Orchestrated almost entirely by Hynes and rounded out with numerous guest artists, this latest effort is thoroughly modern, oozing with style, and backed by gifted musicality.
With Cupid Deluxe, he channels those vagabond emotions into something universal and inviting—an album that tenderly details various heartaches through the language of longing.
Mostly ... this is the exhilarating sound of an artist whose talent is finally bearing fruit.
As he proves on this second album as Blood Orange, he has now created a musical world, completely consistent in its internal logic, where everything, however much it may reference music of the past, is recognisably his.
Listening to Cupid Deluxe is a bit like unwittingly arriving at a house party in full swing and wandering between groupings of people: it’s an effortless but unpredictable experience.
Hynes’ decision to collaborate broadly on Blood Orange proves a masterstroke in terms of the record’s diversity
Cupid shoots his heart-decorated arrow straight for the bullseye. A lot of this record might come off crass, its romance too obvious - but that's the point.
Hynes has taken the ‘Losing You’ template and run with it, like Frank Ocean if he were possessed by Prince, splashing around in a syrupy pool of slick synths, slap bass and SBTRKT-like tribal beats.
Packed with these canny connections between music and lyrics, Cupid highlights Hynes' tremendous recent advancement as an arranger.
Cupid Deluxe is not an imperfect record, but it is still a powerful reminder of how grossly underrated Dev Hynes is as an artist in his own right.
Blood Orange’s sound is shaping up to be one of the most intriguing and important in pop today, and this sophomore effort is a promising progression for an artist who deserves more of the spotlight, but probably won’t ever demand it.
One thing that can’t be denied is that Hynes has perfected a very specific sound that many of his contemporaries are trying to achieve and coming up short.
Cupid Deluxe is probably Dev Hynes' most accomplished and intricate release to date. It's also the most wonderful kind of retro-pop you're likely to hear this year.
After quality work bearing other artists' names, the latest Blood Orange album is evidence that Hynes cuts no corners when it comes to his own efforts.
Beyond the uneasy percussion, reverb-drenched guitar and wisps of vocals, too many songs on Cupid Deluxe come off as sketches, the “leftovers” (his word) of his songwriter-for-hire gigs.
Though the second half of Cupid Deluxe occasionally meanders and loses the immediacy of the first four songs, there are bright spots throughout. Hynes’s production is top notch, providing crisp treatments for his diverse, moody, NYC-inspired pop songs.
As confident producing hip-hop as electro-folk, Hynes continues to create symbiotic relationships that push his own artistic boundaries and the careers of his collaborators.
He's an artist with ideas and while they sometimes pile up and crash on Cupid Deluxe, it's always a spectacular crash, and that's something worth investigating.
Cupid Deluxe is arguably Hynes' finest work and an improvement on his debut release but he shouldn't be afraid to place himself centre stage instead of hiding behind a host of guest appearances.
Without other singers to carry the songs, it has all the caramel-smooth sex of a melted Magnum. Elsewhere, when Hynes is left to his own devices, it gets ickier.
Nothing on Cupid Deluxe reaches the same streamlined, lovelorn, economical heights as his production work for other singers.
He doubtless remains an excellent producer, and Cupid Deluxe is often enjoyable; but closer inspection reveals a shallow, forgettable experience.
Blood Orange's discography is an endlessly rich treasure trove of music that never ceases to impress me, even though I already possess a substantial understanding of his work. Devonté Hynes is, to me, one of the most genuinely original artists of the 21st century, despite drawing from a myriad of sonic influences that harken back to decades preceding his debut. He possesses a unique knack for reinvigorating pre-existing musical elements, bringing them into an accessible modernity while ... read more
Does he miss? Nah.
Favorite tracks: Chamakay, You're Not Good Enough, Uncle Ace, It Is What It Is, Clipped On, Always Let U Down
Least favorite: -
Has a really transformative quality to it that induces a real feeling of calm. I loved the range of vocals from the unnamed features as garnishing on top of some really nice and smooth alternative sounds
I have to say this cover is shit, but to be honest it’s just not it, from production to vocal performance everything here is just ok…
1 | Chamakay 4:20 | 86 |
2 | You're Not Good Enough 4:21 | 91 |
3 | Uncle ACE 4:16 | 81 |
4 | No Right Thing 4:11 | 76 |
5 | It is What It Is 5:07 | 81 |
6 | Chosen 6:44 | 90 |
7 | Clipped On 3:10 | 80 |
8 | Always Let U Down 5:13 | 81 |
9 | On the Line 5:07 | 82 |
10 | High Street 2:58 | 76 |
11 | Time Will Tell 5:38 | 87 |
#5 | / | Urban Outfitters |
#9 | / | Complex |
#10 | / | Pigeons & Planes |
#20 | / | Stereogum |
#21 | / | Pitchfork |
#25 | / | Cokemachineglow |
#46 | / | No Ripcord |
#62 | / | Under the Radar |
/ | NPR Music |