An album of rebirth and imagination
Imaad Wasif has returned with another artfully constructed album that’s equal parts talent and grace; So Long Mr. Fear is a thoughtful exploration of musical acuity seamlessly enmeshed with a plethora of instrumental delights. Each track is expertly crafted, the opening track preparing the listener for an imaginative experience unfolding. The sitar on “Elemental” adds a uniqueness that’s as emotive as the vocal stylings of Imaad Wasif; its sound is peaceful and delightful. As a stream of mellow instruments tiptoes across the track, it’s impossible not to fall prey to the musical ambiguity of So Long Mr. Fear, contemplating the meaning behind each song.
As the album progresses, “Come Around” offers another gratifying exploration into Imaad Wasif’s psyche. The lyrics are a soulful representation of an emotive experience, the piano and synth adding a delicate touch.
“I Am Free” is another example of exploration, both of thought and sound. Lyrics such as “I’ve got the feeling in my blood / That I was born to win” lend an optimistic quality. “Sometimes I feel so lost / That I’m just not there / But I don’t ever turn back / From going nowhere” share the universal understanding of experiencing life together, Imaad Wasif’s refusal to turn back a reminder that the best is yet to come.
“Fader” is a slow, beautiful track that summons all the feels from Iron & Wine’s “Flightless Bird, American Mouth,” but is completely, intrinsically and wholly Imaad Wasif. “Fader” is a flawless representation of love and losing oneself so absolutely in another human being that there’s nothing left to do but surrender willingly. The song’s lyrics are hauntingly beautiful and Imaad Wasif’s perception of the human experience is simply unparalleled.
The entire album is gorgeous. From the first track to its conclusion, the wide array of instruments is awe-inspiring. Imaad Wasif’s vocals and lyrics are breathtaking. “Poet of the Damned” features a lovely combination of classical guitar, set against a powerful vocal backdrop. “Painted On” shares equally mesmerizing instrumentals, the vocals and piano seamlessly enmeshed and perfectly in tune with one another.
“Place In The Dark” offers up a bit more of an upbeat feel, but its sound is still that of Imaad Wasif. As the track ebbs and flows, synthesized sounds once again make an appearance, adding another texturized layer. “Regeneration” opens with a captivating sitar, enrapturing vocals immediately drawing the listener in. Lyrics are a carefully curated selection of experiences and emotions and each song provides a deeper glimpse into Imaad Wasif’s ethos.
The album’s self-titled track opens with the sound of waves crashing with the electric piano and vocals a few beats behind. It’s only for Imaad Wasif to explain the meaning behind the lyrics, but listeners can speculate. “So Long Mr. Fear” plays itself out as a type of spiritual rebirth, leaving fear behind while breaking free from the proverbial shackles that bind.
The album’s penultimate track, “Jealous Kind,” flows gracefully, with vocals and guitars summing up an album as thought-provoking as it is introspective. “Primitive Man” opens with delightful finger-picking and offers up a deliberate sense of immediacy. Imaad Wasif accepts what’s primitive in all human beings, the shared human condition that binds and tethers. So Long Mr. Fear is a love song of sorts, with each track another chapter in an overarching love story; the album transcends romance and affixes itself to anyone whose heart is open and willing.
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