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[ATLien]

She hasn't done anything as edgy as the what about us video since then. She got me so excited that this would be a thing moving forward. Because her voice is unusual and her style is different All of her videos need to be edgy IMO.

not to mention kwee was kinda born to give edgy, high art editorial teas

[ATLien]

well got damn deserved.

she actually took so many risks with this alber and was so ahead of her time.

"What About Us" def had me like    when I first heard it cuz I never heard anything like it before

but once u got it, u fuckin GOT it

Can we talk about this for a minute??? Super ahead of her time for the album and especially with that lead single. It worked out so well but huge risk

 

the dark edgy vidya

dont PLAY wit ha

And ACTUAL. No understatement nor faux edge.

 

[L0NZ.]

Im gagginggggggggg

The introduction to "It's Not Worth It," another exploration of post-love confusion, begins with quintessential, multi-part Brandy harmonies, before a brief twinkle of Y2K computer noise bleeds into strings, a voicemail, and Michael Jackson's own lilting falsetto (Jerkins, in a full-circle moment, was going between Jackson's studio for Invincible and Brandy's in Miami while making Full Moon. When Brandy finally met Jackson, she fainted). On first listen, these first 45 seconds sound like self-indulgent throat clearing. But then the actual song starts. A woosh of pitterpatter drums builds to a chorus that somehow throws open the windows and invites in everything we were teased with at the start, violins and glowing keys and MJ and Brandy's voices swirling together in a gust of pleading and disappointment (there's a beatboxed bridge, too, but I won't even get into that).

This maximalism wasn't only the approach to back-half album cuts. Just listen to the brash drama of lead single "What About Us?", a supernova of cascading synths and stuttering drums that inflames Brandy's festering resentment. Her voice seems to be both fighting against and emerging from the music itself; on the call-and-response second verse, she layers herself on top of the instrumental melody, becoming one with the machine. Or the blistering, dizzying "All in Me," maybe the album's most audacious concoction, with an arpeggiating grouping of keys, violins, guitar, and harp exploding, halfway through, into a frantic doubletime sprint, only to slow down just as fast, Brandy's straining vocals stretching across tempos like an extended exhale.