entertainment

Snoh Aalegra: Legendary Love review – raw R&B talent restrained by reverence for the greats

Snoh Aalegra: Legendary Love review – raw R&B talent restrained by reverence for the greats

(Stem) Her truly remarkable, Sade-ish voice is hypnotic against some dizzyingly plush production, but a modern spin on 80s pastiche sometimes veers too close to tribute Swedish-Iranian singer Snoh Aalegra has previously described her music – a lush, pastiche-y mix of R&B, hip-hop, soul and pop – as “cinematic soul”. Sparse and warm, Legendary Love puts her androgynous, Sade-ish voice in dizzyingly plush environments: a hybrid of Afrobeats and 80s R&B on the hypnotic I Love You; a bed of minimalist guitars and moonlit synths on This That, which sounds as though it could have been produced by…

(Stem)Her truly remarkable, Sade-ish voice is hypnotic against some dizzyingly plush production, but a modern spin on 80s pastiche sometimes veers too close to tribute

Swedish-Iranian singer Snoh Aalegra has previously described her music – a lush, pastiche-y mix of R&B, hip-hop, soul and pop – as “cinematic soul”. But although she’s a dab hand at graceful, timeless presentation (and has a truly remarkable voice) Aalegra’s music has often struggled to match up to its aesthetic, hampered by her love of the greats and a penchant for broadly generic lyrics. Her most recent album, 2021’s Temporary Highs in the Violet Skies, made some headway toward carving out a more distinctive sound, thanks to sparky and inventive production from Tyler, the Creator, No ID, P2J and the Neptunes, but still didn’t quite feel like the right fit.

Aalegra’s fourth album is her most successful front-to-back statement yet, even if she can’t shake off the talent-show-ish reverence for her idols. Sparse and warm, Legendary Love puts her androgynous, Sade-ish voice in dizzyingly plush environments: a hybrid of Afrobeats and 80s R&B on the hypnotic I Love You; a bed of minimalist guitars and moonlit synths on This That, which sounds as though it could have been produced by Jai Paul.

For much of the first half of Legendary Love, Aalegra is clearly referencing artists like Dev Hynes and Wet, who put distinctly modern spins on 80s pastiche, and the approach suits her. But that promising start is let down, disappointingly, by Nothing Compares – despite production by Jimmy Jam and Terry Lewis – and Greatest of All Time, which sound like lesser tributes to Janet and Whitney. Aalegra herself is not that legendary yet – but she has more to work with than most.

  • aalegra
  • love
  • snoh
  • legendary
  • talent
  • reverence
  • voice
  • review

Summaries and tags are generated automatically. Stay informed with VidiaNews.

Related news

A lipsmacking journey from kisses galore to tears of despair – How Do We Find Love? review
lifestyle

A lipsmacking journey from kisses galore to tears of despair – How Do We Find Love? review

Sainsbury Museum and Art Centre, Norwich With some uplifting works despite a certain obviousness, this broad double-hander tackles the vast topics of love, smooching and the aftermath To quote 1980s soft rockers Foreigner, I want to know what love is. This big winter series tackles love in all its guises – and for now comprises two shows, one about smooching called The Last Human Kiss, another about desire and heartbreak called Ecstasy and the Aftermath.

Read →
War Requiem review – in the cathedral where it premiered, Britten’s masterpiece has lost none of its power
entertainment

War Requiem review – in the cathedral where it premiered, Britten’s masterpiece has lost none of its power

Coventry Cathedral Kazuki Yamada led the City of Birmingham Symphony Orchestra and chorus and soloists Christian Gerhaher, Andrew Staples and Olga Peretyatko in this monumental and moving performance of Britten’s towering work The premiere of Britten’s War Requiem as part of the consecration of Coventry’s new cathedral in 1962 left its German baritone soloist Dietrich Fischer-Dieskau “completely undone”. More than half a century later, some of the boy choristers from that world premiere were in attendance as the City of Birmingham Symphony Orchestra returned to Coventry Cathedral to perform…

Read →
Philharmonia/Honeck/Ax review – principal conductor designate gives a scorching taste of things to come
entertainment

Philharmonia/Honeck/Ax review – principal conductor designate gives a scorching taste of things to come

Royal Festival Hall, London With this programme of Strauss (Johann II and Richard) and Mozart – and Emanuel Ax the deft and lucid soloist – Manfred Honeck, who joins as principal conductor in 2028, gave an exciting statement of intent ‘I am a man of tradition,” Manfred Honeck, the Philharmonia’s new principal conductor designate, declared earlier this week in rehearsals. Conducting from memory, Honeck (a former violist) brought a decade of New Year’s Day concerts with the Vienna Philharmonic to bear on the sleek drape of the strings and the patent-leather gleam of woodwind, the elegance of…

Read →
Blackhaine: Saints in the Wethouse review
entertainment

Blackhaine: Saints in the Wethouse review

His Playboi Carti collabs may have dragged Tom Heyes out of the underground, but this bracing debut remains far from the mainstream, full of garbled barks and walls of noise On the second track on his debut album, Tom Heyes accuses lesser artists of copying him. Perhaps it’s true that others have been copying the approach that Heyes has minted under the alias of Blackhaine, but if so, it seems faintly remarkable, because his approach is so determinedly unique.

Read →
Victorian Psycho review – Maika Monroe has a blast in unsteady horror romp
entertainment

Victorian Psycho review – Maika Monroe has a blast in unsteady horror romp

The It Follows and Longlegs star tears into the role of a murderous governess in this hit-and-miss adaptation of Virginia Feito’s gory novel It’s not that hard to figure out why a lower-class woman toiling away in Victorian England would be so easily driven to violently murder everyone around her. As Winifred Notty (Maika Monroe) fills the frame in Victorian Psycho, heading to a new job as governess for a rich family, it’s easy to be on her side.

Read →