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Alternative & Indie - Released June 28, 2016 | Domino Recording Co

Hi-Res Booklet Distinctions 4F de Télérama - Pitchfork: Best New Music
Devonté Hynes' genre-hopping career has been nothing if not an exploration of identity. So if Hynes' time with Test Icicles represents early teenage angst, and Lightspeed Champion is the melancholic bewilderment of the early twenties, then surely Blood Orange is the assured, almost full-blown, adult? Not quite. Although the quest for personal discovery never truly ends, there comes a time when we stop looking inward and begin to question our place in the wider picture, fraught with injustice, prejudice, and peers who are just as lost. The struggle with identity and its interaction with the world is perfectly captured within the 17 tracks of Freetown Sound; often confusing, with multiple overlapping thoughts, the album charts a parallel course through Hynes' personal reflections on race and gender, and his impetus to call out the obstacles shared by all those who consider themselves outsiders. Hynes' reflection is far-reaching, going all the way back to the capital of Sierra Leone's complex history -- where his father was born -- for its thematic roots. The complex tapestry is woven from the present, though, "Augustine" being a fine example of this as Hynes discusses his parents, his current situation, and the effect that Christianity has had on all of their lives. He quotes Saint Augustine, references Trayvon Martin, and even sings in Krio toward the end; that's all achieved in less than five minutes. Considering that the album clocks in at around an hour, it's easy to imagine the overall density. There are so many ideas, guest appearances, and samples that Hynes transcends the concept of a personal record; Freetown Sound is the closest you'll get to being Devonté Hynes' mind, body, and soul. Such a complex experience makes the first listen challenging; the first half of the album swims past in a woozy, yet harmonious, deluge of expressions, thoughts, and feelings. Initially, latching onto something concrete proves difficult, but around halfway the picture becomes a little more focused. "Hands Up" and "Hadron Collider" mark the change; the latter track, with its standout guest vocal from Nelly Furtado, shines in particular. There are so many collaborators here, but none really stand out like Samantha Urbani or Skepta did on Cupid Deluxe. They instead seem to represent the circle of influence and influencers present in Hynes' life; there's always been an argument that identity is a reflection of the company you keep. The number of guests present, whether with full vocals or just short clips, only goes to show how far Hynes has expanded his sphere in the last three years. The record is so personal that the only one able to understand every layer is Hynes himself. As a result, Freetown Sound can come across as weighty, indecipherable chaos to some. But for anyone who can relate to him on some level, it's hard not to be in awe of a man as complicated as Devonté Hynes being able to compose such an insightful, personal experience. ~ Liam Martin

Alternative & Indie - Released November 18, 2013 | Domino Recording Co

Distinctions 5/6 de Magic - Pitchfork: Best New Music
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After debuting his new project Blood Orange with a fairly straightforward chillwave/electro-pop album full of hooky, sexy songs that worked like a collection of great singles, Dev Hynes returned with a second album that was anything but straightforward. In fact, Cupid Deluxe is something of a hot mess. It's unfocused, sprawling, and so full of ideas that it never seems to settle in one place for very long, jumping from laid-back EDM pop to soft rock with sax balladry to '90s New Jack Swing to bleary hip-hop and back again. While it doesn't make for a smooth listen from beginning to end, Hynes and his expanded cast of collaborators (who include the ubiquitous Caroline Polachek of Chairlift, Friends' Samantha Urbani, Dirty Projectors' David Longstreth, and Clams Casino) hit enough highs to make the album worth trying to figure out. Even if one never does truly figure it all out, there is enough graceful melancholy and tuneful sadness on display to make the album a bracing, late-night listen with plenty of songs that will stick around in memory banks and on breakup mixes. The songs that work the best are the most focused, like "You're Not Good Enough," the jumping Afro-pop disco jam "Uncle ACE, and "Always Let You Down," where Hynes doesn't let the soft focus arrangements get in the way of the melodies. His oddball sonic choices, like huge-sounding gated drums, '90s TV theme keyboard settings, and Polachek's showy warbling also don't usually get in the way, though "Chosen" might give anyone who doesn't worship at the altar of Phil Collins some seriously queasy feelings. And "Time Will Tell" comes off like an unholy blend of Bruce Hornsby and mid-period Prince thanks to some stately piano and squirmy sexual come-ons. Some of his choices are fairly brilliant, too, like how "Clipped On" is a brilliant mashup of Naughty by Nature and PM Dawn, or how "On the Line" takes the electro-pop of the previous album, feeds it through cheap Casios and too many Seagram's Coolers, then ends up with the most emotionally powerful song on the record. It also features lovely vocals from Urbani, who proves to be the ideal duet partner for Hynes since her sweet croon matches his perfectly. In the end, the album's head-scratching moments are outweighed by the near-brilliant ones, those weird juxtapositions of styles and oddly emotional times that make everyone from Solange, Basement Jaxx, and Britney want to work with Dev Hynes. He's an artist with ideas and while they sometimes pile up and crash on Cupid Deluxe, it's always a spectacular crash, and that's something worth investigating. ~ Tim Sendra
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Alternative & Indie - Released August 24, 2018 | Domino Recording Co

