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Gambino’s use of auto-tune in the song is one of the least necessary and poorly executed instances of auto-tune I have heard. “Zombies” is almost a complete mirror image of “Boogieman,” with entertaining funk instrumentals that are bogged down by grating vocals and uninspired lyrics. Gambino’s approach to these ideas through an extended metaphor is refreshing and interesting, but instrumentally the song is jarring, confusing, and hard to listen to. “Boogieman” addresses themes of police bias and brutality, both highly relevant themes that musicians like Kendrick Lamar, A Tribe Called Quest, and Beyoncé have confronted. Where the singles took the best parts of these things and brought them to exciting and compelling new heights, much of the album paired them with messy production, indecipherable vocals, and mystifying songwriting to draw these ideas to unexpected lows. The album is experimental, funk and R&B inspired, and entirely devoid of rapping. Gambino keeps a lot of what built up the initial excitement for the singles. These expectations changed drastically through the album’s 49 minutes. The anticipation for the album was fervent, and expectations were high. Both of these songs are catchy, inventive, and retro departures for Gambino, and seemed to signal a sea change in the musician’s style for his upcoming album. Gambino’s voice is distorted beyond recognition, to a falsetto reminiscent of Prince, that bounces over compelling funk instrumentals. The second song, “Redbone,” was released in a similar way and garnered similar excitement. “Me and Your Mama” is unlike anything Childish has released, featuring a full choir, a mixture of synths and full-fledged electric guitar, and a conspicuous lack of rapping by the famously articulate and clever emcee. The first single from Childish Gambino’s latest album “Awaken, My Love!” was released with little fanfare: a Youtube video of an eerie, gleeful, blue face, accompanied by a song entitled “Me and Your Mama.” However, the buzz around the song immediately snowballed beyond its understated release.
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