Miguel
War and Leisure


2.9
good

Review

by Arcade STAFF
December 4th, 2017 | 20 replies


Release Date: 2017 | Tracklist

Review Summary: I came to set you free.

I don’t want to condescend to Miguel as a black artist by generalizing his influences, as his live performances just as well fuse ‘70s cock rock theatrics with early ‘80s synth funk pomposity, but the most analogous historical comparison to War & Leisure is Marvin Gaye’s What’s Going On; a political, sexual, musical revolution, equal parts statement and soulful pop music. Although only tangentially linked to Gaye’s previously well known lyrical tropes, What’s Going On successfully redefined him as an artist when Motown wanted hit makers; with that album though, Motown got both, and Gaye didn’t have to compromise what he stood for, or what made his music appealing in order to do it. It’s still a standard reference point for politically flavoured pop albums, and it’s informed as much Miguel as it has music in general in adopting a sympathetic, quiet, and graceful anger towards world affairs. Which is a roundabout way of saying: the putting together of War and Leisure is not a new concept.

So, Miguel’s War & Leisure, ostensibly a riff on his sexualized lyrical matter and its placement next to modern end-of-days anxiety, isn’t covering a concept that is at all new, exciting, or at all very sexy. Part of that isn’t necessarily Miguel’s fault, as ‘Donald Trump’ increasingly becomes a catchall crutch for the inarticulate, along the lines of ‘Ronald Reagan’ or ‘Governor Schwarzenegger.’ But then to forgive Miguel entirely for wanting to make a political album comes with some implications; namely, that those lyrics encapsulate the thematic scope vaunted so heavily in the promotional and press material, at least, enough to justify the imagery. It’s debatable whether or not War & Leisure does that; “Shockandawe,” a promotional single since dropped from the final version of the album, was probably the most political song Miguel’s released, but was also musically meandering and limp. And so War & Leisure, in betraying the entire point of its existence, is better off, although nevertheless tethered tangentially to an incoherent political motivation that hamstrings Miguel seemingly all of the time.

Where War & Leisure does see some success is in its embrace of pop immediacy. Were it fused subversively to politics, it might have been Miguel’s best weapon; instead, it serves to reinforce his already serviceable songwriting techniques. At times, the elastic, processed bounce of the synthesizers recall Bruno Mars’ 24K Magic, which isn’t necessarily an indictment of quality but a curious redefinition of Miguel’s sound. The best example of that is “Told You So,” a vaguely apocalyptic and funky jam, which could do worse than to slot into pop mainstream territory; other songs, like “Pineapple Skies” and “Banana Clip,” though less successful, follow a similar trajectory. There are lines about North Korean nuclear proliferation and pre-Armageddon sex, but they mostly take a backseat to the oomph, clap, and pop of the backing track. It’s an interesting fit for Miguel, whose flirtations with Prince’s spectre motored Wildheart’s guitar theatrics dirge and now overpowers the funkier, superficial songs that are War & Leisure’s highlights.

The worst part of War & Leisure doesn’t belong to Miguel, who manages to stay above the fray for most of the album even as he conflates a meandering stance toward political activism with his brand of sexual healing. In keeping with his recent decline into full-throated pomposity and stupidity, J. Cole chews the scenery on “Come Through and Chill,” a laid-back, boss nova R&B trip that paints the romantic scene of phoning an ex-lover for sex because it’s raining, delivering an out-of-place, completely unsubtle, obvious, and turgid set of lines that name Colin Kaepernick, Donald Trump, and ‘the ones that got the pigment.’ The tasteless references to Keapernick are well worn here: Rick Ross also clumsily invokes black protest in sport on “Criminal,” and rhymes it with a line about rare selfies. It would be the worst line on the song if Miguel didn’t base the entirety of it on a Columbine simile. This isn’t sophisticated or nuanced discussion as much as a bludgeoning and forced angle to set it apart from other Miguel albums.

