Album Ocean

[Midas Souza]

Ocean is the second studio album by Colombian singer Karol G. It was released on May 3, 2019, through Universal Music Latino.[1] Comprising sixteen tracks, the album is a reggaeton record and features guest appearances by Damian Marley, Anuel AA, Simone & Simaria, Yandel, Maluma, J Balvin, Nicky Jam and Danay Surez.

Ocean was supported by nine singles: "Pineapple", "Mi Cama", "Culpables" with Anuel AA, "Creme" with Maluma, "Punto G", "Ocean", "Love with a Quality" featuring Damian Marley, "Dices Que Te Vas" featuring Anuel AA and "La Vida Contino" featuring Simone & Simaria.

The album was met with generally positive reviews from music critics and was a moderate commercial success. It debuted inside the top sixty on the US Billboard 200 and number two on the US Top Latin Albums, earning 12,000 album-equivalent units in its first week.[2]

Following the release of her debut studio album in 2017, Unstoppable, Karol G released "Mi Mala", collaboration with Mau y Ricky. On March 1, 2018, Karol G released "Pineapple", as the lead single for Ocean.[3] Later that same month on March 29, 2018, "Tu Pum Pum" in collaboration with Shaggy, El Capitaan and Sekuence was released. "Princesa" with Tini was released on April 5, 2018. On May 11, 2018, "Mi Cama" was released as the second single from the album.[4] Giraldo would later join on two remixed songs, including Luis Fonsi's "Calypso" and "Dame Tu Cosita", with El Chombo, Pitbull and Cutty Ranks. "Culpables" with Anuel AA was released on September 13, 2018, as the album's third single. "Creme" with Maluma was released as the fourth single on November 1, 2018.[5]

The following year Giraldo would release two collaborative songs as a lead artist, including "Secreto" with Anuel AA on January 15, 2019, and "Hijoepu*#" with Gloria Trevi on March 15, 2019. "Punto G" was released on April 4, 2019, as the fifth and last single prior to the release of the album.[6]

On April 21, 2019, Karol G teased the album's name through an Instagram post.[7] On April 26, 2019, she announced the release of the album, revealing its title and release date.[8] Ocean was officially released on May 3, 2019, alongside the album's sixth single of the same name.[9]

"Pineapple" was performed by Karol G on May 1, 2018 at La Voz Kids Colombia.[10] "Mi Cama" was performed at the Urban Color Fest Trujillo on August 24, 2018. The song was performed once again at the 19th Annual Latin Grammy Awards on November 15, 2018.[11] "Creme" was performed through Vevo's Live Performeance series on YouTube on December 7, 2018. From March 15 to May 31, 2019, Karol G embarked on the "Culpables Tour", alongside Anuel AA. "Pineapple", "Mi Cama", "Culpables" and "Creme" were performed.[12] On May 1, 2019, Giraldo performed "Pineapple", "Punto G" and "Go Karo" through Vevo's Live Performeance series. "Punto G" was performed on May 13, 2019 at the Heat Latin Music Awards and later on June 23, 2019, at the MTV MIAW Awards.[13][14] Through 2019, multiple songs were performed through various musical festivals, including Festival Catrina, PicNic Festival and En Pal Norte Festival. On November 2, 2019, "Mi Cama" was performed on Wild 'n Out. In 2020, "Ocean", "Culpables", "Pineapple", were performed through Bud Light Seltzer Sessions.[15]

"Culpables" with Puerto Rican rapper Anuel AA was released as the album's third single on September 12, 2018. It peaked inside the top ten of the US Hot Latin Songs at number 8 and was certified RIAA Latin Diamond.

Ocean debuted at number two on the US Top Latin Albums chart, earning 12,000 album-equivalent units (including 2,000 copies in pure album sales) in its first week.[2] This became Karol G's second top-ten debut on the chart. The album also debuted at number 54 on the US Billboard 200 and number two on the US Latin Rhythm Albums charts respectively.[2] In addition, the album accumulated a total of 10.9 million on-demand audio streams for its songs.[2] On September 12, 2019, the album was certified five times platinum by the Latin Recording Industry Association of America (RIAA) for combined sales and album-equivalent units of over 300,000 units in the United States.[19]

In this album, Lana reaches for transcendence, hoping to be pulled, gloriously, even permanently, into the world she desires. Of course, Lana remains firmly with her feet upon the ground, all too aware of the pain her relationships cause herself and others. This is the central tragedy that ripples beneath the album. Lana perfectly captures individual moments of reckoning: looking for salvation in the very place we are trying to escape, trying to be made whole by those who only see parts of us.

