What have I been doing during this radio silence? Well... cramming for a construction documents exam (I passed) and finding my way at a new job post (still hanging in after a few months now).

So far so good, but I thought I'd encapsulate what I've been doing outside of architecture, architecture, architecture recently, and not so recently. And what I liked...

Well, of course, "Suit and Tie" with the ricochet of the submarine radar pinging in two directions and the hyper extended falsetto calling you to pearly gates of heaven with blushing harp pulls.

"Pusher Love Girl" strikes a definite motown chord that D'angelo understood all too well.

Surprisingly, though JT shines vocally in "That Girl" and pulls off some unusual and ambient vibes in "Blue Ocean Floor",  in several tracks for 20/20 he is a kind of counterpoint to, rather than the groom on, the party  cake. Timberland's exotic "Don't Hold the Wall" - signature in sound but mature - is an almost purely instrumental production.

"Let the Groove Get In" stretches out - prog-pop tripped out on Afrodesia, making me reminisce fondly of my old jazz vinyls.

As the titular pop radio single, "Mirrors" just leaves me competently bored, but even when the rest of the album gets smaltzy with "Strawberry Bubblegum" or the lyrics verge into cheesy territory, I'm still in.  Not just sexy but classy is back.


Miguel is the sweet spot between Frank Ocean's intimate and introspective melancholy, as well as the serious post-modern channeling of Prince and pre-Nirvana rock of the 80's and 90's. He doesn't get too precious with the source material, or stray too far into surface ruminations on the past (a kind of post-"Burial"-ing quality many artists have been chasing).

I won't do a play by play, but this album is seriously good. Miguel has a keening quality and virtuosity to his vocals that, when paired with the unexpected grittiness of the music, give the tracks a kind of sad grandeur, and make him, as a persona, a bit inaccessible, albeit working in his favor. I appreciate the breadth of ambition in the emotional scope and storytelling that is happening on this album, again a welcome kind of throwback.

R&B is having a nice moment right now, not too retro and reverent, not too hazily ironic - just enough sincerity to make you a believer again. I've been predicting this hot run ever since R. Kelly held up the torch, so let's just see what happens shall we?


Meanwhile... WTF, right?  Since we're on the subject of nostalgia... Apparently, the Daft Robots have been thinking of the past too, and in terms of their own oeuvre even, and furthermore, to the benefit of a certain audience of a certain time period, namely me, who hoped that "Human After All" was maybe a fluke, and that Daft Punk had not abandoned their fans to pursue the more enviable position of rock/hip-hop legitimization to its logical mainstream conclusion.

After the recent documentary blitz - in which Moroder, yes, MORODER, pre-humously eulogizes Daft Punk in an egregiously unabashed way usually reserved for the likes of Stockhausen...

And after the Coachella teaser of Pharell - crooning over the funk of Nile Rodgers, jamming out in front of what appears to be the Daft Robots - playing, respectively, a Lucite organ and Lucite guitar - helmets and sequined tuxes ablaze in sparkle flares, like any decent electro-disco band with vocodor choruses should...

I worry no more. Daft Punk has got my happy fuzzy memories well covered, I'm pretty sure. Nowhen in history has a 15 second clip of music caused so much attention. No. When.


Conversation for another day:

When I get a chance, I'd like to discuss the Rap Lady Renaissance that seems to be sharpening an edge.


Books I really liked:

Wool - Hugh Howey
Down Below Station - CJ Cherryh

Restaurants I enjoyed:

Usagi, San Mateo - yoshoku-ya
City Smoke House, SF - Everything is great here - unctous pulled pork, smoky baked beans - but by god, the chicken...