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Review #1: CRUEL BLUE ; REVIEW BY RAY ROGERS OF BILLBOARD 200. If you are looking for new music to jam out to for Spring Break, then continue looking, because this is most certainly not it. Somehow surviving the 1962 Salem Massacare, “The Faire”, lives on to entrap listeners in a weirdly confusing limbo, between “that was beautiful” and “what the fuck did I just listen to?” His voice is laced with whatever drugs he’s referencing, particularly on stand out tracks “Let’s Get High”, and “DLMA”. No doubt, they will have you feeling equally induced. I would go as far to say this album should come with a warning label, and advise against the dangers of listening and driving. Or listening at all! And especially not amongst or in company of friends, as anyone who truly cares about you, would be concerned for your well being. This album, though a snooze fest, is far from boring. And by snooze fest, I mean he will literally sing you to sleep, or sing you in a daze, or whatever it is he wants to sing you into. considering his style of music suggests he is a direct descendant of the wicked witch of the east, except, not really wicked at all. Just really sad. His voice is pleasant to the ear, and easy to listen to. It reminds me of those old Lullaby’s, except a little scarier. Like a lullaby in a horror film. Or, a lullaby being sang by Tales from the Crypt. However, just before you’re about to fall asleep, he shifts into a different character completely, in example, Arcade - which is one of the best songs on the project. You may fall back into the previously mentioned haze, until you reach “Dead Roses”, where the vocal style changes again. And right before you find yourself in in complete and utter enchantment, you will be jilted into reality upon hearing “Let’s Get High”, which is the EDGIEST of all. By this point you are wide awake, alert, and curious as to what the next tracks bring. “Two Of Us” has the least amount of production with only a piano. However the depth of sadness and hopelessness displayed is the most alarming. If you are human, you will probably clutch your pearls, and gasp in sympathy, with widened teary eyes. Ironically, the second to last track is titled “Witchtrials” (what did I tell you!) where the artist knowingly invites a “no good” lover, to love him, explaining that he does this purposely, that way he is prepared and knows what to expect for when it does fail, as he is sure it will. He compares this to meeting his lover halfway to the stake, where he will undoubtedly be burned by said lover. ‘ The last song “Pirouette” both proves and disproves a couple things. One, it proves that the artist has faith things will get better and is not completely at the end of his rope, as all the songs suggest. He waits for Jesus, claiming without him, he’d parish anyway. So, to deal in the meantime, he creates a fantasy land supported by will oblivion, denial, drugs, ballet moves and love, or the illusion of. This also disproves he is from Salem, and okay, fine, I apologize. The lyrical content is refreshing, creative, and thought provoking. His vocal style, though not complex persay, is unique and gets the job done, I guess. I mean, whatever the job is. There is more intricate detail in the background vocals, compared to the lead vocals, which is backwards, but indicates he is not concerned with perfecting a vocal performance, nor does he care to be praised over one. The small nuances that can be heard throughout the album do suggests he has a “I’ll sing impressively when I feel like it, if I feel like it” type of perspective, and until then, he will whisper you into his grasp, and you will enjoy it.” I swear I heard this in one of those witchy background chants he does. To overall and best describe The Faire - I’d say: he is a guilty pleasure. Something you will enjoy listening to, though never openly and certainly not around or in front of any english speaking american. Overall, 3.5 out 5 stars. One song in particular to blame for holding the album hostage, and keeping it from a 4 star rating is “Die Alive” which drastically falls short in comparison to the other. There is so much going on, and also not enough at the same time. Also, the repetitive “Voicemails”, and lackluster “Valerie’s” would not be missed. Pros: Cherry Cola, Arcade, Wade Walker, Bloom, Let’s Get High and Don’t Leave Me Alone Songs To Skip: Die Alive, Voicemails, Valerie’s, Jake Gyllenhaal. Review #2: CRUEL BLUE ; REVIEW BY BRIAN VIBBERTS, 7 TIME GRAMMY AWARD WINNING SOUND AND RECORDING ENGINEER - The Faire paints an auditory scene of depression, drugs, loving an