Text in englischer Sprache verfügbarFollowing Emily King's auspicious Grammy-nominated 2007 debut, East Side Story, the singer and songwriter underwent a period of creative growth that saw her move away from slick R&B toward a more sophisticated indie soul sound, which manifested itself on her self-released sophomore album, 2015's acclaimed The Switch. A later deal with ATO Records continued to showcase her mix of elegant popcraft and deeply nuanced arrangements, as heard on Scenery, released in 2018. Born in New York City in 1985, King was exposed to music at a young age, often traveling with her musician parents, Kim Kalesti and Marion Cowings, a respected jazz vocal duo. By the time she was 16, she'd left school, earned her GED, and started focusing her efforts on singing, writing, and cutting her teeth in classic Manhattan venues like CBGB and the Bitter End. In 2004, King signed a deal with Sony imprint J Records and made a guest appearance on Nas' album, Street's Disciple, which was produced by famed Bad Boy Entertainment production team the Hitmen. One of the Hitmen, Chucky Thompson, went on to produce King's 2007 debut album, East Side Story, which proved to be a breakout release, earning her a Grammy nomination for Best Contemporary R&B Album of the Year. Tours and opening slots for major acts like John Legend, Alicia Keys, and Erykah Badu followed, even as King's J Records tenure ended in 2008. Moving out of the major-label system opened up new creative opportunities, and over the next few years, her music underwent a shift toward a more soulful and sophisticated pop sound. King's classy 2011 EP, Seven, paired her with producer Jeremy Most, who would become her primary collaborator in the years to come. European tours with Maroon 5 and Emeli Sandé followed as King continued to refine her sound with singles like 2012's "Ordinary Heart" and 2014's "The Distance." In 2015, King finally returned to the album format, releasing her sophomore LP, The Switch, via her own independent Making Music label. Co-produced and written with Most, The Switch cemented her transformation from the slicker mainstream R&B of her debut to the more elegant pop and soul of her later singles. Signing with ATO Records, King returned in 2018 with the singles "Remind Me" and "Look at Me," which led to the release of Scenery early the following year. King and Most recorded the album in a studio they built in the garage of their Catskills home. The track "Look at Me Now" from the album went on to receive a Grammy nomination for Best R&B Song.
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R&B - Erschienen am 1. Februar 2019 | ATO Records
Emily King's obstinate fortitude merits almost as much high regard as the music she makes with recording partner Jeremy Most. Signed to a major label in 2004, she didn't release her impressive if artistically restrictive debut album until three years later, and within a year of that was dropped despite being nominated for a Grammy. Only an EP and one additional LP followed through 2017, the year King struck a deal with the Universal-distributed ATO, a haven for other classification-defying singer/songwriters. Scenery was made in a studio King and Most built in the garage of their new place in the Catskills, a couple hours north of King's native New York City. It refines the seemingly instinctive and contemporary hybrid sound of 2015's The Switch with more mature pop informed by traditional singer/songwriters, classic R&B into the post-disco era, the high-tech end of mid-'80s Top 40 radio, and even a little gospel. All elements are recombined while being neither overtly retro nor wholly allegiant to anything other than durable songcraft (with the occasional sonic flourish). King's voice remains assured and soft, like she's confidently revealing secrets in the most expressive way possible, without disturbing her neighbors. This time, there's a little more grit and swagger, and frequently there's a sense of resolve that comes through even when not indicated lyrically. Much of the album regards an ex and a new mate. The springy "Can't Hold Me" addresses both while delivering a knockout blow to the former -- "Thought you were my only love, but I found someone with the perfect touch" -- yet it's ultimately about self-reliance. "Look at Me Now" contains a series of flip, elegantly delivered taunts like "Did you keep all the records? Do they sound good without me?," mixing joy and spite reinforced with lively xylophone and lancing Brian May-style guitar. She's similarly facetious in the gradually swelling "Forgiveness," sorry-not-sorry for the untimely texts and incidental physical contact. There's true remorse beneath the surface of the next song, "Running," which is actually kind of floating as she yearns to forgive and accept herself. By "2nd Guess," she's free, lost in a sudden romantic diversion, attesting before sheets of noise evoking blinding sunlight that "Life is always sweeter when there's no regrets." © Andy Kellman /TiVo