And though she delivers groan-worthy lines about “circle of life” (in the we’re-all-intertwined theme of “Entanglement”) and joyfully calls for a waterfall to “Do some crashin’ down on me!” (on “Waterfall”), the vibe is sincere and the music is an alluring subset of jazz driven by her powerful voice. The jaded among us might find it difficult not to scoff at Stone’s delight in all things Earth. The cadence from these exotic rhythms is irresistible as Stone dives into soft themes about the environment – “be careful of our footprint,” she sings in the horn-buffered opener “Mama Earth” while her voice arcs into ecstasy in the rumbling strains of “Spring” (where she sings, “Spring has sprung on me!”). Stone, drummer Jonathan Joseph, guitarist Nitin Sawhney, keyboardist Jonathan Shorten and multi-instrumentalist Etienne M’Bappe built their sound on Cameroonian rhythms the Mangambe and the Bikutsi. The release is fittingly entrenched in world music. Instead, she’s earnestly employing those still-soulful pipes on behalf of our planet on the act’s new “Project Mama Earth.” The now-30-year-old Stone isn’t singing about boys anymore. Her rocket to fame was short-fused, as those kinds of things usually are, but rather than crash to Earth, Stone has settled into a nature goddess role as lead vocalist/lyricist for the collaborative act Mama Earth. Rihanna playfully ricochets in the percolation of “Lemon,” Future careens through the jittery strains and shout-along chorus of “1000,” and Kendrick Lamar appears in the speed-rap “Don’t Don’t Do It!” and again, with M.I.A., on the pulsing/prodding “Kites” (“We unite through the chaos.”) And Andre 3000 is most charismatic of all, leading the gleefully frenetic “Rollinem 7’s.” The 11 tracks of “No One Ever Really Dies” are largely inaccessible to mainstream radio, so don’t expect to be spoon fed conventional hooks.įeatured vocalists do their part as ambassadors of the N.E.R.D.
#Pitchperfect toxic plus
– songwriter/producer Pharrell Williams plus Chad Hugo and Shay Haley – doesn’t even try to meet its audience halfway. If you’re not feeling engrossed by it, or at least mildly hypnotized, you’ll likely be irritated. “No One Ever Really Dies” often lingers in minimalism and repetition, falls apart in deconstruction and yields to jarring twists. Yet that vibe will be elusive for some listeners.
Those open to the experience will be absorbed into N.E.R.D.’s otherworldly atmosphere, an electronica/hip-hop fusion heavy on reverb and serious about fun, replete with top-shelf guest vocalists who are clearly feeling the vibe. Naturally the highlight of the soundtrack is the traditional “Pitch Perfect” riff-off, a rapid-fire mashup by many of the film’s performers, and on “PP3” the challenge includes snippet revisions of Lenny Kravitz’s “Fly Away,” Ariana Grande’s “Love Me Harder,” The Cranberries’ “Zombie” and Kelly Clarkson’s “Stronger,” among others. The latter offers a stellar cover of Elle King’s “Ex’s & Oh’s.” Our heroine choir – aka The Bellas – appears on the soundtrack with playfully inspired covers of Britney Spears’ “Toxic,” Sia’s “Cheap Thrills,” Flo Rida’s “I Don’t Like It, I Love It” and DNCE’s “Cake by the Ocean.”Īnd although the rival male choir The Treblemakers from “Pitch Perfect 2” aren’t back for “3,” bands (with instruments!) fill the void, including the generic, fictional all-woman group Evermoist and the band Saddle Up, played by real bluegrass group Whiskey Shivers. However, at this point with “Pitch Perfect 3,” the novelty is gone.
#Pitchperfect toxic movie
The movie series, which launched with the first “Pitch Perfect’ in 2012, revolves around a cappella singing – an unlikely premise for a breakout film, but the preceding success of the TV show “Glee” made it seem worth the risk.Īnd the gamble paid off with “Pitch Perfect’s” themes of women-centric empowerment (spearheaded by star Anna Kendrick), humor (most notably from star Rebel Wilson) and especially the oddly satisfying feeling of hearing favorite popular songs reinterpreted into sparkling remakes by a cappella choirs in competitive formats.
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