English-language album since 2006, blends her personal ethnocentric take on pop music with the mainstream production which elevated her to fame. Consequently, this previously winning formula has meager sales. Furtado is known for writing or co-writing her own songs, the sole exception being “Bajo Otra Luz” from her successful Spanish-language album Mi Plan. In little more than a decade, the Canadian songbird from Victoria, BC has explored various factions <strong>of</strong> pop, including adult contemporary, electronica, R&B, and world music. Her debut album Woah, mainstream, following up with an acclaimed remix <strong>of</strong> “Get Ur Freak On” with Missy Elliott. Sophomore her third album Loose, produced by Timbaland, more than compensated for it with multiple charttopping singles internationally. With her last English that she failed to score another home run. Both <strong>of</strong> the album’s lead singles, “Big Hoops (Bigger the Better)” and “Parking Lot,” were produced by the legendary Rodney “Darkchild” Jerkins. “Big Hoops,” Nations dancers, charted highest in the UK at No. 14; it only reached the top thirty <strong>of</strong> the Canadian Hot 100 and failed to chart on the Billboard Hot 100. “Parking media, has become her second single to fail to chart on the Hot 100. What gives? While maintaining her artistic integrity, The Spirit Indestructible is at times as inaccessible as Folklore though channeling the marketability <strong>of</strong> Loose. On an unrelated note, this album has found its greatest success within German-speaking Europe: it peaked at No. 3 in Germany and Switzerland and No. 8 in Austria. The title track, doubling as the opening track, is a perfect example <strong>of</strong> Furtado’s brand. It begins in a vaguely nostalgic, simple keyboard melody. Then equivalent <strong>of</strong> an audio blockbuster. Singles aside, the majority <strong>of</strong> The Spirit Indestructible languishes in mellow territory, with themes <strong>of</strong> nostalgia, Nearly all <strong>of</strong> the tracks could be used as background music for television dramas made for young adults, but remain mostly forgettable. The deluxe edition features extra tracks which strengthen the album. “Hold Up” goes harder than anything Furtado has done before, while “Be OK” featuring Dylan Murray is the obvious choice for what could be a successful single on adult contemporary radio. The remainder <strong>of</strong> the bonus tracks builds upon the album, most <strong>of</strong> which could have easily remained on the album proper. The greatest weakness Furtado faces in the current marketplace is that, like Morrissey, she has produced more <strong>of</strong> the same with her sound while subtly updating her image, most notably with an updated personal logo. This is by no means a complaint; what she does, she does well, with none <strong>of</strong> her contemporaries coming near her organic talent. shameless dance-pop is reaching its expiration date, while folk music and quiet storm R&B patiently await their comebacks as heralded by acts like Mumford & Sons and The Weeknd. Nelly Furtado bridges the nonexistent gaps <strong>of</strong> these trends, touching on the qualities <strong>of</strong> all while never sounding disingenuous. This concept would be refreshing were it not stale. Taylor B, an Army Brat via Fort Sill, is still waiting for “My Love Grows Deeper Pt. 2.” <strong>OKIE</strong> MAGAZINE www.okiemagazine.com Page 38
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