Lido is a strong favourite here at the interns, so we took to two of the biggest Lido fans among us to do a track-by-track review of his record Everything. The difference between the two? Meshell has played the record to death and Zanda is hearing it for the first time.
Zanda Wilson: Kicking things off with an A+, an emotive tune to start off what will surely be an emotion-filled album. Only Lido could kick things off with a weird vocal sample, then into a solid driving beat – only to break it down in the back end with some truly epic improvised licks, trills and growls on the saxophone. What a start.
Meshell Webb: The under-breath mutterings of Lido and Halsey that open the album are so intimate (and fkn quiet) that you find yourself turning up the volume to 11, which feels like a giant joke on the producer’s behalf when the first of many synth drones takes over. The opener sets things up perfectly, it ebbs and flows between tentative chopped up vocal samples and sharp electronic stabs. You’re not quite sure if you’re in for a banger or a ballad and this is EXACTLY why it’s killer.
Zanda: Not sure if this could really be considered a first impression given I’ve had this on repeat on my ipod and in my mind for more than week now. Another classic Lido start; moving into a track that has melodic development that most musicians could only dream of creating. 10/10.
Meshell: If Catharsis was a gentle opener for listeners then Murder is like Lido announcing “It’s me bitches.” We get big taste of his tried and true production style, choppy and repetitive vocals, clipped 808’s and his audio signature (CGEbD). Murder feels a like a Money Pt2 until two thirds of the way through when things take an unexpected turn. Murder becomes full of rage before burning out into a beautiful orchestral outro. Just when we thought we had things figured out…
Zanda: Oh how I love hearing Lido sing. Just another reminder that he’s got about a million billion different strings on the enormous bow that represents his talent. Certainly a darker effort and you gotta love it when he goes full bass.
Meshell: The lyrics of Dye kind of irritate me but the sincerity in the delivery pulls me back from skipping the track. Thank God for that because the slow build and release of Dye makes it one of the funnest on the album. The more you listen the more infectious the drum beat and vocal hook become. Dye works incredibly well as a stand alone which should work its way into plenty of high rotation playlists.
Zanda: Just as the title suggests; a spacious and ominous track with little melody to speak off – but it’s awesome hearing that Crazy vocal sample in a different context. A perfect prelude to Crazy.
Meshell: For any big Lido fans, on first listen this will be the most exciting part for you as it is essentially a brand new intro for Crazy which has been banging around for a large chunk of the year. Props to Lido for breathing so much new life into a track that has been out long enough to get a little stale.
Zanda: What is there to say about this track that hasn’t already been said? This is definitely one of those tracks that you can see Lido adapting for a full orchestra; with the gorgeous complexities within the melody and through captivating periods of strings, samples, and guitar.
Meshell: As just mentioned, by building up to the single with So Cold, Crazy feels just as triumphant and hard hitting as it ever did. I legitimately feel the urge to do fist pumps in the air EVERY time I hear it. At 1:20 we’re hit with another surprise, this is an album version so of course there is a new guitar line that dances around with the vocal, Lido keeps the surprises coming with some varied instrumentation and a long, slow burn outro which works as a transitional moment within the story.
Zanda: Hard to know what to make of this one and as it kicks off it’s hard to see where it’s going. As soon as those synths kick in though I’m right back on track and everything is once again good with the world.
Meshell: Immediately we’re getting some serious R&B, Gospel and “I love Kanye like Kanye loves Kanye” vibes from Falling Down. All of which are A-okay in my books. The rolling drum work of this track is incredible and it’s easy to picture how aggressive and energetic this track would be live. Just waiting for that Australian tour at this point TBH.
Zanda: I think this is about as close as Lido gets to being angsty on this record. Definitely one of the most impressive and gut-wrenching tracks on the album, as we’re taken between bass heavy vocal samples to hard hitting synth drops and back again – and then just as you’re getting settled everything pretty much drops out and the final minute is contemplative bike noises. Because LIDO.
Meshell: Many are toting this track as being the best of the album but that may be just because of Lido calling in his buds who just happen to be super famous/super cool rappers, Jaden Smith and Towkio, both of whom have had their verses chopped up and pitch shifted at a dizzying frequency. It’s dirty, weird and full of vitriol and although it may not be the best on the album it’s damn fucking fantastic.
Zanda: After having your emotions put through a blender Only One is a perfect foil – contemplative and light, but certainly no less impressive. That bass solo in the middle is A++ – and it’s followed by some of the sweetest rhymes on the whole LP.
Meshell: Things are pulled back in here and during a contemplative four minutes the focus shifts to helplessness. The star of the track is the smooth, melodic bass line and snappy drums. Jaden Smith is back with some unconventional verses that touch on some really important topics, taking the focus from insular to external for perhaps the first time on the album.
You Lost Your Keys
Zanda: I’ve been waiting this whole album to hear Lido go hard on the piano and finally he delivers this majestic masterpiece. Not one to be co-erced into doing anything conventional, he has eq’d the vocals to inhabit the same melodic space as the keys as if to say ‘they are just as important as each other.’
Meshell: This one track is bereft of Lido’s usual production, so although at first one could argue it doesn’t fit the album… it’s actually a perfect addition to the story. Recorded during an extended “jam” session it’s essentially Lido talking to himself as he can’t figure out what he’s trying to play on the piano. The vulnerability of sharing a captured recording of, “hitting a creative wall” encapsulates why this album is so beautiful. This song will speak more to Lido’s fellow musicians than anyone else and it may just be the shining star of the album.
Zanda: Another absolute classic. Angel is everything that we love from Lido – emotive vocals, constantly-shifting textures, captivating melodic development, instrumental variation (both acoustic and electronic), hard hitting drops and soft, flowing afterglow.
Meshell: The opening of Angel made me laugh out loud because it sounds scarily like the opening to Doris Day’s Secret Love except with modern day production. The laughter is short lived however as the song progresses and continues to punch me in the chest with each new section. The evolution within this song alone is a cinematic triumph, I’m calling favourite on this one.
Tell Me How To Feel
Zanda: Never one to sign off a project quietly, this is another one straight out of the top-drawer. Characterised by powerful call-and-responses between vocal samples and synths, and followed by some of Lido’s most explorative production on the whole record. No Lido, you tell US how to feel – and dammit that’s how we’ll feel. Astrid S on vocals is a revelation.
Meshell: Coming in as a close second favourite, TMHTF feels like a final blow in an incredible fight where I’m left exhausted. This song needs to be played at absolute peak volume and screamed along to until your neighbours begin banging on your walls. Astrid S ends the album with a surprisingly sweet and hopeful melody alluding to the fact that perhaps our favourite Norwegian is ready to move on.