Review Summary: ain’t no quantum leap
Tinashe has long been a chameleon in the R&B landscape, consistently evolving while maintaining her signature blend of sultry vocals and cutting-edge production. It all started in mainstream glamor with a couple of well-received R&B albums in the mid-2010s: the aquatic synths and trap beats made for a soundscape that was as rhythmic as it was atmospheric, which was the perfect background for Tinashe's sensual vocals.
As expected in that kind of story: the world usually can't be that kind for too long, so there had to be a moment when it all went to shit. No exception here, as Tinashe released
Joyride in 2018 - a watered-down version of both
Aquarius and
Nightride, and a classic example of the failure of corporate-driven records. Tinashe’s resilience shone through when she then realized that she could only fulfill her vision by
going indie. Can't say it didn't work:
Songs for You and
333 represented a declaration of her creative autonomy, free from the limitations of a major label. This self-determination culminated in 2023's
BB/ANG3L, whose short runtime packed a greater punch than those regular, hour-long major label records.
Quantum Baby continues that trend of delivering 20 minutes-long R&B sweets that retain futuristic soundscapes and reflective narratives. Sonically, it retains that smashing of trap or garage beats with ethereal synths and Tinashe's sweet vocals - a true continuation of
BB/ANG3L. However, it does lack the compositional strength to transform all tracks into certified earworms. Each tune hints at unambiguous potential but said potential isn’t always met with precise execution. Opener "No Simulation" and barely two-minute-long "Red Flags" are not given enough time to flourish fully, while "When I Get You Alone" sees a (very cool) beat switch that introduces a luscious dive into 90s R&B that, unfortunately, only lasts for fifty seconds.
Those instances of nearly nailing it are hella frustrating, as Tinashe's propositions are diversified enough to deserve more than two-minute songs. "Cross That Line" features the bed-cracking sound of Jersey bounces, and "No Broke Boys" is one of those girlboss R&B tracks whose layered vocals enhance the smoky atmosphere. But it's the closer - and unexpected hit - "Nasty" that summarizes Tinashe's greatness the best. If, at first, the track may sound like a simple, sexy dance tune, its hook and the attitude oozing from it allow for hypnotism that is all too rare in R&B.
Such is
Quantum Baby: an opus that reaffirms Tinashe's place within the pantheon of modern R&B, yet one that also proves that she needs to slightly refine her formula to craft that defining record she's been hinting at here whole career.
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