Toni Braxton is enumerated by her affable demotic singing, has exalted decades of musicking. Her contralto voice’s sentito maudlin vixen archetype has metamorphosed from overtly sexual overtones into an amalgamate of brioso primrose melodies that limn refinement in contemporative womxnism. Ms. Braxton’s new album “Spell My Name” divulges into mixed genre artistry that is evolutionary in r and b music. She is ingenious in developing giusto using monophonic textures accompanied by adroit rhythmic constitutions that accompany her as a backwoods jazz band of the 20s in the Mississippi Delta. Toni’s poise is expressed with equanimity that cascades her antecedent musings of the 90s into a luxuriant locution of love, confidence, lust, and seduction. I commend her for her artistic development. Spell My Name is Ms. Braxton’s next voyage into creative diverted that is exquisite and vastly leaves you wanting more.
“Fallin” and “Gotta Move On” are enthusing as they are beguiling. Both are wonderfully reminiscent of soul music. “Fallin” is a pensive cantabile carol with facile accompaniment. Fallin is an atypical melodrama of the attestation of love. While colloquial as a chanson, a troubadour may be onerous in Braxton’s songs contextually as they are too suggestive. Braxton’s poetry’s nuance is subversive as it affirms the pressing need for observance in all manners of love, you watching you and watching your significant other. Not redolent as a blazon distrust, but to leave no stones unturned in techniques of true love. “Gotta Move On” is an adverse strophe accompanied by an understated bass ostinato and a calculable drum beat. This lucid accompaniment enroots the rich melancholic vocals. The purpose of this song of each song is to be an independent thinker and lover. Humanists are tainted with the concept that we must cater to masculinity as the divine provider of our existence. It is presumed that womxn must cater to the nature of masculinity of their male counterparts. To be subservient does not require you to accept preposterous behavior. Nor should you ever be subservient. Down with all conventional thinking.
“Long as I Live” is a torrid berceuse cupola of Braxton style; a guttural whisperpop, The elusive voce begets an apex of cathexis reverence, a ballad of adorned esteem. It is as beautiful as it is unvarnished. With sultry singing, resplendent homogeny, and unfolding lyrics Toni Braxton encapsulate the listener. “Saturday Night” is so emollients it is pervasive reprovisioning Braxton’s whisperpop sensuality. While not Greensleeves in nature, the song conveys the lust of a woman without implications of desire. With all the pop and rap music are as pervasive as an ancient harem, Ms. Braxton accentuates lust in a beguiling manner of passion likened to bedroom eyes. “Happy Without Me” is an affannato bel canto, with vivid self-learned lessons of love. , We divulge into self-attainment and the true nature of happiness, the enlightenment of the highest self; learning to love and releasing all things that no longer serve you for your betterment. “Happy Without Me” is true happiness. Nothin is a 60s soulful sound utilizing piu piu effects that diminishes into a pointed conveying histrionic piece. The guitarist accompanist is as dolce as Ms. Braxton’s voice with a sophisticated piquant approach as though they are singing on par. The chordal progressions are simplistic, yet the lyric and melody are virtuoso with undertones, deep love sentiments germane with Toni’s head voice!
“Over” and “Spell My Name” are the most contemporary song on the albums. Evince yet fettered both songs are foment with Spell My Name being more ribald. Over is in a minor key builds tension with 7th chords. Braxton delivers cascading vocal variations concerning rhythm and melodic contour. Her approach in “Over” is distilled with piquant phrasing and expressive articulations. This new paradigm is a shift from the 90s of obtuse melismas into equable serenity. “Spell My Name” leads Johnny Yukon’s sweet innocence in contrast so well with Toni’s strong voice. Toni utilizes excellent strength in this song to intentionally divergent to the leitmotif of Yukon’s vocals and creates a vortex of lustful banter, particularly when we get to the humoresque spelling of her name, which is exhilarating. With her flawless crescendos and decrescendos, Toni will sell this song quite artfully. “Dance” is a rococo Amabile dance ballad with acute vocals pinning as a macaw with an almond. The track denuded melody allows the backing’s guisto synchronicity to cascade as a drum major on parade or more like a majorette.
I always attune myself to believing that Braxton’s albums will be big vocals, melismas, and overtly sexual overtones. It is clear that her music has aged like fine wine and relies on subtleties rather than notes’ complexities. It is aromatic by the aging of time olde speech that refines itself in barrels of thoughts that transpire our love language, how to love, and most importantly, how to be loved. She leaves you wanting more while being fulfilled in your thoughts of who you are regarding love. So what are your though on “Spell My Name?” Leave your opinion below.