#Virtual piano yeah right joji full#

Despite these tracks, Nectar has some amazingly high highlights. The pretty vocals that Joji and Benee bring to the song can’t compensate for the utterly forgettable beat and subpar, corny lyrics. The song Afterthought feels like the name suggests. Joji and Yves barely leave an impression. However, this synth takes up more than half the track. Reanimator kicks off with an echoing, drony synth that actually sounds really cool. High Hopes sees Joji and Omar exchanging some of their worst vocals yet over an overly sappy orchestrated chorus, and horrifically mixed stripped back vocals on the verse. However, both of these tracks are just plain boring. High Hopes and Reanimator were huge disappointments for me, as the featured artists Omar Apollo and Yves Tumor were seemingly no-brainers to hop on Joji’s very moody flavor of RnB. These tracks are overly generic and severely underwritten. Songs like 777, Nitrous, and Normal People are some shining examples. Other than that, however, this song doesn’t really stand out, an attribute that sadly takes up too much of Nectar ’s tracklist. Tick Tock ’s plucky beat and pitched down, demonic vocals make the hook of this song feel like an old Tyler, The Creator song. The second track, Modus, is a dark, trap flavored RnB song, with some catchy flows, sweet vocals, and a super lowkey, depressing vibe. Some vocal inflections sound like their right out of Pure Imagination, and the song somewhat overstays its welcome, but all things considered, Nectar starts out really promising.

#Virtual piano yeah right joji full#

The album kicks off with Ew, an orchestrally backed piano ballad, full of clunky, discordant pianos, juxtaposed with gorgeously harmonious string sections and Joji’s soaring falsettos. I couldn’t wait to see what else Joji had in store for us. Needless to say, The lead up to Nectar left my mouth watering. I’m not head over heels for it, but it’s a very fun listen and a super well put together track. The last single, Daylight, had Joji singing a millennial-pop flavored Diplo beat. However, the second half of the track finds Joji suddenly switching the song to a ballad, that overwhelms with beauty, and shows off some serious vocal restraint. The verses show Joji underperforming vocally, but his voice does fit over the instrumental in a unique way. The song kicks off with a driving dance groove, bouncy, generic drum patterns, and a nauseatingly annoying hook.

The subsequent Gimme Love, however, couldn’t quite live up to the standard of the first two. The single really sounds larger than life. It sounds straight out of the 70’s Hard Rock scene, while still incorporating elements of modern hip hop production. The following, Run, sees Joji singing his heart out over a gorgeous Guitar ballad. Sweet vocals, trap drums, RnB chord progressions, a great music video, and a stunning finish made this one of Joji’s most successful and interesting songs yet. The upbeat, super poppy Sanctuary was the first of these and showed off a more accessible, catchy side of Joji. The lead up to Nectar was filled by occasional singles, each one different from the last, each one great in their own respect. But for the majority of Ballads 1, it’s a sloppy, at times boring, mess.

I Can’t Get Over You, produced by Clams Casino, offers up an adorable piece of lo-fi electronica, one where Joji is delicate, even shy, on the vocals. Songs like Slow Dancing In The Dark and Yeah Right showcase the sheer vocal talent and emotion Joji can so cleanly pull off.

Occasionally on this album, however, Joji displays a ton of potential. 2018’s Ballads 1 saw Joji experimenting with a new sound, one that combined alternative RnB, baroque pop, and lo-fi music an experience that left me somewhat disappointed. Nectar is the sophomore album of Internet meme lord turned RnB superstar George “Joji” Miller.