Bali Lounge 2

Bali Lounge 2 is well absorbing. There is so much to offer in this album consisting of eleven nicely organized tracks. More to it, there is a bunch of leading singers who take part in respective songs, underlying a colorful, invigorating vision. The scope ranges tremendously wide, from smooth, free, ballad, pop, that is to be the most frequent case, and ethnic features, but somehow less dominating. Bali Lounge sums up what it perceives as traditional savvy, but contemporary-oriented. They bring the music not only to express their quality, but also to escalate Indonesia’s musical character to be recognized by the rest of the world. The instances are found in Dogol Street and Samba Sunda, with each tune possesses different nuance. Dogol Street serves primarily as an introductory part. It is like the window where the listeners are able to see through the inside of the whole album, so it bears a substantial responsibility that the song must have a conspicuous taste, traditionally speaking. Samba Sunda speaks for itself. Its Sundanese disposition, put together with the perceived generalization of the cultural merit is like everything you could ask for. The beat pattern, dense background percussion, and the use of flute as the leading melody constitute the song’s rich, distinctive value. Now you must wonder where does that leave the Samba? I think I am just going to shrug, and leaving all the best to you. The majority of the album are formed by pop style music, such as Get Happy, Used To, and Cukup Tak Mengapa. There is little to tell about these three of a kind. Typical melodies, expected chords, mid range tones, those kinds of playing in the safe zone standpoint, are the least thing I can do to pin them down. Tell Me resonates a strong sense of ballad. It flows right off with a conventional means of composition definitive to sweet ballad, of which you commonly encounter in Bon Jovi’s or Daniel Powter’s music. Its lyric is all too typical, as it describes an unknown, mysterious girl whom captures a man’s desirous dream. It is unnecessarily identical, but it makes sense to put it that way. Mean Curry, as perky as its name, delivers an unfailing style of free jazz. It departs with a set of thumping beat frenzy, afterwards revealing its chord progression one after another. The burgeoning improvisation mainly lies on the avid role of drum. Finally it fades out with Bali ethnic percussion. And then we move to the next track, which is quite contrast compared to the previous in terms of the arrangement, in that Free adopts a drifting melody, meanwhile the singer contributes a significant role in endorsing the intended atmosphere. However, the next track would take us up again to a high note, embracing a groovy composition, free moving vocal, and retaining a robust element of repetitiveness. The aforementioned song is In Doubt. But I don't doubt it for having enjoyable notes. However, the last track puts an end to the album with a dire effect. Jimbaran Jive drives up Harry Toledo’s style of playing his bass string. But apart from that, the idea of bringing up an R n B arrangement to the recording is what I ideally think, a thumb down. The whole thing has been running so fine from the beginning, only to see that it lands into an undeserving end.