![]() ![]() Gallant gained recognition in 2014 after self-releasing his debut EP “Zebra.” Following the release of his debut studio album “Ology,” Gallant earned his first Grammy nomination for “Best Urban Contemporary Album.” Early LifeĬhristopher Joseph Gallant III, a.k.a Gallant, was born on November 14, 1991, in Washington, D.C. He is signed to Mind of a Genius Records and Warner Bros. As it stands, Gallant is not one of those people.Christopher Joseph Gallant III, professionally known as Gallant, is an American singer and songwriter from Columbia, Maryland. Sure, everyone can do a couple pull-ups, but very few can do fifty. There are flashes of interesting songwriting on “Oh, Universe” and “Chandra,” and the lyrics are thoughtful throughout, but the project as a whole is both propped up, and weighed down by Gallant’s voice. ![]() I really want to like this album more than I do. At points, it feels as if the backing tracks aren’t allowed to outshine his voice, so they make no attempt at being compelling. Ultimately, Gallant’s biggest strength is also the cause of the album’s faults. Similar to Kendrick Lamar’s “King Kunta,” “Episode” is fun because the track is backed by a really groovy bass line. While I don’t care for recent interpretations of funk (see Blood Orange’s “Cupid Deluxe” and Haim’s “Days Are Gone”), Gallant’s take is undeniably satisfying. Gallant throws a curveball halfway through the album on “Episode,” an ode to 70’s funk. The trap-influenced tracks come across as bland and uninspired, while the R&B tracks have a little bit of life to them. Gallant does fine with both genres, but I much prefer the songs with smoother grooves of R&B than the trap snares and hi-hats. Most of the tracks on “Ology” have a beat that falls into one of two categories: a more traditional R&B beat, or a more trap and southern hip hop influenced beat. It’s definitely enjoyable in bursts, listening to a song here or there, but so many of the songs on “Ology” rely on his falsetto explosion it gets tiresome when listening to the album in one sitting. Most pop songs utilize this “wall of sound” technique to overwhelm their listener (David Guetta’s “Titanium” is a prime example of this). The song putters along in cruise control up until Gallant bursts in with his signature falsetto. ![]() However, “Talking to Myself” also starts a trend that pops up on the rest of the album. These songs tend to sound more full and lively compared to the synth focused tracks. Right off the bat, we’re greeted by a nice chopped up piano sample and a brief horn swell on the track “Talking to Myself.” Other songs like “Shotgun” and “Jupiter” boast live drums, pianos, and guitars. It seems Gallant thought about this too, as “Ology” has greatly expanded the singer’s sound. My curiosity was only heightened after seeing him perform live. Gallant’s voice was the most impressive piece, so I wondered how much more enjoyable he would be with proper instrumentation. Since the release of his EP “Zebra” in 2014, he’s garnered acclaim from Elton John, Sufjan Stevens, Zane Lowe, and Seal, and has been compared to R&B contemporaries like The Weeknd and Frank Ocean, as well as the aforementioned Seal.ĭespite this, I didn’t care for “Zebra.” It sounded no different from Soundcloud’s endless stream of bland alt R&B and trap musicians, such as Cashmere Cat, Flume, and SOHN. When you have a voice as bold and beautiful as Gallant’s, you’re bound to turn some heads. Review Summary: Gallant’s album “Ology” is both enhanced and limited by his powerful voice. ![]()
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