If you like your pop music eclectic, original and very tightly produced, then Seb Stone’s your man! ‘Mr Controller’ is equally suitable for both headphone fodder on the commute and an in-depth listen. It is also extremely dance-friendly; and I would not be surprised to hear these tracks in nightclubs in the near future; as well at the gigs and festivals that Seb will doubtless feature in.
The record is short and sweet, and as long as it needs to be – there is no filler and unnecessary stretching out of songs. Neither is there anything trite or tacky about the lyrics, or an overuse of effects; both of which can occur with a lot of pop. Stone has a strong background in music production, and this is highly evident in the album. What is on display is savvy know-how and a lifelong love affair with different genres of music. You sense that he could take his work in many directions, and that these succinct, well crafted pop songs could represent only one of his talents.
The sound has distinct shades of Jamiroquai, Outkast and the peak era of Michael Jackson. These artists, like Seb, have not shied from being quirky and experimental in their work; and their output has (largely) been all the better for it. Having said that, you could not imagine Stone would become self indulgent or begin to take himself as seriously as MJ did; and I would say his style – although highly funky – is more varied than Jamiroquai and has a broader appeal. Although unashamedly glossy by nature, ‘Mr Controller’ could also hold its own alongside edgy indie rock bands (and in many cases, I would venture, would surpass them).
Vocally, Seb introduces other elements. The Outkast comparison is especially apt here, with the frequent high notes and eccentric intonation, as well as some faintly rap-style sequences and soul/Gospel influences. However, also at play is a ‘street’ colloquial London vibe, and a comedic edge – which I believe is fully intentional. Some vocal quirks wouldn’t be out of place in a Flight of the Concords’ song, for instance, whilst a stage Spanish accent features on the extravagant ‘Headcase’.
One of the standout tracks for me is ‘One’ – incredibly feel-good, but not in a way that could patronise someone who’s had a bad day at the office. The chorus is irresistible to sing along to, and there is a good helping of rocky lead guitar. ‘Dancer’ is another highlight, mixing disco with film-score elements and a certain Hispanic flavour. It has another very strong chorus, as well as a deal-sealing heartbeat sample! ‘Break’ also contains filmic qualities, with epic synth strings complimenting its more downbeat, melancholic mood. ‘Hurricane’ is as relentless as the freak weather condition of the title, and is gloriously over-the-top. ‘Volcano’, meanwhile, has a tight and humorous narrative; more vivid imagery than you can shake a stick at; and echoes of Lenny Kravitz and Franz Ferdinand.
I have realised that in picking standout tracks, I have covered half the album. That has got to be a good sign, and I would recommend that you get hold of a copy to check it out for yourself. It will provide not only a collection of great tunes, but also an insight into an enthusiastic and highly capable musician who has created this record largely on his own – from playing and singing to production and marketing. This is a good example of what is possible in the home studio and internet era, and is inspiring to see/hear.
Ed Pond, November 2010