Like I said, Smalltape is a solo project from sound designer Philipp Nespital of Germany. He plays almost all the instruments here, and it blows me away that he can be so proficient on some many instruments. Philipp plays most of the keys, guitar, bass, and drums on this album. He also has some guest musicians that offer help here and there, with special mention to Otis Sandsj on his numerous saxophone offerings. Additionally, Philipp provides the vocals and composes the orchestra pieces, too. His sound design experience is obviously in play, too, as the album comes across as an immense spectacle, potent to the core.

This sense of mastery continues throughout the album. The keys are absolutely stunning. From the muted key tones to the gorgeous frothing piano sequences to the sweet synth, the keys on this album are some of the best this year, if not the best overall. Incredibly bright orchestral sounds abound on almost every track, and the jazz and bluesy keys and sax are a soothing and personal triumph. Possibly the unsung hero of this album, the acoustic guitar weaves its way gently from song to song. It is played with gusto, but also with fragility, too. It lays the foundation for so many moments of pure punch and beauty. Lastly, the drums here are mixed so well, and they provide some of the most awesome signature change moments on the album because of the rather complex nature of the beats.

As I Lay Dying is one of those bands that are a staple piece within the metal community. Their sound when they first hit the scene was raw, fresh, heavy, and groovy. The type of era of metalcore that As I Lay Dying was in was my favorite type of metalcore. I loved the harmony mixed with intricate riffs, technical drumming, and to top it all off, with some very powerful screams and cleans. Their fourth studio album, An Ocean Between Us is a staple album for anyone who is a fan of the metalcore genre. The sound on this record is timeless, it sounds as if it was released today! This is an album that I never get tired of, when I listen to it I get a nostalgic feeling because it takes me back to when I first started listening to heavier metal and listening to this album with my brothers.

An Ocean Between Us is arguably the best release As I Lay Dying has ever come out with and it is argued that this is the record that defines that band. The album was released on August 21, 2007 through Metal Blade Records and it debut at No. 8 on the Billboard 200.

Almost all the songs have an epic feel to them, and it carries a message and a meaning within their songs. The cleans are not used to carry entire songs, but to compliment the songs and give it harmony along with the guitar riffs.

Blonde?!?blond?!?blnod?!? Holy snozzberries this album review is the grandmother of all album reviews may all other blonde reviews cower in fear. If Anthony fantano is a mere melon then This Sydney, program director, is a ferocious turtle hungry and waiting to digest this melon and rule as supreme reviewer of the internet. All hail Sydney

More than a year after he announced the release date of his album to be July 2015 (I got twooooo versions, remember), I'd all but given up waiting for the follow-up to Frank's exquisite Channel ORANGE. Or at least, I thought I had. Every time it seemed I'd given up hope, I'd get invested in a Twitter rumour, stay up until the early hours of the morning or spend a lunch on my phone constantly refreshing #FrankOcean, waiting for something to happen.

Then, on 1st August 2016, a year ago - something did happen. A black and white live stream was switched on via Apple Music. It showed Frank in a room woodworking. Painfully boring but beautifully shot it held onto your attention through pure trickery. He moved slowly, building, with occasional music playing in the background but never enough to form a full song, or even a snippet of one. Every time I went to switch it off, a sound would play and I'd be sucked right back in, thinking he'd drop the album at any second.

The press reported that the album would finally be released on 5th August 2016. We assumed that the stream would continue for five days and eventually lead to the album release but we were totally in the dark, clinging on to any clues that we could find in the video. There weren't many. Conversation online turned quickly to what Frank was building. Was it a staircase? Was it speakers to play the album on? Was it nothing? Was this whole thing just a plot to confuse us all? Am I going insane? Why can't I turn this off?

I didn't have to turn it off. Frank turned it off for us. On the eve of the expected release date, the stream went black. The 5th August came and went and there was no album. It seemed that once again we'd been led towards something that wasn't going to happen.

Two weeks went by with no word of what was going on. We were left clinging on to the ambient sounds that had played on the initial stream that gave little to no hint of the direction the record. Still, the sounds were comforting, a reminder that Frank had returned and left us with something even if it was minimal.

On 18th August 2016, Frank returned again on the live stream. And this time he meant business. He was back with power tools (the line at Bunnings must have been long) and was ready to finish what he was building. This time around there were more sounds too. Fuller sounds. More complete ideas with Frank's voice. It felt like this time he wasn't going to leave us in the lurch and finally, he had the same intentions that we thought he had. The echoing, reverb-soaked sounds were certainly not full songs but they were enough to erupt the internet in the same way you'd imagine it would if the second coming of the messiah happened.

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