There’s no need for doom

Chimes, sometimes referred to as tubular bells, showcase one of the more unique timbres in the field of percussion. The startling yet poignant attack of the instrument is contradicted by the luscious wall of resonant sound that follows. This yin and yang balance perfectly captures what Doomtree rapper Dessa was going for on her aptly titled fourth album, Chime.

On Chime, Margret Wander embraces her musical evolution. Her jittery flow remains intact but takes new shape as it is superimposed over a surplus of sugary hooks. This approach, while fresh, is ultimately met with limited results.

The opening track, “Ride,” starts the record out strong. Dessa’s storytelling ability is on full display as she takes us through the frightening anecdotes of a young woman outside of a club. The hook is simple but effective, and Wander’s voice exudes authority right out of the gate. This authority is even stronger on the track “Fire Drills.” Instead of the sauntering flow used on “Ride,” Dessa comes out firing on “Fire Drills.” The urgency of this track is felt from the first word. The feminist themes and political critiques make the listener feel empowered and ultimately better educated. The hook is rather nice on this track as well. The sparseness of it is welcome on an album full of overcrowded, anthemic choruses.

“Good Grief,” “Boy Crazy,” and “Half of You” are the most characteristic of the niche listed above. These tracks try to do too much with their hooks; layers of background vocals, busy drum machine parts, and glossy synths overshadow Dessa’s voice. On top of this, the song topics on these tracks just feel less encompassing and much cheesier than many other cuts on this album. This is not to call the more pop-centric songs bad, in general. “Velodrome,” one of the catchiest songs on the album, for instance, featuring brilliant orchestration and very vivid lyrical passage.

I certainly can appreciate what Dessa was attempting on this record. The record daringly toes the line between conscious hip-hop and mainstream pop. Dessa’s willingness to sing more was a cool touch, but at times one wishes it was more tastefully done. There is something on this record for casual pop fans and hip-hop heads alike. Sometimes that is all that is necessary.