Which is odd, because Miguel doesn’t need to be gimmicky to present his albums as solidly different or incomparable to the one preceding it. I don’t want to sound clichéd or passé in saying that; most will agree that Kaleidoscope Dream doesn’t sound too much like Wildheart, and both albums debatably point towards a nadir in Miguel’s career. The same is true of War & Leisure, which musically directs towards a sort of invocation of hair metal, fashion-over-substance sexiness, riddled with cloudy melodies and bolts of synth plinks and polished guitar riffs. That sound is perhaps more recognizable in Post Malone or Lil Uzi Vert, who give the music a sort of gentrified pastiness and bratty youthfulness, respectively. Here, it’s moulded a lot more tastefully, although nevertheless presented weaker than the last 2 Miguel albums. Gone are slowly unfurling jams like “Coffee” or “Leaves,” and in their place vibey, summery jams like “Banana Clip.” Not bad, but nowhere near as satisfying.

And that’s probably the real problem with War & Leisure. Lyrically, it’s inconsistent, and doesn’t serve its title or occasional flirtations with current events very well besides a few references smattered in every other song. Musically, though, it feels more disposable than before, and less beholden to locking into deeper, more resonant grooves. Save the occasional hit— namely “Sky Walker,” a Travis Scott-assisted foray into “Black Beatles,” “Rockstar” memeability and melodic precision— there’s few songs here that would inspire as much debate, discussion, or sex as anything on What’s Going On, or There’s a Riot Going On, or Black Messiah, or Wildheart for that matter. Which isn’t to undersell Miguel’s efforts or natural abilities as an entertainer and songwriter. He’s undeniably strong at this, which makes merely acceptable albums like this all the more disappointing. There’s a riot going on in there, somewhere, it’s just difficult ascertaining what exactly that riot is about, or why the listener should even bother trying to find it; the surface is good enough already.



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3.3
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Isaac George (4)
Miguel steps up the funk factor in his latest splurge of R&B jams and pop—this time emitting his m...



Comments:Add a Comment 
Frippertronics
Contributing Reviewer
December 3rd 2017


15803 Comments


yes a new arcade review

Digging: George Russell - Electronic Sonata for Souls Loved by Nature

Dewinged
December 3rd 2017


7041 Comments


I can safely say I am gonna skip this.

Gyromania
December 4th 2017


23779 Comments


Good review, this is pretty middle of the road

Cygnatti
December 4th 2017


32222 Comments


really dig the review, mind pos. thought basically all the singles were mediocre tbh. even the "funkier jam" ones. matador song is only passable when compared to radio trash, nowhere near quality otherwise imo.

Digging: Mortiferum - Altar of Decay

wwf
December 4th 2017


5703 Comments

Album Rating: 2.5

Miguel was dope on the new Dua Lipa album so I might check this

Digging: Julien Baker - Turn Out The Lights

bigguytoo9
December 4th 2017


416 Comments

Album Rating: 4.0

I really like alot of this.

musiker
December 4th 2017


2 Comments


I like this too

Brostep
Emeritus
December 4th 2017


4314 Comments


real fuckin good review

Chortles
December 4th 2017


20895 Comments


this is a wonderful review

Lucid
December 4th 2017


8812 Comments


What a thoughtful review, enjoyed reading it. The political lyrics are Bad but the aesthetic is easily enjoyed, although I'm perplexed that these summer jams have a December release date.

robertsona
Staff Reviewer
December 4th 2017


15610 Comments


I still don't know what to think of the second album

robertsona
Staff Reviewer
December 4th 2017


15610 Comments


or uhh third sorry

Wildhoney
December 5th 2017


93 Comments


that one's a head-scratcher, but it's generally a great album if you skip the throwaways.
haven't heard this one, but if I really liked Caramelo Duro would I dig the rest of it?

Lucid
December 5th 2017


8812 Comments


Paramore did "Told You So" better

(seriously the chorus is the same)

TheSpaceMan
December 5th 2017


9784 Comments


nice rev arcade

lol is there really a colin kaepernick line in here? you mixed up some vowels in his name the second time btw

Lucid
December 6th 2017


8812 Comments


"Banana Clip" is a jam. Album is quite the grower.

Arcade
Staff Reviewer
December 6th 2017


8500 Comments

Album Rating: 2.9

a lot of fun to listen to but the lyrics are just so gosh darn bad

Digging: Godflesh - Post Self

Poxy
December 6th 2017


52 Comments

Album Rating: 2.5

Good review, average album

Calc
Contributing Reviewer
December 6th 2017


15844 Comments

Album Rating: 3.5

I actually like this more than I originally felt

tommygun
December 6th 2017


26715 Comments


sky walker rules



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