The first time Amaarae picked up the microphone, she was trying to be a rapper, not a singer. She pursued that calling for a few years, collaborating with a producer cousin who eventually had to deliver a hard truth: While the Ghanaian American musician wasn’t that good as a rapper, her lilting voice — and its Auto-Tune-like birdsong — could probably make her lyrics shine as songs.“He was basically like, ‘You suck in this one way, but here’s another way you might not suck.
Amaarae’s soprano pitter-patters across her sophomore album, finding pockets of air over percolating productions that draw on diasporic grooves, scintillating synthesizers and bubbling bass lines. Like many artists her age, the 29-year-old cannot be pigeonholed by genre, like when gentle guitar ballad “Sex, Violence, Suicide” erupts into a punk kiss-off reminiscent of the early-aughts New York scene.Amaarae was born in the Bronx but raised between Atlanta; Mount Olive, N.J.; and Accra, Ghana.
“What spoke to me was everything, from her style, to the color of her hair, to the timbre of her voice, to the heavy rock influences in her music,” Amaarae explains. “Kelis is the quintessential alternative Black girl. We’re all modeled after Kelis.”“Fountain Baby” song “Princess Going Digital” sounds like Amaarae’s take on a turn-of-the-millennium Kelis track, and several moments on the album recall that singer’s chief producers, the Neptunes.
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