Solomon's "Le Garçon" - EP Review

   There are many indie artists who desperately try to find their footing in the mainstream market, then there are those few talented independent musicians who truly deserve the attention and recognition. San Diego-based Solomon has been blurring the lines between the hip-hop, pop and dance genres since bursting out on the scene in 2008 and continues to deliver fresh tunes for the masses with every new effort.

   Before the anticipated release of his official debut album, Why Boys Cry, later this year, Solomon is delivering his impressive third extended play, Le Garçon, with successful and applaud-worthy end results. Preceded by the touching ballad "The Way We Were" and the experimental "Swim No More", the new EP showcases the artist's immense talent for songwriting, vocal performances and production as the effort glides effortlessly through topics of sex, violence, heartbreak and depression. This is the one new project you should give a chance in 2014!

   Following a French-language opener, the extended play officially kicks off with second single "Swim No More". By incorporating whale noises and Japanese drums to set up the tone for the background production, the single is one of those rare tracks that truly stands out from the crowd. "You pulled me in, bring me ashore, but I can't swim no more," the artist sings before an explicit phone interlude brings another layer to the relationship drama.

   One of the many highlights on Le Garçon comes thanks to "3 Dolla Bill", a track that delicately balances on the thin line between raunchy yet classy. Solomon's vocals are seductive and hypnotic as he delivers unapologetic lyrics detailing a pleasurable session in the bedroom. Slightly explicit, incredibly delicious, the male perspective of erotic foreplay competes with similar tracks from the top female divas today.

   In a story split into two parts, "Let You Go (Part Une)" describes the trouble of trying to end a flame that cannot be extinguished. "They'll never know, why I love you so," Solomon sings as the piano-driven track reveals the artist's complicated past. For this piece, the artist does rely on the strength of his impressive vocals to get his message across. The last ten seconds scream immense pain and heartbreak.

   Though not my personal favorite from the effort, "Boomerang" does still hold strong with the rest of the track list. Solomon gives a commendable performance as he desires the return of his former lover. Fellow SolRay Records artist LastO jumps on the track with an additional rap verse which highlights his talent for flow and rhyme. It's a good creation, just not the highlight.

   "Let You Go (Part Deux)" finishes the story of an ever-burning flame. While it keeps the chorus of the former half, Solomon gives a tougher, edgier, hip-hop performance as he continues to give details of the unhealthy, abusive relationship he finally escaped. Though it clocks in at only a minute, the conclusion is as revealing, personal and emotional as the preceding tracks.

   Holding the center of the effort is what I am not afraid to call the best work from the artist to date, the best song that will be released this year. "Crash Into You" featuring Baron is a beautiful piece where Solomon seems to be trying to move on with his life following the deterioration of his relationship. "I eat at all the places we love, pretending you'd show up, I tell the waiter you're running late, table for one is too hard to say," Baron sings on a duet that needs to be heard.

   Preceded by a beautifully written poem entitled "Wild Horses", the effort's original lead single "The Way We Were" immediately marked a change from Solomon's past releases. The hard-hitting, meaningful piece of pop music focuses on another solid vocal performance from the artist as he pleads of returning to the seemingly-perfect relationship he had before it all fell apart. Try not to shed a tear.

   To close out the eclectic EP, Solomon presents "We Made It Tonight", a track that seems to be the artist's piece of self-assurance when it comes to his career. As a letter to his haters and harsh critics, Solomon sings of the desire to make it on his own without the need to compromise his integrity or artistic vision. The verses are solid, vocals are strong, but it is the chorus that allows the track to truly sink in.

   Following soon after, "Fortune Teller (Redux)", is a hidden track dedicated to Solomon's devoted followers, a revisit to one of his past releases. A long intro sets the eerie vibe for a song that alludes to the fact that nothing lasts forever. "Every song I ever wrote was about you," the singer confesses before the chorus turns the corner. Comparing both versions, it's easy to say the revisit contains more of a pop/dance vibe than the raw, rough original.

   Le Garçon is one of those rare efforts that honestly shows the true essence of a recording artist, one that allows listeners to become part of the journey or experience. Solomon's presence is heard from beginning to end thanks to unique and lively vocal performances as well as personal lyrics that seem to be ripped straight from the pages of his own journal. From the urban-inspired pieces to the upbeat, pop-influenced moments, the new EP is a creative re-introduction to the talented artist, coming after important life changes he felt the need to express. If Solomon is putting forth great work just for a "prequel" of what is still to come, we can expect wonders from his official debut. The EP receives a well-deserved 92%.

Tracks to Hear: "3 Dolla Bill", "Let You Go (Part Une)", "Crash Into You" feat. Baron & "Fortune Teller"