and excitable as the most loyal of fanbases: exceptional, given the bare handful of songs Kwabs has released to date. But then, he is an artist with exceptional potential. Born and raised in Bermondsey, 24-year-old Kwabena Adjepong's musical education was a wide-ranging one. He studied blues at school, where his raw vocal talent first emerged; he listened to everything from classic soul (Aretha Franklin, Donnie Hathaway) to alternative groups (The Strokes) to innovative electro-pop (Hot Chip). But it was the rhythms and improvisational scope of jazz that Kwabs first gravitated towards - and, remarkably for a kid from a South London comprehensive whose childhood had been spent in and out of state care, won a place at the Royal Academy of Music, one of the most prestigious hothouses of young musical talent in the world. "It's almost scary, how do I fit into all this?" Kwabs remembers. "When you walk around the halls and hear what people are practising, you realise this is the next generation of talented musicians.” Midway through his course, though, Kwabs' own muse began to lead him down a more leftfield route. "I always loved soul and gospel, but I thought it would be cool to apply that voice to a different backdrop," he explains. "I never wanted to do anything that was throwback or backwards-looking." The idea of blending traditional, formally honed technique with experimental, forward-thinking beats appealed to Kwabs - particularly in terms of framing the undeniable strength of his voice (he laughs that, in an age where many male singers opt for tremulous falsettos, his job is to represent for baritones everywhere). "A lot of modern music doesn't leave a lot of space for the most natural version of the voice," he says. "On old recordings, the space wouldn't be filled with extra frequencies that make you want to either push harder so you can be heard or change the way you sound to cut through better." Conversely, to Kwabs and his collaborators, one of the most important elements in the music is space. On last year's Last Stand, produced by SOHN, digitally layered harmonies are set over atmospheric synths and the barest heartbeat rhythm; Kwabs' main vocal line is stately and unhurried, patiently prowling the low notes and swooping up to the high ones. The song builds to its emotional climax gradually and almost imperceptibly. "With the sparser stuff I'm doing, I feel more freedom," he expands. "It enables me to sing the way I want to - it's the most honest way I feel I can be heard." This year, Kwabs has taken another step forward. He describes his single Walk as "my statement of intent." Accordingly, it's a supremely confident anthem about following your own path - and the authority with which Kwabs tackles its gigantic hooks and full-bodied arrangement is proof that he's not content to take the easy route of boxing himself into an underground, uncommercial zone. In true Kwabs off-kilter style, though, it doesn't cleave to the pop clichés of superhuman invincibility; instead, it tells a story of drawing back. "I wanted to look at the spirit of progression from a slightly different perspective, where you have to stop yourself rising to the drama of the moment," explains Kwabs. As well as being a fan favourite here in the UK, ‘Walk’ also caught the attention of fans in Europe, where the track entered the German singles chart at no. 4. His artistic evolution has paid off this summer, which Kwabs has spent putting the final touches to his debut album, due out early next year - as well as doing the rounds with a hectic festival season both at home and abroad, appearing at Glastonbury, Wireless, Latitude, the Secret Garden Party, Reading, Leeds, Belgium's Pukkelpop and Croatia's Dimensions. "I've had lots of fun being a dynamic performer," he grins. "Moving, engaging the audience, playing to the bigness of the tunes - it's allowed me to really open up and have confidence in what I'm doing." Kwabs acknowledges that his new material pushes creative boundaries, but it's in keeping with his artistic spirit. As he puts it: "It's about taking risks and seeing how people respond."
0 有用 马余贰 2015-09-12 19:24:56
白瞎一把好嗓子。把90年代、世纪之交的Boyband作品套路拿出来重新包装,有种想用制作努力追赶未来形式却压不住底子里老气横秋的笨拙感。
0 有用 麋鹿橙 2015-09-14 22:13:40
入选了BBC2015年度新声 先行几张EP过度拔高期待值 试图在流行和复古之间找到落脚点 可惜定在一个比较尴尬的位置 连原本vocal的优势也被削弱 《Make You Mine》是一首比较可惜的好作品 推荐:《Walk》,《Wrong or Right》,《Forgiven》
0 有用 乔治洗衣机 2015-10-07 18:32:56
2.0 当时就不知道BBC为什么选他(首单不错,剩下全砸
0 有用 VincentSong 2015-09-14 12:04:53
亮点在流水化制作中转瞬即逝 嗓音的极大优势全部淹没
0 有用 五摆五折 2017-08-23 17:41:56
平庸;6.0分
0 有用 chiharu 2015-09-15 23:39:49
在復古和潮流中找到了比較好的平衡點。醇厚有質感的人聲搭配重鼓點鮮明節奏的老式rnb,既悅耳又有活力。各種元素搭配起來相得益彰,整體流暢。聲音控制也不錯,有幾首歌中,我居然聽到點Seal的味道。。。
0 有用 Kreuzberg 2015-09-16 19:10:05
雷声大雨点小
0 有用 马余贰 2015-09-12 19:24:56
白瞎一把好嗓子。把90年代、世纪之交的Boyband作品套路拿出来重新包装,有种想用制作努力追赶未来形式却压不住底子里老气横秋的笨拙感。
0 有用 撒木 2015-09-15 08:10:59
还可以的
0 有用 sean cheung 2015-09-13 01:03:12
90後復90s節奏情歌的古,感人到落淚呀。新舊從來不是問題,重在方法。一些細微處的另類節拍提升了格調,更別說演繹力強。新舊只是取徑,不是優劣。