This album starts off with “Criminal”, and it’s a sort of hazy intro with a lot of those Psychedelic Rock influences that Miguel has always toyed with and shined with. I love all of the effects on Miguel’s vocals, and the way the very hazy beat works its way in. It’s certainly a little more straightforward than what Miguel usually pushes out. But there’s still that very starry-eyed, shimmering production, and Miguel’s very laid back and sexual style sounds so crisp over it. Hell, even Rick Ross of all people sounds totally comfortable and legitimately cool amongst this atmosphere. Miguel is just always pushing the limits of the R&B genre, and “Criminal” is no different. I really don’t have anything bad to say about this opening. The instrumentals are so vibrant and lush, and the atmosphere of this is just so inviting and interesting. Then we have “Pineapple Skies” which is one of the funkiest and most straightforward R&B tunes that Miguel has ever put together. It’s not nearly as genre-bending or adventurous as some of his early work, but it’s hazy and sleek, and really sums up Miguel’s style. I love the very glamorous and breezy production, and while instrumentally this is a little straightforward, Miguel’s very colorful and creative lyrics really make up for that. “Pineapple Skies” is sleek, funky, and if this is Miguel at his most “top 40”, count me in. “Sky Walker” on the other hand is a whole lot more cloudy and drugged out, which of course is only enhanced by Travis Scott showing up for a verse. But my lord do these two every have unbelievable chemistry. In this case, I think the more hazy production is actually really refreshing and welcomed. Miguel has such a swagger to him and always has, but rarely does it come out as much as it does here. It’s wonderful, and to be perfectly honest, even Travis Scott sounds like he’s right at home in this atmosphere. This is the closest that Miguel has ever gotten to a banger, but it’s still wildly colorful, sleek, and certainly funky. Up next we have “Banana Clip”, and I do have to give credit to Miguel. So far this has been a whole lot more accessible of an album, but Miguel is such an interesting figure that he’s done wonderfully. But his influences remain so vast and that helps his sound get so much more vibrant. I wouldn’t say tracks like this are as adventurous as some of his early work, which is a little disheartening. But I still think this is a really solid tune, which shows Miguel totally coming out of his shell and belting out some of his most incredible vocals yet. Not to mention, some of Miguel’s innuendos are seriously clever making for some rather steamy moments. But that’s what I’m talking about, when someone like Miguel puts in an effort and makes things less blatant, moments like this come off actually seriously steamy (I’m looking right at you Tove Lo). Not to mention, the hook on this one is gold, what a tune.
As this album rolls on Miguel starts to send us some real shots out of left field. Take for example “Wolf” featuring QUIÑ. This one has a great, creeping vibe to it, with almost an old-school Noire feel to it. It’s totally something new for Miguel, but it really works out for him. This easily could have come off so cheesy and almost gimmicky. But Miguel’s soulful, almost tortured performance is refreshing. Not to mention the way he brings in all of these wolf references is seriously creative, giving Miguel even more of a swagger and making him come off so dangerous in a sort of sexy way. “Wolf” is bluesy and incredibly steamy, and I love it. “Harem” on the other hand is a much more straightforward ballad which we honestly haven’t heard up until this point. Fans of Miguel’s earlier work may actually be into this a lot, the way the sort of hay production that dominated some of his earlier work is back. I love the soulful guitar licks and the jazzy drums that make for a seriously well paced tune. Once again though, I do have to comment on just how more adventurous his earlier albums have been. But for a much more straightforward Miguel, this continues to be seriously ahead of the curve. Also, it’s moments like this where he lets his vocals really go wild that I feel like Miguel knocks it out of the park. But there are just enough experimental and weird moments, like some of those distorted vocals towards the end that make this a real left-field R&B tune. Once again, Miguel is really making this more straightforward sound work. But Miguel does let his guard down with a few late album tracks. “Told You So” I haven’t been into since the first time I heard it honestly. This one brings in a heavy Synth Funk element the likes we haven’t really seen from Miguel. But I’ll be honest, I’m really just not into how synthetic the verses on this one are. I do like certain elements, like the catchy and anthemic chorus and Miguel’s vocals. But outside of that, there’s a lot to this track that’s a little awkward for me. At least in the verses, because like I said that chorus is seriously gold. But outside of that, I do feel like I have not nearly as much to talk about when it comes to this track, especially compare to other tunes here. On the other hand “City Of Angels” with it’s sleek instrumental right off the bat is brilliant. Now, this album has certainly been more political than usual for Miguel. But he’s done it in a very tasteful way that makes me really not mind it at all. Miguel’s performance on this one is warm and heartfelt. You just feel listening to tracks like this are very new for Miguel are close to his heart. I love just how pulsating this one is and how seriously intense the drums come off, making for one of the most epic tunes I’ve ever heard from Miguel.
“Caramelo Duro” brings back that Synth Funk vibe that we heard earlier with a vengeance. And let me tell you, it’s strong. However, all I have to say is COME ON. I feel like once again, the verses here are just so cheesy and awkward. And I’m not sure what the hell Miguel is doing to his voice for most of this tune, but I’m not feeling it at all. Outside of that, I certainly do have to give this one some credit. The funk is real, and my chubby ass us certainly up swaying. I think this much more funky side to Miguel is an interesting side to him that can easily go better in the future. Until then, this one just isn’t solid in my book. Which leads me to “Come Though and Chill”, featuring J. Cole. Oh J. Cole, we meet again. Let me just say that this track is so bad that I really had no interest in the rest of this album. J. Cole once again is just so lifeless in his performance as far as I’m concerned. He just sucks out the little life this track had. But I can’t place the blame completely on J. Cole because this instrumental as a whole is just so safe and bland. Even when Miguel pops in for this hook, this is a far cry from how pleasant and ambitious the rest of the album has been. As a matter of fact, the bulk of this tune is the reason that modern R&B is just so boring. There really isn’t a single silver lining on this one sadly. Now, when I heard the booming bass on “Anointed” I really wasn’t expecting to be into this one either. But Miguel’s adventurous side is really starting to come out in a big way. I love how Miguel here is bringing in some more of his eclectic instrumentals and some seriously sexy bars. All of the symbolism in this one is once again just so clever, sort of like what we heard earlier on “Banana Clip”. It’s just so creative and ends up being sexy as hell. Outside of that, this is by-the-books Miguel in the best way. His vocals are at their peak, the atmosphere is steamy, I have nothing bad to say. This album ends off with “Now, which sort of reminds me of some of the more Rock-oriented tunes towards the end of his last album. It’s got that very Flower Child and “Free Love” feel, things that Miguel has always toyed with. It’s just so awesome to hear him belt out these balls and ends off the album with so much hope and passion.
Rating: 8.4/10
Give A Listen To: "Criminal", "Sky Walker", "Wolf", "City Of Angels"
Genre: R&B / Alternative R&B / Neo Soul / Psychedelic Rock
Overall Thoughts: Miguel for years has been Alternative R&B's most adventurous and exciting act. And while at first glance this album may seem like an album that's a little more straightforward, Miguel is still just as wildly creative as ever. The tunes here are funkier and sexier than ever, which is saying something, because he's pumped out some pretty steamy material in the past. And on top of that, his clever songwriting and incredible vocals. While I do wish he brought in a little bit more of his lavish instrumentals and maybe a few more guests that fit his style, I think this is another truly unbelievable representation to why Miguel is the superstar he is.
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