Rhye is a collaboration between Toronto native Milosh and Robin Hannibal of Danish electro-soul outfit Quadron, who both now live in L.A. The pair linked up two years ago when Milosh was commissioned to remix a Quadron song. Woman debuts the duo in an awe-inspiring rush of creativity. The mellow electro-soul reduces the listener to a state of ethereal vulnerability, convincingly drowning reality in a pool of harmony. Woman takes you out onto the classy night scene of the cityscape with richly soft piano chords, the classy sparkle of the brass, the whisper of the winds, the wistful seduction of the strings and the starlight of the electronic.
“Open” unveils what’s behind the curtain. The strings capitivatingly expose the sensuality of sound. Soft-sung vocals are the quaking voice of every longing lover. Love is a universal language, and Desire is what is said inbetween the lines. The night is a mistress who makes a fool out of everyone, but the finger-snapping beat is a reminder to what she has to offer. “The Fall” makes the night air sexy, timid, and coy. It’s something that could turn Steve Urkel to Stefan Urquelle in a heartbeat. “Don’t run away. Don’t slink away, my dear.” It’s so smooth, the grooves are more like curves.
“Last Dance” is aptly named. It captures the anticipation of the lovers enjoying the last bars of the house orchestra. Muted heartbeats are the sound of the blush. “Verse” is the poetry of sex. “Oh my song says it all, do you hear it in the verse?” The lyrics echo the beckoning of desire. It creates the scene simply. There are no complexities musically or lyrically, proving that love doesn’t always have to be so complicated, if the soul doesn’t wish it.
So far, subtle beauty has dominated the lime light, while “Shed Some Blood” doesn’t stray to far from the central idea it, a heavy, lust-filled tint hangs on every chord. “3 Days” is plunked out by a beautiful harp that enchants the listener into wakeful clarity. As the last harp chord falls down gently the synth takes over and we can dance again. Apprehensively nostalgic, the soul influence is thick and churning. The joy of the day has to be recognized if the night can ever be fully appreciated. Maybe the most joyful moments are not the ones spent in a seductive fantasy, but rather the ones spent in the warm sunshine of the love the day has to give to you.
Alas, the sun must set everyday and bow to the majesty of the night. Primarily instumental, “One of Those Summer Days” sets the sun with the hot and heavy song of the saxophone. Rhye showed a glimpse of the day, but ultimately love is left in the dark. “Minor Major Love” brings the love to it’s most natural state. “Ooohs” and sustained string notes set the mood for the night. Longing for the embrace of the lover, the soulful plodding of the track entice and challenge love to groove to a new pace.
“Hunger” keeps the dance going with a synth beat and a seductive chorus. “Woman”, however, is a real show-stopper. A perfect finale. The synth arpeggios, weighed down by electro-bass chords, vividly creates a picture of the object of desire for many; women. Rhye has created a work that casts love and sexuality in a subtle shade of blue, with splashes of lustful red and violet, love floats on top of the falsetto vocals. The night is the stage for the soul, and love is the song for every soul.
Rhye – Woman tracklist:
- “The Fall”
- “Last Dance”
- “Shed Some Blood”
- “3 Days”
- “One of Those Summer Days”
- “Major Minor Love”