About Kayode Kendall
Location: Oxon Hill, Maryland
Occupation: Writer
Bio: Kayode "KenKRK" Kendall has written for various websites over the last six years, and now serves as PopSyndicate's music editor.
Posts: 42
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Close, but not quite there yet.
There’s no denying that Ferras puts his best foot forward with his debut, Aliens and Rainbows. The resurgence of lighthearted piano-pop has made for an extremely competitive playing field in popular music in general, and every newcomer has to worker that much harder to get noticed. There has to be an edge to set them apart from their fellow artists, and listening to Aliens and Rainbows, one has to wonder if Ferras has that edge.
Boasting production by The Matrix and Gary Clark, Aliens and Rainbows’ radio-friendly sound is immediately apparent with tracks like “Liberation Day”. Accentuated by flittering string arrangements and choir-like backing vocals, the lyrics hardly matter when measured against the deliriously catchy chorus. Surprisingly, it’s not long before Ferras decides to channel Elton John with a slight pinch of David Bowie on the title track “Aliens and Rainbows”. “Something About You”, however, is just the shot of energy that the album needs, where you really get a sense that no punches are being pulled, and Ferras’ whole heart is in every note and every lyric. One of the shining moments on the album, though, is “Rush”. It’s a heartfelt, beautiful ballad that helps to build momentum throughout the rest of the album.
Ferras walks fine lines between rock, pop, and R&B on a number of songs, including “Soul Rock”, with its bluesy guitar riff and yet another strong, catchy chorus. With poignant lyrics like, “you’re the only hope I hold onto/when I’m drowning”, it’s hard not to fall in love with the song. Not that there aren’t a few moments where things get a little carried away, namely on “Blame, Blame, Blame”. The song is certainly meant to be aggressive, but it’s entirely unfocused and chaotic. “Don’t Give Up” is another misstep, its synth undertones never truly complementing the more traditional rock elements. It’s a shame, as it’s one of the better displays, vocally and lyrically, on the album.
Ferras still has a long road ahead of him, but he’s going in the right direction thus far. One gets a sense for where he takes a lot of his songs, but there are instances where it feels like he’s holding back. Hopefully he’ll lose that fear soon, and push things further on subsequent releases.
