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Price Brings Melanin Celebration With Debut Solo Album “CLRD.”

Although the provision of a dense concept album with meaningful lyrics and production from the likes of Boi-1da would seem out of place for a novice solo artist, don’t let the short discography fool you. California native, Price, has been spending ample time finely tuning the skills we would come to witness in CLRD.

From his 2009 signing to Interscope Records as part of the prolific duo, Audio Push, to his successful collaboration with Pink Sweat$ for the soundtrack to HBO’s Insecure, this has been a long time coming.

With this in mind, it seems fitting that CLRD. takes place in the context of a school day, as we find the unique lyricist eschewing mainstream braggadocio raps, in favor of his plans for maturation. On “RUMORS” we get a succinct vision of his self-esteem, as he prioritizes not the way in which others perceive him, but the innate integrity of his acts.

As the album’s second of eight tracks, it helps establish a motif of Price recognizing that life as an up-and-coming rapper is far from insulated from systemic societal flaws. Recognizing his place in society as a rapper, a male, and especially an African-American, is in essence the lesson he acquires throughout his “class”.

Despite the recognition of arbitrary roadblocks he knows are likely to stand in his way, Price shows no sign of diminished ambition. He still aspires toward love and social prosperity as evidenced by “WATERMELON”, wherein he reckons with the struggle of trying to be a king in society, while also telling a female love interest “I know what’s seen I helped you unlock your inner queen”.

Even with the brief trip from “RUMORS” to “WATERMELON”, and in turn from “WATERMELON” to the end of the album, Price doesn’t waste a moment. He stresses every syllable just as he stresses his rhetoric of confidence in the black community, until the album’s end, “TUSKEGEE”, where he asserts, “Stop. Black man, know your worth.”

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François Marius and Bérénice creates a tender acoustic pop confession with “Billie Jean”

François Marius’ latest release, “Billie Jean (Acoustic Version),” cuts to the quick and lets raw emotion take over. What you get, ultimately, is a personal pop experience that feels closer to a secret than to either a spoken-word show or a performance. The initial soft strum of an acoustic guitar creates a mood that is soft, sweet, and quietly interesting. It’s a full-throated, backbones-out piece, and every note is screaming its potential. It’s simple but riveting, and it proves that sometimes less is more.

François Marius and Bérénice’s voices sound right together, their voicings intermingle so naturally that they seem accidental or spontaneous, harmonies that emerge from nowhere. The way they speak to one another is very, I mean, they really love each other. That even makes the track seem like a conversation about feelings.

The two artists are clearly close. Romance and Eros are not just ideas, and they inhabit every note that lingers and every minuscule shift in tonality. The harmonies soar effortlessly over the acoustic foundation, a blend of sweetness and strength. It’s a sign of strength and also of a willingness to be hurt.

“Billie Jean (Acoustic Version)” is stripped of any fancy production or theatrical effects, it wins you over with its frankness and forthrightness. Sandy François Marius’s impersonation is fresh and real, endowed with depth and softness thanks to Bérénice’s presence, which definitely makes everything more perfect. This acoustic performance serves as a stark reminder of the elements that do connect people: the singer, his guitar, and a story from the heart.

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RoHaNa and Morpheus von Dobenhausen paint love in shadows and light “WHEN A BOY LOVES A WOMEN”

RoHaNa feat. Morpheus von Dobenhausen, in this new release, “When a Boy Loves a Woman,” This track, recorded in winter, has a hint of gothic style that blends emotional restraint with atmospheric elegance. The track is all about RoHaNa’s emotional singing, which fits perfectly with the carefully crafted production. Her voice shows desire, weakness, and dedication without being too loud, letting each note ring out. The result is a sound that affects people on a personal and universal level. There is a sense of innocence that permeates, capturing the delicate nature of love in its purest form.

Morpheus von Dobenhausen is a guest singer who deepens the track’s emotional journey. Their voices work together to make a conversation of feelings that is both clear and mysterious. The song doesn’t go too fast, so the listener can feel the mood and atmosphere as they go through its subtle changes.

“When a Boy Loves a Woman” is unique because it strikes the perfect balance between modern pop and gothic restraint. The result is a soundscape that is both creepy and easy to listen to. It is a moving story about love and devotion, told with grace and quiet strength.

With this first release, RoHaNa confidently joins the scene, thanks to XanadumusiX’s never-ending creative drive, even when things get hard in the winter. This release not only introduces a new artist with significant potential but also showcases a bold artistic direction in which emotion, atmosphere, and story come together to make a lasting impression.

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