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Vice versa nyc menu8/9/2023 As soon as it’s been accepted, people don’t question it,” says Ivan Orkin, who famously upended ramen culture in Tokyo by, among other tricks, adding roasted tomatoes. “Japan is a lot like New York: It doesn’t have any rules because anything you do in Japan automatically becomes Japanese. The menu ranges from crispy panko-crusted eggplant katsu to bomboloncini, a playful combination that combines fried Italian doughnuts with mochi along with Nutella, toasted sesame, and hazelnut. In Nolita, Kimika has been the most prominent champion of itameshi since it debuted on Kenmare Street near Bowery a year ago. There is one cuisine, however, that is having an only-in-New-York moment like never before: Itameshi, the Japanese spin on Italian food. Since the pandemic, the number of best sushi restaurants and pricey omakase menus to rustic pasta joints and modern Italian steakhouses continues to proliferate. It’s not a stretch to call out Japanese and Italian food among the most popular in New York City. Sign up for the 10 to Hear newsletter here. But if he truly wants to help shift the sound of pop music, he’ll have to take a leap of faith.Ĭatch up every Saturday with 10 of our best-reviewed albums of the week. And it appears to be a shrewd move, business-wise, at least: Vice Versa and “Todo De Ti” debuted at or near the top of several charts, racking up streams in the hundreds of millions. Vice Versa is ultimately pop experimentation with trepidation Alejandro wants to expand the palette available to a successful Latin pop star, but seems to believe that change will be slow to come-better to play it safe with some bankable beats, just in case. And while it’s cool that Anitta and Brazil’s baile funk are getting shine on a mainstream pop record, the smooth surface of “Brazilera” betrays much of the wild, frenetic energy that makes that music so appealing. Even “La Old Skul”-a transparent attempt to pay tribute to reggaetón’s roots with a sample of one of its more enduring hits-falls flat, failing to capture any of the irreverent spirit that made the movement so exciting. Unfortunately, most of the actual reggaetón numbers, like the lovers daydream “Nubes,” skew generic and boring. It’s the most thrilling moment on the record, an injection of unbridled energy that fades much too quickly. “Cosa Guapa” begins innocently enough as a standard pop reggaetón, then teleports to the floor at Fabric “❼uándo Fue?” lulls listeners in with familiar syncopation before dropping them into a vortex of skittering snares and deep, pulsing synthesized bass. After hinting at an affinity for Euro club music on Afrodisíaco’s “Quimica,” he further experiments here with UK rave and drum’n’bass. This expanded range has also yielded some fascinating results, mostly at the higher tempos. “Desenfocao’” feels modeled after the contemporary Weeknd, softening a Michael Jackson-via-Max Martin take on rock music with a slick pop sheen. And while it’s certainly a surprising direction for a young artist who came up on reggaetón and Trap&B, it’s also somewhat dispiriting that the big tonal shift comes from a track that would sound more at home on the boring half of a Dua Lipa LP, a lifestyle ad in audio form with a saccharine melody that appears to be lifted from Fergie’s biggest hit. The most forceful example of this is album opener “Todo De Ti,” his declaration that he is veering from the standard pop formula du jour-the Latin one, at least. Outside of Anitta’s turn on “Brazilera,” the most prominent guest on the record might just be the Daddy Yankee sample on “La Old Skul.” Alejandro is also listed as a producer on five of Vice Versa’s 14 tracks, evidence that his confidence in his own vision extends behind the boards, too. Yet its success has emboldened him to further experiment on his latest LP, Vice Versa, albeit with mixed results.įor better or worse, Vice Versa is presented distinctly in Alejandro’s voice historically a prolific collaborator, he largely eschews features. And indeed, while Alejandro dabbled in some new directions on his debut LP Afrodisíaco, much of that record hewed closer to the watered-down reggaetón and trap that dominates the Latin charts. So for Rauw Alejandro, a nascent pop star with gifts as a singer and dancer surpassing most of his contemporaries-including bellwethers Bad Bunny and J Balvin-the challenge becomes not how to get reggaetón on the charts, but how to get on the charts without making reggaetón.
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