There’s this series of burning question I ask myself each time of
We could, of course, beat around the bush, write a two-page review about how it sounds and how Barnes is one crazy cupcake. About how False Priest really manages to be sexy and funny, put a smile on your face each time that cupcake pens another lyric about love-making, lyric that will be sang in a blasé or high-pitched voice and that will charm us even when the reverbs are off the hook. How the piano is bubblier than Robby Bubble. How the little pink cupcake is still, inevitable, a depressed and miserable one because glitter is not the answer to everything. And how, just as inevitably, the cupcake drowns in melancholia and sadness disguised as overly-dramatic pianos, movie references and whispered lyrics.
Or we could just draw the line and say that Barnes doesn’t really want to change his persona. That tongue-in-cheekiness, funk, groove and strange arrangements are all here, present for the party. Well, I think the first one is here, maybe Barnes disapproves. That, no matter how rough the guitars get the disco ball still lights the room in which Barnes dances to 70s-pastiche tunes. That even if they go and have a duet with Solange Knowles, of
Yes, of
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