Album Review: Tinashe, Quantum Baby

Tinashe

Quantum Baby (released August 16, 2024)

Y’all know the story by now: At some point in the last 15 years, music fans lost completely lost the plot. Thoughtful music critiques are harder to find in 2024 than a release date for Monica’s next album. Instead, we’re left with Blind Stan Syndrome – a mentality that requires fans to defend every song their fave releases as if their paychecks, their rent, their very livelihood depends on it.

They’ll say it’s a hit! It’s genius! It’s a cultural shift! Issa classic!

It’s … also very annoying.

In my eyes, if you really love an artist, you can celebrate their wins while also admitting that, err, that new song just ain’t it.

That’s how I felt about the overnight success of Tinashe’s big hit “Nasty.”

I’ve covered Tinashe many times in this space, and OG Soul In Stereo fans know that I’m a Day One fan. I was proudly Team Tinashe during her acclaimed 2010 mixtape run. The throne of R&B’s next princess was vacant in that era, and Tinashe seemed destined to take that seat. I stuck by her side during her ill-fated run with RCA Records, where eclectic style was frustratingly watered down (“2 On” is still flames, I don’t care what anyone says). And I’ve been one of her biggest cheerleaders as she embarked on her independent journey, quietly dropping projects that rival her renowned mixtape run that showed so much promise.

But when her new single “Nasty” started infiltrating every corner of social media – like the R&B equivalent of the Hawk Tuah girl – my feelings were mixed. On one hand, I was very happy that an artist who worked so long and so hard for recognition finally was getting the spotlight, but on the other hand … the song just isn’t that great. I didn’t even realize it was Tinashe at first, it just sounded like someone hit the random option on the R&B/pop girlie character select screen. Anyone could have sung it.

“Nasty” became Tinashe’s biggest hit since “2 On.” Great for her. But it also bores me to tears.

That doesn’t mean I’m now a Tinashe hater, I’m just not feeling that one particular song. Instead, I was hopeful that a new project was on the way, and Tinashe certainly wasted no time. Quantum Baby – her seventh studio album and part two of her BB/Ang3l trilogy – is here to capitalize off that “Nasty” momentum, and no one can blame her.

The story of Quantum Baby is all about its production. Thankfully, it’s not a rehash of the winning formula of “Nasty.” Instead, Tinashe takes lots of sonic risks to provide an engaging listening experience. The weirder the production, the better this album becomes.

The beat of “Getting No Sleep” scampers along like the many feet of a centipede on ceramic tile. What starts out very odd and kinda distracting quickly becomes catchier with each passing moment. “Thirsty” is equally addictive as Tinashe coos through a lo-fi rumble surrounded by trap drums. It may sound simplistic on first listen, but the production lingers with you long after the record ends. No joke, it’s stuck in my head right now.

Tinashe has often been compared to the late, great Aaliyah over the years, and while I disagree with some of those alleged similarities, one thing they absolutely share is their ability to pace their vocals with the production. They are never in competition with the beat, they ride it. “Cross the Line” is a perfect example – Tinashe eases herself into the pulsating production and finger snaps as she seduces her lover, she doesn’t attempt to out-scream the beat, nor do she lag behind it. Likewise on “When I Get You Alone” – just when I was starting to get bored with the album’s requisite trap drums, the beat switches to an R&B groove straight from 2004 and Tinashe’s tone proves to be a perfect match.

That said, there are several spots where the production isn’t nearly as strong. The biggest issue are songs that are poorly paced. Production on both “No Simulation” and “Red Flags” drone on at the same lethargic pace – there are no peaks and valleys on the track to bring the mood up or down. The latter especially feels unfinished; it makes the energy feel flat.

Now, I can’t say the same for “No Broke Boys” – a clear attempt for more Tik Tok fame. The energetic production is a welcome change of place and like many of the better songs on the album, it’s undeniably catchy. But that “No Broke Boyyyyys/No New Frannnnds” hook make me want to repeatedly headbutt the nearest mailbox. It’s like 12 toddlers simultaneously asking to see your phone to see “what games you got on it.”

(Waiting for one of y’all to run in the comments to say “you’re just mad cuz you’re a broke boi LOLOL!” Yes, yes I am.)

And yes, “Nasty” is here too. I still don’t like it very much.

Though Quantum Baby does feel like a bit of a rush job (barely running over 20 minutes max) and it doesn’t reach the highs of more recent albums like Songs of You, it’s a pretty enjoyable experience. Tinashe has mastered the formula for catchy anthems, and Quantum Baby has more than its share to choose from.

And now that she finally has your attention, hopefully she’ll be ready to unleash her full potential on that next project. She’s way more than your “Nasty” girl.

Best tracks: “Getting No Sleep,” “Thirsty,” “When I Get You Alone”

3.5 stars out of 5