“breathe” is an apt title for MRSHLL’s debut album, a brave step forward into a world that still has a hard time accepting what’s considered “different.”
To breathe. There’s so much more to it than the act of an involuntary inhale, exhale. It gives life, pushes life into things that may be clogged with death. It’s a release, freedom from something heavy in the soul that twists in the chest and gives us pause. Most importantly it’s affirmation, the silent but sure actualization of self. Marshall Bang (stylized as MRSHLL) declares his presence with his debut album, standing proudly in his truth and shouting clear and strong, “I am here.”
Come Over
This affirmation doesn’t come without moments of hesitation, however. The opening track “Come Over” is typical of most mainstream music, making use of the island-lite rhythms that have infiltrated most of Korea’s poppier fare. This first tentative step does the job of introducing MRSHLL to the world, his voice subdued even when it reaches its peak at the chorus. It’s certainly a well-crafted song, smart and calculated. The addition of pH-1’s verse was a stroke of real genius. The Korean-American rapper fits in smoothly with the song’s construction and MRSHLL’s warm tenor.
Ok
Something happens immediately after the “Come Over,” though. It’s as if now that he’s managed to get the first song under his belt, MRSHLL’s ready to unleash some true down-home soul. “Ok” is a reminder of just how thick the R&B and soul influences are in MRSHLL’s musical background, but more on that later. There’s regal smoothness to MRSHLL’s delivery. Nothing over-the-top. He doesn’t insist on his voice. The power of it carries the track with very little effort. In this case, that’s an immensely good thing. Having a feature the likes of vocal powerhouse Lydia Paek on a track would be a daunting prospect for lesser singers. But the simplicity and natural delivery of MRSHLL’s voice means that there’s an aural balance between the rapturous highs of Paek’s.
Then we get into that piano breakdown after Paek’s turn with the chorus. The spirit of every soul singer has stepped inside this track and decided to snatch the air right out of any listener who’s paying attention. With hints of early-mid-’90s Stevie Wonder thrown in with a little bit of Boyz II Men just for kicks, Marshall Bang and Lydia Paek give us a vocal master class. Their two-part harmony in perfect unison is painfully beautiful. A sound that travels from ear to heart to soul and gets stuck there until you feel a sob forming in your throat that you let out on instinct. At this point, it’s obvious MRSHLL doesn’t care what you think you know about him. He’s about to let you know in truly elegant fashion.
Hold Me
From there, “breathe” becomes a study in the subtlety of intimacy. “Hold Me” acts much in the way its title suggests. MRSHLL’s voice when in its higher register is angelic, a soothing sound that envelopes the listener and does almost as much as his natural tenor to make one feel a sense of warm wholeness. But there’s so much more human in this track than what came before. By the time Ja Mezz lets loose his verse, the album has successfully made a turn for the sensual–without any of the subversive heavy petting you’d expect from something so drenched in the act of touch. Indeed, “breathe” has now become an album for all senses. With “Hold Me,” every one of our sensors are activated, we can feel, smell, taste, and touch every level of MRSHLL’s earnest humanism. Truly, mesmerizing stuff happens at the album’s halfway point.
Wanna Be
What’s so brilliant about “breathe” is how unafraid MRSHLL is. He explores subject matter that’s still considered taboo no matter one’s sexuality. The fact that he’s openly gay (damn who has a problem with it) adds an extra layer of subtle danger in the chords of the music. “Wanna Be” is the perfect example of a man expressing those parts that require and demand deep touch. We’re again confronted with this idea of breathing, breath and whispers. He coos softly in the ear, “When we roll together relentlessly all over my crazy, dark fantasies. Take me. Why don’t you just take me.” There’s so much urgency in his hushed entreaty, as if the very words themselves are dangerous and he’s thirsty for the sin.
This unbearable desire for closeness is pervasive. It intrudes on our sensibilities and at the first push is uncomfortable. Then the groove becomes a part of us and allows us to feel something deep, blissful. MRSHLL digs within to bring out the most primal parts of himself, the parts that many are too shy to reveal. He craves touch, closeness, intimacy. With “Wanna Be” he opens the bedroom doors and allows the voyeur in all of us to see just how deep his love feelings go.
Nahonza
Just when you think he can’t get any more magnanimous, MRSHLL throws in a bit of down-home R&B. It’s dark, brooding, tales of a romance gone bad and the pain left deep inside our protagonist’s heart. “Nahonza” clues the listener in further to the type of musical upbringing he had. Yes, there are the obvious hints of Luther Vandross and Peabo Bryson. But there are thicker elements at work here. Bits of gospel in his tone give the music an almost holy air. The twang of new-age blues in the pleading notes, particularly when he reaches down to the bass in his voice. It’s here that we get the full scope of the man’s vocal abilities. He grabs at that lower register effortlessly, a buzzing at the bottom of his lowest notes. Yet he climbs to the heavens when he lets loose the higher notes of his range.
Aside from being the most emotionally raw and imposing piece of music on the album, “Nahonza” is its most technical. Taking very traditional musical tropes, MRSHLL proves what a vocal craftsman he is.
Pose
From the spice and fire of “Nahonza” MRSHLL offers the anthemic “Pose.” Really, if you were looking for a Rainbow theme song, you couldn’t have asked for anything better. “Pose” is an unsubtle celebration of the gay community in particular. Taking both the vernacular and attitude of the vogue scene, MRSHLL gives praise to the baddest Houses on the floor, proclaiming, “Baby, go and get your life.”
https://youtu.be/392gVR2qHds
“Pose” is the type of track you hear as the doors of the Kiki Ball open, introducing all the legendary children. It’s a song every House mother plays to inspire their babies to walk for their lives without fear, without hesitation, without shame. Anthemic is correct. It’s more than just an expression of gay culture. “Pose” is a declaration, a statement that yes, I am here and I’m not afraid. He implores us to wear who we are as a badge of honor, to sashay and strut, grab all the wigs, then death drop anybody who has a problem into oblivion.
Conclusion
“breathe” is an apt title for this debut. More than just a stunning piece of work, it’s a brave step forward into a world that still has a hard time accepting what’s considered “different.” From the first note it seems MRSHLL has been holding in breath, waiting for the right moment to let go of the knot in his chest that’s keeping the air from getting loose. As each song unfolds, the knot uncoils just a bit more until, with the final notes, MRSHLL is able to exhale. To breathe.
Follow MRSHLL:
[icon type=”facebook-square”] [icon type=”instagram”] [icon type=”soundcloud”] [icon type=”twitter-square”]
Edited by Lena