“It’s cathartic because it just helps me. Like, some people go do yoga, some people go to the gym, that’s what I do.”Īfter moving to Sherman Oaks, tucked into LA’s San Fernando Valley, Gallant soon fell into a more like-minded crowd within the music industry. Outside of the class when I was trying to be in the industry, so to speak, I was messing around with different business people left and right and it all just had that vibe, that kind of feeling of nothing really real. “They weren’t really focused on the why or the process and it carried over into a lot of professors, too. “ I was constantly surrounded by the energy of peers who were really focused on the aesthetic of being an artist or whatever they call themselves,” Gallant reflects. Gallant’s search for comprehension isn’t something turned solely within, however, the young singer-songwriter understanding that self-awareness requires a deep wealth of outer context. ![]() It’s been part of how he has approached music since before his 2014 debut EP Zebra, and the Los Angeles-based artist “hasn’t yet strayed from that initial spark”. “This whole album is me leaving myself a message… It’s cathartic because it just helps me. Like, some people go do yoga, some people go to the gym, that’s what I do.” “If you have an issue you’re trying to work through or you’re trying to understand why you react a certain way to certain things it helps to leave yourself a message,” advises Gallant. As it stands, Gallant is not one of those people.Gallant has been leaving himself little messages, and learning to exist outside of classification, he tells Rip Nicholson.Ĭhristopher Gallant’s penchant for using music as therapy has been well-documented since his rise to prominence, not least on his debut album Ology. Sure, everyone can do a couple pull-ups, but very few can do fifty. There are flashes of interesting songwriting on “Oh, Universe” and “Chandra,” and the lyrics are thoughtful throughout, but the project as a whole is both propped up, and weighed down by Gallant’s voice. ![]() I really want to like this album more than I do. At points, it feels as if the backing tracks aren’t allowed to outshine his voice, so they make no attempt at being compelling. Ultimately, Gallant’s biggest strength is also the cause of the album’s faults. Similar to Kendrick Lamar’s “King Kunta,” “Episode” is fun because the track is backed by a really groovy bass line. While I don’t care for recent interpretations of funk (see Blood Orange’s “Cupid Deluxe” and Haim’s “Days Are Gone”), Gallant’s take is undeniably satisfying. Gallant throws a curveball halfway through the album on “Episode,” an ode to 70’s funk. The trap-influenced tracks come across as bland and uninspired, while the R&B tracks have a little bit of life to them. Gallant does fine with both genres, but I much prefer the songs with smoother grooves of R&B than the trap snares and hi-hats. ![]() Most of the tracks on “Ology” have a beat that falls into one of two categories: a more traditional R&B beat, or a more trap and southern hip hop influenced beat. It’s definitely enjoyable in bursts, listening to a song here or there, but so many of the songs on “Ology” rely on his falsetto explosion it gets tiresome when listening to the album in one sitting. Most pop songs utilize this “wall of sound” technique to overwhelm their listener (David Guetta’s “Titanium” is a prime example of this). The song putters along in cruise control up until Gallant bursts in with his signature falsetto. However, “Talking to Myself” also starts a trend that pops up on the rest of the album. These songs tend to sound more full and lively compared to the synth focused tracks. ![]() Right off the bat, we’re greeted by a nice chopped up piano sample and a brief horn swell on the track “Talking to Myself.” Other songs like “Shotgun” and “Jupiter” boast live drums, pianos, and guitars. It seems Gallant thought about this too, as “Ology” has greatly expanded the singer’s sound. My curiosity was only heightened after seeing him perform live. Gallant’s voice was the most impressive piece, so I wondered how much more enjoyable he would be with proper instrumentation. Since the release of his EP “Zebra” in 2014, he’s garnered acclaim from Elton John, Sufjan Stevens, Zane Lowe, and Seal, and has been compared to R&B contemporaries like The Weeknd and Frank Ocean, as well as the aforementioned Seal.ĭespite this, I didn’t care for “Zebra.” It sounded no different from Soundcloud’s endless stream of bland alt R&B and trap musicians, such as Cashmere Cat, Flume, and SOHN. When you have a voice as bold and beautiful as Gallant’s, you’re bound to turn some heads. Review Summary: Gallant’s album “Ology” is both enhanced and limited by his powerful voice.
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