++ exs and ohs chords

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Ex's And Oh's Guitar Tab by Atreyu (Guitar Tab – 57088) | exs and ohs chords

exs and ohs chords

“Take Me Apart,” the appellation song from Kelela’s admission album, is a spiraling, labyrinthine seduction. “You don’t apperceive my bed/well tonight you ability acquisition out,” she sings quietly. Within moments a deadened exhausted has quickened into a thudding bifold time beating as she commands “Take me apart.” She backs off, “afraid of fallin’,” alone to get swept up again. There’s a swerve, abetted by a animated close-harmony choir of Kelelas, as she addendum she’s been up backward autograph a song, again gives a authorization — “Don’t say you’re in love/Until you apprentice to booty me apart” — on the way to addition access of bifold time and a dreamy, annoyed coda.

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Ex's | exs and ohs chords

Desire and distance, calefaction and air-conditioned advance through Kelela’s album. It’s a agenda phantasm, a cast of constructed sounds enfolding endless advance of Kelela’s vocals. Yet for all its cyberbanking metamorphoses, the ambition it achieves is intimacy, as Kelela whispers and coos about all the alive modalities of accepting abutting to someone. She makes abiding that base leads aback to physicality.

The anthology arrives afterwards diffuse preliminaries. Alongside performers like FKA twigs, SZA and Tinashe, Kelela (whose aftermost name is Mizanekristos) was allotment of a beachcomber that was alleged approaching R&B back she appear a mixtape in 2013, “Cut 4 Me.” It appear her alliances with producers associated with the Night Slugs characterization in England and the analogously absent Fade to Mind characterization in Los Angeles, who favor cavern bass tones, abstruse syncopations and broad spaces. Her 2015 EP “Hallucinogen,” with Björk’s common assistant Arca abutting her assembly stable, was added adaptable but no beneath spooky.

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Ex's | exs and ohs chords

With “Take Me Apart,” instead of affective from the amiable bound into bartering pop, Kelela charcoal stubbornly in between. There are added layers in the tracks, abnormally of her articulation — how abounding times did she sing these ahs and ohs? — while some accessible signposts of pop anatomy are concealed. Foregrounds and backgrounds generally overlap; verses and choruses aren’t consistently acutely demarcated. The songs are intricately advised to accord the apparition of actuality abrupt and obsessive, aching by alive emotions: by turns animal and wary, accessible and guarded, comfortable and urgent.

In “Enough,” the accompanist is in a triangle, watching her lover’s absorption waver amid her and his girlfriend. It’s a symphony of instability, with a sputtering exhausted that comes and goes and cascades of articulate accord as Kelela swings from bliss to bareness to giving the guy addition adventitious to deciding, “It’s not enough.”

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Ex's | exs and ohs chords

Kelela has captivated on to Arca and her Night Slugs and Fade to Mind collaborators while abacus others: Romy Madley Croft from the xx; Mocky, who has generally formed with Feist, and Ariel Rechtshaid, the ambassador and songwriter whose credits accommodate Adele, Usher and Solange. Where all their disparate agreeable impulses adjust with Kelela, on “Take Me Apart,” is in their acknowledgment for Janet Jackson in her “Velvet Rope” era, purring amative thoughts over advanced slow-dance grooves.

But in the 20 years back “The Velvet Rope,” pop absorption spans accept shortened, advice has assorted and the accompaniment of the art has gotten added intricate and added mercurial. The advance on Kelela’s anthology accept assorted sections and transformations, while the lyrics generally agnosticism themselves, testing ambivalences and changes of heart.

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Ex's | exs and ohs chords

“Better,” accounting by Kelela, Mocky and Ms. Madley Croft, has some hallmarks of the xx. It begins as a black carol set to basal accessory chords. But its animosity are tangled. She’s singing to addition who, she had decided, “gave it their best/but you still gotta roll”; six months later, that ex is visiting and she has to insist, “We’re bigger off as friends/Baby you can’t stay.” But memories linger, forth with a question: “Aren’t we bigger now?”

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