D’Angelo’s new album “is pretty much 97% done” says ?uestlove | Music News

On November 18th the Internets was sent into a mad frenzy with the official announcement that the Grammy award winning neo soul legend D’Angelo would be live in concert at O2 Academy Brixton, London, on Friday 3rd of February 2012 then on November 25th the Internets lost its damn mind when it was announced that the tickets to the show were officially on sale.

Now with hearts still racing ?uestlove, of The Legendary Roots Crew, will now send the Internets ape shit with the news that D’angelo‘s long awaited solo album “is pretty much 97% done.” That’s right ladies and gentlemen, in a recent interview with the good folks over at Pitchfork, the Grammy Award winning producer/composer/drummer, who is executive producing the project stated that, barring one or two things, the as-yet-untitled project is nearing completion.

The album is pretty much 97% done. He’s just finishing his lyrics now. He needs somebody to smack him and take the record away from him because it’s pretty much finished… he must turn this record in like three days before Christmas”

Speaking on the sound of the album, Amir compared the forthcoming body of work to The Beach Boys twelfth studio album Smiley Smile.

For all intents and purposes, this album is the black version of [The Beach Boys’] Smile— at best, it will go down in the Smile/There’s a Riot Goin’ On/Miles Davis’ On the Corner category. That’s what I’m hoping for. There’s stuff on there I was amazed at, like new music patches [keyboard sounds] I’ve never heard before. I’d ask him, “What kind of keyboard is that?” I thought it was some old vintage thing. But he builds his own patches.

Further discussing some of the album’s finer details Quest also stated that D’angelo composed some of the songs in a simliar way to the late great Herbie Hancock.

One song we worked on called “Charade” has this trombone patch that he re-EQ’d and then put through an envelope filter and then added a vibraphone noise on top and made a whole new patch out of it. He’s the only person I know that takes a Herbie Hancock approach, or Malcolm Cecil and Robert Margouleff– the two musician/engineers who programmed all of Stevie Wonder’s genius-period stuff– approach. That’s the last time I ever heard of somebody building patches. We’ll see if history is kind to it.

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