So Danity Kane couldn't hold it together. I mean, I get not liking someone, but don’t let the next broad mess up those checks, ladies! Anyway, that ship has sailed. Aubrey and Shannon have taken to Instagram and Dawn immediately went back to her flourishing solo career. I think when DK reformed, people were kind of puzzled why Dawn would bother, since she was doing alright on her own. She was getting critical acclaim and probably making decent money, as she went the independent route. Dawn has blessed us with the next installment of her trilogy and I think it also comes with a side of “You know I didn’t really ever need you bitches anyway, right?”
I’d be lying if I said that I have always thought of Dawn as a star. I watched her on making the band and she kind of reminded me of a black Shannon. (read: she could execute the dance steps and hold a tune) Her tone was something that actually had to grow on me. After the second album, I was pretty certain that she was quickly becoming the heart and soul of the group. Then, seeing her explore her sound with Dirty Money cemented my love of her. She’s been a Dirty Money member and has been in three different versions of the group Danity Kane. Is Dawn bringing enough to the table on her own as a solo artist? I think with Blackheart, Dawn aims to silence any questions that may linger about her. So let’s dive right on in track by track:
Noir: Dawn starts out singing acapella and it kind of demands all of our attention. The beat drops and she starts singing about how she’s trying to find her way. This might be related to the fact that she says that this album represents some of her most eclectic music to date. Or maybe it just made for a good lyric.
Calypso: To say this track has a LOT going on is an understatement. It basically starts out smacking you upside and head and doesn’t ever really let up. At one point there is a nod to the percolator and I about lost my damned mind. This track begs for some Chicago footwork. She kind of sings on the end, but this track is dominated by the instrumental. Her vocals kind of serve as a pause point where we can get water, catch our breath, and fix our wigs.
Blow: This song is a bit calmer than the last. The beat still has a knock and bounce that keeps it interesting, but here Dawn’s slinky vocals shine. I really enjoy the way she attacks the verses with ease.
Billie Jean: This has nothing to do with the tennis great nor does it talk about that hussy that MJ sang about. For some reason, this song makes me think of Drake and him waving his hand as he talks his shit over the beat. Speaking of the beat, I love it. This song has such a great flow to it.
Adderall /Sold (Outerlude) : Taking a cue from Justin TImberlake, she has decided to bless us with a song that is almost seven and a half minutes. I’m not sure what an outerlude is or why it’s not at the end of an album? Girl, you so different! This doesn’t do much for me on first listen and kind of overstays its welcome. I do like the last minute and a half when the beat switches up.
Swim Free: A simple track, driven by percussion with repetitive lyrics makes for a surprisingly ethereal and interesting song.
Titans: I love the beat and the vocals on this interlude. It actually left me wanting more, which is a good sing.
Warriors: This song feels like it’s uplifting, inspirational, and dramatic. I feel like SIa would be proud. (or not. I don’t even know her like that) I wish the vocals were clearer and less muddled.
Projection: This song makes me feel like I’m on something. It feels like everything is moving in slow motion. Maybe like running in water or trying to navigate the DMV. I don’t mind it at first, but then it feels a bit long. I get this being “Zone out” music but I think I would have preferred this as an interlude.
Castles: I’m not sure if this song knows what it wants to be. Is it a slow jam or a mid tempo? THat chopped and screwed voice in the background make it sound a bit like a trap banger. I almost wished they would have peeled away a few layers. I get that you know how to use Pro Tools, but I don’t need to hear EVERY sound that it’s capable of making on one track.
Phoenix: This is the song that people are saying is about the breakup of DK3. IT starts out “you wanted me gone, like the stars hidden by the glowing sun” over a piano. Later Dawn says “I see the only way to fly is freeeeeeeeeeeeeeeeeeeee” I didn’t listen to it until today and just assumed people were being messy, but I can totally see it. Or, it could apply to any relationship… I like the track even though it kind of feels like a generic David Guetta wannabe at times (mainly when it builds up to the triumphant chorus) . I miss hearing Aundrea’s voice and I’m sad they mess with it on the chorus.
Choices: After this Phoenix she just keeps on repeating “I choose me” over one of the album’s lighter tracks. It ties really well into the whole idea of “Phoenix” I usually don’t really endorse the abundant use of interludes, but this is one that makes sense.
The Deep: I like hearing her singing beautiful lyrics over a piano, as it kind of serves as a reminder as to how unique her tone and approach to music are. This is just a really good song, no two ways about it.
Blackheart (Outro): So when the track began, I was thinking “Oh no Dawn, don’t go out on a whimper!!” Whomever produced this track, went IN. This would be what we call musical FLEXIN (said like Beyonce) !
Overall, I think this is a solid album. Like her other projects, it feels cohesive and sticks to her theme. I’m not sure that I agree with Dawn on this being musically risky, as it seems like she is safe and secure in the lane. I mean, good for her for having/knowing her lane, but nothing here is game changing or ground breaking in my eyes. There are times when I feel that the production is so heavy that her voice becomes secondary. Maybe that’s the point, but I think a great producer can take big beats and find a way to make the artist shine (see: Timbaland and Aayliah) She doesn’t need all the effects on her voice and I sometimes feel like she falls back on them like a crutch. Although, I don’t really see much growth musically for Dawn on this album, I still do like it. I think she brings something unique to the table and I really enjoy her approach to her craft. I’m guessing that since this only part two of the trilogy, it may be awhile before we hear Dawn branch out into a new sound. I totally think it’ll be worth the wait.