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Two years after the release of Freetown Sound, Dev Hynes a.k.a. Blood Orange signs here Negro Swan. The British artist, who lives in the U.S., returns to the soft R&B of the 90's with smooth productions, slow tempos, sugary vocals and brass instrumentation, as well as daring to inject some soul. Hynes certainly sets the bar high when it comes to featurings. We find ASAP Rocky and Project Pat on the syrupy Chewing Gum, and Puff Daddy and the gifted producer Tei Shi’s crystal voice on Hope, forming the two high points of the record. Steve Lacy from The Internet also comes to join the party for Out Of Your League, as does the unclassifiable and underestimated Georgia Anne Muldrow (Runnin'). A true extension of its predecessor, Hynes tells us that this fourth opus is “an exploration of my depression and the other forms that depression can take. A sincere look at the existence and persistent anxieties of queers and people of colour". A well named album then. © Charlotte Saintoin/Qobuz

Alternative & Indie - Released July 28, 2018 | Domino Recording Co

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Alternative & Indie - Released June 2, 2014 | Domino Recording Co

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Clocking in at just under 30 minutes, Test Icicles, Blood Orange, and Lightspeed Champion mastermind Devonte Hynes' largely minimalist score for the largely minimalist coming of age film Palo Alto feels a bit paltry for a full-length release, but there's no denying its hypnotic effect on the listener's psyche. Directed by Gia Coppola and based on a collection of short stories by thespian James Franco, the film follows the lives a group of alienated California high schoolers, and Hynes' largely synth-based, ambient pop-infused score does a nice job evoking the dense prescription drug- and media-driven miasma that hangs over the head of the 21st century teenager. Built around the hazy title track, which feels like it belongs in the piney Northwestern forests of David Lynch's fictitious Twin Peaks as much as it does Southern California, the 18-track set works better as a single mood piece than it does a playlist-ready batch of singles. Listeners looking for a more pop-centric collection of Palo Alto-related material would be better off picking up the non-score version of the soundtrack, which features Hynes' evocative title cut, but also includes songs from Rooney's Robert Schwartzman, Mac DeMarco, Tonstartssbandht, and Coconut Records, the latter of which is a pseudonym for actor/rocker Jason Schwartzman. ~ James Christopher Monger
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Alternative & Indie - Released February 16, 2018 | Domino Recording Co

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R&B - Released July 28, 2018 | Domino Recording Co

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Alternative & Indie - Released October 27, 2015 | Domino Recording Co

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Alternative & Indie - Released September 13, 2013 | Domino Recording Co

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Alternative & Indie - Released April 10, 2014 | Domino Recording Co

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Alternative & Indie - Released August 23, 2018 | Domino Recording Co

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Alternative & Indie - Released November 27, 2018 | Domino Recording Co

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