I like Unholy Thoughts though Similar to Deadmau5 melodies. If he hadn't autotuned his voice this would have been better. Tenderoni and On The Lam were my jams when it came out but I don't remember anything else from the album. Tenderoni used to be a fucking jam though. Stupid Boxer-The Boxer pun was stupid. Tenderoni is a fucking jam btw, as is Everything You Wanted.
Kele The Boxer 2. Review Summary: Kele attempts to knock us out, but instead trips on his own shoelaces, breaking his nose on the canvas. The crowd, however, have a wonderful time watching. Rank: 0 for Now, as a general rule of thumb in my book, solo projects should inherently be seen as seperate bodies of work from the artist in question's main band - a vessel for material that may not work in another musical environment and all the stipulations or expectations that entails.
But, when there is shameless recycling going on from project-to-project, I feel something has to be said about it. As deftly pointed out in other review publications, this is more noticeable on The Boxer due to various myriad factors; while the beats are not instrinsically similiar in how they sound per se, the super-slick production often places Kele's vocals too high "On The Lam" or too low "Tenderoni" in the mix.
On most songs on the album, choruses and a proper melody marking the lyrics as cohesive is very sorely missed, rendering them all fairly uninteresting vocally, a fact left all the more frustrating given the knowledge that, as seen in his past work and even a couple of songs on this release , Okereke is a good songwriter, capable of constructing sharp, jagged instrumentals backing decisive vocals and scathing lyrics.
The lyrical aspect of the album is, by and large, generic. Vapid, tired Kele-isms such as, "Been running with the rude boys For much too much too long You think you are one of them Every time that we kiss It seems you are holding back Don't be so quick to pull away", come across as simply well-worn and uninteresting, and I've always been of the opinion that there's a certain amount of posturing in the lyrics and persona that Kele wants to put across.
One - the articulate, verbose subversion of stereotypes galore; A black man who is an open homosexual, radically left in his political leanings, unafraid to cite sources not often quoted as wells of inspiration amongst the black musical populace. And two - a hard, tough "Rude-boy" who takes no prisoners and simply exudes machismo.
Which would be all well and good if it contained even a grain of genuine truth to it; to me, at least, it comes across akin to having your cake and eating it. Now, this may not strictly impede your enjoyment of the album, but it did leave some lines awkward and laughable for me, and thus seemed suitable for a mention.
The production, as I noted above, is slick and interesting enough I suppose, for one or two songs. A full album of chittering, stuttery beats devoid of a concrete vocal hook just starts to grate after awhile. For it to have worked marginally better, the beats would've had to been more standalone and individual from each other.
On a mainstream level that was very commercially appealing. Bloc Party broke ground by making likable, acute, music that was radio-ready and had big pop hooks.
They gave everyone from music obsessives to passive consumers something to think and talk about, too. In that time, Kele beefed up and made his sound more muscular, too.
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