Review: Tinashe - Quantum Baby
Credit: Callum Walker Hutchinson
***Editor's note: Man, I am the writer, editor, web-designer, content creator, social media person, etc. I AM THE RNB NERD - But I have to caveat that this review started in September 2024. So please keep that in mind as you read (RE: dated jokes and references ), k thx - MGMT
I hope that my little words and little expressions get to prove just what a scintillating set of records we have here to enjoy. So let's strap in, this is the RNB Nerd review of Tinashe's Quantum Baby.
"No Simulation" - This is the start to something new. Tinashe trades the more new-age sounding introduction from BB/Ang3l, for the stacked harmony and instant bass-line here on "No Simulation" (produced again by recent collaborator-extraordinaire Nosaj Thing - WHICH let me say that after her work with him on this project and BB/Ang3l, I have heard what feels like some sonic callbacks to his earlier work in new music from Miley Cyrus, which I will talk about another time). Not even 30 seconds in and we are getting some familiar soul, ad-libs, and stacked harmonies that create the Tinashe landscape we all know and love. Tinashe recounts what has led her here; her awakening and a shift in consciousness that has not only helped her breakthrough the industry madness in her career but has also provided the foundation for her incredible songwriting. Songwriting with subject matter that teeters between reflective, observant, and the universal effect of love that resonates with us all listening. I love that we can go from contemplating the meaning of life to matching each other's freak, all in one project. Very Tinashe-core.
"Getting No Sleep" - Is this another Janet nod? You tell me! The beat says to run, but her vocals say to slow it down. The bass heavy beat skips along with a wobbly synth effect that feels like something from the world of "Hot Chip". Among this set, "Getting" feels the most from the classic mixtape Tinashe timeline. If THAT Tinashe had progressed from THAT place, it would sound like this I think. I am super happy that she prioritized a proper visual for this record (produced by Nosaj Thing and Billy Lemos - Sza, Paris Texas, Victoria Internet-), despite it not sounding like the more "viral" records on Quantum Baby. I love her understated bangers and think this moment gives this side of her music for exposure at this commercial high she's currently on (we saw the META Rayban sunglasses ad on TV, T!)
"Thirsty" - For as much production (produced by sdtroy - BLP KOSHER, 2FeetBino, RetcH) that is on here to support her lighter than air range across most of the song, this feels the most personal. No doubt if you are a Tinashe fan, you are hearing Nightride with a dash of "Touch & Go" with 6lack. Like "Touch", Tinashe is all kinds of vulnerable, delivering a heartful vocal on the verses and when you really turn it up, the ambient/space sounds make this song shine and glimmer. Love it!
"Red Flags" - Here we see how a simple melody loop is able to paint an atmosphere that is the closest to anything "Quantum" on the project. A full-on synth immersion (produced by John Alexis - Central Cee, Molly Sandén, Dame D.O.L.L.A. - & LIOHN - Drake, Lady Gaga, Charli XCX), I feel the energy, frequency, and vibe. Tinashe really channels Janet's Velvet Rope in these melodies and in the cadence, IYKYK. Particularly in those lower registers, which she has become quite good at in recent years. I can almost cite the reference, it reminds me of "Got ‘til It’s Gone", but yet so far from it. Tinashe is really good at being able to take fresh and progressive sounds out into the deep and yet still bring it all back to something that she (and her fans) are at home in.
"Cross That Line" It is very impressive on first listen how the melodies take you in so many directions. Produced by Z3N (Lil Wayne, YNW Melly, XXXTENTACION), everything about the record feels so authentic and pure. I can hear in Tinashe's voice that she's just going for it, vocally and lyrically. There is a nice switch up right before the song closes, giving us another sick set up to savor the chorus before close. I love the layers in this song; the hovering ad-libs/backgrounds, the constant register changes, and the bass-heavy Jersey vibe that really give the record a solid bounce. This is my favorite from the project.
"When I Get You Alone" - Tinashe locks in a sexy moment after finding the right lover to trust with all she's able and willing to give. Tinashe is no stranger to being assured and very clear about her skills in the bedroom. However, the emphasis on how true love is at the center of this connection makes this hit differently. We are blessed with another switch up toward the end of the song (production by Jorgen Odegard - Justin Bieber, Imagine Dragons, Sabrina Carpenter & sdtroy), adding another dimension to the subject matter. The good thing is that we never lose the bop (and gorgeous harmonies) at any point of the song. This would be a good song to see how the live interpretation would sound.
"No Broke Boys" - The video is campy and glamourous, allowing us to see Tinashe in all her glory. It is nice to see the "story" continue as well, which should help us remain perched for further content/visuals for the other records. Probably the least unproblematic record from the project (produced by Zack Sekoff - Thundercat, Vince Staples, Leven Kali -, Phoelix -Smino, Noname -, & Ricky Reed - Lizzo, Meghan Trainor, Jason Derulo -); something simple and accessible for the baddies, the gay boys, and everyone who loves them. Herspunk and attitude totally brings her "Nashe" persona back to life and to the front, letting mixtape Tinashe take the backseat.
"Nasty" - I mean the virality and infamy of "Nasty" speaks for itself, after the Ricky Reed & Zack Sekoff produced record stormed the globe. Am I the only one who notices how sometimes the big records are often tacked on at the end of projects? Do you think this an industry/label formality at this point? However, I feel like how "Nasty" was sequenced among the tracks was a nice way to keep the up-tempo sound from "NBB". BUT WHAT IF, it is just another easter egg Tinashe left behind to sort of set the stage for the third installment in the series? The world may never know.
Credit: Callum Walker Hutchinson
It is nice to see how much the recent viral success and the almost 10000x over-night visibility has not changed the core of who Tinashe is as an artist. This sentiment is felt even more as you continue to spin the project and notice the obvious references to her idol (Janet) and the sonic time travel to those earlier Tinashe sounds from her mixtapes. Another solid notch in the belt that is Tinashe's intentional, impressive, and sometimes monolithic discography.
