N E R D Seeing Sounds CD

Personnel: Brent Paschke (guitar); Igor Szwec, Emma Kummrow, Gregory Teperman, Charles Parker (violin); Peter Nocella, Davis A. Barnett (viola); Jennie Lorenzo (cello); Chad Hugo (horns, keyboards); Eric Fawcett (drums, background vocals).
Audio Mixer: Nealhpogue.
Recording information: Chalice Studios, Los Angeles, CA; South Beach Studios, Miami, FL; The Hit Factory Criteria, Miami, FL; The Record Plant, Los Angeles, CA.
Pharrell Williams, Chad Hugo, and Shay Haley are back for more genre-bending funk rock and experimental hip-pop on SEEING SOUNDS. The album title reportedly refers to synesthesia--a rare neurological phenomenon that results in a mixture of the senses--but, like all of N.E.R.D.'s sonic excursions, album three might be better named after schizophrenia! The boys continue to expand on their already eclectic musical foundations, each song defying the standards established by its predecessor. Pharrell does his best Lil Jon impression on "Anti Matter," as fevered shouts of "What!" pepper the marching-band drum track. "Spaz" meshes a Beastie Boys-esque rhyme scheme with a hyper Drum `N' Bass background. "Yeah You" is a leisure-suit lounge take on Cake's brand of deadpan rock, while "Sooner or Later" works like a tongue-in-cheek lampoon of a tear-jerking Brit-Pop ballad. From start to finish, SEEING SOUNDS is an audible rollercoaster that refuses to be classified.
Singers and rappers looking for hits don't go to Pharrell Williams for power pop pumped full of steroids, elaborately arranged baroque pop, mosh-inducing guitar assaults, songs about women doing coke in bathrooms, or philosophical ruminations. Williams, along with fellow Neptune Chad Hugo and longtime associate Shay continue to use N.E.R.D. as an outlet for all the stray ideas that leave sales and airplay considerations in the dust. But it's not as if what they have produced as a trio has been inaccessible, and that goes for their third album, Seeing Sounds, as well. In Search Of... went gold, despite being re-recorded into an inferior band-driven version of the synth-and-drum-machine-heavy original (released outside the U.S. in 2001), while the ambitious and occasionally downright bizarre Fly or Die apparently moved roughly 100,000 fewer units. Those numbers aren't bad, but it was apparent that the average Neptunes fan was thrown (or merely not won over) by the stylistic shifts and seemingly out of character lyrical concepts. Seeing Sounds nonetheless goes down the same route as the previous N.E.R.D. album, and there aren't any crossover feature spots, à la the Madden brothers on "Jump," to push it. The only other changes are that Williams gets three quarters of the songwriting credits alone, whereas Fly or Die was Hugo/Williams all the way, and Shay is put to a little more use. Once again, it is evident that they put all of themselves into the material, from the left of center concepts to arrangements with unpredictable shifts. The piano-led "Sooner or Later" switches back and forth from verses akin to David Bowie's "Changes" and a crashing chorus that is nearly bombastic, incorporating a needling guitar solo, while "Love Bomb" is similarly ambitious, using a similar build and release setup while sounding much different. Despite all the weight, those songs still have a way of seeming as easy and carefree as the moments when N.E.R.D. are simply bashing away (sometimes over agitated drum'n'bass), blowing off steam, and talking ridiculous nonsense. Whether taken as a diversion of throwaway fun or a deeper (or peculiar) look into what makes these men tick, the album succeeds. ~ Andy KellmanRolling Stone (p.82) - 3 stars out of 5 -- "[E]xperimental and expansive: Specked with ostentatiously weird grooves, 'Spaz' and the speedy, jazzy single 'Everyone Nose' are destined to go down as some of 2008's most interesting hip-hop cuts."
Spin (p.104) - 3.5 stars out of 5 -- "[With] six amazing minutes of Hendrix-like splendor called 'Sooner or Later'....They kick like a bucket of Red Bull."
Entertainment Weekly (p.66) - "In their hyperkinetic hands, even integrating an acoustic stand-up bass with electronic beats seems perfectly natural." -- Grade: B+
The Wire (p.64) - "[T]he fuzzed-out guitar lines and elastic basslines carry a comparable electric charge to the dayglo synths of hyphy, and SEEING SOUNDS shuffles its deck frequently enough to keep things in perpetual motion."