elusive, mysterious man (or men) and clinging to a single thread of faith. All written alone, these records narrate an undeniably authentic journey through life's ups and downs, which the up's appear to be rare and inbetween. His signature vocal style is hauntingly sad, hypnotic, and indisputably spell-binding. His obvious talent is lyricality. Clever, creative, and cryptic - he has a gift for audible illustration. And with all it’s intricacy, you need not be musical connseioiur to detect the dark depths of sorrow and ache. This can be heard in even his more optimistic efforts, which at an ear’s glance, can sound brighter in tune. This seems to be a carnival trick he’s performed repeatedly through the album’s duration. With this, he has mastered a "smoke and mirrors" type of trickery where he transcends the listener to a heavenly realm… on the wings of hellishly dark lyrics…supported by euphoric instruments and a dreamy vocal performance… which collaboratively serve as a veil, masking the nightmarish truth behind them. Indirectly, this speaks to what may have been practiced throughout his personal journey. Relying on the survival method of normalizing upsetting events, moments and thoughts until they become a blur, and lost in oblivion - where he may believe everything to be fine. If true, he seemingly keeps himself there with dead-end romances….drug use, that at different intervals, seems regretful and other times, almost arrogantly unapologetic, and lastly, by deciding to quit reality all together, making nostalgia his dedicated safe place, where he is in complete control of his happiness by deciding which day, and time, possibly to the very hour, that will take the place of the current timeline in which he lives. This can be heard in songs like “Dear Florida”, and “Valerie’s”. With “Cherry Cola”, we find he swims deep in a trance-like state of utter psychosis and oblivion, with a side of denial. Defending his partners refusal to reciprocate love, he sings the listener into an equivalent daze, using his almost "medicated" vocal style. What can also be noted is the style of writing thus far, would be considered controversial. Some could say the contrast in the artist’s soft “beyond the realm” vocal style conflict with the record topics, and could be mistaken as glorification. However, a more in depth look could reveal that the “low energy”, almost slow-motion way in which the singer uses his voice is a reflection of the slow, and echoing pain he feels. To paint a visual of his sound, imagine a person sitting with hands in their lap, swaying back and forth while staring off into the distance, without ever blinking. And then there is “Arcade” …. The menacing piano, and aching violin create a theatrical, cinematic introduction to an equally dramatic shift in the entire album's sound. Singing in a voice many octaves lower than his standard vocal placement, the artist captivates the listener with great ease. “Take Your Time” has a quite a lively sound, though lyrically, gives his potential lover permission to drag him along, as he waits patiently for him to come around. “Wade Walker” may be the most optimistic track on the entire album. The vocal style is spellbinding with lots of separate layers, and harmonies that create a dreamy listening experience. You can hear distinct notes, and vocal acrobatics such as riffs and runs, although purposely faint, airy, and almost inaudible. This modestly proves the artist is vocally capable of delivering more than what we've heard to this point. The true standout record is “Bloom”, where the artist uses his signature vocal enchantment to sway his lover into ending their suffering together. When their bodies are found, they will have decayed into the earth and soon after bloom flowers, that will begin their own journey of eternity. This 50’s inspired ballad is confusingly the most beautiful piece on the album, and also the most horrific. In conclusion, "Cruel Blue" is a potentially fatal duality, appearing to be both a enticingly handsome and troublesome body of work. You feel a sense of guilt, only afer realizing you've been swaying and drifting in a haze, and singing along to lyrics so worrisome, that if found in a loved one's notebook or letter, would call for immediate professional and or medical attention. Stand out tracks are "Arcade", "Wade Walker", "Bloom", "Let's Get High", "Cherry Cola”, “Witch Trials”, and "Pirouette”. Songs that do not rank as high in comparison are “Dear Florida”, which understandbly is only an interlude….also “Voicemails”, “Die Alive For You”, and “Dead Roses” Overall “Cruel Blue” scores an impressive rating of 4 out of 5 STARS