There aren't many things more frustrating than an album that starts off superbly and gradually deteriorates. Break of Dawn hits the ground chilling, with the sensual 'Play' immediately establishing American soul singer Goapele's main weaponry - the production is slick, with pulsing bass, a minimalist drum part and an atmospheric synthline to accompany it. Her voice is pleasant too, I suppose.
For the first half of this record, it is easy to accept pleasant. 'Undertow' is impossible not to nod your head to, recalling Prince with the sexual vibe and low-key backing. If anything, Goapele's range is the most disappointing aspect. She's clearly talented enough in a Mary J. Blige kind of way, but as some of these tracks build, you're just waiting for her to belt out an 'Empire State of Mind' style chorus. It doesn't happen though; she has the range of Alicia Keys et al, but her approach hardly deviates between tracks.
Lyrically, Break of Dawn is quite easy to appreciate. The personal approach is rarely tacky, although 'Hush', a sweet track written for her daughter, does tread the line between heart-warming and sickly sweet (“I work so hard for you... I'd hold a mountain in my hands if I have to”). 'Tears On My Pillow' has perhaps the most retro feel of all, as Goapele proclaims that she “doesn't want to even miss” her lover over a smooth, neo-soul beat. Meanwhile, the title track uses a sexual metaphor to scrutinise the life and death of a relationship.
Given the fair headway made, the dip on the last few tracks is not merely disappointing, it is calamitous. 'Money' has a trite melody that is nevertheless flayed to death; 'Right Here' is obviously written in a horrible, whizzing electro-pop style to try and add a sense of modernity; and 'Milk and Honey' embraces auto tune for... well, no reason at all apparently. Then the album just stops, quite gracefully considering the two songs it ends with. Still, clocking in nine tracks in half an hour, and with sprinkles of magic, Goapele's third effort (and first of the decade) comes across as unfinished and unfocused.
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For the first half of this record, it is easy to accept pleasant. 'Undertow' is impossible not to nod your head to, recalling Prince with the sexual vibe and low-key backing. If anything, Goapele's range is the most disappointing aspect. She's clearly talented enough in a Mary J. Blige kind of way, but as some of these tracks build, you're just waiting for her to belt out an 'Empire State of Mind' style chorus. It doesn't happen though; she has the range of Alicia Keys et al, but her approach hardly deviates between tracks.
